#water meta

[sakuravalelp]

Ellie(Dani) didn't realize how dangerous Danny's home was for him until he was more worried about her when she got her own home. - Prompt I think(?)

Ellie wasn't sure how to feel when Danny excitedly animated her to accept Arthur's invitation to live in Atlantis.

"Just if you want of course, but you'll get a stable home, and Frostbite said living underwater might be good for your water cores stability."

She had already been planning to accept the offer. Once she gave the guy an opportunity to have some sort of conversation, the guy was pretty chill, and the castle was pretty cool. So yeah, she was going to accept the offer.

But for some reason Danny's eagerness for her to go with Arthur hurt. It felt like he was trying to get rid of her.

She knew that was ridiculous, she didn't even live with Danny. He looked out for her, and was always a call away but, as much as Danny parents her, he was just a child like her. It made sense he was happy to give away the responsibility of taking care of her.

So when Ellie moved into Atlantis, she was expecting to hear less from Danny. After all, she had settle down, and he didn't need to worry about her adventures anymore. That was Arthur's and Mera's job now.

Weirdly enough, it was the complete opposite.

Now that Ellie was living with adults, Danny seemed MORE worried for her. They went from a call once a week or so, to almost daily calls in the afternoons. He would be more insistent about her telling him if anything was wrong.

He would ask specifics about the food she was eating, and her activities of the day, and her room, and the castles security...

Sam had told her that it was because he used to be able to monitor if she was eating well through the transactions of the debit card they had given her. Tuck had told her that he used to evaluate how safe she was through the phones location, and the hotels receipts.

And well, maybe she underestimated how much attention Danny put on her before, but the way the calls went made it seem like he thought she might be in more danger now that she had a stable home.

Which made no sense, because unlike him, she didn't even need to hide her ghostlines. Anything that was out of normal for Atlanteans was excused with meta-abilities, she didn't need to worry about being classified as a non-sentient species.

That was when it caught up to her. Danny was worried now that she was in a stable home because his stable home had always been dangerous for him. It isn't even a think of it being dangerous now that his a ghost, it has been dangerous ever since he was a child. She remembers all of Jazz's rants about how unreliable their parents have always been.

The food has always been contaminated. The security now attacked him directly, but there had always been a possibility of it malfunctioning and hurting the residents. Him and Jazz had always had the responsibilities of not only keeping the house clean, but the lab as well. If she tops it with the house security system attacking him, and his parents been ghost hunters...

Ellie hadn't found it too dangerous back then, Danny mocked Jazz rants with her, and Jack and Maddie were kind when they interacted with her in her human form. The Fentons neglect seemed liberating in comparison to Vlad overly controlling nature. But thinking about it now, after two months living in Atlantis, she doesn't like the picture.

She doesn't like the idea of Danny being somewhere so unsafe, but where would he go? He doesn't have a water core like her, and even if he had gotten sorta used to shapeshifting, he isn't good enough to live in a second form, which isn't recommendable either way. So he wouldn't be able to move underwater with her.

More so, she doubts that Danny would like to leave his Amity, he had taken the sole responsibilities of dealing with the whole humans - ghost conflicts. With the anti-ecto acts, there's no way he would leave the portal unsupervised.

What should she do now? Should she talk with Arthur about it? He said he was part of the heros friend group, what if they already know about the anti-ecto acts and are okay with it? What if they change hoe they act with her when she tells them she isn't actually an atlatean meta?

[letsduneit]

dune really explores every possible way someone can die without actually dying. paul's childhood self dies the night his father does. his atreides heritage dies when he seeks revenge. paul himself dies when he drinks the water of life. jessica the wife dies the night leto does. jessica the mother dies when she drinks the water of life. the girl alia could have become dies in the womb. stilgar dies when he becomes a follower. the fremen die when they leave their home to fight paul's war for him. the narrative treats every one of these deaths as a tragedy, as a palpable loss; the ghosts of who these characters were or could have been remain to haunt the narrative long afterwards.

