#I don’t want to see the whole episode devoted to a big lying is wrong Aesop

[veggieguy23-me]

You know, I hope the bad guy in this weeks episode of my adventures with superman is ultra-humanite or someone along those lines.

From a story standpoint what this episode needs to do is mend the relationship between Clark and Lois.

Lois feels betrayed because Clark kept his abilities secret, so I feel she needs to be shown why he would be so scared of having his identity exposed. What happens to a superman without a Clark Kent to ground him.

Having the villain be like, someone who’s like willingly discarded their humanity instead of trying to keep it would help accomplish that.

Honestly, I don’t even know much about ultra-humanite, but I know he sometimes looks like a giant ape and is a mad scientist (episode title “my adventures with mad science”)

I dunno. Maybe I’m confusing “forgiving” with “understanding”.

[franniebanana]

CQL Rewatch - Episode 7

Their first vow together. So nice! I actually do like the parallels here between Lan Yi and Wei Wuxian, and Baoshan Sanren and Lan Wangji: you have one set being reckless and untamed (I said it) and the other set trying to restore order. It’s kind of funny that the ancestors are switched, though. So here we have Wei Wuxian and Lan Wangji vowing to bring all the Yin Iron pieces back to the cold spring pond to neutralize them, and of course Lan Wangji’s first reaction is, “None of your business.” It’s cute how Lan Yi takes Wei Wuxian’s side and has a sense of pride for her close friend’s disciple. I think he’s an honorary Lan in her eyes.

And then Lan Yi gives them a warning to not make the same mistakes she made. Wei Wuxian’s like, “Yep, got it, I promise.” But we all know from the beginning that this obviously doesn’t go well for him, since he dies in the first five minutes of the series. He will go on to make some questionable decisions, most of which are driven by his emotions, which are often not in check. Side note: I love this series, but I don’t like how they took a great grey character like Wei Wuxian and turned him into a character where many of the things that went wrong were caused by other people.

Another side note. That fucking Yin Iron fell on the guqin so many times, and it didn’t dent it at all. Is the guqin made out of iron too? I thought it was wood. If I did that to my violin, I guarantee you the violin would not fare very well.

Forever a favorite moment. It was great enough that they were tied together by Lan Wangji’s headband, but even better that Wei Wuxian fell on him. So great—such a tease to the audience. And this is as close as we get to the scene in the book when Lan Wangji uses the body binding spell to keep Wei Wuxian on top of him all night (ooh, my heart skipped a beat when I read that).

Also, taking the screenshot, I noticed you can see the impression of the little metal piece from Lan Wangji’s headband. Little things like that interest me for some reason. I wonder if it bothered Wang Yibo—did it press too hard on his forehead? I remember him saying he’d get tan lines from the headband.

I love this little smirk he does. A moment when Wei Wuxian’s gift to gab really pays off. Instead of letting Lan Wangji talk and explain the situation, Wei Wuxian keeps speaking, lying about what they were doing. I’d like to think he does it in part to protect Lan Wangji and to stop him from breaking any of his clan rules, but likely it’s another chance for him to prove himself as someone Lan Wangji can trust. And I take Lan Wangji’s little acknowledgement of him there as his silent “thank you.” It says a lot, I think, that Wei Wuxian is willing to lie to Jiang Cheng in order to protect the Lan Clan’s secrets.

I’m sorry, but every time I hear Nie Huaisang say, “You were gone a whole day and night,” my mind immediately goes to the gutter—like the implication is that they were doing something inappropriate during that time. I keep expecting a sex joke, only to remind myself that this was on Chinese television and that would, of course, not happen. Jiang Cheng says a similar thing (and my mind goes the same way that time too), but in that case, canon book Jiang Cheng does later accuse them of having a more-than-friendly relationship, and he does not say it in a nice way.

Also, throughout the scene that precedes this, where Wei Wuxian and Lan Wangji are discussing what to do next with Lan Qiren and Lan Xichen, it really feels like wangxian just want to go on a buddy road trip together, and they are so disappointed when they are turned down. Oh, I didn’t screencap it, but Lan Wangji has the saddest sad face at the end.

I think Lan Wangji is a little impressed here but he doesn’t want to admit it. Wei Wuxian has a great gift to come up with ridiculous stories and lies at the drop of a hat. I love that Wei Wuxian doesn’t have to come up with a scary snake story when he could have just told Nie Huaisang what he’d already told Jiang Cheng and Wen Qing, but he does anyway. Mad respect.

This also kind of amuses me because Wei Wuxian and Lan Wangji can never really have a moment alone. They keep getting interrupted by other people when I think they just want to talk about what they experienced. Instead we just have all these shared glances. Nothing like a big fat secret to get close to each other, right?

Omfg Jiang Cheng is so jealous! I thought maybe I was imagining it or just projecting my own ideas onto him, but NO—he is jealous! He’s all like, “If you like Lan Wangji so much, why don’t you marry him?” I mean, that basically happened. I’ve gone on about this before, but I love the tension between Jiang Cheng and Lan Wangji, and the fact that it continues even after Wei Wuxian dies makes it even better. Jiang Cheng is so stubborn and continues to hold a grudge against Lan Wangji, and it bothers the fuck out of him that there’s someone out there devoted to Wei Wuxian, by whom Jiang Cheng feels so betrayed.

And, I mean, by this point, it’s already started. As soon as they get to the Cloud Recesses, Wei Wuxian starts paying more attention to Lan Wangji than he does to either Jiang Cheng or Jiang Yanli. And Jiang Cheng likes to say, “You’re worrying my sister, you’re hurting my sister” when he really means, “You’re worrying me.” His stupid pride gets in the way of having a good relationship with Wei Wuxian. And I don’t think Wei Wuxian would ever put Lan Wangji above Jiang Cheng, who he considers his family—at least not at this point. It’s not until the second half that things switch, and really, even then, in the CQL-verse, the two are probably equal in Wei Wuxian’s mind. He backs off from Jiang Cheng due to Jiang Cheng’s attitude toward him.

Okay, Jiang Cheng’s jealousy aside, I love how steadfast and supportive Wei Wuxian is of him. As soon as he catches on that Jiang Cheng is jealous, he immediately starts trash-talking the Cloud Recesses and talking up Lotus Pier. It’s very cute, very sweet. He’s a good brother to him, really.

Now who’s jealous? Just kidding. I love his wistful expression here, as he watches them go off. Anyone who’s read the book knows that Lan Wangji does get jealous at times and certainly frustrated with Wei Wuxian’s coquettish behavior. I would say he is more longing at this moment, maybe even wanting to get closer to Wei Wuxian, without really understanding why himself. There’s such an isolation to his world: even though he’s surrounded by other disciples, he doesn’t have any friends. He’s maybe regretting how quickly he refused to the invitation to Lotus Pier. I think, on the one hand, Lan Wangji has found one person in this world who not only shares a secret with him, but who has similar goals—on the other hand, his code of ethics are all over the place. His heart and mind are conflicted: he wants to get closer, but he doesn’t want to make the wrong decision. To his Gusu Lan Clan mind, Wei Wuxian is all wrong, but his heart says otherwise. And I’m not saying he loves him already—but he is already seeing a kindred spirit in Wei Wuxian, someone who he can rely on, someone he can trust, someone who has his back, even if it means bending a few rules. And in a relationship, you have nothing if you don’t have trust.

I never noticed that they were communicating telepathically here. Or something. I dunno. I guess it’s not that clear.

Also if it feels like I’m ignoring all these parts with the Wen Clan, it’s because I am. I mean, not really, but this is all the Yin Iron stuff that I don’t really care about. And I’m not in the Xue Yang fan club either, so I’m not going to spend time on him until he’s actually in it in Yueyang (possibly) and Yi City. Actually, confession: I’ve never watched the Yi City flashback episodes. I read it, so I know it, but I never watched it hahaha. I will this time around. I made that pact with myself.

AWWW, HE SMILED!!!

Ahem, excuse me. This is too fucking cute, though. The rabbit lantern that Wei Wuxian drew just for him, his cute baby smile, and the Wei Wuxian pointing it out with a grin. Cuteness overload—my heart can’t take it.

But I also had a sad thought that if Wei Wuxian hadn’t come over, Lan Wangji would be sitting here alone. He’d make his lantern all on his own, send it off into the sky, say his own prayer to himself, and never hear Wei Wuxian’s, which likely sends Lan Wangji over the edge with his feelings. Everything he thought about Wei Wuxian was true, and maybe it’s okay to like him, maybe it’s okay to consider him a friend, maybe it’s okay to trust him that way.

Just a shot that I liked. Enjoy.

I feel so bad for Jiang Yanli here. I also feel bad for Jin Zixuan, even though he’s a complete dick. I understand how they both feel here—to be tied to someone you don’t know, from the time you were small children is incredibly unfair in my eyes. That being said, I know this still happens in other parts of the world, and it’s implied that it’s common in our CQL/MDZS world (which would make sense, of course). I like the feeling of siding with Wei Wuxian, wanting to come to Jiang Yanli’s defense and protect her honor, while also still having an understanding of how Jin Zixuan must feel about the whole thing. His choice has been completely taken away. And he’s, what, 17 here? What 17-year-old boy wants to be reminded constantly about how he’s already engaged? It’s not typically a young man’s dream to settle down and get married—not that it can’t be! But the implication here, with all the girls tittering about it, is that they’re all excited about marriage, and he wants nothing to do with it. Of course, Jiang Yanli isn’t either. I think she really just wants to get to know him and spend time with him, before even thinking about marrying him.

Ah, a momentous occasion: the first time Lan Wangji tries to stop Wei Wuxian from getting himself into trouble (not counting the first time they met, when he was literally trying to police him while breaking Cloud Recesses rules). I like this shot, because you have Jiang Cheng and Lan Wangji on either side of Wei Wuxian, and Jiang Yanli in the front, literally putting her body between him and Jin Zixuan (actually this parallels her final scene). It kind of shows the depths of their relationships (or at least what the director wants to show us). You have Lan Wangji, who grabs onto Wei Wuxian to try to stop him from further brawling; Jiang Cheng, who stands beside him, but isn’t really involved otherwise—standoffish, in a way; and then Jiang Yanli, who physically gets in the way. She’s the quintessential big sister. And I’m not saying Jiang Cheng doesn’t care—he does, but I think his first thought always has to do with the honor of the Jiang Clan and, while he’s standing beside Wei Wuxian, it’s almost as if he doesn’t want to show any involvement with this brawl, because that would look bad.

Ah, the old dudes meeting, while Jiang Cheng stands off to the side awkwardly, wondering if he should be there or not. At the outset, this meeting to decide their children’s future seemed kind of bad, but it actually turned out nice, with them agreeing to call off the engagement. Very progressive, I thought.

Two things I learned in this scene: Wei Wuxian doesn’t want to marry a woman and he doesn’t want to leave the Cloud Recesses yet (TL: he doesn’t want to leave Lan Wangji). He seriously looks so disappointed when she says they’re going home soon.

This feels like a mixture of “I’m worried about you” and “I don’t want to be left out.” We already know at this point that Wei Wuxian doesn’t want to leave the Cloud Recesses (more that he doesn’t want to leave Lan Wangji, because he doesn’t like all of the rules, obviously). He also is very interested in what’s happening with the Yin Iron, as he has also vowed to protect it with Lan Wangji. He is very perceptive—he knows something is happening, that Lan Wangji is going to go off on his own, and he wants to go with. It’s kind of hard to say if this is more out of duty or his adventurous spirit, but either way, he wants to help Lan Wangji.

“After his leave, things will be as quiet here as before.”

Look at how sad he is! The only person he considers a friend has just left, and at this point, he doesn’t know if he’ll ever see him again. It’s possible, sure, but then only at clan gatherings, and that’s if Wei Wuxian and Lang Wangji even happen to attend the same one. I believe we know from the book that Lan Wangji doesn’t typically attend gatherings (when he’s older), he often skips them. And Wei Wuxian isn’t necessarily important enough to even be invited, so he would have to be a guest of Jiang Cheng. Obviously we all know that they do go to gatherings and see each other again, but this is what I’d be thinking if I were Lan Wangji, okay? Like, when am I going to see him again? Will I ever see him again?

I leave you with a wholesome picture of Wei Wuxian and a rabbit. Also adorable that he contemplates bringing the bunnies back to Lotus Pier, but doesn’t because Lan Wangji might get lonely. MY HEART!

Other episodes: 1 | 2 | 3 | 4 | 5 | 6 |

[wallofweird]

I’m so excited for season 5! What are you most excited for? 😍😍😍

And did you see they’ll bring the covid theme to this season?

I’m so sorry I haven’t answered this sooner, I think I probably read this ask while I was sleepy and decided to reply it later and then forgot there was something in my inbox. I’m really messy, so I apologize, but thank you for sending me this, I really appreciate when people come to talk to me. :)

Yes, I did see that they will bring COVID-19 to the plot! I’m glad that’s happening because even though This Is Us is all about The Pearsons, they are conscious about what’s happening in the US, the world and at each specific timeline. They’ve addressed to some extent The Cold War, The Vietnam War, racial segregation etc, even small things like fashion and musical trends (like Kate being obsessed with Alanis Morissette, this is such a 90/2000′s thing and I believe she was listening to Hanson when she was upset after her first break up?). So not addressing COVID-19 would feel wrong, I’m sure they will address the Black Lives Matter movement and maybe even police brutality and the presidential election too to some extent. Of course, the focus will still be The Pearsons and all these life-changing events happening in the big three’s and Rebecca’s lives, but they will acknowledge how the world will be affecting their lives too.

By the way, this turned out to be waaaaaaaaaaay longer than I expected it to be and I apologize for it, haha. By the way, this is in NO PARTICULAR ORDER.

So, about what I’m most excited for, well, that’s really a hard question because there are so many things left to explore and so many different places they can go. I guess one way to put it is that I’m more curious about the unseen and barely seen stuff. For example, I believe we’ve seen enough about Jack and Rebecca as parents of children and teenagers, so I wouldn’t mind if they reduced those scenes a little bit. I’d love to see them as parents of babies (which would be a great parallel with Kevison and Katoby), or when they first started dating, when they got engaged, when they were newlyweds. And I believe it’s not a coincidence that we’ve hardly seen any of those experiences regarding Rebecca and Jack, it feels like they saved it for when Kevin finally found the one (cough Madison cough).

I’d also like to see more of them before getting to know each other, their childhood and teenage/young years (we already know there will be one flashback on the first episodes at least!), maybe a little bit of their other relatives as well. Like, what happened to their parents and Rebecca’s sister? Specially Jack’s mother, he mentions she made three clothes for the babies, so she was still around when the big three were born and that was eight years after their first encounter. 

I’d love to see more of past timelines that haven’t been visited enough as well. The 20′s is my favorite episode from season 2, I loved the storylines in there and mostly loved to see Kevin, Randall and Kate in their late 20s. Show me more of what was happening in their lives back then! Also, show me more of Randall and Beth as newlyweds and first-time parents too and more parallels with Kevison, please?

Kate. I know that eating disorders and insecurity just don’t go away, that they can be a daily struggle and anytime they can haunt you back and make you relapse. I’m glad the show explores that. However, they also work on Randall’s anxiety and Kevin’s addiction really well and have given them more different stories. I want the same for her. I’m glad that she is also married and has an expanding family of hers, but it seems like she post-poned her career again and I’d like to see her working again at some point. Also, what happens to her in the future? We saw a flash-forward that was like, two years from now and she was all dressed-up and seemed to be writing a song. I hope things are going well for her. And no, I doubt she is dead. 

More about ‘the others’. Show me more of Madison, Beth, Toby and Miguel! Why isn’t Madison close with her family? How did she develop bulimia? Isn’t there really anyone who she count on in her family? Will they reconcile or has she left them for good to make her own family like Jack did (another potential for parallels, btw). I remember Beth mentioning to William that she had a lot sisters and lived with an enormous amount of people and we kind of saw it on the few episodes that centered on her, but what are her sisters like? How were their dynamic while growing up and what is it like now? Same for Toby, he has mentioned having a brother and a sister and it looks like they’re not that close, but Toby really loves and admires Kate’s bond with her brothers, so I feel like he craves that kind of relationship to himself and I’d like to know why he doesn’t seem to have it with with his own siblings. Plus, Miguel. He has biological children and grandchildren and yet he seems to be closer to Rebecca’s side of the family. And we’ve seen him with his biological family and know it is complicated, but couldn’t they fix or at least change that a little bit?

Randall’s biological family. Memphis is one of my favorite episodes from season 1 and one thing that was very satisfying and rewarding to see was Randall bonding with his biological family. The show has done a great job showing how Randall felt a vacancy in his entire life for being black in a racist world, for being black in a white family, for dealing with racism in his own family, for not having enough black references for a long period of his life, for being adopted, for being abandoned, for not knowing anything about his biological family, for not sharing genetic traits with his family, for still feeling like an outsider among some black folks he tried to connect with. He said it once that he either tries too hard or not hard enough, but he never manages to GET IT RIGHT. So when he met his biological family in Memphis, it was sort of an awakening, fulfilling moment after 36 years of dealing with all those complex feelings. And that was all, which is one of my few disappointments with the show. However, Sterling has talked about it and it seems that they will explore that again. And if they do, I hope he can introduce Beth and the girls to his uncles and cousins! Sure, he is closer to The Pearsons, but it wouldn’t hurt to have him spending time with his biological/extended family at least for one episode on seasons 5 and 6, right?

Final closure for Kevin and Sophie. I thought episode 3x16 was the perfect closure for them: Sophie talked to him about Grant and how he was her soulmate, they recognized the fact Kevin didn’t commit to their relationship as he did with his relationship with Zoe, they said goodbye without any hard feelings, he went back to Zoe and said he wanted to have a life with her and bought Sophie and Grant tickets to a concert. It was perfect. Then, I guess they wanted to play with the ‘who’s the baby mama’ question for one last time and brought her back as a plot device. It didn’t feel natural at all. They threw in two stories about a game they had imagining different endings to Good Will Hunting and her family ring out of nowhere, no previous hints, built-up or whatsoever. It felt like something made last minute to fuel them enough so she could be considered a baby mama/wife contender again after how badly their relationship played out with the cheating, hiding, lying, heartbreak and overall dynsfunctionality and the fact he dated Zoe for a year and saw himself marrying her. Even the way their relationship has been portrayed over the course of the show, it is an idealization. When Kevin is fine and happy, when his career is going smoothly, when he is life is well, he doesn’t think about her. When he gets frustrated and deluded, he runs back to her. It’s not a constant sentiment of missing her and longing for her, it’s a desperate move and Justin has talked about it and even compared it to his addiction and a unhealthy coping mechanism. So I just want them to definitely shut the door on it now. I believe they have done 50% already with them watching the ending of the movie and saying “it was better than they could've possibly imagined” and Sophie laughing at his billboard, not giving any hints of seeing him in a romantic light anymore. Now, they just need to write some closure to the ring. Give it a proper ending and move forward.

Deja, Tess and Annie. The girls are growing up! So keep giving them more things to do, specially Tess, she is one of the few LGBTQIA+ characters in the universe of the series, so I hope they explore her even more. Specially since she’s come out to her school not so long ago and it is in a phase of her life when the first crushes and relationships tend to happen, there are a lot of things they can do with that and I’m sure we from the LGBTQIA+ community would love to see it. Also, show me them in the flash-forwards! I’d also appreciate if we saw Tess having a love interest and a wlw kiss in the future. 

Deja and her biological family. She’s adopted by Randall and Beth, but she has a whole story before them, she has a mother that is apparently doing well too and is a part of her identity. Showing adoptive and biological families having a well-balanced relationship for the sake of their child would be refreshing and really important and they could show the contrast between Deja’s and Randall’s experiences. There is a lot of potential there.

Hailey. I have no idea how the adoption process works in California/the US, but I hope the little one comes as soon as possible! And adult Hailey is adorable, too, she seems to be such a devoted sister, so I hope to see more of that as well.

Unexplored or underdeveloped dynamics. I know that Jack, Rebecca, Kate, Randall and Kevin are the leading characters. I know Jack/Rebecca, Randall/Beth, Kate/Toby and now Kevin/Madison are the main couples and they will have a lot of screen time. I know Kate and Kevin have a special bond because they are twins. I know Kevin and Nicky have a special bond because he stayed with his uncle and helped him with his sobriety. I know Kevin has a special bond with his nieces and baby Jack because he is the last one to become a parent. I know all of that and I don’t want that to change. Still, it doesn’t hurt to mix it up and shake things up a little bit. Give me a little bit of Randall and baby Jack, show me a little bit of Kate and Nicky, bring back a little bit of that funny dynamic Kevin and Toby had on the early seasons (I remember one scene where the actors did a little bit of an ad-lib and it was awesome), give me a little bit of Madison and Randall’s girls, the women/men hanging out together and Rebecca and Miguel! We’ve already got confirmation about Rebecca and Miguel’s story being explored this season, so I’m excited about that.

Kevison, Kevison, KEVISON!! This is absolutely no surprise since I’ve been interested in them since season 2, Madison is my favorite character and a lot of my blog is dedicated to them. Just give me EVERYTHING. Again, one of my few complaints is how the main relationships happened way too fast on this show. Don’t get me wrong, I love the couples as much as the next person and I can enjoy every trope if they are done right. Still, my favorite are still the slowburn ones. As I viewer, I like to see the seed being planted, watered and the slowly growing like a real plant. I like rooting for something, knowing that it will happen, but not when and how it is going to play out. I like to see every single step of the journey: being acquainted, becoming colleagues, friends, confidants, best friends, falling in love, dating, getting engaged, married and BEING married. I love seeing little things and changes in their dynamic, like becoming more touchy, lingering looks, making each other blush, a little bit of jealousy... Sure, we got a little bit of those moments with Jack/Rebecca, Randall/Beth and Kate/Toby, but it wasn’t the same feeling because they were all love at first sight (which is one of the tropes I usually don’t like) and got together pretty quickly. And even when we saw their first meeting, or Jack being a little jealous/hurt when he saw Rebecca with her ex-boyfriend, it was more of a momentary thing than an example of changed dynamics and feelings becoming deeper and romantic. It wasn’t the result of months and a number of episodes in the making, it was a flashback we visited when we already knew the destination of their story, that it wouldn’t last and they would be happily married and the love of each other’s lives. So I specially appreciate that kevison will be the only main couple to have a different construction and development. I’d also love to see flashbacks of the time they slept together (it was afternoon when they met at Kate’s house and they went to Madison’s place and he only left the next morning! WHAT DID THEY DO DURING ALL OF THAT TIME?), which I’m quite confident we will get, but also before that. On episodes 4x10, 4x12, 4x14 and 4x18 I got the feeling that they were quite familiar with one another. They weren’t exactly friends, but they weren’t awkward with each other anymore, they were comfortable hanging out and shopping with Kate, he sweetly smiled at Madison’s quirks, Madison seemed unimpressed and annoyed when she opened the door to him and she didn’t have problems at all stepping inside Kate’s house as if she owned the place and ignoring Kevin when he told her it wasn’t a good time. Their dynamic really changed since episode 3x15 and Justin mentioned Kevin saw her as part of the family before their night together, so I wonder why. Also, some parallel flashbacks would be particulary nice. For example, they could have a flashback of Madison making a pregnancy test on a day that Kevin is babysitting Jack and daydreaming of having his own children. They could show parallels of Kevin and Madison struggling with addiction/bulimia in the past. Maybe she also lost a close relative and grief has impacted her as much as Kevin. So. Many. Possibilities. That. Can. Be. Explored!!!!! Those two are the characters that have THE MOST IN COMMON WITH ONE ANOTHER and there are a lot of things the writers can explore with that. Another particularly sweet thing that wouldn’t hurt or take more than a single minute would be a flashback of them meeting each other way before Kate. Like, if they had bumped into each other on the street years before and don’t remember it until they talk about it one day and realized they saw each other before? I’m watching this dizi (aka a Turkish TV show) where the characters are in a considerably similar situation, pregnant as a result of a drunk one-night stand after their first date and there was this moment where they were talking and she remembered she had bumped into him years ago when she was heartbroken over her ex getting engaged. It was such a small and fulfilling moment. It really gives the idea of COMING FULL-CIRCLE and I’d love to see something like that.

Kevison and the other couples enjoying their pregnancies. I feel like we see the characters with their children as much as we should, and I definitely appreciate that, but we don’t get to see them enjoying the pregnancy period. Last year, most of Kate’s pregnancy revolved around worry, for example. And I get that since it was a complicated pregnancy and she had suffered a miscarriage before, but still. Kate only has one biological child. Rebecca only got pregnant once. Madison is likely to be pregnant only one time too. We basically only saw Beth and Lucy giving birth and that was only one time for each character. It would be nice to see their pregnancies being fun. Documenting it, buying baby clothes, discussing baby names, building cribs, decorating the baby(ies) room etc. It would be nice to have flashbacks of that and specially to see KEVISON doing all of that, since this is the pregnancy that is happening at this current moment.

The characters having friends outside their families and marriage. Like I said before, I KNOW that the focus of the show are the big three and Jack and Rebecca. I know which dynamics will be more explored on the show and I don’t want that to change. However, Kate is the only one that has the luxury of two friends (Madison and Gregory). Randall got Jae-Won on season 3 (I actually think they only became real friends last season, tbh) and Kevin had Cassidy for a while and now doesn’t even seem to talk to her anymore (not that I miss it because I didn’t like their dynamic, specially after they slept together and I just wanted season 4A to focus on him and Nicky without anyone’s interference). Let them have some friends of their own too and hang out with them at least for an episode? Same goes to Beth, Toby, Rebecca and Miguel (I know he had Jack, I’m talking about present time).

Kevin’s career. For now I want him to focus on his children and Madison, but when it comes to his career, I’d like to see him doing different things. He played a soldier and a cop. Let him play different characters and show more versatility. Maybe doing voice-work on a Disney movie for his children to watch it and enjoy it? Dealing a little bit with fame, tabloids and paparazzi could be interesting as well. He’s not a big celebrity like Oscar-winner actors, but he is famous enough to be photographed on the street and have mean rumors about him spread on the media (they mentioned one about him being drunk and running over his daughter with his car), so there are many possibilities to explore when he comes to his career too.

Kate being there for Madison during the pregnancy and more moments of Kate helping and comforting her during difficult times, both in the present and the past years. This is not criticism. Kate helped her when she relapsed that one time and took care of her. It also didn’t make sense to focus on Madison that much because her character didn’t have such a big role back then. Now, things have changed and Madison will be needing her, so let Kate repay the favor.

The couples enjoying some adult time without children involved. One of the very few flaws of This Is Us. We only got that with Jack and Rebecca. The only times Kate/Toby and Beth/Randall tried to have a night just for themselves they had problems. Susan mentioned that she would like to see them going on a date and so do I? Hopefully we will see Kevin/Madison, Randall/Beth and Kate/Toby having some quality time without the kids as well.

If we get to see more of the big three as older children and teenagers (which I guess we are because unless that’s changed, the actors are still part of the main cast), I hope they show more moments of them bonding, having fun and helping each other. Having their own experiences and having each other’s back instead of problems that Jack and Rebecca try to solve for them or help them with. Let them be bigger characters and let them be close as siblings too. That episode where they watched Arsenio Hall together was particularly sweet and refreshing to see, same goes to Kevin helping Randall at school when he got a notification and was having a panic attack. However, for their teen years, I’d definitely love to see them being easy with their parents and those five having a good time together, enjoying each other and their parents for a change, specially since Jack passed away when they were only 17.

Jack, Hailey and the twins. Sure, they will be little, but I hope we get to see the cousins together for a decent amount of time. It is really nice that they are all close (Madison/Kevin/Kate), and NOW, FAMILY. It is nice that Hailey, Jack and the twins will be closer in age and not have a lonely childhood. I hope they explore that a little bit.

Jack Damon. I love him. He is creative, charismatic, funny and adorable. He is also one of the few representation of disabled people that was done right. He is a visually-impaired person played by visually-impaired actors. His disability is a part of who he is and his story, but not all of it. He is a successful musician. He has a big family with his daughter, wife, sister, cousins and uncles. I want to know more of him. Plus, the writing exploring accessibility. Episode 4x13 when Kate, Jack and Rebecca went to the retreat and we saw all those children playing and having fun and living a full life was amazing. We need more of that on TV.

Plus, what about Nicky? Who did he marry? I have an entire theory about this and I hope he can get a little family for himself. Don’t get me wrong, The Pearsons are his family too, his bond with Kevin is one of my favorite relationships in the entire show, but I’d want him to have a family outside of his extended family, too, you know?

Dr. K and Wlliam. We can never get enough from them! I don’t know how often we will see them due to the pandemics and the fact the actors are eldery, but they are the guest stars I will never grow tired of. A fantasy sequence with the entire family while having Jack, Nicky and William would be particuarly nice. They could’ve done it on episode 4x17 and I was a little frustrated that they missed the opportunity.

The future of the family and the future of the show. Rebecca is a grandmother now. Randall, Kate and Kevin are parents. Deja, Tess and Annie are growing up. Jack is 1. Madison is very close to giving birth to the twins. They’ll be 40 when the season premieres. Kevin is a year sober. They’ve all grown in so many different ways. And since Rebecca’s health and memory are deteriorating, I’d like them to be in the upfront of the narrative now. As I mentioned before, I know the leading characters are Jack, Rebecca, Kevin, Kate and Randall. I know the big three are some of biggest characters on the show. Still, when it comes to family, the narrative has always focused on Jack and Rebecca as parents and Kate, Randall and Kevin as children. They have always explored more the problems those three experience, whether is in the past or present time and Rebecca and Jack trying to help them navigate through them and solve things. Let’s reverse everything. Let Rebecca be vulnerable and having her children taking care of her. I’d also love to see more of the future timelines with Randall’s girls as young adults, Jack, Hailey and the twins as children and teenagers, them and their parents dealing with all of that. What will Randall and Beth do when they all go to college and move out? What will Kate and Toby do when their children have nightmares? What will Madison and Kevin do with the twins when they have problems at school? Let us see (more) of Randall’s, Kate’s and Kevin’s parenting style and what they got from their parents and are passing on for their kids and what is their own approach to parenthood. Let us see them passing on Jack and Rebecca’s legacy for the future generations of The Pearsons, but also making their own little traditions and having their own experiences. Let’s us see them making NEW MEMORIES FOR THEMSELVES AND THEIR FAMILIES. It is a good idea to explore both on seasons 5 and 6, imo. Showing how far they have come, how this family that started with only a couple and has evolved into this gigantic fabric of people and how Jack and Rebecca will live forever though Kevin, Kate, Randall, their children, Hope and the ones from generations that are still to come.

