#what does this say about my character

[aengelren]

Damn I’ve got a type

[tea-cat-arts]

Shen Yuan getting transported into pidw isn't "the system punishing him for being a lazy internet hater," but instead representative of "step 1 of the creative process: getting so mad at something you decide to go write your own fucking book" in this essay I will

[poorly-drawn-mdzs]

Get Their Ass.

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[huginsmemory]

Ideology of Exceptionalism and Gravity Falls; meta and character analysis

I had a whole ago read a post by @icanlife that had a quote by Alex Hirsch on Ford's greatest flaw, and wanted to explore what the flaw is, which is the ideology of exceptionalism; in the exploration, I’ll touch on what it is and how it is used in abusive relationships and cults, as well as how it drives multiple Gravity Falls characters and consequently how it impacts relationships between these characters, and how the show ultimately refutes exceptionalism.

Quick note here; I am not in any way, shape or form a psychologist nor have any formal training in psychology; this is written from my own experiences with this ideology and my own forays into psychology and trauma-informed learning. It is also written with a loose understanding that is likely not broad enough to cover all references to cults, extremist groups and abusive relationships. 

The Ideology of Exceptionalism 

First of all, we have to get through a drier bit, which is… what is the ideology of exceptionalism and how does it arise? Might be fairly obvious, but it is the belief that you are, or belong to, a group of exceptional people, thus more important and worth more than anyone else; ie, those who don't qualify as 'exceptional'. It is often a subconsciously learned ideology. Now, what qualifies one as exceptional can be extremely varied; generally it revolves around something that provides some form of privilege. Thus, it might be, as the main exceptionalist idea in Gravity Falls, 'intelligence', or power, or it can be such things as attractiveness, quantity of money one has, species, nationality, or skin colour and ancestral heritage. The ideology of exceptionalism, being by nature hierarchical, devalues, and at its worst, openly and violently dehumanizes those who do not qualify as exceptional. 

For why exceptionalism occurs is an extremely broad topic, but I've personally found that, for exceptionalism revolving around intelligence, it's a result of a poor sense of self-worth, and having one's self-worth tied to what makes one exceptional. Poor self-worth itself (again, broadly) is a result of childhood trauma from a lack of positive affirmation and unfulfillment of the emotional needs of the child. Meanwhile, self-worth becoming tied to the quality of exceptionalism generally is a result of when positive affirmation was pretty much solely provided around their 'exceptionalism', especially when provided derogatory commentary, or a blatant example of how they would be treated if they aren't 'exceptional'. As a result of the general lack of affirmation, self-worth then becomes often solely reliant on the qualities of exceptionalism, as that is the only way for the child (and later, adult) to get affirmation of their worth, as well as out of fear of being ‘not worth anything’ like the examples of ‘non-exceptional’ people they have been given. 

This is especially likely to occur when the child is a social outcast; the adoption of the hierarchical ideology of exceptionalism, and the devaluation/dehumanization of others often occurs subconsciously as an avoidance/minimization tactic from pain. This is to say, the child, and later the adult (if healthy self-worth is not established) goes 'it doesn't matter what the non-exceptional people say or if they accept me since I matter more than them because of my exceptionality'. It can even be taken further, that being shunned is part of one's exceptionalism, and becomes part of the qualifier of being exceptional. For instance, 'they just can't understand because they aren't exceptional and that's just a part of being exceptional'. This idea also neatly tailors into the part of the concept of being better then others means you are separate from others; this can be taken that someone who is special, needs to be alone to be truly special.

Obviously, exceptionalism is not a healthy coping mechanism for poor self-worth, as often such people constantly feel the need to prove and show off their exceptionalism to gain that affirmation and avoid rejection, which is stressful. As well, it often negatively impacts their relationships with other people as a result of the arrogance of believing that they are better than most others, or even deliberate sabotage due to their arrogance. This occurs as they flatten the complexity of human experience to black-and-white hierarchical categories of exceptional/not-exceptional through constant judgement of those they meet, and often refuse to engage with people who don't belong to their 'exceptionality', or even people they simply don't like, even if they technically qualify. Generally, those that they do like or have close relationships with, often due to being similar, are automatically labelled as 'exceptional'. Those judged as ‘exceptional’ also become privy to the open judgements of ‘non-exceptional’ others, out of a subconscious belief by the exceptionalist that the other believes similarly; something that may strain their relationship if the other doesn’t ascribe to exceptionalism. This all culminates in the exceptionalist being blind or even adverse to the diversity of experiences, which makes it difficult to create relationships and community outside of echo chambers of their own beliefs (if they can even find this), and subsequently, these people are often isolated and have very few to no close relationships with people. 

However, all humans require connections with other people, relationships where one can rely on others emotionally and physically if needed and feel accepted; they also require to feel like they are worth something, that their life has meaning. Lacking meaningful connections and having a crippled sense of self-worth, a deep yearning hole is left in these people. Exceptionalism, especially as it is a narrative constantly pushed by Western society as it validates hierarchies, is then employed as a (often subconscious) trauma response to assuage this yearning hole, with arrogance and denial. And depending on the circumstances, it can be a very strong and definitive trauma response for people.

This isolation and lack of self-worth is catnip to abusive relationships, including cults and extremist groups. These types of relationships often heavily rely on isolating their victims or pulling them into echo chambers of solely the abuser’s rhetoric, to redefine what is healthy through gaslighting; as the exceptionalists are already isolated, this makes them extremely susceptible. They also often provide these people affirmation, and in these cases especially about their exceptionalism, thus confirming their self-worth, their 'specialness', while also providing them the connection they have been lacking, either through the cult community or through the abuser’s own presence. These emotional needs, which haven’t been met in a long time, if ever, begin to be fulfilled; something that abusive relationships and cults hinge on, rather than any form of logic.

Ideology of Exceptionalism and Gravity Falls

The main characters within Gravity Falls which are heavily ascribed to exceptionalism would be both Ford and Bill; this characterization deeply impacts the story and their relationships with others (technically the Northwest are another case regarding wealth, but less directly impact the storyline and thus tangential; Gideon also is an example, but as a mirror of Bill). With each of these characters I’ll go into detail within their sections on the way they began to ascribe to exceptionalism, and how it plays out later in their relationships; I will first begin with Ford, then move to Bill. Then, to cap it off, I’ll go into the characterization of Stan and the way Gravity Falls refutes exceptionalism. 