(expanding on my original tags from this post)

[dandelionjack]

missy doesn’t understand that she’s in the wrong genre. she believes she’s in a darkly alluring gothic romance instead of an optimistic sci-fi show. in her genre, gifting your estranged ex/enemy/lover/best friend/twin flame an indestructible undead army to prove to him that your will to power is identical is the most romantic gesture imaginable. it’s victory via surrender, it’s control through abdication. all her scheming to “corrupt” him, to demonstrate that they’re the same deep down, that his sanctimonious morality is nothing but a method of keeping his own conscience clean, that’s the hannibal gene, the lestat gene (*obviously the dynamics aren’t 1-to-1 similar, but… close enough) and missy’s tragedy in death in heaven is in that, within the narrative format she’s trapped in, she can never succeed

[syn0vial]

yes, yes, boba fett finds it strange and uncomfortable when people can see his face and this is one of the major reasons he almost never removes his helmet (in the expanded universe anyway), but another factor that i think isn't explored nearly enough is just how much his helmet shapes how he sees the world. it grants him 360° vision, lets him interface with his weapon systems and slave I, and automatically dampens loud noises and dims bright lights. imagine going through the vast majority of your life seeing the world through that lens and then suddenly taking it away. removing his helmet for any significant length of time likely isn't just uncomfortable for him but downright disorienting.

[ghostbny]

Metal nitk

[ecoterrorist-katara]

The tragedy of Katara’s parentification

Sokka and Katara were both parentified, and it’s a profoundly life-changing thing for both of them. One of the saddest things in ATLA, though, is how Sokka sort of got to outgrow parentification, but Katara never did.

Sokka’s told to be the man. The provider, the protector. He’s not so good at the former (his hunting failures are a consistent source of comic relief), and he takes failures of the latter very, very hard. He doesn’t manage to save Yue, and that wrecks him. After Yue, he becomes extremely protective of Suki in a way that’s borderline offensive to her. He’s willing to do anything to protect his friends and his family, including something as irresponsible as breaking into the Boiling Rock. I don’t think it’s a coincidence that Sokka is the only one of the Gaang who unambiguously kills. The rest of them may technically have clean hands because of cartoon logic, but Combustion Man is very dead, and Sokka is the one who killed him. We don’t know how he feels about it, because the show never goes there, but I have a pet theory that Sokka is so uncharacteristically (remember he was team “leave Zuko to freeze to death”) against Katara confronting Yon Rha in The Southern Raiders because he’s the only who knows what killing feels like and wants to protect Katara from it.

But by the end of the show, Sokka’s in a place where he can start to let go of his need to protect. Objectively, all his friends are unbelievably powerful and can take care of themselves, including his sister and his girlfriend. Suki is the one who saves him in the final battle, representing not only a reversal of his initial cartoonish misogyny, but also demonstrating that he is worthy of protection. And of course, he and his friends saved the world, so there isn’t really an enemy that he has to protect them from anymore. Sokka’s loved ones create the conditions under which his parentified behaviour is no longer necessary. Sokka would still have to take the first step to stop seeing himself as the one who has to lay his life on the line, but at least it’s possible for him.

But not Katara.

Katara had to take on the mom role after their mother was murdered, which meant she was responsible for domestic labour and emotional support. Sokka says in The Runaway that her role was to keep the family together. Unlike protection, that’s always a full time job regardless of the war. We see Katara spending more screen time than anybody cooking, getting food, mending, and generally doing women’s work. We see Katara giving everyone emotional support, including strangers and her enemy. We see Katara putting aside her own discomfort and her own hurt in The Desert because if she falls apart, they all die. Nobody ever showed her that she doesn’t need to be the only one who cooks, or that somebody else can be responsible for the emotional wellbeing of her friends, or that — god forbid — someone else can actually be responsible for her emotional wellbeing.

