#and how interesting she could have been

[gerudospiriit]

[Dumb take of the day: Nabooru should have gotten the Triforce of Courage when the damn thing broke because it takes a lot more courage to stand up to the ruler of your people and commit treason against both him (who is also just very powerful in general and she knows it) and the people you love because it's the right thing to do than it does to blindly do what you're told and accept a destiny you don't understand from a tree meant to protect you and a total stranger. :3]

[thresholdbb]

what's the threshold theory

There was a post about how Tom is the only crew member who isn't really affected by the Borg, and there's a theory that he has so much luck because he saw the past and the future when he crossed the transwarp threshold. He saw the past and the future, all of time and space. There's some subconscious part of him that remembers that experience. In fact, Tom refused to play a part in Chakotay indulging Annorax's temporal incursions, probably because a part of him knew nothing good could come of it.

If we extend that same theory to Janeway, some of her wild luck with time travel and other crack plans starts to make sense. She doesn't verbally hate time travel until after the events of Threshold, since it happens in Time and Again without complaint. Janeway has an uncanny knack for time travel, as evidenced every time she deals with it. She hates time travel, but it might be because part of her knows exactly how to manipulate the timeline. She manages to avoid the "inevitable" temporal explosion in Future's End, saving both Voyager and Braxton. She resets the entire timeline in Year of Hell, and no one else followed her reasoning. She pulled it off flawlessly. In Relativity, she senses the incidents are all related, despite it being just one reading that connects them. By the time she's involved, she has a temporal incursion factor of .0036 and a time travel protocol named after her, even if that may just be Braxton's personal grudge. Then there's Endgame, where she intentionally changes the timeline. Up until this point, she has been dragged into time travel, but for the first time, she jumps in on purpose. How does Admiral Janeway know how to get them home sooner in a way that completely avoids the Temporal Integrity Commission? It's because she has seen all of time, and part of her knows exactly what needs to happen so she can get Voyager home and do it in a way that becomes baked into the prime timeline. Maybe she doesn't consciously remember what happened during her transformation, but the experience lives in her mind somewhere, guiding her decisions.

[rottengurlz]

lover, don't touch me // leave, i am a danger to you // but ooh, i hunger for you

[morrigan-sims]

Pirate Outfts

I was bored, so I started trying some different outfits on Zara... The last one might be my favorite, if only because I already used another swatch of the first one for Wolf, and I can't have them wearing the same thing... But I also love being able to see all her freckles in the 2nd one...

[bonefall]

oo snowkit becomes snowcarve?

He does!

In StarClan, you can use the names and appearance that you could have had, if you died young. It's very rare that you get permakits or permapprentices. I lifted from the COTC story about Smallstar and his siblings.

(Though, in BB those kits actually survive and it's MAPLESHADE’S kits who lead to the law on protecting children, Darkstar's Commandment, the Queen’s Rights. Smallstar is the leader of WindClan and xey're super chill. Xey own a lovely shawl.)

So Snowkit chooses to appear as Snowcarve, an Honor Title he would have earned for the creation of a full written Clan cat language, expanded from the simple glyphs. I'm not sure if he's a popular patron, but I do know that Bramble and Tawny invoke him sometimes.

Unfortunately though he's more invoked for general guidance by the two of them, not for possibilities like I think he'd like. He watches over them though, like a guardian angel. A lot of cats secretly have those.

I'm not sure who he follows around more often though. I think he LIKES following Tawny more because she's a better listener to his omens. But he feels like Bramble NEEDS him more, y'know?

Also notably, Snowcarve was technically their uncle, but the relationship is best described as "1st cousin." Rabnir in Clanmew, a familial role about somewhat distant but parallel growth, seen also with Brightpaw and Swiftpaw.

[queen0fm0nsterz]

thinking about the Lady again and she actually is the Character Ever.

Starting off with her design. How ridiculously simple it is, right? Her yukata is plain brown and has a single layer, her wig (and yes, I am positive what she wears is not her hair but a wig soley because of how easily it comes undone... that kind of hairstyle is meant to STICK when done with actual hair) has no decorations befitting a woman of her powerful status and her mask is nothing but... empty. You could mistake her for a mannequin and you wouldn't even be wrong. It's by design, after all: she is as insanely important, as a figure, as she is anonymous as a person.

