#and i still have 7 excerpts to analyze

[d-atalog]

the instructions: yeah this assignment should take you about 2 hours lol

me, 4 hours later and still half an hour's worth of work from being done: you sure about that?

[evil-urchin]

Kat’s Character Overanalysis of Murasaki

⚠️ WARNING ⚠️

The content below may exhibit multiple instances of confirmation bias due to over a year of brain rotting.

Do not proceed if you dislike excessive analysis of characters that only appear in official tweets and random merchandise.

I treat this guy like an oc so don’t be mean to me ok 💔 just my headcanons and personal observations!!!

Viewer discretion is advised…

Ok so I'm going to start with the basic stuff (i.e. inkipedia)

From 2015-2018(?) Murasaki was the drummer for the band Squid Squad. He was the youngest member of the group.

While this excerpt from Inkipedia may seem small, there are a lot of traits described here that can be further analyzed (if you have nothing better to do)

The Squid Research Lab describes him as rough around the edges.

The term "rough around the edges" is used to describe something that has small imperfections, but is generally good. When describing a person it can mean someone who is unsophisticated or impolite. In this instance, "rough around the edges" could be describing Murasaki's drumming skills as he's said to have potential, but he also needs some practice.

this characterization was probably made to resemble his appearance as well! (sea urchins don't have very smooth edges...)

2. Murasaki is referred to as a wild child.

A "wild child" is usually someone (likely a young person) who is headstrong, rebellious, and/or uncontrollable. To me, this info matches nicely with the impolite interpretation of the phrase "rough around the edges."

3. From here, it sort of goes on about his playing which I sort of addressed in the first point. Basically, he has a natural gift in drumming because he has a good sense of rhythm, and despite lacking in technique, he always tries his best.

4. He is prone to crying

The Squid Research Lab states that he could be caught crying during a drum solo which goes to show how much effort he puts into his playing :). I feel like this part tends to override his other traits in fan stuff (if he gets included at all). I personally view this as a subversive aspect of his personality. Normally he has an abrasive personality because of the rebelliousness and lack of manners, but he is also a sentimental person and his emotions are expressed through tears even if he isn’t sad (samee). Think of how urchins have a spiky hard external shell that hides soft uni inside of it ok...

5. Energetic

I know the energy think is probably referring to his playing style, but I picture him to be a fidgety person who doesn't like to stand still. I guess it matches with the wild child thing.

6. He's the youngest

Expains the previous behavior. rude + rebellious + more talent than practice. teenager.

Moving onto other sources! Bye Inkipedia...

Here is the original japanese text of the Squid Research Lab info on twitter. Yes, I know google translate isn't that accurate, but I think it's interesting and deepl says something similar as well.

7. Ignoring the strange grammar, Murasaki is additionally described as mischievous (やんちゃ?). Definition: playful in a naughty or teasing way or troublesome/irritating.

I guess this was translated into the wild child in the english version because I'm assuming the term in japanese refers to more childish behavior. I think the word mischievous is easier to understand though since I've never heard the term wild child before. Anyway, he's silly.

8. I sort of glossed over this in the english version but apparently he can take the lead when it matters most. In english, the phrasing kinda made this confusing. I thought they were just saying words lol. Anyway, this ties in with him trying his best while in the band + being compassionate/sentimental.

topic-adjacent kinda. I've seen people interpret this in a sort of sad way, but I interpret this as him being mischievous! I think he's walking towards them to scare them. The little star next to his head reminds me of the animal crossing mischief emote.

another bonus thing because it shows that hes silly. a silly goose. I think he likes to doodle.

God I haven't even gotten to the splatune articles yet...

yeah this kinda repeats what I already said but here it says his playing fits well with Ichiya. I think that both of them are kinda similar. Both are sort of lacking in technique but make up for it in other areas. Both have ADHD (lying). To me, Murasaki is if an asshole turned out to be kind, and Ichiya is if a kind person turned out to be an asshole. #crazy

Splatune 1! No more numbered list I forgot what number I was on :)

Cool and edgy urchin

I have no idea what that means. Ok.

Cool means cool.

I don’t know if they mean edgy in the internet way because ???... Anyway, edgy can mean: 1. tense, nervous, or irritable, 2. trend setting, daring, or provocative. I think the word choice was for the sake of an urchin pun.

I think they meant to convey the second definition by saying hes cool and unconventional (I don't think it makes sense to say someone is cool and nervous in the same sentence). Kind of matches with being rough around the edges. I like to apply the first definition sometimes though. I like to stress him out.

he boldly pushes up to the front like a blaster

information about his drum playing is information about his personality! this relates to his previously described energetic playing. I like how this sort of frames him as unusual compared to other drummers. It shows how his playing style relates to his character... energetic, headstrong, he can lead the way if necessary. all things previously stated.

mean to him :(

I think this is trying to say how the others keep him around even though he doesn't match the theme. They keep him around because he looks cool? (this information is probably useless because machine translator. grain of salt)

very brief splatune 3 cameo

can drink in bars now? (old...)

likes to talk in circles (old...)

looks depressed now. aware of the horrors... evil leg bouncer...

thats it for official stuff i think. I like to add on bonus traits to him during the front roe era, but yeag ✌️

[electronickingdomfox]

Excerpts from “Shatner: where no man...”

