#And 2. Use it to do initial analysis of answers to open ended questions in a questionnaire

[pasiphile]

I've gotten so used to people misusing chatgtp for everyfuckingthing that when today a colleague proposed to use it in a somewhat actually good and functional way my brain just. Crashed. For a moment.

[reason-with-the-underdog]

alhaitham & kaveh, if they never met before

i sometimes think about AUs where kaveh & alhaitham meet as adults, having never crossed paths in the akademiya, and thus never having their shared thesis & fallout...

i think kaveh would be similar to pre-PoP kaveh, but alhaitham would be very different. alhaitham in canon seems to have thought about the fight & made his peace with their divide, and he's grown as a result.

after all, back in school, they were both 2 equally stubborn geniuses arguing about wisdom/community but were ultimately talking about self-worth in the end

but no one can give someone their own self-worth (such is what it is) and so they had to part ways.

meanwhile kaveh threw himself into finishing his studies, got overworked at his first job, opened his own studio, then countless projects, culminating in the palace. by canon time, he's still wary of the fight & what it means for his & alhaitham's ability to get along nowadays

his sketchbook entries questioning alhaitham's motives for helping suggest that kaveh still sees alhaitham as he was in the akademiya, and his concerns imply alhaitham in the past was even more self-concerned & isolated...

we know that's not true of alhaitham nowadays, however. alhaitham is perfectly capable of making his own connections & also using cognitive empathy to notice people's feelings (as shown in the AQ), but usually he doesn't find it necessary to do so

alhaitham doesn't mind if he doesn't fit in (unlike kaveh) & finds value in solitude

its not unreasonable to assume some of his social skills come from his akademiya friendship w kaveh &from kaveh's encouragement to engage with others (even if at the time he wasn't appreciative)

alhaitham's conclusion about their fight is basically "Sometimes being correct means nothing at all"

he knows he was right in his insightful/inciteful analysis of kaveh's guilt/motivations. but his delivery was totally wrong, and kaveh's open friendship was lost to him for years after that

(yes they continued to interact after their fallout, but it seems like alhaitham initiated that contact & we know they kept it purely over journal articles/message boards, never in person. not quite the same as what they once had)

would he have learned this lesson (that not every truth has to be ruthlessly exposed without regard for the other's capacity to hear) if not for their fallout argument? would it have sunk in as deeply without the loss of a truly great companionship as the painful consequence?

alhaitham doesnt dwell on what other struggles and adversities he's faced in life. there's def a story behind how he became grand scribe, a respectable (even if not famous at first) position in the mahamata

i suspect most of that hinged upon his academic/intellectual capabilities tbh tho, which were never really in doubt. he didn't need the fallout fight in order to have a successful but low-profile career or to have a satisfyingly peaceful life or to build up his book collection. without the fallout fight, he may have all the same circumstances as canon alhaitham

but an adult alhaitham who had never met kaveh before & thus never had to dwell upon correct answers that do more harm than good-- well

that sounds like a man who hasn't really had cause to be humbled yet. or ever needed to have reconsidered his principles more deeply

in all honesty canon alhaitham would probably find this version of himself to have a much weaker understanding of his own philosophy. maybe even find him pitiable-- after all, he had never sharpened his ideas against a kindred soul whose ideals run entirely counter to his own

"sometimes being correct means nothing at all" ...similarly, akademiya era alhaitham would not recognise his future self at all!(top tier trope in fics is when alhaitham runs into his younger self and discovers to his amusement/annoyance that he was indeed a bit of a self-assured prat as a child)

but back to my original point:

alhaitham & kaveh meeting for the first time as adults, already-graduated, already-established-in-their-careers... what kind of sparks would fly in that first debate?

without kaveh's pity causing him to seek out the lonely looking kid in the library, how invested would he be in getting to know alhaitham?

kaveh's sketchbook entries show he first thought their philosophies were in agreement, before updating to 'we disagree but thats even better!"

in this AU though, would they both walk away from their first conversation thinking that the other was completely misguided? (would they both find themselves somehow not able to stop thinking about the other's words regardless... even if entirely wrong)

[desidov]

The Structure of a Successful Game Changer pt. 1 - Make Some Noise

An analysis of the stages comprising an entertaining and innovative Game Changer episode, explained by breaking down the episode Make Some Noise.

Stage 1: Our contestants have no idea

With prompt "cow," Josh responds "cow." Sam replies, "I'm sorry, that is not the answer I was looking for."

Often only a turn or two, this first stage is comprised of the players identifying the core mechanic of the episode—getting a basic understanding of what each question will ask of them and how they might earn points or advance further. Other examples: the first forays into navigating the Jeopardy board, or Sam’s opening instructions for “Sam Says” demonstrating an instruction not preceded by “Sam says” should not be followed.

Stage 2: You all understand

With prompt "duck," Zac responds "quack quack" and receives a point. Josh comments "Okay I see, I see what this is about, okay."

Here the players realize the structure of each question, and witness some behaviors receiving points while others do not (excluding non-point-earning episodes.) Sometimes, this is all the players need to understand the fundamental premise (mimic the sound produced by the prompt) while sometimes unraveling the mystery of the premise is the overall conceit of the episode (tell us about yourself, yes or no.)

Stage 3: Escalation of Rules

After Zac's response to "frog," Sam says "I'm gonna toss it up to the other two contestants [to steal the point.] Brennan, give me your best frog."

An expansion to the initial rules is revealed, allowing players to further advance/gain points beyond the initial bounds of the premise. Here, the escalation is that players may steal prompts from each other—others include incorporated phrase bonus points from The Official Cast Recording and the hidden immunity loop-de-loops from Survivor.

Stage π: Departure

Sam says "We are now headed into our first mini game." Each player attempts to recreate a melody on an otamatone.

This optional stage, typically presented as a “mini game,” is thematically connected to the premise but operates on its own rules. Make Some Noise iterations typically include a mini game where contestants are provided a prop and must mimic a given sound with that prop—no spoken entries qualify. Similarly, A Sponsored Episode and its continuations feature a mini game of providing commercial voice-overs for stock footage (where non-commercial interpretations are not rewarded,) and a mini game of identifying brand taglines/logos.

Stage 4: Escalation of Concept

Sam introduces the next prompt, "Your word is jack hammer." Josh makes a jack hammer sound, bouncing with a hand above his head and explaining "that's him keeping the hat on."

While Stage 3 adds on to the rules of the episode, Stage 4 applies the same rules to something new—here transitioning from animal calls to all manner of sound effects. Escalation of concept can be clearly demarcated, as this example is, or more gradual, like the escalations from common animal calls to obscure animal calls or from physical prompts to intangible prompts like “anguish.” What matters is that escalations continue to push the format to new heights and prevent the conceit from stagnating.

Stage 5: Expansion of Concept

The prompt is a stock photo of a smiling young adult white man. Brennan roleplays the man arrogantly describing his improv group, ending with "This date's going well."

Though similar to Stage 4, I characterize this stage as a dramatic alteration to the format of prompts—here from text prompts to image prompts. This can be for several turns, as it is for MSN, or just one, such as “go” from Sam Says or the cockroach union from “Do I hear $1?” This builds a finale that presses the bounds of the format to their limits, capping off the episode.

[absolutebl]

This Week in BL - Dog Days of BL but July is Incoming

June 2023 Wk 4

Being a highly subjective assessment of one tiny corner of the interwebs. Organized by which ones (in each category) I’m enjoying most.

Ongoing Series - Thai

Step By Step (Tues WeTV & Gaga) ep 10 of 12 - I’m finding the time frames confusing. Still, a lovely crying kiss + a very high drama-lllama gay confession. Kitchen counter make out, my fav! The actor who plays Jeng kisses at MaxTul levels, which is to say = like a man who has actually done it before with genuine desire and is capable of portraying that on screen. (What makes MaxTul kings is that they BOTH do this.) Pat caught up, thank goodness. Also P’Jeng!!!! P’JENG!!! I love how intimate phi is when it’s been all khun prior. This is the Thai version of hyung slinging. Errotic linguistics, my fav. And ALL the work drama and homophobia fall out when you sleep with the boss. I really enjoy that the angst concerning their relationship has to do with the fact that this is an office romance. Lastly? I love Chot so much. Everyone needs a gay auntie. Also Bruce is SO DAMN GOOD. (I mean we knew he would be from Lovely Writer, but this... chef’s kiss.) 

La Pluie (Sat iQIYI) ep 10 of 12 - There are enough meta-analysis on this one for me not to have to weigh in. Suffice it to say that I like what it’s trying to do, and I certainly appreciate the levels of consent and so forth but I’m not sure I actually like it as much now that we are swimming in high concept. Too much lying. I’m not sure I want my BL to make me think this hard. Also poly, boys = final answer. (Anyone else getting Color Rush flashbacks?) 

Be My Favorite (Fri YouTube) ep 6 of 12 - I love Max now and forever, and I made some very bad puns in the Trash watch here. Otherwise I’m not super invested. 

Dinosaur Love (Thai Sun iQIYI) ep 1 of 10 eps - from Ultimate Troop (The Yearbook people) so I shouldn’t watch this as it airs, after Remember Me? I swore never again. But there’s so little on right now, I’m falling on the pulp sword...  My initial thoughts? It’s an En of Love installment? What is going on? Why all this opening with the sides in a bar? Are we framing? Just move on to the 2 boys kissing! Don’t try to be clever, for fucks sake. Okay, good, the pulp has begun. I like soft wet-blanket Rak and his sad love life. I’m not wild about how aggressive Dino is plus insta-SINGING but I DO LIKE THAT HE’S OUT and knows what he wants which is refreshing. It’s trope filled nonsense (crash into me, instalove, sing feelings, floppy drunk, he’s in engineering, fast and bi-curious) also Dino used ter at first (how forward!) then he went to gu/mueng after rejection, while Rak uses khun & phi/pom. Love this for them. Despite my justified reservations with this production team imma stay watching. I need something on Sundays. * 

Luminous Solution (Sat Gaga) ep 6fin - That’s it? Bullsheiit. No seriously. That’s my review. 3/10 I DON'T KNOW WHAT I JUST WATCHED AND NEITHER DOES IT AND I’M MAD ABOUT IT.

* I got to say, you have only yourselves to blame for Dinosaur Love’s ranking. Once upon a time, I lived happily in ignorance of the Thai film industry. And then you all kept asking me extremely intelligent questions about it. And because I am a nosy little shit, I had to figure out what was going on. And now a BL like this, which ordinarily I would just love unconditionally, is a really scary place for me, because I know too much about the production house. The evils of too much information are all true. Remain happily in ignorance, I advise you, especially where BL is concerned. 

Ongoing Series - Not Thai

Love Tractor (Korea Weds iQIYI) eps 7-8fin - Yechan is such a frank character it confuses all who meet him, also a truly terrible flirt. This is such a puppy/cat relationship. It was cute but it went too far into cringe for a KBL (for me). I don’t think Kdramas are good at farce (sorry), better if they stick with more subtle humor. It was a sweet ending tho, not too cheesy. Nice kiss for KBL but pretty rather than sexy. Full review below.

Tokyo in April is... AKA Shigatsu no Tokyo wa (Japan Thurs Gaga) ep 3 of 8 - Oh, it’s GREAT. Damn it. There is a lot of subtext and things not being said. This is going to be one of those shows where it’s endlessly frustrating that they don’t just talk to each other. The crying first time was gut-wrenching. Ren is complicated & scarred & closed off. Kazuma is earnest & empathetic & thinks he’s unworthy - so will take whatever crumbs are handed to him. They are both giving parts of themselves away in a desperate attempt to shape themselves to the expectations they have of each other. These 2 are gonna fuck each other up while they fuck and fuck with our hearts. Japan is giving us the Bed Friends that Thailand can never even imagine. There is absolutely no guarantee this will end happily (it’s from the Eternal Yesterday people) but it is guaranteed to be painful and beautiful along the way. Oh Japan, must you? I guess you must. 

Stupid Genius (Vietnam Fri YouTube) ep 4 of 6 - I’m mostly confused by the catfishing & tarot side plots. But the mains sure act like bfs. To the point of our tiny jock idiot getting gay panicked by how much bfs they are. Surprise kiss! For everyone, it turns out. Yes I laughed. What? It was pat but also… FUNNY.

Tie The Knot (Pinoy YouTube) ep 3 of 8 - The main couple is adorable, but I’m not wild about the gay bashing blackmail side story. Still, it’s the best we’ve had from the Philippines in a while so I am keeping my fingers crossed. 

Vian the series (Vietnam YouTube ) ep 9 of 12 - Seriously? Bah Vinh = chemistry with EVERYONE. 

Naked Dinner AKA Zenra Meshi (Japan Fri Gaga) ep 12fin - So Souta just disappears off to Singapore and doesn’t say anything to his boyfriend about it? And then comes back with the perfect plan and life for both of them? Oh Japan, must you? Review below. 

It’s airing but ...

House of Stars (Thai Mon iQIYI) 12 eps - I bounced at ep 3. Will binge if told it is worth it at end.

Stay (Pinoy YouTube) 7 eps - It’s mostly English & set in LA (shudder) so I’m not bothering.

Ever After (Pinoy YouTube) 12 eps - Spies reported that it's a real mess and not a hot one.

Stay With Me ... NO I WILL NOT! And you can’t make me. 

In case you missed it

BL Express reviewed The Egoest. Oh boy am I never going to watch that. 

One in a Hundred - Gaga dropped all 12 episodes (c.10 min ea) at once. This is a 2020 Chinese show. It’s not BL. And it has a laugh track. I watched the first & final eps and won’t bother with the rest. DNF

I finally watched the 2022 thing I should have. 

To Sir, With Love - REVIEW

This is a true lakorn with scenery chewing performances from an ensemble cast focused on family obligation and past sins, especially from the mother characters. It is a Thai tellenovella + Gone With the Wind but gay. That said? I loved it: A glorious central brother relationship (the best, made me cry), het romances, class divide + gay *gasp* main romance, the camp of it all! It’s like it was invented by drag queens. Arranged marriage, rebellion, cut sleeves, dramatic death with curses and regrets, beautiful if inaccurate costumes, secrets unraveling, cover ups, sparkle murder, sex herbs, coils within coils including snakes and death by glitter (is anything gayer on this earth?). It’s a WILD ride. It’s not BL. It’s not a romance, it’s a family drama Thorn Birds style but it does end happy for our gay boys. Like Manner of Death I’m struggling to rate something on a BL scale when it patently isn’t a BL. I think I have to give it exactly what I gave that show, 7/10 

I loved it, but not as a BL. 

RECOMMENDED WITH RESERVATIONS (over its BLness) 

Zenra Meshi - REVIEW

AKA Naked Dinner 

I have to be honest, I didn’t really like much about this show. The central premise was too odd and the main character too clumsy & slow on the uptake. I like the food, but there have been food-set BLs before that failed to meet expectations. Too many of them. This one joined that throng. Good ending tho. 7/10 

RECOMMENDED WITH RESERVATIONS

Love Tractor - REVIEW

Most of this country-set BL had me feral for the beautiful broken city boy and his hot young farmer. Hyung romance, puppy/cat pairing, open frankness meets jaded reserve, language play, water hose frolicking, only one bed, all my favorite tropes. This show was basically a light-weight Restart After Come Back Home and I’m not even slightly mad about that. 