Ford and Exceptionalism

Firstly, the quote from Alex Hirsch that kicked this whole baby off, as mentioned previously; 

“Ford sees Dipper as someone who’s special like himself. That’s Ford’s great flaw, his arrogance is he believes that there’s special people, and everyone else. That human attachments are actually weaknesses. And the song and dance that he’s giving Dipper right now, is the song and dance that he gave McGucket, back when they were younger… ‘You and me are different, we’re better than everyone else. We have a path that no one else can understand, and only us can do this.’ It’s a very seductive idea for Dipper… Dipper is a smart kid, but Ford’s projecting. Ford loves Dipper because he sees someone who’ll tell him ‘yes’ to everything. Who’ll never challenge him, who’ll do a really insane dangerous mission.”

Very blatantly Alex Hirsch calls Ford out on his arrogance in the belief that he is special, in his belief in the 'lone hero' complex, in his belief in exceptionalism. And really, it should be no surprise that Ford does so, considering the way he's depicted as a social outcast as a child (other than Stan), and the way his parents have been clearly shown to be not particularly emotionally supportive (“I’m not impressed”); they don't provide positive affirmation except for his intelligence (mostly due to the possibility of money making through it…), while also actively comparing him to Stan who is derogatorily ‘not-exceptional’, and ‘worth less’. This all sets Ford’s self-worth up to be fragile, and other than Stan who wholeheartedly accepts him, he is isolated and invalidated; plus, the only other validation he receives is around his intelligence. All very classically fitting the profile for exceptionalism.

Image id: Stand and Ford when they were children, both clearly enjoying each other's company.

Ford’s belief in his exceptionalism catalyzes after the shattering of his and Stan’s relationship. Previously the twins are shown to do everything together, having a very close caring relationship; something unlikely if Ford thought he was better than Stan. Also, when Ford is talked to about his opportunities, Ford looks uncomfortable at the way they talk about Stan as inferior, compared to how he himself is being praised; but in the offer he’s simultaneously finally being validated, he’s being told he’s someone worth something, and he’s going to be someone worth something after this. And then the science fair incident occurs, and Ford loses that validation from his parents, from the judges and a future of more validation; after being promised validation and acceptance, it slips through his fingers. And in his anger of being denied that, it becomes easy to begin to slip subconsciously into the rhetoric the others have been feeding him; that he’s exceptional, that Stan isn’t, and he deserved to be recognized for his worth. So he breaks the relationship with the only person who accepted and validated him for who he is. With that loss of previous support, Ford becomes then deeply obsessed with proving his exceptionalism to the world to assuage that fragile self-worth, to become accepted, or even better, revered, confirming that he is someone of worth, someone special, like he was promised. 

Ford’s obsession also doubly functions as a way to alleviate his guilt over shattering their relationship; if he’s exceptional as he believes, then he’s within the right to respond the way he did, as he’s worth more than Stan, he's better off alone, and he has a right to be angry over being denied that validation. As well, in much the same way as it is used as a way to alleviate his guilt over the end of their relationship, it is also likely used in a way to minimize the pain of being ostracized (although not directly depicted); afterall, Ford’s keenly aware and insecure about his social ineptitude and his six fingers as things that make him different from other people, case in point with his experience visiting Lazy Susans Diner. Thus it wouldn’t be unsurprising if he uses the idea of being worth more than those who ostracize him to imply it ‘doesn’t matter’ what they think. His ostracization by nature keeps him from generally forming close relationships, with the exception of Fiddleford (who much like him, is socially outcast, and intelligent) during his university days. As a result, he's isolated and acutely lonely, having lost Stan.

Image id: One of the missing Journal 3 pages in TBOB, detailing Ford's botched social interaction in Lazy Susans Diner. In the background is the print of his six-fingered hand.

In his obsession over being acknowledged, Ford, like many others who believe in exceptionalism, identifies strongly with the causes of his ostracization (his intelligence, his six-fingeredness) as part of, or wholly, makes him exceptional. It is obvious through his choice of study; with the grant he has been gifted, he chooses to revolve his work around the weird, the outcast, something that you see Ford gravitate towards being an outcast and deemed 'weird' himself (which in Journal 3 he openly talks about). Something that can be, much like him, framed as 'exceptional'. His work is even recorded in a journal that Ford deliberately chooses to put his six-fingered hand on the cover of. Intertwined with the way it becomes adopted into the idea of exceptionalism, is the keen loneliness from his ostracization and a deep desire to be accepted and a wish to find a community of other weird people.

Image id: Two pages from journal 3, labelled 'Myself', in which Ford is open about being weird, and a social outcast, while also noting his ambitions and that 'Gravity Falls, [is] the place that I fit in.'

Ford and Bill

All of this culminates in Ford becoming an incredibly easy target to manipulate by Bill. He’s desperate to be acknowledged (and thus accepted) by an authority figure so that his belief in exceptionalism is justified and his self-worth confirmed. And he knows he’s intelligent, that he's exceptional because people have told him so, but he just needs to prove it with something that shakes the world. And the grant is finally his second chance after the fair, but he's stuck, and the research is going nowhere, and he's in a town where he doesn't really know anyone and he’s so terribly lonely. And sure, he clings to his exceptionalism but if he can't even prove it then is he really exceptional? Is he even worth anything like he thought he was? And what about what he's left behind, rejected, because of his exceptionalism?

And THEN he finds an incantation and he ignores the warnings because maybe, just maybe, this will be his break to get that acceptance/validation he has been chasing his whole life? 

And then it's better than that. 

A god, essentially, shows himself to him, an ultimate figure of authority. And he tells him that yes, he is special, he’s worth more than other people, and Bill’s only showing himself to Ford because he is so much more intelligent than anyone else. Ford is suddenly getting his exceptionalism confirmed by a god of ancient knowledge, an immensely intelligent interdimensional being, and he’s also showering him with affirmations, specifically affirmations around what Ford's fragile self-worth is based on. And even better, he's delighted by Ford's six-fingeredness; he's not put off at all, it even becomes his main nickname for Ford, just like it used to be for Stan all those years ago. On top of it all, Ford's own social ineptitude doesn't phase Bill, another thing Ford is self-conscious about; Bill's own social ineptitude as he's not human probably makes Ford feel comfortable, knowing that's not expected from him.

Through Bill, not only does Ford find someone who validates his self-worth through intelligence and even confirms to him that his weirdness is part and parcel of making him special, he also finds someone who he regularly (generally) is in contact with, who enjoys talking to him and even banters with him familiarly. Hell, Bill even deliberately goes out of his way (literally possessing a whole wack ton of rats, then dream karaoke) to celebrate his birthday with him; how long do you think Ford has simply skipped his birthday since he had no one to really celebrate it with? The loneliness, beneath his arrogance and belief in exceptionalism, is being fulfilled; for the first time since Ford was a teenager, he's fully accepted by someone, social awkwardness, six fingers, exceptionalism and all. 

