#there. making enormous decisions. absolutely able to track a conversation and participate in things which he absolutely could not do. and

[ongreenergrasses]

hater opinion - katniss was more fucked up mentally than annie was she was having nervous breakdowns to the point they had to sedate her and went full catatonic for like a month. peeta was definitely worse than her, and pre mockingjay haymitch’s alcoholism was more detrimental than anything we saw annie doing in District 13. the only time we see her after finnick’s death she’s completely with it and able to make a major decision based on sound logical reasoning even though she must have been deep in grief when a major plot recurrence throughout the story is people falling apart in their grief (haymitch, katniss, mrs everdeen) whenever people say she wouldn’t be able to raise a baby by herself or live alone i can tell they just heard the word “mad” or “crazy” and run with it without actually remembering what we canonically know about her character

SAY THAT ANON!!!

like yeah. maybe she’ll need some sort of help with her kid, because she’s a single mom and that’s hard. maybe she decides not to live alone for her own comfort because experiencing some of the symptoms she does can make it difficult to live alone, that’s fair. but we know she can live alone, because she does in Thirteen. we see her at some of the worst times in her life, which means yeah, she’s having a lot of symptoms, but she’s also always able to communicate, she’s able to track what’s going on around her, and she’s able to actually navigate and mitigate her symptoms to a degree that nobody else in canon can do. people’s interpretations of Annie get so far out there that they become actually contradictory to who she is in canon, and it ends up being to the detriment of all those other characters you mentioned who are severely struggling with their mental health but seen to not be as badly off, just because Annie gets the moniker of “the mad girl” and people don’t look beyond that. truly, the ableism of it all!

[bolatangkas512]

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[queen-mabs-revenge]

The Twist was Bad Writing and Here’s Why:

What I’m going to try to do right now is explain why I’m extremely dissatisfied with the 6.12 twist but from a purely extra-textual perspective. The thing I’ve found with my previous explanations and some other counter explanations that I’ve read, is that there’s an awful lot of trying to figure out the event within the world – character motivations, character reactions to each other – basically looking at these characters as if they were real people and talking about their interactions with each other. Normally, that’s my bag, but right now I just want to look at the way that the twist was written and why I feel it was inadequate. And that feeling circles around two main ideas:

Killian Jones is a fictional character. His on-screen persona is a deliberate result of choice actions being outlined in the text. Relying on your audience to fill in behavioural aberrations with extrapolation (armchair psychology, external historical context) is bad writing.

Having your character step out of its established on-screen behavioural pattern can be exciting for the narrative, but the more an action that steps outside of the established canon pattern has an effect on the plot and characterisation of the character and its relationships, the more weight it should be given in the narrative. A behavioural twist that results in what may be the most climactic moment of alienation and reconciliation for a character in its entire development should be given due weight (not necessarily long and laboured, but due)

OK let’s get cracking. Because Killian Jones is a fictional character (I just hurt myself OK?) although he shares a lot of characteristics with non-fiction people, everything about his personality, actions, and behavioural patterns are deliberately plotted out. Stories that are told about him are told with a specific purpose in mind: establishing behavioural patterns to either support or subvert as the story progresses. What is shown on screen is definitive canon.

Snow is a hereditary monarch in what seems to be a medieval/renaissance type setting. Historical extrapolation says that she should be mainly concerned about her political power with disregard for the effects of securing that political power on the economic and social well being of her subjects outside of their ability to fund her claims to power. Is that what’s shown on screen? No. We see her going into villages, concerned about the effect Regina’s pursuit is having on people. That’s her behavioural pattern that is established on screen.

I might look at Lieutenant Jones’s uniform and draw conclusions that the royal navy in which he’s positioned must be drawing on the historical tradition of the British navy in the 1700s. If I were to draw conclusions based on his rank and supposed historical context, it would be a safe conclusion to assume that Killian Jones was born and raised a gentleman and that he and Liam participated in keeping order on deck by administering brutal punishment, which in the 18th century, could commonly be meted out in lashes number in the hundreds. But that’s not what we see on screen. We know that their backgrounds are most certainly not rooted in nobility.

