#unsupported extensions

[jolikmc-thoughts]

Very cool, Alphabet, Inc. Thanks for that completely worthless notification.

Looking forward to Manifest v3.

███ off.

[rederiswrites]

So after annoyance-quitting Mind Over Medicine, I read Cured, by Jeffrey Rediger, MD. In a way it was about the same things--calming your nervous system, supporting your immune system, etc. But it was an entirely better book. Cured is about the author's extensive research and collection of case studies of radical remission--cases where a person had a documented diagnosis almost certain to lead to near-term death, who then went on to either entirely reverse the condition or live healthy lives despite it for many years.

To be clear, at no point does he claim that doing as these people have done will save you from brain cancer, although some of them did exactly that. It was more a matter of him becoming interested in learning what these cases might have to teach us. Sometimes, that was about diet and lifestyle changes, sometimes it got downright weird and he agrees completely. There ends up being a lot of discussion of personal transformation as an engine for healing.

Despite a seminary degree, at no point does Rediger himself claim that a higher power had anything to do with it. Faith is a key feature for some of the case studies, but he examines it as the power of the faith, or belief, itself, rather than any specific religious belief.

It ends up being an engrossing, moving, fascinating, and potentially transformative investigation of the power the mind has over the body, poking into corners that double blind studies can't really go, without ever actually sounding like his conclusions are unsupported by or in defiance of the available science.

[liv2post]

Serenading Him

CHAPTER 5: The Sounds of War

Prev. Chapter

AO3

It was happening. With all the things the Headmaster had revealed to you, you didn’t need to know why he had summoned everyone into the Great Hall so late at night. The Carrows watched the houses march into the hall and stand in perfect arrays before they took their spots on either side of the space where the head table usually sat.

The Headmaster swept up the aisle of space between the students who stood closest to the center. His expression was utterly cold as he took his place ahead of the students. His hair had gotten a teensy bit longer, his eyes were darker than ink, and his face was paler than ever.

“Many of you are surely wondering why I have summoned you at this hour,” the Headmaster drawled silkily. “It has come to my attention earlier this evening that Harry Potter was sited in Hogsmeade.”

The students began murmuring quietly to one another but the Headmaster swiftly regained their attention and continued on with his chilling speech. You could feel him glance your way during the speech as you kept your eyes toward the ground before he began to walk through the aisle of space once more. 

“...of Mr. Potter’s movements this evening…I invite them to step forward…

…now.”

Not a sound could be heard as everyone directed their eyes to the floor. Who knew what was to happen to them if no one came forward on the matter? The Headmaster was standing right next to you as you were on the inner edge of the array and the icy tension coming from him was palpable.

There were a few footsteps and then a rousing wave of gasps. Harry Potter had stepped out from amongst a section of students having somehow remained undetected this entire time.

“It seems despite your exhaustive defensive strategies…” Potter started as the doors to the Great Hall opened to reveal some familiar and unfamiliar faces, “...you still have a bit of a security problem, Headmaster. I’m afraid it’s quite extensive.”

Snape said nothing, staring glacially at Potter as students slowly began backing away toward the sides

“How dare you stand where he stood. Tell them how it happened that night! Tell them how you looked him in the eye, a man who trusted you and killed him!” Harry exhorted angrily. “Tell them!”

Another round of gasps followed as Severus suddenly withdrew his wand, but so did Professor McGonagall as she stepped in, protecting Potter while the other students backed up hurriedly toward the walls. There was a moment where Severus hesitated but recomposed himself in a determined dueling stance. McGonagall was the first to cast, using a fiery-looking spell to test the waters, which Severus blocked. Suddenly, Severus looked at you.

“Astronomy Tower,” his voice spoke in your mind. “Now. Bring the guitar.” 

Your eyes flit towards the large doors of the hall and you quickly begin to retreat, weaving through the clusters of students as the duel waged on until the last thing you heard as you rushed past Hermione was the sound of windows crashing and McGonagall shouting “COWARD!”

The sounds of the portraits whispering to one another urgently from the arrival of Potter’s allies scratched at your mind like a raccoon trapped in the walls. Potter being here meant that the Death Eaters, and Voldemort, would soon descend on the school. But did that mean Potter had destroyed the remaining Horcruxes other than himself? Did the entire future of the Wizarding World hinge on what would happen tonight? 

What you could only guess to be Voldemort’s voice began speaking a message regarding Harry Potter, but you ignored his words and pushed on.

With your guitar strapped over your back, you swiftly made your way over to the nearest window and launched yourself off the edge, taking off into the night sky in a swooshing blur of white light. In the months that proceeded the break, you had managed to perfect your unsupported flight abilities in Forbidden Forest away from the prying eyes of the Carrows and would return to the castle normally by foot so no one suspected anything. In just a few moments you were floating past the railing of the Astronomy Tower and landed in a kneeling position with a steady hand to balance you. Severus whipped his head around, his wand reflexively aimed at you upon hearing the intruding sound of creaking floorboards but relaxed when he registered that it was you. Tonight was the first time in months that he had seen you face-to-face again. You had not stayed for Easter break, but he knew why. He’d been informed of the passing of your parents, he assumed a Death Eater had finally gotten to them, and they had left you a sum of money before the letter was properly received by you. You had left to take care of whatever affairs were left to you in their passing and surprisingly returned to the castle despite all that. He approached, helping you up and slowly drawing you back towards the center of the tower, his hands loosening their settled grasp on your elbows but the pads of his fingers didn’t leave you as he looked at you with a sea of emotion in his eyes.

“Why are we here?” you asked in a hushed tone, despite the privacy the tower granted the two of you.

“I’ll have to rejoin them soon,” he uttered calmly.

“Is there gonna be a battle?”

“...Yes.”

Your lips pressed into a thin line as you nodded lightly, averting your eyes to the floor as you attempted to swallow the lump in your throat. Severus’s eyes flit over your face and he decidedly moved a hand up to cradle your chin and make you look back at him.

“I saw you every day,” he said, his voice thickening with gloom. “Every day since the winter break, from my office, I could see you departing from the castle in the morning and returning from the forest at dusk. On the weekends…your performances kept me sane. Many times I’ve thought about leaving like you had planned, but I just couldn’t. I had to keep going for a little longer.”

You gaped at him, your eyes now glassy. “Wh… I’m… I’m glad to have done my part…”

He took in a shaky breath. “There is one last thing I must ask of you to do.”

“What is it?”

“I need you to stay here and play.”

Your eyes widened and you stepped back away from the Headmaster, but he stepped forward once more and moved his hands to your shoulders.

“Severus, that will get me killed!” your voice cracked.

He shook his head aggressively. “No, it won’t.”

“Yes, it will! They’ll fly up here and they’ll—”

“I know! I know…Y/N…” Severus stared intently into your eyes. “That is precisely the point and it is exactly why you won’t …die.” He saw your mouth and eyebrows quirk with confusion and continued. “I know a set of spells. I suspect Potter’s allies will be using it on the school any minute now. It’ll act as a barrier and disintegrate anyone who tries to pass through from the outside.” You didn’t appear totally convinced. He could see the hesitation in your face and pressed on. “Please, I need you to stay for the students,” he beseeched. “It will help in more ways than one. It will give them hope. And the more Death Eaters that fly into this trap like a moth to a flame, the fewer people we may lose. Trust me as I have trusted you.”

Tears rolled down on either side of your face, which were quickly swept aside by Severus’s thumbs, his hands cradling your head now.

“Alright,” you whispered.

“You will stay?” Severus entreated.

You choked out a wryly, “I quite literally have nothing else to lose, don’t I?”

A wave of relief crashed over him, wrapping his arms around you and hugging you tightly. You squeezed him back just as affectionately as he pressed a firm kiss to your head, making you bury your face further against him. His hands begrudgingly released you and moved to shift the guitar from resting diagonally across your back to sitting properly across your torso. There were a few seconds where the two of you were just staring at each other. 

“Don’t die,” you blurted.

Severus managed a sad smirk. “I shall endeavor not to.” His hands slid down your arms and your two hands, squeezing them. “The barrier will look a faint blue to you, but invisible to them. Be loud. And do not stop playing until you either see a Dark Mark in the sky or that all the Death Eaters below have disappeared.”

He slowly released your hands and moved back until he met the railing. Stepping atop it, he turned into a mass of black smoke and began flying around the Astronomy Tower, zapping it with a series of spells. The floorboards beneath began to sheen with a layer of blue, as did the air around the open space and along the ceiling. It was as though you were put inside of a snow globe and you watched as he flew away in a jet-black streak. 

Just as Severus said, beams of magic begin to shoot up into the air, slowly forming a giant bubble over Hogwarts, the boundary of it appearing to stop around the Covered Bridge.

You applied the necessary spells to make your instrument work, adding an additional amplification charm or two and began to reminisce as you stared off at the burning Quidditch pitch way in the distance. It was nothing short of a miracle that you had made it nearly the entire school year without getting caught by Filch or the Carrows, even with your self-enforced rule of only playing one song so it was harder to locate you. And apparently, you even helped Severus…?

What looked like hundreds of shooting stars began to twinkle outside of the outer shield of Hogwarts, but you knew better. Those were spells. They rained down like artillery fire, rippling with bright light as they made an impact with the outer shield. Because of how high up you were, you could see more up close the way the magic dispersed, illuminating like electricity running through someone’s veins. They kept coming and coming, you didn’t know how long the shield would hold up for as nearly half an hour had passed since Severus left.

Then there was a booming noise. 

Something big had hit the shield, making hairline fractures spider across the large bubble. Voldemort’s magic presumably. And sure enough, pieces of the shield begin to fall, catching ablaze like blasted parchment paper or burnt confetti.

It was time. You took out the pick from your trouser pocket, examining how the plastic shined in the moonlight and began to play.

The sound was overwhelmingly loud, you wouldn’t be surprised if you wound up deaf following tonight . You were sure even the people in Hogsmeade could hear the music echoing from the Astronomy Tower, your fingers dancing like lightning across the neck of your guitar. The volume left you no room to think, no room to worry… To only do what you were told and just focus on playing.

As you stood close to the barrier looking over the expanse of Hogwarts you could see Voldemort’s allies taking the first opportunity to rush the Viaduct Bridge, a mixture of giants and Death Eaters, some flying and some running. The ones flying swept over whatever obstacle was slowing down the giants at the bridge and launched projectile spells at the castle, blasting holes at the windows. It all happened so fast. Fiery explosions blew up the cloisters that surrounded the Viaduct Courtyard and those flying took the opportunity to blast their way into the Battements where, presumably, Potter’s allies were positioned as some Death Eaters were blasted back out the way they came.

And soon, you were targeted. Halfway through your first song, a Death Eater’s smokey trail was zooming straight toward you as you backed away from the edge toward the center of the floor, your hands playing on autopilot as you watched with bated breath, praying Severus's magic would keep you safe. Just as the Death Eater was shifting from their smokey to their regular form, they hit the shield and crumbled forward into what looked like hundreds of glass shards that glimmered away into nothingness.

It worked!

Another one was coming at you having not seen their brother-in-arms destroyed by the magic. They fired a spell as they advanced within the last several feet, but it was too late for them to pull up as the spell was simply absorbed by the shield. The Death Eater crashed face-first in roughly the same spot as the last one, dying instantly.

You were not attacked again until two songs later. This time they came in a group, around four of them. One flew right into a different part of the shield beneath a stone arch section and crumbled while the other three pulled up and away in different directions, finally recognizing the fact that protections had been put into place. You felt a blast vibrating beneath you and heard the sounds of someone stomping up the staircase below. You could see their silhouette moving quickly beneath the floorboards towards where the staircase opening breached the floor. A mop of dark hair popped up through the opening and you barely made eye contact with him before the shield enveloping the floor had taken his life, his body shattering and fading away. The other two apparently went off to attack other towers, assuming the two that had died earlier would take care of the job, as you saw holes being blasted into the roof of Ravenclaw Tower.

As time went on, there wasn’t a single part of the castle that didn’t have holes blasted into them or was smoking something fierce. The Death Eaters must not have been communicating very well as they just kept coming at you and dying, none of them having the sense to inform their ranks that the Astronomy Tower was booby-trapped. It was like you were a human bug-zapping lamp, drawing them into their deaths if they got overly curious or irritated by the music.

Way in the distance, you could see another wave of an attack as the Viaduct Courtyard gradually turned to rubble. A horde of black mass was flying along the Viaduct Bridge, but they were not Death Eaters. They were dementors. Hundreds of them. Just as you thought they’d breach the courtyard a glowing orb of blue light pulsed in all directions sending the dementors back flying.

Your fingers were aching something fierce as time marched on. You couldn’t even tell who was winning as everyone below looked like ants. Was Voldemort down there with them taking part in the fray? Had anyone you knew died yet? Was Potter fighting Voldemort right now? Was Severus alright?

A disembodied hiss filled your ears, and despite Snape’s instruction, you forced yourself to stop playing to listen to the message. 

