#understand the emotions and feelings of the characters and that they’ve really embodied them

[noramoon]

the more i think about it the more mixed feelings i have about wicked

[crguang]

HI HELLO SHALOM INTERRO ??? THOUGHTS ??? HOW DO WE FEEL ABOUT CHIEF BEING THE PERSON TO BREAK THE PARADEISOS LOBOTOMY

ABSOLUTELY FUCKING INSANEEEEEEEEEEE. UNBELIEVABLE. WHAT????????! they are intrinsically linked together. at once by the shackles, paradeisos, loss of self, mutual liberation and their inevitable end perceived by others. they’re literally the same. shalom pre-lobotomy is chief pre-awakening; refusing to be controlled, full of vitality, hatred and defiance (as defined by having freedom). i have so many thoughts in my head and it’s hard to concretize them all but the language shalom used to talk about how chief opened the door for doubt in her mind stroke me, it’s so violent. “rift” “corrupting” “shattering” “beast/monster” “tore me apart”… it really conveyed how shocking of a transition it must have been for her to suddenly feel those “unnecessary emotions” that had been taken from her for 8 years. even more, it must be so surreal to understand that you’ve been dissected in two, dehumanized and objectified while simultaneously being able to gaze upon that part of yourself that cries in indignation. if she was truly emotionless it wouldn’t mean a thing, but she’s not… she’s so incredibly self-aware. i think this is what makes it so sad for me, knowing you have an expiration date based on your usefulness because you were “made” for one purpose while being able to feel pleasure and have desires, etc— to understand the weight of what has been snatched from you by people who think themselves righteous when they’re really just a bunch of fear-stricken cowards would have anybody go crazy. seeing what paradeisos did to her made me so sick. the apathy with which they treat every threat to themselves is shocking but straight up mocking her will to live for herself by calling the monster they’ve made using (a part of) her Rebel made my stomach churn like that is so disgusting… shalom is aware of the severity of what paradeisos did to her and it’s sick that she has to risk everything just for less than a 1% chance of success that doesn’t even include her survival mind you. im just SICKK

to think she was so full of life and fighting spirit and is now reduced to “resigned” looks and smiles, compared to an instrument and a doll— oh my god sev it made me so uncomfortable. i know that during the loyalty test in the consciousness observatory or whatever, she was essentially embodying paradeisos but reading her being described as “doll-like” “void” and such was so tough… for chief to get that impression of her being an empty shell, expression that shalom uses again in the end to describe herself, then for shalom wonder if she’s even human afterwards made me so sadddd 😭 i do like these two excerpts though because i feel like it describes the duality of her character well, the surface level at least. the fact that she is capable of being genuine and has mastered the art of “embodying paradeisos” so that they wouldn’t notice that flaw makes her impossible to figure her out without diving into her psyche. even chief couldn’t understand her fully, she wont be able to now that she’s forgotten her. she’s so wonderfully complex and her interrogation portrayed that concept super well.

ive talked about shalom and her smiles before but another thing that’s always struck me as odd was that she kinda laughed too much for an unfeeling robot. im not talking about her cute little chuckles either, yeah sometimes it’s only to add to her manipulation but at the end of flora unfurl, when all of her plans were coming to fruition and in the face of coquelic’s rage, she was laughing then still. her laughs and smiles are sometimes so inappropriate but her laughter especially stood out to me and i didnt really know why until this one scene… it takes more effort to fake a laugh than to fake a smile like she does all the time; from what i remember she wasn’t mocking coquelic or being unnecessarily cruel, but when she burst out laughing i was so confused exactly because it felt unnecessary and out of place, like what happened in that scene. laughter is often accompanied by emotion and during a time where rationality couldn’t explain the motive behind her action, schorl immediately scanned her for defects like that’s insane. the level of scrutiny she’s constantly under is impossibly oppressive— “try to rectify such purposeless physicalities��?! cant even laugh anymore because of woke. can’t voice her thoughts, can’t be fully genuine with the person who freed her from rationality, she literally cannot do shit omg. all of herself has to be available to paradeisos’ sterile gaze every second of every day… she’s used to that scrutiny but ughhh it’s not fair and it’s not how human beings are treated. shalom i will save you from this prison if it’s the last thing i do

despite it all, she has her small pleasures and it makes me want to scream and die. the way she “plays” with schorl by having it scan her meaninglessly, how she enjoys catching people off guard and observing their reactions, the way she’s always making fucking jokes?! so important to me. shes so unserious. shalom making jokes that fall flat because they’re in the middle of a heavy topic or issue is so important to me. “haha your garden’s better off with me than dead right? kidding, heh” and “why should i give a fuck about humanity?… just kidding! love these people” is so 😭😭😭 i genuinely find her hilarious because she doesn’t relieve any tension at all, she is NOT meant to be comedic relief 😭

back to her and chief tho…… is it not absolutely crazy how she was acting like they were once married with three kids before chief got amnesia. mind you they met ONCE before, officially. ONE TIME. and she was like “you made a lasting impression on me” “we’re friends” “i wanted to see you/my own subtle yearning to see you again” “we held hands like this once before… i still remember the touch” “being apart from you, i cant help but worry” SLOW DOWWWWWWN. MY GOODNESS. i know chief changed her life but shalom was so intense from the get go like she wants that cookie so effing bad. they used the words “tender” “intimate” and “gently” too often for me to believe they dont want each other like. and why was the hand holding written like a fanfiction— matter of fact, this whole thing was written like a fanfiction because why am i reading about the exposed skin of shalom’s collarbone, her pushing chief onto her bed then essentially climbing into it as well to whisper in her ear WHILE encouraging her to choke her?!?!?!?! what was even happening. lesbians make me sick. what a freak. i actually dont know how many times ive called shalom a freak while playing the first 2 interro phases

wish i could add all the screenshots from the choking scene but tumblr’s a BITCH. but this whole thing was insane. LIKE INSANE. this is gayer than 000 kissing chief. this is gayer than being a housewife for the assassin that kidnapped you. reconnecting with an old “friend” you cant remember yet feel an undeniable familiarity and connection towards and allowing yourself to be vulnerable and exposed in front of her regardless of ulterior motives… soulmates across space and time and circumstance idkkk, at the end of the day the one who can understand shalom the best if given a real chance is chief idc they’re mirror images of each other. shalom was so genuine in the interrogation room despite chief being suspicious of her like im sure of it now. the fact that they freed each other is forever ingrained in my heart, that is the most precious gift they could’ve given to each other even if it was done unconsciously from chief’s part. ALSO the fact that the one moment we hear the most emotion from shalom is when she’s at chief’s bedside telling her to come back? yeah. exactly.

let me stop yapping but there are many things that are escaping me that made me go “holy fuck”, i have a hundred screenshots and recordings just from her interro like it really blew my mind. shalom’s character is a bit clearer to me now and it really does put everything into perspective aaaaaa im aching to write for her properly this time

[oceanbastard]

“Yacht Rocket” - Bana-Nana ft. Byron Singh

A tragedy of loss, denial, crippling addiction, strength in the face of adversity and growth. //// 10/10 //// I don’t even fucking care. I’m biased. This is fucking based. Bana-Nana are a two piece group of musicians from St. Louis, Missouri. Previously the powerhouses behind groups such as Downcast and The Handicaps (iykyk), Drew Anderson (Production/Engineering/Project Direction/Instrumentation) and Brett Barry/Guttersugar (Vocals/Project Direction/Instrumentation/Lyrics) bring something new to the table each and every time they step into the studio. Genre does not define these men; they are Gods of their own universe and none shall tell them otherwise. The tale of Yacht Rocket is a poignant one. We enter to the sounds of joy and celebration, accompanied by methodical, melodic, (we call this “melodical” in the industry) amusingly boat horn-esque synths, setting the stage for what at first glance appears to be a party of a track. However, we’re immediately inundated with Guttersugar’s sorrow via hook: “You left me on my own/The Yacht Rocket’s on Loan/I’m on this boat alone”. This tragic tale is developed before our very eyes as the synths cascade into the next, our martyr crooning “I’m flying deep through space/and I can’t feel my face/I think I lost my face/Yacht Rocket night and day”, filling us in on the drug-addled hole they’ve retreated to without their lover. The lyrics of Yacht Rocket explore many difficult topics, such as fashion, suicidal ideation, allergies, love languages misinterpreted and so many more. Guttersugar deftly weaves these myriad topics into flowing rhymes and catchy melodies, held aloft by Drew’s ethereal, lofty production that knows exactly when to hit the hardest, helping us understand the desperation and delusion of the story’s character through both language and sound - “My emotions keep on droppin’ so I/Bought a boat with a motherfuckin’ rocket engine/50 milli, now I’m flying through the fuckin’ heavens”. To be entirely serious for a second, this track really is a monumental achievement. Not only does it in fact embody much of the sound typically associated with the yacht rock genre as well as tying in their own musical takes, it tells an enticing story that the listener consistently wants more of, while holding an obvious comedic and unserious air about itself. The lyricism, while occasionally silly, still holds its own as being skilled and thoughtful, maintaining the cohesiveness of the story being told while still hitting the occasional curveball right out of the park. And we haven’t even talked about Byron Singh’s guest feature yet. As mentioned, I’m a bit biased on this one. I know these guys. No veil here. But that doesn’t mean I am being any less genuine with my rating or comments. While this track seems meticulously planned, feature and all, the truth is that this might as well be called a loosie - it happened almost entirely off the cuff in the studio. In fact, it’s my understanding Byron and Bana-Nana had not really known one another prior to this track’s recording. Yet, Byron stepped into the booth and delivered the most scathing rebuttal possible from the perspective of Guttersugar’s spurned lover. Byron stands nose to nose with the lyricism delivered before his entry, and makes no bones about making it known. Not only does he seamlessly fall into the narrative, his bars hit like the suckerpunch of a breakup and mercilessly deconstruct the truth of the main character’s delusion and denial. Not to mention, he finished his verse with the sickest fucking burn I’ve ever heard in my life. “I WAS A DIAMOND IN THE ROUGH/BUT YOU TOOK ME FOR GRANTED/NOW YOURE FLYIN ON YOUR TOY/DONT THINK A BOY CAN MAN IT”. I MEAN COME ON BRO!!!!!!!!!!!!!!!!!!! The reality here is, Bana-Nana have created a multi-faceted masterpiece in this track. And they hardly even had to try. The ease with which these men create incredible music is genuinely astounding, and it’s utterly criminal there aren’t more people talking about this, goofy as it is. YACHT ROCKET NIGHT AND DAY!

[love-takes-work]

When someone toxic needs a friend

I just wanna add a little personal reflection to the discussion of Spinel’s treatment in Steven Universe: The Movie.

A few signposts so you know where I’m starting with this:

A criticism I’ve seen: 

Steven was not particularly warm to Spinel. He did not hug her. He did not offer to be her friend. He spoke carelessly and triggered her toward becoming murderous again. He only cared about what she could do for him.

A perspective I’ve seen: 

LOTS of people with borderline personality disorder or strong feelings about abandonment personally relate to Spinel and are critical of Steven from this perspective.

Rebecca Sugar’s commentary on Spinel:

The thing about Spinel is that she’s a really toxic person. 

She’s so toxic that she’s literally trying to poison people. 

In my interactions with friends who have had a history difficult enough to make it hard for them to trust other people and sometimes even actively want to hurt others, it’s just a very difficult situation to navigate. In the case of Spinel and all of these characters, that’s extremely exaggerated because cartoons have the ability to be extreme exaggerations. I wanted to explore what it’s like when you’re trying to help someone who really doesn’t want to help themselves, who wants to embody the negative feelings that they have about themselves. I think that’s something really real. I hadn’t seen that in a cartoon before. 

Spinel, unlike many other characters, actually has the goal of hurting people, which is new territory for the show. She really wants to hurt Steven, and there’s a reason that she does—because she’s in so much pain. I just wanted to explore all the dimensions of that.

I also think Steven has his way of trying to handle and dissolve conflict. It’s not necessarily a good way for him to handle this situation. It really leaves him in a difficult state, and I think what I wanted to show in the way that they interact is that at a certain point, when you can’t help someone, you have to be able to protect yourself. 

Ultimately, he can’t really convince her to change. It’s something she’ll have to want for herself. But what he can do is protect himself from her, making it impossible for her to hurt him. 

It’s sort of up to you if you would like to love her. If you watch this movie and she, you know, frustrates you, that is totally fair. I want that to be a big part of who she is.

[From the AV Club interview]

So here are a few things I want to shed light on.

It’s very interesting that Rebecca intended Spinel to be read as “a toxic person” because so many fans fell in love with her, said they’d be her friend, hated intensely on Pink Diamond because of what she did to abandon the poor Gem, and sympathized with her directly. But Rebecca was looking at Spinel from Steven’s perspective. And that’s also what I did.

I’ve been Steven. I have VERY much been Steven.

When you meet someone who was done dirty, when you recognize the horror they’ve been through, when you see how much pain they are in and agree they have the right to be angry, it’s natural for empathetic people to offer themselves as comfort.

But when you’re Steven, you also know it isn’t YOUR fault either. Before you have the ability and experience to set boundaries, you can get sucked into other people’s stormy waters and think you’re helping if you drown in solidarity with them. What’s really important to preserving yourself is learning that you can stand on the boat and toss a life preserver. That it doesn’t ACTUALLY HELP to jump in the water and sink with them.

Some folks are angry that Steven didn’t jump right into sacrifice himself on the altar of friendship in the service of an intense, literally murderous stranger who tried to poison him and his planet and lash out at his friends, robbing them of their rich pasts and their relationships because all of it hurt HER so much. It is SO easy to understand WHY SPINEL WAS ANGRY. But nothing she was doing to Steven, his friends, or the Earth was going to fix her problems, and furthermore, she FULLY UNDERSTOOD that it was NOT THE FAULT of any of the people she took her anger out on. It was irrational, yes, and that is part of her dysfunction. But also, in these situations, what helps explain it still does not excuse it.

Some have railed at Steven saying he somehow forgave genocidal tyrants like the Diamonds but couldn’t be friends with a damaged Gem like Spinel who just wanted friendship. The big difference there is that Steven got involved with the Diamonds when both parties believed he was a different person. The Diamonds believed he was the lost Pink Diamond, and Steven has also spent much of his superhero life believing he WAS his mother and was therefore obligated to accept punishment for her crimes or to clean up the messes she made. Now that he knows he is not her and that she did some pretty horrible stuff, he also wants the right to stop feeling responsible for every person Pink hurt in the entire region of space.

Steven gave Spinel basically compassionate treatment. He did not abuse her. He did not insult her. He occasionally coddled her when it seemed important (and though some said he was too businesslike while he pursued his mission, he was literally looking at the world ending within two days if he didn’t solve the problem). And most importantly . . . .

He let her leave the garden.

Spinel stayed in the garden all those millennia because Pink Diamond told her they were playing a game. All that time, she had visions of Pink returning so she could see her smile, hear her laughter. We see a sequence where she tried to follow Pink out of the garden and Pink manipulated her into staying willingly. We watch those feet leaving and one pair of feet staying behind. We see Pink disappear.

When Steven goes to leave the garden, Spinel follows in the same manner. Some have criticized him for letting go of her hands.

But he invited her out of the garden. He didn’t say stay. He said come with me.

As he sang about her deserving someone better, he was sincere. But he did not say the person to make her feel found should be him. He did not want to take on another person with thousands of years of baggage who would require a specific brand of attention and so much tenderness to avoid snapping. He did not allow her to be held by the hand and led out. He recognized that she needed encouragement to leave this place because of what was done to her, but he wanted her to take the steps.

Compassionate people are crushed all the time under the weight of needy people who make it hurt to love. People like Steven can acknowledge that Spinel deserves love and deserves to be happy without accepting that it’s heartless to stop short of personally doing it. Especially when you literally have to take physical, mental, and emotional damage as a general consequence of offering support and counseling. It is sometimes just beyond what you can do.

I made the mistake several times of getting very close to someone who treated me poorly while taking comfort in my presence. I cared that they were hurt and I didn’t know how to say “You deserve love” without stepping in and loving them. In EVERY case I was involved with, the person went from initially grateful to “why don’t you help me more?” shockingly quickly, and two of them deliberately tried to create situations where I would be trapped with them and isolated from others. 

I could get very personal here but I don’t think I need to. Those of us who relate all too well to Steven wanting to help others will have been in this situation. Your heart hurts for people who live with pain that has never touched you, but when they’ve made it clear with one of their first actions that they feel satisfied at the idea of ruining your life, trusting them could mean the end of you. Especially if they demand that you risk life and limb to fix and save them before you’d dare to call it love, and especially if they want to be fixed without feeling responsible for initiating any of it. Some people mistake suffering for working hard toward a goal. Both can hurt but only one is constructive. If I’m expected to spend extensive resources on someone, I need some partnership in the goal, and I can’t accomplish that with someone whose wish for companionship manifests as “I want you to feel as bad as I do, and will take steps to hurt you so I have someone to cry with.”

Steven risked his actual life while he didn’t have powers so he could go talk to Spinel, and he wouldn’t fight her when she wanted to fight. He protected himself while she spent her anger. He STILL put himself in the line of fire far more than a less compassionate person would. He took time and tenderness to listen to her story and sympathize with her, tell her she deserved better, bear witness to what she’d become after being treated like a discarded plaything, and bring her hope with promises of a new future and a way to feel found.

Sadly, Spinel flipped back to being murderous at the first sign that Steven might be about to prioritize someone other than her, reframing his reasonable needs as if he was planning to abandon her, isolate her, discard her. This was a trauma reaction, yes, and she isn’t entirely to blame for being upset because she was worried she was just being used and none of her actions were logically thought through. 

But does someone ever “deserve” the friendship of a specific person who can’t feel warm toward them because of their OWN bad experiences? 

No! 

Steven has a big heart but he has his very own huge storehouse of trauma, and being physically attacked with his family and planet put in danger over the actions of his mother is at the top of the list. Instead of assuming that the person who has trauma the loudest is the most hurt, can’t we just acknowledge that Spinel’s and Steven’s respective traumas make them NOT the best match for friendship?

The ending of the movie, with Spinel going off with the Diamonds, might seem a little disturbing with all the codepencency floating around there, but if you want to talk about compassion, I think this is a good place for Spinel to start. 

She just wanted to make Pink Diamond laugh and enjoy her life. She longed to do that for so long and then it all ended when she found out she would NEVER GET TO DO IT. I think bonding with the other Diamonds and having a familiar, safe place to experience the kind of love she’s used to will be a good FOUNDATION for building herself into a person beyond that. For now, she needs comfort. I hope they treat her well.

[astrolology]

The Love-Hate Relationship with Stelliums (Pt. 1) ✨

Guysss pls remember that astrology is holistic and this should be read taking into account your overall chart placements, as well as the planets in your stellium and what sign rules your stellium. TAKE NOTE lol

1st house

❤️: You may be a person who is very driven towards a particular goal, single-minded in behavior and with a sense of determination that is hard to beat. The focus is on self-improvement and is rather internally driven - there can be large amounts of time focused on figuring one’s identity out. You’re not afraid to say things as they are - you’re able to dish out criticism hard but you give credit when its due. You extend the courtesy you receive to others. You may have an innate sense of wisdom that you keep deep within that you don’t let slip unless to extremely close ones but in times of hardship you are a good source of motivation. You always seek to improve yourself and it’s hard (if not impossible) to drag you down because of your strong personality and how you tend to always move on no matter what. I think 1st house stelliums are the embodiment of “don’t look back” and y’all always try to make the best out of every best situation, sort of like seeing the silver lining in everything. And also when crises emerge you’re able to keep a calm head on your shoulders and are good at making snap decisions, which makes you good on your feet!

👹: I don’t think y’all are as self-absorbed as ppl make you out to be but there’s definitely an element of self-centredness such that when you do something, you often consider what is most convenient or productive for you. You might get upset when your plans are disrupted but sometimes do the same to others even though you might be aware of what you’re doing - in that aspect, 1st house stelliums can be hypocritical. For you, there is never enough - you’re never satisfied with anything, be it yourself or for other things so you can seem really unappreciative. Keep in mind that you also tend to force others to agree with you and don’t be so quick to dismiss the other party’s POV no matter how dumb it seems. Remember that there’s always something to learn from other people, no matter their status. You need to work on expressing your appreciation to others in a more genuine manner (altho I know y’all do it in gruff, slightly awkward ways when sincere - kinda cute ngl).

