#WHO WILL NAN CHOOSE?

[bl-bam-beyond]

THE PROMISE: THE SERIES (2023, THAILAND)

Episode 4

These two men don't know one another well. But they have one thing in common. They are in love with their friend. One man. That man is Nanfah.

As Phu (KITTIKUN TANSUHAS aka KUN) repeatedly turns down an offer from Devonte to be their presenter (think spokesperson or model) due to his stage fright or inability to be in crowds. Nan may lose his job if he doesn't find the perfect presenter. But Party (THAWATCHANIN DARAYON aka BOSS) can't let that happen.

Party reveals Nan's part in securing Phu's coffeehouse and how much Nan cares about Phu.

Making Phu make a different decision to overcome his fear and be there for his best friend.

Both of these men truly love Nan. But only Phu is keeping a huge secret. Will Party be Nan's choice? Or will their long history make Phu the frontrunner?

[crawling-crawly]

Okay what if we had all the different Saiki versions trapped in an Among Us-like game, not able to read each other's minds-

[ur-hypmic-hypeman]

TGCF communication array verbal password headcanons

Xie Lian: Lumpy Loquats

It's canon that it is something that makes Feng Xin laugh Everytime and that mu Qing thinks is stupid. This is what I came up with.

Feng Xin: Nan Yang

Literally is just his name. For the guy who just jangled up his 2 names as a disguise, I figured this suits him.

It's an easy password so other officials can remember easily so they can contact him when needed. It's also the only thing he could come up with that he'd remember himself.

Mu Qing: Li, yi, lian, chi, form the four pillars of a nation.

Mu Qing would choose something meaningful and classy. This is a Chinese proverb he might value as a cultivator.

He chose a longer password to confuse people. He wants people to mess it up so that they don't talk to him. If you can't get it right, you aren't worth his time. Because he is Mu Qing.

SXQ: swooosh

Wind sound, with 3 O's to be cute.

He Xuan: Peking Roasted Duck

Food. His password is some kind of food, i believe this wholeheartedly.

Hua Cheng: [An entire Prayer to Xie Lian]

It's canon that it makes Xie Lian blush so it's either something naughty or something about Xie Lian himself.

I headcanon that If you dare to call Hua Cheng, you need to pray to his highness first. No exceptions.

[babybells123]

Why Jonsa compels me.

You know, part of if not all the reason that I find myself thoroughly and continually compelled by Jonsa in such a way that no other Asoiaf ship (or fandom pairing for that matter) does is because of how much it intrigues me from a character, intertextual, and literary/artistic standpoint. And how I’m constantly unveiling new (fascinating) things.

From a character level, I want more than anything for Jon and Sansa to love and be loved in its purest form. For them to finally attain the sweetness after all the bitter. For it to be this unadulterated thing brought into the light - that inspires hope, dreams and peace. Not just in themselves, but in the people who surround them. In Winterfell itself, (perhaps even the realm). That prospers and is unrelenting despite the darkness. I don't and will never subscribe to the rhetoric that either of these characters (namely Sansa, who suffers from this periodically) should be punished and have humility instilled in them by being paired with a fundamentally bad/evil character. Or that either of them should end up all alone, dying withered and without having experienced love and family and life - when they only possessed it for such a small portion of their lives. These are teenagers who have lamented their inadequacies after loss and trauma and abuse. Who just want to go home, who yearn to restore Winterfell to what it once was. Who wish for children and romance - but who have told themselves they can never have it in its most genuine untouched form.

But above all, these are teenagers just wanting to be loved, more than anything else in this world - they want placement, they want a home, and home to them is equated with love.

"She could feel the snow on her lashes, taste it on her lips. It was the taste of Winterfell. The taste of innocence. The taste of dreams." (ASOS, Sansa VII).

"Yet he could not let the wildlings breach the Wall, to threaten Winterfell and the north....For eight thousand years the men of House Stark had lived and died to protect their people against such ravagers and reavers . . . and bastard-born or no, the same blood ran in his veins. Bran and Rickon are still at Winterfell besides. Maester Luwin, Ser Rodrik, Old Nan, Farlen the kennelmaster, Mikken at his forge and Gage by his ovens . . . everyone I ever knew, everyone I ever loved." (ASOS, Jon II).

They draw strength from their blood.

"Then you must do what needs be done," Qhorin Halfhand said. "You are the blood of Winterfell and a man of the Night's Watch." (ACOK, Jon VI).

"He was the blood of Winterfell, a man of the Night's Watch." (ASOS, Jon VI).

"He has Stark blood in him. The blood of Winterfell." (ADWD Jon IV).

"I am not your daughter, she thought. I am Sansa Stark, Lord Eddard's daughter and Lady Catelyn's, the blood of Winterfell." (AFFC Sansa I).

In Sansa's case, it is to remind herself of who she is at her core. That she isn't Littlefinger's plaything, or this political claimant, or a traitor's daughter, Lady Lannister any of that. She is Sansa Stark, and her blood will one day carry on the Stark name. And it will be in her own right.

And in Jon's case, it also exists to remind himself of who he is at his core. I can't place the quote right now, but GRRM has stated that despite not knowing who his mother is, Jon knows who he is, deep down. And my interpretation is Jon's core values, his honour, his worth. It has various meanings, but I find it all the more powerful when it's in reference to who Jon is as a person. To how he chooses to take action, seek justice, protect and love despite those flaws, inadequate qualms, insufficiencies. And I truly believe that is GRRM's allusion there.

Jon may not know who his mother is, but he knows who he is at his fundamental core. It's a matter of finding it and having the courage to wear it on his sleeve. And I think that is so vital for self-preservation and to live, to prosper.

When I consider Jon and Sansa together, I consider this mutual healing. And I'm not only talking about Jon endeavouring to retain his humanity after what happened to him, after the knives have swallowed him whole and he's uncertain, unsure, untamed. I expect to see that happen, and I anticipate for Sansa to guide him through that with gentleness and tenderness that he hasn't truly known. But even more so, It's about Jon finding acceptance within himself. I can imagine a scene with Sansa lamenting that Jon is a Stark "you are to me" and It's just so much more emotionally grounding for it to come from the girl most distant to Jon (the poetry of it all omfg).

But Sansa needs that reassurance from Jon as well, desperately.

"Sansa Stark went up the mountain, but Alayne Stone is coming down. It was a strange thought. Coming up, Mya had warned her to keep her eyes on the path ahead, she remembered. "Look up, not down," she said . . . but that was not possible on the descent. I could close my eyes. The mule knows the way, he has no need of me. But that seemed more something Sansa would have done, that frightened girl. Alayne was an older woman, and bastard brave." (AFFC, Alayne II).

And I believe he will be the one to help her with that.

"the wind was howling fiercely. It sounds like a wolf, thought Sansa. A ghost wolf, big as mountains."

.....

"Snow? Yes, it would be Snow, I suppose."

"She had not thought of Jon in ages. He was only her half brother, but still . . . with Robb and Bran and Rickon dead, Jon Snow was the only brother that remained to her. I am a bastard too now, just like him. Oh, it would be so sweet, to see him once again. But of course that could never be. Alayne Stone had no brothers, baseborn or otherwise." (AFFC, Alayne II).