Image id: One of the lost pages from Journal 3 in TBOB, the 'one thing led to another' page, with Bill and Ford singing karaoke and drinking together, both clearly enjoying themselves; Bill has an arm slung around Ford's shoulders.

So it's really no surprise at all that Ford fell for this, hook line and sinker. Hell, if I was in Ford's shoes I would fall for it just as hard. And I've seen a few posts floating around talking about how Bill is bad at manipulating, and no, he's not. He was able to pinpoint exactly what Ford wanted and needed, and provided that, was charismatic enough to provide that. Again, manipulation isn't about logic. It really isn't; it's about the emotional core in people, what people lack and what you can give them to slowly reel them in to sing your dance and song. And people will ignore vast swaths of red flags when you're finally being accepted, when you're finally getting your emotional needs met at least in some way or form. It's better than not having them met at all, such as previously. So Ford worshipping Bill is really not a surprise, especially as Bill deliberately stoked it.

All of this is part of why you see Alex Hirsch call Ford's belief in his exceptionalism his greatest flaw; because it allowed him to be very easily manipulated by Bill, and by its nature kept Ford isolated from others, evident by his arrogance in assuming he knows best and refusing to see other people who aren't as 'intelligent/weird' as him as worth getting to know, listen too and even reach out to ask help from, it's him believing he has to be the lone hero as someone whose 'special'. It's something that blinds him to the danger of his work around the weirdness of gravity falls because he’s desperate to seek a place where he and his weirdness belong, and it's something that plays out in each and every relationship he has because it's something he clings to so deeply. It's what cost him his relationship with Stan, who previously accepted him completely, and, as he's disinclined to form new relationships and as Bill actively strokes his paranoia (Trust No One…), ultimately further increases the hold Bill has over him. It's only Fiddleford’s presence as he works with Ford that allows him some form of outside reference and reprieve from solely Bill’s influence, something that Bill resents deeply and is clearly jealous and angry about, even if Fiddleford is helping create the portal. And it's ultimately Fiddleford, once he was aware enough of what was happening, calls Ford out on it, seriously jeopardizing Bill's influence over Ford; but Ford is too invested in the portal, in chasing his own ambition and caught up in Bill’s manipulation to take him seriously, until the incident with the trial, and Ford beginning to hear other voices then Bill.

Ford’s Exceptionalism and Wider Relationships

Now back to how it plays out in all Ford's relationships; we've already gone over it with Bill's influence, because it made him extremely easy to manipulate, and with his disregard of Stan in favor of validation of his exceptionalism. But Ford, as pointed out by Alex Hirsch, also exerts the ideology's seductive rhetoric to both Fiddleford and Dipper (who look up to Ford) in a similar way that Bill does with him (although there is a difference of it being used intentionally and maliciously, compared to subconsciously and earnestly, even if it is problematic). Ford, with his black-and-white view of exceptionalism, sees both Fiddleford and Dipper as people who are like him; 'exceptional', and so he treats them as such, and uses this rhetoric to coerce them into helping him.

For Fiddleford, the lure is how he can change the world, how he can be finally acknowledged if he helps Ford with the portal. And it works well; he willingly chooses to leave his own work and his wife and young son, to work with Ford. Much like Ford, Fiddleford himself is also a social outcast and regularly presumed less smart than he is, and he’s got a chip on his shoulder to prove himself, to gain acknowledgement and recognition from the world at large. Although Fiddleford has a family which presumes he’s not entirely lonely like Ford is, he also clearly has deep feelings for Ford, some which are hinted to be more than just ‘friendly’ feelings; it is likely the combination of the lure of validation and spending time with Ford, a kindred spirit that accepts him and an old friend/crush, that causes him to agree (afterall, it was Ford who made Fiddleford feel accepted and choose to stay at Backupsmore). And Fiddleford’s not even considered a partner, but rather an assistant to Ford due to Ford's arrogance, and he still drops everything to go! It’s more about their relationship and connection rather than validation, but that doesn’t stop Ford from espousing exceptionalism. And this is a distinguishing difference, because although Fiddleford would like recognition, he’s not there solely because of it; he’s not a believer in exceptionalism nor arrogant about his skills, and so, unlike Ford who is blinded by his obsession, he’s much more aware of the dangers of the weirdness of Gravity Falls. Thus, he's actively calculating the risks involved, and when he realizes there could be potentially devastating consequences of the portal, he attempts to talk Ford out of it; this fails due to Ford’s own denial and obsession over the portal. In the end, it all goes terribly sideways, and Fiddleford ends up losing everything he had; his wife, his son, his friend, his memories and himself to the trauma he had experienced at the invitation of his friend with the lure of validation and company, due to the memory gun he had created himself. 

As for Dipper, much like Ford, he also has issues with self-worth (many of the episodes deal with Dipper finding self-worth; ie, the manotaur episode), has a physical oddity (his birthmark) and by far the trait he relies on most for worth is his intelligence (for example, in one episode he rubs it into Mabel's face over and over again in beating her in games). He's also extremely desperate to be recognized by authority figures as someone intelligent, case in point when he summons the dead after being made fun of by the government agents to try and show them that the information he's gathered is important after Stan dismisses his knowledge. This desperation to be seen as someone of worth from Dipper, much like Ford, extends to the need to be a hero, something he even says at the end of the zombie episode; yet, due to Mabel, unlike Ford he's not a lone hero, and Mabel also half the time acts as the hero.

Image id: Zombies crawling out of a crack after Dipper summons them; Dipper and the two agents look on in horror.

It all culminates in Dipper hero-worshipping Ford when he returns; really, no different than Ford worshipping Bill. And Ford clearly finds it extremely flattering; Dipper's attention and amazement of him feeds his exceptionalism. Exactly how Ford responded to Bill, Dipper is willing to do anything for Ford, excited too, in an attempt to impress Ford and be validated and accepted. And for Ford, that's an extremely heady feeling, especially as someone who has been constantly alone the last 30 years, especially when he had one previously confirm his exceptionalism all those years ago and stopped, and now someone is once again affirming that idea. And Ford doesn't have to be alone again, because he's found a kindred spirit in Dipper as his assistant, someone ‘just’ like him, someone who is exceptional. Because he sees himself in Dipper, he begins to espouse exceptionalism unconsciously, by praising Dipper's own intellect and adventurous spirit, assuaging his feeling of self-worth, while also telling him he's more important or better than others because of it. 