2nd house

❤️: You may be a person who has a strong moral code and has a staunch value system that you won’t deviate from no matter what. Sense of loyalty is usually unbreakable and it can take a lot to truly anger you. You can have a good financial sense and good instincts/foresight that allow you to plan ahead for stability’s sake. More often than not in certain areas you are a master of categorising and structuring things which means that your mind is analytical, critical and (usually) organised. You hate it when people think they know you because you (understandably) know yourself the best - there are many privatised layers of yourself that you prefer to keep... private so yeah it just annoys you when that happens. Y’all are a leader in certain aspects of your life and even though 2nd house stelliums tend to prefer being the right-hand man, your control freak tendencies come out and you end up leading anyway. You become really productive because of the fear of failure - you have crazy high expectations for yourself and expect the same of your closed ones (although ultimately you’ll support them in whatever they do). There is an appreciation for the finer things in life and when it comes to your loved ones you’re not afraid to spoil them hard. 

👹: Be careful not to let this driving need for stability restrict you from spontaneity and following your heart’s desire. There is an inherent inflexibility in your nature; stubbornness can really be your kryptonite. You don’t really take any opportunities that you think might threaten your security which, while giving you a stable fort, can hold you back in your own happiness + prosperity. You might realise that there is a limit to your perspective but really struggle in seeing outside of that perspective mainly because you spend so much time thinking about what matters to you that you’ve become accustomed to your train of thought (altho when you do break it it’s lowkey groundbreaking). The focus on this house is on stability, not only on material wealth, so while you may be reaping in one aspect you might tend to lack on the spiritual or emotional elements of life. You can be very, very controlling and demanding so you might want to tone it down a little if not people might get the wrong impression. People might think of you as judgemental (and you are tbh) but I believe it’s just 2nd house stellium’s way of assessing a person’s character/abilities. 

3rd house

❤️: You may be a person who puts in a lot of effort into various forms of self-expression (not limited to verbal communication but also finding a specific niche such as music, art, writing etc.) Your brain is naturally sharp and inquisitive and you may be able to pick things up very quickly. You might be rather adaptable but are surprisingly stubborn when it comes to your opinion or intellectual capabilities. You might have a dark/dirty sense of humor and because of that you also have a keen ability to see past the societal nuances of propriety and get to the heart/root of whatever a person is saying. You can spend your entire life trying to understand people and why things work the way they work - your brain needs to be stimulated in order for you to feel alive. Passion for you has to be applied in a productive manner - you probably aren’t a person to just take a passion for something as a mere hobby. Rather, you would either apply that passion to one of your existing projects, create a new one or use it as a motivating factor. Your interests are wide and varied, which makes you really well-rounded in certain aspects! 

👹: Many people say y’all are flighty beings and I can certainly see why they would think so. Because of your perceptiveness, you tend to change your narrative whenever you’re speaking to different people, so as to make yourself sound more convincing. In that aspect, you can be quite manipulative. Your ego probably isn’t the smallest either haha - you can tolerate being slighted at some things but if it’s a challenge to one of your passion projects you’ll probably become very upset. You need to stop giving people the hot and cold shoulder all the time and even though you’re quite sociable you tend to flaunt but hide your true thoughts. You have to be more open and honest in your self-expression, and not that idealised, constructed version of yourself you think people will find interesting. I’ve noticed that 3rd house stellium ppl have an obsessive need to “stand out” and make themselves feel unique which, despite all your charms and popularity, might be the reason why you find yourself sometimes so isolated. You’re a perfectionist (although you would deny it) and secretly quite controlling but unlike other stelliums you can manage it better I feel. 

4th house

❤️: There is a pressing insistence regarding relationships in your inner circle - be it your family, closest friends, or your future family. Extended focus on your cultural heritage can also be possible. Deep down, compassion is at your core and you are very protective of your friends in a silent but aggressive way. Having a stable family life is very important to you but I’ve noticed that more often than not, 4th house stelliums have turbulent family relationships. The beauty of 4th house stelliums is their ability to break through whatever toxic relationships they’ve been in and to create families of their own - be it unconventional or not. They are the epitome of “we choose our own families”. Y’all can be very empathetic and rather selfless to the point where you allow yourself to be manipulated (even though you’re aware of it) - but it’s usually for a justifiable reason. You find it easier than most to balance the emotional landscape but there are moments where you need an outlet to express yourself. There can be an obsession/possessiveness over your own culture - you take pride in your roots and become lowkey insulted when people disrespect it (and if you don’t, you somehow nearly always manage to find some other culture to assimilate yourself in). 

👹: Y’all probably get very upset when things don’t go your way but the problem with this stellium is that there is a want to speak out but you choose to bury everything inside instead - giving you a very passive-aggressive and even aloof image. Internally, you guys might think that you are giving off a very soft/giving aura but some people are wary precisely because you are hard to read. You are very, intensely private (rivalling 2nd/7th house tbh) and you have to learn how to share your true thoughts, no bullshit, no suger-coated thoughts with your family and dearest friends even though you are capable of handling yourself. You are independent, ambitious, and people often underestimate you, but you have to let people in first in order for them to know what you’re capable of! Also, idealisation of certain things (eg. a future family life/partner) can be prevalent and you overthink things to the point where sometimes you make yourself miserable. Again, please talk to someone hahaha you don’t have to deal with everything yourself. 

5th house

❤️:  Insecurity runs rampant in any 5th house stellium BUT y’all are quite paradoxical in a sense that you also have a very strong aura of confidence. Sometimes, in crucial moments, you manage to convince yourself and others that you are the most important person in the room haha - literally the epitome of “fake it till you make it”. Still, a deeply rooted kindness is found in 5th house stelliums such that you’re always looking out for the underdog in the room. If you are developed you probably have a strong sense of righteousness which prompts you to look out for people who might be struggling. Y’all are very concerned about your physical appearance and most of the time you like to keep your body in good shape, which draws the attention of people in the room. You likely have an infectious smile (this is just a hunch but I don’t believe 5th house stelliums smile a lot - y’all quirk your lips or smirk but a true smile is rare so when you do... it melts the hearts of people). Everything that you do will have a youthful flavor and you have a healthy appreciation for downtime/self-care so while you might not (contrary to popular belief) be that fond of kids, kids are attracted to you. Oh and actually I think the stronger this stellium is in a person, the shyer the person seems at first impression but inwardly and as time goes by, they become more humorous and dramatic. 

👹: You aren’t exactly manipulative, but you know how to use the power of suggestion (and your charms) to get what you want. If unchecked, it’ll become a habit because to you, it’s an instinctive thing to do and you might not realise you’re hurting other people because of it. You are stubborn and prideful (which isn’t a bad thing sometimes but) you take criticism quite badly such that if a person tries to offer their opinion or goes against your beliefs, you might take it as a personal attack. You have a fear of being restrained/constricted (like 9th house) so you’re actually quite aggressive to those who you perceive to be a threat to your authority. You can also experience extreme mood swings (from crazy happy/hyper to melancholic in a snap) and when you do you expect people to give you attention. But you are hypocritical in this aspect because you yourself can be quite insensitive to other people’s feelings, or you brush them off if you’re not “in the mood”. 

6th house

❤️: You are most probably quite an organised person, not in a tidy way (although you could be) but in matters of life there’s an insistence on order and structure. The way you think can be very logical - you are able to think concisely and connect the dots in a quick manner and logic is probably prevalent in everything you do. However, in contrast to this pragmatic behavior, you are deeply caring and you won’t think twice to give up something if a loved one needs it. You are very disciplined in certain aspects of life and you are able to maintain a consistent effort in everything that you do. You’re probably someone who finds joy in small things and although you have high standards, it doesn’t take much to make you happy, as long as it’s genuine. You can be a perfectionist and really quite meticulous in your work which makes you someone who is detail-orientated. You give a lot of yourself to other people and most of the time you don’t expect anything in return, which is one of the great things about 6th house stelliums. You take effort into maintaining your physical health and you mighttt be a fitness freak or someone who keeps track of their diet really carefully. It’s likely that you encourage other people to follow your lifestyle and generally, you exert a sort of mellow influence around other people that makes them want to be better. 

👹: There’s a tendency for 6th house stelliums to fall into pessimism, precisely because of your pragmatic nature. Y’all may say that you’re being “realistic” but in actuality it does dampen the spirits of some people. You can also become really unreasonable and inflexible once you’ve made up your mind on something and that makes you a bit narrow minded because you simply refuse to listen to other people’s POV. This can also cause tunnel vision which can really limit your full potential and I think it’s something worth spending your time working on. When pushed into a corner or feeling insecure, y’all might try to cover it up by being condescending or giving the cold shoulder. There’s also a risk of being overly reliant on a schedule/structure and hence, cautiousness when it comes to being spontaneous or embracing something foreign. Because of your affinity towards maintaining health, your hypochondriac tendencies may be exacerbated and you need to try to lessen your over-worrying behaviour haha. Although you never dish out something you can’t receive (eg. high expectations - you’re truly your worst critic), your demanding tone can really make others cautious of you.

OVERALL, I strongly believe that the way to embrace your stelliums isn’t to reject or force yourself to change the values they represent, but rather taking those eccentricities and moulding it into something more precious and beneficial to yourself. It has to be done with a thorough understanding of yourself; with patience. 

-C

[cosmicjoke]

Ugh, okay, chapter 81 of AoT, and I’m in the corner cryin’.

But seriously, what an emotionally powerful chapter this was.  God man, it’s gonna’ take me a minute to get my thoughts in order.

Well, first of all, Erwin, and all of the recruits, watching them sacrifice their lives here was just so absolutely, emotionally powerful.  Just incredibly moving and heartbreaking.  Even after Erwin gets hit and falls, (and the panels here of him dying are truly devastating, powerful images) to see the recruits continuing to charge forward, to carry on in his stead, it really is just so intense, and as well speaks to Erwin’s own power as a commander, how he was able to inspire these people into giving their lives for a greater cause.  To see their courage in the face of certain death, carrying on Erwin’s spirt here, it truly was one of the most moving, and also one of the most heart-wrenching moments in SnK up to this point.  I felt so much for all of them.  The way Marlowe thought of Hitch too, in the end, never realizing it was because he was in love with her, ugh, my heart.

Now contrasting that, and I swear to Christ, I really, REALLY don’t understand how anyone can sympathize with Zeke given the sick display he puts on here, his cruelty and ego-driven rage towards these young men and women, and how he lets his rage towards his father fuel his violence towards these innocent people just... it pisses me off so much.  I can’t even.  I mean, Zeke is one twisted, sick mother fucker.  He’s demented, truly, the way he swings wildly between violent rage and perverse glee as he kills them, and then has the unmitigated gall to act like he feels sorry for these people, how clearly he thinks of them as pitiful and pathetic, their sacrifice as meaningless.  He treats them like their lives are pointless, and then has the nerve to play at sympathy for their plight.  What pisses me off the most about Zeke is how utterly self-centered he is.  How everything he does, everything he thinks, is filtered through his own view of the world and life, and how he never once stops to consider the lives of others, their own views or experiences.  Because he’s deemed his own life as worthless and without point, so too has he deemed the lives of every other Eldian.  He’s far and away the most self-centered, ego-driven and selfish character in the whole series.  Oh, he just made me sick here.  His own hypocrisy is equally disgusting, with how angry he becomes when Levi dares to make him pay for what he’s done.  As if he can’t believe anyone would dare cause him harm, unable to comprehend why they would even wish to do so, as if he’s some great, godly figure sent to the world to bestow his twisted sense of mercy on those he deems unfit to live.  Just the whining, hysterical reaction he has to getting fucked up. The ego on this guy is seemingly infinite.  He truly is despicable.  Just a pathetic child of a man taking out his issues on everyone but himself, throwing temper tantrums when anyone dares to challenge him on what he’s decided is right.  Fuck Zeke.  Seriously, just... fuck this guy so much.

Now, enough about him, let’s talk about Levi.

Truly, some of the most heartbreaking moments we’ve seen with Levi up to this point happen in this chapter.   The moments following him taking Zeke down (and yes, that whole sequence was epically bad-ass), just seeing the depth of Levi’s pain here was so devastating, and incredibly moving.  You can see how preoccupied he is with what’s happened.  Zeke isn’t even his main consideration or concern.  He seems almost distracted, looking back behind him, out over the field of his fallen comrades and friends, and wondering in an almost frantic, inner monologue to himself if anyone out there is still alive.  He’s hoping beyond hope that someone, ANYONE, is, so that he can save at least one person.  This goes back to Levi’s determination to keep the new recruits alive back in I think chapter 78 or 79, ordering them not to die, and then trying desperately to get those with the horses back on the other side of the wall.  It really puts into perspective just how devastating this is for Levi, to see all of these people, dead, crushed to death by rocks, all of these people who just a short while ago he had been doing everything he could to protect.  To know they had to die to save only a few.  HIs desperation here, the way he clings to the hope that at least one person is still alive, out of all of them, to be saved, the way he reminds himself that as long as they’re breathing, it can be done, if he gives them the serum, it all just drives home in the most poignant way just how pained Levi is at the sacrifice they’ve all made.  It drives home how much it’s cost Levi, to allow them to do it.  I said before that him making that choice for Erwin was Levi going against every, innate feeling and instinct that he has, the need to protect and save people.  Levi had to go directly against his own nature in order to make that call, and the consequences of that are plain to see in these panels.  His wide eyed, shocked expression, the frantic, mantra-like thoughts going through his mind, almost childlike in the way he keeps asking if anyone is still alive out there, if there’s anyone he can bring back.  And the way he thinks of Erwin specifically when he asks that, it serves as such a cruel reminder that Levi’s just given up one of his dearest and closest friends.  That he’s just willingly lost a person that meant so much to him, in order to obtain any sort of victory for humanity.   It reminds us of the personal cost to Levi.  Another person he’s lost in this battle for humanity’s salvation.  Ah, he just breaks my heart so much here.  And also how it’s that hope, that desperate wish that someone is still able to be saved, that stays Levi’s hand from killing Zeke immediately.  How it’s purely Levi’s wish to save someone that keeps him from killing Zeke then and there, it truly speaks volumes about what kind of person Levi really is, about how much he values life.  

And then of course there’s Levi’s reaction when Pieke catches him off guard and steals Zeke away.  Levi’s stunned horror, as he watches Zeke escaping is, for one, I think, because his chance to save even one life is being taken away, there before his eyes, and, of course, because the purpose behind all of his comrades sacrifices, the reason they gave up their lives, in order for Levi to kill Zeke and provide those left a means of escape, is being rendered meaningless.  We then see Levi’s stunned horror turn to unbridled rage, as he realizes the promise he’d made to Erwin is slipping from his hands.  He can’t allow for all of these people to have died in vain, he can’t let their sacrifices mean nothing, he can’t let that stand.  Once again, the depth with which Levi values the lives of other people is truly incredible, and the emotion in these panels is perhaps the most powerful example of that quality in Levi up to this point in the story.  I just felt so much for him all throughout this.  

When you think about what Levi’s been through here, too, how before he even went after the Beast Titan, he’d already run himself ragged taking down some unknown number of smaller Titans to protect the horses and the new recruits, and then in order to get to Zeke, he had to take down probably a dozen or more 12 or 15 meter Titans, before finally taking the Beast Titan down, all this by himself, it displays the strength of Levi’s will so powerfully, how much of himself he’s willing to give in order to further the cause of others.  For him to then continue to go after Zeke, after all of that, just the way he never gives up, never stops fighting, exemplifies how wholly Levi truly embodies the ideal of the Survey Corps, and the fight for humanity.  What an absolute hero he is.

[piaoza]

normal people

I don't know what to say about this book that would do justice to its brilliance. Every dialogue, every little mannerism and movement of the characters, their flaws and their messed-up minds and behaviours, all of it has been embodied so well. In so many ways, it is so simple and routine and normal, until you finish it and you feel so much for this novel, because it is simply so, so beautiful and different. It shows what it feels like to have an on-and-off relationship with someone, to be so passionate, to want to be desired by someone and have them hold their power over you. It shows the intricate relationships of the two protagonists so well - they simply couldn't, and didn't, leave each other alone. Their love story wasn't perfect and could never be that way, but they're more than enough for each other, and they both know how much they need each other. And in the end, whether they end up together or not, they know how much goodness they've brought in each other's lives, and that's enough.

Marianne is supposedly very cold, and often hides her emotions and seems to be invulnerable, but the way she opens up for Connell, the way she doesn't mind being vulnerable before him, in conversation or in bed, it is simply so well-put. The book is called Normal People, and it really, truly, is about normal people. But, people who are so flawed and often problematic, that they seem, sometimes, quite abnormal. The way Marianne's circumstances with her family affect every life decision, and the way Connell always notices her flaws and her drawbacks, and everything she is not, recognizes the darkness within her, and finds her hard to understand most of the time. That being said, this is just not your cliché love story. It has no mention of grand gestures and love at first sight, nothing about happily ever after. Nothing too over the top. Everything is so subtle and that's why it is so beautiful. It is so passionate yet put together so lightly. It shows people who love each other but are not immune to each other’s mistakes. It gets all too real with these characters. Call them normal people or not, they're people you want to read about.

The way Marianne is a loner and a quiet nerd in school, while Connell is the popular one, and the way the roles are reversed in college, is such a genius way of a little plot-twist. Now, they understand each other in more ways than before. Their relationship goes deeper.

I just simply love the way the author has described the love and understanding that is shared between them. How they just cannot let go of each other. It hits me so, so, so hard - the way Connell would just be right by Marianne's side the second she would call. How fragile yet strong a thing a relationship is, or can be, when you feel something for someone the way Connell and Marianne do for each other.

Oh man, I love this novel to bits. I have never read anything that is so simply written and quite uneventful at times, and still, is a book that you do not want to put down. You just don't. The weird sense of comfort you find in the sheer messiness of the characters, and their actions and reactions to the things happening around them, it is all too raw, too natural, too real. You can simply see it playing in your head, or happening to yourself. The anxiety, the anticipation, the love, the passion. I was left awestruck by the novel's simple beauty. And by how much and how strongly I often related to it, to the very well-written quotes that went straight to my heart and pierced it.

This book is, in its normal way, so bloody extraordinary. Connell and Marianne's story is going to stay with me forever, and I'm going to keep thinking of it, and coming back to it, and loving it forever and placing it instantly on a list of my favorites.

[why-this-kolaveri-machi]

it wasn’t power i coveted; it was acceptance.

Titans 3.06

y’know, i was just thinking the other day that 1.06/1.07 and 2.06/2.07 were the best episodes of their respective seasons, so i have great hopes going in to this one. fingers crossed!

as always, typing this up as i see the episode.

SPOILERS AHEAD

1. oh! um... that was a Cold Open, all right. *nudges* get it? cold? because it’s snowing? and two people got murdered in cold blood? eh?

... oh, i’ve just started.

1.5. i wonder if “i want to be sipping pina coladas on a beach with you” is the new “i’m just one day away from retiring.” i was so on edge after that--i kept expecting that car to explode. even so, the way they died wasn’t an anticlimax: brutal, and quick. 

1.75. so i’m assuming that’s the titular lady vic! this show better bring up why this doll was important or why these two cops needed to be killed, and not leave it to the ether like jericho’s little mindscape jaunt in 2.08 (i’m still dying to know what that was about???)

2.

i love how deliberately unappealing wayne manor is. 

(sorry for the pic quality. i don’t have hbo max! ssshhh.)

2.3. i love the many references to “home” and “our house” when they’ve been here for less than a week and saw one of their friends get blown into pieces. i mean, i unironically love it: home is where family is, after all!

2.5. i’d like to say that kom is playing some sort of long game here, especially given the build-up we had last season and some of the more niggling details this season: why did kom choose now to use her bond to lure kory when she’s been on earth for months? why did justin call kory now, just around the time that she started getting kom’s visions? and what about kom’s ability to exactly imitate other people? hmmm.

2.75. the reason i wrote i’d like to say is that i’ve made the mistake of assuming plot complexity where there is none; i was so invested in the jason todd orchestrated his own death theory for instance, when it turns out that oops! ra’s al ghul just happened to leave a little lazarus puddle in gotham, and oh yeah! scarecrow just happens to have a network of henchmen working for him on the outside and a fully functional laboratory and a weapons cache fit for a new supervillain in the basement of the high security psychiatric unit/prison that he’s in! 

(no i’m not bitter, why do you ask)

2.8. iiiii don’t know what to say about the implications of sex slavery being a thing on tamaran, so i’m not going to say anything at all. for now.

3. gotham, six years ago... wasn’t it five years before s2 that jericho died and the titans disbanded? and when was the flashback from 1.06 where dick let zucco die? i think it was after the events of 2.08: jericho? i can’t seem to find any transcripts or reliable information online, so i’m going to have to rewatch 1.06 at some point. 

(i love the old-fashioned batman music in this heist scene)

3.5. “security is a joke... it’s my way of keeping my dad on his toes”. what you’re an ethical thief now, like an ethical hacker? i don’t think that excuse is going to sell, barbara, on the day you do encounter a decent security system and your father is forced to arrest you.