Although she is meant to be assimilating into this Alayne Stone faux-identity, we see Sansa having the thoughts pertaining to the North, WF, home, Jon. Cracks beneath the surface where it is Sansa who had possessed that thought, who possessed that feeling, not Alayne. She will not allow Alayne to consume her. But it will be undoubtedly difficult, and only someone from the sweet memories of home and her childhood, perhaps a mirage, something that only existed as a conception rather than a fleshed out person. And I believe that is how Jon sees Sansa too. The reunion is where they will know each other deeply, intimately, truly. Down to the bones, inside out. And in regards to Sansa's reclaiming of identity, of the suppression of her own feelings and twisting of circumstance in order to cope with her trauma - Jon could help her there. It'd be a learning curve for both of them, as I said - mutual healing. But that doesn't that make it all the more beautiful?

These are two strong characters disguised by the author under shallow differences: Oppositional climates, but the same disillusioning experience. Assimilation into a different identity, but the same hold onto the "blood of Winterfell," the same strength drawn from rebuilding from the ashes. Opposite social standing parallels; quite literally living in each other's shoes, and reasserting that distant (fond) connection to each other despite it.

"Jon. said,"Winterfell belongs to my sister Sansa." (ADWD, Jon IV).

"By right Winterfell should go to my sister Sansa." (ADWD, Jon I).

Despite being offered the chance of lordship, a family, love - everything Jon has ever truly wanted, he rejects it on this basis. He sets himself apart from the rest that have tainted Sansa, have clung to her like a vice, that don't allow her to exist in her truest self.

"I am a bastard too now, just like him." (AFFC, Alayne II).

And as we know, Sansa has been subconsciously (and then made the conscious assertion) modelling her Alayne Stone persona after Jon.

And you have that physical difference. At the beginning Sansa has a more inherent connection to the South (knights, chivalry, the faith, Tully appearance). Whereas Jon has a more inherent connection to the North (Night's Watch, Weirwood resembling Direwolf, old gods, northern features). Geographical opposites essentially experiencing similar disillusioning journeys. Jon learning that not all Night’s Watchmen are noble like Benjen, Sansa learning knights and princes and everything she has idolised as not as chivalric as she believes.

(But Sansa will find that true knight in Jon - it’s his unconventionality in appearance, a ‘black knight’ that has continuously upheld values Sansa believes in, and has fulfilled her wishes unknowingly, that leads me to this conclusion, but I digress.)

You can read more about this concept of parallel journeys here (there is some excellent analysis as early as 2012.

https://asoiaf.westeros.org/index.php?/topic/72119-from-pawn-to-player-rethinking-sansa-x/page/18/

So we have established cultural differences. Visually, it’s pretty obvious. Sansa is auburn-haired, blue eyed, beautiful. Jon is brown-haired, grey eyed, plainish?alongside the presentation of a traditionally masculine and traditionally feminine figure. GRRM has done this intentionally, he has made them as different as possible on the surface.

But both of these kids can be hotheaded, naive, a bit stuck up, and rather defensive and when it comes to what they idealise. (Let’s add snarky in there as well lol). You can pick up on this from their behaviour/actions/thoughts circa AGOT . And you know what ? I’m glad for such character flaws, it just makes them all the more compelling. But it makes them very similar.

Now as I’ve stated, it’s perhaps more difficult for readers to discern this if they’re not reading deeper than the surface level differences. it's easier for readers to consider them insignificant to each other personally and on narrative standpoint… because why would they give them any thought?? If they’re not consciously thinking of each other a lot, and there’s no on page interaction, then why should we care about analysing their relationship at all?

And well, many Jonsas will say ‘ah, you see that’s what makes them so very interesting’ you have to wonder why the author did not convey explicit on page interaction, or gave them much conscious thinking of each other. It’s not always about what the author includes but what the author omits. Even if a character says something that is…contradictory to their character. (Jon’s willowy creature line is self-contradictory because he’s shown on multiple occasions how much he actually appreciates gentle woman, and this boy is a romantic at heart). Can it perhaps be inferred that Jon says this because of repression. Because he’s a complex, fleshed out being who internalises and represses things he actually wants).

“He wanted it, Jon knew then. He wanted it as much as he had ever wanted anything. I have always wanted it, he thought, guiltily. May the gods forgive me. It was a hunger inside him, sharp as a dragonglass blade.” (ASOS Jon XII)

I mean, we even see Ned do this in his chapters. He doesn’t really think about Jon a whole lot, or the fact that Jon isn’t his biological son - but people infer that from the Lyanna references, ‘promise me’ the tower of joy etc etc it’s prettyyy clear that Ned is quite literally repressing that truth and has buried it away so it can never see light. It’s living tucked away in his long term memory, and not even the reader is privy to such thoughts. So if the author can do this for Ned, why not other characters?? Well, the thing is - he does. Because he instils complexity - he makes them raw and human. It’s why Sansa misremembers the events of Blackwater to cope, and Jon tries (and fails) to ignore every impulse to ride south and avenge his family.

But the thing is, people choose to be selectively blind and I'll say it, take things at face value. When you dig beneath the surface, that's when it all starts to make sense. And whew, you realise the potential.

But we know there is no malice between them. We know there is love in perpetuity albeit distant (but that does not lesson it). We know that Jon is not blind to Sansa's "radiant" beauty, we know that he appreciates her romanticism because he is romantic himself, we know that he associates her with softer imagery - singing, brushing out her wolf's fur, that she is appreciative of courtesy. We know that he protects her claim. Multiple times. We know that Sansa includes him in her prayers, that she empathises with him in the Night's Watch, that she models her bastard status after him and that she thinks of how utterly sweet it'd be to see him again, to be in his arms again (or maybe it'll be for the first time?

And then there is how they exist in this subconscious place. The compatible dreams of having a family.

"If I give him sons, he may come to love me. She would name them Eddard and Brandon and Rickon... In Sansa's dreams, her children looked just like the brothers she had lost. Sometimes there was even a girl who looked like Arya." (ASOS, Sansa II).

"I would need to steal her if I wanted her love, but she might give me children.I might someday hold a son of my own blood in my arms. A son was something Jon Snow had never dared dream of, since he decided to live his life on the Wall. I could name him Robb. " (ASOS, Jon XIII).

The blood of Winterfell (as I have previously discussed), the similar idealism, a steady belief in honour, in some goodness left in the world, the falling in love with people who are almost identical to each other (See Waymar being a more handsome version of Jon and Ygritte being a plainer version of Sansa), our beloved chapter transitioning with Jon never being far from Sansa's suitors, the unconscious answering of a hero, snow equated with security, home, Jon. "The Snow of Winterfell."

And of course there is that extra source material, there is the allusion to the inverse songs/stories, the ashford tourney and Jon's similarities with Valarr Targaryen, Jonnel 'One Eye' and Sansa Stark getting married.

The literary influence. The Pre-Raphaelite art, the Byronic influence, the just...sheer Bronte-esque I heard you from the other side of the realm and I shall find you even though the narrative is consistently against us... the human.heart.in.conflict.with.itself. William Faulkner.

I couldn't possibly compile every possible reference and discussion in this singular post, but here's what I can say: Jonsa compels me because of how much in line with the overarching theme of the narrative is . For hope to prevail despite all the darkness. A dream of spring. A dream of better futures, the taste of "innocence" and "dreams." I'm not expecting a fairytale ending, but I am expecting sweetness in some form. And the complexity that Jonsa would undoubtedly bring to the characters, to the audience, to the narrative cannot be understated. It's utterly profound and I believe that's why it is so threatening to the vast majority of the fandom.