Hell, even minor things – Ruby’s a werewolf. Extrapolate from legend and she should only be able to transform at the full moon. But that’s not what has been established on screen.

So when the argument is presented that Killian’s offhanded, brutal, and unmotivated killing of of a pleading Robert should have been expected because he’s a pirate, it doesn’t really work for me. Yes, if this were a biography of a historical pirate, I wouldn’t be in any way shocked at a similar action, but while Killian is a fictional character inhabiting many key tropes, visual and behavioural, of being a pirate, as a fictional character, the only canon is what is on screen. In the same way that I find the anti argument that Killian is indicative of rape culture because he is a pirate and that’s what pirates did unsupported by canon, I find the supposition that random acts of violence should have been expected because he’s a pirate and that’s what pirates did equally unsupported by canon.

The writers have chosen a pattern of Killian’s on screen behaviours that do not involve random acts of lethal violence. Whenever Killian does A Bad Thing, it’s in context of some kind of control being taken away or threatened to be taken away from him (either in respect to his ability to give and receive love or his ability to achieve his revenge). He justifies his viciousness by the context in which perceived wrongs are committed against him. That behavioural pattern is a deliberate choice on the part of the writers and every single kill (and harmful action that didn’t result in, well, murder) has been written in a particular way for a particular reason. We aren’t getting shown flashbacks based on a random date generator, these are the things that the writers have decided are important, essential, to the understanding of Killian’s character (and that’s not even going into the established character trait of literally not giving a fuck about being recognised as a pirate).

Extrapolation based on historical context might be an interesting fanon exercise and one that I engage in like…fucking all the time, but I am not going to hold canon to task for my own personal headcanons, and conversely, I expect canon to stand on its own without my personal headcanons smoothing it out. Up until this moment, Killian Jones partaking in random acts of brutality just because he was a pirate and that’s what pirates do is a fanon construct.

Which brings me to my second point: what about behavioural aberrations? Great. I love them. They make things exciting, they shake up/move along the plot, they cause other characters to react. But they need to be supported by context, especially when they affect a character and its surroundings in major, overarching arc-derailing ways.

Take 6.12 and David. The behavioural patterns that have been set up with David are that he is intent on keeping things together as a leader. He often serves as the balanced, positive voice to other more emotional, sceptical characters. So when he breaks down in the scene outside of King George’s cell, it’s incredibly emotionally resonant – but because there had been a full episode (actually the arc had been established with his refusal to destroy the description of the coin way against Snow’s advice, way back in 6.03) devoted to the build up. If we hadn’t had that whole narrative focus that highlighted the vulnerability behind the strong, stoic veneer, and instead had suddenly opened the door to him weeping at the kitchen table, we would have been shocked, sure, but we wouldn’t have learned what we did about the character through the decision to show his journey to his breakdown on screen.

A pretty big deviation from an established behavioural pattern was given narrative weight in order to show the effect it had on the character’s development and the development of those around him.

So if I’m arguing that Killian stabbing Robert is a behavioural aberration from his established on-screen canon behaviour, then I’m also arguing that for that moment, which is set up to be the past action that will have the greatest in-show effect on his own personal growth and the people around him, to have the gravity that it should have, it should have the narrative weight that the fall out commands.

The show is setting up narrative stakes: the possible derailment of a relationship five seasons in the making at the point when it was on track to take its next step. Love is on the line, friendship is on the line, family is on the line – all things that are absolutely essential to the character they’ve been building. So to pinion the never-before-as-serious stakes on an action that is outside of the on-screen established behaviour pattern of the character without giving narrative weight to the reason for that broken pattern? If that broken pattern creates enormous stakes for a series of main characters, yet gives no insight into the acting character that will be specifically dealt with in the reconciliation?

It rings cheap, smacks of gimmickry, and at this point in the game, at this apex of a redemption arc, I 1) don’t want to have to extrapolate motive from headcanon and 2) I want a reason for a pattern being broken. And that’s why it’s bad writing, IMO.