IT’S NOT that I exactly WANT it, but iiiiiiiiiiiiiiiiiiiiiiiiiiiiif we really have to go there:

Kate and Toby’s divorce. I don’t want it. I love them as people. I root for them as a couple. Sure, they have faced some major problems and this season explored that, but I hope they get passed it, specially since they are about to welcome a second child. Still, I can’t come up with a good enough of an explanation why Toby isn’t wearing his wedding ring. Every possible reason that crossed my mind was either heartbreaking or underwhelming at best: there was a small incident and he will buy a new ring, they got divorced, Kate died. I don’t want any of it to happen and I bet money that Kate doesn’t die. Still, if after making such a big deal of it, it turns out that they just are buying new wedding rings or whatever, that will be so ANTICLIMACTIC. And if they do get a divorce, it will be REPETITIVE since they teased it for the entire season and they stayed married. So far, if it were for them to split up, it should have happened on season 4. If they’re reaaaaaaally gonna go there, I hope it will be done well considering there are only two seasons left, two children involved and it was something they literally played with LAST SEASON. They must find a way to make it REFRESHING AND NOT REPETITIVE. They must find a way to explore the outcome of it. Dealing with a divorce, being single again, the custody of their children and how it will change their dynamic as parents. I also want them to find a new love. Sure, it would be realistic if they ended up alone, yes, and there’s no shame in that. A lot of people don’t want to get married or never see that dream coming true and those are stories worth telling too. STILL, I’d be really frustrated with they were the only characters who ended up alone when Randall/Beth and Kevin/Madison are happily married. Even Jack and Lucy seem to be going strong! So show them finding someone else and give well-developed love stories with different people for them while exploring everything else that’s already going on too. I wanted there to be a big and plausible enough explanation why on earth Toby isn’t wearing his ring and yet is still very much married to Kate, but I recognize it is more wishful thinking.

If they still want to bring Sophie through flashbacks, then answer relevant questions than just having her there sitting next to Kevin. The divorce is a great example of storyline and it can serve as a parallel for Kevison, like, what they got right and Kevin/Sophie didn’t. Justin said Kevin cheated on her twice, so how did all of that happen? We don’t know.

[kinetic-elaboration]

April 10: 2x14 Wolf in the Fold

Watched Wolf in the Fold last night. The only thing I really remembered about this ep going in was that it was a Scotty ep. Which is true but also… slightly misleading. Also that it had to do with Jack the Ripper—which is more true than I remembered!

A decadent intro… I get why Spock isn’t here but I actually DO think he would be into it.

Matchmaker Kirk lol.

Scotty is so awkward. This is the other detail I remembered from this ep, actually: how Scotty wants to applaud using his hands no matter what. (Even with those cool lights RIGHT THERE lol). Old Aberdeen pub crawler…

This is honestly such a bizarre back story: Scotty got a concussion because someone who happened to be a woman made a mistake and now not only is his head all funny but he has a “total resentment toward women.” Like okay, nothing creepily sexist in that concept. Also –they ultimately barely even use it! I know it’s the implied rationale for why he would suddenly start murdering women and also not remembering it but it’s like such a flimsy excuse that they never say it out loud in so many words for fear it should sound too stupid. Which it would. Honestly, you really only need the concussion imo. Why go into the weird misogyny thing at all?

And now Kirk and Bons head off to a brothel, giving me a total resentment toward men.

Nice eerie fog out here. Very Aberdeenian.

Okay, so this woman was stabbed a dozen times but she only screamed once? And then a second later, Scotty had somehow teleported several feet away, still holding the knife? He’s good at his job but he’s not that good. This is already deeply suspicious.

“Therapeutic shore leave.” Trying to cure his hatred of ladies lmao.

So this weird little bald man, Hengist, from Rigel IV. Is he an alien? I suppose he must be. Rigellians are a race, as we know from Journey to Babel. It’s not always clear to me which groups of people are Earth colonists who have migrated to or been born on other planets and which are humanoid aliens.

The Aurelians are a gentle, harmless people. Cute. I like these aliens.

I wish we could hire aliens to be our administrators. Alien Overlord and Taylor.

“I’ll be taking over, since I am the highest official.” He out-officialed him.

I like this guy and his slightly creepy empath priestess wife. I feel like Spock would like them, too.

Speaking of: Spock in the captain’s chair. Hot.

I don’t get how this planet is the only space port around. Like… could not any planet be a space port? What does that even mean?

Oh no, a woman with the lie detector machine! She must be incompetent and/or to be despised.

I love Sybo’s outfit. Her hair and jewelry too. Honestly just a great head-to-toe look.

Another murder! Sorry but this one is on the Aurelian for just leaving the murder weapon out there unattended.

Generally speaking, the costume and set people are doing allllll the work in this episode.

Hengist went to look for suspects and he came up with the victim’s father and fiancé?? He’s not even trying lol. Anyway, he obviously did it.

How can you NOT tell if a lock was picked or not? I mean I know McCoy is a doctor, not a locksmith, but come on. It can’t be that ambiguous.

Spooky mumbo-jumbo.

Interesting that Spock doesn’t trust the mumbo-jumbo either. I guess he only approves of it when it’s Vulcan.

When Sybo says “monstrous evil” the camera is looking right at Hengist. Not suspicious at all. He’s only clearly railroading Scotty, looked right at the second victim before she was killed, was in the perfect position to take the murder weapon after it was carelessly left about, and is the most obvious non-Scotty suspect here.

I love how loyal Bones is. He literally saw Scotty holding Sybo and the knife with blood on his hands and is like “It’s impossible he could have done it.”

So many of the “truth discovery” devices on TOS are truly creepy. Like they’re all clear plot devices, and for that reason depicted as completely reliable, and the more completely reliable they are, the more deeply disturbing they become upon any reflection at all.

That’s a pretty computer though. All those pretty flashing lights! And it runs on floppy disks.

I literally just remembered what happened.

“Scotty, lie to me, how old are you?” / “Twenty-two, Sir.” Yeah, I’d say that’s a lie.

So like this allegedly all-powerful computer is literally just a lie detector. That’s it! A lie detector that picks up on psychological signs of lying, just like our lie detectors today. I mean… you could have just said that straight out. All they do is show what a person believes to be true, so in the case where someone truly doesn’t remember something, the usefulness is… limited.

My mom suggested a Vulcan mind meld which, actually, would pretty much solve the problem! But for once Spock actually treats it like something serious and not to be thrown out as a solution to all problems at the merest suggestion.

Someone needs to do a fashion line based entirely on the Argellian outfits.

Spock is internally eye-rolling at all this drama. I feel like he’s a real advocate for the computers today. That’s like… really his only role.

The computer’s linguistics banks don’t know what this word means? Maybe we should get Uhura on the case.

Plot twist: the killer was Jack the Ripper the WHOLE TIME! The last one you’d ever expect.

I don’t get how the computer made the leap from Redjac to Jack the Ripper since that is not a real word and no one outside of this episode of TOS has ever used it for Jack the Ripper.

“Everyone feeds on death, even vegetarians.” So dark, Spock. So emo.

Aw, alien creatures that derive sustenance from love. Adorable. There should have been an episode devoted to them. (Wait a minute…. Idea coming on…)

Speaking of gaseous cloud aliens…the Companion?

This episode really relies a lot on the computer to provide information and otherwise move the plot along.

Kirk keeps ignoring everyone to just talk to Spock.

“Cloud the issue” lol that’s a good pun. (Already can’t remember who said it but… point stands.)

The cloud entity feeds on women because they are more easily and deeply terrified. That sounds fake but okay. It’s also not in keeping with what Sybo said, is it? She mentioned a hatred of women. That’s not the same as finding women useful.

Hmm, when do we get our Martian Colonies, @ perseverance?

Oh, Rigel IV, you say? There seems to be a Rigellian right here!

This whole history of the entity is bizarre. The first killing sprees (that we know of) are on Earth, and Kirk specifically says that when man left Earth to explore, he took this with him. Does that mean… the cloud creature/entity originated on Earth? Truly a bizarre hypothesis, when you think about it.

Are you the entity, Sir?

There is actually very little Scotty in this Scotty-centric episode.

Lol the knife originates with the hill people of Rigel IV. What is this, Deliverance?

Omg Kirk punched the entity right out of that man!

So to summarize: “Jack the Ripper is actually a gaseous cloud that is capable of infecting the computer system of the Enterprise, thus hijacking the whole ship” is the basic, wacky concept of this episode.

This tranquilizer could quiet a volcano. Where was it during the volcano scene in STID hmm?

Kirk’s plan to keep people from being scared by the maniacal voice of the entity: Tranquilize the entire ship. That’s why he’s paid the big bucks.

Yet another twist on the old Kirk v. Computer plot. Time to use Math to defeat it.

Kirk is so unimpressed with the entity. “Eh, shut that off.” He would not be moved by a haunted house.

“This is the first time I’ve heard a malfunction threaten us.” Sulu can man his post AND be funny; he’s multi-talented.

Kirk and Spock don’t need tranquilizers because they’re smart enough to know this high-pitched voice yelling random threats just isn’t actually scary.

Kirk is really insistent that Sulu man his frickin’ post!

Oh no, not PI!! My nemesis, PI!

I’m really living for Sulu here.

If the entity entered a tranquilized person, it might take up knitting. I gotta say, that doesn’t make any sense as a plot point but I like it anyway.

That was a very efficient tranquilizing job! Everyone in a 400+ person ship in like 10 minutes? Get the medical team on the Enterprise in charge of the vaccine distribution stat.

Kirk just outright assumes that Spock won’t be a hospitable entity choice. And he’s not even wrong! The entity chooses the dead body over Spock or Kirk. It knows when it’s not wanted.

Hengist has been revived!

The entity is honestly, truly hilarious. Die, die, everybody die! Kill! Kill you all! Maniacal laughter! All while being carried by a still utterly unimpressed Kirk down the halls of the ship.

Spock’s like “get out of the way, you tranquilized idiot. Got some entity-scattering to do.”

“I gave them a pretty big shot, Jim!” Think you might have slightly overdone it, Bones? You didn’t need to make everyone useless for 6 hours for a problem that was solved in 5 minutes!

This is one of those moments, Kirk trying to get Spock to see the pretty ladies with him, when Spock seems super gay. Like, I don’t even think he is, that’s not my reading of him, and I also assume that wasn’t the intention here, but that’s just so clearly how it reads.

Aw, Kirk doesn’t want to go the strip club alone. Poor bb.

Weird how Lt. Leslie was in this when he died in the last episode.

Overall, I’d actually have to say that was a very crack-y episode. I liked the ending the best because it was so ridiculous.

What I don’t understand, in addition to whether or not the entity was really supposed to be from Earth, was how it came to be Hengist. Like, it can enter and leave bodies (or computers) at will, so perhaps it just entered Hengist, a normal Rigellian, at some point. But if that’s so, putting him on the transporter and scattering him into space was a pretty cruel thing to do. Also, why did he die (or appear to die) when the entity wasn’t in him? That implies he is the entity’s physical form. But then, first of all, how is also a Rigellian? Like did the entity mate with a Rigellian? Did the entity take over a baby Rigellian? Did the entity just claim to be Rigellian but is really just humanoid in its physical form—we did establish that some aliens, like this one, or creatures or whatever, are gaseous sometimes and solid others, so maybe its solid form is humanoid. Which would fit well with it originating in Earth, although that also brings a new and perhaps unintentional layer of creepiness to the story. I have to assume that’s the situation, but still, wild. And it doesn’t explain this: why does Hengist “die” when the entity “leaves” him, as opposed to just disappear entirely when the entity changes form??

Anyway, I know I’m overthinking this very wacky premise. Overall, I think the episode was fine. It didn’t have enough Scotty (for being a “Scotty episode”) and it changed genres an awful lot for 50 minutes. There was a tad too much misogyny going on. And overall I didn’t feel like the characters—even Kirk, and in actuality this was a Kirk episode much more than a Scotty episode, and purposefully so—were at their most interesting. Tbh Sulu ultimately stole the show in the final minutes.

Next up is the Trouble with Tribbles! Also a funny episode but at least undeniably purposefully so!

[arabellaflynn]

Fandom frightens me sometimes. Often, if we're honest.

I've been digging around for the Sherlock Holmes project I mentioned before, and one of the things I ran into is The Johnlock Conspiracy. For those who don't know, this was a movement among fans of the BBC's 2010 series Sherlock who contended that the series was building up to a Big Damn Gay Kiss between the leads at the end, which was theoretically the conclusion of series 4. Lots of people contributed, but this particular lady seems to have been the biggest and most thorough, having contributed a 40-some-odd episode analysis of the show, via YouTube.

Shit like this terrifies me.

There's nothing wrong with her character analysis. Her take on the significance and motivation behind what the characters say and do on screen is completely valid. I think she's 100% right in some areas, particularly Moriarty. Jim Moriarty's obsession with Sherlock is both disturbingly sexual in tone, and disturbingly indicative of someone who sees sex not as a social interaction, but as the apotheosis of control over another human being.

There's also nothing wrong with hoping the series is building to a gay romance. "Queering the canon" of Holmes stories has been a thing for a long, long time. It tends to happen in any work where two same-sex leads have a deep and devoted relationship, and because homosexual leanings were so hidden and coded for such a long time, there's much more history of having to "read into" things than with heterosexual pairings. If that had indeed been where the writing in Sherlock went, I would have considered the relationship more than adequately set up in the earlier series. AFAIK the leads wouldn't particularly have balked; I don't know all that much about Freeman's career but as a human he seems pretty no-nonsense, and Cumberbatch has a history of doing very well as queer and neuroatypical characters, under the general philosophy of 'I'm an actor, I act like other people, these other people are interesting'. With respect to the creators, Gatiss himself is gay and Moffatt has written at least one pair of lesbian Holmes/Watson analogues, Madame Vastra and Jenny, into Doctor Who.

What bothers me is the rampant apophenia among the Johnlock Conspiracy fans, typified in this lady's analysis. I'm not saying that the Sherlock crew wasn't admirably detail-oriented. They were making a show about a character whose entire schtick was noticing tiny things in his surroundings, and the main viewing audience had been fans of these tales literally their entire literate lives. Continuity had to be on the ball at all times or else. There were, in fact, plenty of passing references, allusions, background gags, and Easter eggs that were just there to say, "We read all the stories! You will find this amusing if you did, too." There's plenty of material available if you want to compare and contrast to the original canon, and discuss how the implications of various things would have changed from Victorian times to the modern-day setting of Sherlock.

When you get to the point where you are interpreting literally every detail of every line of every story as support for your one pet theory, you have a problem. No piece of writing is that focused. Her TJLC videos spiral into such a terrible black hole that every side character, every suspect, is interpreted as a "mirror" of one of the main characters, and moreover their actions are used in support of the One True Theory. Random set and costume details are interpreted as "communication" from the production crew that the theory is right. And, the very hallmark of a tinfoil-hat conspiracy, denials from both the characters on screen and the creators off are interpreted as yet more evidence in favor of the theory, because everyone knows that lying liars who lie are just trying to throw you off the scent.

And the sheer entitlement. Dear God. When no Big Damn Gay Kiss happened at the end of series four, the wave of anger from TJLC people was unbelievable. The writers were doing it wrong. The fans deserved to have their theory validated. How dare they write the thing they said they were writing the whole time.

The accusations of queerbaiting, I feel, are unsupported. The people slinging them have a very narrow view of what constitutes a queer relationship. It is true that Sherlock and John did not end series 4 in a homosexual romantic relationship acknowledged both in and out of universe. On the other hand, Sherlock's "married to the job" speech in the first fucking episode pretty solidly establishes that he identifies as aroace, even if he doesn't have the vocabulary to say it in exactly that way. I don't know when "I'm not interested in anyone like that" started to translate to "you can ignore everything I say about myself", but it's just as rude and invalidating to do it to representational characters as it is to real humans, so. Sherlock followed all that up by repeatedly, vehemently -- and given everyone else's reaction, uncharacteristically -- inviting John into his work, which he characterizes as his greatest if not only passion in life, so he's clearly starting something he sees as significant. 

The amount of emotional and domestic entanglement that Sherlock wants out of John is huge and would seem to qualify for what the tumblkids call "queerplatonic". This relationship does progress over the course of the series, is explicitly acknowledged and discussed in-universe, is consistently reciprocated by John Watson, and IMNSHO, more than qualifies as what the creators have said since day one is going to be a "love story". There are more things in heaven and Earth, Horatio, etc etc etc. Not everything has to end with people tumbling into bed.

I would frankly consider it a more narratively interesting option than a romance, as it is far less common. Sherlock's central conflict is the same either way ("Oh god feelings WHAT DO"), but it changes John's somewhat. Rather than a relatively straightforward story about a man coming to terms with his sexuality, John instead has to wrestle with the idea that he might have found a life partner in this sort of relationship, rather than the traditional marriage-and-children context he was clearly anticipating. If concluding that yes, that is what he wants (and even marrying a woman who accepts the relationship, quite likes her husband's Most Significant Friend, and pushes both John and Sherlock to keep the connection alive) doesn't count as a happy ending, I have no idea what does.

from Blogger https://ift.tt/2FDNGUS via IFTTT -------------------- Enjoy my writing? Consider becoming a Patron, subscribing via Kindle, or just toss a little something in my tip jar. Thanks!

[amirosebooks]

Dean’s Old Yeller Principle

“He made me so mad at first that I wanted to kill him. Then, later, when I had to kill him, it was like having to shoot some of my own folks. That’s how much I’d come to think of the big yeller dog.”

— Fred Gipson, Old Yeller, Chapter 1 (Published in 1942)

When I was twelve or thirteen my English teacher passed out copies of Old Yeller as assigned reading. For those of you who are unfamiliar with the book, the quote above from the opening chapter tells you most everything you need to know for the context of this meta post. And for those of us who are still emotionally scarred from the damned book, I’m sorry for dredging up those memories.

Now, before I go any further, a disclaimer: Blah, blah, blah, this meta and interpretation of canon is my own. I’m not trying to “preach” to anyone about why Dean “is allowed” to be an asshole while he’s grieving or going through some shit. Or any other argument that consistently gets thrown back in the face of meta posts like this whenever Dean is being an emotional dick. You’re entitled to your interpretations, feelings and reactions, as am I. I’m merely offering this meta to 1) get it out of my mind 2) point and wave about the nods to this classic book that’s traumatized generations of American children 3) cheer Dean on for turning yet another teaching from the “older, wiser generation” John came from on its head.

Groovy? Okay, now we can move on.

I’m gonna throw the rest of this under the cut for length and to keep people who are sensitive to pets / animals dying in really sad ways from having their days ruined by talking more about the book unless they’re good with having that happen.

Now, as I said in my disclaimer bit, Old Yeller is largely considered classic literature here in the states. My memories of it are a weird mix of vague on the details and strong on the emotions it evoked. From what I remember, the main character was a young teenager when his family brought home Yeller. For whatever reason, our main character hated this dog. I don’t remember the details and they’re honestly not important to this meta. The hate he felt toward the dog is important. So is the fact that the hate slowly turned into love and devotion to the dog. Which made it even more gutting when, on a hunting trip (if I remember correctly) Yeller was bitten by a rabid animal and contracted rabies.

At the end of the novel, the Coates family are once again attacked by a wild animal, a wolf, and saved by Yeller’s bravery. Yeller is bit during the attack and becomes infected with rabies. Travis knows that despite his connection to Yeller and Yeller’s protection of his family, the dog must be killed before it becomes fully rabid and does any harm to him and his family. As the man of the house while his father is gone, Travis takes it upon himself to put Yeller out of his misery with his hunting rifle. Travis is heartbroken by what he has done, but knows that it was the right thing to do for his family. (From here.)

Sound familiar? Good. That’s what I thought too when we got the shot above in the graveyard in 14x20.

[Obviously, rabies, once there are symptoms like Yeller had, is incurrable, so putting him down was literally the only option. And we are talking here about Supernatural, which operates on soap opera rules so anything goes, but let’s just roll with the similarities for the sake of argument.]

I remember telling my husband while we were watching it “Dude, they’re really going to Old Yeller Jack, omg.” (I even made fanart of the moment.)

And then, something incredible happened.

Dean threw out the script yet again and set off season 15 with the dull thud of a gun being tossed into the grass.

Now, I hear you. “That’s great, Ami. Why should we care?”

Lemme tell you a thing, friend.

In order to tell you thing thing, I want to take a trip way back to season 4. Back when the brothers were still nose deep into John Winchester’s gospel of Monster = Evil = Kill The Thing.

(Screencaps are all from Home of the Nutty.)

4x21 - When the Levee Breaks

Sam: Stop bossing me around, Dean. Look. My whole life, you take the wheel, you call the shots, and I trust you because you are my brother. Now I’m asking you, for once, trust me.

Dean: No. You don’t know what you’re doing, Sam.

Sam: Yes, I do.

Dean: Then that’s worse.

Sam: Why? Look, I’m telling you-

Dean: Because it’s not something that you’re doing, it’s what you are! It means- Dean cuts himself off.

Sam: What? No. Say it. (Sam has tears in his eyes.)

Dean: It means you’re a monster. (Transcript from here.)

I remember the first time I watched the show and I got to this episode. That fucking line was such a gut punching moment. And it was such an effective and emotional moment that Ruby was able to extend it later to further manipulate Sam.

Now, the screencap I grabbed for this moment is of Dean in tears (well, that single man tear he’s known for) after labelling Sam a monster for a reason. I want to remind all of us of just how much it killed Dean to have to use that label for Sam. To have to try to rationalize that the boy he raised, his brother, the guy who has been there forever and has always been Dean’s charge to take care of is now the thing that Dean is going to have to put down because he falls under the label of monster.

You know what, let’s go back a little farther, to the first episode of season 2. To this moment:

Remember this look? The one we later learned was thanks to John telling Dean that Dean was going to need to put Sam down? That Sam was going to become a monster? Yeah, ouch.

I added the year Old Yeller was published (1942) to the quote at the top of this meta to help give some context about the time it was written and the world it was released into. I’d also like to make note that in 1957 (or about a year before Henry Winchester jumped forward in time to meet the brothers in season 8 and give them keys to the bunker and had to choose to abandon John when John was still a fairly young boy) Disney released a movie version of the book. It’s absolutely, if the movie exists in the SPN world, the kind of thing young John would have watched and taken some kind of black and white moral guidance from.

It’s the kind of book/movie that John would have probably (note, this is where we start diving into my own headcanons for a moment) made sure the boys were aware of when he started thinking about bringing them on hunts to keep them from freezing because the “person” on the other end of their shotgun is someone’s mom. I could see it being the kind of thing he’d use as a way to show them both that, yes, shit is hard but you have to do the right thing and sometimes that means killing the thing you love. At least, I could picture him thinking that way. (Also, this still makes me wonder about exactly how early John started suspecting there was something different about Sam, but that’s a whoooole other post.)

Moving on and forward to season 6.

6x20 - The Man Who Would Be King

Castiel: The angel-proofing Bobby put up on the house – he got a few things wrong.

Dean: Well, it’s too bad we got to angel-proof in the first place, isn’t it? Why are you here?

Castiel: I want you to understand.

Dean: Oh, believe me, I get it. Blah, blah, Raphael, right?

Castiel: I’m doing this for you, Dean. I’m doing this because of you.

Dean: Because of me. Yeah. You got to be kidding me.

Castiel: You’re the one who taught me that freedom and free will –

Dean: You’re a freakin’ child, you know that? Just because you can do what you want doesn’t mean that you get to do whatever you want!

Castiel: I know what I’m doing, Dean.

Dean: I’m not gonna logic you, okay? I’m saying don’t… Just ‘cause. I’m asking you not to. That’s it.

Castiel: I don’t understand.

Dean: Look, next to Sam, you and Bobby are the closest things I have to family – that you are like a brother to me. So, if I’m asking you not to do something… You got to trust me, man.

Castiel: Or what?

Dean: Or I’ll have to do what I have to do to stop you.

Castiel: You can’t, Dean. You’re just a man. I’m an angel.

Dean: I don’t know. I’ve taken some pretty big fish. (Transcript from here.)

This was after two seasons of Cas fighting by their side. Two seasons of Cas giving heaven the middle finger on behalf of the Winchesters. It was enough time for Dean’s first reaction in a time of confusion on a hunt was to call Cas for help. And it was enough time for Dean to go from assuming Cas was a demon summoned with “bad mojo” to drag him out of hell on behalf of Sam to genuinely starting to care about Cas.

Dean did threaten to take Cas out here if he persisted down the path he was on, but you can tell by the rest of the conversation and just how hard it was to convince Dean that Cas was lying to them that Dean was hoping talking would work and he wouldn’t be forced to put Cas down.

Unfortunately…

6x22 - The Man Who Knew Too Much

Castiel: You doubted me, fought against me, but I was right all along.

Dean: Okay, Cas, you were. We’re sorry. Now let’s just defuse you, okay?

Castiel: What do you mean?

Dean: You’re full of nuke. It’s not safe. So, before the eclipse ends, let’s get them souls back to where they belong.

Castiel: Oh no, they belong with me.

Dean: No, Cas, it’s it-it’s scrambling your brain.

Castiel: No, I’m not finished yet. Raphael had many followers, and I must punish them all severely.

Dean: Listen to me. Listen, I know there’s a lot of bad water under the bridge, but we were family once. I’d have died for you. I almost did a few times. So if that means anything to you… Please. I’ve lost Lisa, I’ve lost Ben, and now I’ve lost Sam. Don’t make me lose you too. You don’t need this kind of juice anymore, Cas. Get rid of it before it kills us all.

Castiel: You’re just saying that because I won. Because you’re afraid. (Behind him, Sam picks up the angel killing sword.) You’re not my family, Dean. I have no family. (Sam stabs Castiel in the back with the angel killing sword. Sam groans. Nothing happens. Castiel pulls the sword out. There’s no blood on it. He puts it down.) I’m glad you made it, Sam. But the angel blade won’t work, because I’m not an angel anymore. I’m your new God. A better one. So you will bow down and profess your love unto me, your Lord. Or I shall destroy you. (Transcript from here.)

Again, Dean tried to argue with the overpowered angel, he tried bargaining, pleading, and appealing to Cas’s fondness for them, but it didn’t work. Sam was the one who was forced to try stabbing Cas and it… also didn’t work.

7x01 - Meet the New Boss

Sam: Dean, look, I know you think that Cas is gone –

Dean: It’s 'cause he is.

Sam: He’s not! He’s in there somewhere, Dean. I know it.

Dean: No, you don’t.

Sam: No, I don’t. But, look, I was pretty far gone sometimes myself, and never gave up on me.

Dean: Yeah, and it turns out that you’re about the Same open book as you’ve always been. Hallucinations? Really? I got to find out from Death?

Sam: What was I supposed to do?

Dean: How about not lie? How about tell me that you’ve got crazy crap climbing those walls?

Sam: Why? You can’t help. You got a lot of pretty severe crap swinging your way lately, and – and I thought –what? I thought why burst the one good bubble you had left? It’s under control.

Dean: What? What, exactly, is under control?

Sam: I know what’s real and what’s not.

Dean: Sam –

Sam: Dean, look, we can debate this once we deal with Cas.

Dean: Yeah, you know how I’m gonna deal? I’m gonna stuff my piehole, I’m gonna drink, and I’m gonna watch some Asian cartoon p**n and act like the world’s about to explode because it is. Hey. You got to be kidding me. “Massacre at the campaign office of an incumbent Senator by a trench-coated man.” There’s security footage. Well, I think reaching Cas is, uh… out of the cards. (Transcript from here. And hopefully my slight censoring the last paragraph keeps tumblr from blacklisting this post into the aether…)

Here’s a sad thought for you, how often do you think–while Cas was terrorizing the country as Godstiel and, later, after he walked into the lake and exploded into Leviathan goo–Dean thought about how he should have listened to Bobby and Sam and taken Cas out before he had the chance to swallow the Leviathans and become super powered? Probably a lot, I’d guess.

This moment, as much as I, personally, hate seasons 6 and 7, went pretty damn far to reinforce this Old Yeller principle in Dean’s moral code.

He had to sit back and watch, literally, while someone he cared about went out of their goddamn mind with power while killing and terrorizing people. He had to do that knowing that there was a moment when he could have done something to prevent it. He could have killed Cas when he had him locked up in the ring of holy fire and they were having one of their many breakup moments.

Dean felt like he could have stopped all of this, but he’d been weak and tried talking it out first instead. And you can’t convince me that he didn’t check the news and every drop of blood Godstiel brought about to the blood on his own hands because of that choice to give Cas a chance to see reason.

10x09 - The Things We Left Behind

CASTIEL: How are you, Dean?

DEAN: Fine. [Cas gives him a look.] I’m great!

CASTIEL: No, you’re not.

DEAN: Yeah, well, I lost the black eyes, so that’s a plus. But I still have this. [Dean reaches over and gently slaps the Mark on his arm.]

CASTIEL: Is the Mark of Cain still affecting you?

[Dean flashes back to his dream from earlier, of the blood covering him, the dead bodies lying around him.]

CASTIEL: Dean?

[Dean blinks hard, coming back to the present.]

DEAN: Cas, I need you to promise me something.

CASTIEL: Of course.

DEAN: If I do go dark side, you got to take me out.

CASTIEL: What do you mean?

DEAN: Knife me. Smite me. Throw me into the freakin’ sun, whatever. And don’t let Sam get in the way, because he’ll try. I can’t go down that road again, man. I can’t be that thing again.

(Transcript from here.)

I may hate seasons 6 and 7, but holy damn do I love season 10. I know it’s not a favorite among many people in the fandom, but it’s one of mine.

This moment, this burger date of sadness and pain, is a big favorite for me. Dean sees the writing on the wall. He’s been a Knight of Hell now. He’s been as darkside as he can get. He’s, likely, being reminded daily of his time in Hell in the last ten years of his stay there where he was torturing souls. And he’s begging Cas to keep him from returning to that place. He’s begging Cas to adopt the Old Yeller principle because he sees it as the only option left if the mark consumed him again. And that kills me.

Let’s take another jump forward to season 13, where Dabb & Co really started putting Dean’s Old Yeller principle into text in a heavy, purposeful way.

13x02 - The Rising Son

SAM Dean, wait a second. (Sighs) The kid came through for us today. Jack saved us.

DEAN No. No, whatever that was, that was a reflex. It was a sneeze. Maybe next time he sneezes, he kills us. Good night.

[DEAN hears a clacking sound coming from a distance. He follows the noise to JACK’s room.] JACK Ah!

[DEAN finds JACK trying to stab himself with a blade. The wounds immediately heal.]

DEAN Okay. What the hell?  (he gets in the room) Give me that. You—Don’t be an idiot. Look, A, this is not gonna do anything to you, okay? And B, you… What the hell?

JACK Exactly. What the hell am I? I can’t control… whatever this is. I will hurt someone.

DEAN You know, my brother thinks you can be saved.

JACK You don’t believe that.

DEAN No, I don’t.

JACK So… if you’re right?

DEAN If I’m right… and it comes to killing you… I’ll be the one to do it.

[DEAN leaves.]

(Transcript from here.)

Can I just bask in the glory of the grieving widow!Dean arc from the beginning of 13 for a moment? I’d also like to take a moment to 🙌 Jack for being a wonderful Team Free Will mirror (and mimic) from the word go.

Ahhh…

Okay, moving on.

I loved this bit in 13x02 so much. Partially because it’s such a heavy handed foreshadow to 14x20, but also because it shows so clearly how good Jack is at reading the emotions in the room. He’s, like, three days old at that point, but he’s already having an existential crisis about whether or not he’s evil. He already understands (yes, thanks to jackass grieving widow!Dean…) the whole Monster = Evil = Kill The Thing.

He also shows that he understands the Old Yeller principle. And, for better or worse, he and Dean reach an unspoken agreement here about it. (Again, this is my reading. Your mileage may vary.)

13x04 - The Big Empty

JACK I’m afraid.

MIA/KELLY Why? Why are you afraid?