But (and you knew there was a “but” coming) something about the cringe of the final 2 eps and the impermanence of the ending (both of which highlight the fact that ultimately these 2 are I’ll-suited: too different & too far apart) left me with the feeling that they probably won’t last as a couple. However, in this case, rare for me, I forgive it this finale for my love of the rest. 

I did dither a lot though, it’s not an 8 but not a 9 either. Better than Love Mate (8/10) not as good as The New Employee (9/10) but in the end I’m value adding up for the premise and the cast, giving it a 9/10. 

RECOMMENDED 

(Gotta say, because this is rare for me, that this had a great OST. Not the credit music but the refrain, Rainbow.) 

Next Week Looks Like This:

July 2023 Supposedly... 

7/3 Be Mine SuperStar (Thai Mon Viki) 12 eps - JaFirst whipping boy/spoiled prince, obsession, celebrity/mundane. Third-year film student Punn (Ja) gets an internship on the set of a drama. He’s come to learn, but "what lights his passion even more than the work" is leading man Achi, Thailand's sweetheart. Adapted from the novel “The Superstar and the Puppy on Set” (พี่พระเอกกับเด็กหมาในกอง) by Orpheus, cast includes Benjamin Brasier (2moons2), Bosston Suphadach (UWMA), Jo Kavinpat (War of Y), Kokliang (TharnType). Directed by David Bigander (Bite Me) which makes me nervous. Maybe he'll do better with an adaptation?

7/6 Minato's Laundromat Season 2 AKA Minato Shouji Coin Laundry Season 2 (Japan Thu ????) 12 eps - The story is a continuation of Minato & Shin's love story, and it picks up 10 years after the events of season 1 but the characters don't seemed to have grown at all. Very Japan of you, Japan.

7/7 Stay By My Side (Taiwan Fri Gaga) 10 eps -  Gu Bu-Xia has the ability to hear ghosts, except when he is around his new roommate Jiang Chi. So he starts to find ways to approach Jiang Chi. But is it  the ghosts or Jiang Chi’s charm?

7/8 Low Frequency (Thai Sat YouTube?) 8 eps - ghost boyfriend, celebrity/mundane - Mon's life as a spirit-seeing interior decorator is full of headaches. On good days, he helps settle problems for his relative, who is a star manager. But then he gets involved with the spirit of Thames, a famous young actor who is in a coma.

7/9 Hidden Agenda (Thai Sun GMMTV YouTube) 12 eps - JoonDunk are back. Zo, a college freshman whose never been in love, decides to change it by making the college’s star Nita as his gf. He approaches Joke, Nita’s ex, for dating advice. What he fails to realize is that Joke has had his eyes on him for a long time and uses this opportunity to approach Zo. TMS 2.0.

7/15 Laws of Attraction (Thai Sat ????)  Stars the pair from To Sir With Love and with the same production team, cryptic description, but it seems to be Manner of Death esk.

7/19 Wedding Plan (Thai Wed YouTube & iQIYI)  - It's Mame and she's coming for our GL. She's such a misogynist IMAGINE what we will get with a GL? It's going to be absolute carnage. To crane your neck as you drive by the car wreck or not... that is the question. Me? I'm wallowing in the guts.

7/20 Jun & Jun (Korea Thu Viki) - From 2022 (TutorYim rumored to cameo) this office romance features 2, yes 2! Bls. Seme looks aggressive, we in classic yaoi territory. There is an idol involved. Past failed flirts. I am very excited about this one.

2023 forthcoming BL master post (see comments, some are inaccurate, NOT KEPT UPDATED)

THIS WEEK’S BEST MOMENTS

To Sir With Love

Best execution of the piggyback trope ever? I think so. 

Fucking GENIUS piece of acting. Bruce we LOVE you! 

All Step By Step 

It was stupid funny, okay? (Stupid Genius) 

Ridiculous man, you don’t have to eye fuck THAT hard. But we all appreciate it. (Vian) 

Dangerous thing to say in a show about identity in relationships. 

Brave boy.

I said this show was deep, not that I was. Although Patts seems to be going there. 

I’ll stop now.

All La Pluie. 

(Last week.)

[saralshraddha]

Mastering the Theory of Knowledge Essay

The Theory of Knowledge (TOK) essay is a cornerstone of the International Baccalaureate (IB) Diploma Programme, challenging students to explore the nature of knowledge itself. Far from being a traditional research paper, the TOK essay is an exercise in critical thinking, conceptual analysis, and philosophical inquiry.

What is the TOK Essay?

The TOK essay is a 1,600-word academic paper that requires students to respond to one of six prescribed titles issued by the IB. These titles are broad, open-ended questions designed to prompt deep thought about how we know what we claim to know, rather than what we know. The essay is an opportunity to demonstrate your understanding of TOK concepts, your ability to apply them to real-world situations, and your skill in constructing a well-reasoned argument.

Purpose of the TOK Essay

The primary purpose of the TOK essay is to encourage students to:

Engage with fundamental questions about knowledge: How is knowledge acquired? How do we justify our beliefs? What are the limitations of different ways of knowing?

Develop critical thinking skills: Analyze complex concepts, identify assumptions, evaluate evidence, and consider multiple perspectives.

Make connections between different Areas of Knowledge (AOKs) and Ways of Knowing (WOKs): Understand how knowledge is structured and interconnected across various disciplines.

Communicate ideas clearly and coherently: Present a structured argument supported by relevant examples.

Structure of a Successful TOK Essay

While there's no single rigid template, a typical TOK essay structure includes:

1. Introduction

Hook: Start with an engaging opening that introduces the prescribed title and its central tension or ambiguity.

Define Key Terms: Briefly clarify any ambiguous or crucial terms within the prescribed title.

Knowledge Question: Reframe the prescribed title into one or more clear, focused knowledge questions that your essay will explore. These questions should be about knowledge itself, not just content.

Thesis Statement: Outline the main argument or approach your essay will take in addressing the knowledge question. Briefly state the different perspectives you will explore.

2. Body Paragraphs (Typically 3-4, each exploring a different facet)

Each body paragraph should delve into a specific aspect of your argument, typically focusing on:

Claim: A clear statement that directly addresses your knowledge question and supports your thesis.

Explanation/Elaboration: Explain your claim in detail, unpacking its meaning and implications.

Ways of Knowing (WOKs) and Areas of Knowledge (AOKs): Explicitly link your claims to relevant WOKs (e.g., reason, emotion, sense perception, language, intuition, imagination, faith, memory) and AOKs (e.g., natural sciences, human sciences, history, arts, mathematics, religious knowledge systems, indigenous knowledge systems). Show how they are involved in the knowledge claim.

Real-Life Examples (RLEs): This is crucial. Use concrete, well-explained, and relevant examples from your own experiences, current events, or academic studies to illustrate your claims. The examples should illuminate the knowledge issues, not just describe a situation.

Counterclaim: Introduce an alternative perspective or objection to your initial claim. This demonstrates a nuanced understanding and critical engagement.

Mini-Conclusion/Implication: Briefly summarize the insight gained from the claim and counterclaim, and show its implications for the prescribed title.

3. Conclusion

Summarize Main Arguments: Briefly restate the main insights and conclusions drawn from your body paragraphs. Do not introduce new information.

Address Knowledge Question Directly: Provide a clear, nuanced answer to the knowledge question(s) posed in your introduction.

Implications/Significance: Discuss the broader implications of your findings. What does your exploration reveal about the nature of knowledge, or the specific AOKs/WOKs examined? What are the limitations of your argument?

Final Thought: End with a thought-provoking statement or question that leaves the reader with a deeper understanding of the complexity of knowledge.

Key Terms and Concepts

Familiarity with TOK terminology is vital:

Knowledge Question (KQ): A question about knowledge.

Areas of Knowledge (AOKs): Specific branches of knowledge (e.g., Natural Sciences, Arts).

Ways of Knowing (WOKs): The methods or processes through which we acquire and construct knowledge (e.g., Reason, Emotion).

Perspective: A particular point of view.

Assumption: A belief accepted as true or certain to happen, often without proof.

Bias: Prejudice in favor of or against one thing, person, or group compared with another, usually in a way considered to be unfair.

Justification: The reasons or evidence for holding a belief.

Evidence: Information that suggests whether something is true or valid.

Relativism vs. Objectivism: Debates about whether truth is relative to individuals/cultures or universally objective.

Tips for Writing a Successful TOK Essay

Understand the Prescribed Title: Deconstruct the title. What are its nuances? What are the key terms? Avoid superficial interpretations.

Formulate Strong Knowledge Questions: Transform the prescribed title into specific, analytical KQs that guide your essay.

Choose Relevant AOKs/WOKs: Select AOKs and WOKs that allow for rich exploration of the knowledge issues inherent in the title. Don't just list them; show how they interact.

Use Compelling Real-Life Examples (RLEs): Your RLEs are the heart of your essay. They must be developed and analyzed to explicitly illustrate the knowledge issues. Avoid mere descriptions; explain how the example connects to TOK concepts.

Develop Claims and Counterclaims: Present a balanced argument by considering different perspectives. Show the strengths and weaknesses of each.

Maintain a Focus on Knowledge: Every paragraph, every example, every line should ultimately contribute to an exploration of knowledge and the prescribed title. Avoid writing a mini-research paper on a topic.

Clarity and Coherence: Ensure your arguments flow logically. Use clear language and effective transitions between paragraphs.

Be Personal, But Objective: While it's your essay, it should be an objective analysis of knowledge, not a personal opinion piece. Your voice should be academic and analytical.

Proofread Meticulously: Errors in grammar, spelling, and punctuation detract from the quality of your argument.

Common Pitfalls to Avoid

Descriptive vs. Analytical: Simply describing examples without analyzing their knowledge implications.

Lack of TOK Terminology: Not explicitly using and explaining TOK concepts (AOKs, WOKs).

Generic Examples: Using vague or undeveloped examples that don't clearly illustrate knowledge issues.

Preaching/Moralizing: Taking a strong stance on a non-knowledge-related issue instead of analyzing how we know about it.

Ignoring Counterclaims: Presenting only one side of an argument.

Summary instead of Analysis: Simply summarizing information rather than critically evaluating knowledge claims.

Going Off-Topic: Straying from the prescribed title and the central knowledge questions.

The TOK essay is a challenging yet rewarding experience. By understanding its purpose, structuring your arguments effectively, and applying the key concepts rigorously, you can craft a compelling and insightful exploration of knowledge.

[jmrootaccess]

okay i'm diving deeper into the thematic analysis/discursive analysis thing:

thematic analysis:

themes are just patterns of meaning

reflexive thematic analysis can be applied to any epistemology or ontology eg. we can have positivist, contextualist and constructionist versions of TA and analyse the data along that framework

TA can be 1. inductive (bottom-up, rich but not specific) or theoretical (top-down, specific and focused but maybe not as rich as inductive)

TA involves re-reading the dataset, generating initial codes, combining those codes into initial themes, developing the themes more, naming them, and then writing them up.

discourse analysis:

differs from TA in that it looks less at extracting themes from a dataset, and more at looking how 'themes' themselves might be constructed through speech and language -> the ways in which categories of meaning are socially constructed

DA also looks at how language might be used to 'do things' ie. language as performative, having a functional purpose, talk itself is a social action

It focuses on 1. the politics of representation (how reality is represented through speech) and 2. how we construct the world itself through the corpus of talk and text

From there we can define a few things

1. discursive practices - how the speaker constructs their own version of a social reality eg. through reported speech (my doctor friend says 'x' is dangerous, sport is bad for you)

2. discursive resources - the culturally shared discourses that are drawn upon to make an argument 'eg men are strong, women are weak'

3. the rhetorical nature of the talk - eg. 'i'm not racist...but' - essentially pre-emptively defending oneself against an attack re: the discursive practice you're building

other fun stuff:

qual can be combined with quant in a few ways

we can use sequential models: eg. doing a qualitative focus group that helps us to develop some quantitative survey items

we can use parallel models: where we have a central idea but develop slightly different research questions for qual and quant methods

mixed models: where we're answering the same central research question with qual and quant, eg. a healthy combo of open-ended (qual) and close-ended (quant) questions

[heliza24]

Love your blog and all your analysis!!

Many people didn't like S2 because Simon, according to them was just a tool to drive Wilhelm's story, a love interest only and didn't really have his own story. In particular, many are frustrated at the lack of narrative on the video's effect and Simon's subsequent trauma. Of course, everyone's allowed their opinions but seeing as you have experience in the world of writing and making tv magic, wanted to get your insight on this. Thanks, a S2 fan! 💜

Hi anon! Thanks for the question.

I’ve already written pretty extensively about Simon’s arc in season 2 and why I like it in this post. In short, I think he grows a lot in season 2, but his growth takes him towards emotional vulnerability and openness, which is not something we’re used to seeing in characters (especially not male ones). 

I also don’t mind how they address Simon’s trauma in season 2. I’m going to approach this momentarily not as a writer, but as someone who has been in therapy for years. There are some traumas that have happened to me (like a serious car accident when I was a kid) that are very concrete, with a set beginning and end, and that began to affect me right away. (I had ptsd symptoms pretty immediately after that accident). But there are other traumas that feel like a series of small cuts instead of one big punch. It’s harder to decide where they begin and end, and their effects are more subtle. Sometimes it takes me years to even realize that they were traumatic and that they are still affecting me. (The medical trauma I’ve experienced as an adult over several years is like this). To me this is more what Simon is dealing with with the video. Once the video goes online, it’s not coming down. There’s no set end date, and Simon spends most of season 2 not even knowing who the perpetrator was. He’s in the kind of no-man’s land between the initial blow and coming to understand how the whole process has affected him. That being said, I do think we see some changes in him that reflect what he’s gone through. He seems to care a lot less about his academic classes than he did in season 1. He’s writing music in an attempt to process what he’s been through. And you could even see his attempt to have sex with Marcus as a trauma response. The last time he hooked up with someone his agency was taken from him. So it makes sense to me that he’s eager to have sex again but fully on his own terms, to partially erase that feeling of not being in control. I don’t know for sure if this will happen, but I wouldn’t be surprised if we see more traditional ptsd symptoms from Simon in season 3. If there’s some sort of legal action against August that would signify a sort of “end” of the video trauma, and would also probably be re-traumatizing in a lot of ways. I also think interacting directly with the royal family might stir up some things as well.

Ok, now I’m going to totally switch gears and approach your question from a writing perspective. Let’s talk about story structure for a minute, specifically TV story structure. Most TV has an A plot and a B plot (and sometimes a C plot too). In old school cable procedurals, the A plot would be the mystery of the week, while the B plot would be about whatever was happening in the characters’ personal lives. If there was an overarching mystery or storyline that tied the whole season together, that would be the C plot. As you can guess by how they’re named, the A Plot would take up the most time and do the most to drive  the episode forward. The B plot is next most important, etc. Once shows started to become more serialized in the age of streaming, the concept of A and B plots changed a little bit. Now the plots are divided by character and theme. The A plot will be headlined by the protagonist and will explore the main themes of the show. The B plot will be headlined by a secondary protagonist, who doesn’t have as much to do as the A plot lead, but is still answering a dramatic question that relates to the central themes of the show. A lot of times the primary and secondary protagonists’ actions influence each other, but they don’t share a ton of screen time. (If they did, their stories wouldn’t be separate.) You can think of the A and B plot protagonists as two sides of the same coin. They’re intricately connected, they’re exploring the same ideas, but they rarely come face to face, and they often represent different perspectives on the same themes. Black Sails is probably my favorite example of this. (I’m not as active in the Black Sails fandom as I am in the Young Royals fandom, but Black Sails is probably my all time favorite show and I absolutely love all the ungovernable pirates over in the Black Sails tag. Shout out to them). James Flint is the main protagonist and headliner of the A story, but Max is the secondary protagonist that headlines the B story. Both are struggling with the question of how to achieve and wield power in an unjust world, and their political maneuvers consistently influence each other’s plots. They share a lot of secondary characters across both of their plots, but they themselves never interact. So that’s one example, and if you look around at your favorite shows you’ll be able to find lots that adhere to this formula, including, I would say, Young Royals.