(then again, gotham’s security is piss-poor. did you know that you could just walk into arkham asylum without any official clearance, ply one of its most dangerous inhabitants with contraband, and said inmate could get away with having an entire laboratory and weapons cache--NO I’M NOT GOING TO LET THIS GO)

3.8 so that flashback between dick and barbara was really cute! and also illuminating:

a) dick sounds so light, so... um. look. i have some apologies to tender to mr thwaites, because while i’ve always thought he does a fine job as dick grayson, i’ve never been terribly fond of his cadence as he delivers dialogue. it’s often monotonous, i thought, but then again, he’s usually delivering exposition or dealing with one soul-crushing crisis or the other. so i was pleasantly surprised to hear dick sound so carefree and alive in his conversation with barbara, laughing frequently, his emotions so bare and bubbling to the surface. it’s really a fantastic contrast to the traumatised and world-weary dick grayson that we see now, even more so than the costume department just bunging a backwards-baseball cap on mr thwaites’ head and hoping that will convince us of his relative youth. 

b) and god, when he wakes up from that memory, all alone in his bed, bleeding from bullet holes in his shoulder (bullet holes that are--in a somewhat convoluted way--barbara’s fault)? yikes. it’s great. you have my apologies, mr thwaites!

c) can you imagine dick just... crawling back to wayne manor, trying not to be seen by anybody, shedding his suit and just... collapsing onto his bed without even tending to his wound? the sheer emotional and physical exhaustion of it? 

d) it’s so interesting to see how barbara and dick approach the idea of legacy--a big theme on the show!--in this flashback. barbara is the one bucking the idea that she should follow in her father’s footsteps, while dick seems pretty content with the batman-and-robin setup, and even tries to get barbara to join their team (robin-girl. pfffft). obviously after this several traumatic things happen wherein dick ends up questioning and then resenting his role as robin, his relationship with batman or even returning as a vigilante at all. and barbara... ends up replacing her father as commissioner. it’s tragic, really. 

e) the dynamic between dick and barbara in the flashback reminds me of how it was between dick and donna in 1.08 and even between kory and dick in early s1. it’s like having an older, strong-willed woman by his side means he gives over the steering wheel for a while and lets himself... unspool, a little bit. it’s kinda endearing.

also:

*pinches his cheeks*

3. you know, we talk about dick and Eldest Daughter Syndrome, and that’s definitely valid, but here gar seems to me the embodiment of it, with all the emotional gardening and firefighting that he’s expected to do. he’s kind of the guy expected to keep his shit together and take care of everyone else while they are falling completely to pieces, unable to carve out time to process his own trauma. he’s also picked up dick’s and kory’s tendencies to bottle up their struggles and shun appearing vulnerable, and he’s struggling in the shadow of both dick and kory undergoing acute crises, his best friend (and frequent confidante) on the other side of the world, and seeing hank die, utterly helpless to stop it. 

i’m glad that he got a chance to tell dick even a smidgeon of what he really feels, and i hope this is at least a semblance of a wake up call for dick to actually sit down and work with the people he repeatedly calls family.

3.5. it’s heartening to see that dick immediately makes it his priority to go talk to gar. but don’t blow off kory in the process, man!

4. i’m really loving this dynamic between kom and conner--i get the idea that both of them consider each other as Unknowns, alien two times over. but conner’s only ever known the titans, who embrace being different, and kom’s only ever known... well. 

anyway, kory is Really Stressed, and honestly? #relatable. 

when you’re forced to bring an estranged family member to hang out with your friends...

4.5. i love that the titans are spending so much time in the kitchen. a real family!

5. jonathan crane is a creep and i absolutely cannot stand him.

5.25. how did he get a whole lab setup (in the basement of a hospital...?) with a bunch of whitecoats to work for him? how did he just waltz into the viewing room of an operation theatre when he’s one of the most wanted men in gotham right now? why is jason wandering around maskless when--presumably--as the adopted son of the most famous person in gotham he’d be a tad more recognisable than your average joe?

why do i expect this show to answer anything anymore?

5.5. that’s not necessarily a criticism, mind; i’ve said since season 1 that titans is very comics-like in this aspect, all about the Aesthetic and the splash-page splendour rather than the niggling unimportant details of how or when the characters got to said location. like. the camera gliding over the operation being set-up, lady vic bursting in and doing her murder dance (imagine the luck of the poor intern who chose this day and this surgery to assist) and jason, shocked and slack-jawed, framed by blood.

5.75. it’s a sobering reminder for jason that, though he chose this path in order to gain control over a world that seemed like it was rapidly spinning out of his grip, he’s only succeeded in handing over even more control to a man with an agenda that is very clearly not aligned with his own. he’s in too far to stop now, though.

5.9. i have a lot more thoughts about jason! saving it up for the end of this recap, though.

6. more kitchen time! i better see dick do some cooking soon...

(”our kitchen”! it still delights me! kitchens are So Important)

6.25. so much of dick’s issues have revolved around his relationship with bruce, so it’s completely understandable that in the wake of a huge crisis where bruce literally asks dick to replace him and be a “better” him, dick would default to all the worst things he learned from the man. and i’m glad kory’s having none of it, but come on, guys. the woman’s literally fetched her fratricidal sister out of a hole in the ground with no idea what said sister is going to do next and experiencing a burgeoning sense of guilt far, far beyond her history with the titans, and dick’s too far into his autocolonoscopy that he can’t see that she needs help.

6.5. “he services your urges”--well, as far as we know, kory is the last person he had sex with...

7. “i hope [gar] isn’t angry with me...” SIR! i thought you’d already spoken to him! smh, as the kids say. kory wouldn’t be needing to reassure you if you just took the effort to build two way emotional relationships with the rest of the team. @superohclair​ was taking about dick’s relatively low emotional intelligence? i agree.

7.5. “i got my own problems [...] you and barbara? fix it.” YOU TELL HIM, KORY

8. man i really like this weird, sad tension between dick and barbara--this sense that both of them are approaching the other based on how they remember them and are ultimately disappointed by the truth. barbara thought she could trust dick to... well, be a better batman, but dick has not only failed at that in her eyes, but repeatedly undermined her while exploiting the authority that she gave him. in dick’s eyes, this is nothing like the barbara that he knew, rebellious and ready to do whatever it takes to find something. 

like. this show sometimes really hits me in the chest about the ways it shows kids grow into adults and into caretakers, and the way it’s stop-start, the ways nothing can happen at all for a long time and then it’s Crisis Central all at once and there’s no space to breathe. the weird sort of sadness that comes with nostalgia. 

8.5. oracle name drop! i agree with barbara, any system that can just randomly tap into gotham phonelines is a monster.

8.7. (i don’t know if it’s my imagination, but is dick holding himself... differently in this episode? like that wound is definitely bothering him, and he’s running on fumes)

9. man, that was a really sweet scene between kom and conner. “feeling alien in your own world”... “not quite here nor there”

honestly this team runs on conner and gar’s faith in their value as a family, and it’s a sign of conner’s generous heart that he extends that opportunity to blackfire. this arc of maturation for him, where he’s now able to consciously choose which parts of himself he can use to do the thing he wants to so--save people--has been so fulfilling to recognise. this baby’s grown with the titans! and what he’s learnt is that people can get fucked up, but the titans is a place where they can be fucked up, and grow.

MY MAN CONNER

10. oh man i’m drinking in the gar-dick interaction in this episode like i’m three days into the desert and it’s the only source of water for miles around!

a) gar is absolutely not dealing with dick’s bullshit this episode and I LOVE IT. it’s such a far cry from the man who was idolising dick/robin back in s1 and expecting him to solve all their problems. dick is fallible, dick is fucked up, but he Tries His Best and that’s ok.

b) dick, huffing and puffing through that vent, unable to put any pressure on his left shoulder, trying to have a heart to heart with gar... fuck i love this asshole. 

c) bruce took in a kid who was suffering... “and made him into a weapon”. well. i absolutely agree with dick that it was bruce who put these kids into these horrible situations with him and they came away with a bucketload of trauma to add to the one that they already had. but we know that bruce was really trying with jason, and at the end of s2, dick was coming to acknowledge that bruce had offered him something that wasn’t just darkness. jason’s death and bruce’s reaction to that shattered that fragile progress.

d) “gotham got to me too.” i feel more sympathetic towards dick running off on his own than most, and it’s not just because i’m an unapologetic stan.  we’ve seen before that dick... devolves when overwhelmed, and he lashes out and makes ill thought out decisions and just Does Not Deal. it happened after hearing the news that deathstroke had returned in s2, and it didn’t help that everyone around him was reeling at the news, either. this time, however, he has his salvation in his family, and despite some stupid decisions like running off and kidnapping supervillains without telling his team, he’s been really on the ball this season. thinking clearly and logically, holding it together and working on a plan, thinking two steps ahead of the villains... yes.

e) gar needing to believe that jason isn’t beyond redemption... there’s a lot of blood on his hands, too, from when he was manipulated by cadmus last season. it makes sense why he’d relate to jason’s predicament, and i hope dick picked up on that.

f) my head just added a plaintive ow after dick jumped feet first into the storage room

i need, crave gifs of this scene!

11. *sits on hands* i’m going to talk more about red hood, i promise!

12. more gar and dick! is it my birthday??!!

(actually, according to the tamil calendar, it is my birthday! my “star” birthday)

12.5. excellent. dick using some implausible training that bruce taught him to solve a mystery? passing some of that knowledge onto gar? that proud smile when he sees gar perfectly execute moves that he taught him? MY HEART IS EXPLODING

13. aw, i love flashback!dick and barbara, they’re so cute <3

13.25. why does it not surprise me that the way he proposes a relationship to barbara is by saying “we make sense”? this guy can deduce exactly who was present where and what weapon they were holding from a garbled audio recording but other times he’s utterly clueless, and that’s a consistent character beat right from s1

13.5. so.... that’s why lady vic has it out for... barbara....? i don’t get it. it’s flimsy. but hey! the fun thing about titans is that i don’t have to get it. the payoff has nothing to do with the plot.

14. i can’t believe that barbara fell for that, but at least that wheelchair fight looked awesome, so.

15. oh yeah, i forgot that red hood bullied the mob into helping him and scarecrow... at least that explains the whitecoats and the elaborate set-up.

15.5. honestly i love how this dynamic between kory and kom is developing, though i wish more of the team would pay attention to it. time to call justin, i think!

16. i wonder what happened after that second flashback where barbara got hurt during that heist. did she give up on doing any more (maybe jim caught her)? was it because dick was called away by bruce and then the titans and got caught up in his own issues? maybe barbara froze him out because she wasn’t looking for the relationship that he was looking for? maybe the idea of doing that with someone turning into batman-lite was just... unappealing? scary?

whatever it is, it doesn’t look like dick ever processed the end of that relationship. it’s very intriguing to see where their dynamic goes next.

17. so.... what, did vic deliver some fear toxin to barbara? i... what?

17.5. and i TOLD YOU that they would never explain that doll or why vic attacked those two cops at the beginning! oh, titans. never change. 

18. did jason just randomly have tim’s restaurant burgled? god, i’m feeling a bit nauseous... are they going to kill tim’s father?

18.25. i feel like the rest of the season is going to wrestle with jason’s culpability in the horrible stuff he’s doing and i’m already seeing that prospect divide fans. on one hand, his story is taking a lot of oxygen away from other equally interesting story arcs, and he’s done some truly awful things, like indiscriminate murder, threatening to kill children, blowing up hank, and potentially killing tim’s parents. 

there’s something to be said for the kind of hold that crane has over him, and the so-called ‘anti-fear’ drug that he keeps plying jason with--he’s alone, drugged almost constantly (to the level of dependence), fresh from the trauma of being bludgeoned to death. he hasn’t conquered fear; he’s ruled by it. on the other hand, given that he’s the one character on the show given an obvious and identifiable ‘mental illness’ arc (maaaaybe dick too), one can argue that it’s irresponsible to show this progress into such violence: jason was vulnerable because he was struggling, and that left him vulnerable, but it took only a push before he became a fucking serial killer.

but that could mean we underestimate the degree of that vulnerability, and the mechanics of this universe where he fell into the clutches of the one supervillain perfectly designed to exploit that vulnerability. that helpless spiral into further and further self-destruction is all too real. it’s valuable to know that someone who has sunk that low can still seek help--actual help--and get it. 

18.5. i don’t know. it’s not a question i’m going to resolve at the end of an overlong recap at 1 in the morning. i don’t believe it’s even a question that titans can resolve. but i am interested in where they’re going next with jason.

19. this episode was genuinely great! i’m pumped for the rest of the season!

[mmikmmik2]

If you were to sort the Infinity Train cast(s) into the Major Arcana a la the Persona games, which Arcana would you give everyone?

anon I had SOOOOO much fun thinking about this, thank you so much for sending me this. I sorted all the major characters, plus a few other entries, based on a mix of Arcana symbolism, Persona series character archetypes, and general vibes. I came up with answers I feel pretty good about for all but four of the Arcana. (Was really tempted to say Strength is every human character who doesn't board the train because they can handle their problems on their own lol.) This is going to be a long-winded post, so I thought I’d post just the list as an image (which hopefully won’t be too blurry!) rather than wrestle with Tumblr formatting trying to make a short list, and put a big text wall under the readmore talking more about my picks.

If this list does end up illegible, the same info is under the readmore as text! Plus some characters for Magician, Strength, Justice, and Death that I didn’t want to add to the “official” list because they’re more based on headcanon. (Although my reasoning for some of the “official” picks is pretty weak lol.)

One-One as 0. The Fool

Oh my gosh, what am I?

IT is great at fleshing out character backstories and families, so One-One at the beginning of S1 is one of the few characters who really feels like a blank slate. He's got a lot of his baggage back by the end of the season, and I think One and One-One are more similar than they seem at first glance, but S1 does seem to have been very formative for One-One and how he thinks about what he's supposed to be doing and how he relates to other people. So it does kind of feel like his fool's journey.

Alrick Timmens as I. The Magician

The magician begins the journey... by beefing it on a dirt bike, dying, and sending his wife flying off the deep end. Rip.

Alrick was an engineer like Amelia, so I could see him suiting some of the themes of the Magician, like conscious thought and manifesting ideas. His apparent playfulness and insecurity are similar to the Magician characters in Persona.

Kez as II. The High Priestess

“We can’t make this decision for you, Kez.” “You know what to do.”

I thought really hard about making Kez the Magician because just like every Magician since Persona 3, she's dumb, horny, and insecure dlkjasfdkl

(and also her showing up at the start of the story arc and being helpful but also super needy is very Magician)

But the idea of "intuition" really does suit Kez. Sometimes her intuition is as bad as her conscious reasoning, but I think that's a lot because she's so confused about what happened with Jeremy, and Morgan making Kez feel like she did a bad thing by helping him.

Tuba as III. The Empress

She made me feel like I was warm all the time.

Tuba's a mom. Sorry, this one's not that deep, haha.

Simon Laurent as IV. The Emperor

Highest number! I'm the leader now.

Simon has a lot of issues, but the one that felt the most prominent to me was his unhealthy relationship with power, authority, dominance, and rules. Another quote I considered using here was what he said in Grace's memory of meeting Amelia: "I never thought I'd get to see the Conductor with my own eyes. He's perfect! Everything finally makes sense again." In his emotional crisis, he thought everything could be fixed just by the existence of a huge, scary, powerful, male authority figure, even if they weren't doing anything helpful or informative.

Atticus as V. The Hierophant

I like to think that our stones are sturdy and handsome, like the Corgis that crafted them.

Atticus is a figure of traditional authority who deeply loves the history, society, and culture of his people. He often provides spiritual wisdom and encourages Tulip to get out of her own head and engage with the world around her. Also in Persona, Hiero is the Dad Arcana so it's very funny to me (a) to make the little dog be Hiero and (b) that the little dog really does have the strongest Wholesome Dad Energy of the whole cast.

Jesse Cosay as VI. The Lovers

Don't tell me what to do. I'm not going to be a part of anything like this, on or off the train.

This was my first and easiest pick lol, Jesse is sooooo Lovers. Like, the focus on choice and personal values and relationships? Yep, that's Jesse. It works on an "actual meaning of the Arcana" level and a "vibes with the Persona characters" level lol... popular, upbeat, and having such an identity crisis.

Lake as VII. The Chariot

I'm my own person, who is getting off this train!

I don't know if Chariot captures all the ways Lake grew over the course of S2, but I feel like they had the most externally focused conflict of all the IT characters, which suits Chariot. They've been fighting to stake out their personhood from start to finish, and they took action and used their willpower to achieve that goal. Also they have at least a little jock energy which is a prereq for Chariot tbh.

Frank as VIII. Strength

I dunno, I kinda imagine him as a simple man and easily underestimated, but with a lot of heart. The Cat may say they're keeping things casual but I don't think she'd take him with her on her private vacation unless he had some kind of inner toughness that would let him stand toe-to-toe with her.

Morgan as IX. The Hermit

I need to be alone right now. Kez... maybe... we can talk later.

I like that Morgan embodies toxic self-isolation and stonewalling and rejection, but that she seems to be moving towards the positive aspects of Hermit and taking some time to calm down and process and think. I like it when characters can embody the best and worst of their Arcana.

Tulip Olsen as X. The Wheel of Fortune

We have to adapt to the changes in our lives. It's the only way things can get better.

Tulip has a lot of themes and conflicts, but this one is a clear standout as the most important. I also like it for Tulip because, while she has to handle a lot of difficult and even traumatic situations, some of the change that challenges her isn't as unambiguously bad as e.g. the death of a loved one. It really is just change itself she's struggling with, and that's Fortune babey. Also, from the perspective of the train itself and lots of other characters, by reversing Amelia and One-One's positions again and changing how One-One administrates the train, Tulip is the one giving the wheel a spin. That's fun.

Lucy as XI. Justice

One of my friends once described the Justice characters in Persona as "the ones the player character is ultimately accountable towards", and I like to think of Lucy as kind of being that for Grace (...since Hazel has excused herself). Lucy is the Apex kid we see Grace interact with the most, the first Apex kid Grace admitted to herself that she had harmed (see Grace very briefly showing distress and then regret when Jesse points the harpoons at his face and she stops him), and the first person to confront Grace when she came home in The New Apex.

Min-Gi Park as XII. The Hanged Man

I don't know if we'll sell a single album, but we'll figure that out as we go.

Min-Gi sacrifices his "realistic", "sensible" goals for a more personally (spiritually, even?) enriching life that's beyond his control and outside of the expected norm. Like the Hanged Man, who dangles foolishly upside-down, but as a deliberate choice and in a state of serenity and enlightenment. I also think this arcana suits a reading of Min-Gi's character development as starting off going slower as a way to stall and live in denial, but then going slower with deliberation. Compare his arrogant insistence on refusing to act in The Astro Queue Car to his patience and care in The Castle Car and The Train to Nowhere.

Jeremy as XIII. Death

This isn't about the death of his family - I'm thinking of his reluctance to admit his number was going down. He cared about Morgan and Kez, and it's possible both that he may have really wanted to stay with them despite his exit and that that might even have been a healthy choice - they're real ass people with feelings and everything, not holodeck characters. But I also think Jeremy was using his life with them to avoid moving on out of that fog (because it was hard and it hurt and he didn't want to think about what that would mean for him and Morgan) and Morgan was enabling him.

Ryan Akagi as XIV. Temperance

Maybe the experience is the point. I wasn't just rushing you. I was rushing myself.

I think this one speaks for itself. Also, the other quote I considered putting here, from The Art Gallery Car: "You told me I can't appreciate the song without taking in the rest of the album. I need the whole package."

The Cat as XV. The Devil

I always do the right thing.

Honestly, this is one I really wasn't sure about. The Cat isn't a great pick for a lot of the meanings of Devil. She is definitely consumed by material comforts, and the short-term rewards of ignoring her issues at a long-term cost, though. This is more of a "vibes with Persona characters with this arcana" pick... Devil characters tend to start off being somewhat exploitative or even antagonistic towards the player character, and gradually showing a more conflicted and genuine side.

Amelia Hughes as XVI. The Tower

There's a hole in the universe where Alrick used to be.

Amelia's life is defined by catastrophe and upheaval - both those she's suffered and those she's inflicted on others.

Hazel as XVII. The Star

I'm going to keep loving you like you're still here.

When I think of "The Star" as a small but inextinguishable light in the darkness, Hazel seems like the obvious choice. Although we left her deeply wounded, I think she still has a flicker of her hope, faith, and purpose.

Grace Monroe as XVIII. The Moon

But it's unfair for me to tell you how to understand yourself. I mean, I don't even fully understand me.

Grace is probably the most complex and dynamic character on the show and hence one of the most difficult to place. I considered Empress, Strength, Devil, and Judgement for her... I think ultimately, lies and illusions are the most unifying theme of her character arc. Also, from a Persona angle, her pursuit of status out of a lack of true self-worth reminds me of Ai and Mishima.

Alan Dracula as XIX. The Sun

Brought together by the majesty of a superpowered deer!