But then, it's with amusement that you note that that boring, unexpressive mask is called the "Rascal's mask" when unlocked. It's such an oddly affectionate nickname stemming from a person so utterly despicable. And then you notice her hair. Her long, black hair that should be hidden under her wig, as the hairstyle goes, but are instead hanging out freely. Not very traditional at all, right? You could almost read it as a small act of defiance of... something. Now, what that thing is, I doubt even she knows. Maybe it's just her way to seek individuality without having to step into zones she does not want to touch.

And then, of course, the lack of shoes. It's not uncommon for people to wear slippers in the house - especially for the Japanese - but she just... doesn't. In that small, small way, she is similar to Six - and every other child in the Maw running around barefoot. Except she's above running, of course. She's got the privilege of floating like a ghost so that she may never touch the ground.

(The only time when this rule is broken is when she fights Six, poetically enough. You can see her visibly step back.)

These strange little things are the first things that push you to wonder about her as a person. Not the title, not the Lady of the Maw: the individual behind the mask. Who is that person? What is she like? Is there a way to answer these questions? I think yes, if you know where to look - but is it worth to ask these questions considering what she does?

That depends on you. Me personally, I think there is narrative worth to be found in what she has to hide. Her foil, Six, finds value in the aspects of herself she does not hide: she is very unapologetic in her selfhood. The Lady isn't, for the most part.

(I wonder if that would make her envious of her younger counterpart in a different context?)

Frankly, looking back on her choice of attire, the fact that her personal bedroom is barely decorated is not surprising. She only has the essentials: a bed, the vase with the key, a few pictures of importance (of people long forgotten, herself included no doubt) and... an ungodly amount of misplaced clothes all over her quarters. All the same yukata, repeated over and over, maniacally folded and arranged in towers, but never where they're supposed to be.

A bedroom is the reflection of yourself. Of your inner world. The fact hers looks so barebones is quite telling about who she is. Or isn't. She herself may have some trouble trying to figure that one out.

I think that, in a vacuum, it's easy to assume that the reason she's so displeased by her reflection is soley out of vanity. That is definitely part of it, but I don't think that's all there is. Because after seeing the mannequins that all look just like her, the four women in the picture who also wear her same exact clothes... and that hidden quote.

This quote, which is from Alice in Wonderland. Specifically from a conversation in which Alice expresses how she doesn't recognise herself anymore because of how many times she grew big and small during the course of the day. She is not the same person she was before entering Wonderland.

I find the way she clings to the dolls and the music box to be much more... sombre when keeping this in mind. In a way, that scene is reminiscent of Monster Six clinging to her music box in the chaos of the Tower; an attempt to attach to something safe. For the Lady, it's even more personal. Those are her toys. Her song. No one can take them from her and claim them as theirs. These materialistic tomes are physical proof of her identity. She likes dolls, and she likes to sing that song from her music box. Surely, that much is something.

But a ceramic toy and an old music box are not really enough to placate the inner turmoil. Hence the broken mirrors, the hidden statues... the hung down portraits with their eyes scratched out - from times of the past. There is a person looking back in the mirror which she does not recognise. That can't be her, right?

It isn't. The reflection is but a faux image of her outward appearence. The inside, however... much like this concept art shows, she is melting away. Rapidly decaying no matter how much she tries to stick to her youth.

Because at the end of the day, that's what she's doing, no? The toys, the music box, her appearence... all of it, just to cling a bit more to the person she used to be. Point being that I doubt even she remembers what she used to be.

You'd think a person like this would be inclined to feel at least some sympathy for all the lost children wandering the Nowhere. A sense of kinship, perhaps, or even just... basic human compassion. She has proved to have very human emotions, after all. This is where she proves you wrong. Whenever you think she's stepped the lowest, she always goes lower.

In her humanity, she is brutal. Relentless, ruthless. She offers no sympathy to anyone and has no empathy to spare either. She is very much aware of what's going on under her roof: she not only allows the Maw to continue being the way it is in spite of having the power to change things, but she actively engages in its despicable practices. She has petrified children in her quarters, as well as their ashes - of which the use is unclear - and then she is responsible for the Nome population and exploitation being so large and so eerily heavy. She's twisted necks, broken bones, murdered innocents.

The Shadow Children are, to me, one her greatest offenses. I don't think they serve any particular purpose other than... being there because she wanted to make them. Children ripped away from their life because of her whims. Not even in death can they rest because she can get her hands on their souls. They're nameless, forgotten shadows with blank masks: they're just like their creator, in that way. Ripped of all individuality and devoid of everything.