I think a lot of people are kind of subconsciously looking for this kind of structure, and have decided that Simon is the protagonist of the B plot. I understand this, because we all love Simon. He’s really well written and acted, his personality is so compelling, and his chemistry with Wilhelm is great. I spend a lot of time writing him in fic (I’m the writer of all the Simon content in Heart and Homeland) so I understand this impulse. But if you were looking for Simon to be anchoring the B plot in season 2, you might have been disappointed. Because in reality I don’t think he’s the secondary protagonist. I think Sara is. 

Sara is set up as a foil to Wilhelm, the main protagonist, in so many ways. I always say that the driving dramatic question of Young Royals lives with Wilhelm, and it’s something along the lines of “should I conform and live the oppressive life that was designed for me, or rebel and find my own path to happiness?” Sara is wrestling with a similar question that’s kind of the inverse of this; for her settling into a prescribed role in the Hillerska class system initially seems like a relief. So maybe for her the dramatic question is something along the lines of “is the price of fitting in worth it? Will it lead to true happiness?” They feel so much like opposite sides of the same coin to me. 

So Sara and Wilhelm are both trying to define themselves in relation to their families and also the class system. This comes up in the similarities of their family structure (they both feel very connected to their class position through their families; they both have complicated relationships with their mothers and bad to negligible relationships with their fathers; they both have a deep connection to their siblings) and in the relationships they choose to embark upon. They’re both navigating a very serious and complicated first love. They’re both dating across class (in the opposite direction, a perfect example of the “different views on the same theme” aspect of primary and secondary protagonists). They both have concerns about how and when their relationships become public, and by extension are both playing in the sandbox of themes around privacy and authenticity that define so much of the show.  

Both have difficulty regulating and recognizing their emotions. Sara seems to exhibit alexithymia, a common aspect of autism that makes it hard to recognize one's own emotions. Wilhelm has been taught to repress his emotions, which he does well until he explodes (like when he got into the fight at the top of the series or when he yells at his mom on the phone). He’s also managing a lot of physical symptoms of anxiety. 

Both also struggle with questions of justice and how to make things right. In the beginning of season 2, Wilhelm is initially determined to destroy August because he thinks August will never repent, but by the end of the season he’s starting to realize that this was the wrong technique. He realizes this largely because of Simon; he only puts down the gun and walks away from August because Simon does first.  Sara makes the opposite journey: she starts by trusting that August will change and repent on his own, but then she is forced to confront the fact that this is not true, and that she needs to use the legal system to bring August to justice. She makes this realization largely because of Simon, and seeing the ways that she has hurt Simon, in the same scene with the gun. 

The other big argument in support of Sara as the secondary protagonist of the show is that she and Wilhelm never directly interact. Their actions affect each other all the time, but they don’t share a scene together. They’re living on parallel but separate story tracks. 

Simon is a crucial character in both Wilhelm and Sara’s stories, but the fact that he is close with both excludes him from being a protagonist of his own plot line. (I would say the same about August, who is a catalyst for both Wilhelm and Sara.) That doesn’t mean that Simon isn’t well written. He has a very compelling character arc, motivates much of the plot, and his relationship with Wilhelm forms the heart of the show. But I think the reason people were disappointed in his story in season 2 is that they were expecting something from him that the structure of the show doesn’t support.  

If you’re interested in reading more about A/B/C plot structures I found this website really easy to understand. Also shout out to @bluedalahorse for talking to me about Wilhelm and Sara and helping me articulate what I was trying to say here. 

Thanks again for the ask, anon and for the vote of confidence in my analysis! I really appreciate it. If anyone else has a Young Royals scene or question they want me to break down from a writing or cinematography perspective, my ask box is always open.

[agentravensong]

Heya, I don't mean to bother you but, I think either I missed something or you never released those stats about the Kris survey? If you did, and I'm just stupid, can you link me to it or something? If not, that's also fine! Thanks<3

Don't worry, you didn't miss anything! I was initially planning to go through all the short answer responses at some point to note the trends in them, in addition to doing some stats analysis on the short answer questions, but I never quite got around it. Not yet, anyway.

But I figure I can share the results from those multiple-choice questions now! I did the analysis when the form hit 100 responses; it's now at 102 but I wasn't gonna redo all that to make up for it.

That being said, I'm leaving the form open in case anyone else still has some stuff they'd like to (pretend to) say to Kris (and in case I ever go through with making the fic). Here's the link! And now, below the cut, the stats:

Soul colors

27% Kindness souls

21% Perseverance souls

15% Justice souls

12% Integrity souls

8% Patience souls

3% Bravery souls

14% unsure

Weird Route

Out of the 100 participants,

39 have done the Weird Route (11 multiple times, 28 just once),

and 61 have not done it. 42 of those have watched a playthrough of it, whereas 19 only know about it indirectly.

19% of the participants would tell Kris about the Weird Route;

19% would not;

and 62% would do so only if prompted. Of these, about 1/3 have done the route themselves at least once and about 2/3 have not.

Sentiments

This is probably the one most people are interested in: from the 15-choice question, which options were picked the most? Well, here it is:

I’m sorry. - 48%

I didn’t want this; I was supposed to have my own vessel. I don’t know who did this - but if we can find them, maybe we can set things right. - 36%

I won’t try to convince you of anything. You can feel whatever you want about me. - 36%

You have done so well under these strange, often upsetting circumstances. You are already enough. - 25%

I just want to support you (and your friends) through this. I would let you take the lead if I could. - 24%

This shouldn’t have happened. No one deserves this. *You* don't deserve this. - 20%

I want to be friends with everyone, including you. - 19%

I’m doing my best to be true to you, what you would say, do, and want. I want to do right by you. - 16%

I don’t know what the future holds. But I’ll do whatever it takes to get the best possible ending for everyone. - 14%

I want to help you be happier. I hope you're getting some joy out of this - going on adventures, making more friends, and getting to be a hero. - 13%

I want to learn more about this world, to understand it. And I want to help you and the others learn more about it, too. - 12%

I’m invested. I need to know what happens. - 9%

I can’t just leave - your world can’t be saved, can’t have “a new future”, without me. So let’s try to work together. - 8%

I want to fix things, to help in a way only someone with my knowledge/perspective can. - 7%

I want to help you grow as a person. - 1%

We just need to trust that this will all work out; that fate will do right by you. I’m confident it will, eventually. - 0%

Now, if you remember, people were allowed to pick three options, and it turned out that there were some combinations of three that got picked multiple times.

Specifically, 5 people picked this combo:

Vessel explanation

"you can feel however you want about me"

I’m sorry

and 4 people picked this combo:

Vessel explanation

"I'd let you take the lead if I could"

I’m sorry

I used the results of the Soul Trait question to do some cross-analysis with this question, seeing which options were popular among which soul types, but I think that'd all be too much to paste into this tumblr post. If anyone really wants to know, I can privately send you the link to the Google Doc this all comes from. I'm not sure there are really any fruitful conclusions to be drawn from it, as a) kindness and perseverance, the two most common soul traits among respondents, were almost always in the top 3 of which soul traits picked any option, for intuitive reasons, which thereby meant that the most popular choices for those two soul traits were basically just the most popular choices overall, and b) there were so few examples for certain soul traits that you can't really say the data relating to them is significant. But, ya know, it's there, if you want it.

I could also, if people really want, give my thoughts on what I personally think of the options - as in, how I think Kris would respond to them and whether I think they'd be actually helpful/reassuring/etc. to say - but I dunno if anyone actually wants that. Let me know, I guess.

Anyway, thanks to everyone who took the survey! It was really fun and often heartwarming to read people's short answer responses, and I do think there are some interesting implications in which of the 15 choices the majority of people gravitated to. And reminder, if you haven't done it yet and would like to, it's still open!

[fermented-writers-block]

PART 1 of 6 of the Owl Deity Hooty Theory

[NEXT PART]

[OWL DEITY HOOTY THEORY MASTERPOST] (in development)

(TLDR at bottom of post)

Over several long months of research and analysis since March of 2020, I have been following an utterly fascinating thread of potential misdirection and subtle details throughout The Owl House, and today, I would like to start weaving together of what I believe could become one of the biggest and most cleverly disguised twists in the entire show.

To begin, let’s take a look at the B plot of Understanding Willow:

On first glance, it’s an ultimately inconsequential sidestory with the sole purpose of justifying an excuse to keep Luz and Amity in Willow’s mind, as well as providing some well-needed room to breathe and release tension after the veryemotionally charged confrontation with Inner Willow. After half an episode of Eda and King outdoing the other in ridiculous ways to win Gus’ vote and Gus running off in frustration at the end of the episode from Hooty’s inane rambling, it’s easy to laugh off Gus’ pick and assume that nothing/of value was said when he closed the door for the interview.

However, if one pays close attention to that very scene, Hooty actually canstill be heard (if faintly) underneath Eda and King’s grumbling, interestingly talking about how “It all started with a hunt. Blood red skies. That’s right, I was created-.”

Now, while it may seem silly to focus on dialogue from Hooty of all characters, this A) tells us that there was an event in the past involving blood red skies and a hunt of some kind, B) that Hooty had been created close to said event, and C) implies that what he knows but can’t tell as a story worth a damn is EXTREMELY important to be included and be hidden in such a manner.

For comparison, the only other instance of dialogue being tucked away in the background in the entire show is in Wing It Like Witches:

During the lecture at the beginning of the episode, the history teacher openswith lore on Belos appointing a head witch to each coven over 50 years ago, immediately cluing in the audience to try and decipher the rest of the lecture as it moves to the background. Adding to this is how the musical sting when Luz shows off her movie obscures what he says even further, making it even more of a intriguing puzzle that the creators clearly intended for viewers to pick up on and attempt to solve.

In contrast, the hidden dialogue of Hooty’s interview is much shorter and not as hard to decipher as the teacher’s history lesson, but at the same time, there are few to no indicators whatsoever in that scene to clue in the audience to even check for something like that. It comes at the end of an episode where most viewers would have been paradoxically tired out and driven abuzz by the revelations of Amity and Willow’s relationship, doesn’t attempt to draw much attention to itself, and frames itself as a comedic subversion of audience expectations with neither the “greatest witch who ever lived” or the self-proclaimed king of demons being picked by Gus.

Instead, he picks someone that the show portrays constantly as an oblivious and gullible idiot after being described as a “state of the art defense system” at the very beginning of the series. Someone who, despite it being played for laughs, is scarily capable of casually subduing Lilith offscreen one episode and then beating her and an entire squad of Emperor’s Coven members without even the slightest change in personality or temperament.

Someone who, due to being the Owl House itself, could be considered the titular character of the entire show, yet is taken for granted by those who inhabit him and barely gets any respect from even the cutely patronized King - including when Hooty could be interpreted as having potentially been full on DEAD for a time given the use of extremely cartoony X eyes and a lack of vital signs in The Intruder.

And someone who Eda at best tolerates and at worst abandons in personal interactions and only occasionally acknowledges him when he’s actually doing his job. Yet at the same time is so implicitly trusted beyondprotecting her home to the point where - when up against the closest person Eda has to an equal outside of likely Belos - the only actually recognizable spells Eda used in combat were 1) stereotypical energy blasts, 2) a single shield spell in Covention, and 3) a noticeably large reliance on imitations of Hooty above any other spells she could have decided to use instead.

In short, the show repeatedly tells us he is just an idiotic gag character through and through, but at the same time demonstrates he has immense power through both onscreen and offscreen demonstrations, implicitly tells us his importance ahead of time through Eda’s imitations in actually serious situations, and treats his interview and origin story as - if not even more- important to keep secret than a long lore dump about how Belos’ reign works.

After all, there being only two instances of hidden background dialogue in the entire season is already intriguing on its own, but for one to get plenty of clues to draw in people’s attention and for the other to be treated as just another gag about a “mere comic relief character” - aka a good way to draw away attention and lower one’s guard - heavily suggests a far deeper significance buried under layers of misdirection, comedy, and conditioned audience expectations.

I mean, when Eda bragged about being “a bad girl living in a secret fortress,” Hooty followed with a remark about how “I’m the secret.” While that line may sound like Hooty simply being confused as part of a one-off on the surface, it’s an odd dialogue choice for the writers to pick when you think about all the other reminders of his nature as the house itself throughout the season. With the precedent these moments set, it would have been much more appropriate for him to latch onto the “fortress” side of “secret fortress” AND it would have been just as equally funny of a joke about his awareness skills, but instead, Hooty broke away from the established trend to say something that would make people suspicious were it to come from anyone else.

In a way, this reminds me much of the many subtle bits of foreshadowing strewn across the show, like Luz unknowingly describing Amity in Witches Before Wizards and Eda burning a hole through Luz’s coven type quiz that coincidentally selected the same track she had taken at Hexside as “a punky potionist.” At the time of airing, these initially seemed like one-off jokes, but eventually came back in full force several episodes later with Amity’s hidden sensitive feelings and love for the Azura books becoming clear in Lost in Language, and the reveal of Eda’s school track in Something Ventured, Someone Framed with her school misdemeanor pictures.

That said, compared to these individual bits of minor foreshadowing, the jokes about Hooty in Understanding Willow appear to simply be the most obvious pieces in a giant puzzle, implicitly and outright telling attentive viewers that there’s a major mystery to be uncovered here.

In fact, I feel bold enough to say that we could be looking at a twist on a similar scale to that of the Pink Diamond/Rose Quartz and Stanford Pines twists in Steven Universe and Gravity Falls respectively, what with this particular puzzle piece coming from how Gus wanted to make THE greatest interview of all time, and how he was looking for someone who was “interesting, accomplished, AND noteworthy:”

Note the emphasis on the ‘and’ here, as Gus had made a big deal that “people aren’t meantto be all those things” at the beginning of the episode, so as a result, stripping away all the comedic framing of his subplot leaves the intriguing implication that whoever - and, perhaps, what- Hooty is, they really are the most interesting, accomplished, AND noteworthy person out of everyone.

I could go further and talk about why I suspect the mystery surrounding King’s origins, whether true or not, is partially meant to misdirect us from paying attention to Hooty, or how the TOH crew’s could be disguising legitimate clues to his nature among made up and highly meme-able joke answers in order to proliferate said concepts throughout the fandom - thus letting us do all the dirty work of getting ourselves used to the ideas and used to dismissing them at the same time - but to bring things to a close for now, I’d like to leave you all with a question that I’ll start answering next time:

What does it mean when both the most powerful and notorious witch on the Boiling Isles and the possible actual king of demons/the Titan itself/something don’t match up to a house? And what do you think it is that makes him so special to warrant such misdirection?