It isn't just the human heart in conflict with those of Jon and Sansa, it is also the human heart in conflict with those of the audience. A Song Of Ice and Fire will never be easy on the reader, and when something this textually rich is built up, to then assume that the author has inserted all this in as mere coincidence severely discredits him as a writer. To assume that the author will go by the 'safest' option is disingenuous. To believe that this series will be like any other fantasy series is disingenuous. To believe that the author would go down the most conventional route to appease the general fandom is...disingenuous. I mean, this is the same guy who wrote the Red Wedding, to be clear. And that unpredictability and sheer subversiveness was clear from the first chapter. He is twisting fantasy on its head. He is twisting characters on their heads and everything we expect of them. And if people are this riled up by a theory well... I believe that is exactly what GRRM has intended.

[fenrysmoonbeamswife]

MINOR/VAGUE SPOILER FOR HOFAS BONUS CHAPTER

Okay I need to know why are people acting like Cassian's behaviour in the HOFAS bonus chapter was in any way surprising? That bat has never stood up for Nesta, in ACOSF his last main action was punishing Nesta until she took the blame for everyone and their nan's mistakes because of who? Rhysand. He will always choose Rhysand. He has shown that time and again, I'm not sure why this has bothered people so much.

It bothers me in a sense that I absolutely expected this behaviour and he already makes me want to violently bash his head against a wall but idk it's funny how his stans are mad at him for this as if he hasn't already acted like this if not worse and they excused him before or just straight up ignored it

If you still loved him after how he treated Nesta in ACOSF, I don't want to hear it sorry. It shouldn't have taken him being quiet for this reaction. His abuse of her in ACOSF should have been enough. Funny how it takes an outsiders perspective for people to see the ICs faults but somehow Nesta's is never enough when she experiences their abuse first hand

[silasplaskett]

the buccaneers is actually so fucking crazy bc the main plot is nan just found out shes actually an illegitimate child :((( and she has to choose between two pretty boys :(((( and the side plots are. conchita being so depressed bc shes isolated with her in laws who hate her. and lord whatshisface sexually harassing lizzy and then immediately afterwards marrying jinny and emotionally abusing her. and then theres lesbians.

[the-moral-of-the-rose]

Rilla of Ingleside created a new timeline...

Anne's House of Dreams mentioned a historical event - a federal election: “Mistress Blythe, the Liberals are in with a sweeping majority. After eighteen years of Tory mismanagement this down-trodden country is going to have a chance at last.” (AHoD).

From Wikipedia: "The 1896 Canadian federal election was held on June 23, 1896, to elect members of the House of Commons of Canada of the 8th Parliament of Canada. Though the Conservative Party, led by Prime Minister Charles Tupper, won a plurality of the popular vote, the Liberal Party, led by Wilfrid Laurier, won the majority of seats to form the next government. The election ended 18 years of Conservative rule."

It wouldn't be surprsing, but... it was also the year in which Jem Blythe was born! The election took place few weeks after his birth: "When Anne came downstairs again, the Island, as well as all Canada, was in the throes of a campaign preceding a general election." (AHoD).

So... according to this timeline, Walter was born a year later (1897), then the twins (1899), Shirley (1901) and Rilla (1903).

The point is... at the outbreak of the war, Walter would have been only 17 years old, the twins 15, Shirley 13, Rilla 11...

Shirley would have been too young to participate in the war and Walter would have barely turned nineteen at the time of the Battle of Flers-Courcelette in September of 1916...

Someone in one of my older posts noticed that puff sleeves fashion suggested that Anne of Green Gables took place in 1880s rather than 1870s... so it would make sense!

I wonder why Montgomery chose Rilla as her teenage heroine (according to the original chronology, Rilla should have been only 11 years old), while there were 15-year-old twins...

Can you imagine Nan and Di as the main characters of the war book? Two young girls at Queen's, trying to come to terms with rapidly changing world? Rilla and Shirley at Ingleside, growing closer in such trying times? Teenage boys - Jem and Walter - who had to choose if they wanted to sacrifice their life at even younger age - at eighteen? Walter, never reaching the age of twenty (or maybe - dare I hope - coming back home safely)? Anne and Gilbert in their 40s, trying to collect all the broken pieces that was once their family?

It would have been equally good, in my opinion. I wonder... why Montgomery felt she had to suddenly change a whole chronology?

Side note: of course, I love Rilla of Ingleside. But I am just curious... (Nan and Di of Ingleside would be a good book, too!).

@diario-de-gilbert-blythe @gogandmagog @pinkenamelheart @valancystirling48

[searchingforserendipity25]

You have been caught in a dream for a thousand years. 

-

You have been sap; you have been an animal's dead pelt, the buzzing mindless whir of a fly. The starlight upon the glade, the roots underneath. 

You are the one who brought it all up from the earth. And you are the thing caught beneath her. 

-

A thousand years; it is a work of will to be a thing apart, for thousands of years afterwards. Pride you make anew, and strength of mind; the clarity that was your own, and remained all that time, but changed. 

-

You have been caught in a dream for a thousand years; one day, you know, he will die, and leave you bereft, absent of starlight, fur, the bright flare of his mind.

-

All things will diminish in his absence; most of all those things you had a hand in creating, for they became his in the loving, and shall ever be his after you met.

-

You have been in this glade for a thousand years. 

You do not know what might make her release you. You do not wish to be released. Once perhaps you had a name, kin, a task and a duty - before you were hers. Elwe died at her feet, crumpling, overgrown with lichens and smooth-faced worms. Thingol returned.

You, Thingol, who hold your wife’s hands as you walk through the dark aisles of Nan Elmoth, boughs and roots curling away to give you precedence.

-

Look away, you say. You: the trees, the night. This is not for you. These sights are not made for your kind. You will burn from within, little king, and starve, and go mad.

He does not want to look away. He does not; and you do not wish him to - and till the end of all things a doubt will remain.

Whose will it was to linger through the years, lost in the meetings of minds?

But then he loves you very dearly, and loves to fear you; until he forgets it. It would have been better, if you had not let him forget it.

-

You blink, and see it still.

The starry night through the tall branches and in the tall branches, in all things - purple starlight, and green, blue, golden celestial creatures whirring in her eyes. 

Then, there are the knives. Inside your own walls, as close to you as your own skin; you fall, blood seeping through the cracks in the stone, sinking. You see it, at the last - your wife the starlit night, your beloved.

-

He remembers the doubt. Dying, remembers what it was like to be dying before her.

The last of vanity was broken away like a mask. If only he could tell her:

I was glad to burn, I chose it - I would choose it always, a death of pride is my own and ever has been -

Melian takes the glade in Nan Elmoth with herself until the end of all things.

[octopiys]

Hi I fucking love you text posts inspired by meet me in the woods, it’s a really cool and your writing is so good!

Does the fae originating in Mexico instead of Scotland change anything?

How did fae Simon make it back to Scotland?

Soaps a witch? (Cool)

Please tell me the changeling gets what’s coming to it?

Is Simon’s mum okay being so close to the changeling?

Hello hello omg thank you sm anon I'm gonna cry!!!

Fae!Simon is going to have origins in both Scotland and Mexico, 1. Because Scotland in this au is his real home, where everything he knows is from. It's also where the changeling replaces him to get closer to his family and friends. The fae are cruel, but they are harshly just sometimes, and Simon is permitted to notice the changeling. Once he does, it'll be a bit of entertainment for the fae world. 2, Mexico is where he was turned, so his antlers/skull mask are inspired by mule deer. There are gonna be a few other things, but fae are fae, the material world doesn't really affect many things in their realm, unless they choose for it to be so.

Simon can go back between both locations (which is not great for Roba), but he doesn't really have that under control yet. He can do this because Mexico is the place where he was changed, and Scotland is where changeling!Ghost resides. They're pretty tied together, since the changeling lives based off of what/who he was, and Simon (unknowingly) takes power from the changeling.