Everything she sees, the Lady devours. Not a creature is safe from her shadows and her wrath, especially if they come and actively intrude in her activities. She's twice as aggressive if the Maw is at stake.

The Lady's personal bedroom has another motif piece which I did not previously mention: the Maw wallpaper. While Roger and the Chefs have wallpapers that portray them with her, the Lady... does not. She only has the Maw. She's not part of that picture.

The Lady can't let the Maw change its ways. She is the Maw. The Maw must survive: so must she. To change the Maw would mean challenging herself enough to bring about a change; to her, who does nothing but lament what she lost, that would be too much effort. Too outside of the comfortable zone where she can survive in peace. Miserable, but unbothered.

... For the most part. Until Six comes around.

[turtletoria]

every time i see art of boxleitner and wordgirl in an explicitly father-daughter scenario i sit there gritting my teeth and fists clenched like thats not her father thats not her father thats not her father thats not h

[lucreziaborgiagf]

i don’t talk about bridgerton on here but just to clarify. i will not be having ANY eloise hate on this account. i will bite.

[idkaguyorsomething]

me searching through bbc merlin fanart and fics for the heart of the show.

(IMAGE ID: Doomguy in a red area fighting off hordes of monsters, captioned “WHERE IS GUINEVERE”)

[swan2swan]

Let's talk about what happened with Brookenji.

And no, I don't mean the fallout in Chaos Theory. I mean what happened in the original show. At least, what I believe happened. This is--mind you--total Conspiracy Board style speculation based on little pieces of evidence collected and gathered throughout my years looking into behind-the-scenes stuff and following social media. It would really help if I could find one particularly tweet, but I think it was deleted either in anticipation of spoilers or just because he regularly deletes them.

But...here's the one responsible for that:

Xi.

Xi was the Original Ben, as you can see. Young and nervous. While Ben was...

Well. Ben. Big Ben. But obviously the jock character. The tall, smarmy, rich white guy.

You may be able to see where this is going, but I submit this evidence to you from my memory, and you'll just have to trust me:

One of the showrunners of Camp Cretaceous tweeted ages ago (Season 1-2, well before Season 4 and the Nonsense), tweeted about how there's a disappointing lack of Asian romantic leads in media.

And you know what? He's right. Very much so! Think of ten major tentpole movies from the past thirty years and pull a Japanese, Korean, Chinese, or Vietnamese romantic lead. No, no, no, not the women! The men. An Asian man.

"Oh, well, Shang Chi--" no. Don't get cute.

The fact is, it's just...not a thing that happens. And I think one of the goals with Camp Cretaceous was to change that. Just like they struck ground with Yaz and Sammy being an interracial wlw romance in a children's cartoon, they were gonna put an Asian dude in the romantic partner position.

By now, you obviously see where this is going...and what happened:

If Xi had remained the scared kid, he would have fallen from the train. He would have grown in the jungle and emerged as a wild child. He would have an mmensely different feel in Season 3 where he was breaking away from the group and determining to stay on the island...until the end, when he bonded with the group.

And that is when Brooklynn--or Jules, rather--would have suddenly taken interest in him. Xi and Jules, the wild kid and the rich girl. It would be cute!

But they changed things and took them in a different direction--possibly pretty close to the time the show started. Which meant that the whole first half of the show barely had any setup planned for Kenji and Brooklynn, as they were now known...and they didn't really want to go with Ben and Brooklynn. Especially with how strong the dynamics between Ben and Bumpy and Ben and Darius became.

But they still had to set up the Brookenji romance, and the plans for OG Ben and his Rich Dad to shatter the group dynamic suddenly had to adjust...and you know what? Throwing the romantic strain into it was a pretty good idea! Not bad! But...with the timing of his arrival, the writers only had one season left to them. So they had to jam it all into one season, because there was a little race-swapping done at the last minute that wound up being super-crucial to the endgame.

And personally?

As messy as Brookenji was, I think it was better for them not to remain rigidly focused Xi-Jules and turn it into Ben-Brooklynn. While it would have neatly paired off everyone for the final seasons--Ben and Brooklynn having their Rich Girl/Wild Child romance, Kenji and Darius having their Friends-to-Brothers arc as Kenji betrays the group for his dad (SEE HOW SMOOTHLY THAT WORKS, TOO?), and Yaz and Sammy...well, you know...I think I like what we got with Ben a lot more.

