#which might explain some of the canon dynamics between him and the turtles

[bambiraptorx]

and by process his past i mean that he's much more aware of the fact that he's had multiple extremely traumatic experiences and that they have indeed affected him negatively. He still has issues he's just aware of them now.

Also said issues are compounded by the fact that he has relatively few people in his life and (because of relationship trauma largely stemming from Big Mama) does not feel comfortable with any level of closeness because he's so used to it being used against him.

He's not necessarily healthier, just more aware of how fucked his mental health is.

currently thinking about mcmt Splinter and how he'd be different from canon. he didn't have to take care of four kids for one thing, so maybe he had more time to actually process his past. also he might end up in the apartment above april's lol

[edelweiss123]

It still baffles me...

...that the writers of a kid's show who were willing to blatantly address various heavy topics on-screen such as revenge, war, torture, racism, famine, sexism, ableism, child abuse, abandonment, and fucking GENOCIDE, with gravity and aplomb...

...still somehow thought that "literal 12-year-old doesn't end up with his first crush" would be a deal-breaker.  Like...?

Okay.  First, a disclaimer.  I am a die-hard Zutara shipper. I'm also really fond of MaiLee and Taang, independent of that, and really don't care for Maiko, but that's topic for a different post.  None of the points I’m going to go over have anything to do with those pairings.

But EVEN IF I didn't feel that there were far better canon characters for Katara and Aang to end up with respectively...

Kataang, as it is written in canon, is sad and weird and uncomfortable to me, and here's why:

The Dynamic

Maybe if the characters had been, say, 16 and 18 when they first met, this wouldn't be a problem.  But Aang is 12 and Katara's 14.  And their maturity gap is far larger than a mere two years.

Aang, despite being well traveled and the burden of Avatarhood on his shoulders, is also a very *young* 12.  Remember, up until the iceberg, he's lived a pretty idyllic, mostly responsibilty free life.  He's only known he was the Avatar for like, a month, tops, before that.  Sure, the other monk children don't play with him after this reveal, but it's well established he has friends all over the globe; he's a prodigy, yes, with all the pressure that can bring, but it doesn't appear he was pushed to master air so fast?  He just very much enjoys airbending.  And Gyatso is a loving guardian.

Which is why he runs away at the first sign of something difficult in his life--the possibility of losing Gyatso.

Compare this to Katara, who was born in a hostile landscape amongst a struggling people.  She is, as far as she knows, the last of her kind, with no teacher to guide her.  She suffers a traumatic loss young, and it is *explicitly stated in the show* that she stepped up to fill her mother's shoes at what, 7? 8? While her family grieved.  Her father leaves, possibly to never return, when she is 11.  She is laden with responsibility beyond her years.  Her time and energy are not for her to spend on herself--she has too much to do.  *She is not a child*

So of *course* she starts mothering this wide-eyed cheerful boy, who got taken away by the same people who murdered her mother within a day of meeting him.  He's the Avatar but he's also an innocent kid in need of protection and care.

Now, does that mean she never acts immature?  No--she *is* still a teenager, and prone to occasional bouts of typical teenager dumbassery. (see: waterbending scroll).  But she does most of the chores and nags the others about their misbehavior and tries to console them when when they're down. She literally poses as Aang's mother at a PTA meeting.  For fucks sake, at the end of Season 2, when she's holding a dead Aang sprawled in her arms and looking pleadingly at the sky, there is NO WAY you can convince me all those art students storyboarding that scene WEREN'T making an intentional reference to *La Pieta*--You know, that super famous statue where Mary is cradling her dead Savior son (before he gets resurrected) and that is widely considered one of the most poignant examples of MOTHERLY LOVE AND GRIEF in the whole WORLD.

And I don't know about you... but it's really, really creepy to me for a *romantic* relationship to result from something with that much mother/son energy deliberately coded into the show.

The Lack Of Development

At what point does Katara reciprocate the crush? It's very well established that Aang has a crush, of course.  But we've got 61 episodes and basically no definitive evidence that Katara feels anything for Aang beyond platonic affection.  There's the time a fortune teller says she'll marry a powerful bender and she's like, 'huh' (let's ignore the fact that Aang at the time is like the only powerful bender she really knows).  There's the time she (almost?) kisses Aang in a cave because, you know, she thinks they might stay lost forever and starve to death if she doesn't (romantic!)  

The other two times Aang kisses her--she's just kind of shocked after the first one, and gets mad after the second one because she *had just expressed a desire to not do so seconds before*  And the fourth kiss is in the literal last 30 seconds of the show, with no dialogue, no lead-up, just a fade to black "welp this is happening, aaaand, SCENE."  It very, very much has the feeling of "hero gets the prize/girl" instead of "two people who have been mutually longing for each other come together", and that's really, really gross to me.  It does such a disservice to both their characters, but Katara's especially.  It feels like she had no agency in this result, that they got together because Aang wanted it so much, but it matters so little what she wanted that we don’t even need to bother showing her wanting it.

The Stunting/Regression of Character Growth

What does Aang sacrifice? The answer?  Nothing.  'Now, wait a minute', I can hear you say, 'he lost his entire people and culture!  How can you say he's lost nothing!'  I didn't say he's never suffered *loss*.  But having something taken away from you and giving something up for another's sake are two entirely different things.  Aang, in the end, gets everything he wanted--the girl he wanted, his pacifist morals intact and unchallenged, his culture eventually restored.  Hell, he even somehow gets the Avatar State, despite never explaining how he manages it when it was EXPLICITLY STATED he couldn't do so without letting go of certain attachments.  Wow, guess it turns out he never needed to sort out all of his emotional trauma to acheive inner peace and enlightenment after all--just needed a good acupressure session to get those chakras flowin'! One quick magic whack to the back!