Soap is descended from witches, and has inadvertently become one thanks to his grandma and her lessons. He has no idea about this yet, just thinking that his nan's stories were a way of life, an everyday thing that people do in the private protection of their homes. He's still got a lot to grow into though!

The changeling is... difficult. Simon's mom knows something is up with him, and Tommy is very occupied with his new wife. She knows something is wrong, but she was advised by Ghost's apparent "therapist" that this happens in soldiers, so she's trying her best to be there for him without being too overbearing. Her son was usually quiet, but now he's silent. He never eats her cooking anymore either, always comes home saying he's full. She's found blood on his clothes once or twice though, hidden in the laundry. She just hopes he's not doing anything too drastic to cope. She doesn't want him to follow in his father's footsteps.

Hopefully, this mother's instinct is never wrong.....

thank u for the ask there's so much I wanna talk about with this!!

[bl-bam-beyond]

THE PROMISE (2023, THAILAND)

Phu's (KITTIKUN TANSUHAS aka KUN) devotion to Nan (WATTIKORN PERMSUBHIRUN aka KIAK) during childhood. Continued all the way up to university until Phu (ready to reveal his feelings) saw Nan with Gigi and assumed the worse. Devastated he left a note claiming to be going to Melbourne, Australia to be with his mother (in the mini series)

However in the series. Phu and Nan got drunk. And Nan kissed Phu full on the lips and suddenly Phu decided to flee.

Here Nan is grateful to Phu's highlighting skills as it helped Nan with the test. Nan even thinks Phu got a look at the test beforehand. Phu calls Nan in close to reveal the truth.

"The teacher told us what would be on the test while you were sleep, idiot. 😂😂😂

Solid Friendship.

[tar-thelien]

Explayining my Eöl is a Maia propaganda because @dfwbwfbbwfbwf told me to go for it and it made my head do a happy flip!!

Going to keep it to topics so it´s easier to read :)

Kin to Thingol & Residence/Friendship/Smith/Sorcery & Enchantments/Aredhel & Maeglin/Gondolin

Kin to Thingol & Residence:

We know Eöl is a dark elf who´s also a smith and kin to Thingol, who somehow knows a lot more sorcery than any other elf. That could be because he decided to live in an already enchanted forest but with that logic, Aredhel would become known in sorcery too so there got to be more to it.

He was said to be "restless and ill at ease in Doriath" when Melian raised the griddle, might be that Tolkien seems to have Maia be slightly territorial towards each other.

Kin can mean someone married into the family, and if Eöl and Melian is as close as they seem in the books they probably think of each other as some kind of siblings.

Friendship:

Eöl doesn't really seem to mind of the other races, he´s close friends with the dwarves, it only seems to be the Noldor he has beef with, for the kinslaying.

I think the note about the sun is important as a lot of the Sindir seem to like the stars better, although the comment about his servants strikes me, they are said to be similar in nature to him after him being described as a borderline evil wizard, which could either be, if you took a dark turn, that he enchanted them he pulled a Sauron or he somehow "blessed" them by sharing some of his Maia magic or them themself are some sorts of weaker Maiar.

Smith:

He was a smith and he created a new form of iron that was the strongest ever found - "as hard as the steel of the Dwarves", he was not messing around AND he made to TALKING swords out of a fallen star!! Tolkien never again mentioned stars as anything you could hold if you were not of the Ainur, and Aule had a tendency to lose his Maiar... just saying

Sorcery & Enchantments:

In some versions, Eöl is said to rape Aredhel which elvers die from just as a violation of their Hröa, yet she lives on, just as the orcs did when Melkor violated them.

Eöl seems to control Nan Elmoth to an absolute, and not only with what magic reminds from Melian, but he also seems to control growth light and roads as well as openings.

He can also hold stars and give metal it´s own soul.

Aredhel & Maeglin:

It could be he was evil or the Sindir/Avarin has other naming ritual (I do believe that and I have a page here I need to rewrite about it) but he seems to have no idea about elven costumes except from what he has observed Thingol doing.

When Aredhel nears Nan Elmoth Eöl commands the forest to separate her for her company luring her into his forest because he likes her look (maybe he´s just autistic??) where he shows himself and welcomes her to his home which she accepts and then chooses to stay, of her own will or under magic depends on the version, he later takes her as a wife and "they wandered far together under the stars or by the light of the sickle moon" even after he gets angry when she asks if she can see her kin again (not leave him just see her family) where he tell her to "shun sunlight" and after that, it sounds as if Nan Elmoth grows darker.

Note that Eöl too bans Quenya and only names Maeglin after 12 years, for his sharp eyes. And not sharp as in they see things, probably that too, but sharp as in "more piercing than his own" we know of two other characters with piercing eyes, and one of them is a Vala, Melkor, who if you look into the eyes of you go insane soooo...

When Maeglin near the years of an adult he requests to visit Celegorm and Curufin which sets Eöl off he threatends to "set him in bonds" if he does, and tells him he is the "house of Eöl", not Thingol, which seems a bit weird when he does a lot of other things alike to Thingol, as if he´s almost worshipping him, or looking at him to know how to act. If he was as loyal to Thingol as his action is (he lives in the place where Thingol first went on a date at) he would probably had said house of Thingol, as again he is KIN to Thingol.

We also know that Maeglin is really skilled in sorcery and Ósanwë, which some of the Valinor elvers are too, namely Idril, and his skill seems to be hinted to come from Nan Elmoth, a Maia-

Gondolin:

We know no one could find Gondolin, yet Eöl does it by tracking his wife and kid who left a week before him if not more?? there has to have been magic in over that, also he convinces Curufin to let him go - note that Curufin did tell that he thought Eöl was trying to deceive him by magic or just words we know not, I also think it funny that Eöl briefly calls Curufin kin because of Aredhel, but it makes me feel like it´s more to honor a smith than marriage.

Note that Eöl did not find his way into Gondolin, as it likely had enchantments on it, but he knew the way at first guess, and he´s fast enough to catch up to Aredhel and Maeglin when they are entering, even if Aredhel and Maeglin left before him and likely with the fastest horses and wasn´t stopped like he was.

When he cosses death for him and Maeglin he makes it seems as if he´s convinced they will survive, as if he dosne´t care for Aredhel here or that he wants her to live on, but he cares for Maeglin in a corrupt way and wants his son to die with him or he simply knows they will serve where Aredhel will not.

All in all I think it would make perfect sense if he was a Maia of Aule who either followed Melian to Beleriand or Melkor - if he followed Melkor who would later decide he wanted to go solo

[felassan]

TheVerge article on the Dragon Age cook book: "A cookbook helped me understand Dragon Age’s origins" [link]. the article writer interviewed the writer of the cook book.

Some quotes from the article, under a cut in case anyone doesn't want to be spoiled about the cook book:

"The book is narrated by a new character, Devon, who features both in an introduction as well as in all the blurbs heading up each recipe. Devon is the child of Nan, a minor character from the human noble origin in Dragon Age: Origins who worked as Castle Cousland’s cook. Devon travels Thedas, following in the footsteps of the games’ heroes and villains and eating their way around the world.  “Food is a very interesting way of establishing details about a world, and in a very subtle way,” the author behind Devon, Jessie Hassett, said in a phone interview. “A particular dish that you choose to include in your fantasy world can say a lot about that world.” Writing the blurbs was like having an opportunity to write “canon fanfiction,” Hassett said, and that meant staying true to characters and cultures that have shown up in the games so far.  “You really have to put yourself into this mindset of: Okay, I’m this character in the world of Thedas,” Hassett said. “How do I perceive all these various things, and then how do I communicate that in a way that feels like the character’s voice?”"