TLDR: Between Eda’s golem spells, the show stressing his nature as the titular house, his implicit strength, and the odd dialogue and structure of Understanding Willow‘s subplot in relation to him, I believe I have good reason to suspect the show has been giving us many hints towards Hooty being much, much more important than it would like us to currently believe or even joke about. Particularly, through clever uses of comedy to establish and enforce a strong audience bias against looking closely at him or unironically taking him seriously, and to potentially plant the seeds for something I will start exploring in Part 2.

[oswinsdolma]

Yes, it's nearly 2.00am (because that's apparently the only time I have inspiration to write essays) but I've been thinking a lot about this lately and wanted to get it off my chest, so here you go:

The main goal of Merlin becomes disturbingly fractured along the way, which opens up the gaps for the prophecy to seep through instead of following the expected channels, but it can essentially be boiled down to three key elements 1) build albion; 2) decriminalise magic and 3) save Arthur, but when all is said and done, we never really see any of those objectives achieved.

Now, there are a few reasons for this, both from a writing perspective and a plot perspective. The first, and one of the most obvious, is that this show loves irony. I won't go into a lot of detail here because I've already written a whole ass essay in this very subject, but in a nutshell, you can look at this from two perspectives: firstly, it's important to establish that this technique is purely about the angst: it's the writers' way of provoking a reaction from an anguished audience, but it's foreshadowed just enough to make it more painful than it is shocking. Alternatively, there is the more plot motivated irony in that it genuinely makes a good story. Irony is a technique that has been used for thousands of years, not just because it provokes a reaction from the audience, but because it allows you to explore your characters in greater detail than before, riddling them with hidden juxtapositions and internal conflicts that are never resolved quite in the way you expect. The irony in Merlin is the epitome of this, with the whole motif of Arthur needing to die for his reign to begin. It is a classic example of the simultaneous despair and hope that mocks you from the shadows.

Following this, there is another force at play that deals with half truths and seemingly imperfect contradictions, and that's prophecy. It's not really a secret that I have very strong feelings about prophecy and its effects on all the characters, Merlin in particular, and the fact that fate and destiny are such key themes in Merlin both makes perfect sense and wants me to smash my head into a brick wall. Prophecies are another common trope that often go hand in hand with irony (think Oedipus Rex, Macbeth, The Iliad, all that doomed hero shit that I inexplicably adore), the key to their influence over the plot often lying in how they usually come true in the most unexpected of ways. This links back to that initial theme of irony, but this isn't what makes me angry: what is infuriating is that prophecies tend to come true, no matter what, and most of the characters seem not only to know this, but to let it take their autonomy over their respective fates, driving them to disaster.

Let me elaborate: especially in season five (I'm assuming just for the added fall at the end), Merlin talks a lot about how "one day, things will be different". He tells sorcerers that one day they won't have to hide. That one day, they won't have to live in fear of who they are and what others think of them. And Merlin is right: while it is not explicitly stated, it's generally established that this is one of the things Merlin should actively be working towards. But here's the kick: except for a few specific circumstances, when has Merlin ever actively tried to change Arthur's mind about magic? Yes, he has taken a few opportunities, like with Dragoon saving Uther's life, or with the Dolma's final request, where he has encouraged Arthur to rethink his choices, but otherwise, his support has been lukewarm at best. Instead, his primary concern was always saving Arthur, so he can become the king the magical world hoped he'd be, but he left out a crucial part, trusting in the prophecy to fill in the gaps. He knew it would come true, but it was, almost predictably, in the one way he never dared to expect.

And in a twisted way, there's that thread of irony again: Merlin thought he was saving Arthur so he could one day become the king who would see magic as a force for good, but instead, he created someone who was merely a survivor. It was Kilgharrah who said it first, and he who would mention it last: they are two sides of the same coin. But as willing as Merlin was to give his life for Arthur, and vice versa, he was never really ready to give him his mind.

Another interesting thing to note is Merlin's fixation on the "Saving Arthur" lens of the prophecy over the "Restoring Magic" part. Now, there are a ton of ways you can look at this, depending on how far along the scale of Queer Analysis you are, so I'm going to try and address a couple. At one end of the scale, you have the fairly simple and very believable "merthur" take. This basically boils down to the fact that Merlin and Arthur may or may not be deeply in love with one another, and that drowns out any voice of reason that may unfold. This is actually fairly canon compliant, particularly looking at incidents such as the Disir, when Merlin chooses Arthur over his and his people's freedom, though that choice was clearly, in hindsight, misadvised.

At the other end of the spectrum, there is the idea that it is the work of Kilgharrah, Gaius and other responsible figures in Merlin's life when he was new to his role in destiny, who reiterated at every occasion that Arthur must be protected at all costs. This may have ingrained into Merlin's thoughts and influenced his decisions from here on out.

Between those two points, there is a grey area, and I am of the personal opinion that neither extreme entirely satisfies the situation. For me, I think the characters in question are far too complex to have such simple motivations, and that the true reason lies somewhere between the two: Merlin undoubtedly cares for Arthur, and while at the start, his actions in protacting Arthur may have been driven by other (largely superficial) motives, over time, their mutual affection blossomed to the point where certainly the more personal quests were motivated not by need, but by love. However, there is a divide here, and while the line in the sand smudges from time to time, it never really disappears: a lot of instances in which Merlin is trying to help Arthur are entirely overshadowed by destiny, and in time, Merlin comes to accept that Arthur and Destiny are, in fact, one and the same, and this is where that ever-present tragedy lies. For all he truth in here, Merlin doesn't get everything quite right: he sees Arthur as a balance that needs to be protected, without fully realising that he doesn't just have to keep the sides of his equation in equilibrium, but he actually has to start solving them if he wants them to endure.

Having just said all that, sometimes I decide to fuck over complexity for a few hours purely because I am a shameless merthur hoe.

Also, can you take a moment to please note that this last section is highly subjective and it is completely up to you as to what you decide!! This is just my opinion and you're welcome to agree or disagree at any point.

So, aside from the Angst Factor™ and twisted character development, why was the main goal never fulfilled? Unfortunately, that is a question far cleverer people than me can only speculate, as the writers alone know the answers, but I'm going to give my opinion a shot. Honestly, there is something beautifullly poetic about something that never ends, or ends when there could be something more. Humanity has struggled with endings-and beginnings- since it learned truly how to think, because that kind of finality, that inkling that there might have been nothing before and after something else is incomprehensible. In leaving Merlin in a place where the next point was uncertain, the writers left the story open for us. In depriving us of that catharsis, they effectively made sure that the story would never be over, not until we want it to be. And yes, it was painful. I can't think of an ending that was more heartbreaking than that curious mixture of closures and openings all at the same time (hell, I could write a whole essay based on this concept alone!), but it was also a gift, ironically like that of the prophecy itself in that we can choose what we want to do with it, safe in the knowledge that there will be a happy ending again, one day.

In summary, we might not be left with catharsis in the way we wanted. We might not have got the happy ending that could also have stretched on and on indefinitely. But we were left with something else, something equally beautiful as closure, but in the complete opposite way. Amongst the remains of allwe had hoped to build, Merlin left us hope.

[aspoonofsugar]

Semblance of the Soul: Qrow and Raven

The Branwens are two people with a shared past, that have taken different routes in life:

Ozpin: Everyone has a choice. The Branwens chose to accept their powers and the responsibilities that came with them. And later, one of them chose to abandon her duties in favor of her own self-interest.

Qrow has made an altruistic choice. He hates the crimes of his tribe and is happy to help people by working for Ozpin.

Raven has instead decided to prioritize herself and her tribe and sees Ozpin’s cause as foolish and reckless.

At the same time, they are twins, but have chosen different families. This is why the concept of family comes up so often in their interactions. After all, they first meet in the episode called Family:

Raven: Hello, brother.

Qrow: Raven. So, what do you want?

Raven: A girl can't just catch up with her family?

And their last exchange is this:

Raven: Sorry, brother. Sometimes family disappoints you like that.

Qrow: We're not family anymore.

Raven: Were we ever?

Qrow: I thought so, but I guess I was wrong.

Still, how are they doing with their families of choice? Are they happy with them? Do they have healthy relationships?

For the both of them, the answer is no. This happens because Raven and Qrow are both scared to grow close to people.

It is just that this fear is declined in opposite ways. Raven is scared for herself (selfishness), while Qrow is scared for others (selflessness).

This trait they share, but show in different ways, is well conveyed by their respective semblances. This analysis will use their powers as means to explore both characters and their foiling.

RAVEN: BIRDS OF A FEATHER

Raven’s Kindred Link perfectly embodies the saying...

Birds of a feather flock together...

...until the cat comes:

Raven: I...I'm sorry...

On one hand it lets her create portals to the people she has a strong bond with.

On the other hand she mostly uses it to run away from those bonds.

Why does she do it?

The answer is clear:

Lionheart: I'm helping her for the same reason you are - I'm afraid. We... we can't stop her... no one can...

Raven is just another version of the Cowardly Lion. She is a coward like Leo, but does not aknowledge it and prefers to hide behind a pragmatic and survivalist mask:

Raven: That's why I tried to leave when I did. I'm not afraid, I'm smart.

This is why she goes back to her tribe after she leaves Yang and Tai. She says she does so because she considers them her family and wants to protect them.

However, her motivations are implied to be more selfish. She goes to them to run away from things that scare her.

To be more specific, the tribe protects Raven psychologically in two different ways.

1) It lets her be the monster, the criminal, the most violent and powerful one:

Mercury: We’re the guys you should be afraid of.

Raven: I doubt anyone should be afraid of you.

Here, Raven mocks Mercury, but the irony is that her coping mechanism is really not that much different from his. She hides behind a Grimm mask, a universal symbol of fear, but she is the scared one.

2) She goes back to the family who raised her and neglects the family she is supposed to raise (Yang).

Deep down, Raven is just an adult, who fails at being an adult.

Mostly, this shows in her inability to make a choice:

Yang: Which is it, mom? Are you merciful, or are you a survivor?

 As a matter of fact she keeps changing her mind because she is not brave enough to stick to one decision.

Initially, she is sent to Beacon, so that she could learn how to kill hunters. However, she ends up becoming a huntress herself and she accepts to fight Salem. She is considered so loyal that she is even given magical powers. Finally, she enters a relationship and has a daughter with Tai. She basically starts creating a life outside the tribe, only to leave it all behind at a certain point. It is not clear if it is because she saw something specific or if it is the result of a longer struggle.

The point is that nobody forced her to fight Salem. She could have also refused Ozpin’s powers. Finally, she could have told Ozpin and the others she wanted to stop. In any case, she did not have to leave her family to stop fighting Salem. What is more, she could have brought her family with her, when she ran away.

She chooses instead to leave everything she has built behind and goes back to the world she was a child in. It might be a violent world, but she sees it as safer.

Let’s highlight that she has the same tendency of changing idea in the series itself. She switches sides and organizes a risky plan, which puts almost all her major bonds (Qrow, Vernal and Yang) in danger. She does all that because she wants the relic, so that she has leverage against Salem. After all of this, even after Vernal’s death, she simply runs away. She is obviously shaken by her confrontation with Yang, who calls her out. However, Yang is perfectly right when she says so:

Yang: Because you're afraid of Salem!!! And if you thought having Maiden powers put a target on your back, imagine what she'll do when she finds out you have a Relic. She'll come after you with everything she has. Or she can come after me. And I'll be standing there, waiting for her.

Taking the relic would just put Raven in danger. For her it is safer to open the vault and disappear, so that someone else can take care of things. Even if this someone else is her daughter.

In other words, Raven is a failure of a mother. This is shown by her failing all three of her “daughters” (Yang, the Spring Maiden and Vernal). Moreover, it is perfectly conveyed by her being a Maiden.

The idea of maidenhood is symbolically juxtaposed to the one of motherhood. Of course, this does not have to be true in-universe for all the Maidens. Still, in Raven’s case, this juxtaposition is deliberate. Raven is an eternal Maiden, who runs away from her parental responsibilities.

This is why she received the power from her protegee instead than from a mentor figure. She is so selfish she takes from the people she should protect:

Cinder: Vernal was a decoy the whole time. The last Spring Maiden must've trusted you a great deal before she died. I bet that was a mistake...

What is more, it is strongly implied she killed the previous Maiden to take her powers. This is interesting because it ties to a second meaning of her semblance.

Her ability symbolizes the unfairness of the bonds she forges. She works to create those bonds and there is affection involved. However, these bonds are double edged swords for the other party involved because of Raven’s moodiness. She can leave when she wants and come back out of the blue. She can always go to others when she needs it, while others can never reach her. This leads to an unbalanced dynamic in Raven’s favour.

This dynamic can even become extremely dangerous for the other person:

Raven can potentially use her ability to attack the people she is bonded with. She does not use her semblance this way in the series. Still, what happened to the Spring Maiden is something similar. To receive the power of the Maiden, Raven must have been the last person in the girl’s thoughts before death. This probably happened because the two shared a close bond. A bond Raven betrayed.

In other words, the nature of Raven’s semblance hides in itself the potential of betrayal:

Raven: Aura can't protect your arm, it's Grimm. You turned yourself into a monster just for power.

Cinder: Look who's talking...

As Cinder points out, Raven too, like her, has become a monster to obtain power. The difference here is in how this montrosity is conveyed.

In Cinder’s case, she is literally turning into a Grimm. She has accepted this metamorphosis to take the Maidens’ powers.

In Raven’s case, it is ironically the opposite symbolically. She wears a Grimm mask, but the true monstrosity is the Maiden behind it:

Raven is monster-like because she stole the power from a person, who trusted her.

Let’s highlight that the motif of the Grimm mask has come up several times in the series. So far, it has been used by people, like Raven and Adam, who want to be feared. Something similar can be seen in the Hound as well, who is not really wearing a mask, but whose humanity is hidden behind his Grimm appearance.

In all three cases, the true scary thing is what is behind the Grimm-face:

It is always the humanity behind it that is scary. Be it the victim behind the monster in the Hound, society’s mistreatment of Faunus or Raven’s cowardice and what it led her to do:

Yang: You're right. I don't know you. I only know the Raven dad told me about. She was troubled, and complicated, but she fought for what she believed in, whether it was her team or her tribe! Did you kill her too?

Yang’s question is poignant and underlines how all Raven has done is simply to hurt herself. By hurting the people she loves, she has been killing a part of herself.

This is also conveyed by her emblem missing from her possessions. According to the wiki, Raven’s emblem is this:

Raven's emblem is a winged eye with a clock inside of it. This emblem has not appeared on any of her possessions so far.

This is a reference to Raven and Qrow’s allusion to  Hugin and Munin, Odin’s two ravens, who travel the world and bring him information. Raven and Qrow do the same for Ozpin and they are his eyes.

Qrow is the left eye:

Salem: The last eye is blinded... you disappoint me.

While Raven used to be the right. So, her emblem is probably the right version of Qrow’s own one. Still, Raven refuses that part of herself and this is why she is not wearing her emblem.

In short, Raven used to be a bird of a feather with Qrow, but she is not flocking together with him anymore. This is because a scary cat has come:

And Raven has sacrificed her bonds out of fear. Not only that, but she has weaponized them:

Yang:  You turn your back on people, you run away when things get too hard, you put others in harm's way instead of yourself!!

Raven has been using her most loved people as assets, so that she can shield herself from danger. Maybe it is because of this that she symbolically uses Omen to open portals. This even if she can apparently do so without it, since she opens them even as a bird. However, using her sword is a way to distance herself from the true nature of her ability (bonds). It is a way to reduce her ties with people to simple things she can use.