JACK Sam thinks you were right, that—that I’m good. He wants me to believe it, and I wanna believe it, too. It’s just, I… I’ve hurt people. I didn’t mean to. It was an accident. And I know I should feel bad, and I say I feel bad, but most of the time, I mostly… I don’t feel anything. And that’s why I think maybe… Maybe I’m a monster.

MIA/KELLY Jack. It doesn’t matter what you are. It matters what you do. And even monsters can do good in this world.

JACK You really believe that?

MIA/KELLY I have to. I have to.

[MIA hugs JACK again.]

(Trancript from here.)

Killing me would be kinder than subjecting me to these feelings so soon after being introduced to this fucking character. Omg. Poor Jack.

Now, yes, a huuuuge part of Jack’s opinion of monsters and the whole “What do we do with monsters children? That’s RIGHT, we kill them.” thing is because Dean is an asshole when he’s emotional and grieving and deep into survival mode.

But, that doesn’t change the fact that Jack is still worried about the fact that he doesn’t feel things the way that everyone else seems to. That he has powers no one, including him, can understand. And that he’s killed people without meaning to. He’s afraid of himself just like Dean was afraid of what he was capable of if the mark took him over again.

13x23 - Let The Good Times Roll

(Sam continues down the hallway while Dean turns to another hallway and approaches his bedroom door. He stops as if to listen to something and then continues down the hall, away from his bedroom door. He enters Jack’s room, where Jack is sleeping and talking in his sleep)

JACK Stop! No!

DEAN Jack? (Dean touches Jack’s shoulder to wake him) Hey. (Jack jumps up, anxious and disoriented. Dean holds out his hand towards Jack to calm him) Hey, whoa, whoa, whoa, whoa. Easy. You’re just having a bad dream.

JACK (breathing heavily) Sorry.

DEAN It’s okay. You don’t have to apologize. I have 'em, too. All the time.

JACK You do?

DEAN Sure.

JACK You, um… What do you see?

DEAN Well, depends. Mostly…mostly people I couldn’t save.

JACK Me, too. Over there in the other world, I said I’d protect those people. But…I saw so many of them die. And…I tried to save them. I…I tried, but… I’m sorry. I wasn’t strong enough.

DEAN Jack… (Dean sits on the edge of Jack’s bed) it’s not about being strong. I mean… Look, I don’t know what you saw over there, and I don’t know what you went through. I know it was bad. But I also know that you came out the other side because you are strong. But even when we’re strong, man, things are gonna happen. We’re gonna make mistakes. Nobody’s perfect. Right? But we can get better. Every day, we can get better. So whatever you’re dealing with, you know, whatever…whatever comes at us, we’ll figure out a way to deal with it, together. You’re family, kid, and we look after our own.

(Transcript from here.)

It’s not about being strong. IT’S NOT ABOUT BEING STRONG.

This is where we veer away from Old Yeller a tiny bit because, again, in the book Yeller had rabies which they could do nothing about.

The moments I’ve highlighted in this post all come back to one motivation. The overpowered person/angel/asshole in question was trying to gain enough strength through supernatural (lol) means in order to have the power to destroy a (perceived) bigger threat than whatever the cost was to get that power.

Sam’s demon blood drinking was supposed to give him the power to destroy Lucifer and get revenge for Mary and John and their lost childhood. It went badly and earned Sam the label of monster and falling, at least temporarily, into the territory of the Old Yeller principle.

Cas started lying to the brothers and working with Crowley so they could gain the power to stop heaven from starting yet another apaocalypse. Cas wanted to keep the Winchesters (Dean) safe from being destroyed in a holy war after being forced to fight his brother to the death. Again, this did not go well and lead to Cas succumbing to the Leviathans’s power and dying front of Dean after losing the Winchester’s trust.

Dean took on the Mark of Cain to defeat Abaddon, the evil that made John grow up without a father. It left him torn between going on a, essentially, soulless killing spree or becoming a Knight of Hell… again.

Hell, even the way Jack came into the world was fraught with Sam lying to Dean about working with the BMoL to have the power and strength to defeat Lucifer/the nephilim. Not to mention the months of lying Cas did after he decided that Jack’s power and strength was the only way they could destroy Lucifer once and for all. Again, this ended with Cas dying in front of Dean and the BMoL trying to exterminate everyone including the American hunters.

That’s the lesson Dean is trying to instill (hypocritically, let’s be honest) to Jack here. Strength and power come at a terrible cost and if you can solve a problem without resorting to that level of fuckery that things will be better.

And, also, that if things do go bad, that Jack is family and “we look after our own.” To Dean, this is where the Old Yeller principle kicks in. It is, in a rather fucked up but well earned way, the best option he knows for making sure another one of his loved ones doesn’t fall under that monster label. That none of them end up with more blood on their hands or bringing about the end of the world, again, because of their soap opera problems.

13x23 - Let The Good Times Roll

JACK I’m sorry.

(Jack walks towards the exit and Castiel goes to follow him)

CASTIEL Jack!

(Dean grabs Castiel’s arm)

DEAN No, hey, just – just let him go.

(Jack is walking through the woods, banging a closed fist into his hand and punching his shoulder)

JACK You keep hurting people! You keep… (Jack flashes back to all the people he has hurt with his powers – Nate, Sam, Dean, the female police officer) hurting… (flash to the male sheriff) (yelling) Why do you keep hurting people?!

(Transcript from here.)

This lesson, the lesson of power and strength not being the best answer because of the cost it comes with is not an easy one to learn. Especially when you were born as a superpowered, emotional Winchester by adoption. Life is scary when that’s the hand you’ve been dealt and using the power you have is an appealing balm to combat that fear.

13x23 - Let The Good Times Roll

JACK (moving towards Lucifer, eyes glowing and hand outstretched)Tell me the truth!

(Lucifer’s eyes start to glow, his head tilts to the side and he starts speaking)

LUCIFER She saw me when I was scouting out the bunker. She saw me and she screamed, and then…so I crushed her skull with my bare hands. And it was warm and wet, and I liked it.

(Lucifer’s eyes return to normal and he looks confused)

JACK You’re not my father. You’re a monster.

LUCIFER (yelling) Come on, man! (Lucifer bellows so forcibly that Sam and Dean cover their ears, his eyes glowing red) Okay. I tried with you. I really tried with you.

JACK Everything you told me was a lie.

LUCIFER Because I told you what you wanted to hear, man. So what?! I killed the girl! Big deal! She’s a – she’s a human! She doesn’t matter!

JACK So am I!

LUCIFER Yeah? And that’s your problem. (pointing at Jack) You’re too much like your mother.

(Transcript from here.)

To me, this moment reads as Jack embracing that black and white Winchester thinking. He has yet (even now that’s he’s currently dead in season 15) to grasp the concept of people being morally gray. He sees himself as either embracing the monster side of himself from his bio dad or rejecting that side of himself to embrace Kelly’s human side. The side that can’t hurt people on accident. The side that makes him more like the Winchesters. Because he doesn’t want to fall under than monster label. He doesn’t want to fall under that Old Yeller principle. He doesn’t want to hurt so many people that he will have to die because neither he or anyone else can control him.

Yes, this moment is FAR more complicated than just that, but it’s definitely part of it.

14x10 - Nihilism

DEAN Sam said that one of your reapers really came through with the assist. I’m thinking that was probably you.

BILLIE Don’t tell anyone.

DEAN You broke the rules.

BILLIE I took a calculated risk. I warned you about the dangers of jumping from world to world. But you ignored me, didn’t you?

DEAN Rescuing Mom and Jack, helping out those other folks – I’d say it was worth it.

BILLIE And just look at you now. Do you remember visiting my reading room? The shelves and shelves of notebooks describing the ways you might die?

DEAN Yeah. Upbeat classics.

BILLIE Well, it’s the funniest thing, but they’ve all been rewritten. They all end the same way now – with the archangel Michael escaping your mind and using you as his vessel to burn down this world.

DEAN All of them?

BILLIE All of them. Except one.

(Billie hands Dean a book. He opens it and then looks at her, stunned)

DEAN What am I supposed to do with this?

BILLIE That’s up to you.

(Dean looks at the book again and when he looks up, Billie is gone. He looks back at the book and then looks around, a mixture of fear and confusion on his face)

(Transcript from here.)

Remember what I said about Dean being well aware of the price that has to be paid in exchange for the power and strength to defeat supposedly unbeatable enemies?

Yeah… Dean “knows” that the time has come for him to call his own bluff. The one from all the way back in 10x09 (not that he was bluffing then, but he didn’t have to take action on it then) when he asked Cas to take him out. “Knife me. Smite me. Throw me into the freakin’ sun, whatever.”

We didn’t know that was what this moment was until the next episode. But this is the moment when the Old Yeller principle went into effect again. And you can see how much it hurts Dean, how resigned and heartbroken he is over it.

14x11 - Damaged Goods

DEAN It’s a Ma’lak box. [DEAN closes the door to the box. He and SAM are standing over it.] Secured and warded. Once inside… nothing gets out, not even an archangel. Especially an archangel.

SAM Yeah, yeah, yeah. I’ve – I’ve read about these, but – but no one’s ever – they’re impossible to build.

DEAN Yeah, well, not so much.

SAM That’s your plan? You want to be buried alive?

DEAN Buried’s not safe enough. Plan is, pay a little hush money, charter a boat to take me out to the Pacific. Splash.

SAM You and Michael, trapped together – for eternity?

DEAN Yeah.

SAM You do realize how insane this is, right?

DEAN It’s the only sane play I’ve got. Michael gets out, that’s it for this world. And he will get out.

SAM Well, how do you know that for sure?

DEAN Because I do. Because I can feel him in my head. That door is giving. I can feel it giving.

SAM But there has to be another way.

DEAN There’s not, okay? There – Sam you’ve tried. Cas has tried. Jack… And I love you for trying. But none of it’s gonna work.

SAM We don’t know that.

DEAN Yeah, we do.

SAM What?

DEAN Billie.

SAM Billie?

DEAN She paid me a little visit. She said that there’s only one way this ends right. And this is it. This, right here, this box. So, she gave up the special recipe, and all I had to do was the work. It’s fate.

SAM Since when do we believe in fate?

DEAN Now, Sam. Since now.

(Transcript from here.)

Here is the moment. The one where Dean was at his absolute lowest. When he hit that point where resignation about his fate met having to act on his principles. 

14x12 - Prophet and Loss

DEAN Well, I will call this a win. Kinda nice. Going out on a high. SAM “Going out” being the operative phrase. DEAN Sorry. SAM “Sorry.” How sorry are you? Sorry that you fight to keep Donatello alive, but when it comes to you, you just throw in the towel? Or are you sorry that, after all these years, our entire lives, a-after I’ve looked up to you, after I’ve learned from you, I-I-I’ve copied you, I followed you to Hell and back… are you sorry that all of that it – it – it means nothing now? DEAN Who’s saying that? SAM You are, when you tell me I have to kill you. When you’re telling me that I have to just throw away everything we stand for, throw away faith, throw away family. We’re the guys who saved the world. We don’t just check out of it! [SAM pushes DEAN.] DEAN Sam, I have tried everything. Everything! I got one card left to play and I have to play it. SAM You have one card today! But we’ll find another tomorrow. But if you quit on us today, there will be no tomorrow! You tell me, uh, you don’t know what else to do. I don’t either, Dean. Not yet. But what you’re doing now, i-it’s – it’s wrong! It’s quitting! I mean, l-look what just happened. Donatello never quit fighting. So we could help him because he never gave up. [SAM moves closer to DEAN.] I believe in us, Dean. [DEAN doesn’t say anything. SAM gets angry and punches DEAN in the face.] I believe in us. [SAM tries to punch DEAN again, but he stops him.] DEAN Hey, hey, hey, hey! [SAM hugs DEAN.] SAM Why don’t you believe in us, too? DEAN Okay, Sam. Let’s go home. SAM What? [SAM pulls away from the hug.] DEAN Let’s go home. Maybe Billie’s wrong. Maybe. But I do believe in us.

(Transcript from here.)

And just like Dean predicted in 10x09, Sam was able to talk him out of sacrificing himself. How was he able to do that? By reminding Dean that they were the fucking Winchesters. They fucked with the cosmic balance constantly and always, always found another way. A way to avoid the Old Yeller principle. A way to live and fight again.

Which, they totally did, but the price of not throwing Dean into the ocean for an eternity of alone time with alt!Michael banging away in his head was their adopted child.

14x20 - Moriah

JACK: You’re not gonna lock me up again, are you?

DEAN: No.

(Dean raises the gun, aims at Jack and exhales deeply. Jack kneels down and bows his head. Dean, looking puzzled, lowers the gun and walks closer towards Jack. When he’s right in front of Jack, he aims the gun directly at his head. At this moment Sam comes speeding into the cemetery, car tires screeching. He gets out of the car and starts running towards Dean and Jack)

SAM: Dean? Dean!

JACK: (to Dean) I understand.

(Sam is still running, yelling for Dean. The music is getting more suspenseful as Dean holds his aim steady at Jack)

SAM: Dean, don’t! Dean? Dean!

JACK: I know what I’ve done.

SAM: No, no, no, no, no, no, no, Dean! Hey, hey, hey! Dean!

DEAN: Stay back, Sam!

SAM: (Panting)

JACK: And you were right all along. (Chuck comes up alongside Sam) I am a monster.

SAM: (to Chuck) Do something. … You’re enjoying this.

CHUCK: Shh.

(Dramatic music plays)

(Dean cocks the gun. He looks Jack in the eye for several seconds and then slowly lowers the gun. At this point, Castiel also comes running towards the area)

(Dean uncocks the gun and tosses it to the side)

(Transcript from here.)

I have yet to rewatch this episode, but from what I remember I don’t think it had completely sunk in to Dean in that moment of choice that Chuck was there revealing that he was invested in the outcome of this showdown between Dean and Jack. In that moment, that split second of choice between following through with what he’d believed for so long for following through with an extension of the order John gave him about Sam back in the hospital back in 2x01, Dean made a choice for himself. And that choice was to believe that they’d find another way. He decided that when it came right down to it, he couldn’t kill his child for making the same bargain for power and strength that he himself had made multiple times over the last 14 seasons.

He was also directly confronted with a similar situation to that from the end of season 6 and beginning of 7 with Cas and the Leviathans, in that when it really came down to it, he wasn’t capable of murdering someone he considered family.

And then Chuck had to go and erase any chance they had in following up on that. He killed Jack so that they didn’t have a chance to find a way to help Jack balance the power he’d absorbed from destroying Michael or living without his soul.

So yeah, from where we sit now with only one episode of season 15 under our belts waiting with baited breath to see where the rest of this end of the road season takes us, it makes sense that Dean, of all people, would be in the middle of an emotional fucking collapse. And that he would be a huge, whiny, pissbaby douchebag about it because that’s the Dean Winchester way.

Does that make his behavior okay? No, of course not. But does that turn any of the rest of them into saints? Nope, of course not. And I, personally, wouldn’t have it any other way. I like that they’re flawed and fucked up and keep getting back up and going back to each other and keep trying. That’s why we’ve had 15 goddamn seasons of this. Because it’s what they do.

[firebirdsdaughter]

Over Analysis ‘The Gawas will be the Death of Me’ Stage 1: The (1st) Fight

Okay. So. This is gonna be a long post, so I will condense it immediately. Are we ready?

Who am I kidding. Absolutely not.

Warning: rambling be below this point.

We start out w/ Hiden Manufacturing being blown up. Not much to say here other than Fuwa being fond big brother is sweet, Yua looks awfully chill for standing in the ruins of an exploded building, and Jin is doing his best Ankh impression (Nakagawa, honey, I love you, but there is only one Ankh). Until Aruto says:

Jin is surprised a complete stranger is showing more concern for his family than he has been.

I know I complain about Aruto’s characterisation a lot, but I liked this (enough that I think it should have been what Jin brought up when talking to MBR). Ignoring, for the moment, my other issues and pretending that this friendship developed how it could have, this would be a really great scene, esp considering the stuff Jin did previously. Aruto wanting to save the other three in contrast to Jin’s decision to just sacrifice them would be an interesting thing. I wish we got more on it, honestly. It was one of the ways they could have developed from each other. Either way, this comment has an effect on Jin, and when shit starts exploding, he takes off on his own.

MetsuBouRai, meanwhile, are brooding about the MBJR base bc the Ark isn’t talking to them. Raiden’s angry, Naki is dejected, but Horobi is just… Sitting there. Watching, I believe, the same thing Yua is watching on her phone during this stuff, going by the animation.

Naki says this, but it cuts to each of them. Horobi’s head actually turns slightly, while Raiden looks morose for a moment before laughing bitterly and taking out his frustration on that mind hacking helmet (which breaks yet again). Raiden’s always been the most expressive of the three, but Horobi’s reaction also feels import bc of how long he’s been under the Ark’s control, brainwashed into believing that the Ark was the path to saving HumaGear. He’s never once been able to consider the Ark might turn on them or abandon them. Naki and Raiden haven’t been under so long, so while they’re still hacked, they don’t have the same mindless devotion. Naki can question and Raiden can be mocking. But this feels very much like a ‘wait, what?’ moment for Horobi.

… That his conditioning has to immediately reject, insisting that the Ark will come back for them, is really going to save HumaGear. Oh, sweetie.

*I know that the show (? Or at least most sub groups) are referring to the Ark as ‘he,’ I’m just stubborn and like saying ‘she.’ Being voiced by Charden Flamberg won’t stop me.

Jin shows up, announcing, ‘you’re wrong’ and that the Ark can’t be trusted (when did we stop saying ‘the’ Ark?), and it looks like he didn’t stop to shower or anything en route. Come to think… How would he repair that suit? Anyway, he spends the majority of this scene looking right at Horobi, who…

… Doesn’t react. It’s Naki who says something. Jin and Horobi just… Stare at each other. Raiden looks like he thinks he’s interrupting. Lots of tension here. It’s up in the air whether Horobi doesn’t know how to react, or if he actually can’t in the state he’s in at this point. The Ark’s being going at how he processes situations w/ a chainsaw for years, he may be completely unable to figure out how to respond.

Horobi doesn’t even move… Until Jin starts apologising. I don’t we ever saw Baby Jin apologising for anything? Not even when he didn’t get the Mammoth Key back. All three of them seem confused by the apology, but it’s enough to get Horobi out of his game of statue. Obviously he doesn’t think raising the Ark is something to apologise for bc of his enforced loyalty to her. But he doesn’t seem to consider Jin to have to done anything worth apologising for.

As for Jin, this is a moment that makes me inclined to buy that he’s realised he fucked up. I would have appreciated going into that a little more, bc wtf dude, that plan was a clusterfuck even aside from the whole ‘murder my dad for being brainwashed,’ but this ep heavily indicated he realises what he did. And boy is he paying for it.

Jin talks about the plan to destroy the Ark, then goes very quiet and walks up level w/ Horobi, and the shot closes in on the two of them again. It takes him a second to actually look at Horobi… My guess is bc he knows what he’ll see.

… And the award for an absolutely terrible plan goes to… But in all seriousness, Nakagawa Daisuke, everyone, the kid can act. The way he says it, and how he kinda seems to be wavering on his feet, gives the impression he’s just barely keeping it together. I’ve debated about him saying this point blank like this, and on one hand, ouch, on the other… Given my interpretation that Horobi views lying as a human thing and absolutely detests it… Jin might be hoping being straight up w/ him will work better. Or maybe he’s hoping to gauge Horobi’s reaction, bc rather heartbreakingly…

… Horobi doesn’t seem bothered in the slightest. In the hopes of keeping images to a minimum, I didn’t include another thing I noticed while going through—Naki doesn’t look back to Horobi until he starts talking, but just seconds before Horobi speaks, Raiden’s gaze switches to him, w/ that kinda concerned look. Just before he talks, Horobi’s head also turns like he’s glancing at the other two, but it’s hard to tell, he’s out of focus (oh, so painfully much), which is actually a little interesting considering he’s being totally calm about his son saying he was trying to kill him. Is it bc the idea of the Ark failing never occurred to him? Or… Does he have so little self worth that he’s completely indifferent to the idea of his death? To me… Probably both. Horobi has lived his entire life for other people, has been brainwashed into a tool of the Ark—and we see what happens when he wavers or tries to be something else later in this ep. While the idea that the Ark would betray them has never been able to occur to him, he’s shown multiple times to be completely calm about the possibility of dying, and this is Jin saying he was going to kill him. But Horobi doesn’t even seem surprised. He just accepts it.

Which I have to feel like is the reaction Jin expected. Why he was so reluctant to look up, bc he knew Horobi would just be… Blank. Bc he knows what the Ark has taken from Horobi, and now he’s actually facing the fact that he made it worse.

When you tell your dad you were planning to kill him and he doesn’t even care. But seriously. He doesn’t even remark on it. Horobi doesn’t care about his own life to the point Jin can point blank say he was planning to kill him and Horobi won’t even blink, much less get upset. Jin’s guilt here, to me, likely isn’t just ‘I helped the Ark rise and now everything is shit,’ but also facing the fact that he’s… ‘Re-reduced’ Horobi to being the Ark’s mere puppet again, esp right after Horobi was actually starting to have some clarity. Gotta wonder if he’s flashing back to that ‘why did I do that?’ moment in episode 35?

I made a comment about Horobi being out of focus when talking about Jin planning to kill him… He comes abruptly into focus when Jin brings up Aruto. Is this about Soreo’s data? Aruto talking about him wanting to be Jin’s father? I have opinions about the way Aruto is talked about in this scene and the things Jin chooses to bring up, and mainly… I just thought this was curious. And… Sunagawa has a very nice profile, so sue me. ^^; (you have no idea how many of these shots just turned into ‘I think this shot is cool! I may share some at the end of this).

When Jin says Aruto can defeat the Ark, Horobi isn’t happy. But he… Looks around weirdly while talking? Starts out looking at Jin, then looks down like he does when he’s thinking, then back up at Jin by the end.

… I have nothing else for this. What? An excuse to use more pictures of Sunagawa? … Leave me alone!

Look at Nakagawa hunching again. Is that to fit everyone in the shot, or is he just doing that?

Jin persists and Horobi… Shouts. And then he doesn’t just shout, he dives forward and grabs Jin’s collar. It’s hard to see in my crappy screen shot, but Jin seems surprised by this, and w/ good reason, Horobi’s not usually emotional. I believe this is only the second time we’ve ever heard him shout… And both times were at Jin about humans. Trying to reject what he possibly sees as their growing influence over his son.

… I wonder. What makes him so desperate to make Jin stop in this moment? Their dynamic may have shifted w/ Jin’s revival, but Jin’s still the person… Well, second to the Ark, he’s the person w/ the most influence over Horobi. Aruto and Fuwa both made slight headway, but when it comes down to it, Jin is Horobi’s, well, singularity point. Why react this way? Even at this point, neither Naki or Raiden were jumping at it. Did the Ark’s engrained influence just want to reject the words, some personal experience w/ humans. Is it the words themselves, or the fact that they’re coming out of Jin? It’s more emotion than he showed on the subject of his own death. Honestly, maybe more emotion than he’s ever shown. Is he rejecting blasphemy against the Ark… Or what he perceives as human influence and control over his son?

But then something interesting happens.

At first, Horobi is clearly furious—but then…

… The Ark… Abruptly stops hacking? Not… Technically weird, but pretty suspicious considering that immediately after…

… Horobi abruptly… Goes back to being passive. He even lets go of Jin’s suit. Did the Ark do something? Giving direct orders or not, he’s still connected. Or did he just not know what to do once he got in there? He and Jin stare at each other for a moment. Did his soft spot for Jin kick back in?

He keeps this much calmer attitude, and is even still looking down when he speaks again.

Who are you trying to convince and why, Horobi?

Jin has apparently forgotten how ‘hacking’ works. Being right on the second point doesn’t excuse the first one, sweetie.

Is it important that it’s just them in this shot? I’d like to think so. My theory is that this whole scenario actually stole something very personal from them that’s never going to really come back, the chance to be a proper family, for Jin to grow up as a child and for Horobi to actually be a proper father. Is the implication that they are ‘HumaGears’ to each other? Until pried from my cold dead hands (break my fingers, Takahashi, break them, I dare you), my interpretation is that Horobi’s actions next time are centred around wanting a world where Jin will be completely safe (someone please tell him there’s no such thing, bc there isn’t, before it gets him killed), that while the goal is safety and peace for all HumaGear… It’s his personal motivation to do it for Jin.

Either way… Putting aside the question of whether Jin is actually as free as he seems to think he is… I was waiting for him to say this to Horobi. Bc hell yes, Horobi deserves to be free of the Ark, and Jin should know that better than anyone. She had Horobi under closer control than anyone else, bc she wanted/needed him to manipulate Jin. He was her tool to move her pawn. And that’s fucked his mental state to hell and back.

Horobi isn’t even able to respond to the concept of ‘free,’ It’s Naki who steps in again.

Jin keeps going, and eventually brings up dreams. I don’t know if that specifically has to do w/ Horobi’s reaction… In my theory, assuming he actually remembered a bit about his past, I can def see ‘our own dreams’ setting of ‘Ark bells’ and making him compulsively reject the notion.

Interestingly, he turns slightly to face the corner before speaking further.

… Well don’t that just sound robotic. ‘Brainwash victim’ alarums go off again.

Jin has another small somber moment. This one feels less ‘messy emotions/wracked w/ guilt’ and more just… Sad. Regretful, too, but not the same exactly? This isn’t so much ‘what have I done?’ anymore as ‘I did this.’

He failed to try at all before. That’s not me being mean, that’s me saying I think that’s what’s going through his head. He might not be thrilled about fighting Horobi as Horobi, but bc he let them down before, he has to power through.

Naki: Do you think they’ll notice if we back towards the door?

Raiden: Trust me, I’m thinking about it.

They fight and Jin loses. Horobi’s got experience, a positively self-destructive lack of self preservation, and I do think Jin was holding back. Making himself fight Horobi as the Ark is one thing, he can just tell himself it’s the Ark, probably easier to be like ‘Horobi can’t be saved’ like that, too (even though Jin bloody reconnected them), but fighting Horobi as Horobi… That’s something else. Esp w/ the knowledge that Horobi is so blankly devoted to the Ark right now bc of something he did.

Jin kinda tries to shuffle away as Horobi approaches… I don’t blame him, that’s Takaiwa Seiji. Don’t fuck w/ Takaiwa Seiji.

Horobi says… But then just stands there, perfectly still, giving no indication that he intends to move, for another ten whole seconds (yes, I counted). He says that, but then doesn’t do anything. Almost like he’s hit a wall. And he has, hasn’t he? The Ark’s influence over him wants to erase anyone who defies it… But Horobi himself has shown multiple times that his actual instinct is to protect Jin. So what does he do when he has a chance to destroy someone vocally against the Ark, but… It’s Jin? He freezes, apparently.

Jin looks up at him like this, kinda pleadingly, and I like the idea that he’s looking… Essentially, for his father. Hesitation, feeling. Any reaction. But while I do see Horobi freezing as a sign of his inability to follow through w/ the threat… It also shows he has no idea how to follow that up. He can’t get beyond the instinctive ‘don’t do this.’ So he just starts playing statue again. That’s gotta be rough for Jin to see, esp w/ the knowledge that he contributed to rendering Horobi this messed up. Again.

When he sees nothing, he looks away again. Maybe trying to gather nerve in the face of the nigh zombie-like state he’s seeing his father in. We cut a few times between him and Horobi as he starts talking, between Jin being more emotional, and Horobi’s continually blank countenance.

Jin doesn’t look back up until he asks if killing him is something Horobi wants. This expression doesn’t read hopeful either way. Does he want Horobi to indicate it’s not, bc he wants his father to still care about him, or does he want Horobi to be upset that he tried to kill him, to show some sign of self worth/preservation? Hard to know, but it’s definitely pleading again.

Naturally, the first words that come to Horobi’s mind. And, yes, it is. The Ark wants detractors to disappear. But in this situation… That conflicts w/ what Horobi himself truly wants. And he reacts. He’s directly confront ed w/ a contradiction, w/ the realisation that the Ark’s will hasn’t completely replaced his own. He’s conditioned to follow the Ark’s will no matter what, he doesn’t want to kill Jin. He’s in disagreement w/ the Ark’s will. Big no no. What he’s saying ‘no’ to is a little unclear, but I like thinking that he’s realising he doesn’t want what the Ark would want. It’s also interesting how the focus shifts from him to Naki and Raiden. Presumably, they are effected by seeing Horobi be uncertain about the Ark’s will, and that contributes to everyone’s reactions.

I love Jin’s reaction to Horobi lowering the bow. He makes this emotional little sound, and watches the bow for a moment before looking anxiously up at Horobi—looking for a reaction again, if there’s anything more. But Horobi’s just… In a daze. I still don’t know if Jin is relieved by this, or if he was hoping Horobi would be personally angry at him. Kind of puts me in mind of a moment from Prince of Persia where Dastan tells his brother that the dagger rewinds time and then stabs himself, and when his brother uses it and tells Dastan he died right in front of him, Dastan’s reaction is a breathless ‘you used it!’ from the relief that his brother cared/trusted him enough. Jin’s reaction kind of makes me think of that, amazement and relief and even kind of gladness that he matters enough to Horobi that this would actually cause his father to waver from his brainwashing. Which, while really sweet and a testament to what Jin genuinely means to Horobi, is also heart breaking and shows off just what the Ark (and thus Gai, by creating it) took from them, that this is how we see that Jin is important to Horobi. It should just be bc he’s his dad, bc hugs and family times. But the Ark took that from them. It shows that Horobi cares about Jin, but it’s also glaring show of what they lost/missed out on bc of the Ark.

There’s also something else about Jin’s reaction if you look closely at his hands.

His right hand shifts, lifting up slightly, like his first instinct was to reach out to Horobi, try to solidify whatever’s happening—but in the end, he doesn’t commit, and…

Horobi wanders off, in some sort of confused trance. We don’t see his face at all here.

It’s been pointed out to me that these two are always reaching out to each other and never quite making it, and… Accurate. Feels like yet another example of just how badly they’ve been fucked over and what was taken from them. I just really hope they finally get to connect before… Whatever happens.

[twinkletoes-rp]

Naruto AU “Surface Breaker” Ch. 1 - Awakening

Fandom: Naruto Genre: Angst, Hurt/Comfort, Friendship, (Found) Family Rating: T (to be safe) Relationships: Naruto Uzumaki & Shikamaru Nara, Naruto Uzumaki & Sakura Haruno, Naruto Uzumaki & Konoha 11, Naruto Uzumaki & Everyone, Naruto Uzumaki & Sasuke Uchiha (mentioned) Characters: Naruto Uzumaki, Shikamaru Nara, Sakura Haruno, Konoha 11, Sasuke Uchiha (mentioned) Words: 4,456

Summary: AU/Canon Divergence post-Shippuden 215. When Naruto nearly dies at Sasuke’s hands for a second time, he makes the heartrending decision to finally heed his dead master’s advice and let the Uchiha go. Healing and moving on are never easy, but luckily, Naruto has a whole village (and even those outside it) to aid and love him along the way.

Canon Divergence start: Different from the actual episode, Naruto and Sasuke's fight goes on a lot longer and is way deadlier. It ends up a fight to the death. The only reason they both survive is because Tobi swoops in to steal Sasuke away, and Naruto passes out a second later. That's where the fic opens.