I'm sorry dkjasfklads this is largely because I thought it was funny to have this completely inexpressive dead-eyed deer as Sun akfk but also... like... it kind of works okay!!! Think about the genuine joy and comfort and positivity he brings to Lake and Jesse (and me)!

The New Apex as XX. Judgement

"Then what are we gonna be?" "Guess we'll have to figure it out?"

This is kind of a Persona mythology gag again because of Judgement being a group social link near the end of the narratives of P3 and P4, when the protagonists have pierced through the lies and actually figured out who the villain of their game is and are ready to really start making progress.

0 as XI. The World

Ah, train does it again!

It's an ending and the completion of a journey, but also the beginning of a new one. And the world is literally what the passengers receive at the end of their train journey. Welcome home.

[dirtydancingdean]

something about how dean so completely parallels buffy summers from btvs like they are two iterations of the same character. i mean, buffy the vampire slayer is an undeniably a big influence on supernatural, even if the show itself wouldn’t exactly advertise that fact. you have sam’s sacrifice in swan song paralleling buffy’s sacrifice in the gift, the borrowing of a lot of demons and (god help me) lore, the weird amount of buffy actors in the show (sometimes playing vampires, which is hysterical), the campiness and horror. hell, even cas’s moment of pure happiness seems like a nod to angel’s moment of pure happiness. (dean and cas did it better though). but the biggest similarity is the way dean parallels buffy. he’s obviously not meant to. he’s supposed to be a gun-slinging, wise-cracking ladies man, but that’s not what he becomes. honestly that’s not even what he comes across as in the beginning. buffy and dean are both meant to be heroes, but buffy is the main character of her show, while that’s supposed to be sam in dean’s. and buffy and sam do share their similarities, particularly in their desire for normality which backfires on them because of their equally weighed desire to help people. but dean is so much more like buffy in so many ways?? like buffy, dean always feels everything is his responsibility (like he says in 7.05, “There’s always something eating at me. That’s who I am. something happens, I feel responsible, all right?”). this is largely in part thanks to j*hn winchester, while buffy’s sense of responsibility comes from the fact that a whole group of old white men have told her she’s the one girl in all the world who can fight evil. both of them kind of know on some level that this is kind of fucked up and even try attempting to fight back against their imposed duties occasionally. dean says it in 2.20: “Your happiness for all those people's lives, no contest. Right? But why? Why is it my job to save these people? Why do I have to be some kind of hero?” which is buffy to a t! that's what buffy is all about! the loneliness and unfairness of having this burden on your shoulders! buffy says this in prophecy girl: “I don't care! I don't care. Giles, I'm sixteen years old. I don't wanna die.” but they both always, always go back to do their job. they both always sacrifice their own happiness for others. none of the writers would have intended to have dean make a speech that is entirely parallel to buffy summers’s prophecy girl speech, right down to both sarah michelle gellar and jackles’s tears. because ha ha, buffy is a girl hero, while dean is the embodiment of every male fantasy about what an action hero is.

the thing is, though, when you make dean every male fantasy in the world - attractive, good with women, tough, strong, likes rock music, hates chick flick moments, knows how to shoot a gun, looks good doing it, etc - you make him every male fantasy about women too. which is how we get those slow, full-body shots of dean that you normally only get with women, how we get dean being a caretaker, dean being a pacifier between sam and john, dean watching dirty dancing and liking taylor swift, dean always being the bait, dean’s interactions with villains being framed sexually, dean getting called pretty twice a season. we joke about dean being a hot action girl but he is often objectified in the particular way only women in media are. the way buffy is - in the show i think they actually did a pretty good job of not objectifying buffy. but there are times where they do, and it’s uncomfortable, and it’s subtle, the way it is on spn. and buffy and dean are both used to this kind of treatment; they often weaponize their sexuality, using it when they feel threatened. in the first episode of s2, buffy’s just suffered the enormous trauma of being resurrected after having been bitten by a vampire whose violence has sexual undertones. when she comes back to her friends, they talk about how closed off and mean she’s being, culminating in the scene where she goes to the bronze. if you haven't seen that scene then i dont know how to explain the way she absolutely uses her sexuality against xander and angel, just like dean uses his as a front to protect himself against everyone. when buffy’s traumatized she pushes herself away from those closest to her, represses her emotions, and uses fighting demons as a distraction. sound familiar? buffy and dean both make witty pop culture references that monsters don’t understand and self-deprecating jokes about themselves to deal with when they feel threatened and their low opinions of themselves. buffy has a lot of lines that sound just like dean’s! @lazarusr1sing mentioned buffy saying, “I may be dead, but I’m still pretty, which is more than I can say for you,” as a line that dean literally could have said and it’s true! they’re both a fan of quirky banter during fights but they’re both so messed up when it comes to their opinions of themselves. buffy in 7x07: “I have all this power. I didn't ask for it. I don't deserve it. It's like... I wanted to be punished. I wanted to hurt like I thought I deserved. [...] I feel like I'm worse than anyone. Honestly, I'm beneath them. My friends, my boyfriends. I feel like I'm not worthy of their love. 'Cause even though they love me, it doesn't mean anything cause their opinions don't matter. They don't know. They haven't been through what I've been through. [...] Sometimes I feel...this is awful. I feel like I'm better than them. Superior.” yeah, that’s...dean.

and they absolutely dive into self guilt and hatred if something goes wrong, even if it’s not necessarily their fault. faith in 3x15 says to buffy, “In the balance, nobody's gonna cry over some random bystander who got caught in the crossfire,” and buffy says, “I am.” the amount of trauma buffy and dean both go through kind of desensitizes them to this idea - dean especially, i think, though that’s mainly the fault of the sheer amount of writers and episodes supernatural has - but if they get someone killed, they will do absolutely anything to make up for it.

the idea of sympathetic monsters in buffy and supernatural is met with scorn a lot of the time by buffy and dean. for buffy this is a matter of mental self-preservation. her job is to kill demons, and if she lets herself think all demons can be good, then that means she might have been killing sentient beings that could have done good or weren’t doing harm, since she was a teenager. she can’t let herself think that way so she closes herself off to the possibility of demons being good a lot of the time. we talk about how supernatural majorly drops the ball when it comes to empathizing with the monsters (where’s that post, you know, the, “saving people, hunting things, white men with guns decide which is which,” post), but when it comes to dean, part of that is because, like buffy, he doesn’t want to face the idea that he’s been killing things that aren’t evil since he was a child. he’ll make exceptions (cas, crowley, benny, rowena), like buffy makes exceptions (angel, spike, clem, oz, anya), but it’s easier if it’s all black and white. they’re both strangely attracted to monsters too, though, because part of them feels like they are monsters themselves. like @s4castiel said they have romantic or romantically implied relationships with things they’re meant to fight - dean with benny, cas, and crowley + buffy with angel, spike, and faith. and monsters change themselves for buffy and dean’s sakes – cas, benny, crowley, angel, spike, all become better for the sake of buffy and dean! like that leviathan in 7.06 who says dean doesn’t have relationships he has applications for sainthood!

they hate the idea of being seen as just a killer (dean in 3.10, “Daddy knew what you were. Good soldier and nothing else,” and buffy in 5.22, “Guess that means a Slayer really is just a killer after all.”) dean says, “[A killer] is not who I am,” to chuck in 15.19, just like buffy says, “A slayer is not a killer,” through the later seasons. spike’s speech in 5.07 i think, really says it: “Death is on your heels, baby, and sooner or later, it's gonna catch you. And part of you wants it, not only to stop the fear and uncertainty, but because you're just a little bit in love with it. Death is your art. You make it with your hands day after day, that final gasp, that look of peace.” their worst fear is that all they can do is hurt other people. they’ve been brought up to think violence is all they can do. but they both are first and foremost protectors, especially when it comes to sam and dawn, whose roles in both shows respectively is to be a reminder of dean and buffy’s humanity.

dawn, who first shows up in season 5 as buffy’s younger sister, is, represents buffy’s most beloved parts of herself, buffy’s humanity. sam is a lot like her in the respect that their destiny was to end the world; they’re both book-smart too, while buffy and dean act a lot like dumb blondes despite being incredibly intelligent in ways that aren’t clear to everyone. (not to go on a tangent but they’re both really good battle tacticians who make a lot of references to literature and tv shows and can perceive people and monsters’ weaknesses, etc.) dawn is dangerous to the world like sam is dangerous to the world in s2-s5, but buffy will not kill her like dean will not kill sam. you know how in the end 2009 dean realizes just how much 2014 dean has changed when he talks about killing sam as lucifer? sam is dean’s humanity like dawn is buffy’s humanity. they both put their siblings over everything else in the world. they sacrifice things that sam and dawn can’t begin to understand because dean and buffy shield them from it - dean in 2.22: “I had to take care of you. It’s my job,” and buffy in 6.14: “Dawn, the most important job that I have is looking out for you.” in s5 of buffy, if dawn lives, the world ends, and buffy doesn’t care because she can’t kill dawn. in 5.22 she says, “I don't understand. I don't know how to live in this world if these are the choices. If everything just gets stripped away. I don't see the point. I just wish that...I just wish my mom was here. [..] If Dawn dies, I’m done with it. I’m quitting,” paralleling dean quitting hunting after sam dies. they’re both insanely protective over dawn and sam - dean in 2.09: “You make a move on [Sam], you'll be dead before you hit the ground,” and buffy in 5.22: “I’ll kill anyone who comes near Dawn.” when sam dies in 2.22, dean doesn’t hesitate to offer up his soul in exchange for sam’s life; when dawn is about to die to save the world in 5.22, buffy doesn’t hesitate to die to save the world in dawn’s place. this all on top of the fact that sam and dawn are the babies, the ones dean and buffy have to take care of, which means that...no one is taking care of dean and buffy. like, dean in 3.10: “Sam, [John] doted on. Sam he loved,” and buffy’s mom in 5.05 hugging dawn and calling her “little punkin belly” and in response to buffy’s question of, “Did you ever have any names for me?” says, “No, I think you were always just Buffy.” when buffy’s mom gets sick in s5, buffy has to shoulder an incredible amount of responsibility - giving her mom her medicine, taking care of her, taking care of dawn, fighting a hellgod - and can’t break down in front of anyone because she has to be strong for dawn and her mom, the way dean has to be strong for sam and john (john in 2.01: “You took care of Sammy, you took care of me. You did that, and you didn't complain, not once.) they’re both so scared of opening up and being a burden - buffy’s nightmare hallucination of her deadbeat dad in 1.10 says the same kind of stuff about her being a burden and unwanted that zachariah’s projection of mary says in 5.16. it really is about the eldest sister complex in the end!!!

but they didn’t ever really mean to have dean be like buffy! buffy was literally meant to subvert traditional male action heroes. buffy summers is the male action hero, but she gets to have feelings and traditionally feminine traits too. she likes cheese and wearing pink and dressing up and having pretty hair, but she thinks about battle tactics and kills a vampire like every episode. dean? dean is meant to be the male action hero without the part about having feelings and traditionally feminine traits...except that backfires spectacularly. i mean, they give dean traits such as liking nightgowns to be like haha, wink-wink, nudge-nudge, isn’t that HILARIOUS. except it doesn’t come off that way, we know it doesn’t come off that way. so dean’s watched dead poets society and rent and he sings along to air supply and is good with kids and nerds out over cowboys, but he drives a classic muscle car and kills death and carries a gun with him everywhere he goes. dean and buffy both become multifaceted, complicated, human heroes – but it was intentional for buffy. it was unintentional for dean, so the narrative actively punishes him for it. i mean ymmv on how you feel about the ending of buffy, but she does get a satisfying happy ending. dean, on the other hand, is silenced and killed off and gets the worst possible ending for his character, all because they couldn’t control him.

[pathological-peoplepleaser-alert]

Hospital Playlist : Season 1

So, I recently re-watched season 1 of Hospital Playlist in preparation of season 2 that’s going to be released on the 17th of June, and I have a couple of thoughts that I want to share. Warning: It’s going to be filled with spoilers, so for those looking to avoid that, please don’t read more. Also, this is a looooonnnnggg one :)

“Hospital Playlist” is a Korean Drama that follows five doctors in their 40s who have been best friends since adolescence as they form a band together. While the log-line appears simple, the depth in the script and acting will enchant any audience. The narrative is free-spirited and quirky, reverberating friendships forged by love and time in a heart-warming style.

This slice of life drama realistically tackles what occurs within the white walls of the hospital. From ungrateful patients to the long wait for donors, it has it all. This drama covered plenty of cases, each of them as sad as the next. I recall when Yang Seok Hyeong, an assistant professor of obstetrics and gynaecology, had a patient who delivered a baby with anencephaly. He was considerate enough to not allow the mother to hear the baby’s cries by playing loud music in the delivery room and quickly escorting the baby away from the mother. I teared up during that scene, and I still tear up just thinking about that. I watched it as a case in a K-Drama, but it is many people’s gruesome reality, and all I can offer are my sympathies.

Despite zoning out during the technical aspects and elucidation of medical terminologies, I could feel the gravity of an operation and the burden of Atlas resting on the doctors when they held the scalpel. I liked the fact that there wasn’t any hospital politics. Rather, the show focused on the doctors, as they tried their best to save their patients. I mourned during the losses of life and celebrated with the characters after a successful surgery.

The ensemble cast for “Hospital Playlist” was flawless. The sincerity of the actors and the efforts they had put into studying and understanding their roles were clear as day. The chemistry between them was organic and the banters, natural. While they didn’t verbalise every emotion, the viewers could feel their familiarity, like they were real-life friends on screen. I was on an emotional rollercoaster as I watched this, rooting for them through hardships and cheering whenever they laughed.

“I wondered why my life was getting so difficult. It was really tough. But all of a sudden, one day, I realised how much time I was wasting. Wasting my life away like this because of what she did to me was doing a disservice to myself.”

Jo Jung-Suk did a flawless job portraying Lee Ik-Jun. This was my second time witnessing a drama with Jo Jung Suk, and while I wouldn’t applaud his performance in “Oh, My Ghostess!” (But in his defence, I found that script to be problematic) I absolutely loved him in “Hospital Playlist”. Lee Ik-Jun is an assistant professor of general surgery. He’s funny, sociable, laid-back, charming, and a dotting, single father to his son, Woo Joo.

The first time I, as the viewer, was introduced to him was gold. Naughty little Woo Joo had managed to put a blotch of super glue to a Darth Vader helmet, which was later worn by his father. During an emergency at the hospital, Ik Jun showed up decked in Darth Vader gear and bravely holding a light saber, demanding that the helmet was unglued from his head. He got his wish, but only after performing surgery while wearing the helmet.

Watching Ik-Jun and his son together is heartwarming, to say the least. You can tell how much he loves his son, as seen by the way he prepared meatballs from scratch, including the ketchup, excitedly for his son, only for the latter to claim he wanted meatballs, causing the former to trip on his way to the kitchen. I also adore how most of the bonding scenes we see between them happens over sandwiches. I find that very precious.

Ik Jun is also very friendly to everyone. He warmly welcomes the medical students, greets his colleagues with a smile, and most notably, plays as a matchmaker between Jeong-won and Jang Gyeo-wool, even if it is so the latter could assist him on more surgeries. His relationship with his sister is also beautiful. I love how authentic they are, from their bickering and the hidden ways they care for each other.

Ik Jun provides comic relief plenty of times— I nearly fell off my chair laughing when he mimicked a train, and also upon seeing how adamant he was to eavesdrop on a private phone conversation of Kim Jun-wan.

“I don’t deserve to be a doctor. I can’t control my emotions. I empathise too easily.”

I must admit, Ahn Jeong Won has a soft spot in my heart and is my favourite from the group of friends. An assistant professor of pediatric surgery, Jeong Won gets overly attached to patients and takes every loss personally. Due to his sensitive nature, he’s detailed in everything he does, earning the teasing nickname of “Buddha” from his colleagues.

Hardworking but overemotional, there have been many instances when Jeong Won swears to quit being a doctor after a patient has unfortunately succumbed, and it’s only through the insistence of his oldest brother does he continue his job. He’s immensely religious and has a close relationship with God, and considered being a priest until the season finale.

His interactions with his young patients tug on all my heartstrings. From the gentle way he gets the permission of small children to check their vitals, to the dedication with which he treats his patients and dissolves their fears.

One of my favourite quotes of this drama was said by him, “Do you know why doctors only give vague answers such as ‘We can’t be sure yet,’ ‘We don’t know yet,’ and ‘We need to observe a bit more?’ Doctors must take responsibility for their words, so we must be careful. There’s only one thing we, as doctors, can tell our patients with certainty. ‘We will do our best.’”

Despite being born from a wealthy family, Jeong Won is nearly broke, spending all his fortune anonymously covering the hospital fees of poor patients.

Chae Song Hwa summarised Jeong Won’s personality neatly in episode 12 when she said, “Lastly, there’s you (Jeong Won). Seeing others enjoy good food makes you happier than when you are eating it yourself.”

“If the doctor gives up on the patient, he isn’t a doctor anymore.”

At first glance, Kim Jun Wan appears cold and scary, but there are so many dimensions to his character. He’s blunt, assertive and has a reputation for telling his patients what they need to hear, not that they want to hear.

However, he’s possibly the most caring person, having allowed Jeong Won to, in his own words, “mooch” of him for years now. He was also always nagging and hovering over his friends, keeping a stash of chocolates for them. He stepped up as the Chief of the cardiothoracic surgery department multiple times, whether it was to act as a shield to his mentee or to reprimand his juniors about the importance of (a patient’s) life and how every single decision taken by a doctor has to be thoughtful and absolute because there’s no way to reverse such things.

A great example of his outer versus inner personality is when he’s questioned by a medical student on why he chose to be a cardiothoracic surgeon. While he claimed that he became a surgeon after asking his professor which job would allow him to get the most money, with a glimpse of a flashback scene, it was revealed that when back as a student, Jun Wan was given the opportunity to witness a surgery and then, to touch a beating human heart, and felt life, that solidified his decision to choose cardiology as his field. Recalling that scene gives me goosebumps even now. That was magical.

Jun Wan is also a huge foodie, his only competition being Song-Hwa.

“What have you done for yourself lately?”

Chae Song Hwa is an associate professor of neurosurgery. Discerning without being too critical, she is intelligent and is often the mother hen of the group. Respected by her juniors, she has also been fondly dubbed the ‘ghost’ due to her busy schedule that has left several of her colleagues wondering whether she has time to eat or sleep. She was everywhere and knew everything, which allowed her to quietly look after the residents of the hospital and the patients.

Despite being buried under piles of work, she still made the time to grade her juniors papers, and I’m reminded of one of the first instances the viewers were given of her, which was when she comforted a patient in the elevators of a hospital. The only female professor in neurosurgery, she is kind to her patients.

I adore how decisive she is, being extremely clear about what she wants, drawing boundaries while still being friendly and radiating professionalism to those around her, despite the hardships she might be going through. She routinely goes camping during the weekend and is the embodiment of positive self-love.

Some of my favourite moments in this drama was literally just Song Hwa and Jun Wan aggressively eating like they’ve been hungry since the dawn of time. Song Hwa might have claimed that the reason she ate so rapidly, so full of zeal was because of growing up with older brothers, but Ik Jun was quick to shoot her down and note that they all looked boney.

“My time is too precious for that. I want to live doing the things I like. And the things I want to do right now.”

Probably the most under-appreciated character, Yang Seok Hyeong is a treasure. My first opinion of him was ‘mama’s boy’ and while I was correct, wow, I had not expected the reason why. In his youth, Seok Hyeong was not close to his mother at all, and we could even see him ignoring her phone calls. But after everything that happened with his dad, he grew closer to his mother, developed a new sense of protectiveness and appreciation for her, and I adore that.

He was also the reason the band reunited in the first place, making that his condition for working at the Yulje Medical Center. Despite seeming aloof, he was an open book to his friends. He didn’t like to bother or intrude on people and usually kept to himself, gaining a reputation for being a loner whenever he was not around his four friends.

Throughout the season, he was trapped in a whirlwind of turmoil, from the news of his unexpected brother to his father’s death and his surprise succession to the company he wants no ties with. He maintains a calm exterior and braces through the troubles.

Seok Hyeong lives up to the sensitivity his job demands from him, softly informing expecting mothers about the risks of their pregnancies while encouraging and empathising with them when things get hard.

He prefers to stay in the shadows and allow people the opportunity to sort their messes out themselves, after reminding them that he’s only a call away if they need him. He’s an excellent confident booster and appreciates those who are responsible.

These characters stayed not only in my mind but also in my heart. Each of them has such vivid personalities I can’t entirely capture in words. Their insecurities, struggles, and feelings were so real and incredibly relatable and easy to empathise with.