“You fought valiantly…but in vain… I do not wish this… Every drop of magical blood spilled is a terrible waste… I will command my forces to retreat… In their absence, dispose of your dead with dignity. Harry Potter…I now speak directly to you… On this night, you have allowed your friends to die for you rather than face me yourself. There is no greater dishonor… Join me in the Forbidden Forest and confront your fate… If you do not do this I shall kill every last man, woman, and child who tries to conceal you…from me…”

Once the voice faded away and the throbbing of your head ceased, you squinted down at the rest of the castle to see a flurry of smoke trails retreating away, all headed towards the Forbidden Forest. This was an armistice of sorts. The fighting would cease for now.

The fires were beginning to die down, any wooden parts they managed to eat away were no longer viable. The sky had managed to lighten a bit, but it was a cloudy night. You had no idea what time it was. You suspected it would be dawn soon. You approached the railing and jumped over, sweeping downwards to the courtyard in a blur of white light. The doors to the Entrance Hall were wide open, students and teachers alike treating the injured or having their own injuries treated. Trelawney and another student had just pronounced someone dead covering their body with a white sheet. Slughorn was applying some ditanny to a wound on Filch’s arm. The Weasleys, who you now realize must’ve been their parents who busted into the hall with the others during Potter’s confrontation with Severus, seemed to be mourning the loss of someone. 

“Merlin’s beard… It’s you.”

You turned toward the voice, still clutching your instrument in the playing position to Neville Longbottom who was quite dirty and bloody. “You’re the one who's been playing that music every Sunday night!” Other students and teachers looked at you upon hearing Neville’s proclamation, their eyes widening upon seeing you stand there with the muggle instrument strewn across your body.

“Yes…” you murmured.

“You’re wicked, y’know? You must be bloody great at hiding! I’m surprised they never managed to find you after all this time.”

You weren’t really listening to Neville anymore. While Ronald had gone to mourn the unfortunate loss of one of his older brothers at the other end of the hall, you had your focus on Potter and Hermione who were talking quietly to themselves some feet away from you.

“...Do you think we should tell Madam Pomphrey about Snape in the boathouse…?”

“...No, let's wait until after… Let her tend to those still alive.”

Your ears filled with a high-pitched ringing. Snape…in the boathouse…?

Neville began peppering you with more questions but they fell silent on your ears as you were zooming back through the chilly air and down to the desolate-looking boat house. Your feet pounded against the squeaky docks as you touched down and ran past the opaque window paneling. It was stained with splattered liquid and you could see a body on the ground.

Severus’s blood-spattered body was laying there, his throat slit open and bitten into by what you guess was Voldemort’s snake, and his chest unmoving as a leftover trail of shed tears gleamed on his face. His face was devoid of any color. Dead.

No… no—No—NO!

You held his head and torso and apparated the both of you into the Potions classroom. You figured with him being dead, the Anti-Apparition spell set into place had disappeared. And you were right. The world around you warped and the two of you were now lying on the cold floor of the classroom. 

You rushed into Slughorn’s storeroom and began rifling through boxes and jars like you were insane, not caring if they shattered or broke when you shoved them aside or fell to the ground. You found the box you were looking for. It was a dusty wooden box that was essentially dubbed as “an emergency kit” should there ever be a life or death situation in the potions classroom as a result of an accident or what have you. Ripping the lid aside, you grabbed two of the ten items in there: a dropper of extremely valuable Pheonix Tears and a bottle that contained very strong Anti-Poison for anyone who had consumed or otherwise ingested anything poisonous.

With the dropper, you squeezed the Phoenix Tears over his wounds. They puncture wounds and torn flesh began to close themselves, smoke curling up from the edges of the skin. With the bleeding stopped you tipped the Anti-Poison into his mouth and massaged his freshly healed throat to make the liquid go down. Finally, you cast a spell on him that captured a thin stream of oxygen and traveled into his mouth towards his lungs while you undid his robes and began doing chest compression.

One…Two…Three

One…Two…Three

One…Two…Three

“C’mon, Severus!”

One…Two…Three

One…Two…Three

One…Two…Three

One—

Your breath hitched as you felt something twitch beneath your lower palm. Was it…? You can only hope.

Bump bump…bump bump…

A pulse.

Next Chapter

[mybrainproblems]

what if i truthed that instead of OG carry on and the neoni cover of carry on, we were supposed to get ramble on?

bc hear me out: ramble on is 4m45s, and from montage start to montage end it is 4m55s with a 10 sec break between OG carry on ending and the neoni cover starting.

understand that this is mostly a joke but i do plan to test out playing ramble on over the first part of the driving montage.

my totally unsupported theory is that there was something else they were intending to play over the longer part of the driving montage (3m14s) and go to OG carry on for the shorter part, but we ended up with the neoni cover bc they were waiting until the last minute to see if licensing would go through. bc it is absolutely baffling that they would play two versions of the same song almost immediately back to back. CW has access to a pretty extensive music library via a licensing partnership iirc (but is mostly contemporary music) so it would have had to be a pretty "big" and older song they were trying to get.

example of "writer wants song but show cannot afford" being that perez wanted the beegee's "staying alive" for 13x06 tombstone per the writer's 2nd draft version of the script.

source (ty spnscripthunt!)

thank you for joining me in my insanity!

[zbeez-outlet]

This is my (unasked for) review and critique of Netflix’s live-action adaptation of Avatar: The Last Airbender. I’m not expecting much of a response, I just have so much to say and no one to talk about it with. I’m putting it here so it doesn’t fester in my brain and it’s my blog, I can talk about whatever I want.

I am going to divide it into two major sections, the first being a review of the show as a stand alone, the second being a comparison to the source material. Each section will have smaller headers so I can stay on topic and organized, I’m going to try really hard not to obnoxiously rant or flood my review with unsupported opinions. I have a lot to say, but I want to make sure I articulate myself well and don’t fall into venting without reason. If you see me doing that, please let me know.

I want it to be made clear now that these are my thoughts on the show, I’m not forcing anyone to think the same as I do or insulting anyone for having different views than me. I also want people to know that this is an extensive detailed review, I’m going to be covering a lot of very broad and very narrow topics. I’m not trying to nitpick inconsequential details, this review is supposed to focus on important and fundemental aspects of the show. I will be harsh, but I’m going to try not to be unreasonable.

This is going to be extremely long. If you’re not interested in reading it all, I completely understand and I’m going to include my initial rating and a summary of why I gave it that rating here.

My overall rating of the show: 4/10

Review Summary: While the visual effects and environments were for the most part really great, the quality of writing fell behind drastically in comparison. There were major issues with characterization, consistency, and plot development that will pose a challenge in future seasons. The dialogue was often dry and overly expository, it allowed no room for nuance, subtlety, or complexity because they’re constantly telling us what everyone is doing, thinking, and feeling. The acting was mostly subpar, but I think that was because the writing suffered so greatly rather than through major lack of talent or skill from the actors. The pacing was abysmal, 8 episodes was never going to be enough time to tell this story. For me, it has a very surface level amount of entertainment but as soon as you try to look a little closer, try to answer questions or search for any depth, the quality drops entirely.

Extensive in depth review below. Because I’m not watching the show as I’m writing this, please let me know if I’m misremembering any major details so that I can correct myself if/when needed.

Sorry in advance for how obnoxiously long this is, I tried to give clear headers so you can bounce around any specific topics that interest you.

NETFLIX ATLA as a Stand Alone Show

In this section, I will not be making any comparisons or references to previous Avatar content. I will do my best to strictly speak on what Netflix gave us and its quality in different categories.

Costumes/Makeup

Overall, I thought the design of the costumes and styling was really solid. They felt really unique and representative of the different cultures, which is always appreciated. There was an issue for me though that took me out of the show sometimes. Nothing looked lived in. There was no dirt, stains, wrinkles, or wear and tear of any kind and the colors were so bright. The actors sometimes looked like they were doing a theater play or dressing up for Halloween, not living in a struggling world at war. Overall, costuming and makeup was really good, just throw some dirt on there!

Yue’s wig was terrible, I think we can all agree.

I do have a gripe with Zuko’s design though. His scar looks like a bruise or an eye infection, not a gruesome burn scar. I know I’m not the first person to say this, and I’ll keep saying it until they listen. It needs texture, it needs to be larger, and for the love of god shave his eyebrow.

Environments and Locations

I thought the locations looked great, especially the artful cgi on the wide shots of places like the Southern Air Temple, the Fire Nation and their ships, and Omashu. Good cinematography and just really well done work as a whole. There’s a few times when the backgrounds during scenes looked more like stage sets than lived in cities or villages, but it was rarely anything so drastic it harmed the show for me. I really liked the amount of background clutter and knickknacks that helped with realism and there was always a lot of people that helped these places feel populated. Zuko’s room on his ship especially was so cool, it told so much of his story without ever needing explanation. Having a collection of avatar artifacts and plastering his walls with drawings, research, theories, maps, and plans was genius. I loved that they included animals, once again it helps with immersion and realism, and it would be really easy to just not include them for simplicity sake. Especially the funky animal hybrids, I hope to see more going forward! The use of ice, wood, furs, and bone for the Southern Water Tribe was so good. The massive rib cage for the community hut in the tribe was fantastic. I could go on for a long time. For me, the settings were probably the best part of the season.

Bending Graphics

The strongest elements of bending visually were air and fire. They really captured the movements of each, the fluidity and speed of air bending, and the aggression and passion of fire bending. Earth bending looked okay, the actors did a pretty good job of making it look heavy, but overall it felt like it was moving too slowly to me. I think the scene at the beginning of the first episode was the best example of earth bending. The fight with Bumi was very underwhelming for me.

Water bending looked terrible almost the whole time. The way the water physically looked was pretty good, but there was absolutely no weight behind it. Every time Katara hit someone with water, it splashed with the force of a Nerf water gun. The movements were slow, clunky, and so nonthreatening I probably wouldn’t have tried to dodge a single one of her attacks. Her battle with Pakku was one of the most boring battles I’ve ever seen. There was no haste or desperation in either participant. I’m hoping they’ll figure out how to do this better in the future. The ice was decent though.

As a whole, the fight choreography looked pretty good. Certainly moves I could never do. There were times when characters were completely cgi to account for difficult or impossible moves and it was really obvious. Aang in particular looked very wonky when he was fully cgi during his Avatar State moments or when he was flying around like his introduction scene. So passable but definitely room for improvement, I think the artists who work on these aspects of shows and films are very impressive.

Dialogue

The dialogue is 80% exposition, 19% repetitive conversations about responsibility and duty, and 1% misplaced poorly written humor. It’s unnatural, it’s dry, it doesn’t allow for any nuance, and there’s no room for character growth or connection when they have to waste all their words on making sure the plot is on track.

When the introduction of your main character is him looking directly into the camera and telling us the kind of person he is, there’s a dialogue problem. When so much happens off screen that you have to have characters talk to fill in plot holes because there’s just not enough time to tell the story, there’s a dialogue problem. When you put intentional pauses around bad jokes for people to laugh, there’s a dialogue problem. When characters have to say over and over that they’re family but they don’t feel like family in the slightest, there’s a dialogue and characterization problem. I’m not going to script the bad examples, I don’t have the time or patience for that, but I was very unimpressed. It felt like the first draft of a script to me.

And I dare anyone, of legal drinking age of course, to take a shot every time a character says the words responsibility or duty. I swear the floor and ceiling will switch before you reach episode 3. If characters have to keep shoving their responsibilities down our throats without actually doing anything to solve them, there’s a dialogue, characterization, and plot problem.

Also one of my biggest pet peeves with a series is when the first episode or movie ends with a line like “It’s only the beginning” and then plays crazily dramatic music. But that’s a personal preference, not an actual issue.

Acting

First and foremost, I have nothing against any of these actors. I’m sure they’re perfectly wonderful people and they deserve opportunities to prove themselves. My goal here is not to shame or insult or belittle any actor on this show. That being said, none of their performances were perfect and I do have critiques. This is not meant to be a personal attack on any of them or on anyone who enjoyed their performances.

I think the dialogue and overall writing really worked against the potential these actors had. I don’t know how involved the director was in the filming process or helping them with their performances, but there were definitely some failures here.

The strongest performances to me were Sokka, Iroh, Lieutenant Jee, and the Earth bender that threatened Iroh when he was captured (I couldn’t find his name, but he had an unprecedentedly good performance). By far the best was Jee, I felt his emotion more than any other character on the show and would love to see a lot more of him. Sokka balanced well enough with what he was given, but he also had the most character opportunity (which I’ll get into in the next section). Iroh I think filled the mentor roll pretty well, the writing for him leaned a little to close to fortune cookie, but he did feel wise and powerful when he needed to be, mostly. For a comedian though, his humor fell really flat to me, I wish they had given Paul Sun-Hyung Lee some freedom to improv, I think he would’ve done a good job if he could play with the character.

Katara and Azula were awful (so was Mai, but she didn’t get a lot of screen time so I’m not going to focus on her). Katara was so dull and emotionless for the majority of her role, her delivery felt so unnatural. Again, I think the writing was an obstacle, but I felt no connection from Katara at all. And certainly not between her and any of the other characters, which is a major problem for one of the main cast. Her and Sokka felt like strangers half the time, like they were getting to know each other as much as we were getting to know them. I swear Azula’s actress was reading off a teleprompter the entire time, she was somehow robotic and overacted at the same time (I’m sorry, I know that’s harsh, but she just isn’t a good actress, at least not in this).