That’s why I never cared for the Ka/taang argument of “he teaches her to be a kid again!” Putting aside the fact that Katara ends up taking care of Aang a lot more as the series goes on, the whole tragedy of parentification is that you can never again be a child. That part of your childhood, your god-given right, is robbed from you. It is extremely precious and important to still be able to be a kid, but breaking free of parentification is not about seeing yourself as a kid. It’s about breaking free of being responsible for everyone’s feelings and behaviours.

For Katara, that responsibility is not problem of perception, but of reality. Unlike Sokka, who was told and shown that his loved ones are capable of protecting themselves, Katara has zero reason to believe that her loved ones are able to feed and clothe themselves and not fall apart emotionally. Between Toph and Sokka who emphatically don’t want to do this work, it all falls on Katara. Telling a parentified child that they just need to loosen up is akin to telling an overworked mother that she needs to just relax (“happy Mother’s Day! You get a break from chores, which you will catch up on tomorrow because nobody else is doing them”). It doesn’t accomplish anything if nobody creates the circumstances under which it’s possible to let go of responsibilities. A lot of Zutara fans, spanning all the way back to the early days of the fandom, like the “Momtara and Dadko” trope where Zuko also does chores. Why? Because even without the concept and language of parentification, many fans recognized that Katara’s performance of domestic and emotional labour is inequitable and probably very taxing.

Growing out of parentification is about more than just letting go of old expectations: it’s also about finding a new way to value yourself beyond the role you grew up with. I’ve said this before, but it’s very important to acknowledge that just because a kid is parentified doesn’t mean they’re actually good at being a parent. In fact, it’s probably a given that they’re not, because they’re kids performing roles that are developmentally inappropriate! Sokka remains a shit hunter; he becomes a decent fighter but he’s still miles behind his friends. A big part of healing from his parentification is finding another area — strategy, engineering, project management (what else do you call that schedule) — where he actually excels, to which he can dedicate his time and from which he can derive satisfaction and a sense of identity. For Katara, fighting for the oppressed and combat waterbending give her that. Crucially, however, Katara does not stop being a girl when she becomes a warrior. She’s still responsible for domestic and emotional labour. Unlike Sokka, whose protector duties were more or less relieved as the series went on and he found new ways to contribute to the group, Katara continued to perform her old role in addition to her new one (which is depressingly realistic btw, look up feminist theory around the concept of the second shift). Still, it’s important that she found these new ways to value herself and her contributions…

…which disappear in her adult life. Where’s adult Katara fighting for the oppressed? Where’s adult Katara enjoying her status as a master waterbender? Where’s Mighty Katara? Where’s the Painted Lady? Where’s the person who vanquished a whole Fire Lord?

What do we know about adult Katara? She’s no longer a rabblerouser or an ecoterrorist. She did not translate her desire to help the downtrodden into a political role, like being Chief or on the United Republic Council. She’s not known as the best waterbender in the world, only the best healer, even though her combat abilities are what she took the most pride in. Even as a healer, she established no hospitals, trained no widespread acolytes (except Korra, I guess?), and made no known contributions to the field.

What Katara is known for…is being a wife and a mother. The same role she was forced to take on at age 8. One which she performed for the next 80+ years.

[1000sunnygo]

An old observation from a japanese youtuber that I've been withholding for this episode's release,

The difference between Law getting bloodied up until now and his loss against Teach is that here, Law is completely silenced.

Law's cheeky pride is usually full on display when he's down and on the brink of death. Because everything would still be under his control - his plans in motion and his important people away and safe. But this time, Law had no comeback to Teach's taunts. His comfort place and comfort people were taken out in his presence.

It's his first physical and psychological defeat.

[dykealloy]

[consoledacup]

In order to fully understand Colin's reaction to the Lady Whistledown reveal and how he processes everything moving forward, you have to think about the entire season, the entire series really, through his point of view. I have no problems with the part 1/2 split. It made the anticipation that much more intense, and it worked out perfectly with their love story. But you can't separate one part from the other when you're thinking about his character.