I don't think 'the hero is always right' is a good message.  The theme of 'just because you want something doesn't necessarily mean it's what's good for you, or others' is a pretty recurring theme throughout the rest of the show, and having the universe warp itself to accomodate the beliefs of the protagonist  (lookin' at you, deus-ex-machina turtle) so he is always right, no matter what, means that he never has to reevaluate his beliefs, never really has to *grow* as a character.  

Kya, Ursa, Yue, Iroh, Hakoda, Katara, Sokka, Zuko--hell, even Toph, who makes the decision to let Appa get taken so she can save her friends...

Over and over it's shown that Love is Sacrifice, and I think Aang should have been shown making some personal sacrifices for the sake of the world, instead of showing that the power of clinging to his absolutist morals is enough to solve all his problems.

I understand why the writers, despite showing many characters die off-screen, hesitated to show Aang killing someone, even someone unredeemably evil, because there would be no way to do it OFF screen, and it IS still a kid's show.  (On that note:  couldn’t they have just somehow...idk, trapped Ozai in the Spirit World or something?  Have him literally sent to not-hell?)  

BUT, that doesn't mean they couldn't have shown Aang doing something that made him realize that, as the Avatar, even if a necessary action went against his personal beliefs or wasn't what he wanted, his needs are superceded by the needs of the world he claims to love.  He ignores this in S2 and nearly pays the ultimate price... but it's never properly addressed again. And thus, because that never happens, I honestly don't consider 13-yr-old Aang all that much more mature than 12-yr-old Aang, and I think that's a waste of potential.  

And as for character regression...

Katara? Master Waterbender and war-hero?  Who grabbed onto the first opportunity to explore the world beyond her tiny home, who fought for every scrap of skill and recognition she had--against a world determined to see her as lesser because of her race, her gender, her age?  Who never backed down from what she thought was right, even when her own family and friends didn't support her?  You're telling me that, according to canon, *that same Katara* was perfectly content to retreat to the South Pole and do nothing of note for the next 70 years except for being a good little housewife and healer?  Get the fuck out of here with that misogynistic horseshit.

IN CONCLUSION

I could go on.  I could talk about the unequal division of emotional labor between the two--with Katara constantly having to be mindful of not upsetting Aang too much lest he fly away and/or have an Avatar State tantrum.  With Katara constantly reassuring Aang, but Aang, for instance, offering unsolicited advice about revenge instead of trying to understand what she needed, or kissing her without asking--twice!--and expecting them to be together without him ever even asking if that's what she wanted.  I could talk about Katara not taking Aang to task for things he does wrong and Aang not being willing to see that Katara isn't perfect--how he puts her on a pedastal and Katara is afraid to leave it and break his illusions by being her real self.

But ultimately, what it boils down to, it that the most unrealistic thing about AtLA was not the magic, or the spirits, or the hybrid animals.

No, the most unbelievable thing about this show is that the ending was ruined just because more than creating a consistent thematic and emotional throughline, a couple of white dudes wanted to vicariously live out all of their "hot-for-babysitter" childhood fantasies.

And that's all I have to say about that.

[aion-rsa]

Star Trek: Lower Decks Haley Joel Osment Cameo Explained

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This Star Trek: Lower Decks review contains spoilers.

Although the mother-daughter dynamic between Captain Freeman (Dawnn Lewis) and Ensign Mariner (Tawny Newsome) dominates much of the newest episode of Star Trek: Lower Decks, you may have noticed a familiar name pop-up in the credits as part of the guest cast. No, your eyes aren’t playing tricks on you. That did say “Haley Joel Osment.” And, yes, he was a huge part of the episode. Here’s what’s up with O’Connell, the guy who wants to ascend to a higher plane of existence…

Throughout the episode, Tend (Noël Wells) is obsessed with winning over O’Connell (Osment) after she accidentally ruins his ascension process by knocking over some well-placed sand. After unsuccessfully trying to get him on her side, O’Connell eventually admits that he wasn’t really all that spiritual to begin with and he was actually kind of faking it the whole time, basically, just to be interesting.

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Star Trek: Lower Decks Episode 4 Review: Moist Vessel

By Ryan Britt

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Star Trek: Lower Decks Episode 4 Easter Eggs & References

By Ryan Britt

At the end of the episode, this results in O’Connell actually ascending and becoming a being of pure energy, which doesn’ actually sound all that great. There’s a great joke in there when O’Connell mentions that the universe is balanced on the back of a Koala, which probably references the myth of the “World Turtle,” who carries the world on its back. We’ve all heard the expression “turtles all the way down,” which references the idea of infinite regress, the idea that once you learn one truth, it might lead to another question that is hard to answer, and so forth. In “Moist Vessel,” O’Connell fears that the Koala is smiling and wonders “What does he know?!”

Haley Joel Osment is hilarious in this role, partially because we’ll always think of him as the kid who saw ghosts in The Sixth Sense, but also because he seems to have a sense of humor about that fact. When O’Connell turns into a being of pure energy in “Moist Vessel,” he joins the tradition of other Trek characters who have had similar things happen, with John Doe in the TNG episode “Transfigurations” probably being the most direct parallel example. 

That said, within the canon of Lower Decks, another Starfleet officer also became a being of pure energy just five years before this series begins. When we think about people ascending, we tend to think about Decker in The Motion Picture or Wesley in “Journey’s End.” But, the one we tend to forget is the Emissary himself, Captain Benjamin Sisko. In 2375, Sisko went to join the Prophets in the Celestial Temple in the DS9 episode, “What You Leave Behind.” If O’Connell just became a space god, could he be chilling with “the Sisko” very soon? And, most importantly, will Sisko even get along with this guy?

Star Trek: Lower Decks airs new episodes on Thursdays on CBS All Access.

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