Zuko had some really solid moments, his scenes with Iroh in particular were great, but overall I didn’t love him. A lot of people seem to be upset at his “tantrums” but honestly I think they fit the character well, though there was one or two too many. He’s an extremely troubled teenager estranged from his family and home, tantrums make sense. Again, I think the dialogue really got in the way of his potential and I don’t think he pushed his acting range enough. Almost every actor needed to show more emotion in one way or another.

Aang has some of the best moments and some of the worst. I have a lot of respect for young child actors, especially ones taking on the challenge of such a massive beloved character or franchise. It’s a lot of pressure for someone still growing up and learning how to be his own person. He handled the few childlike moments Aang was given so so well, he has the brightest little smile and playful attitude. The disconnect came with his more serious moments, he’d get these long monologues and, like Azula, sometimes seemed like he was reading off a teleprompter. I do think it’s a character he’ll grow into really nicely though as long as the writing lends itself to that.

It’s very important to remember that the director signs off on everything. Every performance, every scene, every script (that is also signed off by the lead writer). If something is off, it is not strictly the actors’ faults and should never be treated as such. Do the actors need more experience? Sure, but they more importantly need better direction, scripts, and support from the crew than what they’ve gotten. I’ve seen interviews with the main cast and they all seem wonderful with a lot of potential, particularly the actor for Aang, so clearly the director and lead writer are the ones that are slacking.

Characterization (of the main cast)

Aang

He goes through no change or character development from the beginning to the end of this season.

His water bending training hasn’t even started and he has no further control of the avatar state, so power wise he’s remained completely stagnant.

He constantly says how important Sokka and Katara are, because they’re his “friends”, but there’s been no bonding or development of their relationships. If they didn’t tell us so often, I wouldn’t even think they knew each other beyond first day of school ice breakers.

His most profound moment was his conversation with Gyatso in the spirit world, which I actually really liked. I think he really needed support from someone who knew him before. The home being deserted when Aang goes back to see him definitely hurt.

It feels like this show really really wants us to hate this 12 year old boy. Every adult or authority figure is constantly yelling or berating Aang for something he didn’t even do, it was an accident he didn’t come home and got frozen in ice. Especially from the avatar spirits who should know for a fact he didn’t purposefully run from his responsibilities. The tone is all off and I’m not sure the writers understand what they wrote.

Aang’s biggest mental hurdle will continue to be his guilt for disappearing, which he didn’t even do on purpose so the guilt is unjustified, at least the amount others are thrusting on him.

He looks confident at the end of the season, but I don’t buy it because he hasn’t earned it, there was nothing that he did or said that showed why he would feel so confident when he hasn’t learned anything and he hasn’t proven himself capable beyond getting possessed by the right spirits.

His reaction and aftermath to the death of his entire culture was very underwhelming. His grief sent him into the Avatar state and then he mutters a bland apology and the others are mad at him for falling apart when he’s literally lost everything and everyone he’s ever known. It’s something that needs to be handled far more delicately and it’s not.

As the titular character, it kinda sucks how sidelined his character development has been.

Sokka

If I had no knowledge of this series going into it, I might assume Sokka is the main character because he has the most developmental moments in the season and is easily the most well written character.

Physically handing over the protection of his tribe, while small, was a profound moment for him because he was not only going against his father’s orders, it was the first step to realizing he could be something more than a fishing boy from the south. Which is pretty much his whole emotional arc.

With Suki, he was able to prove himself as someone willing to learn and better himself as a warrior. He learned too fast considering it felt like they were only there for a day maybe, but they were on a time crunch with pacing.

In Omashu, Sokka found that his hobby for invention shows he has a talent for engineering and being a tactician. These are pretty important traits that make him a well rounded character.

By the end of the season, he’s gone through pretty profound loss and change to become the beginnings of a leader.

He was kind of supposed to be comic relief as well, but honestly to me it was done as a sloppy afterthought and almost none of the humor landed. Not just with him, but with most comedic moments.

Katara

I’m sorry, I’m about to rip this poor girl to shreds, the writing for her was awful.

She has absolutely no personality beyond the thousand yard stare she gets every time her mom comes up. Every emotion she has is weak and downplayed by exposition, she’s mostly passive and has almost no effect on the characters around her (besides Jet sort of? And I guess Pokku during the most boring fight of the show).

She adds almost nothing to the team besides being a water bender. It’s literally her only characteristic beyond dead mother.

Speaking of water bending, she did absolutely nothing to earn the title of master and no one can convince me otherwise.

She learned six moves from a scroll, trained off screen so we have to take her word for it, made one move that she copied from another bender, and never once had a single second of instruction from an actual master. Getting that title when she’s done nothing to earn it is crazy.

Teaching herself with no support or guidance is not empowering like the writers seem to think it is. It’s just lazy and so unrealistic it’s laughable. She doesn’t have any of the training necessary to be considered a master.

Also I just really dislike how every obstacle for her to be a better water bender is a mental one, first with Aang and then with Jet. Like yes, clearly emotional state matters, but it’s still a physical discipline that requires technique and training of which she’s had none of besides pictures in the scroll.

The fact she was so dismissive and disrespectful of healing bothers me too when it’s a very valuable practice. She didn’t stay for that training either, so how is she going to use the oasis water in the future? Oh wait, Katara’s “a natural” which is just so infuriating because she’s barely struggled to learn a thing the whole season. As soon as she’s in a good mood, her bending works just fine. That’s not how learning or mastering a discipline should work.

Sorry, I know I’m getting into ranting, I’m backing off. It’s just such poor character work for someone so important to the story.

Zuko

Episode 6, “Masks”, was by far the best episode and largely because of Zuko’s character work. Outside of that episode, he’s pretty consistently narrow minded and angry which doesn’t offer him a lot of depth. But it’s all packed into “Masks”.

I loved that the 41st division was his crew as it was physical proof of his sacrifice and compassion for life. Obviously his scar is also proof, but seeing the people he saved alive hits different. And the fact that he didn’t try to take any credit is very modest and honorable for him.

However, I wish he had chosen to make the 41st his crew rather than it being forced on him as an additional punishment to his banishment. I think if he had made that choice, it would have showed even stronger resolve.

His moment with Aang in the shed after rescuing him as the Blue Spirit was very well done and showed how hard it’s going to be for him to overcome his father’s influence.

Lu Ten’s funeral was a wonderful moment meant to build on Zuko’s relationship with Uncle Iroh, it was quite beautiful.

Unfortunately, outside of the moments I mentioned, there wasn’t much other opportunity for character growth because it had to be so exposition heavy.

Although he did choose to go after his Uncle instead of the Avatar in Omashu and that’s an important value in family that Zuko has.

I do appreciate that they cemented his ideals around honest and honorable glory, but it did get a little preachy and repetitive.

I think overall he has a lot of potential for growth in future seasons.

Pacing

Whoever thought 8 episodes was enough to tell this story is extremely delusional. Having more minutes does not equal having more time, 8 episodes offers no wiggle room for such an expansive story no matter how long they are. I’m so sick of production companies thinking it’s okay to so heavily compress storytelling, let your characters breathe and give them some time to develop. It’s one thing when it’s something like Queen’s Gambit (which is fantastic, if you haven’t watched it you should!) that only focuses on one person vs Avatar which is balancing four or five main characters, extensive world building, and complicated plots. It’s something that needs time, but is instead rushed so drastically there’s barely any time to comprehend one conflict or character before another one is expositing in your face. Netflix is one of the biggest offenders of this, but HBO does the same. The Last of Us could have used an extra episode or two for Joel and Ellie’s relationship to solidify more (I’m not going to get into TLOU though, so please don’t come for me for this opinion, it’s not the focus and if you want a more extensive review of that, let me know). It feels like writers think characterization and development just happens and they don’t have to take the time to actually write it in.

With 2-4 more episodes, they could have had the time to really explore the things they needed to without overloading on exposition. Ask yourself how much time did you feel like passed between episode one and eight? Did it feel like the few months it was supposed to be? To me it felt like maybe two-three weeks, and that’s not the fault of watching it so quickly. There’s never any indication of how much time passes, which is its own issue, but also ultimately confuses audiences if they have to guess.

Every interaction and conflict is rushed, why are these writers so scared to take their time? If Netflix isn’t offering more episodes, then you need to adjust your writing to compensate, not condense everything like a sardine can and then act surprised when it’s a structural problem. It’s a fundamental issue that affected the entire potential of the show.

Plot

Aang should have, at the very least, started mastering water bending. It’s stated several times in the season that he needs to in order to fully become the avatar and be powerful enough to end the war. That is the overarching plot that is integral to the story. And yet he doesn’t bend a single drop of water the entire show until he’s forced to after being possessed by the vengeful ocean spirit (and when Kyoshi also possesses him, but again that wasn’t him, that was the avatar state). Because of the time skips that’ll have to happen between seasons, he’ll probably do most, if not all, of his water bending training off screen. Which is, say it with me, bad writing!

They kept hinting at the comet but never outright said what it would do or when it would arrive. Not giving any kind of timeline for the biggest conflict of the show is really worrisome for their future plans. I understand they have to allow a certain amount of time flexibility to account for the younger actors aging, especially Aang, which I completely understand and respect. That’s why time skips will happen. But to not give any kind of timeline shows really poor planning.

Also, please tell me if I’m misremembering or if I somehow missed it during my watch through, but I’m pretty sure Team Avatar still doesn’t even know about the comet, what it means, or when it’s coming. That’s a pretty big thing to overlook when it’s the catalyst for the Fire Nation’s power.

The fact that the show kicked off with the genocide of the Airbenders, who are all conveniently in the same spot, and Aang just happened to escape it because he essentially went for a walk to clear his head and got caught in a storm that came out of no where is way too coincidental for believable circumstances. It’s, louder for those in the back, bad writing!

They had four years to plan this all out, I don’t understand why it all seems so unfinished and thrown together with pieces from different jigsaw puzzles!

Comparisons to Source Material

In this section, I will be comparing the Netflix adaptation of ATLA to the original animated series. This will be about things that stuck out most to me as consistencies, changes, and valuable moments in each rendition of the story.

Consistencies

Writing-wise, obviously they got a lot of the big plot points down, and I’m not going to list them all. If you’ve watched both, you know what they are. Pretty much the essentials…sort of. The great divide even got a shoutout which I thought was funny.

I mentioned above how “Masks” was by far the best episode of the Netflix season, well it’s not a coincidence that it also has the most parallels and consistencies with the episodes it was based on (“Storm” and “Blue Spirit” which are also arguably the best episodes of Book One). I was going to be so mad if they took away the Blue Spirit part of Zuko’s character, but clearly it’s a fan favorite and for the most part I think they did it justice.

I loved that they kept in a lot of the hybrid animals, at least in dialogue if we didn’t actually get to see them. It would have been a really easy thing to just get rid of for simplicity sake. I hope we get to see some more CGI versions of these animals because the ostrich horse looked really good. Momo and Appa for the most part looked good, sometimes a little wonky but nothing crazy, I just wish they had more screen time. They don’t feel like characters yet, just a pet and a vehicle (essentially).

I was really pleasantly surprised to see Hei Bai, I was honestly expecting them to scrap him. He looked really cool too. I do wish we could have seen him turn back into a panda when Aang helped him, but overall I’m just glad we got him at all.

I didn’t love what they used him for, but Kho was visually amazing and everything I hoped for. Absolutely terrifying, will haunt my nightmares again.

June was also a pleasant surprise, I hadn’t looked too deep into the cast list and wasn’t sure if she’d be included. I did think it was a little weird she was flirting with Iroh vs the other way around (like what was the point of that? just take out the flirting entirely if you’re going to be weird about it) but overall she’s pretty much one to one the same and I still liked her a lot. Nala should have been a little more anteater/mole-like instead of wolfish but overall not bad at all.

We got the Cabbage Man. They teased him a little a first, but we got him.

My Favorite Moments from the Netflix Version that Change or Expand on the Original

I sang its praises above, but again Lu Ten’s funeral scene was just so beautiful and really built on Iroh’s fatherly affection for Zuko. I know it’s mostly a replacement for the leaves from the vine scene in “Tales of Ba Sing Se” because they’re never going to be able to fit in that episode. So it’s nice that they deemed it a moment worth capturing in a different way.

I’m not going to reiterate exactly what I said above so go see Zuko’s characterization again if you need to, but making the 41st division his crew members was a constructive choice that I liked a lot.

I don’t know why but just the idea of Gyatso sticking around in the spirit world to be able to speak to Aang one last time hit me so hard. I absolutely loved it as an addition to building their relationship. Aang always deserved a goodbye, and even though this wasn’t exactly that, it was what Aang needed to cope with his immense loss and the pressure he was under.