In Colin's mind, the end of episode 4 is his happily ever after. That's it. He did it. He took action. He was the Cupid to her Psyche and played god and rescued her from a loveless match. He made shit happen and told her how he felt and they shared that moment in the carriage, and he gleefully proposed. He saved the girl and got the girl, and what a remarkable, enchanting, beautiful girl she is.

And aside from Eloise and Cressida, everyone's obsessed with their relationship. They're the true love match with a great story, and how lucky he is to fall in love with his best friend. And she's showing hints of unease, but maybe that's just wedding jitters. Or maybe she's mourning her relationship with Eloise which is why he keeps trying to get them to make up. Or maybe she doesn't feel as secure with him as she would've with Debling, even though she'd never tell him that. He is the third son after all. And he still has no idea how in love with him she is.

So when she tells him how she's always loved him, he's warmed but also wracked with guilt. Because if he had only taken his stupid head out of his ass, he would've figured out why her letters meant so much to him or why he was eager to participate in an investment with her family or why her lack of response the past summer devastated him. He thought he was the instigator of their love. He's the one who laid himself bare and was like, is it possible you feel a fraction of what I feel for you? And to find out that she did always love him made him feel so undeserving. Because why would this exquisite siren still want anything to do with him after all that he put her through?

There is an incredible scene that I think deserves a lot more gravitas. The minute Penelope mourns Lady Whistledown and burns her issues, it cuts to Colin getting over his writer's block as he writes with great enthusiasm. It's like, he's unknowingly siphoning her power. He is Cupid and a writer and her protector and her provider and so madly in love. And he will finish his manuscript, and he will make things right with Penelope and Eloise. And he and Penelope will have the perfect life together.

And then everything he thought he knew about Penelope, about friendship, about love, is completely shattered. She rips his power from him, and he is absolutely gutted. She has been the mastermind this entire time, and he was none the wiser. And what part of their love story was even real? At which point was he manipulated into doing what she wanted him to do? And while he was helping her with her confidence, and telling her how changed of an individual he was, she not only saw through him but broadcasted his insecurities to the entire ton?

He's still so desperately in love that he remains steadfast in marrying her. But he cannot get over his fury and hurt and betrayal at that point. Which makes so much sense. It's painful to see him lash out and withdraw from her, but he's absolutely reeling.

And on top of all that, he is humiliated. He thinks about everything she said about his own writing. She told him how he made it seem effortless, which is such a great compliment. And he's like, I don't want you to edit my manuscript because I want to prove to you that I'm worthy of you. And he might be thinking, I can even give her some pointers for her own writing! What fun we'll have with more lessons. To find out that she's the talented, sharpest, most prolific writer in the ton fully emasculates him. He feels like she was patronizing him all along.

He brings that part up, and she's like, no, I meant everything I said about your writing. But he doesn't believe her and immediately switches the conversation to her dangerous predicament, so he can at least, at the very least, offer himself up as her protector. It worked before when he danced with Penelope after Cressida ruined her dress, when he rescued Marina from Rutledge, when he helped save Daphne's reputation, when he saved Penelope's family from Cousin Jack, when he helped save Will's business, when he kissed Penelope, when he saved her from the balloon, when he defended her to her mother... If he can't be the provider, he can be the protector. And she doesn't even want that from him. She's the knight in shining armor. She's Don Quixote. Not him. Never him.

So he is grappling with his role in their union. He figures it out, but it takes him a little bit to get there. And in the process, he not only remains in love with Penelope the entire time, but he also falls head over heels for Lady Whistledown.

[egophiliac]

Where can you play ride kamens? It looks fun looking at your blog but idk where to play

it'll doesn't start until the 30th, but there's some pre-release episodes/character bits that are scattered around the website and twitter! (the links to pre-reg/download are also on the website :D)

honestly I'm really enjoying it just based off of the pre-release stuff, these characters look like they're going to be exactly that blend of ridiculous and emotionally constipated that hits me so right.