"When writing a description for the “Dwarven Plum Jam” recipe, Hassett described the price of importing jam to Orzammar as “eye-watering,” and invented an enterprising merchant trying to import its ingredients instead." 

"Dwarven culture in Dragon Age has a highly competitive streak, and so Hassett fleshed out the world and the spider leg recipe by inventing a fierce dipping sauce competition. It follows that those who come up with the most desired sauces would guard their recipes jealously against “many a nefarious plot to acquire them,” as Devon puts it. Hassett described the sauce wars as one of her favorite parts of the book. “Spider dipping sauce is serious business,” she said."

"Much like our real France, Orlais is a wonderful country for growing grapes and making cheese… but not a place you’d be able to sustain a cacao crop. “And yet,” Hassett observed, “there are a lot of Orlesian recipes that have chocolate.” Why? Because all those nobles are showing off. “Orlais is all about appearances. You have The Game, especially among the nobles — it’s all about displaying your wealth, your power.”"

"As for the other Varric-themed recipe in the book, “Varric’s Favorite Cinnamon Rolls,”  there was only one thing to ask Hassett: “That’s Merrill, right?” “Oh, yes,” she said. “I agree.”"

[source and full article]

[warrioreowynofrohan]

Summary - Who Is and Isn’t Allowed Into Doriath

I wanted to make this post because I’ve had some things drawn to my atttention that I hadn’t noticed before, and I see a lot of misconceptions around this. Doriath is not nearly as closed off from the rest of Beleriand as is often assumed.

Who Is Not Allowed In

The starting point for this is Thingol’s statement to the Noldor:

“Into Doriath none shall come to abide but only such as I call as guests, or who seek me in great need.”

This is often taken as meaning that no Noldor except Finarfin’s children are ever permitted into Doriath, but the latter part specifically does allow for the possibility of war refugees ‘in great need’ entering Doriath, and as we will see, this is followed up on later.

Men are also forbidden from entering Doriath, and this is a blanket statement. However, Finrod does later convince Thingol to let the Haladin settle in Brethil, which is considered part of Doariaty but is outside the Girdle of Melian, and Doriath provides military support to the Haladin during the Dagor Bragollach.

We have, that I am aware of, only one specific described instance of an elf seeking entrance to Doriath and being refused: Aredhel.

Aredhel seeks to travel through Doriath to reach the lands of the sons of Fëanor so she can visit them. She is not allowed in, as being used as a cut-through for people to visit people who, the Doraithrim already dislike is really not considered sufficient reason. Now, Aredhel has other options - either go the long way around to the south of Doriath, or go north and cross Ard-Galen or northern Dorthonion. The latter is how the Men of what will later be the house of Hador get into western Beleriand:

Most of these took the long road northward, until the ways became well known to them…some came to Hithlum, but Magor son of Aradan and many of the people passed down Sirion into Beleriand and dwelt a while in the vales of the southern slopes of the Ered Wethrin.

Aredhel instead chooses the most direct but much more dangerous route through Nan Dungortheb. But that isn’t a decision Doriath is forcing on her, and they in fact warn her of its dangers.

Likewise, Haleth leads her people through Nan Dungortheb “without help or guidance of the Eldar,” and thus may not have known that there were safer routes available.

Who Is Allowed In

Doriath is open to all of the Sindar (Círdan’s people come and go freely, and it’s from them that Thingol first hears the rumours about the Kinslaying); to Dwarves, who trade with the Sindar; to the refugees of Nargothrond; as well as to the children of Finarfin and to the family of Húrin and any househokd retainers who come with them. Additionally, there is no mention, anywhere that I am aware of in The Silmarillion, of elven refugees of war, Noldor or Sindar, being refused admittance to Doriath, and the examples from both the Bragollach and the Fall of Nargothrond indicate that refugees who came there were admitted.

Dwarves continue trading with Doriath throughout the bulk of the First Age. In the years after the Nirnaeth:

In those days the Dwarves came still on their journeys into Beleriand from their mansions in Ered Lindon, and passing over Gelion at Sarn Athrad, the Ford of Stones, they travellee the ancient road to Doriath; for their skill in the working of metal and stone was very great, and there was much need of their craft in the halls of Menegroth. But they came no longer in small parties as aforetime, but in great companies well armed for their protection in the perilous lands between Aros and Gelion…

So the Dwarves have been coming to Doriath over a long period of time, in small companies during the Long Peace and in larger groups after it ended.

Refugees specifically come to Doriath after the Dagor Bragollach. I know there’s material in HoME about Thingol mistrusting the Northern Sindar, but irrespective of that, it is very clear that they were allowed in:

The most part of the Grey-elves fled south and forsook the northern war; many were recieved into Doriath, and the kindom and strength of Thingol grew greater in that time.

There is no mention, anywhere, of the Fëanoreans seeking entry to Doriath after the Bragollach, and given their pride and their open contempt for it, it would be rather uncharacteristic of them to do so. Instead we are told Celegorm and Curufin went south and west, suggesting first south, and then west, around the south borders of Doriath. They could have joined up with Caranthir and the twins on Amon Ereb, but for whatever reason chose to go to Nargothrond instead.

There don’t appear to have been many in the way of elves of Dorthonion, Angrod and Aegnor’s people, left to seek refuge anywhere; it was sparsely populated (their people were few, “Of Beleriand and its Realms”) bore the brunt of the attack, and few survived.

After the Nirnaeth, Elves who participated in the battle (apart from Mablung and Beleg) seem to fall into three groups: those who died on the battlefield (the vast majority), those who retreated to Gondolin (Turgon’s forces, and any remnants of Fingon’s forces they could gather), and the Fëanorean forces who fled south to Ossiriand. There’s not really any Elves who would be seeking admittance to Doriath; certainly not the Fëanoreans, who have openly threatened to murder them all!

And after the Fall of Nargothrond, refugees from there come to Doriath and are admitted - it’s how Thingol (and Morwen) learn of the kingdom’s fall in the first place:

Now new tidings came to Doriath concerning Nargothrond, for some that had escaped the defeat and the sack and had survived the Fell Winter in the wild, came at last to Thingol seeking refuge, and the march-wardens brought them to the King.

This is even more significant given, well, Nargothrond’s complicity in the whole kidnapping-and-attempted-forced-marriage-of-Thingol’s-daughter thing.

So in sum, the idea of Doriath turning away Elven refugees of the wars is pure fanon, and all the canon evidence that we have points to the direct opposite. The cases where Doriath did turn people away who directly sought entry involve people in peacetime who wanted to travel throught it but had the option of other, and relatively safe (if less direct) routes, even if they did not take them.

[alwaysahiccupandastrid]

Peter Pan & Wendy (2023) - Thoughts

A little bit of brief background here; I’m a huge Peter Pan fan. I grew up loving the Disney animated film but the 2003 live action has always been the superior Peter Pan adaptation to me; Peter Pan holds a special place in my heart as my late nan who I was close with used to take me to the panto every Christmas, and my favourite ones were always Peter Pan.

So without further ado: I watched the new Disney’s Peter Pan & Wendy that came out on Disney+ this weekend!

First, some live watching thoughts:

This movie is literally carried by Ever Anderson as Wendy, like no disrespect to the other cast but she literally carried this film in my opinion

By the way, anyone complaining about it being Wendy’s story is an idiot because the story has ALWAYS been Wendy’s story, ever since Barrie wrote the play and novels. Regardless of which version you watch, it always starts with her lamenting about not wanting to grow up and ends with her acceptance of the fact she must grow up - it’s HER journey, her development.