And it's seductive to Dipper, because he wants to hear those affirmations of his self-worth, especially as he hero-worships him, but Dipper isn't sold on it, because it means leaving Mabel behind, it means believing that he's worth more than Mabel (and also, Stan, and all his friends he’s made in Gravity Falls). It's ultimately because of his relationship with Mabel that he rejects the ideology; he's not isolated the way Ford was with Bill, and he's not willing to break that relationship for that acknowledgement, because his relationships matter more to him.

Bill and Exceptionalism

Now of course, that's only on the Pines; what about Bill? 

While it's obvious that Bill uses exceptionalism as a main manipulative tactic, it's not just an ideology he sprouts emptily; it's also an ideology he believes in, just like Ford, although it's less based on intellectual exceptionalism, and more on power and 'weirdness'. 

This most distinctly can be seen in Bill's denial about what happened to his home dimension; Bill's belief in his exceptionalism occurs as a pain avoidance tactic from killing his whole dimension. Bill was clearly a social outcast within his dimension due to being able to see 3d; he's not accepted, and not trusted, to the point that there is medical intervention to make him blind. That's a deeply traumatic experience that completely erases one sense of self-worth, where one’s sanity is called into question by your parents on something that is not harmful, that's beautiful and you just want to share with them. It's a deep and clear rejection of who Bill is, and his ability. As a result, out of a desperate bid to be understood and accepted, he ends up trying to show them the stars. And it ends up killing everyone. 

Image id: Page of TBOB, on 'The Early Years' which notes that Bill was an oddity for seeing 3d, something that was illegal to speak about. Bill frames it as something that made him 'special' and better than all the others.

Traumatized, and originally rejected by the dimension, he instead weaves an excuse of exceptionalism; that it doesn't matter what he did to them because he's exceptional and he's worth more than all of them because he can see 3d, because he's powerful, so he shouldn't/'doesn't' feel any remorse about it. With such a traumatic result of trying to be accepted by people, he rejects the idea of trying to be accepted for who he really is; instead adopting a facade of a monster that he believes he is (and eventually, becomes).

Even if he clings to the delusion of exceptionalism, and shuns attempts to find true acceptance, he still wants it; and that's where his henchmaniacs fit in, as they're all, as Bill's noted when trying desperately to get Ford to join him, weird; each has something 'wrong' with them, which is why Bill accepted them as his lackeys (although it's not like we know the context around these). It's a surface-level acceptance however, one more predicated on fear than emotional acceptance. He's taken his 'weirdness', much like many do who believe in exceptionalism,as ‘part of what makes him exceptional'.

In the same way that Ford wants to show the world that he's smart and intelligent by building the portal, Bill does so by wreaking havoc and taking over existences as a way to show the world that he's powerful, that he's someone to be reckoned with, that he's not someone to be ignored because he's someone who's worth more than others. If you can't be loved and accepted, then being hated and feared is better than being ignored; acknowledgement at least approaches acceptance, it's validation of some sort of worth. It also functions as deliberate self-sabotage of his morals, by proving that he is the monster that killed his entire dimension; if that's what he is, then that's who he's going to be, because if he wasn’t, then he has to come face to face with his remorse over what he did to his dimension and his whole house of cards around his exceptionalism and not caring collapses. So instead he keeps feeding the delusions the denial, and lies and lies and lies and keeps lying to ignore all of it, to wrap himself in this shroud of exceptionalism and brutality as a way to function. And it somewhat works, because he's mostly deluded himself about it all, even if subconsciously he knows. 

And of course, this display of Bill's exceptionalism is what brings Bill to earth, to Gravity Falls, and to manipulating humans. In meddling with earth and humanity, beyond Bill's goal of taking over earth and fleeing his own unravelling dimension, he also enjoys reaping the benefits of being worshiped by humans, who find him awe-inspiring. Their amazement of who he is, and Bill's own posturing and manipulation of people leads to Bill literally forming cults (ie ciphertology) or having apprentices that worship/find him (to varying degree) inspiring; all reinforcing his feelings of exceptionalism. 

Of course, Ford numbers among these people; he praises Bill and worships him, as he's played like a fiddle by Bill, because his self-worth and belief in exceptionalism is fucked up in a way that perfectly resonates with Bill’s. Because it's the exact same types of issues around self-worth, around being an outcast, being weird and wrong physically, and yet at the same time gifted. And Ford clearly is incredibly lonely and yearning for acceptance, but so is Bill; since the beginning he's been trying to find someone who would accept him, even if he's given up on it. And for his song and dance to entice Ford in, he pretends he's not crushed dimensions for fun, that he's not a 'monster'; a version of him he buried after he had tried to show his parents the stars, one that he occasionally resurrects and puppets around for manipulation (all lies are better when they have a grain of truth). And this version of him is worshipped, but above all is accepted, is loved by Ford. The softer parts of Bill, even if they are still weird as fuck, the parts that were never far beneath the surface for all his deluding, become loved by Ford. Much as Ford becomes hooked on Bill’s praise, Bill also becomes hooked on Ford's genuine love and care. It becomes personal, unlike any previous ‘inspirations’ and Bill over time gets to the point that he feels accepted, safe enough with Ford to share about his dimension much more close to the truth then he did with any of his henchmaniacs. He becomes vulnerable with Ford, in response to Ford’s own vulnerability with him. He’s finding acceptance for the first time in his life around the softer parts of himself, not just the feared acknowledgement that comes from his dimensions conquering; much like Ford is finally finding companionship and acceptance with Bill, not just only intellectual validation. Bill's also for once, not just self-serving; he cares, and goes out of his way to take time with Ford, even celebrating Ford's birthday (in the unique way he does things), both with the rats and the karaoke.

Image id: One of the lost Journal 3 pages in TBOB. Ford recounts Bill talking about the destruction of his dimension, and calls himself by implication a monster.

They're both fulfilling each other's emotional needs, needs which both of them have struggled with most, if not all of their lives (although their relationship is certainly not healthy, considering it's codependent as fuck, riddled with exceptionalism and oodles of power imbalance issues). And suddenly, against Bill's plans, Ford's no longer just a disposable pawn, but someone Bill wants as part of his team, someone by his side, closer than his henchmaniacs are. He's unwittingly fallen for Ford, and so when everything goes sideways in his plan, and Ford swears it off, suddenly cutting off their relationship and that acceptance Bill had finally felt, he spirals into grief and anger from the rejection. As a result, he becomes extremely abusive to Ford in desperate attempts to continue their relationship, and ultimately he becomes obsessive over Ford joining him again as Ford continues to refuse, as evidenced by both Weirdmageddon and the Book of Bill.