(Can also be read on FFN | AO3 | Next )

--

“Naruto!”

He remembers coughing up blood, a lot of it, and then…his eyelids were so heavy…

“I can’t… We have to…the village…”

He remembers hands on him. Warm and slick and…shaking…

“Stay awake, Naruto…”

He remembers intense pain shooting through him, coughing up more blood…

“Hold on!”

He remembers rushing paws, so many and so loud it became a roar…

“Just a little farther! You can…”

He remembers being set on something soft and cold, tasting more blood…

“Come on, Naruto… You’re…be Hokage…”

He remembers pounding feet and familiar voices barking orders…

“Don’t you dare… Stay with me, you stubborn…”

He remembers machines screeching and a well of grudgingly-protective rage surging through him…

Don’t give up, brat!

And then…nothing.

---

When Naruto wakes, it’s to sights, sounds, and sensations that are becoming more and more familiar over the years.

Machines beep into an otherwise silent, still room. Sterile floors and walls in dull colors that are supposed to relax and provide a sense of calm. Chemicals most might not be able to smell, the pinch of an IV, a few actually, in his arm. Slightly itchy white sheets and a starchy blue hospital gown that’s too big for his small frame. Bandages cover almost every part of him, and he thinks one of his arms might be in a sling – or at least, bound to his side temporarily. Some seriously strong pain meds must be in his system because, at least for the moment, he doesn’t feel even a fraction of the pain he’s sure he should be in. Sakura or Granny Tsunade, maybe both, must have ordered that for him. He’s grateful.

Giving his body a few minutes to adjust to being awake after…who knows how long, he turns his head slowly to look around. He almost regrets it when his vision swims, but something else he notices almost immediately takes precedence.

Body heat at his elbow. There’s…someone else here…?

For a split second, his heart rate spikes, but it calms just as quickly. His vision might not be clear yet, but he can tell from the steady heartbeat and gentle breathing that whoever it is isn’t here to hurt him. Besides, if the splotches of color he can make out are right, he thinks he knows who it is anyway, and in that case, he’s definitely not worried.

When he can finally see, Naruto can’t help but smile, what little he can manage anyway. He was right. It’s Shikamaru, fast asleep at his side with his face in his arms. Naruto breathes a laugh. It’s the same way he used to sleep in class at the Academy when they were kids. If he’s asleep, though, Naruto wonders how long he’s been here. He hopes not all night. Besides getting him in trouble with the nurses or, worse, Sakura and Granny Tsunade, leaning over on the mattress like that must be really uncomfortable.

All the same, he can’t help but soften. He never thought he’d wake up to find Shikamaru Nara, of all people, at his bedside, but he’s certainly not complaining. On the contrary…he’s happy and touched. Shikamaru’s a great friend, one he’s lucky to have, and he knows better than most that the genius doesn’t put his energy into anything he doesn’t believe in. So for him to be here…

Lifting his good arm experimentally, he finds it doesn’t hurt too much to use. Satisfied, he reaches over to rest a bandaged hand on Shikamaru’s shoulder and shake him gently. “Hey, Shikamaru,” he whispers, not wanting to scare his friend. “Wake up.”

Shikamaru instantly shifts and opens bleary eyes. Blinking a few times, he pushes himself back some and stretches, yawning so long that it leaves tears at the corners of his eyes. Wiping at them with his sleeves, he looks his way and freezes, blinking a few more times and even rubbing his eyes for good measure. “N-Naruto?” When he sees his friend really is up, he perks up instantly, face breaking into a wide smile, maybe his brightest Naruto’s ever seen. “Hey, you’re finally awake!”

His smile is contagious. Naruto’s isn’t nearly as big and bright as it normally is, but Shikamaru wasn’t expecting it to be. Not yet, anyway. “Y-yeah, I guess I—I am!” Naruto cringes and coughs at how raw and croaky his voice sounds from disuse, his throat dry as the Demon Desert. Shikamaru helps him sit up enough to drink some water, and Naruto sighs happily once he’s done. There’s more life to the smile he gives this time. “Thanks, Shikamaru! It’s good to see you, too!”

Shikamaru’s exhale is helplessly fond, the other’s voice and smile the last pieces he needed to know he really is okay – or, you know, going to be. He hangs his head with a heavy sigh, all the tension bleeding from his shoulders as his relief takes all his energy at once. “Thank goodness…”

Naruto, meanwhile, is silent, studying Shikamaru’s face. Now that it’s not hidden in his arms, his friend looks paler and definitely more tired than usual. There are some pretty dark shadows under his eyes, too. The blond’s brow furrows in concern.

“Shikamaru…are you okay? You don’t look so good…”

Shikamaru looks up, startled, and then he laughs, the action helping to further relax him. He can’t help it. He swears Naruto is the most selfless person he’s ever met in his life. “You’re one to talk. You’re practically a walking bandage roll.” Naruto doesn’t let up on his worried stare, though, not swayed by the joke and possible deflection, and Shikamaru sighs a bit, smile sobering along with him. “I’m fine. Just a little tired, is all.” He scrubs his hand down his face and then gives Naruto a semi-scolding look, smirking lightly. “You scared the shit out of us, you knucklehead.”

Naruto has the grace to look sheepish, rubbing the back of his head before he remembers that hurts. “S-sorry… But, uh…what exactly am I apologizing for…? How’d I get here again…?”

Shikamaru huffs a laugh. Honestly, this guy… “With how hard you hit your head, I’m not surprised you need a refresher.” He gets more comfortable in his chair and then fixes Naruto with a serious stare. “Depending on how this goes, this might not be the easiest thing to hear, so fair warning. Frankly, I’m glad you’re already lying down.” Naruto’s caught off guard for a moment, but he nods in the next one. Shikamaru takes that as a signal to start. “Well, for starters, you’ve been out for over a week.”

Naruto’s eyes widen, lips parting in surprise. He doesn’t think he’s ever been in the hospital that long before. “W-wait, really? How long?”

Shikamaru nods, resting his chin between his knuckles. “Eleven days, counting today.”

The blond pales a bit, good hand moving to the Seal on his stomach. He’s a little surprised that his immediate reaction is to worry about the Beast locked up inside him, but hey, stranger things have happened. To him, at least. He wants to try talking to it to make sure it’s okay, but he doesn’t want to freak Shikamaru out. Maybe if he explains it to him, he can try later.

As if reading his mind, Shikamaru offers, working to tread carefully, “I’ll get to the Nine Tails in a minute. But for now…what do you remember about what happened?”

Figuring the Fox is sleeping to regain its energy like he was anyway, Naruto takes a breath and does his best to think back. Everything’s so…hazy… He mostly remembers pain and blood and familiar voices…Kakashi-sensei, Sakura, and Granny Tsunade’s, specifically… Before that…—!

A face appears in his mind’s eye, and he bolts upright, Sasuke’s name on his lips, but the pain chokes it off and Shikamaru’s urgent, careful hands stop him halfway. It takes a moment for him to get his breath back. “Sa-Sasuke…! He was…!” Suddenly distracted by more important things, he doesn’t even register Shikamaru gently pushing him back down on the bed. “S-Shikamaru, is—Kakashi-sensei and Sakura—!” He swallows, blue eyes blazing as he breathes through the pain. He doesn’t want to even entertain the thought of being wrong. “A-are they okay?”

Shikamaru swears, no matter how old they get, Naruto’s insane devotion to his friends will always be one of his favorite things about him. He nods, a reassuring smile on his face. “They’re just fine. They made it back here with barely a scratch.” He pokes Naruto’s forehead gently. “It’s you we’ve all been worried sick about.”

Naruto’s whole body sags with the force of his relieved sigh, spring-coiled tension gone in a second. “Thank goodness…”

Shikamaru’s smile grows before he sobers again. “So, what do you remember? Let’s start there.”

Naruto narrows his eyes in concentration, and as the memories start to come back, he feels his stomach drop. “I-I remember…Kakashi and Sasuke about to fight when…S-Sakura tried to—“ he swallows, “—to take him out h-herself. Sasuke retaliated by—by t-trying to stab her with a—a k-kunai through the—” The last word turns to ash on his tongue, too awful to say, but he gestures to his throat with a trembling hand to finish the thought regardless. His words are shaky, horrified, more so as he goes on, and he swallows again, curling a fist in his sheets for purchase. “That’s—that’s when I jumped in. I-I saved her, and then…t-the three of us, all of Team 7, we…w-we tried to convince him to—to come back with us…b-but…” he breathes a laugh, a bitter, angry, almost scared thing, a like smile on his face, “…h-he was talking crazy… He said he—he killed Danzo and that h-he was—was going to k-kill us and then…d-destroy the Leaf to—to ‘cleanse the Uchiha name’…” His fist in the sheets tightens, though he tries to take a shaky breath to steady himself. “I’ve…I’ve never seen him like that before… It was…” he glances up at Shikamaru, knowing he’ll understand, “…it reminded me of the old Gaara, like he sounded when we stopped him from killing Lee all those years ago… That’s what he sounded like...”

Deranged. Unhinged. Totally unrecognizable from the person they knew. Hell, those are being generous��

Shikamaru swears under his breath, frowning as he glares at the floor. He knew the Uchiha was a little sick in the head, but nothing like this…! Looking back up at Naruto, he asks, “Anything else?”

He thinks, but then shakes his head. “Everything after that is…a blur, really. Bits and pieces, a lot of blood and pain, but that’s it. Mind filling me in?”

Shikamaru’s frown deepens, but he sits up a little straighter nonetheless. He’s always been one to rip off bandages quickly. “You used your clones to stop Kakashi-sensei from interfering and then went after Sasuke yourself. Once you two started fighting, there was nothing Kakashi and Sakura could do but watch. There was no way in hell they were getting between you two.” He can only imagine how hard that must have been for them to watch. “The fight went on for a long time, and it got pretty brutal. Sakura had to look away after a while. She couldn’t stand to see you two hurt each other like that. The only reason it stopped without both of you dying was because some guy in a mask showed up and took Sasuke away. You wanted to go after them, but you ended up coughing up blood and passing out a second later. Kakashi and Sakura got you back here as fast as they could, and then Sakura and Lady Tsunade headed the three surgeries necessary to save your life. According to Lady Tsunade, though, it wasn’t just them who saved you.”

He nods toward Naruto’s Seal. “It was the Nine Tails inside you, too.” Naruto’s eyes widen, and he looks down at where the demon resides. “It used up a lot of its chakra to keep you alive after yours was depleted. That’s also why it’s taking you so long to heal. Since the pair of you are basically out of chakra, the Nine Tails can’t accelerate your healing like it normally would, so your recovery’s pretty much slowed to a crawl.” Taking a sip of his water, he continues, “Anyway, after you got out of surgery, you were still in really bad shape. All the doctors and nurses did their best to take care of you, and Sakura and Lady Tsunade even stepped in and did some special medical ninjutsu stuff where they could, but it was touch and go almost the whole time. Some days were better than others. We were all really afraid you weren’t gonna make it this time.” He rubs the back of his neck and sighs, mostly in relief. “But thankfully, you’re awake now, so that’s over. Thank goodness… I’m getting way too old for this stuff…”

When Naruto doesn’t immediately laugh and spout some quip about Shikamaru only being a few weeks older, the chunin looks up to make sure he’s okay.

He finds Naruto staring up at the ceiling, for once completely silent. His eyes are dull, a shade or two darker than they were a few minutes ago, almost listless. His expression is much the same, but Shikamaru can tell there’s a whole maelstrom of emotions playing behind both.

“Where’s Sasuke now?” Even his voice has lost most of its inflection. He sounds…exhausted, but it’s more than that. Almost...defeated.

Shikamaru swallows, trying to quell the worry starting to turn his stomach. He hopes it’s just the shock and maybe a reaction to the memories coming back. “Hard to say. According to Kakashi-sensei and Sakura’s reports, when that masked man came for Sasuke, it was like they just vanished into thin air. There wasn’t a trace of them left, not even a chakra signature. Kakashi has a theory that it was some kind of jutsu unique to that man. An ANBU team was dispatched to the area to see what clues they could find, if any, and they did find a red-haired woman who claims she was Sasuke’s…assistant or something, but as far as Sasuke goes…” He shrugs, next words riding on a tired sigh as he scratches his head. “For now, it looks like we’re back to square one.”

There’s a long, pregnant silence for several moments. The clock ticks by, but Shikamaru can’t bring himself to break it, waiting instead on bated breath for his friend’s response.

Naruto, for his part, heard everything, it’s just…it’s like there’s white noise playing in the background of his mind. He’s not sure if it has something to do with the Nine Tails’ weakness, his own, or maybe it’s all in his head. He’s trying so hard to process everything he’s just remembered and learned, but…it’s too much. All of it’s too much. He wishes it would stop, especially the static. It’s not helping anything. Maybe…he just needs more sleep. “I see…”

His voice is even more despondent than before, and that combined with the way he rolls over onto his side, his back to Shikamaru, sets the older boy further on edge. “Naruto…are you okay?” he asks softly. He’s well aware how stupid a question like that probably is right now, but he doesn’t care. He needs to know, and more than that, he wants to. This would be a lot to take in for anybody, but especially Naruto, who loves with absolutely everything he has in him, and hell, he basically fought his former teammate to the death (for a second time), so it makes sense that this would negatively affect him. Of course it does. It’s only natural. He remembers the last time Naruto shut down like this, after his first near-death fight with Sasuke in the Valley of the End. But still, this…it feels…different somehow. He can’t quite put his finger on why yet. He just hopes it won’t be worse. God forbid.

Finally, curling into himself a little more, Naruto answers, “Y-yeah…” His voice is so hollow and low that Shikamaru almost has to strain to hear it. The brunette swears he’s the worst liar in the world. He’s not even trying at this point. It only makes him worry more. “Hey…Shikamaru…?”

Said boy leans forward so he can hear better. “Yeah? What’s—?”

Suddenly, there’s a bandaged arm around him, and the next thing Shikamaru knows, Naruto’s hugging him. He couldn’t even sit up before without being in intense pain, but now, through sheer force of will, he’s hugging him. Shikamaru breathes an exasperated laugh. “Thank you, Shikamaru. For staying.”

It’s barely more than a whisper, but Shikamaru hears it like it’s the only thing that matters. Right now, to him, it is. He gets the feeling Naruto isn’t just talking about being here when he woke up either. He can’t help but smile and hug his friend back gently, not wanting to hurt him more than he’s probably hurting himself. He feels Naruto relax in his arms, and he holds him just a little tighter, letting his face tuck just slightly into the blond’s shoulder. He’s so, so glad he’s alive. “Don’t mention it. What else are friends for?”

Naruto actually does manage a chuckle at that, and Shikamaru considers it a personal victory. They stay like that for several seconds more before settling Naruto back in bed.

“H-hey, um…” Shikamaru’s steady, calm gaze never leaves the blue-eyed boy; he wants to help in any way he can, “…don’t leave?” Then, even quieter, “Please?”

The whirlwind in Shikamaru’s gut dies down, if only a little, and even though Naruto’s too embarrassed to look at him, feeling his request childish, he hopes he can feel the way his gaze softens. He leans back in his chair to get a little more comfortable. If the nurses want to throw him out now, they’re going to have to contend with Naruto’s word as well as his own. “I’m not going anywhere,” he promises quietly. “Sleep well, Naruto.”

---

“I’m going to kill all of you…”

“You never had a family! You couldn’t possibly understand!”

“The Hidden Leaf will be destroyed by my own hand!”

Images of the Hidden Leaf in burning ruins pass by, nondescript screams and sobs piercing the air. Bodies everywhere—crushed, burning, impaled, cut in half, dismembered—so many there’s almost no open ground to be seen. Moving closer to the center, all of Naruto’s mentors and friends are lying on the ground, unmoving and unseeing. They’ve been killed, murdered, in chilling, gut-wrenching ways, each worse than the last. Those closest to Naruto were dealt the worst deaths by far.

In the middle of it all, Sasuke holds a dying Naruto by his collar, grinning at him like a lunatic, eyes wild. He leans in close, his Magekyo Sharingan glowing an unsettling red. Naruto can see and smell the blood coating his lips and teeth, gushing from now-blind eyes. “I win…Naruto!”

--

“No! Sasuke!”

Naruto shoots upright instantly, screaming loudly enough to wake the rest of the patients on the floor.

“Whoa, hey!”

His good arm clutches at his chest where a huge hole was a second ago, he’s sure of it.

“Naruto!”

He’s shaking like a leaf, drenched in sweat, breathing and heart rate erratic.

“Damn it! Can’t you hear me?!”

Tears flow freely from blue eyes that can see nothing but the carnage and world-ending in his nightmare. Part of him knows it’s not real, but he can’t—he can’t shake it—!

“Hey, Naruto!”

Naruto snaps his neck to find Shikamaru standing at his side. He has a tight, tremulous grip on his shoulder, and the older boy’s looking at him like he’s afraid he’ll pass out or start screaming again any second. They’re both breathing hard, but for two very different reasons. Shikamaru, seeing the change in him immediately, lets out a shaky breath, worry pinching his brow hard. “Hey, hey…” He squeezes his shoulder a little more to hopefully help ground him in reality. “You with me?”

Naruto takes a minute to catch his breath and slowly ease his white-knuckled fist from his shirt so he can reach up to wipe his eyes and face and then rest it on Shikamaru’s. He nods. “Y-yeah…I-I think so…” Shikamaru doesn’t let up right away, not moving an inch, and Naruto tries to manage a smile for him. It’s pitiful, but it’s something. “S-sorry if I scared you…”

A few more cautious seconds, and like the string holding him up has been cut, Shikamaru’s whole body slumps and he takes a heavy seat on the edge of Naruto’s bed. He sighs wearily and buries his face in his hand, just trying to breathe. He shakes his head. “No, it’s…don’t worry about it…”

He says that, and yet his shoulders are trembling, just slightly. Naruto isn’t sure he’s noticed. He gets the feeling his friend might have had a tougher time waking him up than he wants to tell him. Suddenly worried he might have actually hurt him in his terror, he looks him over for any injuries, but doesn’t find any. He lets out a relieved, silent sigh of his own. Thank goodness… “I’m…I’m sorry…” He winces at the sound of his own voice. It’s even worse than when he first woke up. Probably from all the crying and screaming. “It was…” he looks away, embarrassed and ashamed to have caused all this trouble, voice falling, “…it was just...a nightmare…”

Shikamaru, while listening intently, takes a deep breath before letting it out slowly. He does that a few times before he lets his hand fall. It’s a calming exercise Asuma taught him years ago. It almost always works, and this is no exception. He’s grateful.

Turning back to Naruto, he hesitates a half-second ahead of reaching out to squeeze the blond’s fingers lightly. After so many years of being friends and as observant as he is, the notion that physical affection is something Naruto lives for hasn’t been lost on him. Never mind that he’s not usually especially physically affectionate himself, if he can give Naruto some comfort right now, damn it, he’ll do just about anything. “I know. I heard. About Sasuke attacking the village and killing everyone in horribly brutal ways, right?” Naruto looks at him like he’s grown two heads, and he explains, a tiny, wry smirk coming despite himself. “Unfortunately, your mumbles and screams didn’t leave much to the imagination.”

Paling, Naruto shakes his head roughly to get rid of the resurfaced images. “S-sorry…”

Shikamaru frowns. “Hey, stop that. This is not something you have to apologize for,” he tells him firmly. “After what you’ve been through, I don’t blame you for freaking out, even in your sleep. Any sane person would.”

Naruto breathes a laugh at that, somewhat relieved. Still, something in his expression is almost… haunted. ‘Sane,’ huh…? “So I’m not a drag, then?”

Shikamaru recognizes that look on sight. He used to wear it all the time as a kid, and it comes back once in a while when he’s reminded of back then. Hell, even just a few short years ago. His answering almost-snarl makes Naruto look up at him with wide eyes, but Shikamaru can’t help it. “No, of course not.” He doesn’t care if it’s been years. He still wants to punch all the ignorant bastards in this village who ever made Naruto feel like he was nothing but a worthless demon. He was a child, for God’s sake! “You are not a drag, idiot. You never could be.”

A heartbeat, and something in Naruto’s face and eyes softens, the shadows leaving his eyes, and a more believable, if still small, smile paints his lips. Shikamaru feels himself relax at that alone. “Got it. Thanks, Shikamaru.”

“You’re welcome.” It’s quiet for a good few seconds, and then, quietly, hesitantly, “So…do you wanna talk about it?”

Naruto blinks and then thinks. He could tell him what he’s thinking and feeling, but…right now, it’s all still kind of a mess inside, and that nightmare didn’t help. He might be able to help him figure out a solution, but he also gets the feeling that Shikamaru would tell him this is something he has to figure out for himself. With that in mind, he slowly shakes his head. “Not yet. I…I still need to…sort some things out. In my head and…my heart, too. How I’m feeling…you know?” Blue eyes leisurely move to meet brown. His tiny smile’s grown a bit. “But thank you. I’ll tell you when, okay?”

Shikamaru isn’t so sure he likes letting this lie, but…he trusts Naruto. He trusts that he’ll come to him if he needs someone to confide in. “Sure. Take your time. I’ll be here.”

Naruto softens, tries really hard not to think of the three clean-through sword wounds that traveled the length of Shikamaru’s midsection in his nightmare. He swallows, does his best to remind himself that the blood on his tongue isn’t real. His smile wavers, turns fragile, but then bounces back to be even bigger than before. “T-thanks, Shikamaru. You’re the best.”

Shikamaru’s cheeks color slightly at the compliment, not expecting it. Avoiding his gaze momentarily, he gently pushes Naruto back down on the bed. “Again, you’re welcome. Now…” he moves from the mattress back to his chair so he doesn’t crowd his friend, “…get some sleep. For real this time.” Sensing he’s nervous, he reaches out to squeeze his fingers again, leaving them there. If it’ll help him sleep and avoid any more nightmares for the night, he doesn’t mind. He offers a reassuring smile. “It’ll be fine, you’ll see. If I’m wrong, I’ll eat my words and do something we both know I think is a total drag.”

Naruto laughs, for real this time. It looks like some of his color’s finally coming back, too. That’s good. “A—” a big yawn interrupts him, and his eyelids start to droop; his exhaustion’s rushing back now that he feels warm and safe again, “—all right... Night…Shikamaru…”

He’s out like a light in just a few seconds, and that means Shikamaru can finally relax himself. He doesn’t plan on sleeping just yet, wanting to make sure Naruto really will be okay first, but he’ll get there eventually. Leaning back in his chair, head propped against the wall, he looks out the window at the clear, starry night sky. They might not be clouds, but they’ll do.

Something about all this tells Shikamaru that Naruto’s recovery won’t be as smooth as the last time.

But lucky for him?

This time, he has Shikamaru at his back.

[kcwcommentary]

VLD6x04 – “The Colony”

6x04 – “The Colony”

I really, really, really hate this episode. (By the time I finished revising and editing this commentary, I was physically shaking.)

I hate what this episode (and subsequent story) says about people who are abused. By the end of this episode, we’re supposed to feel betrayed by Lotor and confused about seemingly being betrayed by Shiro. Instead, I feel betrayed by the EPs and the writers of this show.

We start at Daibazaal. While Lotor and Allura are going through their launch checklist, preparing to test to see if Lotor’s ships can go into the rift and collect quintessence, everyone else is on the bridge of the Castle Ship. As they discuss things, Lance says that being in the rift “turned Zarkon evil,” but if you’ve read any of my previous commentary on this attempt to retcon Zarkon and Hoverva/Haggar, then you know I fundamentally reject the idea. Zarkon and Honerva/Haggar were terrible people long before the show started trying to blame it on quintessence.

At least Shiro backs me up here, saying, “Zarkon fell prey to his own evil instincts. The quintessence field didn’t create them, it revealed them.” And yet, given how the story continues to unfold, the show does expect us to forgive/absolve/redeem Zarkon and Honerva/Haggar. It’s like the show is trying to have it both ways. The show, outside of what Shiro says here, wants us to think it’s not really Zarkon and Haggar’s fault that they spent 10,000 years as brutal dictators (and abusive parents) because they were poisoned. In a way, the show tries to make Lotor into being worse than Zarkon and Honerva/Haggar because he’s revealed in this episode to have been a deceptive villain all along, whereas they were (the show claims) poisoned into it. What message is this show sending by trying to say the man who was abused by his parents is worse than his abusive parents?

Lotor and Allura take the ship into the rift. While they’re in there, Keith arrives via an Altean pod. This is the first time any member of Team Voltron has been shown talking to Keith since 4x06 “A New Defender” with the big Naxzela fight, and this episode is the first time anyone from Team Voltron has been face-to-face with Keith since 4x01 “Code of Honor.” It seems like such a long time for a show supposedly about friendship.

In the rift, Allura says, “In the hands of the wrong person, this power could easily corrupt” to basically be a giant flashing warning that the show’s about to turn Lotor into a villain and wipe away all the character development he’s gone through.

Keith boards the Castle Ship, and he aggressively says they have to stop Lotor, “he’s been lying to all of us!” About what? “Everything!” says Romelle. What lies he’s supposed to have told, I don’t know.

While in the rift, Allura, being subject to the exact same quintessence as Lotor, says that the experience is “like my whole being is more alive.” The show is doing this to trying to justify reducing Lotor to nothing but another villain. It’s different for Allura because she’s somehow perfect and has nothing negative about her character to be “revealed” (as Shiro put it earlier). Allura having a positive experience with the quintessence negates the idea that exposure to quintessence in the rift accentuates one’s bad qualities.

Haggar continues to stand awkwardly in the center of her room. She’s using the clone to spy on Team Voltron.

Krolia thanks Shiro “for raising [Keith] to be the man he is today.” That’s such an odd thing to have her say because the show has not included any of that detail about Shiro and Keith’s past at this point. All we’ve gotten from the show to this point is that Shiro was something of a mentor for Keith, nothing to the level of Shiro “raising” Keith. This is another example of the difference between showing and telling in writing. We were just told this; we haven’t been shown it. It’s a significant aspect of Shiro and Keith’s relationship, but all we get is a little exposition. (We do eventually get the flashbacks in 7x01 “A Little Adventure,” and then Shiro and Keith’s relationship pretty much ceases to exist.)

Romelle begins her tale. She’s from a planet of thousands of Alteans who’ve lived there since the war with Zarkon began (so she, being a descendant of those first Altean colonists has been taught about Zarkon apparently). Alteans who weren’t on Altea when it was destroyed went into hiding. I really do like that that the hiding Alteans used their shapeshifting ability as part of that hiding. Lotor found some of these Alteans and told them he was trying to preserve Altean culture. This makes sense since we know that part of Lotor being abused by Zarkon was that he became eager to embrace his Altean heritage. This is clearly a good thing, and it is clearly genuine, but again the show wants us to ignore these parts of what we’ve been and are being told about Lotor and instead think of him as being nothing but a villain. He told these Alteans that he secretly set up a haven that will help protect them from the Galra.

I’m suddenly thinking of the parallel of the show having both Lotor and the clone each work to protect people only to be rendered into a simplistic “evil” by the poorly written surprise twist the show uses to kill them this season.

Romelle continues that the Alteans eventually started to “worship Lotor.” She says that also eventually, Lotor told them that he was creating another colony far away from this one. He had every Altean subjected to a series of tests that resulted in some of them being taken to the other colony. No communication between the colonies was allowed.

“This was the world I was born into: one of unquestioning devotion to a supposed messiah,” Romelle says. This is supposed to be getting us to turn against Lotor as a character, priming us to accept the premise that he’s always been a villain, but it’s more that it just turns me against the writing. It makes me feel like these Alteans are being written purposefully unintelligent, that they’re little helpless sheep. I don’t buy the idea that these Alteans would all just give up their agency like this.

“My brother Bandor was always faithful, but I had questions,” Romelle says. There’s also this really heavy-handed attempt to do a story about faith versus doubt and the value of always questioning things, and that’s a fine story premise, but Romelle’s story has no finesse. We find out through her storytelling flashback that her parents were part of those taken to the other colony. Are we really supposed to believe that they just gleefully left their children behind? Really?

We get another instance of Alteans being tested, and Bandor is selected to go to the other colony. And off he runs to board the ship. He doesn’t even want to say goodbye to his sister before going. This is not realistic behavior. Honestly, these Alteans are all creepy. The show wants me to identify with them and thus feel affronted through them over this Lotor retcon/plot twist, but I can’t become invested in what’s going on with them because they don’t feel like actual people. They’re not characters, they’re caricatures.

Bandor’s absolute lack of emotion about being separated from his sister makes me question Romelle’s story and her reliability as a narrator. Lots of fiction is written with unreliable narrators, but this show doesn’t reveal Romelle to be one. Kknowing where the story is going, I don’t think the EPs and writers realized that Romelle functions as an unreliable narrator.

Romelle calls out for Bandor, who has no problem with leaving, and she cries, “I’ll never see you again! Don’t let him tear our family apart!” Bandor does not seem to really care that his sister is in distress. Also, I usually think this show does a decent, sometimes even great, job with voice acting, but Romelle’s performance here feels absolutely hollow.

Bandor secretly gives Romelle a communicator. “Will I be able to talk to you on the other colony?” she asks. How did someone think this line was well written? Also, Bandor giving her this instantly destroys his character because the show has presented him as the unquestioning faithful who just a few moments ago rejected Romelle’s concern about their never being able to communicate with those who’ve been taken away. So, this is more of this show’s infamously inconsistent writing.

Also, his giving the communicator to her is inconsistent within just this single scene. Once he was chosen, he went running off to jump on the ship, not caring about saying goodbye to her. But then now, just a few seconds later, he has a communicator to give her? If she hadn’t run to him to hug him as he was ignoring her and running to the ship, he never would have been in position to give it to her.

She says she could never get Bandor’s communicator to work, but one night Bandor contacts her through it. He tells her that she was right and that he’s in the forest outside of town. We have no idea how much time is supposed to have passed.

She runs to find he’s crashed an Altean pod through the holographic sky and crashed into the ground. He’s emaciated and has stripes on his face. “The other colony, it’s all a lie,” Bandor says right before he dies.

The crash through the holographic sky, with the area Bandor’s pod broke through now not functioning, makes me realize that I don’t know if Romelle and the other Alteans know they’re living in a holographic environment. I mean, at least the sky is holographic, even if the buildings and trees and water are real. Romelle is never shown reacting to the new hole in the sky.

Lotor slowly walks like a cliché villain to the crash site. Romelle overhears him ordering the wreckage to be cleaned up and no evidence left behind. Are Lotor’s forces really that good that they can repair a non-functioning hole where holographic sky used to be without anyone in this colony seeing them do so?

Romelle says she knew “the truth or at least part of it” and that she knew no one would believe her. But when she saw Keith, Krolia, and the space wolf, she then knew she had a chance to learn more about what was happening. I’m not sure how reasonable it is that she would trust them on sight, especially with Krolia being obviously Galra, but whatever.

The show then connects the missing Alteans with the quintessence that Blades have been tracking. Keith, Krolia, and Romelle discuss things, and Keith says that given how weak Bandor was, wherever he had been had to be nearby. Krolia suggests a nearby moon. Romelle has an idea about how to get to the moon: she takes them to some more Altean transport pods, which she says they “haven’t been used in generations. None of the Alteans in the colony would know how to fly one if we desired to.” (And yet, her brother piloted one with precision from the other colony back to this one while under severe physical distress.)