I recently read this book (Marshak & Culbreath, 1979) and wanted to share some excerpts (the book can be borrowed for free at archive.org, by the way). 

To be honest, there’s a LOT of filler and hero-worship in this book (to very annoying levels), and it’s not a biography in the common sense of the word. But it also includes personal interviews with Shatner, Roddenberry and Nimoy, which I found the most interesting parts (chapters 7 and 8 above all). So here’s some of the stuff, chosen because it relates with Star Trek or it’s just funny/curious. With special attention to the K/S parts. Because I’m making the selection and say so.

From an interview with Shatner and Nimoy (1977)

Nimoy comments on the scenes he thinks define Kirk and Spock’s relationship:

Nimoy is asked about a particular blooper he’s never seen:

Gotta love his last line. In relation to Devil in the Dark:

Nimoy then explains that he wasn’t always conscious of his reactions in front of the camera, some of them may have come naturally to him while playing the scene (like the swallowing here described). On the other hand, Shatner said in other parts of the book that he himself was very aware of his expressions and why he used them. Interesting to know when analyzing certain scenes.

About the problems with Turnabout Intruder (Roddenberry also addresses these issues in another section):

Elsewhere in the book (not part of the same interview), Shatner had also talked about this same episode:

Really, Janice Lester never struck me as the classical femme fatale who seduces men for her advantage, but Kirk... would turn himself into one? Oh, well. I can see that.

From an interview with Roddenberry and Shatner (1977)

Gene comments on Kirk and Spock’s relationship:

For this well-known passage, I’d just like to address some common criticism from those who grasp at straws to discredit what Gene said here. I’ve often seen this interview described as the authors “manoeuvring” Gene into talking about physical love between Kirk and Spock. As if Roddenberry had said that at gun-point, and thus wasn’t valid. Well, NO. The interviewers only bring the subject of Alexander and Hephaistion because Gene had previously talked about the Alexander/Kirk parallel. And they never speak of them as anything more than friends. The whole “physical love” thing was brought entirely by Roddenberry (as a little later after this interview, he’d do with the t’hyla-lover stuff in the TMP novel).  The authors DO have an obvious agenda in this book, not gonna lie. But their fantasy revolves around alpha-male Kirk getting into relationships with strong women, not around K/S (at least not in this book). Believe me; I’ve read the whole thing, and it’s pervasive. To the point of trying to push Kirk/Uhura or Spock/Leila as love stories, despite Nimoy being much in disagreement with the latter, and both being forced to it. Not to mention, the authors barely brush on the “physical love” thing, and move back to the Alexander/Kirk parallels.

In fact, the authors ask Gene again about Kirk and Spock’s friendship, and again, it’s him who makes the connection between their relationship and sexual relationships in general:

Confront this with the passage in the TMP novel: 

But it still felt painful to be reminded so powerfully and unexpectedly of his friendship and affection for Spock—theirs had been the touching of two minds which the old poets of Spock’s home planet had proclaimed as superior even to the wild physical love which affected Vulcans every seventh year during pon farr.

But enough with the seriousness:

I can’t believe they were discussing Kirk’s ass in front of its owner...  There are other raunchy things in this interview (it’s Roddenberry after all), but I won’t put them in here.

From an interview with Theodore Sturgeon

So the legendary “In a pig’s eye!” line was DeForest Kelley’s improvisation? He’s the boss.

[thelunarfairy]

(Apologizes if an incomplete ask sent through, I was asking a question but the Internet cut off :<)

My question was though, how much can you analyze about the English lyrics of No. 7 (anime intro)? The lyrics supposedly explain some of the story and you're the best theorist I know who can put this in an organized post XD

(Sorry if you've been asked this before haha feel free to ignore if so and have a great day!)

I looked at the Japanese and English versions, and well, to better organize the meaning of the song, I'm going to write it here in a more objective way, it will be easy to understand the meaning as you read the lyrics.

This is because the Japanese version has a lot of wordplay and puns, the English version translated it literally and in the same way as the Japanese, which made some passages confusing.