Stanley Pines, and the Refuting of Exceptionalism 

Exceptionalism, being a negative driving factor behind many core character dynamics, is ultimately refuted by the show. This occurs multiple times over the show, such as with Mabel in the Pioneer Day episode, especially compared to Pacifica, but mostly through Stan's characterization. Stan is someone who has been since the beginning characterized (if lovingly so) as someone who is a failure by societal standards; he’s an older man running a run-down tacky tourist shop to swindle gullible tourists out of their money, has multiple divorces, has an ongoing feud with a literal 12 year old, clearly has had multiple mishaps with the law (some ongoing), is generally pretty self-serving and is extremely lonely and really had no close relationships until Mabel and Dipper showed up. He's not exceptional; he's not even what we would consider 'decent' enough to have a 'typical, hard working job’. In short, he’s a failure, a stark difference to the idea of 'exceptionalism' that characterizes Ford. If he's gifted in any area, it would be charisma (debatedly), not anything else.

But it's still Stan who rebuilds the portal from literally only one journal (not all three!) and gets it to work. It even seems like he only needs some codes from the other two journals when he does get them, suggesting that he was able to extrapolate from what was left and the first journal’s blueprints to fix it entirely, something that is extremely difficult and technically complicated (Ford, Bill and Fiddleford all worked on it together!). Stan's able to do it, even if it's been shown he's not 'naturally' gifted in that area. And it's something he does as a result of his deep care for Ford; because even after their fights, he cares about Ford and wants to right his wrongs, believes he should, because of his whole life of being defined as a failure and even worse than that, screwing up his ‘exceptional’ brother’s life. And he’ll do it even if that means learning how to build an interdimensional portal, even if it takes up thirty years of his life doing so, and he doesn't waver. Much of this is connected to his own complexes around being deemed a failure compared to Ford, having failed to succeed in his life, and how he feels that he needs to atone for screwing up Ford’s life, now for the second time; but beneath it all, he also cares. Much like Ford, he's extremely lonely, but he's not blinded by Ford's arrogance, and as a result he wants to make sure Ford's safe, because that's what he used to do, they’re twins, they grew up together, they once they had fully accepted and cared for each other, and dammit that still means something, and Stan hasn't found that depth of emotional connection since. So if possible, he wants to rekindle that closeness they had, but first, he needs to bring Ford back. 

And in the end, it's not Ford's own special gun he built using his intelligence that 'kills' Bill. It's Stan, someone who Ford had long ago broke it off with in search of validation of his exceptionalism, someone who both Ford and Bill labelled as 'not-exceptional', who defeats Bill. It's exceptionalism's devaluation of people who are 'not-exceptional' that causes Bill to underestimate the Pines beyond Ford, and it's only when Ford put aside his exceptionalism and his refusal to accept and trust 'non-exceptional' people, that is, trust Stan once more, that causes Bill to end up defeated by Stan.

In the end, it's not about who's 'smarter'; it's a reminder that everyone has different skills and are better at different things, but that doesn't diminish one's worth or value, and that just because someone isn't naturally 'gifted' in an area doesn't mean they can't learn or use different ways to get around obstacles. Ultimately, it comes down to that no one is worth more or less than other people; exceptionalism is a lie. It’s a lie and an excuse, and it's certainly not a healthy way to assuage one's poor self-worth. What does matter is creating positive healthy connections with other people, and caring about them. This creates a community where you can be yourself and be emotionally fulfilled through these connections; and when opposition does arise, you become able to fight it together, and fight so much stronger than if you are alone.

And by the end of the show, you see that. Ford begins to let go of the ideal of exceptionalism and its black-and-white categorization; finally recognizes his own faults around prioritizing validation of his intelligence and exceptionalism over his relationships, and finally, after all the years, chooses to create and rekindle positive relationships with people, trust people, and make amends. And in the end, he goes sailing with Stan, prioritizing their relationship, finally fulfilling their childhood promise.

Image id: One of the pages written by Ford into TBOB. Ford refutes Bill's idea of happiness, and says he has finally found his own happiness, and it looks like the photo taped in, of Stan, Ford, Dipper, Mabel, Soos and Wendy, all smiling together.

TLDR: Exceptionalism, an ideology of categorizing people into being special and worth more vs plebian and worth less, is a trauma response and subconscious ideology that characterizes Ford and Bill’s lives, deeply impacting all their relationships as it is used to coerce people into doing what they want, makes Ford easily manipulated, and breaks relationships through their arrogance. It is ultimately denounced through the way Dipper chooses to reject Ford’s offer and his rhetoric of being exceptional, and through the way it's not Ford’s intelligence, but rather Stan, who has been labeled as 'not-exceptional' and a failure at life, that defeats Bill through trickery. It's a reminder that everyone has worth, and no one is worth more than other people, even if one may be gifted in certain areas; the ideology of exceptionalism is fragile and a lie. In the end, creating a caring, loving community around oneself is where strength truly lies, as is seen with the deep care and love the characters have for each other, and the repairing of Ford and Stans relationship.

Thanks to the lovely @eshtaresht who deigned to beta read this monster of a post for me

If you enjoyed this meta, (first of all if you read all this you're a champ!) I've also done another gf meta post! (It's shorter I swear)

[edwinisms]

you know. I think the reasons it feels so literally narratively wrong when people refer to charles as being straight (such as in interviews where his love life comes up and so on) are that A) he’s never deemed outright straight in the show, so it’s just an assumption that he must be straight by default (which is silly in a show like this), and B) what he says following edwin’s confession. I know I’m biased, but even when I try to look at it as neutrally as possible, the way he reacts in general and the specific words he uses just don’t sound right when you imagine them being said by a Totally Definitely Straight guy.

first of all if you actually listen to it instead of absorbing the scene superficially it’s not particularly a rejection at all, and the actors have stated that themselves– it’s not him saying no, it’s him saying “I can’t give you an answer right now, but I will eventually”. that’s not an interpretation, that’s literally just the truth of what he said (and again, the actors agree). can you imagine a straight guy saying that, or possibly even more damning, “we have literally forever to figure out the rest [“the rest” meaning anything that goes beyond the kind of love charles already solidly has for him]”.

imagine you’re a straight man who’s unwaveringly confident in his orientation and your gay best friend confesses his feelings for you. you would not respond with the implication there is a “the rest” to figure out. since the main, obvious obstacle would be your solid lack of attraction to men, that’d probably be essential to your response– it wouldn’t be a “I can’t say–“ it’d be a “I can’t be–“. and on top of all that, I feel like the whole thing would have to sound far more apologetic– “I’m sorry, I love you and that’ll never change, but I just can’t love you the way that you love me.” something like that, right?

tldr: this is a rare instance in television where assuming a character is straight by default makes Less sense than the alternative. and charles’ choice of words in the confession overtly suggest that he is, at the very least, unsure of his orientation.