That said, this is damaging Raven herself.

To be more specific, she is making herself weaker and weaker:

Yang: Oh, shut up!! You don't know the first thing about strength! (...) You might be powerful, but that doesn't make you strong.

Raven is powerful, but weak. This weakness is symbolically conveyed by her behaving in the opposite way her semblance would need to truly shine.

Raven’s power works thanks to bonds, so it can be assumed it would be at its strongest if its user cultivated them both in quality and in numbers. However, Raven has few bonds and she is cutting them off one by one:

Yang: You can bond to certain people. And when you do, you could create a portal that takes you straight to them. You've got one for Dad. One for me. And you've got one for Qrow.

We know that Raven is also bonded with Vernal. Still, Vernal dies at the end of volume 5. Of the other ones Yang mentions, Raven has pushed away both Qrow and Yang through her actions at Heaven.

This makes this scene interesting:

Did the portal Raven opened at Heaven go to Tai? Did she go there because she felt nostalgic and missed him? Or is he the only one (both practically and symbolically) she can still run to?

QROW: A SCARE-QROW SCARED OF CROWS

Qrow’s semblance is Misfortune and it is basically a Bad Luck Charm:

I am no one's blessing I'll just bring you harm I'm a cursed black cat I'm an albatross I'm a mirror broken Sad to say I'm your bad luck charm

Qrow causes bad luck around himself. Because of this, he sees himself as a curse.

However, this conflict Qrow has with his semblance is actually symbolic of a turmoil developed on multiple levels.

Let’s begin with this:

Raven: You're the one who left. The tribe raised us, and you turned your back on them.

Qrow: They were killers and thieves.

Raven: They were your family.

Qrow: You have a very skewed perception of that word.

Qrow was born in a tribe of bandits and was taught how to kill and steal. Finally he was sent to a hunter academy, so that he could learn how to kill his classmates in the near future.

Qrow’s semblance is nothing, but the manifestation of his self-hate, that was probably partly caused by the environment he was born in. In a sense, it is his symbolical response to his childhood.

Let’s highlight that this response is very different from Raven’s. This is shown by their opposite behaviours toward their tribe. Qrow leaves it, while Raven goes back to it.

This difference can also be conveyed by how both Raven and Qrow share a specific motif, but embody it in different ways.

Both twins are associated with bad luck. Both can turn into ravens/crows, which are birds linked to misfortune. Moreover, their weapons are called respectively Omen (Raven’s) and Harbinger (Qrow’s).

The meaning is clear. The twins were born and raised with the idea that they should be symbols of violence and bad luck for their enemies. It is just that Raven wants to be a bad omen because it makes her feel strong. Qrow does not want it, but thinks he is:

I'm a harbinger, I cannot lie, I will change the color of your life.

It is to try and free himself from this curse that Qrow started working for Ozpin. He literally becomes the Scarecrow of the story to try and exorcise the bad fortune he brings. He is trying to scare the crows away. He thinks that if he does so, he’ll become a full person.

This ties with the original story of his allusion. In The Wonderful Wizard of Oz, the Scarecrow wants a brain because he is told by an old crow he would be just like a real man, if only he had one. In short, the Scarecrow wants a brain to become a real man, so that he can scare crows better than he already does.

Qrow too wants to be a full person, but he believes he is not. He thinks he is cursed and as a reaction to this he has attached himself to Ozpin and to his cause:

Qrow: No one wanted me... I was cursed... I gave my life to you because you gave me a place in this world... I thought I was finally doing some good...

This is why he reacts so badly when he discovers that Ozpin (who is basically a father figure for Qrow) has hidden so many things from him. Not only that, but he feels that the impossibility of truly defeating Salem (of truly defeating evilness) makes his life meaningless.

The point is of course that this is not the case and that Qrow does not need to do anything specific to be a true person and to be loved:

Qrow: Every choice I've ever made has led me here, and I've dragged you along with me. Oz, myself, the others... We're responsible for the mess the world's in now. I shouldn't have come, shouldn't have let any of you come... What was I thinking?!

Ruby: We're all in this together, and we're all going to do the best we can. That's all anyone can do. And I know it's what you've always aimed for. We would've come whether or not you'd let us, so stop talking like we're your responsibility! We're not! But we could still use Qrow Branwen on our side.

Ruby’s confrontation with Qrow at the end of volume 6 is basically the opposite of Yang’s confrontation with Raven in the finale of volume 5.

Yang calls Raven out because she refuses her responsibilities. She pushes them on others and leaves her own daughter to fight a battle she ran away from.

Ruby calls Qrow out on taking too much responsibility on himself. The kids were not forced by him to come. Qrow should not be completely responsible for them, but should learn to fight by their side.

Later on, Qrow is basically told the same by Maria:

Maria: You weren't half bad yourself today, Qrow.

Qrow: I feel like they did all the heavy lifting.

Maria: But you were there to help when they asked for it, and you were there to catch them when they fell. Literally, if I recall.

This is important because Maria appears just after Ozpin (aka Qrow’s mentor and guide) disappears. She is the person Qrow aspired to be:

Qrow: You never used your name, never showed your face. Lots of us thought you were just layin' low. Eventually, we just came to accept that you were probably dead. But the stories about you, I based my weapon off of yours. I wanted to be as good as the Grimm Reaper.

At the same time, Maria too, like him, considers herself a failure:

Maria: Well, I'm nothing but a disappointment, so you're well on your way.

However, at the end of the volume both Maria and Qrow realize that they do not have to save the world by themselves or to be invincible heroes. They just need to be there for their loved ones and the new generations. In short, Maria mentors Qrow on how to be a proper mentor.

And it turns out that he just has to take better care of himself:

In short, Qrow became the Scarecrow to scare crows, but ironically all he needs to do is to overcome his own fear of one Qrow.

If he does not, his semblance is bound to become a self-fulfilling prophecy, as it is shown in his two fights against Tyrian (vol 4 and vol 7).

1) In volume 4 he manages to protect Ruby, but ends up injured and unable to help the kids for the rest of their journey. He goes from their protector to a wounded man they have to take care of.

Narratively, it happens because of this:

Ruby: This is a lot to take in, and it all sounds crazy, but... I'm willing to do whatever I can to help because I trust you. But why couldn't you trust me? Why couldn't you just travel with us, instead of this secrecy, and, and--

Qrow: Look, this has nothing to do with trust. I-- It's a long story, okay?

The whole fight between Tyrian and Qrow could have played out very differently if Qrow were better at communicating with his niece. He wanted her away from Tyrian and himself because of his semblance, but Ruby interpreted it as Qrow not trusting her.

2) In volume 7, the battle ends with Clover’s tragic death being framed on Qrow.

Why does it happen?

Clover: Sometimes the right decision is the hardest to make. I trust James with my life! I wanted to trust you.

Once again, the problem lies in a lack of trust.

Qrow and Clover genuinely like each other and have bonded. Still, they fail to trust each other in a key moment and make the worst possible choice.

This is true for both characters:

Clover: I enjoyed working with you, you know. Even with that endless cynicism of yours.

Qrow: I'm usually proven right.

Clover: We don't have to fight, friend.

Qrow: You don't know my friends. That's how it always goes.

Qrow: Why couldn't you just do the right thing instead of the thing you were told?

In a sense, the whole fight can be read as The Scorpion and the Frog. In the original fairy-tale, the point is that one can’t overcome their own nature. The scorpion will sting the frog even if it goes against its own survival. Here, it is the same for the characters. In order for things to go well, either Clover or Qrow should overcome their flaw, but they fail.

Clover is not able to let go of his loyalty for Ironwood, even if it is clear the orders he received are wrong.

Qrow goes back to his usual cynism and makes a pact with Tyrian:

Robyn: I’m sorry for what happened. It wasn’t your fault.

Qrow: It was, though. I made a deal with the darkness, and he paid the price. It was all happening so fast, but Clover wouldn’t let up. Could have worked together against Tyrian if Clover just... 

Tyrian is the poisonous scorpion, while both Qrow and Clover are two frogs, who are hurt by him. Ironically, the frog’s mistake in the story is to trust the scorpion, while the mistake of our two frogs is that they did not trust each other.

Still, why is it so narratively? To be more specific, why is that so when it comes to Qrow’s character?

The answer is here:

Qrow: But the thing that really stings? For the first time in a while I thought, maybe, maybe I could be around somebody - anybody - without my semblance making it… complicated. And now, it just feels like a childish dream. Gone... like everybody else.

Clover is narratively this:

Blake: You have to understand that all of you are looking for simple answers to a very complicated problem.

He is a very simple answer to a very complicated problem that has its roots in Qrow’s interiority. Qrow’s flaw, what goes in the way of his relationships and happiness, is not that he is unlucky, but that he feels unlucky.

He feels worthless and thinks of himself as bad for others. This is why he keeps his distance and refrains himself from growing close to people.

He blames it on his semblance and this is why he makes an exception for Clover. It is because he sees in the other’s ability an easy fix to his struggle.

Still, he is proven wrong because in the moment of truth, they fail to communicate and everything goes to hell.

This is not to say that Qrow and Clover’s relationship was bad or that Clover deserved to die. In-universe their bond had beautiful aspects and could have grown stronger. Moreover, Clover could have developed and left his flaw behind.

Still, narratively Clover serves a specific purpose and him dying is a part of said purpose.

Clover brings a superficial harmony to a situation and a group dynamic, which is actually not harmonic at all:

Clover: What would you guys do without me?

The Ace Ops are a group of individuals repressing their own feelings and identities for the sake of an unspecified greater good. They see the world in black and white, not because they are stupid, but because they refuse complexity:

Robyn: Yeah, because you don’t care about the truth. You just want someone to be mad at. Easier than taking an honest look at what side you’re on.

Winter: Penny. The general is making hard choices so we don't have to.

This fits with them being a group based on Aesops aka short stories with a very well defined and often simplicistic message.

In short, Clover is the one that keeps his group together. Once he is gone, his group starts deteriorating. All because they refuse to aknowledge their feelings:

Ren: That’s why you lost against Team RWBY. You, you try to fight how you feel about each other, so you’ll never truly work as a team.

Once he is gone, Qrow is similarly forced to grieve and self-reflect. Luckily, he is not alone:

Robyn is the opposite of Qrow in terms of symbolism.

Qrow is associated with crows and bad luck, while Robyn is linked to robins, which bring good fortune.

She is also a symbol of unity and hope (her emblem is basically Katniss’s symbol in the Hunger Games, after all):

Tyrian: Robyn Hill. For such a little bird, you have quite the impact around here! Bringing hope and a smile wherever you go! I find it…upsetting.

Despite this, Robyn too has suffered isolation, just like Qrow:

Robyn: Believe it or not, I know a little of what that’s like. When people are worried you’re gonna sniff out their secrets, they tend to push you away. It makes a real connection… difficult.

Qrow: I-- never thought of it that way.

Robyn’s line is important for two reasons.

a) It shows Qrow that he is not the only one who has met difficulties in life because of his semblance. His case is not unique.

b) It links to the idea that trusting others is difficult and it is not something that comes without dedication and work.

As a matter of fact Robyn’s semblance is specifically symbolic of trust. It is the power to detect lies through touch, so if you are going to work with her, it means you must be ready to trust and to be trusted:

This also ties figuratively with the act of shaking one’s hand as if to make a pact (an act of trust). If Raven’s power is about asymmetrical bonds, then Robyn’s is about mutual ones.

Robyn highlights that this creates problems for her because it is not easy for people to trust. Some can’t be trusted, while others do not trust Robyn won’t cross their boundaries.

However, this also means that the relationships Robyn manages to forge are strong bonds, where everything or almost everything is out in the open. This is the exact opposite kind of environment than the one realized through Clover’s good luck semblance. It is a harmony more difficult to reach, but it is a more stable and genuine one.

It is these kinds of bonds Qrow should aim to create. In order to do so, he must accept his semblance and his past as parts of themselves. Still, he should not let them define him. Not only that, but he should learn to trust others and their strengths:

Qrow: Ruby, stop!

Ruby: I need you to trust me.

Only in this way, Qrow can truly grow. The secret is that it was never about scaring the crows away, but to learn how to live with them.

HUGIN THAT RUNS AWAY AND MUNIN THAT MAKES EVERYONE WORRIED

Raven and Qrow’s issues can be synthesized by this quote:

"Hugin and Munin fly each day over the spacious earth. I fear for Hugin, that he come not back, yet more anxious am I for Munin."

Raven never comes back, while Qrow has his loved ones fear for him because of his self-destructive tendencies.

In order to overcome these flaws, they must grow in opposite directions.

Raven must realize that her survivalism is actually self-destructive. It makes her survive, but it negates her the chance of living. She must become more selfless and trustworthy to make it up for the unfair bonds she created.

Qrow must accept that his self-destructiveness is actually selfish and damaging to his loved ones. He must start to trust others’ strengths, so that he can be brave enough to live together with them, instead of looking at them from afar.

[fa-headhoncho]

Untitled TFATWS Fic: Part 5

Bucky Barnes x Reader

Prompt: i stuck at prompts so uh hoskins is the best and walker is kind of the worst and the beginning then the worst at the end :)

Word Count: 1865

Reader: Female

Warning: uhhh

Author's Note: lmk for taglist, also sorry for not updating, I've had major writer's block. also struggling with tying things together in the plot. i'd rather not post anything than regret posting something lol. PLEASE GIVE ME CONSTRUCTIVE CRITICISM, I KNOW THERE IS STUFF WRONG, JUST TELL ME

Masterlist

Part 1 | Part 2 | Part 3 | Part 4

=====

Waiting.

All you have left to do is wait. After letting the Flag Smashers get away, flying to Germany to infiltrate their base, and Zemo “mysteriously” breaking out of prison; you have to sit here at a random cafe and wait. Wait for a sighting or wait for the two idiots to respond to your messages.

The whole situation frustrated you. No evidence pointed to Sam and Bucky breaking Zemo out but that was enough proof for you and Walker to agree that it was them. Hoskins, on the other hand, was skeptical.

“Why would two Avengers break a criminal out of prison?” Said soldier questions from beside you. The three of you were sat outside, away from prying eyes and ears while you had a quiet meal together. It was nice to have some calm but it made you itch.

You shrug and look down at your cup of coffee, “Steve got me out of prison and I have more a wrap sheet than Zemo does.”

“Yea, but that was to save the world.” Lemar points out, giving you an exhausted look. An uncomfortable pit in your stomach forms at the mention of the first battle, the one that blipped half the world gone.

Silence falls amongst the three of you again as you all are consumed by your thoughts. A small frown appears on your face as you think back to those years ago. Natasha Romanoff, a woman you will never see again, walked into your cell with a kind smile on her face. She explained to you the circumstances and how they needed everyone they could find to defeat a titan wanting world domination.

The look on Bucky’s face seeing you in Wakanda with the blonde was nerve-wracking. He looked like he saw a ghost. It brought back memories that you knew he didn’t want to think of and you felt guilty. It was not the first time the past has blended into his present and it wasn’t going to be the last, but it was worth it.

After his initial shocked expression, he greeted you with a surprised smile. One you never saw on him during your time at Hydra with his former self. He greeted you with your alias and his smile only got larger when you corrected him with your real name.

It was a sign of a fresh start between the two of you. He stuck beside you during the whole battle, protecting you from the aliens since it was obvious you were a bit rusty. It was nice… until you lost him again.