As conveyed by the title, music plays an important part in this T.V. serial, by allowing the characters to reminisce their college days and also allowing them a breather from their stressful life. There are thousands of words in the English language, and yet, I can’t string together enough of them to express how I felt when Jo Jung Seok sang Aloha.

The doctors use music not only as an outlet to release their frustrations, but also to express their thoughts and feelings. To heal. Listening to the songs and the covers made by the band lightened my heart. The labour they put into practising the songs made the moments more precious.

Through the music sessions in this T.V. serial, I found my affection for each character increasing. I found myself surprised to recognise some of the songs considering they are quite old, but I hummed along and felt the air around me thrum with glee as they sang.

I also found it rather ironic that Chae Song Hwa is considered to be a bad singer (her pre-routine of gulping down raw eggs fascinated me on an odd level) although the actress who plays her, Jeon Mi Do is a talented singer.

Therapeutic and well-written, I marvel at the writer’s ability to weave together arrays of mundane subplots into endearing bliss, leaving lingering positivity after every episode along with a yearning to watch more.

I’m a huge fan of writer Lee Woo-Jung’s Reply series and was hesitant to start this drama, afraid that it would fall short of expectations. But having watched it, I can safely say that those concerns were unnecessary, and whatever expectations I had were only exceeded. I couldn’t recognise any leading plotline of this drama. To me, it simply showcased the daily life of five doctors.

As it is character-driven, there is a slow progression of the drama, which needs some time getting adapted to. It was also a little hard trying to keep track of the multiple characters initially introduced, but within three episodes, I was able to get a hang of things. The dialogues were witty, impactful and sharp, capturing my attention from the beginning to the end. However, despite containing a plethora of humorous moments throughout this serial, there was a subdued layer that focused more on the community than the plot.

I must admit, however, that I found the first episode to be subtly chaotic and slow-paced. I couldn’t grasp the concepts or connect with the characters until the second episode, after which I had no qualms.

I loved the character arcs in this story. It was a pleasure to observe their journeys and diligence as various storylines diverged or amalgamated, how they grew as individuals while maintaining their core values. The flashback scenes were fascinating to watch and compare how they are now to how they used to be.

The cinematography was stunning. I was in awe at how different shades and tones of light could impact not only the setting of the scene but also the mood of the viewers.

I recommend “Hospital Playlist” to anyone who likes to watch T.V. serials possessing the perfect amount of drama, laughter, angst, warmth and love. This serial is a truly rare gem in a basket of rocks where the storylines are solid without being too predictable.

[bestofblackwidow]

The "Let me go - it's okay," she told him the last time we saw the Black Widow, it was - to say the least - emotional. "Let me go - it's okay," she said to Hawkeye, plunging to her death on the arid planet Sleeping in Avengers: Endgame for the ultimate sacrifice to save the world. While the deaths in the Marvel Cinematic Universe go on - sorry, Iron Man - there was probably no more heart-stopping moment, since the former SHIELD spy who became Avenger gave her life to recover the Soul Stone.

Still, it left the MCU in a bind. For years, a Black Widow film had been mooted, right back to 2004 at Lions Gate Entertainment before the rights reverted to Marvel. When Scarlett Johansson first appeared as Natasha Romanoff - the former KGB assassin with a very particular set of skills - in 2010's Iron Man 2, it didn't take long before questions were asked about a solo outing. Marvel Studios conductor Kevin Feige even held discussions with Johansson, who was then only 25. But there was a caveat, he said. "The Avengers comes first."

While others - Thor, Captain America, Black Panther and even Ant-Man - had their moments in the spotlight, the Black Widow was forced to wait. And wait. And wait. Not that Johansson thought that her character demanded the same treatment; if she was going to be in front of a Marvel movie, there had to be a reason. "Is there anything exciting to do creatively, as an actor?" she says. “Will we be able to do something extraordinary and strong? And something that stands on its own? "It's what makes the independent Black Widow an intriguing prospect: an inauguration of Phase 4 of the MCU promises to step back in time before her dramatic death to answer the provocative questions that still hover over her Crucially, the script transports audiences back to the events right after Captain America: Civil War, after that huge internal confrontation of the Avengers.

Without relatives or an organization that employs her, the Black Widow is alone, says Johansson. "It gave us the opportunity to really show her when she's kind of out of her game, you know? Because of that, anything was possible." The actress was there "from the start" at the script meetings, as they began to figure out how to delve into Romanoff's origins. "You are trying to map all of this ... which is extremely stressful," she laughs, "because there are no guidelines."

Fortunately, Johansson was not alone. In another inspired choice for the MCU canon, Feige recruited Australian director Cate Shortland, best known for discreet dramas like Somersault and Lore. While she was surprised, Shortland was encouraged by the creative freedom that Marvel was offering. “They allowed me to be myself and encouraged me to make a movie that I was passionate about,” she says. "We were allowed to have a lot of nuances and make a character-oriented film."

After several Skype sessions with Johansson, who also receives producer credit, Shortland worked with a Russian researcher to embody Romanoff's dark story: "the red in my ledger", as she told Loki in 2012 in Os Avengers. As she sings in the trailer, "We have to go back to where it all started" - the promising teaser clips of Romanoff as a young man (played by Ever Anderson, daughter of Paul WS Anderson and Milla Jovovich) in a childhood that seems far from idyllic. That's what makes Black Widow a family reunion of the kind that only Marvel would have the courage to conjure. Joining Romanoff is Yelena Belova, a sister-sister and fellow murderer who trained alongside her in the so-called Red Room, the punitive Soviet facility that produced 'Black Widow' spies.

"Their stories intersect," promises Shortland. "They clash." Played by Lady Macbeth's British star Florence Pugh, Belova is more than a physical match for Romanoff. Still, emotionally is where it really matters. "What Yelena does is kind of point to Natasha's pain," says Pugh. “She is part of Natasha's story. And I think that's why we have an opportunity to look at Natasha's story, because Yelena has been knocking on the door and says, 'Hey, let's deal with this pain. ”As Johansson comments, Belova is not just a carbon copy of his own character.

"She is completely alone. She is strong and different. She is so different (from) Natasha." Beside them are Melina Vostokoff (Rachel Weisz) and Alexei Shostakov (David Harbor), two father figures whose own stories intertwine with Natasha and Yelena. "This is the coolest thing with this whole group of people. They all had parts of their past that they regretted," says Pugh. “They’re older. They’ve had more life experience. They know more about the system, about this world they’re all living in.” Harbor, the Emmy Stranger Things nominated star, managed to put an indelible mark on the muscular Shostakov, better known as the Red Guardian super soldier, the Russian equivalent of Captain America. "There is a gangster quality to him," the actor smiles. "And he's covered in tattoos. He's got a beard and those gold teeth. He's crazy." But after years of making bad decisions, he's also full of remorse.

"He's in a bad situation," adds Harbor. "And he needs redemption." Weisz's character, Melina, is another who experienced the rigors of the Red Room, a place that put her in contact with Natasha and Yelena. Marking his first dive at the MCU, Weisz acknowledges that the film addresses the idea of ​​discovering his favorite family. "It's definitely about finding out where you belong and where you came from, and what your background story was, and who you really are, and what matters to you - your ideology, I think." Along the way, Feige made reference to The Kids Are All Right - the 2010 Lisa Cholodenko film about a same-sex couple raising two teenagers. "Which is so weird," laughs Johansson. "You would never expect that from a Marvel movie." no it was the only strange nod to the film. Harbor speaks of Shostakov in terms of Philip Seymour Hoffman's drama teacher in the dramatic black comedy The Savages.

Or even expressing "the pathos of a small town, independent, family-run, weird movie... like Little Miss Sunshine". More understandable cinema references include "things like Logan and Aliens and The Fugitive," says Shortland. "We saw movies like that." Certainly, it's easy to see comparisons between Sigourney Weaver's determined Ripley, from James Cameron's masterpiece Aliens, and Johansson's Romanoff, an Avenger who has no superpowers. "We saw it as a force," says Shortland, "because she always has to dig really deep to get out of shit situations." According to the director, everyone in the production invested in deepening Romanoff - even Scottish composer Lorne Balfe (Pennyworth, His Dark Materials), who replaced Alexandre Desplat's original choice. Balfe looked at the character's origins, says Shortland. “He said, 'I want to put it on the ground, because it has been dug up in the movies in the past. I want to give her that flesh and blood. 'And he created this soundtrack that is really Russian."

However, perhaps the real blow here is to recruit Shortland, the first female director to face the Black Widow (and only the second, following Captain Marvel co-director Anna Boden, to enter the MCU). "This film would not be what it is without Cate Shortland," says Pugh. "I think having her eye, and having her mind with this script, has taken her to a whole different realm." Johansson agrees. "" You can feel it was made from a female perspective ... cooked there. "Although Ray Winstone's casting as Supervisor of the Red Room Dreykov (whose daughter contributed to the abundance of red in Romanoff's book, according to Loki) add more to the psychological battleground that the Black Widow will explore, it also deals with victimization, a very pertinent topic in the current climate. The Red Room itself is where trainees are brutally sterilized. "You will see that these women are hard working and strong, and they are murderers - and yet they still need to discuss how they were abused," says Pugh. "It is an incredibly powerful piece."

Judging by the 2020 Oscars, where Pugh and Johansson had their own private relationship session on the red carpet, the two actors got along very well. "She has a really beautiful career ahead of her ... she's a very special person," says Johansson, excited when Pugh's name is mentioned. More specifically, Pugh may well have more Marvel to chew on, if it is rumored that her character will take on the 'Black Widow' mantle for new adventures. By learning Parkour, kickboxing and knife fighting for role, Pugh can safely cut things physically, though she's reluctant to claim that the Black Widow is just a setup for future outings. "Even though it is obviously where everyone wants to go and want to think - think about what comes next - this film never really seemed to be what he was trying to underline." According to Johansson, however, test the audience who saw the film thinks otherwise. "Her character and her performance are so dear." Now, after more than a year of pandemic-related delays to July 2021), it will not be just a few lucky spectators who will be able to see. Black Widow will even be the first Marvel movie to debut simultaneously on the Disney+ streaming site (with a 'main hit' fee), an understandable move considering the uncertainty that still exists around the world. And in fact, after the success of the Marvel TV shows WandaVision and The Falcon And The Winter Soldier, it doesn't seem like such a strange home. Johansson believes that fans will respond to Black Widow, with this flashback of an earlier part of her life, bringing more poignancy to the Endgame's outcome. "Our goal was for them to be satisfied with this story; that maybe they could have some solution, I think, with the death of this character, in a way. It seemed like people wanted this." Shortland agrees. "We felt that we should honor his death," she says. And the Black Widow will surely honor him.

[crystalirises]

in regards to ur recent post—i have been waiting so so long for someone to mention that song in relation to Fundy and i wanna hear u elaborate on how well it fits cuz ur thoughts are interesting 👀👀

Hello anon! And yeah I tried to explain why the song fits although I might not get some points across since I'm not ver articulate with my thoughts. I also apologize for responding so late since I actually posted my post at like... Past midnight so I wasn't able to respond immediately. But anyway, here's the sort of lyric analysis (??? Is this right lol) of why Not Your Seed is a Fundy song. And I mean Character Fundy not the actual person. So the Fundy mentioned here is the character.

This is long because it's me lol.

TW: brief mention of drugs, brief mention of sex (cause it's literally part of a song lyric and quite honestly I don't even want to talk about that kinda stuff), a lot of parental neglect, insane!Wilbur Soot, and possible cheating (cause Fundywastaken is mentioned). Stay safe everyone and please read the trigger warnings.

I'm not your girl anymore

I'm not that tween that you drove here for

I'm not your girl anymore

I overtook her body with an infectious spore

Okay, first of the first part of the song doesn't make sense out of the context of the musical (obviously). However if we kinda try to look at this in a "metaphorical" sense, it just gives off the message of Fundy not being the person who he used to be. If we were to say that Fundy was a kid during the first war, it's like a way to saying that he's no longer than innocent kid that he used to be. And for the "infectious spore" thing, if taken metaphorically, could mean the bitterness and anger that Fundy feels against the rest of the server (or at least against Wilbur) for the way they've treated him. Those bitter feelings have led him to just doing things that he would have never done (such as the 'blowing up L'Manburg's supply thing before the Doomsday War').

Also AU where Fundy gets infected the red egg and Wilbur gets ressurected I guess.

You left me out of your sight for one second

And look what happens, nightmare time

It's worse than you could imagine

Not sex and not drugs

Just alien invading minds

Okay for the first two lyrics, we all know very well that Wilbur did not look away for a second (he looked away for an entire damn arc is what he did lol). So essentially, from that first line it just implies that Wilbur (and I say Wilbur mostly cause 'Not Your Seed' is literally a daughter singing this to her father song) looked away from Fundy. Except, Wilbur looked away or ignored Fundy for a very long time, enough so that the last time Fundy saw Wilbur alive was Wilbur pretty much calling him a traitor and then promptly ignoring until he can back as Ghostbur. Which then leads to the second line since that neglect left some impressions on Fundy even after Wilbur was gone.

For the next three lines, combining the first two lines together, the usual fears that a parent would have regarding their children are well... Them engaging in sex and drugs (well the drugs is debatable cause Wilbur literally made a drug van so). However, Wilbur's issues regarding were never those matters but instead he had to deal with the aftermath of his emotional neglect that Fundy gained from Wilbur's parenting. As for the last line "Just alien invading minds," again does not make sense out of the context of the musical. However, metaphorically it could be seen as like... "alien" as in "different/outside emotions" that Fundy had never felt before (am I reaching XD). Essentially, negative emotions that Fundy had never felt before (or at least witheld for a very long time) have pretty much engulfed Fundy's mind and kinda led him down a terrible path.

No more family vacays together

'Cause your only daughter's under the weather

And if you actually paid attention to me

Okay, I have to admit that the first two lines are kinda out of the Fundy interpretation thing and I guess if someone wanted to, just alternate the family vacays to family hangouts since... They never took vacays lol. As for the second line, one could interpret it as just well Fundy drifting away from Wilbur... Essentially, he's sick of Wilbur. (This is reaching and I know that XD).

But it's the third line here that's definitely a Fundy line. "And if you actually paid attention to me," is a line that I believe embodies Fundy to an extent. Yes, Wilbur was there for Fundy and one could argue that whe was a doting father but that does not necessarily mean he was a good one. Wilbur was there for Fundy but he never paid attention to him, if anything, he babied Fundy. During the war? Babied him. During the time L'Manburg gained independence? Babied him. During the election arc? Babied him. Wilbur was there but he never listened to Fundy, he never saw Fundy as anything more than a child. There are many ways that a parent could be neglectful towards their children and I believe that though Wilbur was very doting he was not very attentive towards what Fundy had to say (and this is only hitting the beginning, I haven't even gotten to the "I despise you" part of the Pogtopia Arc.)

You'd see, I'm not your seed

I'm not your angsty teen

No matter what you believe

The apple's fallen far from the tree

Alright so for the first two lines, these could easily be equated to the fact that Wilbur, again, babies Fundy. What especially strikes me is the fact that Wilbur refers to Fundy's creation of Coconut 2020 and his sudden change of clothes to Fundy being in his teenage rebellious phase. Wilbur thinks that Fundy is just being rebellious and it's really just Fundy trying to separate himself from just being Wilbur's son and finding a way to make his dad proud via his own accomplishments, essentially finding something to get Wilbur's acknowledgement or approval while also doing something for himself. This line is like Fundy refuting the idea that everything he's done is just him going through an angsty teenage rebellious phase when he wasn't going through one in the first place.

For the third and fourth lines, I honestly think this represents Fundy's way of trying to separate himself as being known as Wilbur's son. He doesn't want to just be acknowledged as that, he wants to be more than his father's son. He wants to be his own person. In all honesty, I'd like to think that this is Fundy actually saying this to himself. He truly wants to believe that he's being independent but at the same time he's still looking for Wilbur's approval. No matter how much he wants to be his own man, he still looks to Wilbur because at the end of the day he wants to prove himself to Wilbur while also wanting to be independent. It's odd but it's kind of understandable. It's difficult to try and step out of somebody's shadow without turning around to see if they actually notice what you're doing. Fundy is like that. At least he was, and probably still is (with Phil before the whole breakdown arc).

It's not my fault anymore

No more curfews to be late for

It's not my fault anymore

No more being worried and waiting by the door

Again, these four lines are essentially just normal parent-child stuff. Children usually have curfews on when they should be home and parents tend to wait by the doors everytime their kid is a little bit late to arriving home. The thing about this kind of thing tho, if it was something that happened during the L'Manburg war, Fundy would have definitely felt constricted within the walls of L'Manburg. It wouldn't have been easy to just leave the safety of L'Manburg since the enemy could literally be waiting outside to ambush anyone they could. So, if character Fundy were the type of person to occasionally leave L'Manburg (and I believe he would be), he'd definitely feel guilty at times since it would have been very stressful for Wilbur. It's the middle of a war, Wilbur's a general and a father (tho he definitely he focused on one more than the other) and the least Fundy should be doing is to just stay within the walls. So, in a scenario where Fundy occasionally leaves L'Manburg, he would definitely feel guilty and blame himself for adding any unnecessary stress to Wilbur...

Again tho, this is an imagined scenario since this never really occured within the actual storyline... But then again Wilbur did claim the walls as "The wall I built to keep him (Fundy) safe." So it probably did happen and Fundy would have probably felt guilty for just leaving every now and then. Although Wilbur would have a point (it's literally the middle of a war), Fundy would have wanted to see the outside world and not have been forced to stay within the confines of L'Manburg (Fundy would have some slight fault here, that should be noted.)

Like I said, this is more of an imagined scenario that may or may not have occured.

Did you know that I wanted to live with you? (Look what happens, nightmare time)

O-ooh

And when you needed to fight, you gave her that too (aliens invading minds)

Ah-ooh

Alright so the first line really hits me since "live" could almost sound like "leave" (I know they're pronounced different don't @ me). For this piece of line, it sounds like a confrontation between Fundy and insane!Wilbur (Wilbur in Pogtopia Arc). At the very beginning of Schlatt's Administration, Fundy had always made it clear to at least himself (and Eret) that he was a spy on the inside. Fundy - at the beginning - didn't support Schlatt's administration at all. So if one were to think of the line with the word "leave" instead of "live," it gives off the context that Fundy wanted to go with Wilbur and Tommy when they were exiled... But he didn't because he wanted to be a spy for them. Technically, you don't have to change "live" with "leave" cause it essentially means the same thing, it just feels more painful this way cause it implies that Fundy forced himself to stay even if he didn't want to. Tis sad times for Fundy's hidden spy arc.

As for the third line, in the context of the musical this is referring to Bill (the father) essentially giving up custody of his daughter Alice to her mother. Of course in Fundy's case that doesn't work. But if this line were to be though of in a metaphorical way, it could come out as something else. "And when you needed to fight, you gave her that too." Think of it as Wilbur choosing L'Manburg over Fundy. Wilbur never "fought" for Fundy. Pet war? Nope. Tommy publicly disowning him? Nope. People calling Fundy a furry despite him being an anthromorphic fox (and as far as I'm aware, this is canon)? Nope. Schlatt hitting Fundy with a bottle during the November 16th war? Nope. Wilbur never cared enough to defend his son, but he was always ready to fight for L'Manburg.

Did you know mom let Deb sleep over?

And you're right about Deb - she's a hardcore stoner

And if you wonder what led your daughter astray

Well, daddy wasn't here to stay

... listen *gets bonked* Okay, serious interpretation first before I make the crack joke. This line really doesn't work cause this is essentially Alice (the daughter) talking about Deb (her girlfriend) who Bill (the father) does not really like. If anything, I'd like to say that... Change these lines to Fundy admitting that Schlatt is actually doing a great job as president? (Let's all be honest, Fundy at one point did express that he thought Schlatt was a good president). So yeah just Fundy admitting that Schlatt is a good president even though he is an alcoholic.

("Did you know Schlatt let Dre sleep over?

And you were right about Dre - he's a hardcore liar.")

For the last two lines. I imagine this could be said to two versions of Wilbur. If we're talking about insane!Wilbur then this is just a confrontation of how Wilbur pretty much just left Fundy in a hostile country where he was forced to adapt unless he wanted to get executed like Tubbo or imprisoned like Niki. There's a reason why Schlatt asked Fundy about his parentage and his association with Wilbur. As such, Fundy had to learn how to be another person because Wilbur left.

Another way to interpret this is Fundy telling it to Ghostbur. The reason why Fundy is bitter and the way he is is because Wilbur left him... Both emotionally and physically, the man died and they were never able to resolve their issues before Wilbur died. Fundy is the way he is because Wilbur never stayed to resolve their issues. The line "Well, daddy wasn't here to stay" really hits how Fundy is influenced by what Wilbur did, and Fundy is still looking for that one person - the one person - who would stay for him. His dad didn't stay for him, his grandfather stay, Eret did not go to the adoption, and his best friend (Ranboo???) didn't stay... Everyone has left him and that hurts him since that is exactly what Wilbur did and it still continues to haunt him even after Wilbur is dead and gone.