Let's get started (this is the full version of the song)

So now let me tell you the story of number 7

1 Huh? Eh? Instantly happy and sad, even the past and the future 2 Two shadows appear within the rumors (the passion turned into nothing, it's just a story) 3 A sweet fruit mixed with the unreal 4 Yes, yes, even if I tell you repeatedly 5 Look, look, you're not listening properly (passion turned into nothing, an endless story) 6 After all, the boring thing is the ugly reality 7 Morning, day and night, like ten winds and five rains, rumors circulate 8 Without becoming pure in heart, turning my back against the unchanging mirror 9 I Want Some Magic, Say Seven Mysteries, That's Not Perfect 10 But We Are Struggling Because We Are Incomplete

11 Swinging the blade, words, too far 12 Wearing the smiling mask of lies (you in that place) 13 They Were Hurt Because Of Someone Else 14 Between sin and punishment, in that place where no one exists 15 Surely He Is There So now let me tell you the story of number 7

A secret history I heard from somewhere

16 It's a secret just between you and me 17 I will not lose to you, memory nor the brittle truth 18 Let's catch up, it's a reality like a rumor from some time ago 19 Every night and morning seems stupid 20 The dance of the second, the third morning, the fourth twilight 21 First, second, third, fourth 22 Mirai, Misaki, the mirror that doesn't see, the silent solitude 23 Is it the first? the eighth? Wait, there's no eighth 24 Until the four o'clock stands, if you repent, 25 It becomes four pains, eight pains 26 Trouble Towing in Seven Rounds 27 Hits, punishment 28 Come, come strange mystery 29 My body's habits, everything, are never perfect, so We are struggling because we are incomplete

Swinging the blade, words, far away 30 Please reach out, the laughter, the overlapping lies 31 (he is still there continuously) 32 I blurred the details while pretending to be fine 33 Between sin and punishment 34 Alone, placed in that place 35 Surely he exists

36 Hiding the past, blinding the eyes in front of the destiny that is coming to an end 37 I changed once, so I will change again The answer is clear

Swinging the blade, words, far away Wearing the smiling mask of lies (You alone) Were hurt because of someone else Between sin and punishment In that place where no one exists Today it also exists

So now let me tell you the story of number 7 Hey tell me about the continued story

ANALYSIS

Let's use numbers to better analyze the excerpts

1 = could mean that Hanako is happy now to be having fun with Nene and Kou, but at the same time sad about having to deal with the past and the future (Nene's future death)

2 = This excerpt is very emblematic, but "within the rumors two shadows appear" could refer to the twins "the passion turned into nothing, it's just a story" they would be in love with each other and what remained of that story would be murder. There is also the possibility that he is referring to Nene, since Hanako-san now has an assistant. Two shadows, and the passion that turned into nothing, an impossible love.

3 = A metaphor about the contrast between reality and a distant desire

4 and 5 = Hanako's story is being told little by little and someone (it could be Nene) is not realizing the details between the lines.

6 to 10 = Complaints about how reality is terrible and he wants to experience something unreal, not just him, but the other mysteries, everyone feels incomplete and is looking for something that reality cannot offer, something that they cannot achieve but they really want it. And specifically about the mirror, he says it is unchanging, confirming that no matter what he does, nothing will change.

11 to 15 = reference to Tsukasa's death, the murder. About how Hanako lied while creating a fake smile. He hurt Tsukasa, and he went to the place where nothing exists "Surely he is there" and the verses mention the sin and punishment that Hanako has to take responsibility for.

16 to 18 = Probably Hanako talking about his past with Nene. He says he will "reach him" that is, he will tell her the whole truth.

19 to 29 = references the other mysteries and how they are all fighting to create a better version of themselves, even though they are imperfect. In addition to, of course, mentioning a little about their feelings.

30 to 35 = reference to Tsukasa, he wants Hanako to show what he really feels, at the same time that Tsukasa "blurs" the way he feels "I blurred the details while pretending to be fine" "Alone, placed in that place" "he is still there continuously" reference that Tsukasa was left on Hanako's boundary and hides that he feels sad about it.

36 and 37 = it's a little difficult to know if the speaker is Hanako or Tsukasa, the excerpts fit for both, but it's probably more linked to Hanako, since he's the one hiding the past.

OTHER CONSIDERATIONS

Place where nothing exists = boundary, Hanako says that when he enters a boundary, the person ceases to exist in the human world while there.

Swinging the blade = stabbing, direct reference to murder.

In that place where no one exists, he is certainly there = clear reference that Hanako believed that Tsukasa was on the boundary

In that place where no one exists, today he also exists = reference to Tsukasa's return.

Hey tell me about the continued story = about the story we are following now

CONCLUSION

Basically it's Hanako talking about himself, about the mysteries and about Tsukasa. We also see many parts where he talks about how he feels, but in short, that's it.

The lyrics of this song change subtly according to the translation you are looking for, but the general meaning is this.

That's the way I interpreted the opening lyrics, other people may have different ways of seeing how they work, but for me that's it.

[justhere4thevibez]

annual writing self-evaluation

thank you @pipergirl17 and @erythromanc3r for tagging me!

1. List of works published this year (in no particular order):

oh gosh, I've been busy-busy this year with fanfic, so here goes!