“They were desperate.” Walker’s voice rings out from across from you, a tone of realization.

“Who?”

“The Avengers.” He clarifies making you scoff and lean back in the patio chair. “They were up against an army that they thought they defeated years ago, an alien titan threatening to take over a world they’ve been trying to protect for years. The team was split into two and they didn’t know when the other half would show up.”

You roll your eyes, crossing your arms in annoyance at his backhanded analysis. You were out of practice, yea, but you were useful. They couldn’t have been that desperate to recruit you. “How does that relate to now?”

Now it’s Walker’s turn to roll his eyes. “So,” He drags out then lets out a scoff, “we have no leads. We’re at a dead end and we have the government behind us. They are as desperate as we are but the only difference is that they’re freelance heroes.” He carefully explains causing you to let out a sigh. You understood what he was getting at and it made you annoyed that he was right.

“So they can blur the lines we can’t.” You reluctantly conclude, he nods and relaxes in his seat. You had to hand it to him, he was smart. His training and years of experience did him well but that didn’t relax your nerves.

Bucky was still in recovery and you didn’t know how he would react to being in Zemo’s presence let alone working with him. He’s been doing better and this plus him not going to therapy is an uncertain combo.

Walker seemed to notice you dazing off again, subtly asking Lemar to go refill their coffees. You don’t notice when the man gets up and walks off until the blonde says your name.

“Hmm?” You hum, moving to grab your cup which was no longer there. A small blush appears on your face as you realize your distraction was gone. Now you have to look at him.

“You know, my wife doesn’t like me working with you that much.” He leans back in his seat and rolls his shoulders back, looking off in the distance. “With, you know, the countless charges of treason and espionage against you.”

You let out a snort, there was a lot more than that. “Where are you going with this, Walker?”

“You said you have more a wrap sheet than Zemo does.” He simply states, eyes finally landing on you. There’s a moment of silence between you two as you try to define his words. Why was he bringing up his wife? Why did it matter that she was eerie of you?

“Yet, she knows I’ll be safe and level-headed because Hoskins is here.” He continues, “Sam is with Bucky, he’s in safe hands. If Zemo were to try anything he has Sam there to help him.”

You roll your head back and run your hands through your hair. There he goes again, thinking he knows everything and understands the situation. He continues to drone on but you stopped listening. You were proud of yourself that you kept your temper down this long, honestly, especially with your emotions right now.

You wait till he’s finished before looking back at him. He had a solemn look on his face, trying to show some sympathy and kindness but it only pissed you off further. “John, he turned him into the Winter Soldier.” Your voice was struggling to keep at an appropriate volume. “He said the words and he was gone. He still had nightmares about it to this day.

“Sam doesn’t know how to deal with the Winter Soldier. I barely do and I spent most of my life working with him. If he--”

“He’s not going to, (Y/N).” He snaps and you immediately shut up. You didn’t even realize the tears that started to pool in your eyes until you felt the wet drop roll down your cheek. He allows you to compose yourself before talking again, “My wife worries about me every day, you don’t think she’s not blowing up my phone every time she sees a newscast?

“I love her, would do anything for her. But she knows that when I see a fight, a chance to do something good or change the world for the better, that she can’t hold me back.” He passionately states as he fails from hiding his own emotions. “She still would worry even if I had...” His hands started to shake and his voice started to quiver.

It startled you, truthfully. He was allowing you to see a different side of him, the real man behind the shield. It was an odd time to get a new perspective on him but it was eye-opening nonetheless. He was opening his heart up to you as much as he probably didn’t want to, showing the same vulnerability you were.

“She supports me. She supports this crazy dream I’m living out right now and she’s there for me. You need to do the same for Bucky.” He culminates his speech just as Hoskins exits the doors of the cafe, juggling three cups and a pastry in his hands.

Walker immediately tries to relax his shoulders while you advert your eyes to the group of tourists across the street. There was a tense air between the two of you that if Hoskins noticed, he didn’t mention.

He sets the pastry down in front of you and you send him a grateful smile, a small warmth in your chest at the gesture to make you feel better. It works slightly until Walker’s words echo through your head.

=====

You let out a groan when you feel something soft wack against your face. Opening your eyes, you see black and don’t fully process what’s actually going on until the object is pulled away and replaced by a phone hovering above you.

“They’re in Latvia.” Walker’s voice rings out from beside you. Your brain finally catches up with being woken up so abruptly as you reach out and grab the phone from his hands.

Avengers Abroad. The article title readout causes you to furrow your eyebrows. Walker starts collecting your things while Hoskins stands at the doorway with two bags in his hands.

You quickly skim through the piece as the blonde aggressively throws your clothes into your duffle, “Why are they in Latvia?” You question, looking up from the phone to Walker who just ignores you. It would’ve made you laugh, seeing him pack up like a child whose mother just picked him up in the middle of a sleepover but the expression on his face was not one to mess with.

“We don’t know.” Hoskin’s soothing voice answers for him. “We need to head out immediately in case they spotted Karli, though. The most we can do right now is meet up with them and help.”

“And arrest Zemo,” Walker adds, walking out of the bathroom.

You raise your hands in exasperation, a questioning look on your face. “Weren’t you the one who was just convincing me that it was a good thing that they had Zemo with them?”

“Never said it was a good thing, just a desperate thing.” He corrects, “Now we have enough information to arrest them both for harboring a fugitive, we can take whatever information they--”

“Are you fucking kidding me?” You throw your covers off and get up from the bed. You were furious that he would even utter those words, he knew they were with him and now he was just trying to corner them to make it seem like he was doing civil justice. “You just want to turn the tables to make it seem like you did all the work, you want the starlight more than you want to take down Karli.”

There’s a tense moment of silence where you and Walker just stare at each other. You could tell you struck a nerve by the way his shoulder’s squared up. It happened every time you insulted him and it was his tell to show he was trying to hold back his emotions.

“Just grab the rest of your shit and meet us in the lobby.” He demands, giving your bag a heave and throwing it at you. Luckily, your reflexes work faster than your brain does and you catch it. There’s a bit of guilt that bites at the back of your head for the low blow, especially since he gave you some good advice this morning, but you had more important matters to attend to.

_____

taglist: @crowleysqueenofhell @mischiefmanaged71 @thewinterrbucky @lizajane3 @ahahafudge @spookycereal-s @a-girl-who-loves-disney @kittengirl998 @ sebby-staan @felicityofbakerstreet @sltwins @tanyaherondale​ @mads-weasley​ @healy-facedown​ @bbl32​ @sebby-staan

[atalana]

[copied over from my cr blog, also this is gonna get long, i’d apologise but im not sorry]

okay, so

this is a rant probably about 7 years in the making, bc when i first watched lok i had not done any music study, i had not done any composing of my own, my knowledge of music theory was at a primary school level and i still thought tv soundtracks were just made by one person composing a whole cache of music and then the audio editors pick and choose what track to place where

(spoiler alert that’s not how film and tv scoring works, i have now done a music composition course where we had to score a short film, among other things, and i have so much more respect for tv composers jesus christ)

but this one stuck out to me even way back then, bc me barely knowing what a leitmotif was was like “hey this one little refrain keeps popping up whenever bolin does lavabending, and i like it, i’m gonna see if it’s on the soundtrack”

it was not, and that’s sort of where i left it back in 2014, but i actually did a rewatch of lok pretty recently out of nostalgia, and then noticed it even more

and to explain why (and this is also a little bit why five’s stuck out to me in tua, i’ll get to that in another ask), let’s cover, leitmotifs, and tv scoring in general

so a leitmotif is basically just a short musical idea that represents something in a piece of music. when i studied motivic development we were encouraged to make that motif four notes or less, and then develop it into something longer (aka a theme), because if you can constantly come back to a really short idea while keeping the piece moving, that’s what makes a piece of music memorable

(you can ignore those rules on purpose but that’s a different essay)

so the most common way that a leitmotif shows up in soundtracks is to represent a character or a location - you play the motif when that character shows up or when you’re in that location and boom, the audience associates that motif with that person place or thing, and you can then use this to tell the audience things without actually telling them. for example, star wars playing the imperial march whenever someone does something darth vader related - darth vader isn’t on screen, but you can feel his presence, because his music is playing

and if we were a film score, where we have two hours to show one particular character’s development, great! we give them a simple motif, and then as they grow as a person we change their motif to reflect what is happening to them, until we end up with something that communicates on a subconscious level how much they’ve grown. we toss in as much symbolism as we can, and we have a really great soundtrack that’s instantly memorable

tv scoring, is harder. partially because of time constraints (have you ever composed half an hour of original music a week, and had to make sure it fits perfectly with every beat of what’s happening on screen? these guys have), partially because there’s a much larger focus on ensemble casts

so what atla and lok do, for the most part, is not score individual character motifs for everyone. this is fairly common in tv soundtracks, instead we score ideas, concepts, and feelings - these’ll come up a lot more and give you more information than just “oh hey this character’s on screen”

the avatar state, for example, has the strongest and most recognisable theme across both shows. i’m linking an atla track in here because it has the best example but you’ll know this shows up with korra too - and with particularly important moments for wan, for kyoshi, etc. they also appear in the opening of both shows, four strong notes that start and end on the same note (in the case of what i’m linking, it’s an F#)

the first part of this track is the more uncertain, pensive theme that comes up when both avatars are feeling doubt/worry/sadness, but then it transitions into the more recognisable four. worth noting though, those are both basically the same motif. if i write them out back to back, you’ll notice they both have four notes and start and end on F#. if i had to guess, four notes four elements, and it comes back to the start because the avatar is a cycle.

korra has a theme for when she’s fighting, but not an individual character theme. the airbenders as a concept have a theme, republic city has thematic instruments, as do some big name characters, like iroh and his tsungi horn (this is also a cross-series thing, he’s always playing it in atla, it shows up when zuko has to make big moral decisions, and when we first meet iroh in the spirit world in lok, it shows up there too, to let the audience know who this is before we properly see him)

so, if korra doesn’t get a single theme and instead has several for different aspects of her life, and mako and asami follow along with the mood of the story like all the other characters, the fact that bolin has a personal leitmotif at all, let alone a solid, developing one, is pretty remarkable!

now, granted, it mostly starts with book 3, before then he was like every other character, but it has clear symbolism through those last two books! and, initially i thought it was related only to his lavabending, since that’s most of when it shows up, but since my rewatch, i’ve started calling it his hero theme

see, when people wanna criticise mako and bolin, usually the comments they get are that bolin’s too immature and mako’s too serious/uptight. but like, that’s how they work, you can’t analyse either of them without the context of the other. since they were little kids on the streets, bolin chases his heart and mako makes sure they don’t die from it, that is their entire childhood. and neither would have got here on their own because mako wouldn’t take the necessary risks and bolin wouldn’t take the necessary precautions. (like. remove either one from the equation and they’d still be working for the triple threats bc s1 and their flashback miniseries make pretty clear that bolin got them out and mako kept them out)

and then book 2 proves it! because it splits team avatar up, and what happens? bolin is totally taken advantage of by varrick and used as a pawn in his evil plan and mako ends up in jail

so what’s book 3, to them? it’s, being able to find themselves without having that codependency. mako no longer has someone to protect, which is what he’s based his whole life around so far - bolin’s doing fine and he’s no longer dating either korra or asami. and bolin’s trying his hand at some of that responsibility (look at how he immediately adopts kai who is explicitly them but younger because he wants to be the older brother for once). most importantly, they find the rest of their family, and stop being defined by being orphans. they don’t have to be that singular piece of a puzzle, they can just be themselves. and that’s where bolin’s character really starts to shine, because that’s when they bring in the bending plot, and bending, perhaps more than any other character, really gets to the heart of who bolin is

if you want more of my thoughts on that i have an essay here, but tl;dr: bolin’s an extremely powerful earthbender, but he’s not a metalbender because metalbending requires you to double down on the earth characteristics and think like an earthbender, and bolin doesn’t, he’s too fluid for that, which is one of his major strengths, so of course he can lavabend

and finally - to his motif itself! (as a note, i’ve put all of these in the same key to show where it repeats, but there’s a variety of keys used in the show)

as far as i can find, it first shows up in s3e8, when bolin stuns p’li with this well placed shot

[Edit: it first showed up in the s2 finale, but again in a simplified version and again with him doing something heroic with earthbending, so we can still start the analysis here]

mako volunteers bolin for that job, because he knew bolin was capable of it. why? because bolin landed an identical shot earlier in the episode, after trying to metalbend, getting frustrated he can’t, and cheating with some extremely well aimed earthbending. it’s just a short refrain and you barely notice it, but it’s the first connection of this motif with the theme of bolin’s bending

it looks like this, and it’s always played on a trumpet, which is part of why i call it the hero theme, because, if you’re looking at music from a western perspective, trumpets were used to herald kings, and then used to represent military glory, and then when superhero themes started happening, they used trumpets too - it’s basically western music shorthand for hero these days

(it’s also symmetrical so that helps with the good vibes)

and he’s saving everyone here, so it’s linked to his bending, but it’s also linked to his heroism

it ties the two together, and they are tied together.

when’s the next time it shows up? episode 10, when the brothers are in prison in ba sing se, and bolin tries to metalbend them out. again, he’s doing this to save people, and this motif gets a few notes added on to the end in a raising pattern - they’re inspiring, but they don’t go anywhere. which is exactly what happens in the scene, because he’s trying to go about this in the wrong way. mako believes in him, but it won’t (and doesn’t) work

it appears in episode 12 when bolin saves everyone from ghazan destroying the temple, in a more fancy orchestral remake of the first version - it’s impressive, but it hasn’t actually developed yet, it’s just his discovery of it

the book 3 finale already has its own fucking amazing soundtrack, i love that entire episode’s score, but it gets its own moment there too, and the first real development!

because what we hear is not what we’ve heard before. we know it’s the same theme, because it’s using those signature trumpets, but it’s the second part of this phrase, the answer to the question supplied by the first one. why? because bolin’s figured out who he is and he’s starting to use it. it still hasn’t settled yet though, it’s early days and he’s still just turning ghazan’s lava back on him, so again, it raises, leaving it on a question mark

it doesn’t appear in s4e7 when he lavabends as a warning against the escaped prisoners, because he’s using it as a threat, not to help people. but it does later in the episode when he uses lavabending to save them from kuvira. and that’s when we get the first full phrase, question and answer

it keeps the first motif identical, takes out the first note of the second, and ties them together - except now it’s not open ended, now it knows where it’s going - it’s been three years, at this point bolin is confident in both himself and his bending

and then that phrase appears all over the place in the finale, because all bolin does is save people - everyone from the exploding building, he slows the giant mecha with lavabending, he saves opal, he slows the giant mecha again by collapsing a building on it, and most importantly, he’s the one rescuing his brother this time, instead of the other way around (though that one doesn’t get a motif appearance bc admittedly a fuck ton of other things are happening in the soundtrack at the time)

so to that question asked in book three - who is bolin when not next to someone else? well, funnily enough, we saw it in book two as well, just in a warped way, playing nuktuk. it just wasn’t truly him because it was created by varrick, and he needed to get away from varrick too. the question put forward by the narrative is who is bolin, and the answer given by the music is, he is a hero. and i don’t know why bolin is the only one to get a theme like this, but i think it may have something to do with the fact that, while everyone in team avatar has been a hero and saved people, he is the only one who has, from the start, solely been motivated by wanting to help people. he follows his heart, and his heart cares, about everyone. it’s been the driving force behind almost everything he’s ever done. and i love him so much

[artmunstudios]

What's 2 similarities & 2 differences U have noticed between Ozpin & Oscar?