I have no idea why Disney/Lowery chose to cast two separate actors as Mr Darling and Captain Hook but I’m NOT a fan of that choice. Even in the animated film, they’re voiced by the same actor - it’s a part of Peter Pan tradition to have the actor play both roles, so it’s baffling that it’s not the case here.

I really wish this film had spent a little bit more time BEFORE Peter arrived to show us more of each of the children and also the relationship between the children and their parents. The film opens with a nice little scene of John and Michael sword-fighting whilst Wendy prepares to head off to boarding school, and then she joins them and their father scolds her for “this is how you choose to spend your last night in the nursery” and “you’re too old for this sort of fun”, which definitely works… but it’s very quick paced and it rushed by so quickly, like the film kind of just spends only a few minutes establishing “Wendy is being sent to boarding school the next morning; she doesn’t want to grow up; her parents want her to be a better role model to her brothers” and that’s it.

Also interesting to note that Wendy is not in a nightgown in this version but some kind of pyjama-ish undergarment outfit, plus a dressing gown

Wendy aggressively reading a book in her bed… same though

Nana appears but only in brief moments 😭 WE DESERVED MORE NANA! In this version she’s kind of more just a pet - they never mention that she’s the Darling family’s nursemaid and looks after the children, and there’s a brief flash where (I think) you see a young Wendy cuddling her as a puppy… like??? She’s not just a dog, she is not just a pet, she is the finest nursemaid on four paws because the Darlings can’t afford to hire one.

“I want things to stay the way they are.” “Perhaps I don’t want to grow up.” — same, Wendy, same

“Just imagine all of the things you would miss out on if you didn’t see where it took you… and all the things the world would miss if you weren’t there to do them.”

Mrs Darling’s lullaby was lovely by the way

Yara Shahidi as Tinkerbell is BEAUTIFUL. I love her facial expressions, and even though there’s less attitude and she’s not jealous in this version, I still love her

I know that the film was supposed to film in 2020 but Covid shut things down so they didn’t film until a whole year later, and obviously children grow very quickly… but Peter’s voice is so deep in this version, you can tell Alexander Molony hit puberty during lockdown. I feel bad for criticizing a kid about it because it’s not his fault, but it can’t be denied that he’s older than Peter is supposed to be. Ever Anderson was also 13-14 when filming actually happened, and while it’s slightly less glaringly obvious with her, she’s definitely a tiny bit older than most versions of Wendy. I think it’s more obvious with Alexander though because of the deep voice.

This version makes it seem like Mrs Darling is the storyteller and Wendy isn’t, which kind of bugs me to be honest but oh well

Let’s be honest, no adaptation will ever top the “Flying” scene from the 2003 version - that was a whole masterpiece in itself. This version does do a nice enough job though, all things considered, even if the CGI doesn’t always look quite right

I don’t want to slam how Neverland looks because I’m aware it was filmed in Newfoundland in Canada, which I don’t doubt is a beautiful place - what I will say is that I don’t know if there was some kind of ultra real gritty filter added on it if it’s something else, but to me it just wasn’t colourful enough. Neverland is supposed to be magical and vibrant and like a dream, not 100% rigidly realistic. They could have made Skull Rock shaped at least somewhat like a skull for God’s sake, just as an example

“Smee, make a note my cabin needs a new door.” “Yes… might I say, captain, that’ll be your third door this month-“ “and it won’t be the last.” — okay, I had a little giggle here, I won’t lie

Jude Law’s version of Hook has heterochromia which is definitely interesting - I wonder why it was included though, like what purpose does it serve the story

Wendy meeting the Lost Boys changed from Tink telling the boys to shoot her out of the sky and them nearly murdering her, to her washing up alone and running into them and Tiger Lily, which is definitely a choice

AHHHHH TIGER LILY SPEAKING CREE, SHE IS ALSO LITERALLY A PRINCESS IN EVERY SINGLE WAY LIKE HOW SHE SPEAKS AND CARRIES HERSELF

I am genuinely still on the fence about the Lost Boys including girls but at the end of the day… whatever. It’s not that big a deal in the grand scheme of things. I still find the “but you’re not all boys” “SO?!?” exchange cringey though, not gonna lie

Wendy’s response to the above being “well I guess it doesn’t really matter”, so true

I think it’s a good thing that the Lost Boys include non white and disabled kids (Slightly has Down syndrome) but also I really hope those kids stay off social media for a while because the absolute nastiness being flung around about them (especially Slightly) is disgusting

The Lost Boys being like “she’s too old” “she’s too grown up” 💀 that and Mrs Darling’s “darling, you barely fit in your bed” comment feel oddly meta and about the actors growing while filming was delayed

Wendy Moira Angela Darling realising her brothers have been captured by pirates: “…oh dear” 💀 the timing of it was perfect though lmao

Tell me that Smee did not just use the phrase “compatriots of you-know-who” in front of a man who played Dumbledore 💀

John: We don’t care about your rules, we came with Peter Pan! // the entire pirate crew eavesdropping outside: *groaning/gasping*

PIRATE SEA SHANTIES FTW

Peter Pan really disappears from this movie at about 20 minutes in (after appearing for the first time only 10 minutes beforehand) and doesn’t reappear until a whole 15 minutes later?!?

“I’ve found you guilty of being a child - and we can’t have children in Neverland” — IS HE FUCKING SERIOUS RIGHT NOW?!?!? (Hook was in fact deadly serious)

NOT TEDDY LOSING AN ARM 😭

Who the hell did Peter think he was tricking with that absolutely terrible disguise, it looks like stuck a mop on his chin for god’s sake?!?

Wendy being shocked that Peter is showing off as if that isn’t his whole personality summed up 😶

“Oh brother, Hook’s singing again” - I CACKLED IM SORRY

“Proud and insolent youth, have at me!” — I GASPED I TELL YOU, GASPED

PETER AND HOOK’S SHADOWS HAVING THEIR OWN SWORD FIGHT OH MY GOOOOODDDDDD

“Oh, Wendy… you’re still alive!” ASDFGHJKL

OH HOOK PLAYED DIRTY AND HE SAID HE LEARNED HIS BAD FORM FROM PETER DIXNDMALZPZOZL WHAT IS GOING ON

“For to die would be an awfully big adventure” - THAT’S THE MONEY LINE RIGHT THERE

“SHE’S A WENDY!!!”, and all that ran through my mind was the Barbie meme:

Wendy finishing Hook’s sentences and cutting him off each time ASDFGHJKL we love a know it all

AHHHH ITS TICK TOCK THE CROC, I was so scared they’d forget about the crocodile so I’m happy he’s here

THE SEQUENCE WITH THE MUSIC AS HOOK IS RUNNING AWAY FROM THE CROC ASDFGHJKL COMEDY GOLD

WENDY FUCKING SLAPPED PETER ACROSS THE FACE AND IT DID A MOVIE MAKER CIRCLE FADE OUT ARE YOU SERIOUS RIGHT NOW WTAF-

“It was an adventure, wasn’t that what you wanted?” “Yes but I didn’t think it meant being shot out of the sky by pirates” — yeah, that’s a valid point I guess

Poor Tinkerbell just twinkling and getting absolutely ignored :/

“You have a magical fairy that makes you fly! And a gaggle of children that do your bidding with a princess that cleans up your messes while you’re off gallivanting with pirates” — OOF, also Tinkerbell and Tiger Lily both smiling and nodding their agreement of Wendy’s words asdfghkl love to see girls supporting girls

Wendy throughout this whole movie is pretty much just the “I came out to have a good time and I’m honestly feeling so attacked right now” meme

You’re telling me the Lost Boys hideout is no longer hidden in a tree but a GIANT tower?!? Not exactly hidden now, is it?!?