Complete works:

... And a Hellcheer New Year 

Galentines and Valentines

Hold Onto Me

Devil in the Woods

Every Time I Run, I Run to You

Eddie and Chrissy Go to a Wedding 

Knocking Me Out With Those American Thighs

Cooking Up Something Sweet

Please Don't Say You Love Me

Let Me Start Over Again

You Got Me Good

Be My Breath (Through the Deep, Deep Water)

This Old Man

Do You Wanna Touch Me

My Words Will Be Your Light

She'll See I'm Not So Tough 

She Knows What She Wants

Give Me a Taste

The Right Kind of Sinner

Release My Inner Fantasy

Hooked on a Feeling

Whiskey & Wine

The Graveyard Smash

Long Is the Road Out of Hell 

In a Sentimental Mood

Set My Soul On Fire

Burnin' Out of Control

WIPs:

Looking For Something Dumb To Do

I Can't Get Rid of You 

If You Fall, I Will Catch You 

2. Work you are most proud of (and why):

hmmmmm, that's a tough one! I love them all for different reasons, but I will say I'm very proud of Long Is the Road Out of Hell because it's my longest fanfic to date (almost 60k!) and at one point I really wasn't sure if I'd be able to finish it. but I did!

3. Work you are least proud of (and why):

tbh if I'm not proud of something, I won't publish it. but I think the work that frustrated me the most was Whiskey & Wine, my kinktober fic. I pushed myself too hard with too big of a goal and burnt myself out halfway through. but I did learn the importance of setting boundaries for myself (and why I need to be careful committing to challenges 😅)

4. A favorite excerpt of your writing:

not gonna lie, once I publish something, the words tend to leave my brain, so I don't always remember what I write lol. I should probably keep a doc of good lines from my fics so I have something to present when people ask me 😂 but here are two excerpts that I'm pretty proud of.

Devil in the Woods: He had loved her since the first time he opened his eyes to find her snuggled up on his chest. He had loved her longer, since the moment he’d held her in his arms on that endlessly rainy night. And longer still, he’d loved the little girl who played jacks with him on May Day and laughed at his wild antics.

Hooked on a Feeling: He knew he could be… a lot, as kinder people said. A goddamn nuisance, according to everyone else. He didn’t mean to be, he just tended to… latch on to things. Kind of like a bulldog (but in a nice and lovable way, thank you, Jeff). And right now he had ChrissyChrissyChrissy clamped tight between his jaws, and he hoped to god she didn’t ask him to let go.

5. Share or describe a favorite comment you received:

I have a few regular commenters who give me the longest, loveliest comments where they literally analyze each chapter section by section 😭 it makes me feel so loved. but as for one individual comment, I distinctly remember a commenter from one of my early fics commenting on a really tough scene I did re: chrissy's eating disorder. they said that they also had an eating disorder, and that chapter was very healing for them. I don't think I'll ever get another comment as powerful as that.

6. A time when writing was really, really hard:

I go in and out of mild anxious/depressive episodes, mostly due to outside stressors, and that makes it really hard to write. writing is the one constant joy in my life, and when I don't even feel like doing that, I know something is very, very wrong. but luckily, they don't usually last too long!

7. A scene or character that you wrote that surprised you:

mike's redemption arc in Long Is the Road! that one was a total curveball to me, and it only came about because it was the closest place I could think of to have Chrissy walk to after her mom kicked her out. total accident, but it spawned on of my favorite sibling-ships for chrissy that I've ever written!

also writing wayne's pov! i never intended to do that, but once I started, his voice just kind of stuck in my head 😂

8. How did you grow as a writer this year:

I wrote a lot. like over 300k of fanfic. and i even got back into writing some original fiction, which I'm so excited about!

I also started writing smut for the first time in 2023, which was something I never anticipated doing, let alone enjoying! but it's been super fun

9. How do you hope to grow next year:

I'd like to work more on my original fiction, maybe get a short story published. I'd also like to get better at world-building! I tend to get so focused on the characters that I forget they exist in a place I should spend some time creating lol

10. Who was your greatest positive influence this year as a writer (could be another writer or beta or cheerleader or muse etc etc):

@slumped-in-the-arms-of-fiction all the way! she's been such a wonderful beta reader, cheerleader, and overall positive influence on my writing. I Can't Get Rid of You wouldn't ever have happened without her support and feedback!

11. Anything in your real life show up in your writing this year:

ooh, buddy! pieces of myself get sprinkled all over the damn place 😂 but as for specifics...

Galentines and Valentines opening scene was reminiscent of the girls' nights me and my college friends used to have (and still have sometimes)

Hooked on a Feeling had elements of my own past experiences of being laid up in a hospital (and being very annoyed about it)

This Old Man was absolutely inspired by my love of Columbo

You Got Me Good definitely included some of my own thoughts and feelings about when I get a little too high 😂

12. Any new wisdom you can share with other writers:

give your writing time.

it's so tempting when you have a new idea to jump on it and then get frustrated when it doesn't immediately turn out the way you want, but I've found that if I give myself time to think over a piece before I write it, and let it sit for a little while after I write it, I'm much happier with the end results!