Aaahh I was wondering if you were going to ask me! I’ve been seeing you around asking this question and the answers have all been interesting! So I’ll take on a response that people aren’t taking on then, yes? This will be a long post, so if anyone is interested in reading past the first analysis just click the ‘read more’!

Their Origins

Ozpin is at the core based off of two characters. One of those characters, Oscar is also connected to. There are obviously more characters and whatnot they reference, but for the sake of simplicity, I will only be addressing their clear initial inspiration. Ozpin is based off of The Wizard of Oz, also known as Professor Oz primarily in the Oz Book Series; but his full name is Oscar Zoroaster Phadrig Isaac Norman Henkle Emmannuel Ambroise Diggs, which he abbreviated to Ozpin Head. (Thank you @immortal-green-snom for this tidbit!!!) In the book series, after he had left in the air balloon in an attempt to help Dorothy get home, Professor Oz was revealed to have done a lot of slimy and heinous things to keep the throne of the Emerald City, and by extension, the Land of Oz itself. While he does get better in the latter books he reappears in, he was portrayed as being manipulative, a bit pathetic, but extremely intelligent and a master of illusions. I wouldn't be surprised if the writers of RWBY were trying to get that across in Ozpin's traits, but to be quite honest, they kinda failed at making him even a morally grey character, as a lot (not all, he isn't guitless, but again, a lot) of the arguments used in-show, and the FNDM itself, are all about things that were either not in his control, or something that was painted as being his fault/harmful, but was actually the opposite of the situation. The biggest example of this is Raven trying to trick Yang and Weiss into believing Ozpin had forced her and Qrow to become birds/have the ability to do so. In a lot of ways, Ozpin and Professor Oz are actually opposites of one another in terms of personalities, which may have in actuality been the overall intention CRWBY had, but we can only speculate. Professor Oz is extremely selfish, while Ozpin is selfless, even to a point where it actually becomes harmful to others. Professor Oz would have done anything to be in power, while Ozpin has done everything to relinquish himself of a position of power, which I find very interesting. This may be due to him even trying to somehow relinquish the burden the God of Light has placed on Oz as a whole, but is ultimately unable to give up that specific task. Even though, truthfully, he needed to relinquish that particular stronghold all along. Professor Oz is clearly a leader, and despite his negative traits, is actually a very good one. Ozpin...as much as I love him as a character, is not the greatest leader. He is, however, an excellent advisor/second-in-command. Professor Oz is only a mere mortal man pretending to be something more, while Ozpin is something bigger than a mortal man, but is pretending to be nothing but a man. Expanding upon this, they also are desperate to be the opposite of what they are. Professor Oz wants to be what he portrayed himself as, and for Ozpin, it's very much the same situation. There is a lot more I could say, but let's move on to Oscar!

Oscar Pine, like Ozpin, is based off of two characters at the core. Again, it is likely that he represents more than two, but for the sake of simplicity, let's discuss only the two. From the moment I saw Oscar, I knew right away that he was based off of my favorite character from the Oz Book Series...Tip. Tip, short for Tippetarius, was too a farmboy who longed for much more, who knew that there was more out there, despite being notably content in their lifestyle. The only difference was that Tip was a slave to an evil witch, but he escapes her in the second chapter with a companion. He is described as being just like any boy; rugged, mischievous, playful, and a lover of all things fun while still being quite shrewd. Unlike Ozpin and Professor Oz, Tip and Oscar are, in fact, extremely alike. Even down to their colors and appearance. Despite how Tip is colored, he actually has light brown skin (though considering the time period, we all know why this fact was dismissed), and black hair. And his treasured beanie cap was green and orange. His clothes also had a primary color scheme of brown, and were dirty due to the work he had done on the farm. Oscar and Tip have the exact same personalities, which was what affirmed to me that Oscar was meant to be his primary parallel. What got me the most was their sarcasm. Tip is still the most sarcastic and genuinely street-smart protagonists in the Oz Books. Not to say there were no other protags like that, but there was something to be said about how Tip was one of the few protagonists to actually act as a leader in the traveling group. Just like Oscar, Tip is also quite emotional, and they both have a sharp temper that they express not in loud outbursts, but by quips that you know could be quite hurtful if they wanted them to be. However, between the two, Tip is the loudest, should you put them in the same room. However, I suspect that as time goes on, Oscar might start becoming quite vocal when he doesn't like something, as I've noticed that the more he develops, the more he acts like Tip. Their behaviors are similar as well; when something personal is going on between two parties who clearly knew each other before him, both Oscar and Tip have a tendency to hang back and simply let the moment play out. They both start out as being sort of bystanders, just going with the flow while occassionally giving very good advice/strategies, but they start to become more of a leader as time goes on. In fact, leadership seems to be in their blood. There is actually a reason for this.

Ozma of Oz

There is a single thread that connects both Oscar and Ozpin, and that is the second primary character they represent. That character is the infamous Princess/Queen Ozma of Oz. Ozma, in many ways, is a lot like both Ozpin and Oscar; and may be the kind of person they become once the merging is complete. She is shrewd, but gentle. Sarcastic and blunt, but very elegant and fun-loving. They have a particular grace in how they handle their politics, but she admittedly gets into more trouble than rulers of kingdoms should. She is, ultimately, the perfect archetype of a ruler. And had completely reformed The Emerald City to be an environment that is very much like Vale's open-mindedness, with the advanced technology and efficiency of Atlas. Ozma, in the books, was actually revealed to be Tip; or rather, Tip was Ozma. After being transformed into a boy as a baby by a witch under Professor Oz's command, they were whisked away by said witch, and had been working under that witch until they had escaped as a young boy. Many speculate that Ozma was meant to represent the transgender community, and I know many transgenders see Ozma as an icon. Frank Baum was the type of guy that wrote things that were ahead of his time, and seen as very controversial by the few who could actually read the metaphors planned out. It was even implied in the later books that Ozma and Dorothy get married, and there were many illustrations made from the original novel illustrators of Ozma and Dorothy looking like a couple. What's even greater is that despite the change of gender from Tip to Ozma, she still very much contains her boyish traits despite the frills and queenly garb. As stated in one of the last lines in the second Oz Book;

"I hope none of you will care for me less than you did before. I am still the same Tip you know..."

When I realized Oscar was Tip, I knew Ozma was going to be put into the equation. I just,,,, wasn't expecting..... t h a t.

Oscar and Ozpin

Time to actually answer the question I was asked JSDJFDKDFKFK--

Oscar and Ozpin are different in one particular way: Trust. Ozpin trusts nobody. Truthfully, he doesn't even trust himself, I don't think, and that is likely why he didn't have much of a plan these days. He doesn't trust himself to be competent enough to complete the task assigned to him, he doesn't trust humanity to pass, hell, I don't think he even trusts the Gods to be capable of taking care of humanity considering the shit job they did in the past, and how poorly they have handled Ozma and Salem. In simple terms, Ozpin trusts too little. Oscar, on the other hand, trusts...a little too much. There, I said it. And I'm willing to say it again. Oscar trusts too much. Whether or not that will change after the end of V7 and what happened in V8 is left for debate. Oscar seems almost incapable of seeing the downside in some situations, like, for example, confronting a General who has completely gone off the deep end, unarmed and alone. And he trusted a man who needlessly beat the shit out of him for something that nobody, not even Salem, were truly at fault for. And while that trust paid off, unlike how it did in the past, it is a bit of an alarming trait that I genuinely think will simmer down either after all that happened in V8, or it will eventually when that trust truly bites him in the ass.

Another polarization between Oscar and Ozpin: faith. This ties in a little bit with the trust theme, but there is enough to talk about on its own. While Ozpin does believe that humanity is overall good, I think he has lost faith in their capability to work together long enough for there to be any sort of permanent peace. And, admittedly, he isn't wrong to think that. I think you would have to be very foolish if you genuinely think there will ever be a point where humanity will stop fighting amongst themselves; in other words, Ozpin is fully aware that the God of Light's task is genuinely impossible. And honestly? I think the GoL knows it is, too. Oscar has faith as well, but he views the dire circumstance in a different way that may be the key to solve the seemingly unending puzzle of Salem and their task. He gets faith in humanity not through the overall picture, but in the smallest things. Oscar likely believes that it doesn't matter if all of humanity is united, because he too knows that will never happen. But, he is certain that there is a lot more power in the smallest of unions and actions; a racist woman reforming and helping to comfort a faunaus child. A woman who helped a group of people tear down a kingdom realize the fault of their actions, and try to save another kingdom's people. A man who, while being genuinely wise, was so blinded by rage that he could not see past his own nose, change in order to save what little good has sprouted from something so terrible that he helped sow. The little things matter so much more, and unlike Ozpin, he doesn't think that they need to grow any further than that.

So, what makes them similar? Two distinct things. They both are very personal. Even if it is in different forms of expressing, Oscar and Ozpin are quite personal, especially when it comes to their advice. But they also really feel for the person they are talking to. And while Ozpin felt Hazel was too far gone, he felt for him and understood and even agreed with his anger. Their empathy is truly something else; and it is also their weakest point. Not to say that having empathy is bad, but their empathy leads into another trait that they have in common... They let people walk all over them. All. The. Time. To a point where it is actually very frustrating, and it even hinders their development as characters. Ozpin let Ironwood walk all over him, and never spoke in defense for himself. Ozpin let the council walk all over him, and never defended himself. Ozpin allowed for so much of the blame to be placed on his own shoulders, that it is extremely unhealthy, and something I wish the show would address, but have come to accept that it won't. Especially when this trait is reflected in Oscar as well. He blamed himself for failing to convince Ironwood, he allowed for Jaune to verbally and physically attack him, and outright refused to let Jaune apologize. They both brush off their wellbeing so often, that watching Oscar do the same only confirms to me the suspicions I had as to why everyone was genuinely so blind to figure out what was going on in their heads and when they were struggling. Because both Oscar and Ozpin refuse to acknowledge their own struggles and shortcomings.

But, to be frank, that is more of a writing issue than a character reflection, in my personal opinion. And I'll continue to see it that way until the show actively acknowledges that unhealthy behavior.

There ya go! My very very long analysis of Oscar and Ozpin; I hope I brought something unique among the batch of this question!

[shadlad24]

Tumblr Master Post

(Third Mensiversary)

Hey, guys! So, instead of the usual monthly post, I decided to consolidate everything. From now on, I will update the following list and reblog it every 22nd. Enjoy!

Please note that Tumblr either cannot or will not preserve my formatting. So, I have used Google Docs as well. Please click on this link if you’d prefer that. It’s open to all. Thanks!

My posts are almost XWP-related and can be categorized into eight main categories (The pic below is merely for record-keeping and visualization purposes; scroll down for the actual links):

Questions

Curious— Why does everyone think Gabrielle/Renée O’Connor has green eyes?

A Favor to the God of War?— What in the world was the favor Ares wanted from Gabrielle during “Sacrifice”?

Smoking Gun?— Why did Hope knowing Solan’s name give her away as his killer?

Good Luck, Kid!— Why was security so bad in “Maternal Instincts”?

The Love of Your Love— Wasn’t the second verse of this song frustrating and hurtful to Gabrielle?

The (Many) Problem(s) with Ares— Why does so little about Ares’s character make sense?

Hard Ask— Can I PLEASE get a willing, able, AND reliable beta-reader for my Xena fanfic???

The (Many) Problem(s) with Ares [Reblog]— Three more questions about the god of war

No Way— Is the titular image of “Xena: Warrior Princess” what it seems?

Episode Reflections

Random Thoughts While Watching XWP— funny moments from “A Family Affair,” “Them Bones, Them Bones,” “Married with Fishsticks,” and “Coming Home”

Observations from “Sins of the Past”— fifteen things I noticed while watching the episode for the second time (first after completing the series)

Running Commentary on “A Family Affair”— just what it sounds like XD

Concluding Thoughts on “A Family Affair”— a defense of Hope and Gabrielle

Echoes Across the Years— how Solan’s last conversation with his mother echoed Gabrielle’s first with the warrior princess

Redeeming “Fishsticks,” Part 1— how the adults and themes in Gabrielle’s dreamworld held great significance

Redeeming “Fishsticks,” Part 2— how Crustacea’s monstrous children were re-imaginations of Hope and The Destroyer

Fault— my thoughts on the series finale

Good Luck, Kid! [Reblog]— a fun little extension of the original post showing the impression Gabrielle made on Hope

Original Fanfic Excerpts

The Mother of Hope, a collection of one-shots exploring Gabrielle’s thoughts, feelings, and experiences with/about her daughter

Disparity— Hope’s and Gabrielle’s conversation during the final commercial break of “A Family Affair”

Somewhere— Gabrielle searching Tartarus for Hope while Ares was harassing Xena and Solan in “God Fearing Child”

Super Challenge— the entire Rift Arc summed up in a single conversation, the lines of dialogue coming from each of the twelve Rift episodes of season three

Aperture— Gabrielle’s thoughts the night of her wedding

The Daughter of Duality, Hope’s life story from her perspective

My Great Hope— Seraphin prepares her goddess for childbirth

Hope Rising— Baby Hope makes a terrible mistake

“Tears of a Goddess: Blood Rain,” a one-shot exploring “Motherhood” from the goddess of love’s perspective

Useless— Aphrodite agonizes over what to do when alone with Gabrielle and Eve

Tears of a Goddess, a story in which Aphrodite comes clean about the large part she played in Gabrielle’s life behind the scenes

Gabrielle Rages against Xena— the bard finds herself at Aphrodite’s temple, heartbroken and lost after the series finale

Aphrodite Ribs Gabrielle— Aphrodite complains about Gabrielle’s mishaps throughout the show

Rapprochement, a story about Xena and Gabrielle hashing out The Rift Arc before finally coming together as a couple

The Answer— Xena reminds Gabrielle of who she is

Divine Intervention— Aphrodite blesses Xena and Gabrielle’s union

Adventures in Moving Forward, a chronicle of Aphrodite’s and Gabrielle’s adventures together post-AFIN and all my other XWP stories

Stranger— Aphrodite protects Gabrielle from a mob in Brittania

The Betrayer, Gabrielle's untold experience during “The Deliverer.”

Disturbance— Xena makes an unexpected suggestion on how to stop Gabrielle’s recurring nightmare

Deception— Khrafstar fills multiple voids in Gabrielle’s heart

Defilement— Reality slips away from Gabrielle with the loss of her blood innocence

Desecration— Gabrielle becomes one with darkness

Dissolution— The return of Gabrielle’s hero brings about only more tragedy

Fan Theories

Soul Orbits and Psychic Echoes— how Xena and Gabrielle got their children through equal and opposite people and circumstances

Shazam!— how Xena might be able to come back after the series finale

Man-Killer— what really happened to Toris

An Unsung Hero— Aphrodite being Gabrielle’s guardian angel throughout the Rift Arc

Infamous, Infuriated— why Xena engaged in the GabDrag (and BardBraining)

Solving Some Problems with Ares— answering two of my own questions about the god of war

Odd, Sort of Beautiful Symmetry— how we ended up with Annie and Harry

Soul Orbits and Psychic Echoes [Reblog]— an extension of the original theory that focuses more on Solan and Hope themselves

Solving More Problems with Ares— answering my next questions about the god of war

Episode Cracksubs

The Comedy of Amphipolis— “The Haunting of Amphipolis”

What in the Gurkhan?— “Who’s Gurkhan?”