[firestorm09890]

Penny stardewvalley makes me so sad because she's SO sensitive to, like, basically everything you tell her (telling her that you can't stand children while two children are nearby is a pretty lousy move but -1500 friendship?? being a jerk to other characters' faces typically loses you about 50 points, and if you choose the option labeled "creepy" and ask Leah for a kiss in her 2 heart event she physically hits you and kicks you out of her house but that's only -100 friendship…) and so if you want to befriend her it's a whole lot of lying and tiptoeing around her feelings (2 hearts: George was right but saying that makes her feel bad. 6 hearts: her food sucks but even if you try to be polite about it she feels like a failure; only a bald-faced lie pleases her. 8 hearts: saying you don't want to be tied down with a family loses you a little bit of friendship and she's only happy if you say you want kids) and I can't help but think she's a product of her environment. She lives in a trailer with only her mother, who gets drunk every night and has something of a temper. Penny's like a skittish rescue animal who won’t even come out from hiding under something unless you leave her lots of treats

[ms0milk]

thinking about mithrun dunmeshi who could incapacitate most opponents in hand-to-hand (update: he’s a trained knife-fighter!) but chooses to use extremely fastidious teleportation magic without blinking at how easy it would be to accidentally blow himself or everyone involved, friend or foe, all the way up

(and finding something in all of his lackthereof, to smile about here which only ever happens one more time SPARE me SPEAR me anything love this guy forever)

[brethilach]

I'm kinda scared to post this but it feels really bad being an actual schizophrenic person and looking at how people treat Thorin and talk about his "goldsickness" as if it's a moral failing. It hurts especially when people say or imply that his (psychosis-induced) actions wouldn't or shouldn't be forgiven by any of his family, friends, or his people and he wouldn't be accepted as King even if/when they discovered he only acted the way he did because he was just... y'know. mentally ill. Temporarily, at that! Because it was caused by a factor that can be permanently removed (the Arkenstone, I mean. It's painfully clear that the Arkenstone was the cause of it in the movies' canon)

"Oh, maybe his SICKNESS was caused by a magic jewel that is clearly cursed somehow, but it was still HIS fault that he was INSANE (never mind that he was actively delusional and hallucinating). He still loved and trusted Bilbo in the throes of his MADNESS, so it MUST have been a true reflection of his SELFISH DESIRE and GREED." This is how some of you sound.

It's even worse when people do the same thing to Frodo (even though both the book and movies depict him having delusions and hallucinations/visions akin to hallucinations, on top of all the other horrific things happening to him). "haha Frodo almost dies a dozen times and everyone else does all the heavy lifting just for him to STILL fail at the end. Sam was the TRUE hero of the story because Frodo was a useless whiny sad-sack and would have accomplished NOTHING without him" fuck you fuck you fuck you

I don't know where else to go with this. It just makes me question how some of you would treat me if you met me or knew what I experience on a day to day basis. It feels bad

[thankstothe]

[philosophiums]

I have given into peer pressure.

Below the cut is my un-referenced, not proofread, off-the-cuff thoughts on the main JJK characters and their tendencies to have traits that contradict themselves, which not only makes them more rounded characters but also creates a really interesting situation in which characters have mirrors and foils not only with other characters, but also with themselves.

The point of this post is that the characters in JJK are complex. None of them are one-trick ponies and all of them contain multitudes and have, at least once, contradicted themselves and their beliefs.

Might be spoilery? I tried to keep it vague enough that it shouldn't be, but read at your own risk if you're anime only, I guess.

The Obvious One: Gojo

Gojo is "the strongest." It's debatable, I think, whether or not being "strong" is a personality trait, but he makes it his defining personality trait. (And I'm not here to do a Gojo character study, so for my purposes, it will be viewed as one.) Obviously, The Strongest is a title given to him by others, but he fully owns it and believes it. This is his identity; it's how he views himself, how he handles himself, and it is a preceding reputation that he gladly leans into. It's not a mask he hides behind, it's a flag he proudly displays on his ship to warn others of exactly who they're dealing with.

It makes sense, then, that Gojo's self-contradiction is that he has the biggest, most obvious weaknesses of all the characters in JJK. The first of these weaknesses is his knowledge of how strong he is. Toji exploits that weakness in the Hidden Inventory arc, and it almost costs Gojo is life. His second weakness is, very simply, Geto. Kenjaku exploits that weakness during Shibuya. Interestingly, Geto is a victim of Gojo's first weakness (Gojo is so self-assured that he seems to extend that assurance to the people around him, thinking that they are "as gods" like him just for being in his presence, and therefore he does not pay mind to Geto's spiraling), and exploits his second. He, better than anyone else, knows that he is Gojo's weakness, and he uses that knowledge to do everything he does before and during JJK 0 without repercussions.

Gojo is framed by himself and by many characters within JJK as being the "savior" of the jujutsu world, but in many ways he was, in fact, its downfall - because of his strength, and because of his weaknesses.

The Main One: Yuuji

Yuuji is the king of contradictions to me. Not all of it is within himself, and in fact a lot of it occurs because a large part of the plot is happening to him instead of the other way around, but he has one dichotomy that I do think is All Him. Yuuji defines himself as a cog - in his thoughts, he has been used and beaten down for evil already, so why not just be used for good as well. He thinks of himself as expendable and easily replaced; a foot soldier in a war being fought by titans. At some point, his goal stopped being to follow his grandfather's last request and instead turned into the simple act of persevering for as long as he can just in case anyone may have need of him. In a way, his outlook and perspective on everything became rather bleak and inhuman - quite literally, as, again, he views himself as nothing more than a cog.

And yet, for someone who has claimed his only purpose is to be used to kill Sukuna, everything Yuuji does is so achingly desperately human and is born out of his own desires to save people. Every other sorcerer has a CT or a fighting style that disconnects them from their foe - be that ranged attacks or weaponry - but Yuuji uses his fists. It's raw and almost savage in a way that is unavoidably intimate and human. He says, "Use me," (and, don't get me wrong, he is used) but even the act of offering himself negates the connotations that revolve around being used and shines such a lovely warm human light on him.