But you can see how the original plan of broad strokes would have been a lot smoother. Turned out that the characters evolved more than planned. And obviously they could have stuck with the Kenji/Darius focus being the main fallout of the group...but that also sort of leaves Brooklynn high and dry with regards to the plot. What's she got left? Though, also...looking back on those seasons...even her romance with Kenji didn't do much for her. Probably because it wasn't really supposed to be a thing. We don't know what the plans for Jules were in the original script, but when those got ditched (PRESUMABLY. THIS IS ALL ME SPECULATING!!!), they had to scramble with her. Maybe she was supposed to have more parental issues. I dunno.

But whatever the truth is, I do still maintain that Kenji was written to be a romantic guy with that in mind. Listening to Brooklynn's color preferences, feeling awkward, being protective...eck, he even kept that rizz through to the new series:

But the bottom line is that Kenji isn't Xi. He didn't have the growth that was planned for Xi, which would have tsngentially influenced Brooklynn/Jules's sudden interest in him.

This is also one of the consequences that comes with having shows compressed and rushed so much in the modern era. If we'd been getting filler episodes over the seasons, they might have been able to start building Kenji and Brooklynn up during the E750 arc, if not sooner.

NOTE: I'm not sure what the scripting and planning timetables were with this show. But from what I've gathered, the characters were swapped well after the conceptual stages. And they made it work! There's still a coherent story! I think the sloppiness just came because they had to hurriedly change tracks on some parts, and we noticed.

[rubiatinctorum]

I get where people are coming from when they say Diaspro in Winx lost the plot for the sake of being turned into a minor villain and that's all once Valtor enabled her to do what she did in S3, but I feel like that was a reasonable narrative choice. It's only a love potion at that point (while I could go on all day about the ethics of love potions, of course, a later season has her straight up trying to do direct murder). She's a noble, guards will do her dirty work, and I understand that she would feel like getting revenge on Bloom while getting back together with Sky. She was promised a position — romantic AND political — she nearly had and then it was taken from under her by a random fairy who wasn't even "supposed" to be in the running. I don't think what she did was nice, but it makes sense for the story and for her character for her to want to reclaim her position in the way she did. Sky's love was an accessory, in part, to her political ascension, and thus he is again rendered accessory and accomplice by the love spell. And, sending guards after threats seems to be the thing to do in the magical universe if you're a disgruntled noble, so it's probably not unfamiliar for Diaspro to have seen occur before or want to do. It's not a uniquely rotten response any more than Radius' behaviour towards the monster (who, he didn't know it, was Stella). If we fault her for this action rather than only the intention behind it, we need to examine how the worlds in Winx Club deal with threats to their monarchs in general, which sounds interesting but I frankly don't have time for tonight. Diaspro did wrong, but she didn't do uniquely wrong there, and Eraklyon has the punitive security structures in place to have enabled that.

Diaspro's later appearances seem to flatten her motives and the symbolism behind why her relationship with Sky was important and what she does about it (who cares what Diaspro's political aims are and how her status might reflect how she deals with problems, the audience needs to see Bloom thrown into fire I guess), but I feel like seasons 4-8 weren't really that good anyway, so I can't even claim this as a fault of the writers doing Diaspro specifically wrong instead of them just doing the whole show wrong at that point. It might be related, and it might be a coincidence, but a lot of the writing choices seemed to become more flat to me right around when the art shifted to that lifeless godawful Flash simulacrum of S1-3's art.

Also like... idk but if some long-haired hottie wizard in a sick coat and contemplative eyeshadow told me he could help me get my promised chance at both romantic and political success back, I'd at least hear him out, yknow, see what he had to say (<- don't trust me I simp for Valtor)

[lollytea]

The Blight family are so interesting IN THEORY. In execution they are....😬

[wonder-worker]

"[Elizabeth Woodville's] piety as queen seems to have been broadly conventional for a fifteenth-century royal, encompassing pilgrimages, membership of various fraternities, a particular devotion to her name saint, notable generosity to the Carthusians, and the foundation of a chantry at Westminster after her son was born there. ['On other occasions she supported planned religious foundations in London, […] made generous gifts to Eton College, and petitioned the pope to extend the circumstances in which indulgences could be acquired by observing the feast of the Visitation']. One possible indicator of a more personal, and more sophisticated, thread in her piety is a book of Hours of the Guardian Angel which Sutton and Visser-Fuchs have argued was commissioned for her, very possibly at her request."