Them Bones and Boneheads— “Them Bones, Them Bones”

TL;DRs— cliff-notes version of longer posts

TL;DR #1: Soul Orbits and Psychic Echoes

TL;DR #2: Infamous, Infuriated

TL;DR #3: The (Many) Problem(s) with Ares

Funny Little Moments— (Five:) a series highlighting overlooked silly things from each episode, illustrated in pictures and cracksubs / (More:) summation posts showcasing additional funny moments from each episode, in half-season chunks

Five Funny Little Moments #1: “Sins of the Past”

Five Funny Little Moments #2: Chariots of War

Five Funny Little Moments #3: Dreamworker

Five Funny Little Moments #4: Cradle of Hope

Five Funny Little Moments #5: The Path Not Taken

Five Funny Little Moments #6: The Reckoning

Five Funny Little Moments #7: The Titans

Five Funny Little Moments #8: Prometheus 

Five Funny Little Moments #9: Death in Chains 

Five Funny Little Moments #10: Hooves and Harlots

Five Funny Little Moments #11: The Black Wolf

Five Funny Little Moments #12: Beware Greeks Bearing Gifts

Miscellaneous

Golden Ticket— Renee O’Connor’s initial responses to me on Instagram

Bath Time— a fun self-challenge involving making a story from recently downloaded/screenshot images in just a few minutes

Mensiversary— review of my first month on Tumblr

Confirmation/Affirmation— Steven L. Sears’s essay of support for my Furies theory

K.O.— Renée O’Connor liking my comment about ^

Hooray!— The Mother of Hope is finished (kinda)

Aww…— a quick picture post to try something new while I was bummed about the deadly tech bug that obliterated my posts for weeks

Second Mensiversary— review of my second month on Tumblr

NOOO!— a lamentation related to The Mother of Hope

The (Many) Problem(s) with Ares [Reblog/Response]— answering a reader

More Funny Little Moments #1: Season 1, Episodes 1-12

*Other

Black Hole— a poem about depression

It’s Nothing— a poem on invalidation

What the?— the beginning of the bug :(

[your-eternal-muse]

All I Wanted (Was You) Pt. 2

Part 1

Summery: Reader finally gets to talk to Spencer about the events of their relationship

Words: 2.5k

Warnings: Swearing, description of an arrest, manipulation, signs of a toxic relationship, JJ slander, slapping,  reader isn’t a good person in anyway shape or form, just you wait

Pairing: Criminal!Reader x Eventual Criminal!Spencer

A/N: Hey....it’s been a second...how y’all been? So this has been burning a hole in my google drive for weeks now, and I’m gonna be honest I’ve just been too damn lazy to post it. I truely started my new job, and guess what? I got covid, so that was real fucking fun. Plus I’ve been dealing with some personal shit that has not been entirely good for my mental health, but do not fret! I am doing much better than these past few weeks and weather its because of the iron supplement I’m remembering to take daily, or the fact that because I had covid, means the chances of me getting it again are slim, and I just don’t have it in me to care anymore is up in the air. And I do care. I wear my mask and social distance, but when it comes to me personally.....I couldn’t give a fuck. Anyway here it is, the long awaited part two. There are already four parts I have planned, so yay! Another series! Enjoy!

I’ve decided. I hate this fucking room.

I’ve also decided that I hate Agent Jareau. Or A.J. Or whoever the fuck she was.

I openly glare at her from across the table, since I can’t actively do the things that I want to do to her.

The man sitting next to her introduced himself as Agent Hotchner.

He’s the one that pulled Mathew back. Or Dr. Reid. Fuck.

“Ms. Y/l/n and I have spoken, and she has agreed to answer any and all of your questions. You have her full cooperation. On one condition.”

The annoyed grimace spreading across Jareau’s face slaps a smirk on my own.

“What’s the condition?”

I speak now, staring at my reflection in the mirror before moving eye contact back to Hotchner.

“I want to speak to Mat- Dr. Reid. Alone, with no surveillance, for a half hour.”

The room runs cold.

“No.”

“I will answer anything you ask. But only after my own questions are answered.”

I lean forward onto my elbows, still smirking. “You gotta give a little, to get a little.”

“We can answer any questions you have.”

“That’s not what I want. This is my one condition. You don’t give me this, you aren’t getting shit from me.” I spit, wishing I could grab her collar and throttle her.

“Listen here you little-”

“Stand down, JJ.” Hotchner has his arm outstretched in front of her, keeping her from jumping across the table.

“Yeah, JJ. Stand down.” I purr, and her jaw sets.

A cell phone rings.

Hotchner picks up, breaking eye contact with me for a second while he quietly asks, “Are you sure?”

Someone answers, and he doesn’t respond before ending the call and turning back to me.

“He’ll do it.”

Is it bad my heart jumped?

“What?” Jareau is staring at the side of Hotchner's face, but he keeps eye contact with me.

“You get a half hour. And if anything happens inside that room-”

“I don’t appreciate you threatening my client when she has just agreed to cooperate. Now, will you please uncuff her so she can go to the designated room?”

His face is a stone, barely showing any sign of his thoughts.

But he reaches into his pocket, and pulls out the keys while moving around the table to where I sit.

They fall from my wrists, and I pull the sleeves of the sweater Sheila gave me down to cover the red skin.

“Follow me.” he says, and I stand, free for the first time since this morning.

Running only crosses my mind for a second before I follow him through the hallways, glaring eyes burning into my back.

He opens the door to another small conference room, allowing me and Sheila to enter.

“We’ll send him in once you’re ready.” he says and without another word, he closes the door.

Sheila turns to me. “Are you sure this is what you want?” She takes my hands in hers.

“Positive.”

“Okay. You get a half hour. Use it wisely.” She lets go of my hands.

“That’s the plan.” I shove them into my pockets.

She nods, before opening the door, and leaving.

My heart pounds in my chest.

I wring my hands.

The door closes.

He stands, staring.

“Hi.”

I swallow, anger rippling through my bones.

I storm forward, and I see him hold out his hands to try and stop me, but he doesn’t put up much of a fight.

My open palm meets the skin of his cheek and fire eats at my fingers.

We’re both quiet for a moment before I reach forward, feeling his chest, his sides, his pockets.

I feel a bulk under his shirt beneath his waistband on his back.

“Are you fucking serious?” I pull up his shirt, grabbing the phone from his hip.

He doesn’t meet my eye as I see it’s on a call. With a certain agent's name flashing across the screen.

I throw it to the ground, stomping into it with my heel until I hear it crack before picking it up and opening the door.

“Y/n please..”

I throw it into the room of agents.

I meet the eyes of the person who made the initial call.

“You’re fucking lucky the deals still on, Jennifer. Or those people's deaths would be on your hands. So thank your lucky stars that I want to prove my innocence because if I didn’t give a fuck, you would have a lot to fucking explain right now.”

I slam the door shut, locking it behind me. 

I stand, heaving, staring at the swirls in the wood of the door.

I wait until my breathing is less erratic to speak.

“You must think I’m fucking stupid.” My voice is oddly calm for the anger burning through my veins.

“I don’t. I’ve never thought that.” He moves to stand a few feet behind me. “It wasn’t supposed to happen like this.”

I turn then, moving into his face.

“How the hell was it supposed to happen!?”

I hear footsteps approach me as I stir the creamer into my coffee. 

Hands are on my waist, and I barely have time to set my spoon down before he’s turning me around, and capturing me in a bone crushing hug.

I laugh nervously, hugging him back. “Good morning to you too.”

He pushes me back a little bit, and his eyes are red rimmed and frantic. 

“Hey,” I cup his face, running my thumb over the apple of his cheek. “Talk to me baby, what’s wrong?”

Different scenarios run through my mind, all of them terrible.

None of them are what he actually says.

“If I asked you to run away with me, would you?”

My thumb stops. “What?”

His eyes dart back up to mine, and the sheer glow of urgency shining in his pupils makes my heart rate pick up.

“I need to tell you something.”

“What’s going on? You’re scaring me.” My hand starts to fall from his face, but his hands come up to grip my wrists.

“I’m so sorry.”

“Sorry for what? Matty, just talk to me. Whatever it is, we can fix it, I can fix this.”

His eyes dart to the clock on the oven behind me, and his breathing picks up. “Shit.”

He licks his lips. “I-”

My front door slams open.

I jump back, hitting my coffee cup on the counter, spilling the contents.

Officers spill in and my stomach drops to my feet.

“Y/n y/l/n?” An officer comes forward, gun lowered, but finger still on the trigger.

I slowly raise my hands. “Yes? What’s going on? Matty, what’s happening?”

His grip on my arm is like steel, but officers come and pry him away from me, twisting my arm behind my back. His eyes dart between me and the people swarming.

“No! Please, this isn’t-, stop!” He’s shouting, looking around at the officers pool into my house.

I am acutely aware of the gun aimed at my chest.

My arms are pulled behind tight behind me, and it’s instinct to fight.

“What are you doing? Let go of me!”

“Y/n y/l/n you are under arrest for-”

I don’t hear the rest. All I hear is Matty’s voice, his fight to remove himself from the officer who was trying to cuff him.

No.

“Let him go! He didn’t do anything!”

He looks annoyed and frightened and tired all at once.

I’m being pulled away from the scene towards my front door.

“No! No Mathew! Don’t touch him!”

My wrists pull against the handcuffs, burning into my skin.

“Stop! My name is Dr. Spencer Reid! I’m an FBI agent with the behavioral analysis unit.”

I stop.

The officer stops.

The world stops.

“My badge is in my back pocket. I’m going to reach for it now.” He reaches back into his pocket and pulls out a leather badge, opening it to show the officers.

One nods, and they back off of him, letting go of his arms.

“What?” It’s broken and barely a whisper.

His eyes meet mine, and tears are freely rolling down my cheeks, and I blink to try and get rid of them, but it doesn’t work.

“You- You’re a-” I can’t breath. “What?”

My chest hurts.

“Y/n-”

I’m out the door.

The world is in slow motion.

Black coats and red and blue lights are everywhere.

I’m in the back of a police car.

He’s in the yard.

Staring.

“It wasn’t even supposed to. I got the call 5 minutes before they came. I didn’t have any time, I couldn’t do anything.”

“You couldn’t do anything?” I look at him in disbelief.

“You could have, I don’t know, not have lied to me?”

“It’s not that simple.”

His cheek is red.

I fight back the urge to reach forward and hold it against my palm.

We didn’t move, and I realize that this was not the best idea.

I move past him, going to stand by the window.

I never realized  how high up we were.

He turns with me, watching me as I go.

“Who are you?”

I hear him shift. “I’m Dr. Spencer Reid. I’m an agent with the Behavioral analysis unit.”

“Doctor? What are you a doctor of?”

A doctor? A friggin doctor?

“I have 3 BA’s and PhDs in mathematics, chemistry and engineering.”

 I can’t help but let my mouth fall open.

I see a small smile twitch on his face. “I also have an eidetic memory and can read 20,000 words per minute.”

I shut my mouth and scoff. “That just proves that I know absolutely nothing about you.”

I start to pace, wanting to scream from the silence.

I go back and forth inside my head, wondering which question I should ask next. So many bubbled inside my head, it made my brain hurt.

“Why did you go undercover?” is what I settle on.

“We wanted proof that you had part in the murders. We couldn’t get that without inside information. I volunteered because from watching you, I know you’d take pity on me. It’d be believable that I didn’t know what I was doing. You wouldn’t feel intimidated by me.”

His hands are on my shoulders now, stopping back in front of the window. 

He’s close enough now that I can feel his body heat against my back.

I hated that he was right.

“You get defensive around women you consider a threat, and you don’t trust men bigger than you. I was a good middle.”

I really wish he would talk louder. It’d make me feel like he didn’t care. The soft tone he was using was sending comforting signals down my spine.

I don’t want to be comfortable.

I want to be angry.

“So it was all for your case then? Everything you told me, everything we did, all those promises was a lie?”

I take a chance, and turn to face him.

I wish I could stop crying.

“Was anything you told me true?”

“Yes!” His hands tighten around my shoulders, startling me. Realization flashes over his eyes and his hands hesitantly remove themselves from me.

He takes a breath. “At first, work was all it was. I was just supposed to observe you, your behavior and report back to my team. But after a few weeks, something changed. You were fragile, and compassionate. When I looked at you, I didn’t see a cold-blooded killer, or a sociopathic dominate. I saw you. I saw the way you cared for people, how you stood up for your clients, and I couldn’t help myself. I feel in love with you.”

His hands are back on me, now resting just above my elbows.

“I love you. Everything I told you about us and what I wanted to do, that’s the truth.”

I wipe my tears away with my fingertips.

“You asked me this morning, before they took me away, if I wanted to run away with you. Do you still mean it, or was that just a ruse?” I worded the question carefully.

“I mean it.”

I sigh, finally looking up into his eyes. “You don’t think I had anything to do with those murders, do you?”

He shakes his head.

I set my jaw. “I want to hear you say it. It’s the least you owe me.”

He swallows. “No. I don’t think you do. I never did.”

My fingers play with the fabric of his shirt. “Spencer suits you.”

He smiles softly. “Thank you.”

“What are you going to tell your team?”

“Nothing. I can’t. And even if I could I wouldn’t want to.”

“Why? I would think you’d want to tell them everything.”

“Usually I do. But they don’t see you like I do. It’s just better if they don’t know. For everyone.”

I can’t help it.

I lean my head against his chest, and let his arms wrap around me.

We stand like that for what seems like years before I feel wetness on my hair.

“I’m sorry. I’m so sorry. This wasn’t supposed to happen.”

I just hold him tighter.

I know that he’s talking about the present situation. But I can’t help but agree for an entirely different reason.

If he hadn’t been the one to come in that day, we wouldn’t be here.

He wouldn’t feel guilty.

I wouldn’t be licking my wounds, going over every conversation we’ve ever had, trying to figure out what’s true and what’s not.

I’d be sitting in a jail cell, wondering where I went wrong, and he’d be helping his team, with no personal connection to me.

I’d be alone.

I hug him tighter, closing my eyes wishing I could be anywhere else with him.

My pocket feels heavy.

There’s a damp spot on his shirt when I pull away.

“I’m bad for you, Spencer.” My voice breaks.

“Is it bad that I don’t care?”

“You should care. I’m not a good person.”

He places his hands on either side of my face, swiping away me tears with his thumbs.

He doesn’t respond.

He just leans down and kisses me.

Kisses me like it’s the last time he’s able to.

Which may very well be the case.

There’s a knock on the door and he breaks, still keeping his hands on my face.

Another knock.

He drops his hands, sighing, before walking over to the door.

His hand hesitates over the knob.

Another knock.

He unlocks it, and opens it. 

Agent Hotchner stands there, stone faced and slightly angry.

Spencer keeps eye contact with me, until Hotchner speaks.

“Reid.”

He looks down, and then turns and walks away.

Sheila walks in after they leave, closing the door once more behind her.

“How did it go?”

I shove my hands into my pockets. “I just want this to be over.”

She walks over, pulling me into a hug I don’t reciprocate. 

“It’s about to be.”

I remove my hand from my pocket, and set the recorder on the table.

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