[ourflagmeansgayrights]

ed is absolutely panicking in 2x7 bc he’s seeing stede having the time of his life being a famous pirate and he’s genuinely happy for stede but also he wants out of this life and he’s afraid stede will choose piracy over him and so he’s leaving first before stede can leave him again, all of which is bc deep down ed still thinks he’s unlovable and he’s scared to get hurt by stede again and he’s handling everything very badly

all that being said

the fact that ed has already decided that he can’t choose piracy for stede’s sake is so important to me

piracy was slowly killing ed long before stede entered the picture. and now that ed’s decided that he wants warmth and food and orgasms and he wants to live he’s not going to force himself to do a job that makes him fucking miserable. he still might not think he’s worth love and not worth choosing, but he’s at least moved past thinking he deserves to die. he’s past making himself so miserable that he wants to die. ed still has a lot of work to do but he’s making good progress and i’m proud of him.

[coquelicoq]

it's about...longevity? stability? it's about natsume believing he'll be somewhere long enough to plant flowers and see them bloom. it's about him taking touko seriously when she asks him to tell her what flowers he wants to plant. it's about making something with his own hands, building a future with the fujiwaras. it's about him repairing a rundown home for someone else, restoring it because it's beloved to them, because it's the home of someone they love. it's about him seeing touko's joy and thinking about the youkai saying we'd like to look upon her happy face forever. it's about the box garden making him think of the fujiwaras' garden and his parents' garden, about the flowers being both the memory of flowers that bloomed there before, and the flowers that he and the youkai planted earlier that day. it's about him waking up in both worlds with sensei. it's about touko finding the petal in his hair. it's about him feeling how he falls short and the youkai saying, but you have such gentle hands...

[your-local-granny]

okay before i forget. i've been trying to put my finger on why people saying phoenix and maya are 'sibling-coded' pisses me off so much and I think a big part of it is how important mia is to both their introduction and also the foundation of their relationship and how calling phoenix and maya 'siblings/sibling-coded' waters down all of their relationships

phoenix wishing that maya was mia is a very big part of maya's arc as well as a big sticking point in phoenix and maya's relationship. phoenix spends the majority of turnabout sisters wishing that 'the chief' was there and when maya fails to channel her he shows outward disappointment. this is something that maya obviously picks up on and internalizes as we see throughout the rest of the games. most notably maya shows remarkably little self-preservation, throwing herself at von Karma's taser and in contempt of court to help edgeworth (and by extent, phoenix). she openly admits to feeling useless when she can't channel mia and phoenix never refutes this out loud until he of course presents the bullet to her showing that she wasn't useless. phoenix is notably bad at expressing his thoughts/ and feelings so its honestly debatable whether this gets through to maya but thats neither here nor there

on the other side of it, maya wishes that phoenix would be the caring adult figure that she was missing for most of her life (and especially after mia dies) and phoenix does not do a great job of being that figure. he likes her sure, and they're good friends, but he's definitely not nurturing or sensitive whenever maya is in distress. at the end of turnabout sisters when mia tells maya to "take care of phoenix" for her, maya starts calling him nick (because that's what mia said phoenix's friend calls him) and their dynamic for the most part is solidified. maya is not able to find mia in phoenix and accepts him as his own person and a part of her life as a friend.

phoenix has a more complicated journey with viewing maya as her own person partially because of the whole spirit-channeling thing, and partially because maya is younger than both the chief and himself. phoenix is constantly looking to a mentor for guidance and feels out of his depth for most of the cases in the trilogy. he frequently wishes that mia could be there, and is shown to value maya's ideas less, or at the least question them more at face-value. nevertheless, by the second game phoenix relies on maya greatly as shown with how he copes (or fails to cope) with her absence in rfta and 2-4, and 3-5. phoenix views her as both an integral part of his life and support structure, but also views her as someone he has to put on a brave face for, much like pearls. maya is phoenix's young friend that he leans on and wishes to protect.

maya's love for her sister is a core theme that spans the entire trilogy and culminates in maya almost dying in 3-5. phoenix's love for mia is a constant driving force that pushes him past what he believed himself capable of, and encourages him to trust those who become those closest to him. phoenix and maya's relationship is colored by their own relationships to mia, and how they view each others relationship with mia. they both represent a part of her that they never knew as well as a part of her they can keep loving in her place after she is gone, but most importantly, neither of them will ever be mia. no one else can be maya's big sister and no one else can be phoenix's mentor. they meet each other as two strangers set adrift by the same lost mooring, and though they'll never be secure in the way they were before meeting each other, they have a friend to help keep themselves afloat.