This transport pod is in a small shack-like hangar very much in the Altean town. There’s no way they’re getting out without a lot of people knowing it. But the show doesn’t show any of that, instead it just cuts to them having left the planet and heading toward the moon. So, did Romelle know that she and all these other Alteans lived inside a manufactured environment? This is the first time she’s ever been off a planet, that’s a big deal, but we don’t know how she reacted to that. Despite Krolia saying that there was a nearby moon, we actually see three of them, so that feels like the animation not matching the dialog.

They descend to the other facility. Inside, they find emaciated Alteans floating in liquid filled pods, cables plugged into them. In typical fashion for this show, Keith instantly understands that “Lotor’s harvesting their quintessence.”

Flashback complete, we return to the Castle Ship.

“All this time,” Pidge says. “I can’t believe he fooled us,” Lance says. “He’s a monster,” Keith says. At this point, the show expects us to feel excited because look at this big plot twist. It doesn’t feel earned though. When a deceptive villain’s deception is revealed, it still should feel in character, but this doesn’t. Lotor has not been written to be a deceptive villain except for now in the moment that the deception is revealed. That’s why this feels like a retcon rather than a character arc.

Lotor and Allura are returning. “Once Allura is secure, we will take Lotor down,” Shiro declares.

In the hangar, Lotor is holding Allura close to him. They kiss because the show thinks that it reaffirms how villainous and manipulative Lotor is. None of Team Voltron is subtle, standing in a circle around Lotor and Allura as they enter the room. They aim weapons at Lotor. Lance tells her to step away from Lotor, and she stands between him and Lotor. It feels like this small part of this scene is supposed to be some of Lance being right and Lotor wrong, and Lance having been there for Allura all along but she was just too stupid to realize it relationship plot.

Romelle out of nowhere yells, “Lotor is a monster and has been harvesting Altean quintessence for generations!” Does Romelle even know what quintessence is? Also, this is the first time Allura’s seen Romelle. Did no one think that maybe they should have hidden Romelle and arranged for Allura to meet and speak with her before jumping right to confronting Lotor? Between all of them, none of them thought that it would be better to work this situation more smoothly than this?

“You killed my brother and thousands of others,” Romelle yells. Pidge adds, “Lotor has been lying to us the whole time. He’s a murderer, just like his father.” I have to agree with those who’ve strongly criticized this show for doing this. Lotor was abused by his father, and this show did not care about the message it was sending here by saying that if you’re abused by a parent then you are doomed to become an abuser just like them. This is horribly offensive.

Lotor says, “You know nothing about what you speak. […] I’ve dedicated my life to preserving Altean culture. Now that we have unlocked the quintessence field, all of your people who would have been hunted down long ago had it not been for my intervention can live in peace. Were some lives lost in the process? Yes. But they were martyrs to a noble cause. I sacrificed a few to preserve a future for millions.” I won’t defend his killing the Alteans, just like I won’t defend his killing Narti. But his argument is a complicating one. Unfortunately, the show does nothing with that complication. It’s wiped away, left to be forgotten, in turning him now into a maniacal villain. He’s not wrong that these Alteans would have been hunted down and killed by the Galra. He’s not wrong that there has to be something to serve as a lever to shift Galra culture, and he was hoping a source of quintessence that doesn’t require killing to do that. By turning him into a maniacal villain, the show doesn’t deal with any of this. Whatever complexity Lotor was adding to the Galra as a whole, it’s now instantly destroyed by the narrative. By writing Lotor this way through this plot twist, the writers are making the story world narrower.

Allura grabs him and throws him across the room.

Somehow Axca and Ezor have gotten onto the Caste Ship undetected until the exact moment that they’re stealing Lotor’s ships.

There’s a flash, Haggar is affecting the Shiro-clone’s mind, and he falls down in the pain of it. “You are mine now, give in!” Haggar says. Shiro attacks and knocks out Hunk, Lance, Coran, Allura, and Romelle. He picks up Lotor’s unconscious body.

In the hangar, Pidge, Keith, Krolia, and the space wolf are too late to stop Axca and Ezor from taking Lotor’s ships.

Allura comes over the intercom, “Shiro’s gone mad! He’s escaping with Lotor!” as he runs past Pidge. Pidge hesitates to attack Shiro though.

“Good,” Haggar says, “now bring him to me.”

Keith asks if the Paladins are in condition to fly their Lions. Keith declares he’ll pilot the Black Lion. Black lets him.

Keith tries to contact Shiro, but Shiro turns off the communication. The Lions attack Lotor’s ships, but Lotor’s three ships are better at fighting than the five Lions, which honestly seems unrealistic to me. The Paladins form Voltron, and the episode ends with them in a standoff.

I really hate this episode.

Here’s part of my problem: I don’t care about Romelle. The show has given me no reason whatsoever to care about her as a character. The show clearly wants me to think through Romelle’s story that Lotor is a horrible person but to do that I have to care about Romelle and these Alteans. Given what the writers are trying to do in this Lotor’s-evil-surprise-twist, I’m supposed to feel betrayed by Lotor. But the emotions of feeling betrayed are fundamentally connected to a person’s sense of investment. I am not invested in Romelle. Here telling this long tale is the first thing she does in the show, and it’s pretty much the only thing she ever does. Romelle ends up being more of a gimmick than a character.

I am attached to Lotor as a character though, and this doesn’t make me feel betrayed by Lotor’s character, this story makes me feel betrayed by the EPs and the writers. They are the ones who wrote Lotor to be abused by his father. They’re the ones who wrote Lotor to want to connect to his Altean heritage. They’re the ones who wrote Lotor to want to find a way to change Galra culture. Throughout the first half of this show, it seems our heroes thought they could stop the Galra Empire by killing Zarkon and that that would take care of everything. Lotor introduced a more realistic depiction of what it would take to change the Galra through his argument about wanting to find a source of quintessence that would allow for significant supply but without destroying life. They wrote Lotor to be sympathetic, and they apparently did so all the while planning on destroying that because they thought they were being clever in creating a surprise plot twist.

They purposefully manipulated the audience. I don’t come away from this story feeling elated through the surprise. This story leaves me feeling offended. Not only does it offend my sensibilities as a storyteller, it offends me as someone who was abused by his father. It offends me that this show made it look like they were telling a story through Lotor about struggling to overcome being abused, only to then declare that Lotor is as bad, if not worse, than his abusive father. As I said earlier in this commentary, I think the show is actually saying Lotor is worse than Zarkon because the show blames Zarkon’s behavior on his being poisoned by quintessence, while Lotor’s behavior is just because he’s inherently evil and has been a maniacal villain the entire time. In a way, it feels like the EPs and the writers of this show are gaslighting their audience who are upset at how this twist destroys Lotor’s character and all his depicted struggle to overcome his abuse and Galra cultural toxicity.

And finally, I hate what the show does with the clone twist that’s been fully activated now. I hate how the EPs and writers so easily discard the clone as a character, again, acting like there’s something wrong with us for being bothered that this plot twist erases all the good we’ve seen from the clone up to this point. The story is written that the clone is being psychically manipulated by Haggar, the clone has had his agency taken from him, and the show wants us to think that he’s an “evil thing” because of it. Haggar is abusing the clone just like she and Zarkon abused Lotor. Between Lotor and the clone plotline, the show is giving us a double punch that those who are harmed by others are to blame for being harmed. That those who are harmed by others are inherently evil.

[yellowsugarwords]

Can we get big bro James defending Clementine and getting protective over her after people are biphobic towards her? (headcanons please!)

my weak and frail heart

season 4 episode 3 spoilers below!!!

James had been a member of Ericson for only a few days.

He joined immediately after their crew came back from Delta’s boat.

He told the group he knew people that could help them defend against Delta.

They’d all accepted him into their home happily.

Especially Clementine.

After 3 days, Willy caught sight of people approaching Ericson’s gates.

James stepped forward.

He knew it was his people.

He said they were ex-Whisperers.

“How did you find them?” Clementine asked.

James smiled. “I found them walking with a heard.” He hummed, as if reminiscent.

The group had disintegrated after James left.

After one of their own was killed.

But, much like James, their ways and beliefs continued.

The gates opened for the three figures wandering forward.

After the gates were closed, they removed their masks.

And James smiled.

So did Clementine.

But that was thanks to James’ admiration.

“Clementine,” James said, gesturing to the three. “This is Lilith, Griff, and Seth.”

Clementine smiled.

James didn’t show excitement, but she could feel his.

“We appreciate your help,” Clem said.

The three gave strained smiles.

Clem could tell they were tired.

“Where’s the rest of your team?” Seth asked, stepping forward, stretching his arms.

“They’re scattered around,” James explained.

“There’s a few of them over there.” Clem gestured to Violet, Louis, and Willy cleaning out the fire pit.

Lilith raised an eyebrow. “Hm.”

Griff did the same.

James noticed this, brows furrowed. “What?”

“Your team,” Lilith said, lowering her crossed arms. “They’re cute.”

“Cute?” Clem asked, her nose scrunched.

She couldn’t tell if the statement was belittling.

Or if it was of wanting.

Griff smirked and shrugged. “It’s nice to know there are still attractive people that haven’t turned.”

Lilith jetted her elbow back into his chest.

Apparently, he was being too obvious.

And apparently, they were statements of wanting.

Clementine turned to study her group again.

With her back turned to the Whisperers, she skeptically puffed out a lip.

“The boy with the dreadlocks isn’t too bad.” Lilith hummed.

“Neither is the blonde,” Griff said.

Clementine could hear the flirtation in his voice.

She tensed.

She hated it.

“Actually,” James began, bringing Clem’s attention back around. “They won’t be interested.”

Lilith raised a brow. “How do you know?”

“They’re both interested in someone else.”

Griff scoffed, as if it wasn’t possible. “Who?”

James gesture to his right. “Clementine.”

Clementine told James practically everything since he had joined.

She trusted him.

And he trusted her back.

They were open books with each other.

He knew everything about Louis and Violet’s feelings for her.

And her complicated feelings back

The Whisperers blinked.

“Both of them?” Lilith clarified.

The entire while, Seth stood in the back, skeptical.

James nodded.

Griff snorted and turned to the girl in question. “Well, which one do you like?”

Clem blinked, confused. “What?”

Lilith forced back an eye roll, but Clementine could tell.

“There’s two of them,” Lilith said. “Which one are you interested in?”

Clementine shifted from foot to foot.

James, spotting this, opened his mouth to speak.

To tell them off. To get them to stop asking invasive questions.

But she responded before he had the chance to.

“I’m not sure yet.”

The Whisperers’ eyebrows raised.

James’ did too at their reaction.

“But there’s two of them.” Lilith claimed, brows furrowed.

“There’s a guy and a girl,” Griff said, stepping forward. “Which one are you not interested in?”

Clementine swallowed.

“I like both. I’m interested in both.”

She was met with silence.

James’ brows creased, winding in stress.

Hoping to put an end to the awkward silence, he turned.

“I’ll bring them over.” He said softly.

“You like both?” Lilith repeated, ignoring James.

Clem nodded. “Boys and girls.”

She wished the floor would swallow her whole.

They were so invasive and confused.

But Ericson needed their help.

What if refusing to answer would cause them to leave?

Lilith stared at Clementine, then turned to Louis, and Violet. “That isn’t how it works.”

Hearing the statement, James stopped.

He hesitated, letting the words sink in.

Then he turned.

Clementine blinked. “Sorry?”

Lilith crossed her arms. “You’re lying.”

“Lying?”

“Yes,” Griff stepped forward, gaze cold. “You’re lying, and we’d like to know the truth.”

James didn’t move from where he was a few paces away.

His gaze harrowed as he watched.

“I don’t understand what you mean,” Clem said.

“You either like boys or girls. Not both.”

Clementine blinked.

Stunned.

“I’m not lying,” she finally managed.

“I don’t know what you have to gain by claiming that.” Lilith said, arms crossing.

“Are you trying to seem more unique? More special?” Seth piped in from the back, glaring.

Clem glared back.

“Is it because we’re new? You think you force us into not getting close with your team?”

“That’s not what I said.”

“Yes, because what you said was a lie.”

James swallowed, hands balled, as he started back.

“Am I hearing things correctly?” He scoffed as he approached.

The Whisperers’ hard demeanours didn’t change.

“It’s not real, James.”

“Says who?”

“Says us. Says everyone.”

James swallowed the ball of rage building in his throat.

He wedged himself between Clementine and the three.

He needed to deal with them head on.

“What do you gain by saying these things to her?”

“We want the truth, James.” Lilith spat. “How are we supposed to help these people if they lie to us about who they are?”

“She’s telling the truth.”

“How do you know?”

“Because I know her.” James snapped, his voice taking an edge Clem had never heard before.

James sighed, his breathed ragged.

Angry. Furious, even.

“What does she gain by lying about something like that?”

“A disconnect between us and her team?” Lilith suggested.

“Discouraging us to get close so the moment she’s done with us, she can kick us out?” Griff slammed in.

Clementine could feel a rock build in her stomach.

They wanted to hate her.

They wanted to hate her because she couldn’t choose.

She didn’t want to choose.

It wasn’t her fault she loved equally.

And they hated her for it.

James swallowed hard.

Clementine cold feel his tension radiating off of him.

“You got all of that from her saying she likes boys and girls?” He breathed.

Lilith leaned back, irritation in her chest bubbling.

James could see it. He could feel it too.

“Yes,” she said. “Because she’s lying. It’s not possible.”

“She’s using you, James.” Seth scoffed.

“We can see it.” Griff chimed in. “Why can’t you?”

James could feel his chest tighten.

All of this because Clementine liked boys and girls.

They thought it was a lie? A way of manipulation? A ploy?

They thought she was using her affection for others as a scheme?

“Get out.” He snarled. Air snapped from his nose.

The three blinked. Lilith was the only one with any other reaction.

Her shoulders swung back, her gaze locked and cold. “Pardon?”

“We don’t need your help.” He snapped again. “Not if you treat her like that.”

“James–” Clem reached forward, touching his shoulder.

He held a hand back, brushing against her stomach, stopping her.

“James, we–”

“You will not talk to someone I care about like that and expect to stay here.” He snapped, hands balling into his fists.

He moved his hand away from Clementine.

“Get out.” He repeated.

Since he left the Whisperers, he devoted himself to peace.

To keeping everyone alive. To allowing fair treatment.

Now, they represented the exact opposite.

They thought her love was manufactured. That the equality in her affection was a tool used for manipulative.

And they were wrong.

They no longer stood for what James stood for.

And Clementine.

Why had they picked her as their target?

Clementine, the one who’d been the most accepting, and understanding, and forgiving of him than anyone before?

They picked her?

The one that cared for him?

The one he cared for like family?

No.

Clementine was off limits.

She was untouchable.

As long as he was around, no one was to harm her.

In any way.

They left without hassle.

Lilith and Seth shot glares.

James didn’t flinch.

He didn’t glare or scold them.

He wandered after them and closed the gate.

Turning, spotting Clementine, he set his hands on her panicked shoulders.

Her gaze burned into him.

The hurt. The concern. The worry.

“We’ll find another way,” he said.

That was all he needed to say.

That was all she needed to calm down.

Then, he held her.

Close and tight.

Safely and warmly.

And she held him back.

Clementine didn’t need his help to stand her ground.

He knew that. They both did.

But it didn’t mean he wasn’t going to defend her.

He always was.

He always wanted to.

Because he finally had something worth protecting.

[shebeafancyflapjack]

Les Mis rant

So BBC’s Valjean is a literal piece of shit.

When done right, this is one of my favourite characters in media. And most adaptations of Les Mis usually get the dude pretty well done. I’ll admit that most Valjean portrayals probably lean the character too far into ‘saint’ territory when he’s only just been released from prison without much real focus on development, but that can be forgiven as he’s in there for an understandable ‘crime’ anyway, so I’d rather they start off too nice rather than too mean-spirited. I thought Gérard Depardieu did this really well in the 2000 French version where they also showed him stealing the coin from the boy, because it came off as more desperate than cruel. He also did a good job of capturing the warmth of the character as well so we could see the conflict in the two sides of Valjean as he was still learning to reform and be a good person.

But this latest Valjean is way too much of a dick. He came off like a snarling bully in the first episode but I could forgive that as he was just released from prison and pretty broken by twenty years of hell. Given the extra run time than a standard movie, I expected we would see more time devoted to his character development from convict to hero.

Now we’re onto episode 2 and the Fantine ‘chapter’, which is always a joyful ride. But this version did something I’ve never seen any Les Mis adaptation do before - they had Valjean be present when Fantine is sacked AND have him be aware that she has a ‘bastard’ child. In every other version I’ve seen, and I’m pretty sure in the book as well unless someone can correct me, he’s not there. He isn’t aware of anything other than some trouble with the employees which he leaves to his foreman or forewoman whatever to deal with. Yes, that is shitty, but it’s commonplace in employments, and being oblivious to your workers plight is naive, but not outright cruel. Here Valjean chastises her for lying, when at this point he’s not even using his real name and has constructed a whole new identity for himself, and allows the cruel work mistress bitch to call her all the slurs under the sun. And I bet, like all versions, they will get nothing come back to them for this. Valjean ignores Fantine begging and pleading to be allowed to stay to provide for her kid but he still sacks her and lets her get thrown out, probably fully aware how a single mother is not going to get hired. And as this happens between Javert being suspicious of him, it almost comes off like Valjean is firing her to make himself look better, which makes it worse.

Then at the end, after having to watch Fantine suffer at rock bottom as gory and harshly depicted as ever, Valjean comes to her aid AT LAST but it doesn’t fit given what he did before or the time that’s passed in between. We don’t really see him have a moment to regret what he did. Maybe if there was a scene of him asking around for Fantine or telling the work mistress off, there would be something. But as it happens just after Javert has told him that he no longer suspects him, it feels like he now just wants to do something good as he doesn’t have to worry about doing a runner. I’m probably reading too much into that, but basically it failed to make up for what had been pointlessly added in. Any other Valjean in that moment wants to help because they feel guilty for not being there to handle the situation and avoid what she’s gone through, but here when Fantine calls him a monster, she is totally on the ball and like her I struggle to see why anyone who would be as cruel to throw a single mother on the street one day would then be willing to care for her the next - at least not with some intense Christmas Carol haunting taking place in between.

Silver lining, it is still only episode two, and hopefully the rest of the series will get better. Hopefully his scenes with Cosette manage to recapture the warmth that the character is better known for having. Liam Neeson still holds the place for my least favourite Valjean (because when the fuck would Valjean slap Cosette, what is wrong with you movie). I’ll also say that other than that awful character moment, the rest of the show has been pretty enjoyable so far. I like that we’re getting to see Babi Marius, who normally doesn’t appear till the second half in most versions. I like old Filch as his grandfather who somehow manages to be a conservative prick but still a caring guardian. And Lily did break my heart quite a bit as Fantine. I kept expecting her to break out into ‘I Dreamed A Dream’ towards the end and it honestly wouldn’t have felt too out of place.

A big rant for probably a small complaint...but 2018 was pretty quiet on the tv front and I haven’t had a good rant in a while. Feels good.

[preserving-ferretbrain]

Tokens, Lampshades, and the Trouble With Deconstruction

by Dan H

Wednesday, 30 June 2010

Dan finds Glee “Problematic”~

There is nothing more infuriating than middle class white boys claiming that some event that mildly irritated them gives them a profound insight into the world of the disadvantaged. “I once blamed immigrants for my own failure, therefore I know what it's like to be discriminated against” that sort of thing.

With this warning, let me tell you about my recent epiphany about stereotypes.

Kyra and I bought the first series of NCIS in order to stop ourselves from having to watch the eye bleedingly awful Lie To Me (tip from the experts: if a woman says she was raped, but isn't acting scared, she's lying).

Anyway NCIS was going well, and largely avoiding the buckets of fail that saturated Lie to Me. And it had a cute goth forensics chick and a Big Machine That Does Science so yay. Then we got to episode four: The Immortals.

In this episode, a young seaman (it's a naval crime show) was found drowned in full dress uniform, with weights tied to his waist.

Amongst his personal effects they found a character charter from an online fantasy game.

The rest was a checklist of horrendous gamer stereotypes.

Gamers unable to distinguish between game and reality. Check.

Gamers made violent by video games. Check.

Gamers driven to murder and/or suicide as a result of online interactions. Check and check.

Use of phrase “taking the game to the next level” (seriously I have seen this in every TV show about video games ever) check.

I mention this because there is a small part of me which , every time I see a horrendously stereotyped character on TV, says “well that's probably quite offensive, but I suppose you have to remember that the stereotype wouldn't exist if there wasn't some truth in it.”

Watching stereotypical portrayals of groups to which I actually belong reminds me that no, actually a lot of stereotypes are just outright fucking lies.

None of this has much to do with anything, but we'll be coming back to it later.

The Magic of Knowledge

So anyway, Glee is a not-exactly-musical not-exactly-comedy about a High-School Glee Club (the clue is in the name) which goes from humble beginnings to be all that and a bag of chips.

The pilot follows the foundation-slash-resurrection of the Glee club, with the recruitment of its six initial members who are respectively:

Rachel, an overambitious girl with dreams of stardom (to the extent that every time she signs her name she puts a gold star next to it, which is a metaphor, for her being a star). We are told that Rachel is very talented.

Finn, a boy who the Dead Poets' Society-esque teacher behind the Glee club frames for drug possession and then blackmails into joining Glee, for his own good.

Kurt, a fabulous gay boy who the writers edited into the show because they were so utterly taken with the actor. He is, to be fair, adorable – although it might be worth pointing out that the character he plays was originally supposed to be Indian. It might also be worth pointing out that Glee has won awards for diversity.

Mercedes, a fat black girl. Astute readers may note that this is the point where the character descriptions get, shall we say, shorter. Mercedes declares early on that she “ain't no backup singer”. This rapidly proves to be wishful thinking.

Tina, an Asian girl. I genuinely do not know what to make of Tina. She dresses in this quirky, slightly gothy style and her audition piece is a rather nice, slightly raunchy rendition of I Kissed a Girl. But she never actually says or does anything. Ever. It's almost like the costume department put more thought into her personality than the writers.

Artie. Artie is in a wheelchair. Artie also seems to spend a good part of the first episode pulling what I can only describe as “disabled face” - leaving his mouth hanging open and twisting his head to the side like he's trying to chew his own ear. Artie is not played by a wheelchair-using actor.

As

one of the many reviews

that have said all of this before put it: “Mmmm, token-y”.

So yeah. Tokenistic.

But wait! It's okay because the show knows that it's being tokenistic! It is using these “tropes” to be satirical!

Years ago there was a comedy sketch show in Oxford which I didn't actually see, but one of the better exchanges in it, as reported to me by my younger brother was as follows:

“It's not racist, it's satirical!” “What's it a satire of?” “Black people!”

This nicely sums up the issue with the awful stereotypes in Glee. Apparently the mere fact of acknowledging them excuses them. It's not a stereotype if you know it's a stereotype, because then it's satire. You don't even have to subvert or challenge the stereotype in any way. As long as you know about it.

That's the power of knowledge.

Glee gives us a central cast consisting entirely of stereotypes, and does nothing to challenge them.

What it does challenge, however, is the idea that presenting the characters as stereotypes is in any way bad.

Apologia, Apologia, Apologia

The tokenism in Glee is irritating, but it's one of those things I can kind of let slide. It's just a fact of life: fish swim, birds fly, Peter Molyneaux writes crappy video games, and TV shows include token black characters and get given diversity awards for it.

Except.

Except, except, except.

About halfway through the first volume of the boxed set there's an episode in which Sue Sylvester (the evil cheerleading coach) decides to take a “divide and rule” approach in her private war against the Glee Club, sowing dissent amongst the ranks by spreading the completely unsubstantiated and unjustified idea that the Glee Club doesn't give equal representation to its minority members.

The whole episode (Wikipedia informs me that it was entitled Throwdown) is excruciating. Unlike some commentators, I don't have a problem with Sue Sylvester, because I think it's fairly clear we're meant to disagree with her, and that's what makes the episode so difficult. Basically they take all of the criticisms people have of the show and put them in the mouth of a raging psychopath.

So Sue Sylvester splits the glee club in two and seduces all of the minorities over to her side with honeyed words and filthy, filthy lies.

Sylvester's “false” criticisms of the Glee Club boil down to the following:

That the minority characters are margainalised. They are.

That the minority characters are made to stand at the back and act like props. They are.

Two things about this episode are particularly frustrating. The first is that real, legitimate criticisms of the show are presented as lies invented by a balls-out villain. The second is that the minority kids are kind of made to look like idiots for being taken in by the whole thing. Mercedes' unalloyed delight at being presented with Hate on Me to sing is borderline embarrassing: “all right! An R&B song!” she says, she might as well follow it up with “I like this black people music, because I am black!”

The episode ends with the black, Asian, gay and disabled students deciding that they want to go back and work with the pretty white people and that they don't want to be given “special treatment” just because they're minorities. Because apparently getting to do the things that the white kids get to do in every single episode constitutes special treatment.

This would be almost bearable except that “minorities are given special treatment” is a recurring theme in Glee. Rachel constantly uses the spectre of her “two gay dads” to threaten people with the “full force of the ACLU”, and there's an awful scene in the

by no means uncontroversial

episode Wheels where Finn gets a job in a hotel by rolling up to them in a wheelchair and saying “you have to give me a job because I'm disabled.” (I paraphrase, it's actually Rachel who does the talking and she honest-to-shit uses the word “handicapable”).

How the show can have the brass fucking bollocks to repeat the “minorities get unfair advantages” myth while at the same time devoting ninety percent of its screentime to straight, white, able-bodied characters I do not know. Still, it gives you a profound respect for the kid who plays Artie, I mean he managed to overcome the huge disadvantage of not having a physical disability to land a role in a major TV show. And think of the guts it must have taken for the producers to take such a risk – I mean by not casting a wheelchair user they were practically asking for a lawsuit. Hats off to you, Fox.

And to make matters worse, the episode ends with Mr Schuster reminding the kids that “really, they're all minorities, because they're all in Glee Club.” Because having an unpopular hobby is exactly the same as being part of a group which is subject to systematic discrimination, oh yes.

The defence that is consistently wheeled out for Glee being so ragingly tokenistic is the fact that it's doing it all knowingly to subvert the stereotypes. Ironically it's exactly this that I find so disturbing about the series. If it was just full of slightly embarrassing stereotypes I'd be more or less willing to let it slide, it'd be annoying but no more annoying than a large number of other TV shows. The problem is that Glee is aware its being offensive, but refuses to address it. Its like the producers are standing up and saying “hey, we put a black girl and a wheelchair kid in it, what more do you want?”

The Other Sort of Prejudice

The thing is, I can see where the producers are coming from. I think they're wrong, but this is very much an “I believe that you believe it” situation.

The guys behind Glee like the guys behind the Avatar movie, and the guys behind the Earthseaminiseries, really do believe that they cast every role in the series utterly fairly, without prejudice of any kind. If a black kid had been right for Finn, they would have cast a black guy. If an Asian girl had been right for Rachel, Rachel would have been Asian. It just happened not to work out that way. Funnily enough.

Except.

There's an interesting interview on the final disc of the first DVD box set in which series creator Ryan Murphy explained that he already knew Lea Michele, who plays Rachel, before casting her. He explains that the character of Rachel was very much written with Lea Michele in mind. He further explains that despite this fact she “had to audition like everybody else.”

Except no, she didn't audition like everybody else. She auditioned for a part that was specifically written for her in front of people she already knew and who I strongly suspect were all very much inclined to give her the job before she began. She might have auditioned, but she didn't audition “like everybody else”.

Just to be clear, I really like Lea Michele, I think she did really well in Glee, and the fact that the character was written with her in mind really does make her better suited to play the character. But this still gave her a specific, undeniable advantage over the other people who auditioned.

I freely confess that I don't work in casting, but I strongly suspect that if you're casting for a particular role in a show, you're going to have a decent idea of what you want a particular character to look like. And that basically means that people who don't fit your preconceptions aren't going to be as “good” in the role as other people. What seems like an entirely unbiased decision is actually one steeped in your own prejudices – even if it's something as natural and reasonable as prejudice in favour of the girl you wrote the part for in the first place.

The DVD special features were full of cute little anecdotes about the casting process. The actor who played Finn submitted a video audition in which he was drumming on cereal packets and the casting team were so blown away by his verve and passion that they ignored the fact that he didn't actually show whether or not he could sing. The actor cast as Kurt impressed the judges so much that they rewrote his character from the ground up, in order to fit him better. Again I absolutely believe that the producers believe that the extent to which they were impressed with these two actors was a pure product of their individual talent and personality, but the truth is that we react more strongly and more favourably to people we perceive as being similar to ourselves.

Put simply, while Chris Colfer (Kurt) is no doubt adorable, I really couldn't put my hand on my heart and say that he's stand-out more talented than Jenna Ushkowitz (Tina) or Amber Riley (Mercedes). What I can say is that if I was writing a TV show about a bunch of highschool kids singing showtunes, I'd have a much better idea what to do with a cute camp kid than a feisty black girl. With some of Mercedes' dialogue you can practically here the writers saying “quick, what are black people interested in? I know, R&B!”

What makes Glee difficult isn't the fact that the writers are so transparently more interested in their white, able bodied actors than the rest of the cast, it's the fact that they're so obsessed with denying it, and then patting themselves on the back about denying it. What makes it worse is that I really do believe that they believe their own apologia. Unfortunately part of what they seem to believe is that minorities are routinely given special treatment in the name of “political correctness” an that's a belief which is actually harmful (as well as being one which is flatly contradicted by their own casting decisions).

That said, I'll probably still watch the rest of the series because, y'know, showtunes.Themes:

TV & Movies

,

Minority Warrior

~

bookmark this with - facebook - delicious - digg - stumbleupon - reddit

~Comments (

go to latest

)

https://me.yahoo.com/a/EA0c88lilpj2n2eytQTnMdudrtUMV2acww--#ea8e8

at 16:21 on 2010-06-30God, Glee. Hate it. Hate, hate, hate. Have you gotten to the episode where the teacher is an abusive fuckwit and then the show focuses on his angst (not about being an abusive fuckwit) and blames his wife for making her husband act like an abusive fuckwit? Terrifying.

And yeah, the bullshit about beautiful white people "just happening" to fit the major roles . . . I don't even know what to do with that.

I wish it wasn't so rage-inducing, because I have a deep, sparkly love for Jane Lynch, and am thrilled she's in a popular sow. I just wish the show was better.

permalink

-

go to top

Dan H

at 17:09 on 2010-06-30Tragically, I've heard that later on Glee gets a lot better (or perhaps just gets a lot better on some issues). There's a really nice bit later on where Kurt's dad calls out Finn on using "faggy" as derogatory.

The show, it is problematic.

permalink

-

go to top

Viorica

at 17:29 on 2010-06-30Yeah, they spend a lot more time ealing with Kurt's issues and the discrimination he faces than the discrimination faced by Mercedes or Artie. I suspect it's because Ryan Murphy is a gay man himself, and thus is okay with

his

issues being represented, but not the issues of a black girl or a kid in a wheelchair.