-J.L. Laynesmith, "Elizabeth Woodville: The Knight's Widow", "Later Plantagenet and Wars of the Roses Consorts: Power, Influence, Dynasty"

[mewtwo24]

You know idk if it's just me being oblivious af but mxtx sure does enjoy putting her protags through the trolley problem when it comes to her works huh /j

[commsroom]

i think there's something to be said about what exactly it means to be "non-human" in a story that is as much about humanity as wolf 359 is, where even the dear listeners are defined less by their own perspective and more by what they fail to understand and therefore reflect about the human perspective - to the point that they don't even have their own voices or faces or identities that aren't either given to them or taken from humans. they speak to humanity as a mirror.

even pryce and cutter are "very much humans" - pryce defined by her resentment of and desire to transcend its limitations, and cutter by his aspirations to redefine and create a "better" type of human - and find the idea that they might not be human laughable. it's interesting that they have distinctly transhumanist aspirations when their goal is the narrative opposite of common science fiction fears: that we will expand the definition of humanity so much that we'll lose whatever it is that makes us human. pryce and cutter's transhumanism narrows the definition of humanity to the worthy and the useful, as defined by them; "there will still be a humanity; it'll just be our humanity."

in direct opposition to that, i think it's meaningful that the show instead expands the definition of humanity in ways that include lovelace and hera, who in another show with different themes might be considered (in the descriptive, non-moralistic sense) non-human. i will always make a point of saying that personhood and humanity are two often-related but meaningfully distinct concepts, especially when talking about sci-fi and fantasy. i am talking about humanity.

the question of how hera identifies, and what social pressures influence that, is a complicated one. i've talked about it before and i will talk about again. what's important for the purposes of this post is that i think the show considers her fundamentally human. think about her role in shut up and listen - consider jacobi's lion example and the concept of different paradigms - that even things that are close to humans, comparatively speaking, understand the world in different ways. whatever differences hera may have from the others, it's primarily in experience, not fundamental understanding. she shares their emotions, their concerns, their values, their thought patterns. she has an appreciation for music, which the show considers a hallmark of humanity. she fits within the framework of humanity as the show defines and is, in her own words, left feeling "uneasy" about how difficult it might be to communicate with beings who don't. and it's significant that this takes place in shut up and listen, of all episodes, specifically because the way she is clearly and unambiguously included in the show's understanding of what it means to be human highlights the ways she and lovelace are othered by eiffel's careless comments that suggest otherwise.

(i don't want to get too into these details for this particular post, but it's worth noting that hera will refer to 'humans' as a category, often when she is upset and feeling isolated, but has never said that she 'isn't human' - she has never been upset that people are treating her 'too' human. i've seen it said about the line "you need to get it through your heads that what goes for you doesn't always go for me", but that's a frustration related to ability and safety, not identity. far more often, she will refer to herself in 'human' terms - referring idiomatically to experiences or body parts etc. that she doesn't literally have - and is upset primarily with comments referring to her status as an AI. it does not diminish how being an AI influences her perspective and experience, but again, so much of that is in terms of ability that it feels almost inseparable from a discussion about disability.)

lovelace's humanity and hera's humanity are so interlinked and directly paralleled in the text that i think it's impossible to really argue one of them is "not" human without making implications about the other. in desperate measures, lovelace tells kepler he's "not human" and he responds "you're hilarious. on a multitude of levels." later, defending lovelace against kepler's repeated dehumanization, hera very pointedly uses the phrase "that woman." in out of the loop, hera says she's never met anyone who "worked so hard at being inhuman" as jacobi, who says "what do you know about being human?" hera very emphatically responds, "i know plenty." later, defending hera against jacobi's repeated dehumanization, minkowski pointedly uses the phrase "that woman." with the care taken towards language and the way scenes and turns of phrase will parallel each other, that's not a coincidence. it might seem strange to have the "non-human" characters be the ones to express criticisms based on perceived "humanity" (something hera will do in other contexts as well - "we don't have funerals for animals" etc.) but in the broader context of the show, i think it's the point.

so, whether hera would ever call herself human, or be comfortable with that, is a complicated question for another time and depends on a lot of other factors. but wolf 359 is a show about humanity, it includes her within its definition of what it means to be human, and i wouldn't be comfortable definitively saying she's not human because of that. it can't be a neutral statement within the particular context of this show.

[babisawyer]

Jackie realizing she’s gonna have to take care of shauna and jeff’s ghost baby