13. Any new projects you’re looking forward to starting (or finishing) in the new year:

finishing my three WIPs! and hopefully a little christmas fic 😂 I don't have anything else immediately in the works, thank god!

14. Tag three writers/artists whose answers you’d like to read:

@1lostsoul0fishbowl @pearlypairings @rose-n-gunses and anybody else!!!

[perverse-idyll]

Writing patterns

Rules: List the first line of your last 10 (posted) fics and see if there's a pattern! Tagged by @yletylyf - thank you! Most of these are itty bitty fics and out-takes, but here we go.

1. The headmaster of Hogwarts, as yet unaware he had entered upon his last day on earth, raised his thin hand to stroke the unsmiling face of the woman who had afforded him so much unlooked-for happiness. [Year of the Thestral, HP, Minerva McGonagall/Severus Snape. An excerpt from a quasi-romance novel written about them after their deaths, a fact the reader won't understand until the end of the fic.]

2. Sometimes all Severus had to do was turn thirty-plus years of repressed hunger upon him, and Harry would start shaking. [Snake Charmer, HP, Snape/Harry. Out-take. A line signaling the co-dependent and sexual nature of the relationship.]

3. When Harry made his way out to the reception desk, there was barely a trace of almond left on his skin. [Coda to "Soft Touch," HP, Snape/Harry. Afterthought to a pre-existing fic. If I'd thought about it, I might have punched up the opening line by combining it with the last sentence in the paragraph, making it both clearer and funnier to readers who hadn't read the main fic: "When Harry made his way out to the reception desk, he didn't look like a man who'd just let Severus Snape bite his arse." Oh well. Missed opportunity!]

4. At around four in the afternoon, with three chapters to go in the espionage novel she was reading – since popular thrillers provided not only diversion but an eye-opening refresher course on Muggle slang and cultural attitudes – Minerva glanced up from the page to find Wil leaning in the doorway, watching her. [Candles Lit Against the Dark, HP, Minerva McGonagall/Wilhelmina Grubbly-Plank but heavily featuring Snape. Scene- and relationship-setting, basically.]

5. It was possible none of this would have happened if not for Hermione. [The Afterlight, HP, Snape/Harry. A simple declarative sentence appears! Mildly mysterious, but since we as fans know this is a ship fic, the mostly likely suspect for the category of "this" is a relationship Harry's friends consider a mistake.]

6. Severus persisted in accompanying Harry to public events, in part because the wizarding world still needed it shoved down their throats that he and Harry were a couple. [Social Lubricant, HP, Snape/Harry. The premise in a nutshell. The rest of the ficlet just embellishes it.]

7. "You need to choose wisely when to be a dick, Potter." [Bad Manners, HP, Snape/Harry. Teensy fic. Sets the mood. Makes it clear who's speaking.]

8. Into the lives of all upstanding citizens, an occasion must fall where we fumble the biscuit and end up owing an undeniable debt to mankind. [Jeeves and the Secret Society, crossover between HP and Jeeves & Wooster, Jeeves/Wooster, Snape/Dumbledore. Establishes a different narrative voice from my usual, hints but doesn't confirm a first-person POV - although fans of Bertie Wooster will probably guess.]

9. Radiant in the wasteland of a European battlefield, the vessel of Clara's memory shrugs. [Truce, Doctor Who, Clara/Twelve-ish. Drabble. Scene-setting, suggests this isn't literally Clara but a (precious) memory.]

10. For one of her first acts as headmistress, Minerva shatters the Mirror of Erised. [Spirituous, HP, Minerva, Albus, Severus. Drabble. Establishes a postwar timeline and implies Minerva's state of mind.]

Patterns? Hm. Well, anyone who's read anything of mine, even the drabbles, can already guess I'm fiercely wedded to compound sentences and fond of opening with dependent clauses. I also default to narrative prose over dialogue. And most of these first lines have some degree of hook to them, whether I planned it or not. Otherwise, um ... I think you need more to go on if you want to analyze the more interesting kinds of authorial habits and themes.

Does anyone else want to play? Tagging @danpuff-ao3, @ripeteeth, @saintsenara, @squibstress - and anyone else, because I have to be good now and go back to work!

[doctorhelena]

Steggy Fic: A Stutter in Time, chapter 15

I’ve created something for every day of Steggy Week 2022 over at @steggyfanevents! This is for Day 7 (Free Choice). Previous Days: Day 1 | Day 2 | Day 3 | Day 4 | Day 5 | Day 6

Summary: 1945 Peggy Carter appears in Tony Stark’s lab, and immediately throws a wrench into everything.