[stainedglassthreads]

Saw someone mention something about 'of course Gabriel would get along with a demon, he's an awful person--' and no no no you're missing the point. Like yeah, he does suck and has been awful to Aziraphale, but he's not Uniquely Awful, nor is that the reason he gets along with Beelzebub. He gets along with Beelzebub because they are fundamentally the same, because there is no difference between angels and demons in Good Omens.

One of the things reiterated again and again in the book Good Omens is how Heaven and Hell is fundamentally the same. It's noted that demon wings are not black, but white, and during what while the showdown between Adam and Satan in the series, all the angels and demons actually appear on earth and square off against each other--and the narration specifically says that you couldn't tell the angels apart from the demons. That's why Gabriel and Beelzebub get the same complaints from both Heaven and Hell about how hard it is to get the angels and demons to back down from a war, that's why Crowley says at the end of season 1 that the real Armageddon will be the combined hosts of Heaven and Hell versus humanity. It's why it was mentioned, when talking about season 1, that Heaven and Hell were envisioned as being the upper floors and basement of the same basement--is why the methods to get to both places are always in the same location! The escalators and the elevator!

And that's why Gabriel and Beelzebub got along. Because they were in the exact same position experiencing the exact same difficulties and complaints, and because they the exact same amount of actual care for Heaven and Hell--precisely zero. They fell in love because they're similar, but at the end of the day, all the angels and demons are 'similar', because the demons used to be angels too! Which we are reminded, when Crowley correctly analyzes angels like Muriel, Heaven as a structure, and guesses that they STILL haven't changed the passwords. Crowley recognizes that Heaven and Hell are the same, and are plagued by effectively the same problems, and so he rejects both. He rejects Beelzebub's offer to become a Duke of Hell, even if it would protect Aziraphale. He rejects Aziraphale's offer to become an angel again. Crowley knows that both sides are rife with systematic problems, and so he goes all-in on our side. And on humanity's side.

[starlight-bread-blog]

Ember Island Players and Zutara

Two approaches to analyzing literature are Doylist and Watsonian: Warsonian is about analyzing from an in-universe perspective, Doylist is about analyzing out-of-universe perspective.

For example: Why did the Gaang arrive at the swamp?

Watsonian: Because a hurricane made them crash.

Doylist: Because the writers wanted to explore the world & characters, foreshadow Toph, introduce plant benders, etc.

This analysis will be from a Doylist perspective. Meaning, I don't intend to prove Katara secretly canonically loved Zuko. She is a fictional character, she'll love whoever the writers want her to love. And the writers said she loved 𝖠𝖺𝗇𝗀. What I do intend to do is to show how the writing alluded to Zuko standing in 𝖠𝖺𝗇𝗀's way to being with Katara.

With that out of the way, let's dive right in!

At the beginning of the episode, when they sit down to watch the play, Zuko and 𝖠𝖺𝗇𝗀 share this exchange:

If you didn't catch that, look at Katara:

This is a classic romance trope, typically used for female characters, to signify romantic feelings/a crush. But what is it doing here, when Zuko sits next to Katara instead of 𝖠𝖺𝗇𝗀? What is this interaction doing here in the first place?