When Iroh was arrested by the guards of Omashu and being taken to the pit, he had a really intense but moving interaction with one of the earth bending soldiers. I think it was such a good way to portray war and perspectives from both sides. The soldier rightfully and angrily blamed Iroh for his brother who died at the siege of Ba Sing Se, which Iroh was responsible for. He accused Iroh of being evil, of having never gone through loss, which we as viewers know isn’t true, but he doesn’t say anything. Doesn’t defend himself. Doesn’t reveal his own loss to get even. He takes the abuse and the blame and just utters that enough people have been hurt. Great performances all around, really solid writing. I wish more of the show had followed this example.

That lady hitting Zuko with a brush to stop him from attacking Aang, a child, in Omashu’s marketplace. That was one of the funniest scenes in the whole show. Bring her back!

“Everything I need is on this boat.” - ‘nuff said.

Major Character Differences (I’ll try to keep this concise)

Aang

He lost the majority of his lightheartedness which made him so lovable in the first place. He does a lot of monologues and speeches to intense music now. He’s still 12 guys, let him swim with giant elephant koi and dress up as Pippinpaddleopsicopolis the Third to get into Omashu!

I really don’t like that they changed him actively running from his title and responsibilities to just going for a jaunt with Appa to clear his head. That removes so much depth, guilt, and fear that he should have. In the original, it was his choice to run away with the intention of hiding and never coming back, in the Netflix version, it was an accident he never came home. That’s a massive character change.

People called him a coward, but he literally isn’t when it was a very coincidental accident that forced him into the ice in the first place rather than his choice to actively run from his destiny. He’s yelled at and screamed at and insulted constantly, even by people who are meant to help him, when he didn’t even do what they’re accusing him of. He didn’t deliberately run away, he accidentally got caught in a storm. And he just takes all of that guilt and blame and anger from everyone when he genuinely did nothing wrong.

Getting rid of his crush on Katara is a problem, but I’ll get into that more later.

I don’t care why they think they did it, but making Aang agree with Pakku in any respect about not letting Katara train or fight was so extremely disrespectful to both characters.

His reaction to losing his people was way underdeveloped, they gave him no time to grieve. And the fact that Katara doesn’t help him out of his initial Avatar State spiral is so damaging to the friendship they’re supposed to have. Their friendship always came first, let them interact and build that relationship!

Sokka

His small sexism arc that everyone is up in arms about. Do I think it should have been included? Yes. Is it the end all be all of his character? No, like I mentioned above, he got the most character moments in the show. But it was really important in its own way. I saw someone say, “Sokka may not be misogynistic, but Netflix’s ATLA adaptation certainly is.” And they’re right.

What I really didn’t like was what they did with his relationship with his father and ice dodging. Sokka had a great relationship with Hakoda built on trust, mutual admiration, similar tactical mindsets, and strength of character. He passed his ice dodging test with Bato with flying colors. There’s no reason to completely flip those dynamics, there’s already enough other conflicts to explore without giving Sokka daddy issues he didn’t have in the first place. Whoever made that choice was projecting hard.

Hakoda eventually trusts Sokka to lead the invasion in Book 3, but none of that exists here and it doesn’t feel like there’s a path yet to lead to that. (I have a lot to say about the invasion later)

They have Sokka take over a very paternal role with Katara instead of her being maternal, and he is constantly very overbearing, patronizing, and talking down to her as if she has no (or does not deserve a) mind or agency of her own. They (as in the writers) are acting like the age difference between them is 10 years instead of 1-2 years.

Also taking out the very important moment when Sokka was the one who saved an entire Fire Nation village from Jet was just wrong. Not only was it an important stepping stone towards leadership and diplomacy for Sokka, but it also showed that even on the “bad side” of the war, there are innocent people who deserve protecting.

Sokka wasn’t nearly as funny as he should have been.

Katara

Everything about her was wrong, scrap it and try again.

She had none of the passion she should have had. Katara gets mad, she yells and insults and waves her arms around to make her point. She gets jealous and petty. But she’s also so unbelievably kind and caring, she’s the only reason any of them take proper care of themselves. She’s lighthearted and fun when she can be, she plays and laughs and cares so incredibly deeply.

Katara inspires people in a way none of the other characters can, although Aang does learn a lot from her in that regard. She’s incredibly hardworking, loyal, and dedicated to those she loves. And yes, she feels immense pain and sadness for her mother, but that’s not all she is.

LA Katara felt like a hollow shell 90% of the time used for exposition, 5% mom trauma, and 5% sort of emotional. The writing just didn’t lend itself to complexity, flaws, or character depth.

She’s one of the first well written and well rounded female characters a lot of us encountered as kids and they stripped her of everything that made her who she is. Someone for young girls to look up to. It’s shameful.

For some reason they made her explicitly and directly responsible for her mother’s death, which is a very strange and damaging change to make that I don’t think they totally understand the difference of from the original.

They took away all of her maternal behavior, which just tells us what they think of maternal behavior, that it’s a weak trait for a leading character and not worth exploring in a person that had to take that role in her family and village as a whole at such a young age. It’s like the writers thought that Katara being motherly was problematic and sexist, which is a mindset that is itself problematic and sexist.

They’ve essentially turned bending into a magic that relies solely on emotional and mental stability instead of a martial arts form requiring discipline and training. I don’t even think the writers realize they’ve done this, which in and of itself is a massive issue.

Although I will say the water whip on the flaming arrow was a good use of water bending, it just didn’t feel earned to me.

For as much as they focused on her mom, they never once brought up Katara’s necklace?? They took out Pokku’s connection to Gran Gran and never mentioned anything about betrothal necklaces. There’s just so many changes they made, large and small, that feel pointless or contradictory to the source material for no reason.

Zuko

Frankly, so early into Zuko’s character arc, there isn’t a lot of difference here. Most of his development starts in Book 2. I do like the animated version a lot better, though. I am biased, but I also think that even though they hit on almost all the same points, the original just handled it with far more nuance, care, and time. With the Netflix version being so rushed, any payoffs we had just didn’t feel totally earned.

I do think it was a big shame that they had Iroh kill Zhao instead of allowing Zuko’s attempt to save him from the ocean spirit. It’s a pretty important character moment that shows how Zuko wants to help people, save people, if he can regardless of how they’ve treated him. They can make this point again if they do “Zuko Alone”, but I’m honestly really scared they’ll cut it.

Having Zuko fight back during the Agni Kai against his father in the flash back was way out of character and takes away from the severity of the punishment and the trauma of the abuse. He was a 13 year old child terrified of not just disappointing his father, but of suffering harm from the one person he should trust most. And Ozai convinces him he deserves it, so there’s no world where he would have fought back in that scene. And it changes the meaning from a father violently burning a child that has surrendered and begs for forgiveness to a soldier winning a one-on-one battle against another soldier and branding his victory, no matter how dishonorable it is.

Also, at this point, Zuko is an amateur fire bender with barely any experience or progress in his training. Him getting the high ground over Ozai for even a second is ridiculous and diminishes Ozai’s skill level. It could be argued Ozai did it on purpose to give Zuko an opportunity to prove himself as ruthless as Ozai wants him to be, but that completely goes against the precedent set by Ozai that he hates being questioned or otherwise made to look weak in front of anyone. I think I understand what they were going for, but honestly it came off as an opportunity to show off the actor’s fighting skills rather than holding the weight it should for the story.

I DO like that Zuko has a war journal (*diary*) about the avatar, history, and essentially a map of his journey. I DON’T like that Team Avatar uses it as an expository tool and excuse to not properly explore the world and learn things for themselves or through other people.

I don’t think Zuko said the word “honor” once, but please correct me if I’m wrong.

Iroh

Similar to Zuko, they hit a lot of the same surface level points with a few misses here and there.

They didn’t show us Iroh’s connection to the spirit world, they just told us right before the battle at the North Pole and we’re supposed to believe it, which we do because we’ve seen the original, but that was kind of lame. (Not including Roku’s dragon was also lame, but I digress).

They expanded on his past in a few different ways which I did like a lot and mentioned above.

The Netflix version comes off more preachy and gimmicky to me than wise, which is disappointing. I think the actor could have done amazingly with the right script.

They didn’t show him redirecting lightning, which is arguably one of the most valuable skills in the entire show and extremely important for the finale for both Aang and Zuko.

And just like Sokka, he was not nearly funny enough.

Bumi

His characterization was all backwards and wrong and I hated it.

Visually, his makeup and design was pretty good, but that’s the extent of any positives with the Netflix version.

Bumi would absolutely never ever ever have made a joke about the genocide that took Aang’s entire people. That was disgusting and disrespectful to Bumi and Aang.

He was never mad at Aang for disappearing, he was actually extremely understanding and only hoping to teach Aang further about his duties as the avatar. He quite literally welcomed him back with open arms.

The way he treated others, especially his servants, was appalling and borderline cruel.

He never stepped down from protecting his people or became complacent in a way that put them in danger, Omashu was thriving beautifully under his care. When he surrendered to the Fire Nation in Book 2, it was the best way to protect his people without bloodshed and he knew he’d eventually get their home back. He was literally waiting for the Solar Eclipse to do it (which I’ll touch more on later).

This also means that by having Bumi actively fight and lose, instead of surrendering with neutral jing, he won’t be able to realistically give Aang the advice that is supposed to lead him to Toph. Wait and Listen.

I did appreciate the lesson he was trying to convey to Aang about the difficult choices that wartime forces on us, especially leadership (like who gets what food or medicine), but they did it all wrong.

Shame on the writers for what they did to Bumi’s character, I could write an entire essay on everything they screwed up just with Bumi.

Suki

They made her into a lovesick day dreamer instead of the strong warrior and leader she was meant to be. She’s going to go off to war, don’t diminish her strength. Her being a fighter should be the forefront of her character, not a lonely girl pining for a boy and dreaming about the big world.

Her and Sokka’s relationship should have been built up over time, their kiss was so misplaced. When not much time passes before Sokka falls for Yue, it makes him seem like a player.

And that moment Suki’s staring at him shirtless is cringy and yucky, they’re teenagers. Don’t do that.

We’ll see how she is when she shows up again…I actually liked the actress quite a bit, but her writing wasn’t good. That seems to be a theme here though.

I do wish her hair was still auburn instead of black, that’s personal preference though.

Gyatso

They did him so dirty with his death, it was anticlimactic with none of the power or savagery that was implied in the original. His skeleton was literally surrounded by dead Fire Nation soldiers, I wanted to see that dangerous potential on screen and am very disappointed not to get it given how explicitly they wanted to show the genocide of the airbenders.

Jet

Jet’s vendetta is specifically against the Fire Nation. On some level I do believe he would resort to violence against a traitor giving the Fire Nation information, but I don’t think he ever would have put Tao or other innocent (non-Fire Nation) bystanders at such great risk. Maybe that’s splitting hairs though since in the original he was prepared to drown an entire village, of Fire Nation people specifically, as a whole he felt pretty consistent.

I just don’t like Netflix smashing so many plots and characters together, they deserve room to breathe in their own stories.

I hate that he was the catalyst for Katara’s bending training though, instead of her own hard work and practice or training with actual masters. Jet knows nothing about bending or how it works. It’s another instance of stripping Katara of her skill and work ethic.

Yue

As a personal preference, I hate that they made Yue a water bender. She has part of the spirit of the moon in her, so logically I understand where they’re coming from giving her those abilities. But she’s not a water bender! The spirit was working to keep her alive, not to give her powers she shouldn’t have had in the first place.

She’s a princess dedicated to her people and wanting to learn how to lead but also buckling under the pressure of expectations, particularly around her arranged marriage. I saw none of that in the Netflix adaptation, except that she likes to make desserts when she’s stressed, so there’s that I guess. It’s just still missing the depth, but again they don’t have time to really explore these topics.

They make a point with Pokku about the role of women in the Northern Water Tribe and yet somehow Yue is allowed to just call off her arranged marriage. That’s a pretty distinct cultural contradiction. It just shows me the writers don’t know how to portray misogyny as a narrative tool or how to do consistent world building.

Her wig looked awful.

They should have used what happened to Momo (which ouch, that wasn’t necessary) as an opportunity for Katara to prove that she knows how to heal, because she hasn’t done it yet and she’s supposed to bring Aang back from the dead in Book 2.

Azula

I appreciated her introduction scene where she exposes a coup against her father while undercover. It was a little cheesy with her reveal, but it does establish her character decently well early on. And the cover she chose, dead brother and mother, is really interesting narratively.

The writers for Netflix went off about how they didn’t want to portray sexism, through Sokka specifically, but then they stripped the main female leads of most of their agency (Katara, Suki, and Azula all fit this category, I’m worried what they’ll do to Toph).

Azula has almost none of the arrogance that she should have, certainly none of the calm calculated intensity that made her so fearsome and intimidating. Azula should be scary, and she’s definitely not here. She just came off as such a brat with a twitchy face and prone to tantrums.

Her fire isn’t blue, that bothers me a lot. Blue fire is hotter than red fire, it’s supposed to be an indication of not only her fire bending strength but also her temperament. Plus it’s supposed to help us differentiate between their powers when she’s fighting Zuko.

Lightning bending requires so much skill, precision, power, and focus. I don’t believe for a second Netflix’s Azula should actually be able to do it. She was only able to do it because she was mad, and that’s not how it’s supposed to work.