Rating: PG

Read Chapter 15

Read from the beginning

Excerpt:

As she waited for the elevator, Pepper checked her tablet one more time to make sure she hadn't forgotten anything. The arrival of the Asgardians was by far, she thought, the most stressful single item on the wedding to-do list, not only because Thor and his mystery guest were representatives of another planet, but also because their arrival signified the moment of truth for the plan to send the time machine to Asgard. And yet, unexpectedly, it was only the second most stressful thing on her plate right now.

“Still staying off social media?” Bruce asked her as he joined her from down the hall, shooting her a grimace that spoke of his own experiences with trending on social media in ways he almost certainly wouldn’t have preferred.

Pepper sighed. “God, I wish I could. I’ve got JARVIS and my assistant monitoring the worst of it, but unfortunately I do need to keep generally on top of things.” She sighed again. “Everything else aside, hundreds of thousands of people are analyzing every picture of me to decide whether or not I have a baby bump, and some of them think I do.”

“Well, those people are clearly idiots,” said Peggy firmly, she and Steve joining Pepper and Bruce by the elevator. “Or perhaps they're looking at images that have been photo shopped.” Pepper smiled at that, and so did Bruce. Peggy always pronounced "Photoshop" as two separately enunciated words, although in this case Pepper wasn't actually sure if it was the unfamiliarity of the word itself, or simply Peggy's British accent falling on her own American ears. At any rate, Peggy had been utterly fascinated at the discovery that photographs could be altered so easily and, at least on the surface level, believably.

The elevator doors opened and they all stepped in. “Roof,” Pepper told JARVIS, and they began to move smoothly upward.

“Speaking of those people,” Steve said, glancing at Peggy, “Peggy and I have been thinking about our publicity issue. Pepper, we really appreciate what you're trying to do for us, but it’s been almost two weeks and it’s only getting worse. It's not fair to you.”

Peggy nodded immediately. “It isn't.” She turned to Pepper. “Since it seems that everybody is doggedly intent on believing that you’re lying about shopping with a publicity-shy pregnant friend, it’s high time for your publicity-shy pregnant friend to step forward.” She took a deep breath. “I’m feeling really tremendously better than I was, and I do have a visible ‘baby bump’, one that’s only going to become more evident over time. And once the public learns who the father of my baby is, I expect the attention will be taken off Pepper immediately.”

Read the rest of the chapter on A03

[devious-little-milkmaiden]

All The Books I Read in 2023 (and My Personal Ratings)

The Wide Sargasso Sea - Jean Rhys (Fiction)

6/10

Based off of the character of Bertha (Rochester's wife) from Jane Eyre, this is a short read. The writing style isn't my personal favorite, as I feel it's a little bit underdeveloped. I appreciate Rhys' choice to portray Antoinette as a morally gray character (especially regarding her racism, which can't really be passed off as a "product of the time") while still maintaining that she doesn't deserve the treatment she's given. The language does have some good moments. I do recommend this to anyone who's read "Jane Eyre", as it could serve as an interesting re-assessment of Rochester's character, though you should note that I myself have never read Jane Eyre.

Brutal Imagination - Cornelius Eady (Poetry)

10/10

This is an incredible collection of poetry which tackles racism in a really fascinating way. Brutal Imagination is a collection of poems written from the persona of the anonymous black man Susan Smith claimed stole her car and killed her children. If you aren't familiar with the case, Susan Smith, a woman from Union, SC, let her car roll into a lake, killing her two sons. She then made up the story about the armed, anonymous black man. It's interesting to speculate about this detail specifically: why did Smith choose to claim it was a black man? Was it a conscious decision she made, knowing that the race of the supposed suspect would make it more believable? Was the race descriptor a subconscious decision based on her own prejudice?

In this collection, Eady portrays the "armed black man" as materializing into existence when Smith gives her report to police, rather than a concrete person. The collection is rife with nuance and vulnerability, and Eady is an incredible poet. I cannot recommend this collection enough. However, I don't like the final section, which is an excerpt from a completely unrelated collection of poetry by Eady, "Running Man". It feels shoehorned in, maybe per request from the publishing company or something. I recommend just skipping it or reading it separate from the rest of the collection.

The City in Which I Love You - Li-Young Lee (Poetry)

7/10

Another incredibly strong poet language- and structure-wise. Rife with symbolism and references you could analyze and over-analyze for ages. However, it does suffer from some of the stereotypical pitfalls of poetry: intimate scenes for intimacy's sake, and self-referential moments that aren't possible for the reader to understand. However, as a whole, it's pretty good.

The Afterlife and Other Stories - John Updike (Short Stories)

10/10

This is definitely biased, because John Updike is my favorite writer of all time. This short-story collection is quintessential Updike: the mundane being given its beautiful due. Read through completely, the story components can definitely get repetitive: mostly from the perspectives of middle-aged men, married to women with varying levels of satisfaction. While I can recommend Updike as a writer, I can't recommend him as a diverse writer. Therefore, I combine this recommendation with Oyinkan Braithwaite and Mohsin Hamid (I have read very, very little of Hamid's work but from what I have read he is a great writer. I intend to read more of his in the future).