Wendy and Tiger Lily together having one of the best scenes in this movie, you love to see it ❤️

So what I’m getting from this adaptation is that instead of the Lost Boys actually getting “lost” and not claimed, Peter waits for them to say “I don’t want to grow up” then whooshes in and brings them to Neverland…

Okay so Wendy is still kind of seen as the storyteller in this version…? The kids ask her for stories so…?

“Wendy can be our mother” “goodness no! I don’t even know if I want to be a mother!” — I have thoughts about this??? On the one hand, I’m a book purist and for me I’m like “she does agree to be their mother tho??? That’s why she was brought to Neverland???” (And also she canonically has a daughter called Jane) but on the other I’m like “fair enough” because a) she’s a child and b) you can’t force people to have children if they don’t want them. Idk

Im 90% sure Wendy’s hair changed from a side parting to a middle parting at some point but I don’t know where or when it happened

Wendy singing a lullaby, which is actually a nice callback to her singing “Your Mother and Mine” in the animated film

You’re telling me Hook and the pirates have never found their huge ass tower hideout and that Wendy’s gentle singing was loud enough to reach the pirates and alert them of their location?!?

JAMES?!? As in Hook?!?

“It’s a kiss - I made it for you” — ITS AN ACORN NECKLACE IM-

Peter and Hook used to be best friends?!? Hook was the first lost boy in this version?!? Lowery doing his own canon at this point, oh my god

This film really missed a trick, like it could have really heavily leaned into the dark side of Peter Pan with the whole “you must never leave” stuff he says 👀

This film really wanted to be the 2003 version so bad, like the moment where Peter walks away after their conversation about Neverland not being what she expected and Wendy calls “Peter!”… it wanted to be the Fairy Dance scene WAY too bad

Imagine walking down their stairs into a room, turning around and seeing your brothers/the whole gang of lost boys tied up and gagged 😳

Hook saying Wendy’s full name and later dragging his hook over the door was creepy ngl

HE JUST SLASHED PETER ACROSS THE CHEST

“Captain Hook… I don’t think I like this adventure” *falls down 20 feet* — EXCUSE ME???

You’re telling me Peter survived a) a slash to the chest and b) a 20 foot drop?!? I mean I know he’s magical and all but…?!?

Eyyy Tiger Lily to the rescue, the women truly run this film

“Then listen… *hums awkwardly*” - I genuinely can’t tell if this film is supposed to be this weirdly hilarious or not

Mr Smee was the one who found Hook and rescued him, I’m-

“This is what growing up looks like.” “No. This is what it looks like when you grow up wrong.” - OOF

HOOK SNAPPING WHEN SMEE CALLED HIM JAMES 😭

“Execute every last one of them” sounds so much worse than “become a pirate or walk the plank” like sir all they did was be kids who haven’t managed to hit puberty yet and you’ve got them all screaming like they’re about to be mass murdered (which they are) 💀

Wendy offering herself instead, “they’re only children, let them live!” - ma’am you are also a child?!?

“Let them live, they’ll be good pirates - especially those two” (meaning John and Michael)… I love Wendy stepping up and looking out for her brothers, especially given at the beginning of the film she full on blamed them for the whole mirror situation

Peter being super injured and unable to fly so Tiger Lily has to help him 🥹

Why does this pirate shanty as Wendy walks the plank actually slap hard though?!?

Tinkerbell lifting her little prison up and smashing Smee on the head so she can help Wendy, we love to see it

The fact that Wendy thinks happy thoughts stepping off the plank and it’s not just her childhood memories anymore (like in the flying to Neverland scene)??? She imagines growing up and the things she could do if allowing herself to grow up?!? 😭

The utter silence after she steps off the plank followed by Hook being like “… hang on, there was no splash?!?”

Tinkerbell damn near used every single bit of fairy dust in existence just to lift up the ship and play what is essentially a huge joke on the pirates is such legend behaviour lmao

“You have the boy’s magic.” “No, this magic belongs to no boy!” — HELL YEAH WENDY YOU ARE ALWAYS THE MAIN CHARACTER

I’ll be honest, for a film where Peter is billed first he has done VERY little besides a small duel, get stabbed and nearly die twice

The depressed pirate who goes “well wake me up before one of them kills the other… again” is such a mood lmfao same

It’s interesting that it’s Wendy with the flight skills as she fights and Peter without the flying I guess??

Wendy and Tiger Lily are literally saving every single other character’s asses at this point, like they’re the only reason anything has happened in this film

Rotating the entire ship was not something I thought I’d ever see and yet here we are

Peter falling off the upside down ship and Wendy catching him?!? And the fairy dust rubbing off onto him??? (Literally what even has Peter done in this film I feel bad for saying it but…)

I kind of like the idea that Peter and Hook intentionally don’t kill each other because both of them live for their battles and it’s almost like a game, a cycle, that Neverland lives off of? Idk if that makes sense lol

“Oh captain… Grow up.” - I CHOKED SHE GAGGED HIM

Peter grabbing Hook by the hook so he won’t fall and saying “I’ve got you James, just think happy thoughts”…???

“Peter… I haven’t got any…” AND THEN HE FALLS, DETATCHED FROM HIS HOOK?!? I KNEW HE DIDNT ASDFGHJKL BUT LIKE THIS?!?

I’ve literally only just realised that the Teddy has a fork as a prosthetic arm 💀

“It’s time to get these lost boys home” - what she REALLY means is “let’s take them back to my place and I’ll tell my parents I’ve adopted ten children on their behalf” 💀😂 that part always makes me laugh in any adaptation/version of the story, I won’t lie

So basically no time has passed in the real world while they’ve been in Neverland? No Mr and Mrs Darling keeping the window open for when their children return???

“Boy… why are you crying?” - IM SHAKING, CRYING, SCREAMING, THROWING UP I HAVE CHILLS

You’re telling me Peter lived in the exact same house as Wendy as her brothers???? That’s why he kept returning to that house, not because Wendy believed strongly in him or he liked her stories but because it was his old home?? 😶

“I’m just a story, told to any child who’ll listen” - oof true. Kids today don’t really know Peter Pan anymore, which is super sad - they know Tink but they’re not as familiar with Peter Pan these days

“You know, Peter… after all this… I think that to grow up… why, it might just be the biggest adventure of all. Just think of all of the things that could be right around the corner that you’re missing out on. Think of what the world is missing out on with you not being there to do them.” 👏👏👏

THE SHIP LITERALLY RIPPED THE CHIMNEY OFF GOOD LUCK PAYING FOR THAT GEORGE

Wendy crying as she says goodbye to Tink 😭 “and please don’t forget about me”

WENDY BEING ABLE TO HEAR TINKERBELL SPEAK ASDFGHJKL BEAUTIFUL… “thank you for hearing me” - I DONT CARE, THATS SO POETIC???

Wendy carving her name under Peter’s so now it says “Peter Pan + Wendy” 😭

Hook is still alive?!? I don’t know why I’m so shocked at this point lol

The way Hook and Pan smiled at each other when Peter returned, oh boy here we go again

The end credit animations are so pretty omg

So, overall… it’s not the worst Disney remake. It’s truly not that bad, at least not enough to warrant racist morons bombing it with one star reviews. It’s definitely not a patch on the 2003 version, at least not in my opinion - that one will always reign superior, at least to me.