She definitely didn’t earn being able to overpower Bumi and takeover Omashu. Although granted it feels like they nerfed a lot of Bumi’s power, he certainly doesn’t feel like one of the most powerful earth benders in the world.

Ozai had originally sent her out to collect Zuko and Iroh, not to lead an army in a battle against one of the greatest (or what should be one of the greatest) strongholds in the Earth Kingdom. It’s unrealistic and silly. And it’s not like Bumi gave up like he did in the original, he literally said “We’ll be ready to fight” when he revealed that the Fire Nation was headed their way.

Ozai treating her like a nuisance is also way out of character. He’s supposed to feed into her ego and inflating all of her more dangerous traits because he sees them as powerful and necessary for the future leader he expects Azula to be. Zuko should be the disappointing son with no faith or support from Ozai, and Azula the gifted prodigy given every opportunity and surpassing Zuko in Ozai’s eyes. As Zuko said, “He used to say Azula was born lucky, I was lucky to be born.” Somehow that dynamic has almost completely switched and Azula suffered the most from it.

She’s very miscast, the actress was awful. I’m sorry, but not sorry enough not to say it.

Ozai

Ozai should despise Zuko, he’s far more terrifying that way. It’s way more compelling watching a son that’s been so manipulated by his traumas try to win the affections of his father that don’t even exist than the same daddy issues we see in almost every movie or show where the son is trying to live up to his father’s expectations unhappily. Ozai should have no expectations for Zuko, that’s the difference. He sent Zuko on a mission he wouldn’t come back from on purpose, to get rid of him.

That’s terrifying, how disconnected he can be from his son. Trying to make Ozai more human or sympathetic by making him care for Zuko takes away from the monster he’s supposed to be as a villain. They’re not making him more complex, they’re making him more generic.

I just kind of generally don’t like that they’ve revealed so much about him and Azula in Book 1 because part of the well written structure of avatar is that the “villains” escalate from season to season, going from Zuko to Azula to Ozai as the main antagonists. I’d rather they had kept that structure and given more time to better plot and character development.

Plus revealing him so early took away a lot of his intimidation factor for me. Mystery and intrigue is good you guys! You don’t always have to lay all your cards on the table right away.

And at the end when Ozai more or less says that the attack on the Northern Water Tribe was a distraction to take Omashu makes zero sense to me. Not only is it an arbitrary copy of what Sozin said in the beginning about attacking the Earth Kingdom as a distraction for killing all of the air benders (which is also stupid), but thematically and structurally it doesn’t make any sense. The timeline doesn’t add up at all, not that they gave us any indications of timeline. And at this point in the war, the different nations, tribes, and kingdoms are so segregated that the Water Tribe probably wouldn’t have gone to help Omashu in the first place, certainly not in time.

Also I refuse to ignore the blatant contradiction they put in Zuko’s scar story. Zuko is punished extremely severely for INDIRECTLY insulting Ozai, when he’d literally been asked what he thought of the war plans, but when Iroh DIRECTLY questioned Ozai in front of the entire court and spectators (interrupting the Agni Kai, a sacred type of battle in the Fire Nation), there’s no punishment at all. I really don’t understand what the writers are doing with the amount of contradictions.

Roku

Botched, I hated what they did to Roku.

Trying to make him funny? That, right away, ruined his character entirely. I won’t ever be able to take him seriously. He would never make jokes when Aang is desperately looking for guidance and understanding. He’s not a funny silly character, it’s like the writers forgot to add in some levity and chose literally the worst character to force humor onto.

Roku is one of the coolest and wisest characters in the series with some of the most badass scenes and they took away all of them. The future of his portrayal does not look bright.

Kyoshi

Now, I love Kyoshi as much as the next person, but she got way too much screen time.

Not only did they give Roku’s badass possession moment in the Fire Nation Temple to her for absolutely no reason on Kyoshi Island, but they made her the leading influence of Aang’s spiritual journey (he’s constantly trying to reconcile with the advice she gave him) which makes zero sense.

The hundred year war is the consequence of Roku’s legacy and mistakes, it has literally nothing to do with Kyoshi. Roku should be the one mentoring Aang spiritually and guiding him through the remnants of his choices as the Avatar.

Giving her weird future vision for the attack on the North Pole was really weird and made no sense to me, and completely shifted Aang’s motivations from learning water bending (which he never does even once) to warning the Northern Water Tribe, which they end up not even needing him to do because they’re already prepared to fight. Just a convoluted mess narratively.

She isn’t supposed to be that agro of a character, she’s pragmatic and diplomatic. They based her off the memes far more than her source material and it shows.

Making Kyoshi so much more prominent feels like such an insincere thing to do for the sake of “girl boss strong female characters hoorah” that ultimately hurts the writing.

Kuruk

I don’t really know why they decided to give Kuruk so much screen time when it should have been given to Roku or any other character for some development, but I would say it was a decent portrayal. Just an unnecessary one.

They actually used book material for him, which is surprising given the changes they made, but it was specifically for the “spirit killing knife” which was stupid and no one can convince me otherwise.

Having spiritual conversations with so many of the past Avatar’s this early on feels like they’re going to be removing, or at least drastically changing, the Lion Turtle scene in the finale which has me very concerned.

Egregious and Potentially Detrimental Changes from the Original

Removing Jeong Jeong and Aang’s First Experience with Fire Bending

Aang’s terror of fire after hurting Katara when he got too confident is vital for his development. It’s the main reason he eventually accepts Zuko as his fire bending teacher because they both struggle with having hurt people and wanting to fix their mistakes.

This was also supposed to be Katara’s first use of healing, which again I think is something really important for us to actually see she can do. Because all they’ve said is she’s “a natural” just like everything else and that’s such bad storytelling.

Jeong Jeong is a member of the White Lotus and a really important factor in Iroh’s endeavor to take back Ba Sing Se in the finale. Could they do it without him? I guess, but it’s really disrespectful to me to just not include him.

Taking him out will affect plots all the way in season 3.

Not only that, but Jeong Jeong is a valuable example of someone born on the wrong side of the war wanting to make a difference and change his ways. It’s realistic nuance for war!

What Seeing Wan Shi Tong in the Spirit World Means to Me, the Implications for the Library, and Consequences

Wan Shi Tong, similar to Tui and La (the moon and ocean spirits), came to the physical world with the express purpose of bettering humanity. He made the personal sacrifice of staying away from the spirit world so that the human race would have access to his vast and wonderful knowledge. He couldn’t go back and forth between the physical world and the spirit world because he had to be there to keep the Library standing in the physical world in the first place, it can’t stay there without him. The fact that he’s in the spirit world, to me, means that the library may not be in the physical world at all.

Other indications that his library isn’t in the physical world are that Zhao didn’t get his knowledge of Tui and La from the library, he got it from ancient Fire Nation scrolls and records instead (which doesn’t make a lot of sense), and the sun dial that Sokka would have used to discover the solar eclipse and begin the plan for the invasion is now located in the Fire Nation instead. How is Sokka going to learn about the Day of Black Sun now for the invasion? (There’s a lot of setup for the invasion that they’ve screwed up and I’ll talk about it more in a couple other sections).

So assuming we’re no longer going to have the library, there’s a lot of follow-up implications and consequences. This means that we won’t have Appa’s kidnapping which causes a few problems.

One, Appa’s kidnapping directly leads to Jet’s death, the only major on screen death (or injury that leads to death) in the entire show. I guess you could also count Combustion Man, but Jet’s was infinitely more emotional and important to the story.

Two, Appa’s kidnapping and subsequent rescue is vital for proving to the Earth King that Long Feng is a traitor and the Dai Lee has been compromised. This leads to the Earth King trusting Team Avatar’s word implicitly about the Kyoshi Warriors which allows Azula to infiltrate, learn about the invasion plans, capture Katara, and ultimately “kill” Aang at the end of Book 2. Can the writers work around this? Probably. Do I trust them to? No.

Three, protecting Appa is how the Kyoshi Warriors get overpowered by Azula in the first place and Azula is able to infiltrate the Earth Kingdom in disguise. It’s how Suki is captured and ends up at The Boiling Rock prison.

Four, Zuko being the one to let Appa go is a massive character moment as he struggles to let go of the burdens that Ozai pushed onto him to capture the avatar at all cost to others and himself. It leads to his “metamorphosis” as Iroh calls it, leads to him giving up the Blue Spirit identity, and is what makes his later betrayal so painful. Plus, Appa likes him now which is a stepping stone later for Aang to trust him when Zuko wants to switch sides.

And five, Appa’s brief stop with the guru as he’s trying to get back to Aang leads to how Aang gets any instruction on controlling the avatar state. Which also leads to his “death” at the end of Book 2 when he tries to reopen his chakras like he was taught during the fight with Azula. Again, do I think there’s a workaround here? Yeah, but I don’t think they’ll do it well.

Where’s Haru and What it Means for the Future

Removing the “Imprisoned” storyline takes away Katara’s first and one of her most important moments of being an inspirational leader, learning how to speak up for others, and how to make connections with people outside her culture. But they’ve already stripped Katara of so much of her depth, I’m not surprised they took it out.

The more important issue is that Haru, his father, and their people (all Earth Benders) that she helped rescue were very prominent foot soldiers for the invasion in Book 3. Where are they going to get alliances to build an army against the Fire Nation now? My bet is either they won’t, which is concerning for many reasons, or it’ll happen between seasons off screen which is a massive writing problem! Vital events and plot points happening off screen shows extremely poor planning.

Indications of Removing the Swamp and More Poor Planning for the Invasion (are they cutting it out?)

I’ve pretty much convinced myself that the writers are cutting the invasion out of the plot. I’ve listed many reasons above why I think that’s the direction they’re going, but the last straw was when Sokka and Katara were in the spirit world.

I’m almost 100% sure they’re getting rid of “the Swamp”.

When Sokka and Katara are in the spirit world, they are confronted by their worst memories and most difficult emotional obstacles the same way they had been in the original when they were in the swamp. It wouldn’t make any sense to do that again, so they’re probably getting rid of the swamp entirely.

Which means Team Avatar will never encounter the Swamp Water Benders, which then means they lose even more foot soldiers and allies for the invasion. That’s two major allies that just won’t be involved. Between the potential changes to the Library, the lack of allies, and the fact that Hakoda has no trust in Sokka as a warrior, I don’t see how they’re going to realistically be able to do the invasion. If they do, I’ll be shocked and skeptical of how they manage it.

And as another personal pet peeve, taking out the swamp also removes another facet of water bending, being able to control plants by the water in them (which additionally leads into blood bending).

Other Changes That Really Bothered Me

Exposing the Genocide of Aang’s People and the Comet in Episode One

While I did appreciate (to a degree) getting to see the attack on the air benders and how the fall of the Air Nomads happened, I really don’t like that it’s the first thing we see. Like I mentioned earlier, it’s okay and often more beneficial not to reveal everything right away! I much preferred getting bits and pieces as we went along to put together the whole puzzle and have the time to process each new facet of the war. Giving it to us all at once and as the first thing we see takes away so much intricate story telling.

I really didn’t like that all of the air nomads were in the same place for the attack, that’s so unrealistic that they had to create an arbitrary festival to make it happen.

Originally, the Fire Nation attacks all four Air Temples with the power of the comet to back them up for the initial attack. It shouldn’t take one night where they’re all conveniently in the same place (except Aang) and kill them all, it should take one night to deal them such a severe blow that finishing them off over the next few years is easy. Because of course some would get away and were hunted down, that’s how war realistically works.

Removing Aang’s Crush on Katara and What it Means

Oooooh this bothers me for so many reasons, but I’ll try not to be too crazy about it.

I don’t know why they got rid of it completely, unless they’re just waiting until Aang and the actor are a little older for it to be more appropriate. But with what they did with the “Cave of Two Lovers”, I think they’re scrapping the love between Aang and Katara entirely.

Which they haven’t done anything to help them bond at all as friends in the first place except like two moments of bending instructions from Aang and a lot of dialogue about how they’re family. Aang and Sokka have had way more bonding moments together, I can believe they’re friends at least.

One of the biggest issues will be, if they somehow manage to trick Netflix into letting them adapt Korra as well, Aang and Katara’s kids and grandkids are fundamental to the plot there. But that’s getting way ahead of ourselves, let’s just focus on ATLA.

Aang’s feelings for Katara are very important, particularly for being the sole reason he stops trying to master the avatar state, only to attempt it again later to protect her, and then he ends up “dead” for it. He admits to loving her out right in those episodes.

The thing about Avatar is almost every detail is valuable in some way and dominos into a larger plot point. Their love for each other isn’t a major focal point of the show but it does matter, I just really hope they’re not planning on changing love interests.

Moving Anything from Other Seasons into Season One

I’m not going to spend a lot of time on this, but bringing anything from other seasons into season one when you already have such limited time is really irritating because that time would have been better spent on actual character development or including more vital points from season one.

Changing Lore

Aang accidentally bringing both Sokka and Katara into the spirit world with him just because they were in close proximity is ridiculous. He shouldn’t be able to do that. It makes much more sense that they’d be stolen by Hei Bai than piggybacking off Aang when neither of them are spiritually inclined.