The Fellowship of the Ring - J.R.R. Tolkien (Fiction)

9/10

I have a bit of trouble with sitting down for long periods of time with a book, so this one definitely took a bit of time to finish (but I did it!!). It was a thoroughly pleasant read, mostly due to Tolkien's writing. Brevity is not his strong suit, so if you're more of a fan of action-centered books that keep lengthy passages to a minimum, than this may not be an enjoyable read for you. However, if you don't mind or even enjoy pages-long infodumping (that's the only way I can describe it), this book is right for you. I watched the movie series first and was surprised at how much was left out of them! It was a pleasant surprise, however, as there was so much more to delve into with Fellowship. I do intend on reading the rest of the series, including The Hobbit, at some point.

I usually don't enjoy high fantasy novels as I find that they can get cliche and repetitive without expanding or subverting the cliches they're filling. However, considering that LOTR was one of the first high fantasy series, it doesn't fall into this rut. It definitely possesses the archetypes of a classic hero's journey, yet often expands upon them.

My Immortal - XXXbloodyrists666XXX (Novel)

6/10

A playful "satire" (it's so mindless that I hesitate to label it as a satire) that has several laugh-out-loud moments. Though many readers may become annoyed with its flat-out disobeying of Harry Potter canon without any signaling of it being an AU, it's incredibly entertaining, especially since it's clear that the author has never picked up a single Harry Potter book. Gets more and more unintelligible as the chapters continue. Fantastic.

Maus, Vol. I and II - Art Spiegelman (Graphic Novel)

10/10

Not only should you read banned books, you should read this banned book. The art style is incredibly expressive considering that everybody is represented by animals. I'm not going to say it has "dark moments" because it is quite literally a book about the Holocaust. I learned several things I did not know before about concentration camps and the Holocaust as a whole: there's so much in here that textbooks didn't teach me. It's a very fascinating intersection between personal and universal history. Here's a quote from my thesis statement from an essay about Maus, because I am lazy, but also because I think it's an effective summary on my feelings about these graphic novels: "Heroic tales conventionally have morals at the end of them, something about how someone’s good character led to them being able to make it out of an experience others did not. But Maus does not congratulate Vladek [Art Spiegelman's father] for his savviness: it comes off less as a gift and more as a survival instinct. Vladek and Anja [Art's mother] lost their home, their family, and their sense of safety. The importance of Vladek’s story is not to congratulate him for his intelligence, but rather put into perspective the brutality of the Holocaust: even Vladek’s intelligence could not save him from the horrific experiences the Jews were subjected to. It was a lose-lose situation: live the torturous experience or die from it."

I cannot stress enough how incredibly important it is to read this book.

Interview with the Vampire - Anne Rice (Novel)

7/10

I am a HUGE fan of the movie, which I watched first, then decided to read the book. (Side note: I know people have their qualms about watching the movie before reading the book, but I think in some cases it helps to visualize scenes from the book. Also, most of the time, books have more in the story than movies, so it's sort of like bonus content--and you aren't getting all annoyed while watching the movie and going, "They left this out!! How could you leave that out?!" Of course, this doesn't apply to every book and its movie adaptation.)

The book version of IWTV was quite the enjoyable ride! Anne Rice... she gets it. I don't know what "it" is, but she just does. Her writing is strong, her characters tactile and brimming with energy, and her storytelling ability absolutely magnificent.

However:

There is something really weird going on with the relationship between Claudia and Louis, and I don't think Rice intended it to be pedo-y?

It is a bit bloated, which can make it hard to recognize thematic parallels.

Above Us the Milky Way - Fowzia Karimi (Novel, Autofiction)

6/10

Based on Karimi's personal experiences growing up in Afghanistan and being forced to seek refuge, AUTMW takes a highly abstract and speculative approach to this personal history with an abecedarian chapter structure. It has several strong moments, but overall it feels very disjointed. I do recommend reading this book, though I wouldn't say it's the most important book you could read regarding this subject.

[thinkingisadangerouspastime]

(pt 1) i really enjoy all your atla analyses & you've done a great job breaking down the usual arguments re how eip shows that kataang shouldn't have happened. i'm curious about your take on one specific argument that i just saw today, in an analysis of the show by a zker that was otherwise quite good and respectful (i know you've already talked about eip a lot, so no problem if you don't feel like rehashing). the premise: aang didn't just pressure katara in eip, he threatened her.

(pt 2) they point to when katara joins aang & asks if he’s alright: “aang: no, i’m not! i hate this play! katara: i know it’s upsetting, but it sounds like you’re overreacting. aang: overreacting? if i hadn’t blocked my chakra, i’d probably be in the avatar state right now!” the suggestion is he’s threatening her when he says ‘i’d probably be in the avatar state right now’ to describe his anger. i think this take exaggerates and oversimplifies it, but interested in your thoughts on it.