Not your seed

I'm not your perfect teen

I'm fucking sevente-en

At least I was before you left me

With the first two lines, I suppose one could say that this is how Wilbur saw Fundy. "I'm not your perfect teen," is one way that Wilbur could've seen Fundy or at least how he forced himself to see Fundy as. Since the beginning of the L'Manburg War, he regarded Fundy as a child and during the Election Arc he regarded Fundy as a rebellious teenager... But with slight endearment. Like he's honestly amused by Fundy's sudden show of rebellion... It's only when Fundy sides with Quackity that Wilbur begins to realize that Fundy is serious about the whole separating-himself-from-Wilbur thing and even then continues to look at Fundy condescendingly, especially when Fundy ran for presidency. And, although this is my own interpretation, that part of the Election Arc where Fundy wanted to run for the presidency too and Wilbur just allowed it after a moment of awkward silence, feels like a parent who just decided to concede with their child's wishes cause it's amusing and "hey, what's the harm in letting the kid have what he wants?" But... Fundy is not the kid that Wilbur sees him as at all, but Wilbur can't get over that and it even translates over to the way Ghostbur looks and regards Fundy as.

As for the last two lines, there are two ways this could be interpreted as. In the first interpretation, don't look at the age but at the context. Fundy was a kid who was born and grew up in a war-torn country, Wilbur may have been there physically but he had long since emotionally left Fundy since Wilbur was busy with the war effort to really be there for Fundy. Fundy, like Tommy and Tubbo, was forced to grow up because it was a war and they had no choice but to grow if they wanted to survive. The second interpretation is... A bit sadder. I don't really know what Fundy's age is. Like... Is he older than Tommy or Tubbo but how was he born in L'Manburg then??? But confusion aside. If we were to assume that Fundy was 14 during the Election Arc (as Ghostbur said but he's unreliable) or at least Fundy was a teen at that point of time, Wilbur left his son in an enemy country (though of course not any initial fault of his own since he was exiled XD). Fundy - like in the first interpretation - was forced to grow up and adapt because Schlatt could have literally just killed him for being Wilbur's son.

Why does it hurt to love you?

Why am I in pain?

Why does it hurt to know you?

You'll let me down again

If I turned my insides out, would you even know that I was there?

Ah ;-; the lines that make me cry.

Alright so I can definitely say that all of these lines are just relatable to Fundy. "Why does it hurt to love you?" Fundy does probably care a whole lot about Wilbur but with this care and love comes the pain of how Wilbur emotionally neglected and disrespected him. Fundy loves Wilbur. He does. But it doesn't mean that it doesn't hurt. He still recognizes Wilbur as his father to some degree and does love the Wilbur that was his dad, but with everything that's happened, loving Wilbur has become too painful for him to bear. Everytime he tries, it just feels like a stab to the heart since he's reminded of how absent Wilbur truly was in his life.... Even if Ghostbur tried to be there for Fundy, it doesn't erase the pain that Wilbur inflicted when he was alive.

For the second line, "Why am I in pain?" Fundy's character is undeniably one of the most tragic characters (at least from my perspective). The guy has been through a lot and even if this line isn't supported by the first, it still indicates that Fundy has suffered a lot (and yes a lot of characters have suffered too and I am not invalidating any of the other characters). He's hurting. And to be honest, they're all hurting. Everyone has their own ways of coping, and Fundy is honestly quite lost in what he should be doing. He's still reeling from everything, enough so that he canonically took a break and left the DSMP altogether (yes it was canonised that his character had taken a break).

For the following lines, I'd like to think this is directed to Ghostbur. "Why does it hurt to know you?" It feels like Fundy meeting Wilbur - or at least a version of Wilbur - after everything that's happened. He knows the real Wilbur and although Ghostbur reminds him of the father that he used to have, he can't just forget what the real Wilbur did. It hurts to not be able to move on even though he has a second chance with Ghostbur. It hurts because everytime he sees Ghostbur he'll just be reminded that Ghostbur is nothing more than a remnant of a once broken man. He knows Wilbur, he knew the real Wilbur. And it hurts to not be able to move on from the real Wilbur. The reason why it feels like something Fundy would say to Ghostbur is furthe remphasized by the next line in the song.

"You'll let me down again." That is definitely something that Fundy would say or at least feel towards Ghostbur. He wants to get to know this new version of his father, he wants to... But he can't. Cause again there's still that underlying fear of Ghostbur just messing up again and further hurting Fundy. In a way, Ghostbur did in fact hurt Fundy and he did in fact let Fundy down again. The issue with Ghostbur is that he refused to acknowledged the problems that he inflicted to everyone around him. When Fundy confronted him, Ghostbur ignored it. He ran away. So yeah, Fundy couldn't let himself know Ghostbur because Ghostbur would have and did let him down again.

Finally, the last line, "If I turned my insides out, would you even know that I was there?" As we've already seen, Fundy has tried to gain Wilbur's attention and acknowledgement in the past. First, with the running for presidency and secondly, with the spying for Pogtopia thing. Fundy has gone - and would have possibly gone to even worse - to great lengths just to gain Wilbur's approval. This line just shows the desperation that Fundy had just so he could get his father's approval. He tried to be independent, but it didn't work. He tried to help his father against Schlatt, it didn't work. He went so far as to burn the flag down since he wanted to get into Schlatt's good graces so he could be a better spy. He went to great lengths for Wilbur's acknowledgement... But he never got it, at least, not in the way that he wanted to.

Why does it hurt to love you?

Why does it hurt to love?

For the first line, "Why does it hurt to love you?" it just really shows how painful it is for Fundy to try and love a father who was barely even there for him. He does love Wilbur - as I said before - but loving Wilbur comes with a lot of pain (as I'm sure even other characters affiliated with Wilbur can attest). Wilbur went crazy before he died and he wasn't the best father towards Fundy and though Fundy still holds on to some semblance of love for the man he once saw as his dad, he still feels hurt over everything that's happened. Wilbur is a sore and touchy subject for many people within the story, not even just Fundy. They all suffer at the thought of Wilbur... At least, Alivebur.

Ohhhh... Like...this is obvious. The second line is obvious for Fundy XD. Because: his father was barely there, his possible last words to Fundy were "I despise you," and then he died and came back as a ghost who straight up ignores all the problems that he caused when he was alive, his grandfather disowned him, his fiancé broke up and possibly cheated on him (if you consider fwt canon), his best friend called him a coward and left, his home got destroyed thrice, Eret never showed up for the adoption, and he went through a breakdown arc in which it was so bad that he left to take a break from everything that happened. Everything that he's ever loved just finds a way to hurt him.

I'm not your seed (not your girl, not your girl)

Now maybe you'll listen to me (listen to me, listen to me)

Or do you let me bleed? (let me bleed)

Now your daughter's not a girl no more (girl no more, girl no more)

Now that Fundy's gone through a possible recovery arc (since he canonically left the server for one year or was it fours years?), he's probably more well-adjusted to everything else. If Wilbur does indeed get ressurected at some point. This is a way of like showing how Wilbur and Fundy may interact. (Also, I know it could also sound like Villain Fundy but I honestly have moved on from that particular thing and just want Fundy to recover). "Now maybe you'll listen to me," is just Fundy trying to confront Wilbur after everything except this time Fundy has recovered enough to actually speak to Wilbur without getting mad or upset once Wilbur refuses to acknowledge anything's wrong. Still, this is just in the case where Wilbur is ressurected and Fundy is recovered enough to confront Wilbur for everything that's happened.

So for these last lines, I'll only focus on the third line which is "Or do you let me bleed?" If Fundy and ressurected!Wilbur do interact, there are two possible ways for that to go. Wilbur either acknowledges and apologizes for what he did wrong, Fundy apologizes for the things he also did (come on, burning the flag, tearing down the walls, and disowning Wilbur is very painful regardless of what Fundy was trying to accomplish), and they both learn to accept the past and move on so they can beat that stupid egg (red egg, my beloved) and maybe Dream. Or... Wilbur could just ignore Fundy all over again and refuse to acknowledge what he did wrong. Hopefully this time, Fundy would be recovered enough to just realize that Wilbur is never gonna change and that Fundy needs to move on from Wilbur. So, yes. In this possible scenario, Wilbur and Fundy could either make up ("Now maybe you'll listen to me") or Wilbur refuses to acknowledge anything that went wrong and Fundy moves on by himself ("Or do you let me bleed?") Again, this is just a possible scenario.

Not at all your seed!

Cause I'm not your girl anymore

Just, well, further emphasis that Fundy isn't the same person he used to be and he never will be again. Like everyone else, he's gone through a lot. He's different, he's changed.

----------------------------------------------------------

So yeah... I am so sorry to the anon if this is just so confusing or me rambling and I'm pretty sure you didn't ask for a damn essay. But ye... Have this... Sorry if it’s not the analysis you wanted tho ;-;

Apologies tho if this seems confusing and I would gladly clear things up if there's some points that are confusing.

So...ye... Have fun with this

(what do I tag this as, pls help—)

[batarella]

I Don’t Hate You - Part 8 (Jason Todd x Reader)

we’ve come to the point where 4.2k words is considered short for this series. we love character development.

WORDS: 4202 WARNINGS: I smiled like I just smoked a blunt while writing this do I even have to say it

Masterlist

I DON’T HATE YOU - MASTERLIST

-----

Light and darkness can be the most shallow, categorical means to describe a human being, one whose ways were never to their fault, never to their choosing, when an upbringing has caused either optimistic or cynical perceptions on the simplest things like the weather. Calling them someone who embodies ‘light’ would bring their minds up so high in the sky that they’ll end up believing they will forever be too bright to corrupt or hurt another. That is almost never the case. With the lack of perfection with just about anyone, everyone is capable of hurt. Everyone can be capable of selfishness. It all boils down to their will, if they want to hurt that somebody. But capabilities can never be assured. Even just the thought of a corrupted act is evidence enough that one person is never just light.

And darkness? All the more is it so limiting, so detrimental to how one would end up perceiving themselves, to be labeled as something the world will never be in favor of, to cause such a belief that they are never desired, never to bring happiness, never to come up to someone’s life and possibly make it better. For them to think they will never amount to being a star so bright that another’s eyes would lovingly gleam at the sight of them. For them to be convinced that they are a shadow, undesired, a bundle of emotions that have long been thought of as unwanted, unhealthy even.

The world has always been cruel, creating such labels so human beings would be drawn to those of either the same or opposite types. Types that shouldn’t make sense when just because one might see themselves in another, it ends up leading to the idea that a person is a mere idea. That they are a sort. Something to either want or avoid. Never something so deep that a common belief prevents you to finding out the depths of a person.

Love has never been about light or darkness. It has always been about depth. And depth can be infinite. Just like how love is an infinite spectrum. It was never about opposites. It was never about types. It was never about the surface.

Jason Todd was known to be a brood, never the one you could easily approach. Never the one to approach anyone. On good days, he would be seen laughing with his friends, raising his hand in class and have a great sense of humor that anyone can be charmed with. But those days can be counted. Most days, on days when he came to class with bruises all over his face, a hood over his head, scowling at anyone who dared to look at him twice. When someone would come up to them and he wouldn’t do so much as respond. Those days were plentiful.

The days that have cemented himself as a guy to watch out for, a guy to be feared, a guy no one wants to mess with, were those when someone would get on his already irritated nerves. Those days, he used his strength, his fight, to hurt other people more than they should be, beating them further to the ground even when they were already down. Fights were normal in high school. It was always something to expect. And it most commonly ends up with a day’s detention or even just a warning. But with Jason Todd? More often than not, he’d come out unscathed, and the other guy would end up in the hospital. Those days were the ones he was least proud of.

You, Y/FN, were troubled, harsh, often so angry, and spoke everything as truthfully as your mind would let you. You do not hesitate to hurt back, often even hurt first. You never let anyone talk to you the wrong way. You were strong enough to fight back at the world when it wasn’t often so decent to you. You can almost never be told what to do. Any threat thrown at your direction, you will tear it apart with you bare hands before life will have any other say on it.

But it went far beyond to just being defensive against cruelties. You’ve hurt so many with just your words, caused so much tears, shed bucketsful of blood. So many times, you’ve taken advantage of other people’s kindness and end up being so selfish as to only work for your own gain. You mostly ever thought about yourself. You never cared about what other’s thought, about what other’s felt. You’ve instilled so much fear onto so many people.

Some would say you and Jason would only amplify each other’s rage, each other’s blackness, each other’s cynicism. Some would say you were damn right perfect for each other.

But, with love being an infinite spectrum, it’s no longer about being perfect for someone, is it?

Nobody is ever really perfect for anybody. Rough patches will be inevitable. Personalities will most often clash than not.

But whoever that person is, whatever label they may possess or how the world puts them in a tagged box, if they end up being the one you share your brightest smile with, your noisiest laughter, your genuine happiness, then what is the world to stop you?

How could the boy whose eyes were most often hidden by the shadows look at you the way he was now? Peering in from the thin space between two books on a bookshelf, one you were just about to fill in with another one from the cart. He was smiling at you, knowing you caught his eye, too. And with the yellow light seeping through the shelves so perfectly resting on the details of his face, you stopped yourself from freezing and placed the book onto its place.

Then you pushed the cart, your eyes darting to the ground when your face had gone too flushed, but you couldn’t help but look back into the spaces between the bounded, dusty books. He kept your pace, never tearing his eyes away from you even when he could only see so much. You could see dust particles float about just from concentrating too much on him. You placed another book, then he moved to the space next to it. You bit your lower lip and kept going.

He’s been at this all day. Following you in silence, glancing at you when he noticed you following him as well.

Even from the other side of the shelf, you could see that shine in his eyes, the shine not everyone had the privilege to witness.

Then when you’ve reached the end, when your corners met and your eyes followed from just each other’s eyes to each other’s whole, he faced you, and you shyly tried to look away, but that day, the day after that day¸ he’s been following you around like a lost puppy and you have been doing much the same to him.

It was the best feeling, even in silence, when Jason sat across from you, still giving you that same look he’s always had, yet no longer looking away when you caught him, when his touches felt so much warmer, when his voice just a tad bit softer. When you only ever looked at him in admiration, when you looked further out to protect him, when you stole touches whether or not he noticed. It was basically the same, but also entirely different.

Love has never been kind to you. Never been kind to him. You’ve only had your parents and a few friends, yet you couldn’t remember the last time they’ve held you just because they wanted to, or that they longed for your presence when you weren’t in the room, when they constantly thought of you and your happiness. The people you loved have only ever done so much to love you back. And you, understandably, didn’t always love so hard as a person should and could.

Jason has had a girl or two that he liked, created the blossoms of an early relationship with without much thought on commitment, but that was only within the past two years when he got back to school and somehow maybe even before he dropped out after 5th grade. It was hard when on the prime ages of his teens, he’s had to think more about what he eats for the night than whether or not a girl likes him back. So at this age, no, he didn’t have much experience. You were definitely a first.

A wonderful first.

But that also meant he hadn’t a speck of an idea what to do to move forward.

Penny sat across from you, and you ate like the food in front of you in a dirty, grease filled tray was an actual decent meal. You didn’t notice your friend was smiling while watching you eat, like what you did was so amusing to look at.

“What?” you asked, still with food in your mouth.

“Something happened,” she poked you. “Didn’t it?”

You rolled your eyes and shoved your fork into your mouth.

“Tell me.” Penny put her chin on her hands and tilted her head while grinning at you. “Pleeease.”

“No.”

“You seem happy today, and yesterday, and the day before that-“

“I’m not- just eat your food.”

“Did you kiss?” she giggled.

“Stop giggling.” You ate two spoonful’s, then with your head craned down, you smiled. “Yeah…”

“EEEEEEEEEEE-“

“PENNY.”

“I can't believe it. You two kissed,” she held her hands together and looked up at the ceiling. “Was it romantic? Or awkward? Tell me what happened!”

You’ve never actually told anyone at all. You didn’t feel the need to. But something so warm at the pit of your stomach made you want to coo and daze yourself all over him like a fucking crackhead.

Whatever.

“We were at a playground. He asked me to sing. Then he just… kissed me…”

You were smiling at your food like it was the best damn thing in the world. It was only mashed potatoes and a chicken drumstick. You were a crackhead.

“How was it?” Penny asked.

Your own smile kept getting bigger as you remembered that moment. The most perfect moment. “It went on for like… forever, but at the same time it ended way too soon. It wasn’t weird at all…”

“Look at him,” Penny was looking at Jason eating from his own tray of potatoes. “He’s so cute.”

“Stop. Looking at him,” you demanded.

“I’m just so happy for you,” she smiled. “What happened next? Did you go out again? It’s been three days!”

“Well,” you licked your lips. “Uhm…”

“What?”

“After that night, he dropped me off, then I texted him to say thank you and he was all like ‘you're welcome’ and then the subject changed before we fell asleep. Then we texted basically about anything in class before going to work at the library, then-“

“Wait,” Penny stopped you.

“Are you telling me you’re not dating yet?”

Your lips were between your teeth. Your eyes were all over the place but on your friend’s.

“Define dating…”

She leaned closer. “Did you get to talk about how much you liked each other and that you wanted to be together?”

Shoving a forkful of chicken into your mouth, chewing it ever so slowly, then swallowing, you murmured. “No…”

“Did you guys even talk about your kiss?”

You wanted to sink into the ground. “No…”

“Oh my god.”

“Penny-“

“This is both your faults.”

“Penny-“

“Talk to him, Y/N-“

“PENNY-“

“I’m serious! How is anything gonna happen when you're both too shy to do anything?”

“Don’t EVER call me shy. It’s demeaning.”

“Okay…” she slumped to her seat, her mouth pouting like a child as she stared at her food. “I’m not hungry anymore.”

“Don’t be a fucking baby.”

You ate your food and kept your eyes downcast. You didn’t have to rush, right? You didn’t have to talk about it right away? You’ve never been happier the past three days. Why should you change anything?

“Hi.”

You, with your mouthful of food, and your friend still pouting, looked up at the deep voice that stood over your table.

Jason’s smile at you made your stomach churn like a washing machine.

Penny almost dropped her food, then her mouth. She looked at you, then at Jason, then silently giggled at how you two had lingering gazes at each other longer than any two sane people would.

“Mind if I join you guys?”

“SIT HERE!” Penny cried out, standing up from her seat and taking out her tray.

“Oh, I can totally just sit over th-“

“THIS SEAT’S BETTER.”

“But you haven’t finished your food-“

“I’M ON A DIET.”

You wanted to bury your face into your bag and hope you’d suffocate yourself and die.

Penny practically sprinted out from the table, glancing back at you, catching your piercing glare, and gave you a huge thumbs up with both hands before running out of the cafeteria. Just before the doors closed, you heard her high-pitched giggles.

Kill me now.

Jason cleared his throat, then took Penny’s seat right across from you.

The moment you looked up and met his eyes, your glower faded in an instant and your mouth defied your thoughts and curved up. You picked on your food, trying your best not to stare at him too much. But there he was again with his eyes. He barely touched his food.

He was nervous, too. You could tell. Biting his lip.

You could handle the silence. Silence didn’t always have to be awkward. You’ve never done this before. He never did either. And too much all at once would be far too much. So just this time, with him, you’ll take all the time in the world.

Jason chewed on his food, looking up at you every so often.

Then you saw his one hand reach over to your side of the table, doing nothing but just lay there untouched. You looked up, fighting your grin.

Okay, maybe you could take another teensy little step.

You reached out your own hand, so slowly, he never would’ve noticed it if he wasn’t looking from his side eye. You laid it just an inch away from his. You pretended to focus on your food and ate.

He did the same, eating in silence with you with just one hand holding a fork. His jaw clenched the same way it often did when he chewed. Silence. More silence. But you were smiling from ear to ear.

Without glancing up, you felt his pinky brush against your thumb.

You had to bite into your lips to not look like an idiot.

His touch was so slight and beautifully delicate, yet with each miniscule movement, you could feel the buzzing warmth, down to your palm, then to your arm. It wasn’t something overwhelming, or even electric. It was just… warm. Fuzzy. Comfortable. He knew you were smiling, but he continued to eat and grin so secretly, it was annoying.

Even more of his warmth raced to your chest when his leg grazed against yours under the table. You didn’t even try to hide your smile anymore, but you knew if you looked up and catch his eye, you wouldn’t be able to take any more of this warmth and fuzziness.

You inched your hand closer, too close until his pinky and ring finger were on top of your hand. His leg kept touching yours. Your heart felt like jumping out a ten story building. You were an idiot. Such an idiot.

But you actually liked being an idiot at that moment.

At that point, neither of you moved. And just like the kiss, it lasted forever, but ended far too soon.