Making Avatar shrines the only way for Aang to access his previous avatar is so limiting and irritating, he gets better at it as he becomes more spiritually connected to the avatar state (like in the ocean during the first episode of Book 3 when Aang contacts Roku, or on the Lion Turtle when Aang contacts four past Avatars). Also they completely contradict this rule letter in the season when Aang sees Avatar Kuruk for a few seconds just outside in the Northern Water Tribe. Like they specifically said it, and then completely contradicts themselves, that’s a pretty big consistency error when it’s a change they made.

They removed any significances of the solstices. Once again, giving us no timeline or indication of time passing in the world.

The reason Roku is able to control Aang’s body and powers as much as he can in the Fire Nation Temple is because of the winter solstice when the veil between spirit and physical world is thinnest. But now any Avatar can do it as long as Aang connects with them at their shrine. Kyoshi should not have been to do that to him and it replaced Roku’s very profound moment at the temple.

I don’t like that they said Tui and La are only in physical form one night a year (I think that’s what Zhao said, or something about an ice moon, whatever), and then that night just happened to be near. I can’t think of a single reason why they would make that change. There’s just too many convenient coincidences happening in this version of the story. Tui and La specifically gave up their spiritual forms for vulnerable physical forms for a reason, learn the lore!

The special spirit killing knife was stupid. I don’t know if it’s in the novels and I missed it or if the writers (more likely) came up with it, but it’s seems like really convenient and silly lore that actively contradicts a lot of what was originally set up about the spirits. And added a lot of unnecessary exposition that didn’t even tell us how Zhao got it.

In another similar vein, the MacGuffin of the statue of the many faces goddess spirit that Aang took from Roku’s artifacts to save Katara and Sokka from Kho was just so weird to me. He just eats people now? What happened to him stealing faces if you show an emotion? That was what made him so terrifying, and it was just another moment they stole from Aang and showcasing his potential. It wasn’t his negotiation skills or his self control that saved his friends, but a very convenient object just sitting on a shelf waiting for him.

None of their lore changes made sense or had a purpose to me other than to arbitrarily be different from the source material.

Mature ≠ Graphic

The writers said repeatedly in interviews and articles that they wanted this live action adaptation to essentially be a more mature version. They even likened their vision to be something similar enough to appeal to Game of Thrones fans, which to me was a massive red flag going into the show. Please, do not mix up maturity and graphic violence.

The only thing more “mature” about the live action is that we actually see people being burned alive and killed throughout the season. The original has far more mature writing because of how delicately and intricately it handles very serious concepts. The Netflix writers either do not trust audiences to pick up on subtle and complex ideas, do not trust the actors to portray subtle and complex ideas, or they do not know how to write subtle and complex ideas. Or some combination of the three. Everything is exposition, which I’ve said so many times before, but I will keep saying it until they learn not shove plot right in our faces with no nuance.

The writers simply think they’ve created something more mature because it’s sometimes violent and not a cartoon, which isn’t how that works.

It’s not mature, it’s graphic. Know the difference and you’ll be a better writer for it!

Humor

Yes the humor in the original leans a little more childish, but you don’t solve that by stripping the humor entirely in the adaptation! Almost any attempt at humor, to me, felt like an after thought and was mostly misplaced in a scene (like with Roku, I’ll never get over that). Just overall lost a lot of the whimsy. I understand that animation lends itself to way more expressive, cartoonish, and childish humor, but there’s plenty of funny live-action films and shows. Why did it have to take such a back seat? Again, that’s not a sign of maturity, it’s a sign of a very surface level understanding of how writing works and of what the original ATLA had to offer.

What Was The Point and What Could They Have Done Instead (imo)?

Being brutally honest here, I really don’t think there was any point to making this live action adaptation, especially with the limitations they put on themselves. I think it was, overall, a waste of money and resources. In theory, it was really exciting to have the opportunity to see the world come to life. And in a lot of ways I think they accomplished that between the location designs, costumes, respectful and accurate casting, and environments. I just think that was their main focus, making it look right, that the writing took an unfortunate back seat that made the whole show suffer.

There are two directions I think they could have taken instead.

One, I think they should have planned for six seasons. Every book of the original has a roughly mid season event that could act as really solid season finales. They would be able to stretch out the story and not compress or rush their writing so much. It would be structured more like this:

Season 1 Finale - The Winter Solstice and Discovery of Sozin’s Comet

Season 2 Finale - The Siege of the North

Season 3 Finale - Getting to Ba Sing Se and The Drill

Season 4 Finale - Aang’s “Death”

Season 5 Finale - The Day of Black Sun Invasion

Season 6 Finale - Sozin’s Comet and Confronting the Fire Lord

I understand that doing this doubles the length, and subsequently the cost of the show, which is a big ask. But I also think if they don’t have the resources to do it right in the first place, then they shouldn’t have done it at all. Is it better than the 2010 version we got from Shyamalan? Of course, but please allow yourself to have higher standards than literally scraping by the bottom of the barrel of quality.

I don’t expect anyone to have as in depth opinions or critiques as me, and I don’t begrudge anyone for enjoying the show or even liking some of the changes! But I will say that we all, no matter how critical a viewer you are, deserve better than mediocre quality.

The second direction I think they could have taken, and I really think they should have, is to write something completely original within the world setting of Avatar. There are quite literally dozens of avatars that existed before Aang that have no story yet! They had an opportunity to write some original that actually fits into the 8 episode limit they had while also further expanding on the history and world we all love so much.

I just think the audience, that mostly consists of fans of the original, would have been far more accepting and open to an original story rather than a middling attempt at retelling a story that’s already so beloved.

If you made it this far, I am extremely impressed and also worried for your health! This was mostly me needing to get all of these thoughts and critiques out of my head without ranting to friends and family that have no idea what I’m talking about and would get annoyed.

Anyway, that is my very extensive review that nobody asked for! If you need clarification or further analysis on anything I said, or if there’s something I missed that’s a critique for you on the live action, or if there’s anything you disagree with that I’ve said, please let me know in the comments below! But be nice, I will block anyone being mean about people opinions or thoughts. This is an open friendly space, I won’t tolerate bullying.

Thank you for probably far too much of your time!

[beardedmrbean]

Hunter Biden is trying to push a "conspiracy theory" about a gun ownership form in which he denied ever being a drug addict, a judge has ruled.

Delaware federal judge Maryellen Noreika made the determination on Sunday, just a day before the president's son is due to go on trial for illegal possession of a firearm.

The president's son will stand trial on federal charges of illegally possessing a firearm after allegedly lying about his status as a drug user when purchasing a pistol in 2018. He will become the first child of a sitting U.S. president to be criminally tried when jury selection begins on Monday.

Court filings submitted by Hunter Biden's legal team indicate that the defense intends to question the quality of the prosecution's evidence and argue that the president's son was not using illegal drugs at the time of his gun purchase, while also questioning the language used on the federal form.

While buying a gun, Biden allegedly declared that he was not a drug addict, something prosecutors say is a felony, given Biden's extensive drug history.

Biden had filed a motion to seek an almost identical gun purchase form to be admitted into evidence into the trial, while claiming that law enforcement was trying to doctor forms to incriminate him.

In Sunday's ruling, Noreika also strongly rejected Biden's claim that the gun shop owner's past Republican beliefs should be known to the jury.

"​​The Court agrees with the government that the political views expressed in 2020 by the gun shop owner, Palimere...are sideshows aimed at tainting or confusing the jury," she wrote.

She also noted that Palimere did not witness Biden filling out the gun ownership application.

Noreika also wrote that Biden was trying to create confusion about the gun ownership form he filled out.

"The government has stated that it intends to call Gordon Cleveland, a gun shop employee, who will testify that he watched Defendant fill out Section A of the Certified Form and that Defendant checked 'no' to question 11e about being an unlawful user or addict," she noted.

The only difference between that and another, very similar form that Biden wants to admit in evidence, is that the second form notes that Biden's car is registered in Delaware.

"The Court also agrees with the government that Defendant's conspiratorial theory about 'doctored' forms and currying favor with the government is unsupported rhetoric, which would be prejudicial and confusing to the jury," she wrote.

"Such questioning, testimony, evidence or argument is not relevant, is unduly prejudicial and invites nullification."

Nullification occurs where a jury acquits an accused person because they feel sympathy or empathy with them even where prosecutors have produced sufficient evidence to convict someone.

[trailofstardust]

Debunking the claims about Nur Masalha

@autistic-ben-tennyson

@jewishvitya

Hi, I saw a post made by a zionist which states:

"Nur Masalha is a poor quality source, and not worth invoking on the issue of "what was the spectrum of early Zionist thought, how did they envision living with Arabs?"

As evidence they linked two sources which I want to take a crack at debunking. The OP made some claims about Nur Masalha, including that he "relies on many unsupported or blatantly false assertions all aimed to whitewash Jewish history and deny an indigenous Jewish identity" including:

Jews learned monotheism from the Koran

Ashkenazim are all European converts (Khazar theory)

Herod was not Jewish and he ruled from Aelia Capitolina a century before the Romans named it such, with "Jerusalem" never having been a significant part of Jewish culture anyway (no, really)

"Palestine" was the indigenous name of the land, according to entirely imperialist sources: Greeks, Assyrians, Romans, etc.

The Arab conquest of the land was "glorious," "spectacular," etc.

Chaim Weizmann called Arabs the n-word"

Right now I havent read through any of his books to check for the veracity of these claims, but I can explain why the articles the OP linked aren't reliable sources.

The first one is "The Distortion of Palestine" by Tel Aviv of Books. The author claims that Palestinians "clearly have their origin in 7th century Arabia" which is completely bull. Oh boy, where to begin?

The idea that "jewish people have been in Palestine before muslims and arabs" is prevalent among zionists who want to deny the Palestinian connection to the land and their claim to indigeneity, but its far from accurate.

The argument is simple to follow: Palestinians today are mostly Arabs. The Arabs came to the Levant with the Muslim conquest of the region. Therefore, Arabs -and as an extension Palestinians- have only been in Palestine and the Levant since the seventh century AD.

However, researchers have known that Palestinians share a significant amount of their DNA from ancient Canaanite populations that lived in the region which is now Palestine:

"A 2021 study by the New York Genome Center found that the predominant component of the DNA of modern Palestinians matches that of Bronze Age Palestinian Canaanites who lived around 2500–1700 BCE."

Nathaniel Pearson: The splendid tapestry: How DNA reveals truths, ancient & lasting | TED Talk

Before the islamic conquests the population in Palestine was mostly Christian, having converted from Judaism, and afterwards the people slowly converted to islam, and it took a couple of centuries before the majority became muslim.

Also, dismissing Palestinians as "just arabs" has additional problematic implications: this is not just denying the existence of Palestinians as a distinct people, but the logical conclusion of this stance is that the entirety of the arab population across MENA are one homogenous, interchangeable mass who aren't really native to their homelands, which is probably the most ignorant and bigoted garbage I can't believe "liberals" really believe in.

The author also has this to say about Mexicans:

"But this is like writing that the Mexicans are the indigenous people of Mexico" using the author's logic, the entire Spanish-speaking populations across latin america are really from Spain and have no ties to indigenous culture, which is far from true. I'm not particularly knowledgeable about how indigeneity works in Mexico, but that hardly seems accurate.

A lot of the statements are made in bad faith and contradict themselves.

It is laying on a bunch of unspoken premises and beliefs that are of course natural and unquestionable from the Zionist perspective- such as the idea that Jews and only Jews are allowed to claim nativeness to the region

Rather than the point that the Kingdom of Judea (and the Kingdom of Israel) were just some of many different groups living in that part of the world and the issue isn’t whether or not Jews have historic origins in the region (they do) but rather that those origins gives them the right to carve out a Jewish ethnostate in the region involving the exclusion of a non-Jewish presence.

Basically what I’m saying is, is that the article is sitting on the false premise (being argued in what I consider to be bad faith) that only one specific group gets to claim “indigenousness” and that the proof of Palestinian existence doesn’t matter because the writer feels there is more proof that Hebrews were there “first.” Frankly, my reading of the historical record pretty comfortably suggests to me that there were multiple groups there because that’s simply how history of time and place works.

This is what I have to say right now, I might write about the second article later, but so far this is what I have.

[system-of-a-feather]

Honestly, a thing I've kind of started to realize within both our proper involvement within trauma / mental health care spaces and within our own healing, a large issue (not bad or derogatory, but rather a "flaw" and an obstacle that gets in the way from the most effective condition) is that a lot of DID / OSDD / CDD spaces are heavily built with a large atmosphere and focus on trauma, trauma labels, terms, the nuances of what is and isn't possible, and just largely a lot of the talk and engagement is about sharing one another's trauma stories and explaining How The Trauma Happens and the details of how Trauma Has Affected / Impact / Forever Changed You and that is COMPLETELY expected and understandable

Trauma is an incredibly harmful, incredibly hurtful, incredibly impactful thing to go through and it can very very easily make you feel EXTREMELY stuck in the place you are. It's not something that can easily swallow your existence - especially if you have DID and even more so if you are specifically a part that got the misfortune of having the role of holding trauma or being explicitly stuck in flashbacks. There is nothing *wrong* with the community being like that, it's completely expected and there is nothing *bad* about it. I think it is incredibly more helpful and better than everyone being isolated, uninformed, unsupported, and having *nothing* to help them through what is often an unsafe environment or the challenges of early recovery.