When an episode aims to explore an aspact of the characters, it will remind the audience of it in the beginning. In The Waterbending Scroll, Katara steals a waterbending scroll and gets insecure about her waterbending. The episode opens with the Katara teaching 𝖠𝖺𝗇𝗀 waterbending and getting insecure. In this instance, they want you to keep in mind the dynamic where... Zuko is in the way of 𝖪𝖺𝗍𝖺𝖺𝗇𝗀? (That's without mentioning what Katara's doing with her hair). That is strange.

Moving on to the play – See the joke about Katara's characterization in the play:

The point of Ember Island Players is while the play is heavily distorted, it is somewhat based on reality. It's funny and even gets under the character's skin sometimes because it shows them a parody of themselves. (Further evidence).

When we get to the the scene between Zuko and Katara in the Crystal Catacombs, for some reason, it's portrayed as some romantic moment.

Acknowledging a fan pairing in canon from is always out of the blue/baity from the get-go. I cannot recall a time when another show that did this. Here however, it's under the premise of somewhat founded parody. Which begs the question:

(Side note: There's been debate over Katara and Zuko moving away from each other. It's common for eventual romantic leads to deny attraction. It could be contextualized that way later and audiences aren't trained to rule out the pairing. The meaning is dereminted by the outcome).

Despite that, Katara and Zuko aren't in love. Everyone knows this, right?

𝖠𝖺𝗇𝗀 is jealous. Jealous to the point where he gets up and leaves the theater. The thing that kicks off the conflict of 𝖪𝖺𝗍𝖺𝖺𝗇𝗀 is... Zutara?

Speaking of the conflict, I won't dwell on it too much, but the events were the following: 𝖠𝖺𝗇𝗀 adressed the kiss they shared in the invasion, a kiss that went unaddressed for 5 episodes. Katara is unable to commit to an answer. Her lines, isolated:

"𝖠𝖺𝗇𝗀, I don't know" // "This isn't the right time" // "Right now, I'm just a little confused".

Until he kisses her once again.

And realistically, she doesn't take it well. Many girls use this language to reject gently. This is purposely written to suggest that they might not end up together. All of which is kicked off because of Zutara. Remember the beginning: Zuko is in the way of 𝖪𝖺𝗍𝖺𝖺𝗇𝗀.

When 𝖠𝖺𝗇𝗀 is back in the theater, he's concerned about his future with Katara. It is showcased with this shot:

𝖠𝖺𝗇𝗀 isn't angry at Zutara here, so why is Zuko in the shot? A director storyboarded this, it was planned. They could have easily leave him out of it and it would convey the message better. Leaving him here implies that he is somehow related to the conflict, That Aang is worried about them, while both of those things aren't true.

𝖠𝖺𝗇𝗀 not being able to sit next to Katara isn't ship baiting. 𝖠𝖺𝗇𝗀 getting angry at actress!Katara not returning his feelings isn't ship baiting. Katara herself being unable to immediately return his feelings isn't ship baiting. What is ship baiting is how all of this is caused by Zuko to a degree.

Zuko stealing 𝖠𝖺𝗇𝗀's seat and Katara giving him a side glance is ship baiting. Zutara being canonically addressed in a play that's vaguely founded is ship baiting. The former causing 𝖠𝖺𝗇𝗀 feeling jealous, leaving, and starting the conflict over it is ship baiting. Zutara is imbedded in the foundations of the episode. Ember Island Players plays out as if there is something between Zuko and Katara, when there isn't. That's ship baiting.

[eardefenders]

Thinking about how Sherlock & Co has constant imagery of John falling and nearly drowning, both metaphorically and literally, and how everytime Sherlock is there to save him in the nick of time.

Like at the start John is metaphorically falling into depression and drowning under the weight of his low self esteem and then he meets Sherlock who lifts him up and out of the depths of his self-flagellation.

You have John falling into water or down shafts and Sherlock always arriving at the last moment to reach out and grab John.

And then I'm thinking about how Sherlock is going to fall. He's going to fall into some body of water and John won't reach him in time (and it will be by design).

And John will have to live with the guilt of all those times Sherlock saved him and he couldn't do the same the one time Sherlock needed him.