Also, there are two cheerleaders (Brittany and Santana) who are hinted at being together, but Ryan Murphy says they won't be exploring that because- and I quote- "

it's not that kind of show

." That was about the point when I actually exploded with rage.

permalink

-

go to top

Dan H

at 17:34 on 2010-06-30Oh dear me.

"Oh come on, you've got the L Word! Why do you need another TV show about lesbians!"

permalink

-

go to top

Viorica

at 18:00 on 2010-06-30"It's not like we deal with gay teenagers anyw- wait."

*sigh*

One of the more frusturating aspects for me is that I have friends who are huge Glee fans, and accuse me of criticising them when I point out the flaws in the show. Being subjected to "SHUT UP YOU DON'T NOW WHAT YOU'RE TALKING ABOUT YOU'RE JUST EMBARASSING YOURSELF" every time I mention the show's problems is a great form of aversion therapy.

permalink

-

go to top

Dan H

at 18:06 on 2010-06-30

"It's not like we deal with gay teenagers anyw- wait."

In all seriousness I suspect that might be part of the problem.

One gay kid = teen show.

Three gay kids = GAY SHOW

One of the more frusturating aspects for me is that I have friends who are huge Glee fans, and accuse me of criticising them when I point out the flaws in the show.

It's difficult. What I find really tough with Glee is that some people genuinely seem to find it empowering (I believe Tiger Beatdown described it as "dismantling the Kyriarchy").

On the other hand, if your friends just don't like you complaining because ZOMG SHOWTUNES then they can ... well they're your friends, so they can Sit Down And Think About What They've Done.

permalink

-

go to top

Viorica

at 18:12 on 2010-06-30

One gay kid = teen show. Three gay kids = GAY SHOW

And the gay kid just happens to be one the creator can identify with. Of course.

My friends actually like it because they can identify with the characters that do get screentime (one's a gay guy) so they insist that criticism of the show is criticism of them, even after I repeatedly denied it, and accused disability/women's advocates of "looking for things to be offended by." I give up.

permalink

-

go to top

Andy G

at 18:20 on 2010-06-30Actually, the Tiger Beatdown quote was:

"I wish I could have titled this piece “How Glee is Dissolving the Kyriarchy Through Song” or “Let’s All Go Out for Equality Slushies, Our Work Here is Done!” But I can’t. Because lately, Glee has been making me squirm. Somewhere along the way, Glee became problematic. It stopped merely depicting systemic prejudice and discrimination, and started contributing to it. And I can remember exactly when it happened."

http://tigerbeatdown.com/2010/06/10/wont-stop-believin-a-gleek-turns-against-the-thing-he-loves/

permalink

-

go to top

Dan H

at 18:23 on 2010-06-30Ah, shows what I know.

permalink

-

go to top

Jamie Johnston

at 18:29 on 2010-06-30

What I find really tough with Glee is that some people genuinely seem to find it empowering (I believe Tiger Beatdown described it as "dismantling the Kyriarchy").

Er... are you thinking of

this article

, which says:

I wish I could have titled this piece “How Glee is Dissolving the Kyriarchy Through Song” or “Let’s All Go Out for Equality Slushies, Our Work Here is Done!” But I can’t. Because lately, Glee has been making me squirm. Somewhere along the way, Glee became problematic. It stopped merely depicting systemic prejudice and discrimination, and started contributing to it.

(Admittedly the author identifies different problems from the ones you mention and seems to say that they only set in considerably later in the series.)

permalink

-

go to top

Jamie Johnston

at 18:29 on 2010-06-30D'oh! Andy types faster than I.

permalink

-

go to top

Arthur B

at 18:35 on 2010-06-30

My friends actually like it because they can identify with the characters that do get screentime (one's a gay guy) so they insist that criticism of the show is criticism of them, even after I repeatedly denied it, and accused disability/women's advocates of "looking for things to be offended by." I give up.

You know, over here at Straight White Able-Bodied Guy HQ we call that "divide and rule".

permalink

-

go to top

Dan H

at 18:37 on 2010-06-30

D'oh! Andy types faster than I.

I shall consider myself well and truly down-smuck.

Generally though there is still positive reception of Glee out there and it does seem to polarise people. I think the issue is that it gets so much right on the one hand and so much wrong on the other.

permalink

-

go to top

Sister Magpie

at 19:25 on 2010-06-30I was really surprised to hear that Kurt wasn't there from the beginning because I always assumed he was sort of the author's stand in. He's gay, he obviously has a feeling for that kind of discrimination, so that's the main discrimination that gets played with.

Though I would say regarding the scene where Kurt's dad tells Finn off, the speech in itself is great (it could perhaps be considered a fantasy speech of things you wish your dad would say in that situation) but even that ep prefers to lean more in the direction of gay being a way you present yourself instead of a sexuality. Which is a fine place to start, but I am still waiting to see if they go into the other aspects of it instead of again claiming that "we're all freaks--because we're in Glee Club!" Um, no. When the bullies call Kurt a freak they mean he's gay. They pick on him because he's gay. They threaten Finn by suggesting he is gay etc.

I remember one ep where they made a joke where people in Glee were voting on something and someone voted for "other Asian"--a background character. That's a perfect example of the show's strange attitude, occasionally lampshading the problems without just not creating the problem.

Especially in eps like Wheels where not only does Finn happily reap the alleged advantages of being a minority, but Artie winds up not even solving the problem that started the ep (that he couldn't ride with the rest of the group on the bus) by sacrificing *his* immediate desires to any disabled people who might come along later. So basically the able-bodied kids complained a lot, but raised some money, and then happily went back to their original attitude of not caring at all if Artie rode the bus with them. The guy in the wheelchair. The only guy who did anything for or cared anything about access for the disabled was the guy in the wheelchair.

permalink

-

go to top

Jamie Johnston

at 22:00 on 2010-06-30Sorry, Dan, I think I must be having a stupid day because I've been turning it over in the back of my head for a couple of hours and I'm still not completely sure how the

NCIS

anecdote relates. Which means I've probably missed something important in the article as a whole. Can I impose on you (or anyone else who is having a intellect-functioning-properly day) for a 'for dummies' version?

permalink

-

go to top

Dan H

at 22:09 on 2010-06-30Partially it doesn't.

Partially it was a holdover from an earlier version of the article that was going to focus more on the "lampshading" element of Glee.

Basically Glee gets a lot of mileage out of people saying "No, don't you see, all these stereotypes are *subversive* because *everybody knows they aren't true*". The thing about the NCIS episode is that for me it highlighted in a very simple, very minor way, the fact that "everybody knows it isn't true" doesn't stop a stereotype being offensive because in fact PEOPLE DON'T KNOW IT ISN'T TRUE.

Then the whole thing morphed and the anecdote was left stuck there like a shark in a roof.

permalink

-

go to top

Viorica

at 22:12 on 2010-06-30

You know, over here at Straight White Able-Bodied Guy HQ we call that "divide and rule".

So it IS a conspiracy!

permalink

-

go to top

http://furare.livejournal.com/

at 02:10 on 2010-07-01

Because having an unpopular hobby is exactly the same as being part of a group which is subject to systematic discrimination, oh yes.

This is probably related to the phenomenon whereby (some) geek guys think that they Understand Women, because, after all, they are discriminated against and therefore can't possibly be part of The Problem. You even get a few guys who claim that, because some things have been difficult for them, there is no systematic sexism in society. After all, they're men! And they got made to suffer for not fitting in! Women are just paranoid for seeing it as a conspiracy against them!

Getting unpopularity caused by a choice you made confused with systematic discrimination is shown quite clearly in Glee as well, when the pregnant girl tells Mercedes that now she's obviously pregnant she Understands what it's like to be black. What?

Because apparently getting to do the things that the white kids get to do in every single episode constitutes special treatment.

That's always the case, though, isn't it? If you're not seen as having the right to be treated like the pretty able-bodied white people, then being treated the same as them is presumptuous. It's special treatment in that you want to be treated *better* than Other People Like You. (Heavy sarcasm filter, needless to say.)

...accused disability/women's advocates of "looking for things to be offended by."

Oh, I hate that one. Horrible, horrible silencing tactic. But seriously, why does anyone need to *look* for things to be offended by? There's so much that is so goddamn offensive that there's no need to look further than the bookshelf in the corner. When someone says that, they're basically saying "I know better than you do what ought to offend you. I don't think this should offend you (because it doesn't offend me) and therefore you are overreacting."

As for "stereotypes aren't true", I think that the mindless spouting of stereotypes - and then defending them by saying there's probably some truth in them - is one of the most prevalent forms of discrimination in our allegedly colourblind/genderblind society. Well, at least, among the nice, "non-discriminatory" people, anyway. I think that's what Dan was saying, so maybe I should've shorted this paragraph to "what he said". But you know us women, we never shut up, right?

permalink

-

go to top

Sister Magpie

at 03:28 on 2010-07-01

If you're not seen as having the right to be treated like the pretty able-bodied white people, then being treated the same as them is presumptuous. It's special treatment in that you want to be treated *better* than Other People Like You. (Heavy sarcasm filter, needless to say.)

Also I think it comes down to the illusion that what the white people get to do in every ep has nothing to do with their being white. Iow, it's not that Mercedes is a backup singer because she's black, it's that Rachel has X,Y and Z about her that gives them a reason to have her on screen a lot and for us to see her story from her pov.

permalink

-

go to top

Frank

at 05:47 on 2010-07-01

Getting unpopularity caused by a choice you made confused with systematic discrimination is shown quite clearly in Glee as well, when the pregnant girl tells Mercedes that now she's obviously pregnant she Understands what it's like to be black. What?

Exactly. W. T. F.

(it could perhaps be considered a fantasy speech of things you wish your dad would say in that situation)

I also think the writer's using this opportunity to speak to those in the audience who are identifying with Finn (who has the absolute right to be pissed at Kurt and call him out on his bullshit though not in such a hateful manner) and who thus may be suffering from gaymanphobia.

The season (network?) suffers from gaymanphobia. For all the talk of Rachel's two gay dads, we never see them. Gay sexuality isn't seen. And the lesbian sexuality that is suggested, is obviously for the het male audience as Santana and Brittany use it to their advantage to seduce/trick Finn.

To be fair, there's not much if any healthy het sexuality either but it is treated as normal. Finn successfully though suggestively loses his virginity to Santana (another fail, this time with racial representation because, you know, Latina's are sexual beings, so exotic.) Will the audience ever see Kurt suggestively lose his virginity (which many will assume to be giving up his butt to a dick instead of giving his dick to a butt)? No, because gayman sex is icky.

permalink

-

go to top

Dan H

at 11:49 on 2010-07-01

This is probably related to the phenomenon whereby (some) geek guys think that they Understand Women, because, after all, they are discriminated against and therefore can't possibly be part of The Problem.

*nods*

Although for what it's worth, it's not just a geek male thing. Bad Things Happen To Men Too is depressingly common male reaction to the notion of privilege. Just look at the lovely "men's abortion rights" guys.

That's always the case, though, isn't it? If you're not seen as having the right to be treated like the pretty able-bodied white people, then being treated the same as them is presumptuous. It's special treatment in that you want to be treated *better* than Other People Like You. (Heavy sarcasm filter, needless to say.)

Sad, but I suspect largely true.

It's like when people complain that student unions have a women's officer but not a men's officer, or complain that everybody talks about violence against women, but nobody talks about violence against men (they do, they just tend to call it "crime" and there are entire branches of government devoted to dealing with it).

permalink

-

go to top

Dan H

at 12:02 on 2010-07-01Oh, wanted to reply to this point too but somehow lost it:

Getting unpopularity caused by a choice you made confused with systematic discrimination is shown quite clearly in Glee as well, when the pregnant girl tells Mercedes that now she's obviously pregnant she Understands what it's like to be black. What?

I'm not sure that's a great example actually. Obviously playing the "I knwo what it's like to be black" card is stupid and offensive, but I think it's a bit iffy to describe Quinn's situation as being entirely down to "a choice she made". Even if we leave out the fact that she was apparently sufficiently drunk when she had sex with Puck that it raises some iffy consent issues, the way she's treated afterwards actually *is* evidence of systematic discrimination because it is, in essence, a form of slut-shaming.

Basically I'm very conscious that "well you shouldn't have got pregnant then" is something that people really do say to women, in one way or another in all sorts of situations (it's a common line taken by pro-lifers for example). There's a certain perspective from which Quinn's arc could be seen as "gets kicked out of her house for being date raped" - I don't think it's entirely fair to describe her as just having made unpopular decisions.

Of course none of that gives her the right to say she "knows what it's like to be black" - on a side note, isn't it interesting that we spend so much time in Glee hearing what it's like to be a minority (what it's like to be in a wheelchair, what it's like to be black, what it's like to be gay) but always from a third party. Mr Shu tells the kids what it's like for Artie to be in a wheelchair, Quinn tells Mercedes what it's like to be black. Kurt's dad gets a pass because he's not actually telling Finn what it's like to be gay, he's telling him what it's like to be a homophobe.

permalink

-

go to top

Arthur B

at 12:14 on 2010-07-01It's like that party game where you have the name of a mystery person stuck to your forehead and the person to your left has to describe them to you.

permalink

-

go to top

http://furare.livejournal.com/

at 15:27 on 2010-07-01Fair enough, Dan. That's the only episode of the show I've ever watched, so all I saw was "pregnant white girl tells black girl that teenage pregnancy is Just Like Being Black". I didn't know anything about the extenuating circumstances, just saw the racefail and reacted badly to it. Obviously, the way Quinn is treated is Not Okay either, but pretending that it's in any way equivalent is fail on the same scale as Guy With Unpopular Hobby pretending that this is the same as being a woman.

In my defence, that was the comparison I was making - there is nothing wrong with having sex or getting pregnant, anymore than there is anything wrong with having an unpopular hobby. But Quinn had (at least when I was unaware of possible consent issues) a lot more choice over getting pregnant than Mercedes ever did about being black. That doesn't make it *right* that she's treated the way she is, it just means that it's a different sort of unfair. Which kind of undermines her claim to Understand.

Of course, in the show, this exchange is presented as character development and a heartwarming moment between the two girls.

permalink

-

go to top

Dan H

at 15:40 on 2010-07-01

Fair enough, Dan. That's the only episode of the show I've ever watched, so all I saw was "pregnant white girl tells black girl that teenage pregnancy is Just Like Being Black".

Yeah, I can see how it would be *even more failey* out of context.

In my defence, that was the comparison I was making - there is nothing wrong with having sex or getting pregnant, anymore than there is anything wrong with having an unpopular hobby.

Oh I don't think you've got anything to defend in particular (sorry if I went off on one - I'm afraid I get a bit language police sometimes) I think it's just that I've been spending my off-hours arguing with misogynist assholes on other sites and so was a bit oversensitive. There's a depressing number of people who really do believe that if a bad thing happens to a woman because she "chooses" to have sex then it's ALL HER FAULT. Again, not saying that's you, just being a bit oversensitive.

Also doesn't change the fact that "now I know what it's like to be black" is a failburger with failsauce and a side order of fail.

Of course, in the show, this exchange is presented as character development and a heartwarming moment between the two girls.

Hey, nothing says friendship like appropriation!

permalink

-

go to top

Sister Magpie

at 15:42 on 2010-07-01

That's the only episode of the show I've ever watched, so all I saw was "pregnant white girl tells black girl that teenage pregnancy is Just Like Being Black". I didn't know anything about the extenuating circumstances, just saw the racefail and reacted badly to it. Obviously, the way Quinn is treated is Not Okay either, but pretending that it's in any way equivalent is fail on the same scale as Guy With Unpopular Hobby pretending that this is the same as being a woman.

Yeah, one of the biggest differences it that, of course, Quinn's condition is temporary. Sure people will probably continue to judge her for getting pregnant, but it was still another example of a line the show is very fond of, the one where the person who is in the position of social power has something happen to them or does something that suddenly makes them feel shamed. And now they "know how it feels" to be somebody who's discriminated against all the time. It's not that we can't sympathize with them as people being picked on, and there are some ways that the two situations are related, but it's not the same thing and the show really does seem to link the two a lot.

permalink

-

go to top

Dan H

at 15:46 on 2010-07-01

It's not that we can't sympathize with them as people being picked on, and there are some ways that the two situations are related, but it's not the same thing and the show really does seem to link the two a lot.

*nod*

The one redeeming quality I can think of in this particular example is that at least it's Quinn's *own* experience which acts as the catalyst for her Important Learning Experience, instead of somebody else's. Unlike say in /Wheels/, where Artie gets screwed so that the other kids can learn an Important Lessson About Disability.

permalink

-

go to top

Sister Magpie

at 17:33 on 2010-07-01

The one redeeming quality I can think of in this particular example is that at least it's Quinn's *own* experience which acts as the catalyst for her Important Learning Experience, instead of somebody else's. Unlike say in /Wheels/, where Artie gets screwed so that the other kids can learn an Important Lessson About Disability.

Also it's probably better that Quinn, being the cheerleader, does usually own all the privileges she has, and yet truly has had things taken away from her. Being pregnant is something other people can see and react to on sight. It's a bit deeper than suddenly being one of the kids who might get a slushy thrown at them rather than being the slushie thrower. Her dad throwing her out because she's now a slut is not only more serious but goes to the aspect of Quinn that always was a minority. In the past she just denied that.

In a way, I felt like the awkward connection of the whole thing to the experience of a black person was more something the show is always trying to do rather than something Quinn herself, based on her character, would say. She'd probably never have noticed that Mercedes was judged on her looks, much less think that she now knows how Mercedes feels.

permalink

-

go to top

Dan H

at 17:50 on 2010-07-01Thinking about it, if they really wanted to have an episode in which Quinn's pregnancy experience what it's like to be Mercedes, they'd have to have an episode in which she stood in the background, didn't sing very much, and sometimes said things like "well you can count my pregnant ass in, mm-hmm" while wagging her finger sassily.

permalink

-

go to top

Sister Magpie

at 18:04 on 2010-07-01

Thinking about it, if they really wanted to have an episode in which Quinn's pregnancy experience what it's like to be Mercedes, they'd have to have an episode in which she stood in the background, didn't sing very much, and sometimes said things like "well you can count my pregnant ass in, mm-hmm" while wagging her finger sassily.

Very true. She would spend a lot of time being confused at the way her interactions with people never went anywhere and all her conversations with others were about other people whose feelings she was more interested in than her own.

permalink

-

go to top

Dan H

at 18:24 on 2010-07-01

She'd probably never have noticed that Mercedes was judged on her looks, much less think that she now knows how Mercedes feels.

Sorry to keep dwelling on this but:

Also, is it framed as "being judged on her looks?" because if so ... umm ... again that's a rather nasty oversimplification of a hugely complex set of issues. I mean presumably when Quinn's father kicks her out it's not because he's worried she'll get *fat*, it's because she's a filthy dirty slutty mcslutslut. And presumably the creators realize that Mercedes' identity as a black woman has rather more to it than "is female and has dark coloured skin."

permalink

-

go to top

Sister Magpie

at 18:51 on 2010-07-01

Also, is it framed as "being judged on her looks?" because if so ... umm ... again that's a rather nasty oversimplification of a hugely complex set of issues. I mean presumably when Quinn's father kicks her out it's not because he's worried she'll get *fat*, it's because she's a filthy dirty slutty mcslutslut.

Sorry, no it's not. I just worded that badly because I meant she is judged on an aspect of herself that is visible to strangers. A stranger, for instane, can look at Mercedes and identify her as black and so make judgements based on just seeing her, and so can Quinn with her pregnancy showing. The way I put it it sounded like I meant "her looks" as in whether or not she was conventionally attractive--that's not what she meant.

permalink

-

go to top

Lexa

at 20:19 on 2010-07-01Oh, there are so many things I hate about this show!

First off, it really, really bugs me that they have taken the idiotic step of confusing sexuality and gender in Kurt. Yes, Kurt is gay. But the writers seem to have taken 'gay' to mean 'camp and gender-confused'. It's the easiest thing in the world to do, and frankly it disappoints me. Wouldn't it be more interesting if one of the football players was discovering he was gay? You could do amazing things with that, and explore really interesting themes - such as the fact that a lot of gay men don't conform to that stereotype. It's only making more and more people think that the stereotypical 'camp gay guy' is universal to the population.

Then there's the wheelchair thing. If you ever tried to stage 'Children Of A Lesser God' professionally with a hearing lead actress instead of a deaf one, there would be uproar. Partly, I suspect, because Equity (the actors' union) would never let them get away with it. I don't know how these things are handled in the States, but it upsets me that nobody had enough clout to solve this problem. Yes, he's good for the character, but if you can re-write for one actor, what's a few tweaks for another going to hurt?

(Oh yes, and of course having a stutter is comparable to being wheelchair-bound. It cuts you off from society in exactly the same way, didn't you know?)

Casting is a thorny issue, but I wouldn't say that colourblind casting works in every case. For instance, the writers must have had character briefs when they began auditioning.

Take the character of Quinn, for example. How different would things be if she were black? She may not have the upper-class background of the current character, she may not have been head of the chastity club (which seemed to be universally white), and there may not have been the family stigma attached to her being pregnant. All of these factors were, arguably, (and within the context of the show, with its' wonderfully divisive society) directly related to the fact that the character was white and upper-class. Even if she's still upper-class, everything changes. Suddenly the focal issues of the character change, and you have to write in the additional new environment of a mixed-race relationship between her and Finn/Mohawk Dude.

No matter how good a black actress may have been for that role, I really don't think that she would ever have been considered, because it would change a lot of things that the writers wanted for the character. And actually, maybe that's fair enough, because some characters are just that specific to their surroundings.

On the other hand, Rachel could have been black and it would have changed NOTHING. Ditto Mr Schuester.

permalink

-

go to top

Sister Magpie

at 20:41 on 2010-07-01

On the other hand, Rachel could have been black and it would have changed NOTHING. Ditto Mr Schuester.

With Rachel it's even more ironic because part of the joke with her dads was that they don't know which one actually fathered her biologically. She says this, then they show us a picture of her with her two dads, one of whom is black and one of whom is white. So they've already got the set up for her to be biracial, but she's not.

I personally don't have a problem with Kurt being campy just because I think it's dealing with a certain type of personality. Rather than being a person in hiding who's struggling with his sexuality he's out and proud. He himself has accepted he's gay, which can be nice. But it does give them a chance to sometimes act as if gay really is about loving show tunes and fashion and being considered girly, which fits into the whole "we're a bunch of misfits" thing they like to have for a lot of the Glee characters. The club's kind of split between the popular kids and the outcasts according to cliche high school hierarchy. Quinn, the other Cheerios, Finn and Puck are all cool people getting their first taste of doing something officially not cool. Rachel, Mercedes, Artie, non-stutter girl whose name I've just forgotten and Kurt are the nerdy-kids they wouldn't have spoken to before but now are getting to know.

permalink

-

go to top

Jamie Johnston

at 23:04 on 2010-07-01Thanks for the clarification, Dan! Yes, I see how that works.

[Ducks out before being mistaken for someone who knows something about this programme.]

permalink

-

go to top

Dan H

at 23:30 on 2010-07-01

Take the character of Quinn, for example. How different would things be if she were black? She may not have the upper-class background of the current character

I'm pretty sure you *do* get upper-class black people (if the Fresh Prince taught me nothing else, he taught me that). (Reading ahead, I notice that you mention later that she could still have been upper class, so I don't think you're implying otherwise - I'm just a bit twitchy today).

Quinn's an interesting example in fact for exactly this reason. Making her black would have changed nothing - you *absolutely* get rich, privileged kids from black backgrounds, and making their perfect alpha-teen black would have *genuinely* challenged stereotypes. But they didn't and I suspect that, as you say, the reason they didn't is because they felt that being white was part of who she was, even though I am damned sure that there are black girls who are *exactly* like Finn.

permalink

-

go to top

Dan H

at 23:32 on 2010-07-01

Thanks for the clarification, Dan! Yes, I see how that works.

As an example, there's a running joke throughout the series that the other Asian student in Glee Club is referred to (by staff and students alike) as "other Asian".

You SEE. It's FUNNY because it's SUBVERSIVE because we KNOW IT'S RACIST and NOBODY REALLY ACTS LIKE THAT IN REAL LIFE and certainly it's in no way HARMFUL or OFFENSIVE! Because it's GLEE!

permalink

-

go to top

Viorica

at 01:39 on 2010-07-02

If you ever tried to stage 'Children Of A Lesser God' professionally with a hearing lead actress instead of a deaf one, there would be uproar.

I wouldn't be so sure. There's a production of

The Miracle Worker

running in Broadway right now with Abigail Breslin playing Helen Keller.

permalink

-

go to top

Sister Magpie

at 04:30 on 2010-07-02

I wouldn't be so sure. There's a production of The Miracle Worker running in Broadway right now with Abigail Breslin playing Helen Keller

Has there ever been a production of The Miracle Worker, or at least one of note, that didn't have Helen played by a hearing, sighted actress? It seems like Children of a Lesser God is traditionally cast with a deaf actress.

permalink

-

go to top

Lexa

at 10:02 on 2010-07-02But 'The Miracle Worker' closed early in its' run, and when the casting was announced there were huge complaints from the deaf and blind communities. (Also, I believe that it first opened in the 50s, when attitudes were very different to now) It's a huge betrayal to actors who are genuinely deaf, blind and wheelchair-bound when an actor who is none of these things gets a role like that.

And yep, Sarah in 'Children Of A Lesser God' is always played by a deaf actress - and with good reason. They even found a deaf actress for the movie, which is quite impressive when you think about it.

It genuinely upsets me that the actor playing Artie can walk. It's like they're saying "You know what, nobody in a wheelchair can act." Your agent can't find a wheelchair-bound actor? Find one. Hold open auditions, cast a complete newcomer. It's much easier to do that on television than in theatre.

permalink

-

go to top

Dan H

at 10:17 on 2010-07-02Sorry to be the language police again but if we're going to take a stand against ableism can we avoid using the term "wheelchair-bound" because it

genuinely upsets people

.

I probably wouldn't have noticed if I hadn't been reading that very blog yesterday evening.

permalink

-

go to top

Wardog

at 10:58 on 2010-07-02Wow, this is a minefield. I'm scared of opening my mouth....

permalink

-

go to top

Sister Magpie

at 15:05 on 2010-07-02

But 'The Miracle Worker' closed early in its' run, and when the casting was announced there were huge complaints from the deaf and blind communities. (Also, I believe that it first opened in the 50s, when attitudes were very different to now)

Thanks for that info--I had no idea and I was genuinely wondering about it. Because yes, the original was in the 50s where the idea of hiring a deaf or blind young actress (much less a deaf and blind young actress) would never even have been considered. I remember when Patty Duke, the original Helen, later made a TV movie version where she played Annie Sullivan to Melissa Gilbert's Helen!

So I didn't know if there was some reason that play was not looked at the way CoaLG was, where you assume the part will be played by a deaf actress.

Now I'd really like to see MW with a deaf and blind actress. It would be a totally different performance, I'd imagine. Helen would probably relate to the world far more realistically because the actress would naturally navigate the world with the same senses. Ironically, I'll bet to a lot of people she would appear more able-bodied because of it. She'd be played less as a seeing/hearing person who's been deprived of those senses and more like an individual who uses senses other than seeing and hearing.

permalink

-

go to top

Viorica

at 15:42 on 2010-07-02

Hold open auditions, cast a complete newcomer.

That's actually the argument I keep hearing- that they

did

hold open auditions, and Kevin McHale just happened to be the best actor for the role. Don't know if I believe it, though.

permalink

-

go to top

Dan H

at 23:23 on 2010-07-02

That's actually the argument I keep hearing- that they did hold open auditions, and Kevin McHale just happened to be the best actor for the role. Don't know if I believe it, though.

I believe it, it's just that I believe their criteria for "best actor" were intrinsically, well, faily.

There's a lot of talk in the DVD special features about how you're looking for the "triple threat" - somebody who can act, sing and dance. Given that later on in the series there's a sequence in which Artie does, in fact, dance in a dream sequence - revealing that Kevin McHale is, in fact, a pretty damned good dancer, it seems depressingly plausible that his ability do dance was part of what landed him the role.

This role, of course, being the role of a wheelchair user whose lifetime dream of being a dancer cannot be fulfilled *because he is a wheelchair user*.

It seems nobody thought that maybe the ability to dance *in a wheelchair* might be a better quality to look for in an actor than the ability to dance *when not in a wheelchair*.

permalink

-

go to top

Viorica

at 00:06 on 2010-07-03Yeah, that's what my friend tried to convince me of- that if they hadn't cast Kevin McHale, they couldn't have done the Safety Dance scene, so clearly he was a better choice than an actor who was actually in a wheelchair. The problem with this is twofold: one, it is entirely possible to dance while in a wheelchair, and two, having your disabled character constantly fantasize about not being disabled is juuuuust a bit problematic. It'd be like having Kurt fantasize about being straight. "Oh, if only I wasn't a minority!"

permalink

-

go to top

Sister Magpie

at 00:54 on 2010-07-03

I believe it, it's just that I believe their criteria for "best actor" were intrinsically, well, faily.

And how many people in wheelchairs would bother showing up at an open call, really? I mean, it seems like asking a bit much to expect differently abled actors to assume they're being considered at an open call.

Yeah, that's what my friend tried to convince me of- that if they hadn't cast Kevin McHale, they couldn't have done the Safety Dance scene, so clearly he was a better choice than an actor who was actually in a wheelchair.

It does underline that we're talking about a disabled person as defined by an able-bodied person, doesn't it? If they think it's important that the actor be able to convincingly dance like a person with the use of his legs, if only for dream sequences but not important that he be able to convincingly use a wheelchair like a person who doesn't regularly use his legs. He can't dance in a wheelchair the way the character should be able to do, probably doesn't even use a wheelchair as well as a regular user would.

But they either don't see those problems or assume people will suspend disbelief for them. However when it comes to a fantasy dance sequence they need it to be the actor dancing? Even though the whole fantasy sequence frame would give you plenty of freedom to be as stylized as possible. You could probably even be more creative with it. It's not like Hollywood hasn't done this in many ways over the years when they cast a non-dancer in a dancing role.

permalink

-

go to top

Dan H

at 12:00 on 2010-07-03

And how many people in wheelchairs would bother showing up at an open call, really? I mean, it seems like asking a bit much to expect differently abled actors to assume they're being considered at an open call.

But that's *their* fault for being *prejudiced* and assuming that *all able bodied people are ablists*. And we shouldn't support *prejudice*.

It does underline that we're talking about a disabled person as defined by an able-bodied person, doesn't it?

It really does. I can't believe that people *actually* cite the (arguably quite offensive) dream sequence in which Artie imagines what it would be like to be a dancer as a *good and valid* reason that he "had" to be played by an able-bodied actor.

"Hey people with disabilities: we can actually represent what it is like to BE YOU better than YOU CAN"

permalink

-

go to top

Lexa

at 15:17 on 2010-07-03There are hundreds of acting calls out there where they say something like: "Actor wanted. Must be male, mid-late 30s, minority ethnic background." Or words to that effect. If you need someone black for a role, that's what you do. If they had put out one stating that they needed a wheelchair user, then it would have been no different. Sometimes you need an actor to look a certain way, and there's no problem with specifying that - asking for someone in a wheelchair is just the same.