Yuuji doesn't push people away. The other "strong" characters isolate (Gojo has infinity, Yuuta literally fucks off from the narrative, Geto fucks off from jujutsu society, etc.), but Yuuji hoards people and connections (and yes, those become weaknesses, but the thing is: they become strengths, too). Sukuna takes Megumi away from him, but that just makes Yuuji more determined to kill Sukuna and get Megumi back. Everything he does is out of love, and he has a drive to do what he has to in order to save (or avenge) the people he keeps close. That's not exactly cog-like behavior.

The Fandom Discourse: Megumi

In my opinion, of all the characters (but especially the first-years), Megumi is the logical character. Especially when it comes to his job as a sorcerer (fighting and killing curses). He is knowledgeable about the world of sorcery, the most book-smart of the first-years, and he is smart and methodical when he fights.

He is also the only character who has openly admitted that he really only cares about saving the people he wants to save, as opposed to the general rhetoric of saving everyone. He's selfish, and he's not shy about it. Even he doesn't try to rationalize it; it's just part of who he is. Logical, methodical, smart, but also deeply, truly, selfish when it comes to where and how he expends his energy and efforts.

And yet, he is also the character who is most willing to die. Now, before half the fandom jumps down my throat, I don't mean to say that he wants to die or that he is constantly trying to - I'm just saying that he is willing to. (Obviously, Yuuji is also a character who is willing to die, but Yuuji is only willing to do so if it would also kill Sukuna, and he is determined to stay alive until such a time. Megumi, on the other hand, doesn't have a similar end-goal ultimatum for death). Yes, he comes at dying from a logical point of view, and yes, he only ever brings martyrdom into the equation if he feels he has no other option, but he has no hesitation when he reaches that point. And you (he) can rationalize self-sacrifice as much as you want to, but that is a very emotionally driven response, regardless of the situation. It's a last stand not only for himself, but for his friends, his family, the world. It's the end of the line for him, and it's something he is willing to do if it means taking out his opponent and making the world safer for everyone else - not just for his "select" people.

He is willing to run away from a fight he cannot win, but he is also willing to do something that he knows for sure will kill him if winning and running are no longer options. And I know that not everyone will see these things as opposites or all that detached from each other, but, to me, intelligent and methodical fighting does not naturally go hand in hand with, essentially, grappling your opponent and jumping off a cliff with them.

The Favorite Child: Yuuta

Like Gojo, Yuuta has access to an overwhelming amount of power. There's no doubt that when it comes to raw energy, he is the strongest sorcerer in his generation. He's exceptionally skilled when it comes to fighting and is often able to get by on simply overpowering his opponents (truly, much like Gojo). He doesn't embody being strong, though - he knows that he is, but it's not something that he considers a defining trait for himself. Instead, Yuuta's whole thing is that he has a tendency to shoulder burdens that other people won't (much like Yuuji, actually) (also it's kind of funny because of all the characters in JJK, I would consider Yuuta to be a "cog" way more than Yuuji, but that's a whole other thing). Yuuta is willing to be a monster, to make hard calls and suffer the consequences, because he has internalized what everyone keeps telling him - that, after Gojo, Yuuta is now "the strongest."

Which means that Yuuta also needs an equally large weakness to balance out that power. But where Gojo had arrogance (and his boyfriend), Yuuta has innocence. There's this pure sort of worldview that Yuuta carries with him that completely counterbalances the part of him that is willing to get his hands bloody. He has this youthful sort of hopefulness and naiveté that if he does the dirty work and puts in effort, then things will work out in his favor because they must. If he is sincere, if he shoulders an unbearable mantle, then everything will be fine simply because he chooses to do so. He does things because they are right and just, and he wants to believe that the universe will acknowledge that and be fair - even though he wouldn't have to do these unnamable things if that was true.

The Less Obvious one: Nobara

Nobara doesn't have a lot of screen time compared to the others, and specifically not a lot of time spent planning for/fighting in the "big fights," but she has one thing that the other characters don't have: self awareness. Nobara is the only character who knows what her contradictions are - she even says them out loud.

She wants nothing more than to be a normal girl who is into fashion, who could be a model, who does her hair and her nails and her makeup, who goes on dates, who has a lot of money and spends it freely. That's her ideal, that's her goal. But that's also who she is right now. She dyes her hair, wears makeup, is feminine in all the ways that would mark her as a girl to strangers on the street, goes shopping and buys too much and makes Yuuji carry her bags. She likes being girly and doesn't shy away from it.

But she is also, and I mean this with all the love in my heart, a feral little gremlin who is willing to bash people's skulls in with a hammer. She's brash and rude and loud. She takes up space and is unapologetic about it. She's vicious on the battlefield. She's not afraid to get bloody, and she hates being viewed as a damsel in distress. She's strategic in her fights, and she uses the fact that opponents underestimate her to her advantage. And she knows all of this, too, and she likes it.

She's self-actualized <3 No notes from me; I love my girl.

Anyway, that's it KSJDBVJKLDFVBJKDFVB There's no real point to this. I'm not saying anything profound, I don't think. This was all just a thought that I had, a little thing that I noticed, and I was bullied (affectionate) into sharing.

[waitineedaname]

I realized I made some notes on how different characters fight in mob psycho, and I never posted them. here you guys go, for any reference needs

Mob: mostly simple attacks, not very showy, just waves his hand and uses telekinesis/exorcizes something, doesn’t move around much. As ???%, much more destructive, psychic force seems to just emanate off of him and destroy everything

Teru: VERY mobile, throws himself around with telekinesis, puts his whole body into the attacks and tends to use moves from normal fights (punches, slaps, kicks, etc). Utilizes a variety of psychic techniques with flexibility, very creative. Piss stance, necktie sword. Much more flashy than Mob

Ritsu: uses powers to throw people/things around. While Mob and Teru attack with just psychic blasts, Ritsu tends to use his powers to grab other things as an attack (grabbing the delinquents and throwing them against each other, throwing the Claw guards against the wall, picking up cars to sandwich Shimazaki between them). Uses his environment creatively (fire extinguisher smoke screen against Shimazaki). More flashy than Mob, but not as mobile as Teru. Hand gestures for Drama