For days, it was like that. Silence. Comfortable silence. No talks beyond what was on the surface, or anything about feelings or anything to move forward. As much as you’d love for it to go past this, you just enjoyed the moment.

It will come. Soon. For once, you felt secure.

Jason made you feel secure.

Back at the manor, he could only ever think about you when you weren’t texting. He was just nervous. And scared. Not of you. But of himself. He could mess up and lose you. Losing you wouldn’t be so easy to undo. He stepped on the right track with that kiss, as much of a risk it already was, he really didn’t want to mess up the next move.

You were an entire maze to him. So mesmerizing and so prone to get lost in. Difficult to understand. Not at all easy. But that’s what made you so beautiful. That’s what drew him in the first place. And like a maze, when he finishes, fuck, will it be rewarding.

With his suit on, sitting at the computers with his legs up on the keys, he fiddled with his phone, thinking of what to say to you to make you laugh.

“Robin,” Batman said to him as he put on his cowl. “Ready to go?”

“Yeah. Just hold on.”

He thought a meme would just cover it. He sent it to you and hoped for the best.

“So who is she?”

“What?” he choked, putting his phone face down.

“The girl you’re always with. Who is she?”

“I have no idea who you're talking about.”

“You expect me to believe you stay in school all the way until 6 pm at night, visit an abandoned house far away from the city, and hang out at a playground in the middle of the night all by yourself?”

“How did you- you placed a tracker in my phone, didn’t you?”

“Answer me, Jason. Who is she and are you going to bring her here in the manor anytime soon?”

He fell face down onto the computer keys. “I like you better when you’re Batman and not an absolute dad.”

“Well, I technically am your father, which means I would like to meet your nice girlfriend and invite her over to dinner-“

“She’s not even my girlfriend yet!” he coughed. “Sorta…”

“Then why don’t you ask me, Dick, or Alfred on how to get a girl to-“

“Bruce, I am NOT having this conversation with you.”

“Alright. Alright. Then you can put your phone down or else I go on patrol on my own. You can take your bike.”

Batman went into his batmobile and drove out of the cave. Jason laid on the rotating chair, facing the ceiling.

His girlfriend. You. He’ll have to take that in before he goes to sleep at night.

A tongue suddenly started licking his fingers. Jason looked down. Ace was on the ground, looking at him with the widest eyes.

“I’d rather talk to you, Ace.” He patted his head. “What do I say to her?”

He showed the dog his phone, which had your reply. Ace looked at the screen, then at Jason, then proceeded to lick his ass.

“Nice. Could always count on you, boy.”

Alfred took the liberty of placing his domino mask on his face while he continued to text you for several more minutes.

“I really like her, you know,” Jason told the dog, who was now lying on the ground asleep. “I hope I don’t mess up.”

Ace’s back heaved steadily in his slumber.

“You don’t think I can mess this up? You're too kind.”

Several minutes passed. Jason told you he needed to do some homework for the night, and to text him if you needed anything. He placed the phone on the table and fixed his mask, standing up. The dog followed him.

Ace watched him get onto his bike, pulling down his helmet. He sat down, panting like he was smiling.

“You think I’m in love with her?” Jason scoffed and snorted. “No…”

And as if the dog understood, he stopped smiling and whined.

Jason laughed at the dog, then at himself. With a bright smirk looking down at the ground, feeling his heart race at the thought of you wishing him safe before patrol, he drove out of the cave.

Yeah. This was eventually going to have to change.

The end was so close and near.

Now, you were at the library. Tomorrow, at 4:30 in the afternoon, it will be you and Jason’s very last day being library assistants. The last day of the one thing that excused both of you to see each other as if you were forced to. The one reason you could always rely on to hang out with each other without it being weird.

At that point, you’ve grown to be fond of the old book covers, grown to take the time to admire the old classics that Jason lingered on often. You no longer complained having to shelf the same books over and over. You no longer dreaded writing dates by hand. You’ve grown to love your work.

Even if everything else progresses, you were going to miss it here. Even Ms. Peterson.

The old woman was silent on her computer. And even when it was almost 4:30, you still took your sweet time at the shelves. Jason had his own cart to take care of at the shelf beside you. You looked up at him, smiling. This view. Of him glancing at the pages before putting them on the shelves. This was definitely what you’ll miss the most.

Jason looked back at you and returned your smile. Jeez, your heart.

You bit your lip and looked down.

You took out the very first Edgar Allan Poe collection book that belonged to the library, the one you never asked to borrow from Ms. P, and ran your hand over the cover.

A long dead, emo writer ended up pulling two people together the way he never meant to. He was probably looking down at both of you all confused, since he wrote about the most depressing themes that almost never ended in a good way. But he ended up mending a story so beautiful, you couldn’t help but thank him.

You had another book of his at home, anyway. So with a longing brush of your palm over the cover, you placed it back onto the shelf where it belonged.

“Y/N!”

A group of three girls. One of them was the one who handed you a flyer the other day and you ended up shoving it down her bra.

“We’re the party planning committee, and you know the Winter Wonderland Ball is coming up, right?”

You squinted your eyes at them.

“And we also know that you are a very good singer-“

“No.” You went back to shelving the books.

“Please!” she begged you. “Our last singer had a throat infection just today and he had the audacity to tell us just now.”

“No.”

“Come on! Please! You are an amazing singer.”

“I know,” you smirked. “But I’m not gonna do it.”

“The ball is two days away! Please! Just one song!” She was on her knees now. “I can't lose this job and I need this on my resume for college! We promised a live band!”

You rolled your eyes and turned back over to your shelf.

Jason was looking at you. Straight at you. He heard everything and you just knew he wasn’t going to let you hear the end of it.

You sighed and looked back at him.

His smile just melted every block of ice inside you. You loved that smile. You wanted to see it every day. And you did, technically. But like this, silently telling you to push yourself, be your best version.

And the thought of him seeing you on stage, you seeing him in the crowd and having that flutter in your chest that hadn’t gone away since that night at the playground.

God, you were an actual, undeniable, enormous crackhead for giving in to him.

You turned to the girls and shrugged. “Fine.”

You flinched when they shrieked. The girl who begged you held your shoulder. “THANK YOU-“

“Neeeever touch me,” you growled, glaring at her. She backed away, still with a smile, then the group ran out of the library before you’d possibly change your mind.

Placing the last book onto the shelf, you felt proud of yourself. With a deep sigh, you walked over to the tables and grabbed your bag. Jason came up from behind you.

“I can't wait,” he grinned while swinging his bag over his back. You licked your teeth and rolled your eyes at him. “Shut up.”

“Really.”

He took a step nearer to you, looking straight into your eyes with that same smile that drove you nuts. “You’re gonna do amazing.”

You shook your head and you both started walking out into the hallway.

“Can I take you home?”

Your eyes were locked on the ground, then you covered your lips with your scarf when you stepped out into the cold. “Sure.”

Holding him on his motorcycle, you laid your head against his back, circled your arms around him tighter than you usually do.

Love is infinite. Love is depth.

Jason is both.

-----

I DON’T HATE YOU - MASTERLIST

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[linkspooky]

The Unforgivable One

Someone in my inbox accused me of not treating the heroes like “flawed human beings”. However I think they had a fundamentaly misunderstanding of the way I read characters, both heroes and villains. I don’t see people as good or bad. I see everyone as equally human and flawed. Bad people don’t do bad things because they’re psychopaths, they often do these things for very understandable and human reasons. You can often hurt someone for very normal reasons. Abusers are in fact human too, and often they don’t really see themselves as bad people. Most people are not in fact cackling villains but in fact perfectly normal human beings going through mental gymnastics to justify themselves. So with that in mind let’s take a look at the incredibly flawed human being that is Todoroki Enji. Obvious content warning for discussion of child abuse under the readmore. If you can’t stomach it please don’t read this post for your own safety.

1. Endeavor’s Motivations

Endeavor’s motivations aren’t hard to understand, because they’re basically the same as Bakugo’s his foil. This is something the manga itself has commented upon. Bakugo gives us a view into the mindset of teen Endeavor and likely the attitude that led him to becoming the adult he is. 

Endeavor is, in a way, as much of a victim of hero society as Bakugo is. In the fact that Enji has been negatively influenced by a lot of the views of hero society. Bakugo and Endeavor both have incredibly flashy quirks more suited to combat and defeating villains rather than saving people which makes them the ideal of hero society’s quirk prejudgice. People are not born equal, that’s the words that the manga start with, and it’s imporatnt to notice that people like Bakugo and Endeavor are heavily favored by hero society but that too comes with its own unique set of pressures. As hero society is ultimately a very toxic system overall that holds up an unhealthy ideal. 

Bakugo is a bully, ultimately. He wants to make other people feel small to make himself feel big. Endeavor is the grown up version of that same bully. However, Bakugo while being a bully Bakugo also has an extremely uhealthy mindset where he is constantly piling up pressure on himself and never really feeling satisfied. A mindset which instead of trying to correct Hero society praises Bakugo for having, and encourages. 

Let me explain. Basically, Bakugo and Endeavor are both the living embodiment of “damned by faint praise.” They are constantly being praised and told how special they are because of their quirks. However, while this may have been enough for them early on in their lives while they are little kids they eventually get the sense that they haven’t really earned the massive amounts of praise people give them. 

This causes both of them to be struck with a serious case of what most people call “Imposter’s Syndrome”, they don’t really feel like they’re the ones getting praised. They don’t feel like they’ve earned it. This is when one of their first mental traps springs. They decide they have to become the really great person that everyone sees them as. They’re always specifically aware of how short they fall as a hero from the expectations of everyone around them, and they are constantly working to make the difference up. 

Endeavor and Bakugo are people who have incredible drive, and also an incredible motivation to improve themselves. This has been stated before by the story several times but none of these are bad traits to have. Wanting to improve yourself. Wanting to live up to everyone’s expectations of you, or even your own expectations of yourself can lead to you pushing yourself to do good things. 

However, the problem is for both Bakugo and Endeavor that no matter how much they build themselves up in their head they’re building on very flimsy foundations. Both of them are building towers of sand, or houses of cards. They have a lot of self-confidence in themselves but it’s always fragile. Because they have confidence, but no security in themselves. They are extremely insecure individuals. 

They both pile up an incredible amounts of stress and pressure on themselves to be the best, or at least to be as good as they think they should be, but they also both suffer from the two same critical flaws. Number one, they have been taught no healthy ways to deal with this negative buildup of stress. This is once again one of the faults of hero society, if people are strong then nobody around them will ever see them as week. 

Bakugo is kidnapped by a villain at the start of the manga, not a single person is worried that he might be traumatized from nearly being killed. Of course not he has an incredibly powerful quirk. He’s strong, so he must not suffer from trauma like the weak kids. 

Bakugo is uniquely pressured because he has a strong quirk, everyone around him expects him to be strong at all times and Bakugo himself does not allow himself to show any vulnerability. Bakugo legitimately believes that if he was strong enough, he would never fail, never lose. Bakugo basically doesn’t allow himself to be human in any of the ways that count. Bakugo only sees himself but that’s a double edged sword, when things go wrong the fault has to be with Bakugo, it’s because Bakugo was weak. So, Bakugo has been severely emotionally neglected by the institutions around him including UA, which after Bakugo has been kidnapped by several murderous villains did not think to check if a fifteen year old was traumatized and mentally healthy enough to return to classes. 

The second flaw in their mindset is that they are continually forced to prove themselves. They work hard, but feel no satisfaction no matter what they accomplish. Even if they have the most resolved cases, even if they get number one in the tournament. This is because once again, the enormous pressure and expectations they push onto themselves. If a Straight A student gets A’s, it’s not extraordinary he’s merely doing what’s expected. If a C student gets an A that’s an accomplishment. Their expectations are so high for themselves that they can literally never be met, and therefore they feel no relief from the constant piling up of expectations and stress. 

This is why Bakugo is fundamentally insecure. He’s not good enough to meet his own standards, and it seems like everyone else exists to prove how small he is. Bakugo sees the world as everyone else looking down on him because he’s so stuck in his own head. Bakugo cannot emotionally process this, and because of that at even the smallest upset he starts crying and acting like a child because he just can’t handle these emotions. He’s unstable, mentally always in a very precarious place. 

What Bakugo wants is to feel good about himself. He wants to feel like all his hard work is accomplishing something. However, Bakugo’s self esteem comes not from what he’s accomplished but rather that feeling of being better than others, the societal pressure to be the best, which is why he not only has to be the strongest but has to put others down below him. Not only that, but if he feels like somebody is disrespecting him or not taking him seriously then Bakugo even goes as far as to lash out violently. He literally tried to attack an unconscious Todoroki (who was holding back due ot having flashbacks of his father in the middle of a fight against Bakugo... hmm, i wonder why). Bakugo’s mindset is very insular. Bakugo just kind of assumes that everybody thinks exactly the same way he does, because he’s not emotionally intelligent really to understand other people. So he just assumes Todoroki holding back is an intentional insult against him and gets angry. In Bakugo’s mind it’s justifable to be violent against an unconscious Todoroki, because Todoroki’s the one intentionally provoking him and looking down on him. 

Bakugo and Endeavor go through a similiar arc. They both build these giant towers on foundations of sand, only to watch them crumble and be left with nothing. They both realize that they were fighting for the wrong thing all this time. 

When they realize they were fighting for the wrong thing, all they can feel is emptiness and their own personal disatisfaction. Bakugo and Endeavor were chasing something they were never really going to have in the first place, because even if they became the number one hero, even if they were the strongest in the world it would never be enough for them. Which means they’ve accumulated all this stress but have no healthy way to deal with it so they vent it out. Literally the only thing Bakugo can think of to do when he’s at his limit is beat up Deku one more time and try to make himself feel strong again and prove that his way of doing things wasn’t wrong. 

Bakugo and Endeavor find themselves at similiar points. They both realize everything they were devoting themselves for was wrong from the start, and they were never going to get what they wanted out of life. While Endeavor’s reasons are not necessarily sympathetic, they are at least understandable and human. Endeavor feels like he’s owed a reward for all of his hard work. He wants to feel like he’s someone special and important. Endeavor and Bakugo are selfish yes, but a selfish drive doesn’t have to be a bad thing necessarily. Endeavor and Bakugo are always pushing themselves to be the absolute best version of themselves because they believe in society’s pressure to be the best wholeheartedly. They’re also continually made to feel worse than everyone around them. Their tremendous egos are actually fueld by very small insecurities. 

They also much like human beings don’t absolutely think they are right all the time. Bakugo and Endeavor both have hit their limits so to speak. Their struggles are sisyphian. They push the boulder up the hill, watch it roll down, push the boulder up the hill, watch it roll down and are slowly realizing that all of their struggles are getting them absolutely nowhere. At which point both of them begin to self reflect and think they may have been going about things all wrong from the start. Bakugo and Endeavor both have some awareness of how unhealthy their mindset is, or at least that it’s not getting them what they want.  They are sometimes capable of questioning themselves and where they’ve gone wrong. 

2. A Show Parent

Psychological projection is a defense mechanism people subconsciously employ in order to cope with difficult feelings or emotions. Psychological projection involves projecting undesirable feelings or emotions onto someone else, rather than admitting to or dealing with the unwanted feelings.

Endeavor is constantly battling with his own feelings of inferiority in weakness. However rather than process these feelings in healthy ways, Endeavor has always chosen to take his feelings out on his family. The reason why is because from the start Endeavor has viewed his family in a selfish way, they existed, and continue to exist for him and not the other way around. 

The way Enji projects on his family is actually for pretty common every day reasons. Enji himself feels like he can’t achieve what he wanted out of life. He wasn’t good enough to become number one, he couldn’t hack it and therefore he’ll never be good enough. That’s why he made the decision to instead try to live vicariously through Shoto, who he sees as an extension of himself. Enji has projected all of his wants and desires entirely onto Shoto. When he was raising Shoto, it was never about having Shoto’s needs met, but rather what Enji’s wants were. 

Enji feels that he himself is not good enough so he projects himself onto Shoto to accomplish what he can’t, belcause he thinks he will be able to find the fulfillment he’s seeking that way. It’s the same as a person with dreams of becoming an actor pushing their child onto the stage at young ages instead of letting them go to school with all of the other kids. It’s the same as a person who wasn’t able to achieve their dreams in sports pushing their kid to be good at sports. In that sense Enji is not Todoroki’s father, he is his coach, or his manager. He’s not responsible for taking care of a child he’s raising them for a purpose. 

This is the reason why we see Enji get physically angry at Shoto. Enji has so thoroughly projected himself onto Shoto, that anything Shoto wants outside of what Enji wants, Enji perceives as resistance. Enji does not seem to get that a five year old can’t take the intensive training because he sees himself as that five year old. He thinks that Shoto must just not want it enough. That he’s not motivated enough. That he’s resisting him purposefully. It’s the same reason as Bakugo getting violent towards the unconscious Shoto near the end, when Shoto stopped fighting him seriously Bakugo in his fragility perceived it as Shoto holding back from him on purpose because he was looking down on him. 

If Shoto succeeds then Enji expects to feel that success. If Shoto fails that means Enji is not only reminded of his own inferiority again, but he also is forced to relive his lost dreams. Shoto doesn’t know any of that though, he’s just Shoto, just a kid, so of course he’s going to fall short of Enji’s extremely schewed expectations which is where the negative feedback loop beings. 

Because, even though Enji is using his family to try to make himself feel better that doesn’t work either. The truth is Enji can’t live vicariously through his son. Shoto’s success is not his success, and Shoto himself even wants nothing to do with him anymore. Enji has been using his family for completely selfish reasons up to this point and we reach a point in the narrative where Enji at least seems to grasp the fallout of his actions. Enji is at least aware of the fact that his family doesn’t like him, and that he’s done a bad. 

Reconciliation and calm are both stages that are written into the cycle of abuse for a reason. Most abusers are not heartless monsters, but rather humans. The frightening thing is abuse is a very normal thing, that arises from normal circumstances. Almost anybody can become an abuser, because it’s an abuse of power, it’s a cycle people get trapped in. A lot of abusers realize that what they are doing is wrong, this is called th reconciliation stage of abuse. Most people do in fact feel bad about it when they hurt another person and want to make ammends. 

The reason abuse repeats however is because the core behavior does not change, and the power dynamic remains in place. Abusers apologize for the wounds they caused, but don’t really address the problems of their behavior on a deeper level, and because of that they let the tensions build again and another incident always occurs. 

So what we are seeing post All Might retirement is not really a change in Enji’s behavior, because the core of who he is remains the same. He has perhaps had a change in motivation, he’s realized that trying to be the number one hero is never going to get him what he wants, and the way he’s treated his family has made his family hate him. However, he never addresses the core of the issue which is that he thinks his family exists for his sake. This is not my analysis these are things Enji has literally said, not in the tournament arc but post Kamino. Endeavor still says I’m going to leave everything to Shoto. Not even asking what Shoto wants to be. He still sees Shoto as his heir who exists to carry on his legacy.

 Enji is still essentially doing exactly what he did before and expecting a different result. He even says so to Shoto, if he’s a good enough hero, then Shoto will watch him, and be proud of him. These are Endeavor’s own selfish motivaions and not what the other people around him really want him to do. He’s doing this for the acknowledgement he thinks he deserves, and the attention from his family he thinks he deserves and not really for altruisitic or heroic reasons. 

Enji repeats a lot of his behavior from before. He still piles attention and attention onto Shoto that Shoto does not want. He is still essentially projecting himself onto Shoto and the rest of his family, that behavior has not changed, it’s just his method. He thinks if he becomes number one dad now instead of number one hero that will get him the sense of accomplishment he craves. The problem is underneath all of his actions, Enji has yet to really grasp what he did wrong. He doesn’t grasp how selfish his actions are. He doesn’t seem to understand how messed up it is, that he seems to think his family exists for his sake. He found a wife, he had children, he had Shoto, not because he wanted to make a family happy but because he wanted to use them to further his own amibtions to become a hero. 

Enji is both capable of realizing that he hurt people, and feeling genuine remorse fo his actions but also not really making any signficant changes for his behavior. The fact that both of these can be true simultaneously is what allows abuse to continue. 

While he knows he did something wrong you also get a sense he doesn’t truly understand how truly heinous some of his actions were. Enji always has this narrative inside of his head that he simply made a mistake somewhere along the way, that he acted without even realizing what he was doing. 

It’s not that Natsuo is angry with him and will never stop being angry with him, it’s that Enji has somehow said the wrong words by mistake. It’s not that Enji violently beat a child because he was angry that child wasn’t living up to his impossible standards, but Enji somehow just ignored Shoto’s wishes. 

He always makes it sound like it was accidental, like he didn’t know what he was doing, like he somehow didn’t mean to abuse them. He wasn’t beating up a little kid he just ignored Shoto’s wishes and it somehow went wrong along the way. This complete lack of culpability that Enji has towards his own actions is also what leads him to repeat several really bad aspects of his behavior, such as hyperfocusing on Shoto to the point of ignoring Fuyumi and Natsuo, forcing Shoto to live up to his legacy and accept his help, still vicariously living through Shoto instead of letting Shoto be his own person. 