That said, both of those values / beliefs / mindsets are incredibly trauma-driven focuses that - in the process of helping meet needs, a sense of community, and safety (things individuals with a trauma history have a lot of a need for), reinforce the building of one's sense of self and identity AROUND and on top of the trauma and thus also kind of reinforces the idea that someone is defined, forever stuck, and distanced from other people based on their trauma.

And I think that is a key thing thats a difference between peer survivor groups processing things together and proper professionally guided group therapy of survivors. I'm not saying that professionals and group therapy is "good", because I have had a number of really negative experiences with it myself and as a person with a trauma background myself (even if I talk like this, I'm not immune) I both distrust "officials" and instictually would very much prefer if people who have not experienced extensive trauma stayed out of my trauma spaces.

What I am kind of trying to say is that in the former, there is an issue of the blind leading the blind as everyone involved is more or less stuck in that trauma space / mindplace that makes it hard to see the avenues of healing that go BEYOND trauma and are not something that individuals who are still deep in the trauma sauce are not going to really be the most open to. In the latter, in theory, there is a heavy trauma-responsive and trauma-informed professional who is both able to understand, empathize, be attuned to, and respond positively to traumatized individuals and the frequent challenges; and that not "In the Trauma" view provides a lot of essential and helpful opportunities to challenge (positively) some of the largest generalized trauma views / values and help in developing and builiding a sense of self and a life that is not as heavily built upon the basis of "Trauma being Defining" to who you are.

And as someone who was there before, its totally fine if you have a problem with me saying that "Trauma does not have to define your entire existence and doesn't make up everything of who you are" because 1) I don't know your story and 2) You don't have to trust me, you have no reason to trust me on that; but as someone who went through a shit ton of trauma and recovery myself, I hope that its something you would at least humor that I strongly believe that and have seen it multiple times - both in human and nonhuman experiences.

I just really say that because in my experience, the most important belief and self concept to challenge that REALLY changed how I felt about myself, my disorder, and my symptoms was the development of the belief that "I went through a lot of trauma and it greatly impacted me, but trauma isn't all of who I am and with every day I live outside of it, trauma becomes a smaller and smaller portion of who I am"

I think its important to hold discussions on how healing doing things and engaging in conversation AWAY from trauma can actually greatly help develop a sense of self apart from trauma and paradoxically greatly help in recovering from it. It sounds very anti-intuitive and against what might feel right / productive in the moment, but it's honestly really just such a powerful thing in my experience.

[middlenamesage]

If you are a Cancer who has an unsupportive/distanced/nonexistent relationship with your mother, then the Moon is your mother. 🌝

I bet you will find you subconsciously follow the Moon in transit even more than some others; that it can nearly always give insight to your thoughts/inner world and maybe your behaviors too. That said, the Moon really has a subconscious pull over all of us and it’s interesting to observe.

It’s the most relevant planet in the transits when it comes to the immediate present, and it’s always supporting the other planets by allowing us to feel what’s going on with them in their more slowly developing/extensive stories. The Moon is generally what my eyes first look for every time I check the transits! Then again, I am a Cancer. 🦀

🌚🌙🌝

[reasoningdaily]

Children still mining cobalt for gadget batteries in Congo

A CBS News investigation of child labor in cobalt mines in the Democratic Republic of Congo has revealed that tens of thousands of children are growing up without a childhood today – two years after a damning Amnesty report about human rights abuses in the cobalt trade was published. The Amnesty report first revealed that cobalt mined by children was ending up in products from prominent tech companies including Apple, Microsoft, Tesla and Samsung. 

There's such sensitivity around cobalt mining in the DRC that a CBS News team traveling there recently was stopped every few hundred feet while moving along dirt roads and seeing children digging for cobalt. From as young as 4 years old, children can pick cobalt out of a pile, and even those too young to work spend much of the day breathing in toxic fumes.

What's life like for kids mining cobalt for our gadgets?

So, what exactly is cobalt, and what are the health risks for those who work in the DRC's cobalt mining industry?

What is cobalt?

Cobalt – a naturally occurring element –  is a critical component in lithium-ion, rechargeable batteries. In recent years, the growing global market for portable electronic devices and rechargeable batteries has fueled demand for its extraction, Amnesty said in its 2016 report. In fact, many top electronic and electric vehicle companies need cobalt to help power their products.

The element is found in other products as well.

"Cobalt-containing products include corrosion and heat-resistant alloys, hard metal (cobalt-tungsten-carbide alloy), magnets, grinding and cutting tools, pigments, paints, colored glass, surgical implants, catalysts, batteries, and cobalt-coated metal (from electroplating)," says the U.S. Centers for Disease Control and Prevention.

More than half of the world's supply of cobalt comes from the DRC, and 20 percent of that is mined by hand, according to Darton Commodities Ltd., a London-based research company that specializes in cobalt.  

Health risks of chronic exposure 

According to the CDC, "chronic exposure to cobalt-containing hard metal (dust or fume) can result in a serious lung disease called 'hard metal lung disease'" – a kind of pneumoconiosis, meaning a lung disease caused by inhaling dust particles. Inhalation of cobalt particles can cause respiratory sensitization, asthma, decreased pulmonary function and shortness of breath, the CDC says.

The health agency says skin contact is also a significant health concern "because dermal exposures to hard metal and cobalt salts can result in significant systemic uptake." 

"Sustained exposures can cause skin sensitization, which may result in eruptions of contact dermatitis," a red, itchy skin rash, the CDC says.

Despite the health risks, researchers with Amnesty International found that most cobalt miners in Congo lack basic protective equipment like face masks, work clothing and gloves. Many of the miners the organization spoke with for its 2016 report – 90 people in total who work, or worked, in the mines – complained of frequent coughing or lung problems. Cobalt mining's dangerous impact on workers and the environment

Some women complained about the physical nature of the work, with one describing hauling 110-pound sacks of cobalt ore. "We all have problems with our lungs, and pain all over our bodies," the woman said, according to Amnesty.

Moreover, miners said unsupported mining tunnels frequently give way, and that accidents are common.  

Miners know their work is dangerous, Todd C. Frankel wrote late last month in The Washington Post. 

"But what's less understood are the environmental health risks posed by the extensive mining," he reported. "Southern Congo holds not only vast deposits of cobalt and copper but also uranium. Scientists have recorded alarming radioactivity levels in some mining regions. Mining waste often pollutes rivers and drinking water. The dust from the pulverized rock is known to cause breathing problems. The mining industry's toxic fallout is only now being studied by researchers, mostly in Lubumbashi, the country's mining capital."

"These job are really desired"

Despite the dangers and risks of working as miners in the cobalt industry, at least of the some miners in the Congo "love their jobs," according to Frankel.

"When I talked to the miners there, none of them want to lose their jobs or give up their jobs. They love their jobs," Frankel said Tuesday, speaking on CBSN. "In a country like Congo, mining is one of the few decently paying jobs to be had there, and so they want to hold onto these jobs."

They also want fair treatment, decent pay, and some safety, "and they would love for their kids to not work in the mines," he said.

"It's a poverty problem," Frankel said. "These parents I talked to – they don't want their kids working in these mines. The problem is that their school fees – schools cost money, and you know, food costs money, and they sort of need their kids to work in there."

Poverty also drives children into the mines instead of school – an estimated 40,000 of them work in brutal conditions starting at very young ages.

The thousands of miners who work in tunnels searching for cobalt in the country "do it because they live in one of the poorest countries in the world, and cobalt is valuable," Frankel wrote in the Washington Post article.

"Not doing enough" 

CBS News spoke with some of the companies that use cobalt in their lithium-ion batteries. All of the companies acknowledged problems with the supply chain, but said they require suppliers to follow responsible sourcing guidelines. Apple, an industry leader in the fight for responsible sourcing, said walking away from the DRC "would do nothing to improve conditions for the people or the environment."

Read company responses here

Amnesty said in November, however, that "major electronics and electric vehicle companies are still not doing enough to stop human rights abuses entering their cobalt supply chains." 

"As demand for rechargeable batteries grows, companies have a responsibility to prove that they are not profiting from the misery of miners working in terrible conditions in the DRC," the organization said. "The energy solutions of the future must not be built on human rights abuses."

An estimated two-thirds of children in the region of the DRC that CBS News visited recently are not in school. They're working in mines instead. 

CBS News' Debora Patta spoke with an 11-year-old boy, Ziki Swaze, who has no idea how to read or write but is an expert in washing cobalt. Every evening, he returns home with a dollar or two to provide for his family.

"I have to go and work there," he told Patta, "because my grandma has a bad leg and she can't."

He said he dreams of going to school, but has always had to work instead.

"I feel very bad because I can see my friends going to school, and I am struggling," he said.

Amnesty says "it is widely recognized internationally that the involvement of children in mining constitutes one of the worst forms of child labour, which governments are required to prohibit and eliminate."

[a-thread-of-green]

It's weird, but in the years before I consciously began considering transitioning, I imagined that transitioning was like turning a light switch on and going full-time as another gender right away. And maybe this is too obvious to even spend time posting about, but I just find it really interesting how it's actually a slow metamorphosis towards more time presenting (and, by extension, thinking of myself) as a woman. In the past nine months alone, I've gone through so many steps:

Presenting male in all situations but experimenting with a female identity online and through conversation with trusted friends.

Presenting male everywhere except when trying on clothes/makeup behind a locked door.

Presenting male everywhere except when I'm wandering forest paths alone at night (nothing bad happened, but in retrospect it was a terrible idea).

Presenting male except for maybe one very short excursion a week.

Presenting male except for shopping trips.

Splitting time between places where I can present female (seeing friends/some family, shopping, clubs/events) and where I have to present male (work, seeing certain unsupportive family members).

It's funny; from the start I would have rather gone full-on light switch and lived entirely as a woman if it were possible. But easing into this new life has its own slow-burn reward, and each new step, small as it might be, is exhilarating.

[ghostr0tz]

Does Angel Dust Have backpain from being so tall?

I imagine so, yeah. With the rest of the poor souls that arrive to Hell with less human like traits than others- like with multiple sets of limbs or other similar body extensions like longer/elongated limbs/wings/others but my brains not working at full speed

Angel Dust definitely has back pain, and honestly probably just physical pain all around both from physical and mental strain from work AND... also his Unfortunate Long Limbs and Unsupportive Back and REALLY messy Muscle/Internal Composition , Probably.

Everyones design intrigues me and its so fun to dissect... I need to draw angel some time he's so good but the extra arms.... shudders

[bylertruther]

no cause the last anón is so right. I scrapped a 50k byler fic because I actually got worried people might call me weird or a freak like they do others. I was on twitter when the whole fiasco went down and it pissed me off but if you even tried to speak there were so many accounts saying you were “speaking over minors” and calling you a predator/pedophile. So many of my moots deactivated bc of the hate- they eventually started attacking people for their ages alone saying it was weird that 20 year olds theorized and talked about byler. Literally word for word “you’re a freak if you’re 20 and read byler fics. Why are you fantasizing about two little 14 year old boys making out” if they would take a step back and think that maybe people are so interested in this relationship is bc they see their younger selves in these two characters then maybe they wouldn’t say such stupid shit. Anyway sorry for ranting I just have been fuming since that whole thing happened. I just wish they would take a step back and stop and think about why they see a kiss between two boys written and immediately shout creep.

oh no, anon! i'm so sorry to hear about your fic & your experience. i hope you feel comfortable enough to post it one day, if you still want to. 🥺 and don't ever apologize for expressing yourself!

not to be a cunt, but i am a cunt, so, ahem. from the bottom of my heart... fuck them kids. 🫶 i literally do not give a single shit about any of the ""discourse"" they inflict on us all. "speaking over minors" why are you even speaking to begin with, huh? 🤨 why are you buzzing into an adult's space and picking a fight when a) literally no one fucking asked you to, and b) you're just going to cry "waaaaah but i'm a minorrr :(" as if you're somehow the victim in this situation after they dare to defend themselves against your serious and unsupported allegations? be normal or piss the fuck off and do your homework.

and why do people take them seriously? disregarding the fact that anyone of any age can be a shipper & the awful homophobia laced in such rhetoric...

this is the internet. no one owes you shit & the wild web will never, ever cater to you. you need to curate your own space and protect yourself. this is, like.. basic shit. like, bare-fucking-bones basic shit. it's not anyone else's responsibility but your own. they taught me that in school, my parents told me that, and also i have a functioning brain that can come to that conclusion, too. people need to stop pretending like what these people are asking for—which is your silence and your shame—is reasonable. it's not. content gets tagged, there are multiple extensions to blacklist any tags you don't like, some of it gets put behind a privacy wall, block buttons exist, many websites have filtering options, and so on and so forth. there are multiple measures people can take to both find things and avoid them. and a lot of the time, content is something you have to seek out yourself. so, if you don't like it, why did you click on it? why spend any time on it when you could've just backspaced? how is your ineptitude anyone else's problem?