And I say again: if they can re-write one role for one actor and change it completely (Kurt), would it have been so difficult for them to change one character slightly so that a real wheelchair-user could have done it? They can't say 'he wasn't right for the role' for one guy, and then do a shedload of re-writing for another.

permalink

-

go to top

Shim

at 08:46 on 2010-07-04

"Actor wanted. Must be male, mid-late 30s, minority ethnic background."

That must be awkward if everyone who turns up is the wrong minority ethnic background.

"I'm sorry, Mr... Spock, was it? We just don't see you as Othello."

permalink

-

go to top

Jamie Johnston

at 11:17 on 2010-07-04"But that is illogical:

Captain Picard

has played the part, and we are of similar appearance. Is it becos I iz from TOS?"

permalink

-

go to top

Dan H

at 12:47 on 2010-07-04

And I say again: if they can re-write one role for one actor and change it completely (Kurt), would it have been so difficult for them to change one character slightly so that a real wheelchair-user could have done it?

I don't think you'll get any disagreement here. We're not saying "this is why they did it, and it's legitimate" we're (or at least I'm) saying "this is probably why they did it, and it's fucking offensive".

People get so defensive about it because what we're dealing with here (like the guy in that infuriating Times article Rami just linked to) is *internalized* prejudice. The producers cast Kevin McHale because he was "best" for the role according to their preconceptions about what a "good" actor in musical theatre should be like. Funnily enough, this wound up being somebody white, male, and able-bodied.

permalink

-

go to top

https://me.yahoo.com/a/weG8lOsgwf6qv3.5HfEtaiu7gZr1mw--#9e4da

at 00:48 on 2010-07-06As a person with disabilities who has

written rather extensively about Glee

(I wrote the post at Bitch discussed in Daniel's original post), I'd like to specifically rebut the claims made about the dream sequence (although this whole conversation has been very interesting).

I see the argument that Artie had to be played by a nondisabled actor to make that sequence possible all the time, by people who are apparently not aware that what wheelchair users can dance. Had they used an actual wheelchair user in that role, the dance sequence could have involved Artie going to dance camp and learning wheelchair dance, and they could have choreographed a superb dance sequence. Instead, they cast themselves into a corner by using a nondisabled actor.

Glee for some reason seems to be under the impression that people can't dance in wheelchairs. They claimed to have invented wheelchair choreography with 'Wheels' despite ample evidence to the contrary; seriously, search YouTube for 'wheelchair dancing,' and I note that they had to use a stuntman for most of Artie's moves in that episode, suggesting some awareness of the fact that there are actually wheelchair athletes that can do things that nondisabled people who are unfamiliar with a chair cannot do.

Pretty much all of the statements made about McHale's casting smell like rotten fish to me. They 'needed an actor who can sing and dance'? Well, Kevin McHale may be able to sing, but he certainly can't dance in a wheelchair, and there are plenty of wheelchair users who are accomplished singers and dancers who would have been a better fit for that role.

permalink

-

go to top

Dan H

at 11:28 on 2010-07-06Hiya, welcome to Ferretbrain.

The whole dream sequence thing is just wrong on every level really isn't it?

It seems like the producers genuinely did believe the fact that Kevin McHale *isn't* a wheelchair user somehow made him uniquely qualified to play one.

permalink

-

go to top

Jamie Johnston

at 19:54 on 2010-07-06Wow, I know we've had actual known writers commenting on Ferretbrain once or twice before but this is the first time it's someone I've read. Er, hello! [Star-struck.]

I'm amazed to hear they had the gumption to claim to have invented wheelchair choreography. That claim certainly wouldn't have convinced anyone in the UK, where

this wheelchair dance

was all over our televisions many times a day from 2002 to 2006 as a BBC 'ident'.*

* (I don't know whether 'ident' is a term anyone but the BBC uses. It's the little clips a TV channel shows in between programmes or during ad breaks to remind you what channel you're watching.)

permalink

-

go to top

Melissa G.

at 01:10 on 2010-07-07I would just like to mention that someone I went to college with (who became paralyzed during his sophomore year due to a spinal injury) was recently on Glee. And he wrote a really interesting

blogpost/article

about his experience with the show. Just thought you all would be interested.

permalink

-

go to top

Dan H

at 10:28 on 2010-07-07Obviously it's great that your friend's landed a part in the series, but I'm a bit uncomfortable with his complaining about people criticizing the show. He's entitled to his opinion of course, but so are other people.

I have absolutely no doubt that the cast, crew and writers of /Glee/ are not *consciously* ableist. I have no doubt that they will be very nice to your friend, but it *is* legitimate to criticize them for casting an able-bodied actor as Artie, just as it would be legitimate to criticize them for having a white girl black up to play Mercedes.

permalink

-

go to top

Melissa G.

at 17:51 on 2010-07-07@Dan

Coming from a background where I've been on both sides of the casting table (I'm an actor and I've helped cast things as well), I can't really agree completely with how heated everyone is about Artie's casting. Yes, it would have been great if they found an actor in a wheelchair to play Artie, but for me, as long as equal consideration was given to both abled and disabled actors, I really can't get too angry about it.

Of course, I realize that my opinion comes with privilege and that, of course, as an able-bodied person, I don't have much right to say anything either way. The reason I linked Zach's article was because I thought there was more meaning to hearing his opinion than mine. But I'm certainly not going to say that anyone is wrong for being upset. It's just not something I personally agree with. And to me, the fact that Zach got a part on the show (even though he was competing against able-bodied actors during the casting session) must count for something?

As far as the dream sequence goes, I highly doubt the show had any idea they would even do that until about two weeks before the episode was shot, and from what I know of TV, it's likely that they just said, "Oh, hey, since Kevin can walk in real life, why don't we do a dream sequence where we see him dance?" Had he actually been a wheelchair-using actor, they obviously wouldn't have done the scene or would have done it a different way. But I might be misunderstanding why exactly people are angry about it.

To be honest though, I have a feeling this is an agree to disagree type of situation.

permalink

-

go to top

Dan H

at 00:47 on 2010-07-08

But I might be misunderstanding why exactly people are angry about it.

I'm not really qualified to speak on behalf of People With Disabilities, but if I had to explain why I *think* people are so upset about it, it would be something like this (this may get long).

One way to view disability is that people with disabilities are just people who can't do some things that other people can do. If you follow this definition then casting able-bodied actors in disabled roles is sort of like casting bilingual people in non-bilingual roles: a complete non-issue.

The other way to view disability (as I understand it) is like race or gender: a part of somebody's identity which has physical manifestations. If you follow this definition casting an able-bodied actor in a disabled role is exactly as bad as having black roles played by white actors in blackface.

By the first definition, discrimination against people with disabilities is effectively a non-issue. Disabled people are by definition less able than nondisabled people, and if your disability prevents you from doing something well ... that's why they call it a disability. Many people (including, I suspect, many people with disabilities) are completely okay with the first definition and that is not something I feel in a position to judge. By this definition providing wheelchair access to a public building is effectively a courtesy you provide to the less fortunate.

For many people, however, it is important to recognize that people with disabilities are a social group that can be excluded by social mechanisms. While people with disabilities may do things differently to able-bodied people, they do actually do all of the same things. To these people *failing* to provide wheelchair access to a building is discrimination just as much as it would be to put a sign in the window saying "no blacks no Irish".

The reason people are so upset by the whole "wheelchair users can't dance" theme which runs through Glee is that it reinforces the notion that exclusion is a natural part of what it means to have a disability. To people who subscribe to the second model of disability "wheelchair users can't dance" is exactly as offensive a statement as "gay people can't have children" or "women can't do science".

As you say, it's an agree to disagree situation, I just thought I'd try (as best I can) to explain what I think people are disagreeing about.

permalink

-

go to top

Melissa G.

at 05:34 on 2010-07-08

To people who subscribe to the second model of disability "wheelchair users can't dance" is exactly as offensive a statement as "gay people can't have children" or "women can't do science".

Okay, I see. That clears it up. And yes, wheelchair users *can* dance and it would be nice to see them let Artie do that and achieve his dream.

If you follow this definition casting an able-bodied actor in a disabled role is exactly as bad as having black roles played by white actors in blackface.

This is where it gets tricky for me. And I'm not sure I can explain this without sounding horribly insensitive, but I'll give it a go.

For me, saying that only a wheelchair using actor should play a wheelchair using character is an idea that can be taken to rather dangerous place. If you start saying that people can only play roles that they actually are, you're saying that only straight actors can play straight roles or only Jewish actors can play Jewish characters. Anyone with the right look and skills should be considered for any role. The whole point of acting is to become something or someone that you're not. And to take that to another level, I work with a disabled actor in my workshop classes, and I know for a fact that he wants to be considered for parts that are *not* written to be disabled. If we want casting directors to consider him for non-disabled parts, I feel like we need to extend that to "consider everyone who could play this character for the part". And from there, I trust that the casting people will actually pick the person who is most right for the role. And having met many casting directors, trust me, they're really very good at it.

Again, I know people will disagree with me, and they have every right to. I just wanted to add something from an acting viewpoint as well. (Please don't bite my head off....)

permalink

-

go to top

Shim

at 11:37 on 2010-07-08(warning, long post)

For me, saying that only a wheelchair using actor should play a wheelchair using character is an idea that can be taken to rather dangerous place. If you start saying that people can only play roles that they actually are, you're saying that only straight actors can play straight roles or only Jewish actors can play Jewish characters. Anyone with the right look and skills should be considered for any role. The whole point of acting is to become something or someone that you're not.

I can see where you're coming from and agree to some extent, but I think there's a couple of issues involved here.

For one thing, there are several types of characteristic that might affect casting.

- There are characteristics that almost inevitably affect the character: age, gender, ethnic group, height, body type, certain physical disabilities. The actor's traits carry across to the character unless massive effort goes into disguising them.

- There are characteristics that genuinely limit what the actor can do, including some physical and mental disabilities, but also ability (singing, multilinguism, etc.). This means that actor can't do specific things, but doesn't mean the character has to be

portrayed

in that way: you can avoid showing those activities, or use stunt doubles and voice doubles.

- There are "hidden" traits that don't necessarily affect the actor's range of ability or come across to the character. These include sexuality, regional origin, social class, and some mental conditions.

The first category tend to restrict what roles people can do because many roles are designated for specific types of person. This is especially the case with historical figures, but also applies to stories in particular settings and particular types of character, or to combinations of characters. Dame Judy Dench cannot credibly play Harry Potter. Arnold Schwarzenegger makes an unconvincing Gandhi. Children are often expected to be the same ethnic group as their parents. A cast of white kids just don't fit in a Chinese epic set in the Qing Dynasty. A very short cast is not a realistic basketball team, and a very fat cast is not a realistic national football team. Theatre tends to be far more generous with this sort of casting than film and TV. Taking the semi-realism of film & TV as the standard, then yes, I'd argue that Jewish actors (or at least, actors who look Jewish*) should play the characters.

The second category makes it difficult for actors to play particular roles. Stephen Hawking doesn't match up to Arnie as Conan and the work required to allow him to play the part would be astronomical (how appropriate). Similarly, if someone has an unshakeable heavy Russian accent, they just may not be suitable as Queen Elizabeth. Deafblind actors may struggle in a Jackie Chan film. However, as I said, you might be able to adapt the part or avoid or double certain activities to make them a viable choice, and of course the severity of these restrictions varies. In some circumstances, though, it seems like a reasonable decision to say a person is unsuitable.

The third category really shouldn't enter into the casting process. They might affect an actor's ability to get into character, but for a good actor, shouldn't define whether or not they can do the part. There's no reason why a straight part has to be played by a straight actor.

However: there is also the issue of equal opportunities, or more specifically fair opportunities.

While many roles could be played by anyone, they are often effectively restricted. Minority actor X might be a great fit for the grandfather role, but if the rest of the family has been cast as a different ethnic group, the directors simply can't see a way to fit X in. Or it would require a significant rewrite, whereas actor Y can slot straight in there. If the plot requires the heroine to have life-changing experiences while running marathons, an actress who can't walk or run is a big obstacle. If it's a full-blown kung fu film, a complete ignorance of kung fu is a problem.

Other roles require specific actor traits, so your Aboriginal family need to look more or less Aboriginal, Henry VIII needs to be a Caucasian bloke, and your basketball players need to be tall.

A third type of role needs someone who can portray a particular type of character, without necessarily needing that trait themselves. This ties in with the third category: traits like personality, nationality, class, education, magical powers, emotions, illness and some disabilities can be portrayed by actors without those traits.

The thing is that while the second type of roles exclude majority actors who don't fit the bill, both the first and second types tend to exclude minorities. This means a far smaller range of opportunities is open to them, which in itself reinforces the problem because it's harder to build up a reputation, experience and contacts. That being the case, I'd say it's even more important to consider them carefully for minority-specific roles, and to be

less

open to rewrites and other adaptive measures for the sake of casting non-minority actors.

Wheelchair users are actually a slightly unusual case, because you don't need to be a wheelchair user to act the part. This puts them at an even greater disadvantage than many other disabilities, because not only are they excluded from many roles not written for wheelchair users; they are also competing with able-bodied actors (who have had more opportunity to get experience and recognition) for roles as wheelchair-using characters. Thus, open casting for wheelchair users reinforces the discrimination. Hence the blackface comparison.

Obviously that doesn't mean they shouldn't be considered for non-chair-using roles, any more than all-women MP shortlists mean women shouldn't apply for other constituencies. It's not really about making casting completely open; it's about preventing passive disadvantage to minorities from the passive advantage and sheer numbers of the majority.

*I appreciate this is getting into the situation where people are concerned by ethnic minority A actors taking roles as ethnic minority B characters. I don't want to discuss that right now, I was just referring to getting a convincing cast.

permalink

-

go to top

Dan H

at 12:12 on 2010-07-08

Anyone with the right look and skills should be considered for any role.

I think this is the crux of the issue (and again this might get a bit long).

For many years, to a white audience, a man in blackface had the right "look" to play a black man on stage or on film. Even after people came to realize that this was not acceptable, the film and television industry carried on doing the

exact same thing

with Asian characters because, to a white audience as long as somebody has their eyes taped back they look convincingly Asian (scanning down the wikipedia article, people still do this today). Of course to a lot of Asian people this is fantastically offensive.

To a lot of disabled people, Kevin McHale absolutely does *not* have the "right look and skills" to be considered for the role of Artie. For a start he can't dance in a wheelchair which for somebody in a show which is all about singing and dancing is a bit of a flaw. Not only that, but (I am given to understand) many people find the way McHale handles a wheelchair awkward, uncomfortable, and unconvincing. To people who actually use wheelchairs, McHale does not do a convincing job of portraying somebody who spends a large proportion of every day in one.

None of these things are immediately obvious to an able-bodied audience (or, I suspect, to able-bodied casting directors) because we define disability by inability, and think that being a wheelchair-user means "not being able to walk" instead of "being able to use a wheelchair". The reason many people find "crip drag" offensive is because they feel it should not be up to able-bodied people to decide what disabled people are supposed to look like.

I absolutely believe that Kevin McHale was chosen because he had the right look and skills to play Artie, but I also believe that what people considered to be the "right look and skills" to play Artie was based on quite a lot of harmful misconceptions about disability.

Put it this way. Look at the following picture

of the cast

. Perhaps I'm just being guided by hindsight but just looking at those pictures (which are all head-and-shoulder shots) you know *instantly* which of those characters is "wheelchair kid" - it's the pale gawky looking one because that's what able-bodied people think disabled people look like. It's even more apparent in the

DVD Cover

where he is actually pulling the "biting your own ear" face I describe in the article.

If I was a casting director, Kevin McHale is exactly the person I would cast as wheelchair kid. He looks exactly how I expect disabled people to look (pale, unhealthy, and uncomfortable) and his awkwardness in a wheelchair wouldn't even register with me, because I *expect* disabled people to move awkwardly because, well, they're disabled.

And to take that to another level, I work with a disabled actor in my workshop classes, and I know for a fact that he wants to be considered for parts that are *not* written to be disabled. If we want casting directors to consider him for non-disabled parts, I feel like we need to extend that to "consider everyone who could play this character for the part".

I think you're in danger of falling into the "reverse prejudice" trap here.

There is a big difference between disabled actors wanting to be considered for roles that are not specifically written as disabled, and non-disabled actors wanting to be considered for roles that are. Not least of those differences is the fact that while disabled actors are routinely *not* considered for roles that aren't specifically written for them, they have to be especially protective of those that are.

To come back to the race example, it's the difference between a black actor wanting to be considered for the role of Dr Who and a white actor wanting to be considered for the role of Martin Luther King Jr. One involves taking a character who habitually (and for no especially good reason) is cast as white and asking for the opportunity for equal treatment. The other involves asking people to accept that one of the most famous and significant figures in the civil rights movement can be adequately represented by a white guy.

There is a big, big difference between actors with disabilities, or actors of colour, or female actors, asking to be considered for parts in which race, disability, and gender play no significant role, and white, able-bodied male actors asking to take roles which *are* specifically written as disabled, non-white, or female. (I should add that gender isn't a great example here, because regendering roles is slightly different to merely whitewashing them).

What's offensive about blackface, and about yellowface, and about crip drag, is the notion that "white and able-bodied" is some kind of master template from which everything else can be derived. A black man is not just a white man with dirty skin. An Asian person is not just a white person with their eyes pulled back. A disabled person is not just an able-bodied person sitting down.

Should every actor who *can* play a role be considered for that role? Absolutely. But for many people an able bodied actor *can not* play the role of a wheelchair user. For many people Kevin McHale *is not* convincing as Artie, because Artie is supposed to be a wheelchair user and Kevin McHale *obviously* isn't.

And having met many casting directors, trust me, they're really very good at it.

I'm sure they are, but that does not mean they are without prejudice, or do not have privilege.

Kevin McHale was an excellent choice for Artie in the sense that he looks exactly the way the average, able-bodied audience member expects a wheelchair user to look. He was also an excellent choice for a character whose entire arc seems to be about how having a disability means having a less complete life. Insofar as Artie's function as a character is to be tragic and sympathetic, he is well cast.

The problem a lot of people seem to have with Kevin McHale is not that he did not fit the character per se, but that the character itself is a harmful jumble of stereotypes.

I hope this doesn't come across as biting your head off, just still trying to explain why I think the criticisms of McHale are legitimate.

permalink

-

go to top

Sister Magpie

at 15:52 on 2010-07-08

I absolutely believe that Kevin McHale was chosen because he had the right look and skills to play Artie, but I also believe that what people considered to be the "right look and skills" to play Artie was based on quite a lot of harmful misconceptions about disability.

Just wanted to say I thought this whole post summed up the issues really well, at least the way I see them at play. If we lived in a world where the majority of people used wheelchairs, McHale's awkwardness at handling one would probably be a no-brainer. That kind of unconscious thinking happens a lot with the white able-bodied template. Like as I often said w/regard to the Avatar casting, nobody ever considered making the LOTR cast there were no discussions about Middle Earth not really being Europe and therefore the entire Fellowship should be Asian--on the contrary both there and Harry Potter it was agreed right away that convincingly white and British was the starting point for everyone.

Basically, I think we're trying to work towards a comfortable balance between blind casting where the audience is expected to accept an actor whose race isn't supposed to be taken literally and specific casting where race is an issue.

I do remember once someone on lj making a horribly misguided (imo) post where she seemed to literally be arguing that whatever specific background an actor had, that was what the character had. She was arguing that it was stupid for people to talk about the Jimmy Smits character on The West Wing being the first Latino US president when Bartlett was a Latino president--because Martin Sheen is. Even though Bartlett's ethnicity was a stated part of his character. *That* I think was definitely a case of the slippery slope where things are getting silly.

Also, we shouldn't forget that the show does have an actual disabled cast member in a recurring role--the Cheerio who has Down Syndrome. Perhaps Life Goes On changed things when it came to that particular condition, or maybe it's that it's got such a distinctive physical look (distinctive enough that it's almost like a wheelchair only it's not a prop or a costume), or again maybe it's that people with Down Syndrome have proven themselves enough as a group as actors, but I would have been surprised if they'd cast that role with a person who didn't have Down Syndrome.

permalink

-

go to top

Sister Magpie

at 15:58 on 2010-07-08Also while I'm blabbing on, let me go off on a tangent. But I wonder if another unconcious prejudice that can come into play is a discomfort with the disabled. Of course I can't say this was at all a factor in the Glee casting. But I think there are situations where able-bodied people are just made a little less comfortable or a little more nervous when dealing with someone who has different limitations. So that could probably also weigh in favor of preferring the able-bodied actor. Obviously not all the time, as the actor who wrote the blog is disabled and got a part--though even there if this kind of thing was an unconscious factor people would probably feel a lot more confident hiring someone for one episode than as a series regular.

Again, I don't want to make it seem like I'm accusing the Glee cast of doing this, especially not consciously. But it seems like from things I've read disabled people say, this is something they deal with.

permalink

-

go to top

Melissa G.

at 17:24 on 2010-07-08I can't really argue with anything anyone is saying. And it makes more sense to me to call the character of Artie offensive or insulting than to harp on about the casting choice, in my opinion, but that's getting into semantics.

I still can't completely agree with it, but that may be because I Just Don't Get It, which I'm willing to accept and admit that maybe my opinion is a little less significant given my privilege.

But I do want to say that I appreciate everyone responding to me in a calm, non-defensive manner so we could have an actual conversation about what I think is a complicated issue. But I'm not sure I particularly have anything more insightful to say about it at this point. (Also, watch Zach's episode; he did a good job!! ^_^)

permalink

-

go to top

Jamie Johnston

at 19:09 on 2010-07-08Yeah, it's been a really interesting discussion. And I think we'd probably all agree that casting is only part of the problem, and not the biggest part. (It's certainly only one of many complaints in Dan's original article.) Even if casting were never affected by prejudice in any way (which I don't think anyone here suggests), we'd still be left with far too many series that are written to either ignore the diversity of people and experiences in the world or deal with that diversity using token characters and cheap stereotypes.

And we'd also probably all agree that the workings of prejudice are much more easily seen over the broad sweep than when looking at any single creative decision. Casting Kevin McHale as a wheelchair-using character would be much less problematic than it is (however much that may be) if the show had lots of actors with disabilities, or if it didn't but there were plenty of other TV series that did, or even if there weren't that many actors with disabilities on our screens but there were enough suitable parts being written to encourage more young people with disabilities to become actors.

permalink

-

go to top

Shim

at 08:42 on 2010-07-09It's always difficult when you're talking about generalities but focusing on a specific example. Quoting Dan in a vaguely web-incestuous way:

"I don't think you can look at any single work of fiction and say "that character, right there, should have been black".

permalink

-

go to top

Jamie Johnston

at 12:41 on 2010-08-17The casting issue, in

Glee

and more generally, on

This ain't livin'

from a few days ago.

permalink

-

go to top

Arthur B

at 12:42 on 2010-08-17A little happy news: I just started watching

Breaking Bad

, which includes a character with cerebral palsy played by an actor who actually has cerebral palsy. At last.

permalink

-

go to top

http://someobsessive.livejournal.com/

at 10:06 on 2010-08-20I just wanted to let you know that I have included several quotes from your articles on my new tumblr:

http://wholesomeobsessive.tumblr.com/

if you would like to check it out.

Sister Magpie quotes are also there.

Thank you for your articles, and for directing me over to deathtocapslock. I am being very well entertained this summer.

:-)

permalink

-

go to top

Robinson L

at 15:00 on 2010-12-21Still not seen

Glee

, and still probably never will, but do have a few thoughts. One of them being that Noah Antwiler of The Spoony Experiment

also took exception to The Immortals

. In detail.

And while I haven't see the show, ptolemaeus watched the first season with our cousin last year, and she had the same problems with

Throwdown

(the Sue-Sylvester-tries-divide-and-conquer-tactics episode) you bring up. Color me unsurprised.

Also, did I dream up the part where somebody (and I could've sworn it was Dan), said something about Sue Sylvester later being depicted as more sympathetic, and that this actually makes the show's problems *worse* because—if I remember the argument correctly—now it's a likable person saying and thinking all those nasty things? That struck me as a bit odd, because while I can sort of see the logic behind it, I've always viewed treating nasty characters sympathetically and not just saying “ehn, they're just evil,” as a good thing. I didn't dream all that up, did I?

Dan: Partially it was a holdover from an earlier version of the article that was going to focus more on the "lampshading" element of Glee.

Was that version also going to go more into what exactly the “Trouble With Deconstruction” is? From all I've heard, it sounds more like the trouble is that the show lampshades it's own stereotypes without really questioning or subverting (deconstructing) them.

permalink

-

go to top

https://profiles.google.com/117083096049946525193

at 02:46 on 2013-07-07Oh, this has only gotten far worse as the show has hit it's fourth season.

First, Brittany and Santana did become a couple and broke up. Brittany, being bisexual, decided to date Sam (a season 2 character), but was hesitant because the lesbian blogging community was going to hurt him. I wish I was making this up. AfterEllen had a riot on that. Sorry we're upset that our representation isn't on screen anymore. And as a lesbian myself, I do have to say, it was really frustrating how for the rest of the series, except maybe two times, they completely forgot those two dated.

The biggest fail though is the transgender (mtf) black woman named Unique. First of all, it took me a while to figure out whether she was supposed to be transgender or a drag queen (because she talks in the third person regularly, and talks about Unique like a persona, not as herself). Second, SO MANY TIMES in the show, people are calling Unique Unique/Wade (the male name). Now, I know a million idiots across America are going to think this is acceptable behavior. And finally, they made her a catfish. The transgender as deceptive/predatory is a pretty common trope, and I think a damaging one, for everyone involved.

And the final Glee minority fail. Unique is also a big girl, and is basically the replacement for Mercedes. Brittany literally calls Unique Mercedes, SEVERAL TIMES. Uuuuugh. . .

permalink

-

go to top

Fishing in the Mud

at 23:41 on 2013-07-07Ryan Murphy can totally make fun of lesbians and transgender people because he's gay. Isn't it great?

Yeah, no. What a fucking worthless hack.

[zoeygreensimblr]

Wildest Dreams (episode 4)

In the harsh light of day the weight of the night before is setting in.  My mouth is super dry, my head is pounding and I'm having flashbacks, hot flashbacks but it's hard to concentrate on them with the pain.

I can here a conversation going on, I guess Angus finally got that FaceTime call from his sister. I can hear his end clearly but her replies come through muffled. I focus in on what he is saying and I realise they're talking about me.

"No Immie, Im not going to give you her name"

muffled reply

"you know exactly why, you'd look her up on simstergram and stalk her profile, trust me, you'll  meet her when the time is right, I just don't need my big sister scaring her off"

I get up and move closer to the door, I've never been the kind who listens in on private conversation but considering Im the subject matter I can't stop.

"Look Immie, it's more than likely that she's going to wake up and pretend nothing happened again, just like she did on Thursday."

"Give her time Gus, If she's as sweet as you say she is I'm sure she's worth the effort" Imogen assure him.

Am I worth the effort?

Angus ends his call and I can now hear a blender stopping and starting. Time to venture out of the room. He's standing in his kitchen dressed only in shorts and it's freezing.

"Morning" he says in an upbeat tone, "Did I wake you?"

"No, my hangover woke me, I swear Im never drinking again" I pledge

"Famous last words Miss Green, we've all been there"

"Ah Im sure you never have Mister McKennzie, given that you don't consume carbs"

"I use to be quite a heavy drinker"

"Oh, sorry"

Change the subject Zoey

"what are you concocting in the blender?"

"The worlds best hang over cure"

And he's going to make me drink it!

"Are you not cold, it's freezing Angus"

"I went for a run earlier, sorry, is it making you uncomfortable? I'll go put a shirt on"

Don't think Zoey, just act on impulse, you can do this.

"No, don't" I plead, reaching my hand out to touch his rock hard abs and I don't know which one of us is more shocked. My fingers move slowly up his torso, sweep across his neck and make the way to his mouth, I let my thumb play with his bottom lip and he kisses it softly. He pulls me in closer and brings his lips to mine, I'm anticipating his kiss but he just opens his mouth and asks "Is there a chance that you're still drunk?"

I shake my head, no

He kisses me, lifting me up off the ground.

"Do you have to be home at a certain time today" Angus enquires.

"No but I do have homework I need to do at some stage this weekend so I will need to get our bags from your office" I reply

"You mean those bags" He asks, pointing to the corner where he's carefully placed both my school bag and Tess' too.

"What do you have planned Angus?"

"I was thinking we could drive up the coast to Sulani, I know it's winter but there some great spots to grab lunch on the Island"

"How do you get to the Island  though?"

"Ferryboat from New Crest" He informs me

"Im in"

I check my phone in the car and I'm surprised to see that I only had 2 missed calls, one from home and the other from Tess. That's very unlike Tess, usually she would just keep calling until I picked up, her record was 35 calls in the space of an hour. I call home first and my mother answers.

"Hi Zoey"

"Hi Mum"

"I called before to see if you'll be home for dinner tonight and if Angus would be joining you?"

"How did you know I was with Angus?" I asked, thinking Tess must of ratted me out

"Oh, He called us last night, said you had passed out drunk on his couch and he had put you in his sisters bed. Lovely boy he is, we had a long chat too"

I shoot Angus a look and he just smiles, keeping his eyes on the road.

"So, Im not in trouble?" I ask mum

"Why would you be in trouble, we know you're safe and not lying in a ditch somewhere, plus you're our good girl, we know we don't need to worry about you, unlike Tess"

When I hang up the phone my head is filled with so many questions, like what did they chat about.

"We talked about you Zoey, how you're going to University next year and you're hoping to study medicine" Angus informs me, like he's reading my thoughts, "I didn't know you wanted to become a doctor?" he continues

"My parents want me to become a doctor and don't get me wrong, I wouldn't mind studying medicine, my marks are high enough to get in too but I wouldn't mind becoming a vet either, I love animals, especially dogs" I explain

"You should do what makes you happy Zoey"

I wish it was that simple though.

The ferry ride from New Crest to Sulani takes about 40 minutes, the water is choppy and the wind is blowing a gail but Angus holds onto me tightly the whole way.

"This place is beautiful" I say when we arrive, the water is crystal clear and the sand is pure white.

"Yeah it is, I come up here a lot in Summer, we have a house on the beach and locals are so accommodating"

"I need to ask a question and I apologise is advance if it comes out rude but you're 22, how do you own so much property, it's like you hit the motherlode" I ask and he laughs

"Immie was a world renowned scientist. she invented a cloning machine, among other things, made Billions from it, retired at 32 and now travels the world, she comes home in the warmer months, helps me out with the gym but mostly she leaves me in charge of making the big decisions, I've got creative control over everything" He explains.

We walk to The Sand Bar, a small bar with a food stall out front. We put our orders in and find a wicker cane lounge to sit on.

"Ok Zoey, I think it's my turn to ask the personal question" he says, I can hear the reservation in his voice but still he pushes on, "You've talked to me non stop about your relationship with Tess and I've met your Mother and Step Father, who you also seem to be really close to but you've not once mentioned your actual father"

It was a painful subject, a wound that had never healed. I can feel the hot tears welling up in my eyes.