Enji doesn’t address the root cause of the behavior and doesn’t change himself in any real way. The bad behavior repeats. The cycle continues. What Enji has been avoiding and what he needs to acknowledge is that there was genuine malice in the way he treated his kids. He sees his whole family as existing for his sake, to meet his own emotional needs and when they failed he always took it out on them. 

For Enji it’s always Enji first and everyone else second. It’s always primarily about what Enji wants. He doesn’t seem other people, only himself, and what he wants. That’s why when Shoto literally has half of his face burned off as a result of Enji’s actions, all Enji really cares about is that it’s going to interrupt Shoto’s training. 

Whenever Enji’s family existed outside of what he wanted them to be, or got in his way in any significant way he always vented his frustation on them. He resorts to hitting for the same reason that Bakugo always feels the need to bully Deku. A grown up bully. Enji needs to make others feel small to feel assured of his own bigness. Deku has to always be underneath Bakugo, otherwise Bakugo’s worthless. Enji has to put his family back in their place. If they resist or show desires of their own otuside of what Enji needs for them he turns violent to try to force them back. It all arises from an incredibly unhealthy way of viewing himself and his own emotions yes, but it’s also something that other people suffer the consequences of. 

His family exists for his sake, which is why he’s at the same time both extremely controlling of them, but also just straight up ignores the ones who aren’t useful to him. 

These aren’t a result of Enji going too far, these are all intentional cases of neglect. Especially if you consider the way Natsuo and the others were treated. Enji didn’t even bother to take care of them and raise them as his children because they weren’t of any use to his ambitions. 

He straight up had no presence in their lives whatsoever. These are things he intentionally chose to do. For his own selfish reasons, because he thought his children existed for his own happiness and not the other way around that he was not responsible for his children. 

These aren’t things that can happen on accident. Neglect is as much of an abusive behavior as what was done to Shoto. It’s a parent failing even their basic responsibilities as a parent to be present and around in their child’s life. 

Even the children he neglects he still controls though. When Natsuo’s cooking wasn’t good enough, Enji forced him to stop cooking anymore. 

Enji had to have intentionally does these things, but when confronted with them he always acts clueless. He even claims to Natsuo’s face it was never his intention to shut any of them out of his life, even though he literally says on panel in the past that Shoto shouldn’t pay attention to his siblings because his brothers were failures. 

He’s even referred to his other children as things like Shoto is somehow different from them. So how can both of these things be true at the same time? Enji had to have chosen to done these things to intentionally neglect his family, so how can he claim he never meant to shut them out of his life? How can Enji both get genuinely hateful of his children, especially Shoto when they don’t act the way he wants them to, and yet also want to do the best for his family? How can he be completely absent in Natsuo’s life his entire life and yet claim to have wanted the best for him? How is Enji capable of feeling genuine remorse for his actions and realizing that they are wrong, and still have done what he did? It’s at this point we reach the psyhological excuses. The great many hoops that he’s jumped through and mental gymnastics Enji has performed to justify himself. 

3. The Shadow of the Hero

So there seems to be two contradictory sides to Enji. There is Endeavor the hero who stops at nothing to be number one who sees nothing else but his ambition and his burning drive to be better, and then there’s Todoroki Enji the family man who just seems to be sort of awkward, emotionally absent, and not at all present in his children’s lives. 

Endeavor is overconfident, short tempered, and also an extremely volatile person who will get violently angry if the wrong buttons are pushed. Enji is very quiet and almost self reflective. As if Endeavor is almost always burning, and Enji is burnt out. We see this same kind of emotional dissonance happen with Bakugo too, Bakugo is either on top of the world at which point he’s firing on all cyllinders and acts like an overenthusiastic angry idiot, or he’s very quiet, withdrawn and tends to dump on himself a lot. It’s important to remember that neither of them handle their emotions in any kind of remotely healthy way, so in Enji’s case it makes sense that when he’s not angry he just becomes kind of withdrawn and empty. A person who doesn’t know how to deal with emotions becomes very emotionally awkward when they’re asked to do anything besides, be angry, or punch a villain. 

However it goes to a much more extreme extent with Endeavor. To the point where it does almost seem like there are two people. There’s the much more calmer, and reasonable Enji that he has been showing around his family lately.

Which even Natsuo says that this change is so sudden and different it’s unnatural. I call this “good behavior” Enji. It’s when he’s restraining himself and holding himself back because he has at least realized that a lot of his interactions with his family in the past were wrong. But good behavior once again doesn’t necessarily mean a change in one’s self, because as stated above there’s a stage in the cycle of abuse specifically for when the abuser starts acting better for a period of time. 

There has always been two faces to Endeavor. Not only does Endeavor see himself that way, but that’s also the way the public in general reacts to him. There is Endeavor the hero, and Enji the person. Shoto even comments on this word for word, that he knows Enji is a very respectable hero especially to the public but that doesn’t cancel out a single thing he did. 

This is where we get into the psychological excuses. Enji’s arc deals with heavy Jungian themes, specifically that of the shadow. 

In Jungian psychology, the "shadow", "Id", or "shadow aspect/archetype" may refer to (1) an unconscious aspect of the personality which the conscious ego does not identify in itself, or (2) the entirety of the unconscious, i.e., everything of which a person is not fully conscious. In short, the shadow is the unknown side.

Because one tends to reject or remain ignorant of the least desirable aspects of one's personality, the shadow is largely negative. There are, however, positive aspects that may also remain hidden in one's shadow (especially in people with low self-esteem, anxieties, and false beliefs).

For Enji, his conscious personality is Endeavor the hero. That’s the one everyone sees and reacts to. However, his shadow his the actions he’s done to his own family, what he keeps hidden and concealed from the world. The things he refuses to acknowledge such as how selfish his actions truly were. 

Enji has a narrative for himself where everything he did was just because he wanted to be the best possible hero he can be. Even though his actions are entirely selfish, he’s convinced himself that he’s doing these things for Shoto, for his family. The problem is Enji’s entire identity is so focused around being a hero that he doesn’t really have an identity, or much of a personality outside of his career as a hero which is why he’s so underdeveloped as a person. Being a hero is his life. He doesn’t see the parts of his life that don’t relate to his career as a hero. 

He’s able to ignore the selfish aspect of his actions. All of the contrdictory parts of his actions because he’s in denial. He still sees himself as that hero who wanted to be number one. He thinks everything he did was in favor of that and he just messed up along the way. It doesn’t occur to him that he had geniune malice towards his children, or his family because he chooses to ignore those inconvenient points of his psychology. 

Enji is, two people in a sense. It’s because he revolves everything in his life around being the best hero he absolutely can be, that he doesn’t see how his actions are downright villainous. Enji is essentially trying to have it both ways. He thinks he can become the best hero that he can be, and also the best dad at the same time. 

However, his behavior is the same. He’s not trying to prove himself as a father not really, he’s just doing the same thing he always did which is put his job as a hero above everything else. Enji is just so completely in his own head, so in denial of his own actions that he just doesn’t see these things.

Enji’s actions are a shadow that have escaped from him because his way of atoning and fighting against his past actions is to just do the same thing he’s always did and try his best as a hero. Even though being a hero is literally what caused him to abuse his family, and Natsuo and Todoroki have both pointed out several times that being a good hero doesn’t really atone for what he did in any real way. 

Enji’s narrative for himself is that his attempt to be number one was a good thing. That his striving to be the best hero he could be was a good thing. It just somehow got bad results for him. He doesn’t really understand how he got to point A and point B, and part of that is again society’s image of Endeavor the Hero is pretty messed up too. Everyone around him praises Endeavor for being a hero while absolutely nobody talks about what happened in his home life and therefore Endeavor faces no real consequences for it. 

Everyone sees this heroic figure out of the image that Enji projects. Because that’s the light. That’s who he is on the surface. If you look on the surface of his actions only you just see a guy who doesn’t know how to give up, and was trying his best to be number one. It almost looks heroic to see his struggle. However, once again if you only view things from the surface you can’t really understand him or his actions. Which is why Endeavor only viewing himself as Endeavor the hero misses his own shadow and what he’s done to the other people around him. 

The person who Endeavor thinks he is, and who Enji really is are two different people. This is because of that unacknowledged shadow. It’s because Endeavor has this huge selfish element to his actions that he’s just completely in denial of.  Not because he doesn’t feel guilt for his actions, but because he does and he’s avoiding it. 

Enji sees himself in the high end Nomu he struggles against, but even that is an incorrect viewing of himself. Nomus are victims, ultimately. They were people who were kidnapped and had multiple quirks loaded into them in the name of mad science. The Nomu is Todoroki, Enji is Ujiko. He’s the one who created several children trying to mix quirks together for his own purposes and then dodged responsibility for that for years. He’s not the monster, he’s Doctor Frankenstein himself. 

Enji when confronted with these behaviors, with the absolute worst of his personality, and the dark sides of all of his intentions never acknowledges them. He never tries to integrate them into who he is as a person. He just tries to fight against them and defeat them. 

“Unless we do conscious work on it, the shadow is almost always projected; that is it is neatly liad on someone or something else we do so we do not take responsibility for it.” Robert Jonson

You don’t destroy a shadow. You don’t make the bad things you’ve done and the bad parts of your personality go away.  The only way to defeat the shadow is to integrate it and consciously acknowledge that you are like this. This shadow stuff is not something I’m applying to the text either, the text directly references it. 

This is Jungian symbolism. The light of the conscious mind creates the shadow. It’s because people only pay attention to Endeavor that hero, that his shadow Enji the person becomes thicker and blacker. The longer people go without acknowledging it, the darker his shadow will become. 

Which is why Dabi is in a way his shadow as well. The violent parts of his personality that Enji has failed to acknowledge or do anything about, part of Enji that still believes that the only thing that matters is strength. 

Enji would never approve of Dabi’s actions, and yet Enji also created Dabi. Once again think of frankenstein and the monster. Dabi wouldn’t even exist if Enji had never abused his family. The monster argues against Doctor Frankenstein that yes he has murdered people, but he never would have existed in the first place unless the doctor had created him which manes the doctor shares respsonsibility for even the unintended consequences of his actions. A person is responsible for their shadow, intentional or not. Dabi is the shadow of Endeavor’s actions in human form. 

He exists to bring into conflict what Enji has been ignoring. That he can’t be good to his family and be a good hero at the same time, because his drive to be a hero was the source of his abusive behavior in the first place and drove him to do what he did to his family. 

Enji is a very selfish person who hasn’t confronted his own selfishness in any significant way. Do I care that he’s only atoning for selfish reasons. No, that’s not the problem exactly. You could argue that all atonement is selfish in nature. The fact that Bakugo and Enji are very self-driven individuals is not necessarily the problem, it’s not a bad thing to want to be selfish, or even desire to better yourself. It can lead to good things. It’s that in Enji’s case, his selfishness always comes at the expense of others. He completely shuts people out and doesn’t even see them. All he sees is what he wants to see. Above all else this viewpoint of the world is very narrow and self-serving. He only sees the surface of his own actions. He only ever sees himself as the hero and can’t acknowledge that to his family he’s the villain. 

Enji only ever saw himself and his self-centered view of the world, and everybody else, including the children he was responsible for and the wife he forced a marriage on only ever got in his way, which is why he resented them. If Enji wants to atone that’s one thing, but if Enji wants to stop being such a selfish person and truly do things for the sake of his family as he’s stated he wants to in the past that means acknowledging his actions. 

Enji continues to be a hero because that’s what he wants, it’s what he’s built his whole life around. He even sees his path forward to atonement as just continuing to do his job as a hero, even when he’s told by Natsuo that won’t work. Which is why the only real substantial way for Enji to change is to actually have to give something up. To acknowledge that he’s in fact a bad hero. He even stated himself, there’s something he wants even more than being a hero now. He wants Toya to be there. 

Which is why Dabi is such an important character because he not only forces Enji to realize the worst of his actions but also to choose, between what is best for himself and his career as a hero which is the only thing he’s ever really cared about and what is best for his family. It’s only in the confrontation with his shadow that we can see what Enji is really made of. 

[mattbflatt-loves-starset]

The Progression of Failed Love - A STARSET Playlist

Y’all ever make a playlist before? That shit is so much fun. Using the music by your favorite artists and ordering them in such a way that portrays your own idea or story... I love it, and I’ve only just started doing it. It’s a very unique way to creatively express yourself. Now that I’ve hyped my audience up, it’s time to break all of your hearts by sharing my playlist of STARSET songs called “The Progression of Failed Love” which follows the story of a typical young couple who just couldn’t make it work. Yes I know, this is a dumb movie trope told a million times and blah blah blah, but this is my blog so deal with it ya fuckin’ dorks… of course I’m kidding, and in all seriousness, this was the most genuine playlist I was able to make. I have my own personal connection to it, and if you’ve had a relationship before, you’ll most likely find a way to connect to it. I enjoy it, and I hope you do as well.

The playlist’s first three songs in order are “Satellite”, “DIE FOR YOU”, and “Starlight”, and they encompass the honeymoon stage of a budding relationship. Let’s call these songs Act I of this story. “Satellite” to me really embodies the feeling one gets when they first fall for someone. The energy is high and all you can think about is what you would do for this individual, with lyrics that support this idea greatly:

“Satellite! Shine on me tonight!

I will be your gravity, I will stay and never leave…

My satellite! Are you here tonight?

Shine your light and set me free.

Take the darkness out of me.

Shine on me!”

The relationship hasn’t started yet, but the interest is growing like crazy. These lyrics hit hard, check out the rest of them here:

STARSET – Satellite Lyrics 

“DIE FOR YOU” is just a more intense version of “Satellite” within the context of this story, but it makes sense because this song represents when the relationship is now official. Both parties have fallen for each other, and the love is starting to run deep. The whole vibe of the song is much more intimate, with a calmer kit part (hot damn Adam Gilbert you are smart with writing your kit parts), but yet the same exact key and even a similar tempo. The songs are so similar, yet so different, and it’s really smart. Kudos to STARSET for this, and as a personal benefit, it makes the story of this playlist flow really well.

Starset - Die For You (Official Audio) 

“Starlight” is a very specific moment in time, and marks the end of the honeymoon phase. The couple is stargazing, and the sky is just beautiful. I see many colors and galaxies in the night sky when listening to this song. The only thing is, they aren’t physically together. Their lives have picked up, and while they can’t be with each other at the moment, they still love each other very much, so they stargazed on a phone call. They are sad that they have to spend less time together, but they reassure each other that they love the other person very much, and that they are inseparable. This song has a very special place in my heart, as it’s just a beautiful song that makes me think a lot. I get a little heartsick listening to it, as it makes me think about memories that are dear to me, but it fits this spot perfectly in my playlist story.

Starset - Starlight (Official Lyric Video)

The honeymoon period has now concluded and we are moving into Act II of this story, where problems arise. This act starts with the song “Telepathic”, which has a frustrating feel to me. The song is from the perspective of only one of the characters, as they feel their significant other expects them to be a mind reader and won’t share emotions by just talking about them. As I’m sure a lot of people understand, this is infuriating to deal with, as it just makes people typically want to slam their head through a fuckin’ brick wall. At the same time, this character is very easily read by their significant other, as they wear their heart on their sleeve, making it seem like their lover is… well… “Telepathic”. This brings up insecurity, and arguments ensue. The lyrics support this idea well, for example:

“But you can read my mind

I feel it all the time.

Felt it all around you…

You had me under spell right from the start

I don’t have a telepathic heart.”

STARSET – Telepathic Lyrics 

The arguments get worse as we progress into the song “FAULTLINE”. This song has a lot to do with pointing fingers and blaming, as now both lovers in this story are outright arguing with each other a lot, and over stupid shit too. They aren’t handling being apart from each other well and are having a hard time with communication due to insecurity and distance. The vibe of this song fits this mood, as it’s got a sparse but tense groove, and the accompanying guitar/synth parts are rough and a bit grungy. Out of all the songs in this playlist, this one takes 3nd place for the lyrics fitting well into the story, with such snippets as:

“First you gotta know, how to play the victim

Hate to tell ya so, but you repeat the symptoms like an aftershock

And I only wanna make it stop…”

And also:

“Caught me shaking at the site, oh

Caught me quaking in my mind, oh

You’re tripping over every fault of mine

You’re breaking open every single time

It’s never black and white, no

Going seismic out of spite, oh

I never know if it’s your fault or mine

You’re breaking open every single time

Faultline.”

STARSET - FAULTLINE (Official Audio)

 Like damn, that entire second snippet is the whole ass chorus. This song fits super well here.

The last song in Act II has some intense, even lustful feelings tied to it, this song being “PERFECT MACHINE”. The couple is desperate to make things work, as they still love each other very much but are really struggling. When they see each other, they engage constantly in what people called “hate-fucking” which ultimately solves nothing, and then fighting after they are done. Yes I know this was a WILD turn out of left field, but this is the story I envision with this playlist, very intense and potentially very real. The song I feel is the entire progression of one… erm… let’s call it a “session” of what was described above. It starts with the lustful feelings I mentioned before, then about one third of the way through the song, the entire feeling changes, becoming very angry and desperate. This song takes 2nd place for lyrics best fitting the story, with the lyrics changing from this:

“Show me your insides, show me your secrets

Show me what you desire… I can fake it”

To this:

“Even you know… even you know, this was all for nothing…”

STARSET - PERFECT MACHINE (Official Audio)

STARSET – PERFECT MACHINE Lyrics 

Again, damn bro. I relate to this part of the story the least, as I’ve never experienced something like this, but holy shit that still cuts deep.

Finally, we reach Act III of this story, the end and the aftermath. This act opens up with “Let It Die”, which is the song that marks the inevitable end of this relationship. This song talks a lot about “breathing back life” into something and I feel that marks the end of a relationship very well. The feelings have been lost and it’s very possible that at least one party has moved on, so it needs to end. There’s not much to say about this song, except the one lyric that really made this song claim its spot on this playlist:

“But you told me, if you loved me, let it die”

Starset - Let It Die (Official Audio)

The relationship is now over, and one of the characters has left the narrative. We now enter the mind of the one who was still holding on to feelings. With this, the penultimate song to this playlist is the iconic “My Demons”. This song paints the image of inner demons attacking someone, and how they once had a significant other that would save them from these demons. The song references sickness, demons, needing help, and other color words that really paint the picture of someone mourning the death of love they once had. It is one of STARSET’s most emotionally impactful songs, and every single OG STARSET fan knows this song. This part of the story is the perfect spot for this song, and though I don’t want to copy another batch of lyrics for the purpose of finishing this story, I strongly encourage you to just listen to the song and pay attention to these lyrics. They’re very audible and very emotionally charged.

Starset - My Demons (Official Music Video)

We have finally reached the end, and the song that ends this whole story is “Ricochet”, another one of STARSET’s best songs. I know what I said about not copying another batch of lyrics to this post, but this song wins 1st place for lyrics relating to the story on this playlist, because this song is literally about reflection on a failed relationship and just wanting to see the other person:

“We were one in the same,

Running like moths to the flames,

You’d hang on every word I’d say 

But now they only ricochet…

We were falling away,

You left me with a bittersweet taste,

But when I send my heart your way,

It bounces off the walls you made,

Ricochet”

COME. ON. You CANNOT tell me this isn’t the best way to conclude this really sad story. This isn’t the only set of lyrics in the song that paints this picture well, THE WHOLE SONG DOES. Back to the story, time has passed and the remaining character still misses their ex-lover. They’ve tried really hard to rebuild some sort of relationship with them, but it just didn’t work. This song is the final stage of their mourning, and while they know very deep down that it will get better, they need this time to grieve.

Starset - Ricochet (Official Music Video)

STARSET – Ricochet Lyrics

I don't relate to this entire story, but it was sure as hell fun to write. I apologize for any emotional pain that I have caused during the telling of this story, but this is what came to mind when I was creating the playlist. You’re a real one if you made it to the end, this being my longest post yet. I really hope you enjoyed.

Links Used (In Order):

https://genius.com/Starset-satellite-lyrics 

https://www.youtube.com/watch?v=WJxSNbAer9M 

https://www.youtube.com/watch?v=7tiCEp3K3Rs 

https://genius.com/Starset-telepathic-lyrics 

https://www.youtube.com/watch?v=MfqVlwetWfY 

https://www.youtube.com/watch?v=keMBtyjYUPQ 

https://genius.com/Starset-perfect-machine-lyrics 

https://www.youtube.com/watch?v=xJtBYAKBByk 

https://www.youtube.com/watch?v=nkll0StZJLA 

https://www.youtube.com/watch?v=SaC0YVaIMno

https://genius.com/Starset-ricochet-lyrics