also, people need to stop throwing the words pedophilia, pedophile, and predator around. you're being an insensitive jackass when you do that. someone writing about two fictional characters is not abusive scum of the fucking earth. you're watering those acts down and showcasing your ignorance for the world to see when you throw their names around carelessly. a child predator does awful, sinister, repulsive things to real life people who did not deserve that. someone writing a first kiss or practice kissing fic is not anywhere near that and i'm tired of people pretending like this is an okay thing to say or even think. just shut the fuck up and stop saying those words if you don't actually understand the gravity of what they mean.

another thing: a lot of these people aren't just kids. grown folk fall for the same shitty rhetoric, too. it's all just groupthink and herd mentality. no one wants to get attacked so they just repeat the same shit without thinking about it beyond "protecting" themselves (which is senseless as well because conditional acceptance is not true acceptance, but i digress). this fandom would be in a much better place if people were willing to stand their ground and defend their friends when this stuff happens. it gets worse and worse if you just turn a blind eye to it and fall in line. we're all waking up and finally seeing the consequences of that now.

of course, this doesn't really apply to when you're getting attacked by hundreds of people. that's... just shitty and hard and demoralizing. i'm not victim-blaming, because no one wants to be on the receiving end of that and i know that you can't control what others do.

my argument is that it gets to that point because the fandom as a whole just lets it slide by never holding the right people accountable for their actions. they allow the needless bullying to happen. they allow the rhetoric to get crazier and crazier. they allow people to get fucking crucified for shit that isn't even remotely inappropriate. they reblog posts they don't believe in because they don't want to be the odd one out and get accused of something by someone with more followers than them. it's just... we, as a whole, need to support each other more and put our foot down when shit like that starts happening.

it isn't normal. it isn't okay. it hasn't ever been okay.

like... i KNOW that you KNOW that it isn't weird for them to kiss, for people to want them to kiss, or for people to make them kiss in their creations. i KNOW that you KNOW that it isn't weird for anyone of any age to enjoy a love story of any kind. we know these things. some of us just pretend like we don't online for whatever fucking reason. and i don't get it! i don't get why they would do that and willingly allow this place to become worse for it. you don't get anything good out of that.

also, a lot of those people are being trolls. they get a kick out of attacking people as a group, because that's the only time they feel brave and the only way they get attention in life. they don't think before they say things, because they don't see you as a human being—you're just pixels on a greasy screen. they use catchy social justice lingo to make what they're saying sound like something you should support, but at the end of the day, they're literally just gussying up the same right-wing shit we've been subjected to for ages. it's regressive rhetoric that's clear to see once you've allowed yourself to see it.

like, i agree with you. i do. you're absolutely, undoubtedly right in what you say, but... i just can't bring myself to argue that, because it's in response to what was a senseless attack to begin with. and we shouldn't need to defend ourselves and our communities against what isn't true.

homophobia, bullying, and trolling are irrational, illogical pursuits and i can't stand the idea of treating them with any ounce of seriousness in this context. to apologize would be to accept their absurdity and validate their accusations—accusations we know in our heart of hearts to be incorrect and baseless. and i won't ever do that! i won't give them that satisfaction and i wish others wouldn't either.

they keep doing this, because they haven't met any opposition yet, because we keep acting like we have any reason at all to feel shame for wanting stories about people like us, about something as basic and universal as love and connection. they don't care about our reasons. they don't care about our defense of ourselves. it's not ever about us. this is their cry for attention, good or bad, at our expense and they need to be starved out already.

like.. this is just unsustainable. it's mind-boggling and i remember kicking and screaming about it months ago in what felt like an empty room. and look at where we are now! we're already at the point where you can't win in any kind of way no matter what you do. you can't age them up, you can't leave them as they are, you can't ship them if you're older than eighteen, you can't write AUs, you can't write canon compliance, you can't write canon divergence, you can't make them kiss, you can't make them anything more than friends but you also can't make them not-friends, etc etc. we've officially been shoved into the "fuck it, we ball" stage, because this is a pissy fandom and you are never going to please everyone so you may as well just do whatever the fuck you want.

i sound soooooooo unbearably preachy in this response lol, but like... literally... all we have is each other! we all love byler and we're all here to have fun and find like-minded people. we can't keep acting like this in-fighting lunacy is reasonable and just a difference of opinion, or like it's based in any kind of sense at all. we know that it's okay to ship byler at any age. we know that it's okay to have fun and enjoy ourselves. these people want to make us feel bad. they want to silence us. why let them and give them that satisfaction? why is what they want more important than us and our happiness? i hate the idea of anyone ever feeling any kind of shame or fear over something as innocent as this. i hate the idea of them winning by getting into any of our heads like that. i just hate it.

now, this last bit is specifically for you, anon, but it goes for everyone else, too: please, please, please, i am holding your hand in both of mine and begging you to not let anyone take away the things that you love and bring you joy or your wonderful creations that you've put so much of yourself into. i promise you that there will always be people who will see you, understand you, and cherish what you have to offer, and they are the ones that matter most (after you of course hehe). we all have to find our people and just go crazy together and block out everything else. that's the only way to get through this without getting burnt out. 💛💙

[luna-rainbow]

I feel to a degree that Sam and Bucky's attitudes towards John Walker in TFATWS was kinda...needlessly cruel. Like, they had problems with him even before Walker had done anything wrong, simply because he was wearing a Captain America uniform and was no Steve Rogers. I think this really showed in their fight with him at the start of episode 5, which honestly feels to me more like "Sam and Bucky gang up on and brutalize Walker while he's still going through the process of grieving his best friend who was just brutally murdered in front of him."

I have very little sympathy for Walker, because he reminds me keenly of the particular type of person (often white and male) who has been smooth sailing for all their life and gets their way by trampling over other people but has absolutely no self-awareness of this, attributes their own success not to systemic privilege tipped in their favour but rather believes it’s all from ‘individual hard work’, who then struggles because for once in their life things don’t go their way and their tantrum behaviour escalates until it ends in violence.

I know there are more sympathetic readings of his character (he has PTSD, was unsupported, didn’t get much help) but this is the archetype I saw and…to be honest, if I met this kind of person, I would give him very little patience too.

Also, I remember Walker’s introduction very differently. Sam donated the shield to the museum to lay Captain America to rest, and his wish was disrespected. You can argue that’s not entirely Walker’s fault but he’s also not innocent either, so Sam has plenty of reason to distrust him at the get-go. Walker then went on TV and says “I never met him (Steve), he feels like a brother,” which, aside from being a mockery of the friendship between Steve and Bucky, was a weird ingratiating line while disrespecting Steve’s wishes of handing the shield over to Sam (and thereby letting Sam decide what should happen to the shield). So Bucky, too, had plenty of reason to distrust Walker before they met.

The truck fight I’m putting down to shitty writing. You’re telling me two veterans who had fought super soldiers and aliens and everything in between couldn’t handle a bunch of kids until Walker arrived on the scene? I call writer bias, and I’ve talked extensively in the past about how Walker was the only character in that series given the protagonist treatment of agency and a complete character arc at the expense of our two eponymous protagonists, who were passive and whose character beats happened off screen.

Taking away the writer issues, Sam and Bucky were both pulling their punches because they realised they were up against kids. Walker pulled out a gun and shot one of them (can’t remember if the kid died or not). That’s a much better metaphor for police brutality than the traffic stop scene later, and gives more concrete reason for Sam and Bucky to distrust him.

The only thing mean from Sam/Bucky’s side in that conversation was Walker asking to work together and Bucky saying “Just cos you carry that shield, it doesn’t mean you’re Captain America.” Which, after all we’ve seen of him so far, is a pretty fair assessment.

As compared to all the awkwardly cocky stuff Walker says in return. “Yeah, I have (jumped on a grenade), it’s a thing I do with my helmet” which undermines what it says about Steve’s moral character by covering a grenade with his body. Are we forgetting the “That serum doesn’t exactly have a great track record. No offense”? I love the no offense, which is standard repertoire for entitled people to put the burden of offence in the listener’s court instead of apologising for the offense they’re causing. Are we forgetting the “uh no we didn’t track them we tracked you through Redwing” with a smug grin? Are we forgetting his deaf dismissal of Sam trying to rationalise with why a bunch of impoverished kids are successfully leading a revolution (god the way he just ignored Sam’s point is so close to how entitled white men in real life talks it makes my blood boil)? Are we forgetting the “It’d be a whole lot easier if I had Cap’s wingmen on my side”?

I don’t think Sam and Bucky were “needlessly” cruel. I think they had an understandable emotional reaction - during a period of emotional vulnerability for both of them - to someone they see doing their memory of Steve dirty, and an understandable escalation in their distrust by what Walker then showed of his convictions, attitudes, and intentions. From a writing point of view — yeah I do think Bucky’s disgust was more exaggerated than I personally would have written him, but as far as all the OOC shit Bucky has done in this show, being aggravated by Walker was the least of it.

And by episode 5??? By then Walker has said and done a whole bunch of deranged shit. Sam and Bucky were not “ganging up” on him. Are we forgetting that Sam asked nicely for him to hand himself in? And then Walker going full gollum-mode (“my precioussss”) because Sam mentions the shield once?? (But also yes I agree the writing was once again shitty and focused weirdly on retrieving the shield instead of, you know, the priority of apprehending Walker) And sorry, going back once again to the entitled white men trope, because that’s what Walker is — did Walker show any respect to Sam and Bucky for grieving over Steve? Then why should we expect people to afford him leniency in return? Not to mention that they did approach him kindly and say that he would likely be judged leniently because of Lemar’s death. And even as they’re trying to be kind to him, Walker snipes at Bucky “I’m not like you” (actually you’re not, you dipshit, because Bucky never killed anyone in spite or rage) and assumes the worst of Sam for asking for the shield.

Look, I am all for a balanced view on Walker, because he is a layered character who tries his best but was never good enough, and the sense of inferiority escalates his immature emotional response beyond control. But that’s because of his glaring, major, inexcusable character flaws that he only has himself to blame for. He’s basically Tony Stark who has been trained for violence through the military and doesn’t have the wealth or brain power to channel his anger anywhere else.

Not to mention that Sam and Bucky never sought him out even once, and he’s the one barging in on them multiple times despite them making their boundaries clear.

[soughtserenity-a]

" I will admit that I acted rashly and unsupportive in Bella's time of need during her pregnancy. I wish I could take it back but at the time the only thing I could think about is her safety. I'm selfish and I've known that but that's no excuse. " Then there's the fact that only recently has he been seeing his daughter as HIS and not just an extension of Bella or hers. He never wanted a child or to have his focus split between two so it's difficult.

[ratsdontmurder]

i got too drunk and then too hungover that i wrote 3 poems . An opera in 3 parts.

the first, a hungover ballad

i long for the cold embrace

of neon lights. the blur of the bar

i am covered in tinfoil,

my brain fizzing in the microwave

the cocophony of sounds inside this

burrito n shake blaring as my insides swirl

into the whirlpool of my own design

the second, the pain hitting

my bones are splintering, peeling like

bark now oozing life

such a sickly thing

fractals along the veins like ice on a lake,

cascading into tectonic plates,

creating new lines under my skin.

joints screaming not in pain but as a

child frightened by the dark.

head heavy, unsupported as i fall

through the candle of my own creation.

fingers swinging on the ball and socket

without intended extension.

paralysis to engulf me just as dark

abyss welcomed pirates all the same.

some fighting, some banished,

some doing nothing of the sort.

it beckons us all, we are sillohutes till

the fall where we become one and the same.

but this is no final refrain,

do not sing a lamert for me.

my claws sink heavy into the earth

as they are want to do to me.

my arms will swim as i close my eyes

to sleep once again.

the third, a ghost rearing its ugly head

an onion skin of us lays over my eyes like an old contact

an itch that i cant will myself to scratch.

for in these tears i didn’t shed, it’s only place i can see

the laughs we shared on filtered layers shifting behind new memories

ones without the history we shared.

ones filled with similar light and plight

to the ones i saw with these same eyes.

they betray me by looking for you in the crowds you once lived in,

the ones you longed for and now go without.

are you starving for it or does it sour in your mouth

and one day you will be washed away in the rain like history gone by

but today the cracks in my wall share your name

in swirls of pretty calligraphy.

leaving me now screaming at the shadow your ghost casts,

words i can only feel that are too cruel to articulate

without compromising the idea of me i built in your wake.

the idea you take credit for, are you kidding?

you claim u modelled me yet you find fault in my design.

my love too overbearing yet you could not survive out in the cold.

if we are molded by the hands that find us then who am i if not your muse.

you poke holes in my ambition like i am a well you wish to take down a peg.

You wore me down till i was half my size and you could tower over me.

yet you rewrite the history, amend the archives to make yourself the victim.

i feel the sickness that followed me when i left you there,

clinging on to what i knew was fleeting.

my name in whispers on the wind

but in these cobblestones i follow the waltz back home.