"Oh fuck, Zo, I'm sorry, I shouldn't have brought it up, it's none of my business, forget I've asked. Shit, I wanted to have the best first date with you and now I've ruined it and made you cry." He comforts me, wiping my tears away with a napkin

"It's ok" I assure him, "I cry when I'm angry, I'm not angry at you or that you asked, please don't think that. I'm angry because our father abandoned us, left my mother with nothing, alone to raise to two children on her own. Tess and I were only 10 and he just didn't come home, he moved to Oasis Spings with his girlfriend, Eliza Pancakes and they started a new family together, we never heard from him again"

"Im so sorry Zoey, what a prick, you're poor mother and you girls" He exclaims, shocked

"There were some pretty dark times, bills went unpaid and our power was shut off a few times but Ruth got us through it, she took a job as the hostess at Chez Llama and worked really hard to make sure we had everything we needed. That's where she met Don too, he was head chef. They married about a year later and we moved to Brindleton Bay." I explain

"Imogen tells me that Don Lothario was a bit of a playboy in his younger days at Riverview High. Your mother has done a great job taming him" He laughs and I do too

"You wouldn't even know he once had a wild side, he's so devoted to Mum and is more of father to Tess and I than our biological father ever was"

On the drive home from New Crest I receive a call from Tess.

"Where are you? Im bored and have no-one to talk to" she cries

"I'm about an hour away, I'll be there soon, I promise. I just remembered, I forgot to call you back too, I'm the worst sister in the whole world" I laugh

"You so are Zoey, You get a boyfriend and forget all about me, the real love of your life. Nah, it's all good, I called Angus, I knew you were safe" she assures me.

BOYFRIEND? What? I hadn't thought about that label, it was all too new, I hadn't even had a chance to debrief with Tess. I can feel my breathing starting to become more rapid

"I gotta go...see you soon T"

"I'm pulling over Zoey, just hold on" Angus cries, anticipating my oncoming panic attack.

As soon as the car has safely come to a stop I jump out. The cool evening air hitting my hot cheeks. The attack takes about a minute or two to pass but the shame and embarrassment sticks around.

"Im going to kill your sister" He announces

"It's not her fault, she just has no filter sometimes and get excited" I explain

"I was going to ask you, I just couldn't find the right moment today" He rambles

"Ask me what?" Now Im confused

"To be my Girlfriend, to make this offical, I know it's sudden but I'm not the type to be out there dating multiple girls all at once. I want to be committed to just one girl, to you Zoey, I want you to be my girl?" He asks, sheepishly

"I've never been a Girlfriend before though" I explain

"It's not like applying for a job at the barista house Zoey, you don't really need previous experience"

"I know Angus but look at me? Normal girls get excited about moments like this, I have a panic attack"

He takes me by the hands and looks me deep in the eye

"Zoey Green, would you do me the honour of becoming my Girlfriend"

Don't overthink it Zoey

"Yes, Angus McKennzie"

He picks me up, spins me around and plants a kiss on me.

[loudest-subtext-in-tv]

Sherlock, EMP theory, and What Dreams May Come

[I have to preface this by making clear that I believe the BFI screening was fake – faker than it seems most people are considering. I don’t think they would give away any big reveals, including any of the following: TJLC, whether Mary or Moriarty are alive or dead, whether Mycroft was being strong-armed by Moriarty, whether Rosie was ever born, or whether EMP is the case. If EMP is the case, it’s intrinsically tied to Johnlock and all the rest so they have to film a separate plot. And yes, I do believe they would go so far as filming many scenes for a different plot line just to protect the reveal of all the big secrets they’ve kept for six years. For what it’s worth, out of all the things I listed this meta is almost entirely just dealing with Johnlock and EMP. So please don’t dismiss the parallels in this meta out of hand because of “spoilers” you may have heard.]

EMP theory (extended mind palace theory) argues that everything around the time Mary shot Sherlock through at least the beginning of TFP will have taken place in Sherlock’s mind while he lays dying in the hospital. Here is a link to the origins of the theory, which became an idea in January. I didn’t pay the theory much attention until T6T aired, when it suddenly seemed like the only explanation of all the facts.

In my opinion, one of the strongest arguments for EMP theory is the movie/novel What Dreams May Come. I haven’t read the novel so I’m doing this meta off the movie alone. 

To start:

Gatiss admires the writer, Richard Matheson, as @skulls-and-tea notes with this Tweet Gatiss made:

What’s the plot of What Dreams May Come? The protagonist is a married guy. He dies in a brutal car accident, and goes to heaven… but his wife, in her grief, kills herself and goes to hell. The protagonist then goes to hell to save his spouse. 

Remember when Sherlock was in this heavenly room that we know is not what Ella’s office actually looks like, wondering what to do about John?

And then, seemingly in answer to this question just afterwards, we see Sherlock watch the Miss Me? DVD, where Mary tells him what to do about John?

And how does one do that?

What exactly is hell, anyway? As @skulls-and-tea quotes Matheson in What Dreams May Come at the link above:

“Everyone’s Hell is different. It’s not all fire and pain. The real Hell is your life gone wrong.”

Sounds a lot like the plot of The Six Thatchers and The Lying Detective from Sherlock’s perspective: John clearly isn’t really into Mary and clearly wants to cheat with someone… but would rather be with anyone but Sherlock, even some rando from the bus; Sherlock can’t keep his vow to protect Mary or John; John blames Sherlock for failing to protect Mary and Sherlock thinks it’s deserved; Sherlock is so oblivious he fails to protect John from Sherlock’s own sister, etc.

Towards the beginning of What Dreams May Come, right before the car accident happens, the protagonist reflects in voice-over narration about the phone call he’d just had with his wife:

“I said, ‘I love you…’ I’ll always remember that. At least I got to say it.” 

But our story is a little different: Sherlock hasn’t gotten to tell John he loves him. If Sherlock were dying in a hospital, struggling to return back to the living to stop John from killing himself over Sherlock’s death, what thought just might wake Sherlock up?

The parallels I’m about to describe between BBC Sherlock and What Dreams May Come are pretty specific and insane. 

Do I have your attention yet?

What Dreams May Come begins with a brief section about Chris and Annie meeting, getting married, having two kids… and then their two kids die in a car accident. For four years, Chris and Annie support one another through their depression.

One day, on the anniversary of their kids’ death, Chris and Annie speak on the phone and he tells her he loves her. On the way home from work, he gets in an awful car accident while trying to save someone else. 

He makes it to the hospital, just like Sherlock…

But Chris dies in surgery because only the power of gay love can restart one’s heart. Sad, but it is what it is. :(

While dying, Chris thinks of his kids’ dog that got put down:

Remind you of anyone else who thought of a beloved dog being put down as he lay dying?

One of the first things Chris learns about being dead is that “dreams don’t deal in time. Time doesn’t count.” That’s why events just sort of float back and forth once he’s dead.

You know, just like how time gets all fucky once Sherlock gets shot. We start jumping months forwards and backwards in HLV after he gets shot; TAB jumps all over the place; so do T6T and TLD. And in the episodes that are supposed to be real, T6T and TLD, none of the time seems to add up coherently. For example, Sherlock’s birthday is supposed to be in January yet we know for a fact that at least a few months had to have passed since the Christmas Sherlock shot CAM… but certainly nowhere near a year (we’d have missed an entire Christmas, if so).

It’s also worth noting that Inception, another movie about dreams (and dreams within dreams) which seems to have been an influence on a Doctor Who Christmas special that Moffat wrote, posits the same thing: mere minutes in real life time can be hours, days, months, years in dream time.

Moving on. 

Remember that shot of Ella’s office from earlier?

Check out the stained glass imagery from Chris attending his own funeral:

Dying helps Chris see himself and lose his fear.

If EMPers are right, that’s exactly the purpose of Sherlock dying during all these episodes, and why it’s necessary for Sherlock to send himself to mind palace therapy. While people like to complain that “it was all a dream” would somehow make all the recent episodes pointless, that’s only the case when the writing is shitty and the writers are using a dream as a previously-unplanned excuse to escape from a dumb corner they’ve written themselves into.

That obviously wouldn’t be the least bit true for BBC Sherlock if you give it a thought: 1) this was planned since HLV (which I’ll get into in my big EMP meta), and 2) it’s because Sherlock is stuck inside his own head that Sherlock is enduring huge psychological struggles and coming out of them with real character growth. Not only will all that growth be present and necessary to the plot once Sherlock finally wakes up, it will probably be the reason he wakes up.

The entire point of having whole episodes in Sherlock’s head is for Sherlock to see himself clearly, for Sherlock and the audience to see plainly what he fears and how much he fears it. How else could we ever get a clear picture of a man who doesn’t allow himself to show much emotion, who keeps backing away from John because he thinks that’s what would make John happiest? Everyone agrees that Sherlock restarting his heart for John in his mind palace in HLV is a fantastic way to show Sherlock’s heart and character… but somehow several episodes of Sherlock fighting and succeeding to stay a good, selfless person even as his inner demons rip him apart is cheap and bad? What? 

Do people really think the mind of Sherlock Holmes, and the fears that plague his heart, would be simple enough to resolve in an episode or two? If so, I issue you a challenge: go write a story where you resolve your own issues with depression and intimacy in a 90 minute runtime. If you can do that, I trust you feel much better now and life should be splendid for you going forward. If not, then surely you see my point. We’re told Sherlock has demons, and we know from TAB that his mind is exceedingly complex.

Not to mention the audience gets to see the lengths Sherlock would go to for John, even when it’s unfair to himself. “Nicer than anyone,” indeed. How could anyone watch HLV, TAB, T6T, and TLD and come away thinking Sherlock is a sociopath? How could anyone watch Sherlock go through all that in his head and decide the romance is gross and evil because it’s gay? Have we ever seen that level of self-sacrifice and devotion from any other character in the history of literature, queer or otherwise?

Anyway.

After Chris sees Annie at his funeral, everything drifts along and he’s suddenly at their house. He looks at a painting Annie made of where they would retire one day, and I swear to god this next image is a painting of the character Chris from What Dreams May Come and not the result of John’s obsession with Sherlock bleeding into John’s art at one of those paint-and-drink-wine classes folks attend nowadays:

Dark hair, long coat billowing out behind him while he looks mysteriously into the distance. Again, that’s Chris.

Then Chris watches Annie write in her diary:

“Dear diary, I am writing in your bullshit pages because my shrink is crazier than I am. He thinks you’re therapy… He’s so stupid. He’s so stupid he thinks he pulled me through the breakdown when it was only Christy. Always. Only Chris.”

Remind you of John, Ella, and his blog? John was never happy writing his blog until Sherlock came along. And after Sherlock died, the way John coped was continuing to write about Sherlock. And then Sherlock came back from the dead, and John kept writing about him. 

Did the therapy ever really do anything for John? You don’t have to tell TJLCers that of course it didn’t. What made John happier was Sherlock. Otherwise, Ella’s assignment would have just had John writing about all the nothing that was going on in his life.

Chris tries to talk to Annie, but when she senses he’s there it fills her with intense grief. So he realizes that he’s got to leave her alone and go. He leaves her sobbing at his grave and goes toward the light.

Chris ends up in heaven, which looks like one of his wife’s beautiful paintings. You know, just like Sherlock’s mind palace when he was dying in HLV looked like the place where John shot the cabbie for Sherlock, other parts looked like the home he shared with John at 221b, etc.

And Chris’s dog – apparently a different dog from when he was a child – is there! He even jokes to himself that he screwed up and he’s in dog heaven. Oh, here’s a familiar shot:

Chris soon finds out that he’s creating all the things around him:

You know, just like EMPers allege Sherlock is doing, and just like we know for a fact was happening in TAB.

The person telling Chris this is Albert, an old friend who, like Chris, used to be a doctor. Check out one of the first lessons Chris has to absorb, after they discuss what part of a person defines them:

That’s right: dying is a way that Chris learns there’s more to what defines him than his brain. If EMPers are right, that’s the point of Sherlock being stuck in a coma for several episodes: he’s got to reassess his priorities, and confront his fear of embracing things other than pure rationality.

And look what happens next! Albert shows him that Chris’s house, in this place, can do all sorts of weird shit:

Remind you of any promo pics? Like… nearly all of the ones in the countdown to S4 had backgrounds of the wall of 221b crumbling? To save space, here’s one for the upcoming The Final Problem:

Meanwhile, in real life Annie is painting things and feeling like Chris can still hear her and see her paintings. And it’s true, those things do bleed into Chris’s experience of heaven. He sees Annie and a purple tree she just painted:

We know from TAB that the “real world” can bleed into Sherlock’s mind palace as well – though of course EMPers say even those parts of TAB aren’t real:

This bleed-through mechanic is why I suggested after T6T that John was not crying over Mary’s death, but crying over Sherlock’s bedside in real life when he thought Sherlock was going to die. That’s why he says, “Don’t you dare, you made a vow, you swore it.” Not because John absurdly blames Sherlock for Mary’s death, but because on John’s wedding day Sherlock made a vow to always be there for John. John’s angry and desperate because Sherlock is dying.

After all, as @tjlcisthenewsexy, @doomsteady, and @impatient14 discuss here, the Samarra story that bookends T6T seems to actually be about Sherlock trying to rewrite his own death after getting shot by Mary, not just Sherlock trying to stop Mary’s life from catching up with her. When Norbury shoots at Sherlock, it’s a lot like when Mary shoots at him, and Norbury is a mirror for Mary – plus as @themanandthemachine points out, she even uses the same gun as Mary.

Anyway, back to the field with the purple tree and Annie. How does Chris get back to her? By jumping off a waterfall, of course:

The parallel to ACD seems like a good candidate for why Mofftiss would think to incorporate What Dreams May Come into Sherlock, just like the poison scene from The Princess Bride is an ACD allusion in a story about a guy surprising the love of his life by revealing he didn’t actually die.

Anyway.

Once Chris gets to where Annie had been standing, she’s gone. So he has this exchange with Albert:

Albert: “You and Annie… a long courtship?” 

Chris: “No, actually. From the very first moment, it was like–”

Albert: “Soulmates. It’s extremely rare, but it exists. Sort of like twin souls, tuned in to each other.

Sounds a lot like how TJLCers read John and Sherlock’s first couple of days together.

Later, Chris wakes up in a place with some couches and chairs, flooded with water:

Kind of like this promo shot:

Soon it’s revealed that Chris’s dead daughter has been masquerading around in heaven as an adult East Asian woman with an entirely different name. She says things his daughter would know and say. You know, just like EMPers say that Sherlock is imagining people like Faith and Norbury and Culverton etc. representing other characters in Sherlock’s real life, saying things that those people would know and say.

The biggest mindfuck is that later Albert is revealed to actually be Chris’s son Ian, even though Chris really did know Albert in real life. Truly, the things EMPers suggest, such as Mary representing parts of Sherlock and so on, are not that strange compared to this movie Moffat and Gatiss have certainly seen.

Soon, we’re back with Annie, who’s working her way up to suicide. Here’s the self-harm marks:

Remember how Euros-as-Faith in TLD was a John mirror, with her walking stick and gun, coming to Sherlock’s flat saying Sherlock was her last hope? I argued that John’s suicidal attitude over Sherlock not waking up was bleeding into Sherlock’s mind, a reminder that he can’t give up on his own life and has to come back and save John.

Well, Sherlock observed that Faith was self-harming:

Sherlock doesn’t want her to kill herself, so he leaves the flat for the first time in weeks for a stranger that reminds him of John. He continues to freak out about suicide throughout the episode.

Annie kills herself, and Chris finds out that means she’s gone to hell. Albert tries to talk him out of it, but Chris insists on finding Annie.

Chris has to literally revisit sore memories in his psyche to get to Annie, just like Sherlock is having to do with Euros/Sherrinford. It’s part of going through hell.

There are lots of visuals of being doused in water on the journey, just like all the rain in Sherlock:

A guide in a boat tells Chris that the real danger of hell is “losing your mind.” Which corresponds pretty well with like, all of TLD.

Early into hell is when Albert is revealed to be Chris’s dead son Ian. Ian says he chose to be Albert to remind Chris to think about what he said to Annie to “bring her back” when Ian and his sister had died.

Perhaps Sherlock had to imagine Mary caring deeply for John simply because she’s the one in his memories who said, “Save John Watson" in TEH.

Later, in one of Chris’s memories, Annie says, “That’s my role: to bring adventure to your life.” A very John-and-Sherlock kind of relationship foundation.

Once they’re deep in hell, there’s a crumbling version of the home Chris and Annie shared together:

Consider again the promo shots with 221b crumbling. 

Then Chris’s guide says:

“Suicides can get pretty tortured, pretty committed to punishing themselves.” 

Recall Sherlock letting John beat the shit out of him in the morgue in TLD. Now, Sherlock’s not precisely a suicide given that he’s been shot, but he’s been coded as a suicide risk since the first episode. The EMP read on TLD is that Sherlock is dying in bed and trying to decide whether he wants to let go or not, hence the scenes with Sherlock saying, “I don’t want to die,” while in a hospital bed, and his ranting that suicides hurt the people who love you.

Chris’s guide, an old white dude, tells him that Annie is in the house, and what Chris must do is go open his heart to her and say what he needs to say. But then, in yet another mindfuck, the guide reveals that he’s the real Albert.

So, yeah: EMP theory is not very weird at all. Matheson did all this shit decades ago. Characters can stand-in for characters that already exist.

The inside of their old house is filled with water, again just like the promo pics of 221b for Sherlock:

The scene with Annie has some possibly relevant stuff. One quote that sticks out to me is this, which Chris says of himself:

“He pushed away the pain so hard, he disconnected himself from the person he loved the most.”

Definitely fits as commentary on Sherlock’s fear of sentiment and opening up.

Chris can’t totally get through to Annie, so instead he decides to stay with her in hell. He says, “Good people end up in hell because they can’t forgive themselves. I know I can’t.” Annie can’t forgive herself because she unreasonably blames herself for the death of Chris and their children both. Kind of like Sherlock blaming himself unreasonably for Mary’s death.

Annie finally accepts that Chris is there with her, some stuff happens, and eventually they both wake up in heaven together. They make out. Their dog and kids are there. They discuss being reborn and finding each other again, and they do. This stuff’s not really relevant, just heart-wrenching in a weirdly happy way.

The end.

[sasu-holmes]

TLD suicidal POV

Sherlock feels guilty for lying to John. About faking his suicide, about every little lie in the cases, about hiding the truth about his feelings.

That’s not a simple conclusion. That comes to you when you have think about suicide a very long time. When you have been planning it. I mean it because it’s a conclusion I’ve gotten myself. This series is so important for each of us because we can relate with the characters, we felt represented for them or we see our own lives on theirs. That’s a good story. Since the first moment I saw Sherlock I felt represented and at the same time hated him. Of course I’m not that intelligent, but in everything else, we’re the same, including suicidal. And of course you think John was the suicidal one in the first episode, but that’s only because we didn’t see Sherlock beyond John’s POV. But it was all there. And he had think about it a long time ago, that’s why he had so many plans. But after the fall, he realized what actually happens with suicide.

There it is. I told you I was talking about Sherlock’s guilt and someway I managed to be busy all week. He is still regretting not telling John about his faked suicide, and they tell us that repeatedly on the episode, by the quote I wrote before and the other one: “You lie all the time it’s like your mission!” “I’ve been many things John, but when have I ever been a malingerer!?”  “You pretended to be dead for two years!!”

And that’s it. The fall might have save John’s life but it still had it’s effect to Moriarty’s plan: to burn Sherlock’s heart out of him. Because it’s right, Sherlock is the brain and John the heart, and by the heart I mean John is Sherlock’s heart, obviously. After the fall Sherlock could actually see what his death would mean. How it broke John. How it broke their relationship. Yeah, because even though everything seemed to be ok in season 3 between Sherlock and John after the empty hearse, it was only because of Mary. Because John had to pretend being happy with her and Sherlock pretend to be ok with the Watson couple. But that injury never got out of John’s. And with Mary’s death it only came to the surface again: Sherlock lied to him. Sherlock always lies to him, so he can’t tell anymore when Sherlock is saying the truth and when is lying. He can’t tell when is everything a plan to catch some murderer or blackmailer or whatever criminal Sherlock is chasing. And Sherlock knows John has the right to think like that, he knows the doctor is in great pain and he knows is mostly his fault (“Of course is about Sherlock, everything is about Sherlock” “what life? I’ve been away”). He knows the damage he did to John Watson “Your own death is something that happens to everybody else”, and that’s why even if he loves him, he knows (or he thinks) he’s not worth of having John’s company. But he is willing to do anything, ANYTHING for the soldier-doctor. And he’s never been really avoiding death, because he won’t miss being alive. And more if he thinks John won’t miss it. So if he has to die in order to John being happy, he would go to hell. If he can save lives, and specially John’s, he would die and his death would have meaning. That’s why he was about to take the damn pill with Jeff Hope, he really didn’t know John was going to save him. That’s why he was ok with shooting the bomb if it would have killed Moriarty in the pool, and because John was on to the plan. He always put his life in danger not only to prove he’s smart (that’s just a really good cover), but because he actually wanted to do good things for others no matter he got harmed. And that’s why he was never worried of eat, or let himself feel something, or allowing himself to be happy, that’s why he was just functional.

This is the big plot, the lies. All the lies. Sherlock’s might be the ones hurting, because you were all upset at John being an asshole but you forget Sherlock was one way before, you just tolerate it because it was funny. He injured John really bad, and that’s why he knows John needs to get his anger out of his system, and him (Sherlock) needs to be punished (he think he needs to redeem himself). That’s why John is entitled. “No, it’s ok. Let him do what he wants, he’s entitled”. Nevermind he die if he could take John’s anger with him, because he loves him that much. He is completely devoted to John Watson, he made a vow.

I would go deep on this but it’s quite painful. And I don’t know if they ever will show us this by letting some character tell us but, since we’re born, the only thing we know for sure of our life, is that we’re going to die. We can run to Samarra but Death will catch us sometime anyway. The difference is normally it catches people, and suicidal call it, they’re impatient.

Ok maybe I’ll go a little bit further. There’s always a reason to want death. Mostly is because of something traumatic that happens and change our lives and our way to see the world. Then the world is revealed to us: the darkness, we can’t trust people. Especially if you believed in someone who betrayed you. You get harm then learn to lock away yourself. Maybe something like that happened to Sherlock, but I agree with him when he corrects the John of his mindpalace by saying “Nothing made me, I made me”, because no matter what happens to you, you are the one who decides who you are. You might learn things by experience, and you have to make the decision of changing your personality. Or as we say, change your discourse (the way you want other to see you). Maybe that’s why Euros is the reason of Sherlock to made himself, maybe he was a Will before Euros’ betrayal (there’re a lot of ways to betray, remember Hannibal and Mischa), I can’t know until tomorrow when I see the episode.

I have to say, when I saw the episode, for a moment I believed Culverton Smith was about to rape him. Might be a crazy idea from me (I haven’t been in here too much this week, I was workig), but I think that scene was hipersexualized.

Like this moment when he changes his voice. I was about to shut my laptop and break it, I was afraid. And for God’s sake! that whole scene! The noise of the gloves, Smith’s excited voice, the moment after this photo when he put his face really close to Sherlock’s. Jeeeeeeeeeeeeeeeeeeeeeeeeeeeesus! I wanted to kill everyone in the production team. And of course Moffat.

If you add something to this, please, avoid spoilers, I haven’t seen the leaked episode. I’m waiting for tomorrow. I guess this is just my opinion and the way I understand Sherlock, and it might be completely wrong but after all, we are all humans. Humans make mistakes. And it is what it is.

@carooliinah​ I had to shut myself but here it is

[sg2tiger]

Analyzed the fuck out of all meta/magic scenes and whatnot in the prior Episodes (especially EP2) and if i were a person who experienced Umineko as it released, I can see how that would be a little too much of a task to ask your readers to undergo. You can't exactly ask people to spend 10-20 hours of their lives analyzing a novel just to figure out what it really means. Its much easier to do that when its done. (cont)

“You can’t exactly ask people to spend 10-20 hours of their lives analyzing a novel just to figure out what it really means.”

*sweats nervously*

Well, I honestly don’t agree with this, and hope this isn’t what it seems like I’ve been trying to imply when I talk about how upset the sentiment about Ryukishi and EP8 was at the time. In fact, it’s the opposite - people did spend countless hours of their lives trying to analyze the novel. Like, I’ve mentioned this before, but I was only on the Umineko Train for 2 years before it ended because I got in between EP4 and 5. If you think of the people who got into Umineko from the start (mostly people who already loved Higurashi), that’s four years of their lives. And when I say years…I do mean years. Because speaking from experience, I literally did devote multiple hours, every day, over those two years, to doing Umineko stuff. It could be dumb shit like all the Umineko Hell videos I made, or it could be all the times I sat down and wrote up huge pages of notes about various theories, or all the time I spent on the AnimeSuki forums and in more threads on /a/ and /jp/ than I could possibly count. Far, far beyond 10-20 hours, I think most Umineko fans would tell you that all the time spent analyzing the story is where the fun came from to begin with.

The problem was the lack of payoff, and the fact that it felt like our efforts were invalidated. I went into more detail on those issues in this post (the stuff under the Read More that was in response to yasuda-yoshiya), though, if you’re interested, because I’d rather just link that than writing another 10-page essay repeating the same sentiments :P But the TL;DR of it is that the problem wasn’t that making the readers analyze it was ‘asking too much’ - that analysis is what drove most people to the series in the first place. It was the fact that we felt like we came away with nothing to show for the countless hours we did spend analyzing it. 

I think ‘waiting to do that when it’s done’ is the very thing Ryukishi didn’t want fans to do, because that means you’re not actually thinking for yourself and trying to reach an answer - you’re just a goat who wants the truth handed to you on a silver platter. And people like that, who aren’t actually reasoning and trying to understand the story on their own, don’t deserve the truth because they didn’t put in any effort to searching for it. I don’t disagree with Ryukishi on that at all. My problem lies with how dismissive he was to all fans who were upset with the lack of answers, as though all fans were waiting until they could see the answers without even trying to find it. It’s the fact that fans like me, who indeed I feel were the majority (at least in the western fanbase), who actually did struggle our asses off searching for the truth. We definitely weren’t saying ‘thinking is a pain just tell us the answers’, at all. All we wanted from the end was the ability to check the answers we reached after struggling for so long, to have some form of validation that said ‘you got it right’ or ‘you got it way wrong’, so we didn’t feel like everything was a waste of time.

I also think it’s a bit problematic to say that Ryukishi is somehow hindered by being Japanese, and that’s a dangerous line of thinking. I’m sure you didn’t mean anything negative by it, but realistically that’s like saying ‘Japanese authors are not nearly as good as western ones, Ryukishi’s talent is wasted because he wasn’t born in the west’. And well, I don’t think I have to explain why that starts to sound a bit…wrong. 

Ryukishi is Japanese. First and foremost, he’s writing for fellow Japanese. His stories were always aimed at his own culture, and I remember how surprised he was to find out about Witch-Hunt and that Umineko was so hugely popular in the west to begin with. He’s not trying to look down on his peers and say ‘I’m better than you, and because you’re all Japanese, you’d never understand the COMPLEX topics in my stories’. In fact, I’d say it’s very much the opposite - Ryukishi would not be writing these stories at all if he wasn’t writing them for his fellow Japanese. 

If you’ve read the Higurashi VN, you’ll know that the Kai arcs all had a personal afterword written by Ryukishi to the readers (the question arcs had Otsukaresama-kai, which was what Umineko’s EP1 tea party is supposed to remind you of). At the end of…I wanna say it was Minagoroshi-hen? He left a note about the importance of talking to people about your problems, and how this was something he wished could become a more widespread concept in Japan. Because it took so much effort just to get Satoko into child protective services because of Japan’s general ‘mind your business’ attitude, and because of Satoko’s own belief that her brother would come back if she shouldered all of this herself…it showed just how prevalent that sort of idea is in Japanese culture. Rika, too, is a huge example of that, and one of the main messages of the story (and Minagoroshi-hen specifically) was how Rika could have gotten so much further if she had actually talked to her friends about what troubled her sooner. Rena, too, in Tsumihoroboshi-hen. A big theme of Higurashi was trust and friendship, and talking to people instead of bottling up your problems. And it was also to be the one to talk to a friend, and help them, if you felt they needed it, rather than doing the standard Japanese thing of ‘it’s not my business’. Ryukishi was writing about these themes to try and send a message to his own people, to his own culture, and to maybe, if just a little, influence the thinking of his readers to help foster a new generation to break through some of these cultural taboos.

Higurashi would not work as a story if it wasn’t written by a Japanese man, to the Japanese people, as a story about Japanese characters…because these concepts are so important to understanding a lot of the major themes. Let’s say, instead, that Ryukishi had moved to the US and started writing Higurashi here. We don’t have a doujin industry, but let’s say he just published it as a fanfiction online, and it got a bit of a popular following. What do you think the reception would have been about the inherent themes of Minagoroshi-hen? Because I can absolutely envision a western comment section for it. “Why didn’t they just bust into her house and see that her uncle was lying?!” “If I were Keiichi and the others I’d have gone and kicked his ass” “Why would Rika rather keep quiet about Satoko than try to help her? I thought they were best friends?” And so on and so forth. I think a lot of people wouldn’t get why Minagoroshi-hen was such a long, dragged out process…because the western mindset for this sort of thing is so different. We can’t imagine that child protective services would be so passive!! The meaning of their struggle in that arc would just be totally lost - Hell, for all I know, that’s exactly what happened for western readers not super familiar with Japanese culture reading Higurashi for the first time (I say reading because if I recall, like most things, the anime sorta streamlined the whole thing for the sake of time and it didn’t seem like nearly as long of a process as it does in the VN and manga). I bet there were a lot of western fans who genuinely didn’t understand a lot of Higurashi’s themes, and this is no fault of their own. This is because Higurashi was written specifically with a Japanese audience in mind, an audience that wouldn’t need to have this attitude explained to them because it’s an inherent part of their culture.

I won’t pretend to be an expert on Japanese culture myself, of course, but I absolutely don’t think Ryukishi’s stories would work if they were actually written for a western market. Of course they both have a strong western fanbase, but I’d wager that only a small fraction of that fanbase is made up of people who weren’t already anime/manga fans. IE, people who already know a bit about Japanese culture because they’re already exposed to a lot of Japanese media. And while I think Umineko has a bit more western appeal in its themes than Higurashi (which is a very Japanese story in more ways than one), it was still clearly written for a Japanese audience, with a Japanese mindset. Again I go back to the fact that a big part of the issues in Umineko is that the family members never liked to talk about their personal problems. If they had come together and tried to talk and help each other, the tragedy could absolutely have been prevented. Yasu would have been able to come to terms with herself and not be pushed to the brink feeling like her life was hopeless. Battler and Rudolf could have made up much sooner, rather than waiting for 6 whole years. Rosa and Maria could have healed their mother-daughter relationship and try to come to terms with their own psychoses. The list goes on. So much of Umineko could have been prevented if the characters didn’t bottle up their personal problems…which, yeah, is something westerners can relate to and appreciate, but I think would be received much more strongly by a Japanese audience.

Ryukishi is Japanese. He writes for the Japanese. The fact that westerners latch onto that quality of his stories so much is certainly interesting, but to insinuate that somehow his own culture and the very mindset that drives him to write these stories is somehow hindering him…I can’t agree with that at all. I think it’s awesome that his stories are identifiable enough to reach a much wider audience than he could have ever expected…but to think that somehow his work would be better off if he wasn’t Japanese, or writing stories to appeal to his own culture? I think that’s a very mistaken viewpoint, myself.