Some things:

I definitely feel like this film was carried by Ever Anderson as Wendy, she literally did the most and seemed the most well suited for her part overall

Jude Law was actually better than I thought he would be as Hook, Jason Isaacs is still my favourite but Jude is alright

I think Alexander Molony had the right spirit, I just think that he wasn’t given all that much to do and also it was very noticeable that he was on the cusp of adulthood already. Had the film been filmed when intended and not delayed, I think his performance would have come across better

The other kids and the pirates were super fun too, but not really given a lot to do either, which is sad. Would have loved to see more of Jim Gaffigan as Smee though

Yara Shahidi as Tinkerbell and Alyssa Wapanatahk as Tiger Lily were also amazing and big standouts, shoutout to them both!

Mentioned this above but will mention it again: I don’t understand what the point of casting a separate actor to play Mr Darling was. Yes, as I mentioned, there’s the dual casting thing - but also Mr Darling was in this film so little that there was zero sense in hiring a whole other actor to do the part??? He’s literally got a total of like one and a half minutes screentime?!?

Putting the crocodile in just the one single time was a fucking crime, I tell you! Why was he only in one single scene?!? 🐊

The CGI wasn’t the worst I’ve seen but it definitely could have been a bit better

Here’s the thing: the original animation was 1h21 and this one is 1h46… and yet this one felt way more rushed for some reason? It’s like the film hits the basic plots, like ticking them off, but doesn’t actually embellish or explore them properly. It’s just so rushed and the film suffers for it

I truly think this film would have benefited from letting us get to know the Darling children even better at the beginning before Peter arrived, because the most developed of the three is Wendy and all we know about her is she’s going to boarding school and her parents want her to be a better role model/set a better example for her brothers. All we know about John and Michael is that they’re Wendy’s brothers and they like to play fight - they don’t really feel like proper characters, they’re literally just there

I’m still waiting for a Peter Pan adaptation to just bite the bullet and give us that flash forward of Peter visiting an older Wendy, meeting Jane and taking Jane to Neverland - the 2003 version did film it but it’s deleted and the special effects aren’t done on it (you can watch it online but still)

I want to know where in Barrie’s text it says Wendy wanted to become an airplane pilot or that she actually fulfilled that ambition… ?!?!

The soundtrack was good - not the masterpiece that James Newton Howard’s is but still pretty good

Overall, I’d give it a 6/10 maybe. It wasn’t the worst Pan movie or adaptation out there but it’s not the best either, at least in my opinion. It IS one of the better Disney remakes though, and if it had been a bit longer and had a better budget then I’d say it should have had a theatrical release because the cinematography is STUNNING. It’s just that it very much feels like they rushed the story and had a smaller budget than hoped for.

[modernroyaltyblood]

Fandoms and shipping in The Buccaneers

I just couldn't help but notice some people arguing that Guy is bad for Nan because the character initially tried to find a wealthy american girl to marry and save his family fortune. While in the same breath argue that a man who sees Nan as an escape from his title and status as Duke and tells her that women belong in the kitchen is the dream man. I'm just so confused by the cognitive dissonance fandoms go through at times. What do you mean a man who had problem humiliating his best friend is a man of great integrity because he has no money struggles? Why is that Guy isn't "good enough" for Nan because he isn't financially in a good position?!

Finding out that the actors of Nan and Theo were dating in real life was rather shocking as the chemistry between their characters absolutely does not translate onto the screen. Guy Nan on the other hand steal every scene. Choosing Theo would be making the same mistake Mrs St George did when she chose Nan's father. Theo likes the idea he has made of Nan in his mind, Theo likes Nan because she isn't who his family chose for him. Theo loves what Nan represents not who Nan actually is. Theo is used to winning and he thinks he is entitled to her feelings. It's going to end terribly.

[coochiequeens]

These ladies are Queens

‘Second only to men’ is my name: more Chinese women ditch sexist names from boy-seeking parents amid feminist awakening

Women in China are legally changing their names amid a wider awareness of gender issues and loosened restrictionsThey had names which reflect a parental desire for boys — Zhaodi: ‘beckon to younger brother’, Yingdi: ‘welcome younger brother’

“After an entire week, I finally succeeded in changing my name with the authorities. Let the stars shine in the coming years — It’s never too late!” wrote 20-year-old Chen Xingwan in celebration on her social media account.

For the past two decades, the young Chinese woman has been officially called Chen Yanan instead — ya meaning “only second to” and nan meaning “men”.

According to her father, who gave her the name, it means “a boy is coming after this baby”, while her mother, who had no say in the matter, interpreted it as “you are no worse than a boy”.

Sharing her new identity document on Xiaohongshu, China’s equivalent of Instagram, the university student from eastern China’s Anhui province said she hoped it would end a long period of self-doubt and start a new chapter in her life.

Chen is just one of many Chinese women who want to change the sexist names their parents gave them to reflect a preference for sons.

The trend has gained momentum over the past year amid a wider feminist awakening and loosened restrictions on legal name-changing for adults in mainland China.

At the start of last year, China enforced its first Civil Code allowing adults to choose their own names, as long as the words used are, “not against fundamental social values”.

Due to the traditional preference for a male heir in Chinese society, girls names which convey a family’s wishes for a boy were popular both before and during the one-child policy.

The policy, which wasn’t completely abandoned until 2015, limited all urban couples to one child, while those in the countryside were allowed a second chance if their first child was a girl.

This resulted in many parents giving their newborn daughters names such as Yanan: “second only to men”, Zhaodi: “beckon to younger brother”, Yingdi: “welcome younger brother” and Aidi: “love younger brother”.

Another is Sheng-nan which means “better than men”. This is usually interpreted as “despite the fact that you are a girl, you are better than a boy”, which is based on the sexist presumption that men are normally superior to women.

According to the Ministry of Public Security, of female citizens bearing the three most common family names in mainland China — Wang, Li, and Zhang — almost 32,000 are named “second only to men”.

More than 13,000 women with these family names are called “beckon to younger brother”.

“Since childhood, all my teachers would ask me the same questions when seeing my name for the first time; ‘Did your father want a boy? Do you have a younger brother?’,” said Chen .

Her younger brother came three years after her and was given the name Yongkuan, “It is a very normal name that won’t bring any trouble to him,” she said.

Chen, however, said she suffered significant social stigma because of her name.

Her classmates gave her nasty nicknames associated with the word men, such as “men’s room”, she said.

“I’ve hated my name since I was young. When I was asked to introduce myself, I was always unwilling to say my name,” she said.

“For some people, their names are just a symbol and may not play an important role in their daily life. But for many others, they may have been hurt because of their names. There could be some bad outcomes psychologically,” Chen said.

Many women in mainland China share Chen’s sentiments and have posted about their name-changing experiences with photos of their new ID cards attached online.

They include 22-year-old Zhang Yingdi from Tianjin who became Zhang Yuge, and a 24-year-old Lin Aidi from Guangdong province in southern China, who herself Lin Lisha.

Huang Chunyu, a retired professor in Chinese culture and history, said a person’s given name often conveys the giver’s expectations and understanding of what constitutes a good life.

“

After the era of the one-child policy, women became more independent and confident. They refuse to be subordinate to men and believe they are as good as, or even better than men,” he said, adding, “so this trend is a true reflection of social development.”

University student Chen said she was happy that her parents’ attitude had changed over time.

They were supportive when she told them she wanted to have a new name, she said.

“As they grow older, they are not as rigid as before. They not only agreed with my decision, but even helped me pick my new name,” she said.