Shou: sneaky + speed + bomb!! Tries to be as evasive as possible using invisibility/speed (probably telekinetically enhanced?) to hit from behind, using either telekinetic force (his stomp in his introduction, the shockwave hit on ???%) or his charge bomb attack. Potentially uses speed/evasive moves as defense instead of the barriers we see most everyone else use

Serizawa: likes to channel his powers into an object (umbrella, business cards). Uses that object as a shield, sword, or something to blast psychic powers out of. Not very mobile in season two, moves around much more in the yokai fight. Not particularly flashy, but looks cool regardless

Reigen: deception/surprise!!! Either tricks people into thinking he’s going to do something else and then attacking, or just outright taking them by surprise and attacking before they know what’s going on. Usually doesn’t have a follow-up move, just does the one attack and hopes for the best. Prefers to bluff his way through a situation

[kastillia]

[skywalkr-nberrie]

One of the biggest arguments I’ve seen used by the Ob*d*l*s against Anidala, is that scene in the ROTS novel where Padmé says she could trust OW with the secret of the rebellion and was hesitant to tell Anakin and I just wanna say:

Padmé wasn't an idiot. She was an extremely intelligent and competent woman, perfectly able to understand that loving Anakin and thinking that he could be trusted with a certain politic-related matter were two very different things and reducing her choice regarding who to trust with an important political matter only on the basis of her feelings of romantic love diminishes her professionalism, and this is why I say y'all could never understand her.

Padmé didn’t have to "love" OW or even like him at all to know he was the perfect Jedi to ask for help in a secret political matter.

That's the point being made in the novel, she’s hit with the realization that Anakin in this particular moment could not be told this piece of info because of his relationship with Palpatine, and Padmé specifically mentions in the Junior ROTS novel that she didn't want to make Anakin “keep a secret” if he didn’t agree with their stance because it’d be “unfair.” So this also played a part in why Padmé didn’t think it best to inform Anakin about the Rebellion. It honestly had little to do with her actually lacking trust in him, and more to do with the circumstances she was in not allowing her to be open with her husband and her not wanting to make him choose between his wife and his “father figure.”

However, Padmé knows OW’s political ideas aren't tied to ONE particular person but to a philosophy, one which is closer to her own, at that point. None of this was ever meant to be hinted as “romantic” or even remotely insinuated as romantic. It’s strictly professional and even the tone of the scene makes that so abundantly clear.

All I’m saying is that, some of these proshippers are doing the most out here to try and prove their ship, like my loves? You forgot a very important thing called ✨ context ✨ and regardless of her rational thinking, Padmé still went out of her way to try and talk out all of this Rebellion secrecy stuff with Anakin when she confronted him in the scene where she asks if he ever thought they were “fighting on the wrong side.” Padmé didn’t trust OW in the same way she trusted Anakin (with her entire self and being) she had the level of trust and love for Anakin that was only meant for him.

Mixing up her unwavering faith in Anakin as her husband with her trust in OW’s devotion to duty as her comrade/ally is purposely deluding yourself, because the two aren’t the same and therefore can’t be compared. An example of this is: Padmé constantly putting more value to Anakin’s words over OW’s in the end of ROTS when he came to tell her of Anakin’s “crimes”. She completely disregarded what OW had claimed about her husband and instead made her way to where Anakin was herself, to ask him directly. Despite what the truth was, this is proof of her trusting Anakin unconditionally, and I didn’t even think I had to spell that out because it’s as clear as day.

In conclusion, Padmé didn’t trust OW more than Anakin, she just knew the circumstances she was in didn’t exactly make it easy for her to openly talk with her husband about these matters and that’s part of what played into the issues they had in ROTS, it’s exactly what Sidious wanted.

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[kacievvbbbb]

Honestly despite my feelings about how the last arc of MHA went down I really love Deku and his story.

I just feel like a lot of the time we get these protagonists whose whole philosophy is it doesn’t matter what you were born as everyone can achieve greatness. But then the series goes on and it turns out that actually it DOES matter because the protagonist has this really great lineage and these really great powers you can only have through birth they were actually born born, predestined if you will, to do this.

But MHA actually sticks to its guns. Midoriya wasn’t revealed to have some great connection to all might that the universe had put in place. He wasn’t defended from some great lineage that makes him uniquely suited to this. Hell All for one didn’t even turn out to be his father, there was no hidden powerful quirk he was always meant to have. He was just Midoriya Izuku a boy who was in the right place at the right time and simply decided to act while the world did nothing. And that’s what really made him a hero.

I don’t know, maybe it’s just me, but I believe him a bit more when he goes anybody can be a hero if you just decide to act

[niinnyu]

Here's why I think the Gojo bait is not great writing and why you should maybe think so too (Spoilers till jjk 260).

We've spent the last few chapter consistently establishing a few things about our protagonist (Yuuji) and our antagonist(Sukuna).

1. Yuuji's father's soul is a reincarnation of Sukuna's twin: This instantly creates a connection between Sukuna and Yuuji.

As if you needed one outside of Sukuna's constant mockery of his former vessel's lack of "competance", and that most of yuuji's biggest losses can be attributed to Sukuna, building his wrath brick by brick. But surely adds to it all.

2. Yuuji feels incredibly lonely right now: Anyone he's created any sort of meaningful (?) Bond with outside of just 'hey you're an ally I can fight alongside with' is currently either dead or greatly incapacitated.

3. Also ofc the absolute damage that Yuuji has started incurring on sukuna. Damage that the slew of sorcerors before him couldn't. Forget about everyone teaching him abou love, Yuuji will show him Burning Rage.

This while also having hinted at Yuuji being possibly strong enough to do so on his own. He can go head to head with the King Of Curses with or without the help of his fellow sorcerors once he is able to harness this power.

Anything that was Gojo vs Sukuna feels absolutely irrelevant with the build up that Gege themself has been creating through the past few chapters.

Gojo's form right at the end of the chapter undercuts the pacing completely. Readers are more interested in those last 2 panels of Gojo which are completely removed from and rather jarring to the buildup between Yuuji and Sukuna. Fan interest in Gojo isn't their fault because that's what the chapter makes you focus on.

The only way I see this continue the buildup is if this is somehow Yuuji's doing or done with his knowledge, in which case it'd have been better to end the chapter by showing that Yuuji is aware of it and has an ace up his sleeve, bringing it back to the 2 relevent characters, and for people to stew in what Yuuji could be up to for a week.

But no matter what Gojo's visage there means, Yuuji in this moment has been so greatly undermined, not by his lack of strength, not by Sukuna outright demeaning him, but by the writing itself. By Gege.

And oh, how Yuuji deserves better.