Hello my friend!! It is true I am Old inside and don’t like rehashing dhdlksjslks BUT your comments on my posts are always incredibly kind and insightful so I am more than willing to do a bit of rehashing for you 🥰 Besides! I’ve seen this general take before a few times and it’s always irked me for the exact reason you point out - it simultaneously exaggerates and oversimplifies the situation (and honestly that’s an impressive duality since it’s seemingly contradictory, so hats off to them lmaooo) - and now is as good a time as any to address it. So, for starters, let’s go ahead and get the excerpt they love to focus on so much:

Cut to Aang standing alone on a balcony. Katara enters and walks up to him.

Katara: Are you all right?

Aang: [Angered.] No, I’m not! I hate this play! [Yanks his hat off and throws it on the ground.]

Katara: I know it’s upsetting, but it sounds like you’re overreacting.

Aang: Overreacting? If I hadn’t blocked my chakra, I’d probably be in the Avatar State right now!

Here’s the thing about so-called analyses of this excerpt: in a manner extremely convenient to the poster, they never seek to contextualize this moment. (I mean, to do so would deplatform their entire “argument” - perhaps that’s why they avoid performing a full analysis?) So let’s avoid that pitfall from the start.

Firstly, below are some links to related posts; I’m going to do my best to summarize the most relevant parts, but for anyone who desires greater detail, I gotchu 😤

This post explains why EIP (the play, lol) is imperialist propaganda and is intended to belittle the entire Gaang.

This post explains how Aang never acted “entitled” to Katara’s affections, particularly in regard to EIP.

This post breaks down the infamous EIP kiss like Snopes Fact Checker, covering common misconceptions, important perspectives to consider, etc.

Alright. With that out the way, it’s time for some context.

Aang and Katara have this conversation on the balcony after watching 95% of “The Boy in the Iceberg,” a play chock-full of Fire Nation propaganda that demeans the entire Gaang in order to prop up the Fire Nation as superior (hence why the play ends with Ozai’s victory). Here is my general breakdown of Aang and Katara’s treatment in particular from a previous post:

- katara, an indigenous woman, is highly sexualized and portrayed as overly dramatic and tearful, because the fire nation objectifies women not of their own people and views them as less intelligent and less emotionally stable

- aang, the avatar, the sole survivor of the fire nation’s genocide of the air nomads who is incredibly in-touch with his spirituality and femininity, is portrayed as an overly-airy and immature woman. the fire nation portrays him with a female actor to demean him (like, that’s classic imperialistic propagandist tactics) and furthermore writing his character as a childish airhead reinforces the fire nation sentiment that the air nomads were weak, foolish people who did not deserve to exist in their world

In other words, these kids have just watched almost an entire play that preys upon their insecurities and depicts them using racist and sexist stereotypes about their respective nations. It is completely understandable that tensions might run a little high and that their interactions would not be as balanced as usual (Katara and Aang have a great track record of communicating well with each other, as it happens!).

So we have to keep that in mind when examining the aforementioned excerpt. But there are other factors to consider, too! Namely: they are kids. Children. Teens. Aang is 12, Katara is 14.

If we want to be scientific, a person’s brain doesn’t finish developing until they are 25, lmao, and the preteen/teen years are when the prefrontal cortex that controls “rationality,” “judgement,” “forethought,” etc. is still developing. This doesn’t mean Aang and Katara are irrational and make poor decisions 24/7 (obviously not), but it does mean that in an intense, highly emotional situation, like after watching a play that intentionally demeans them and depicts them as inferior, they are more likely to overreact, more likely to be emotional, and more likely to make mistakes. Like, I’m serious, lol. “Teens process information with the amygdala.” That’s part of the brain that helps control emotions! It’s why teens sometimes struggle to articulate what we’re thinking, especially in situations that require instinct/impulse and quick decisions, because we’re really feeling whenever we make those choices. Acting more on emotion. Our brains simply haven’t finished developing the decision-making parts, lmao.

In sum: Aang and Katara are both kids, not adults, and should be interpreted as such. This doesn’t negate their intelligence, because they are both incredibly smart and Aang is arguably the wisest of the Gaang, but they are human. Young humans. They have emotions, and we should not be so cruel as to assume they’d never act on them.

So taking that all together, we can now acknowledge the high stress Aang and Katara are under, understand why they might be upset (*cough* imperialist propaganda is hurtful *cough*), and examine how their youth might play into their emotional reactions. And funny thing - all analyses that come to the conclusion of Aang “threatening” Katara here do not usually bother with this context. I can’t imagine why!

And you know what, let’s add one more piece of context: Sokka states that Aang left the theater “like, ten minutes ago,” which is what cues Katara to go look for him on the balcony. The reason I mention this line is because to me, it suggests Aang knew he was more worked up than usual! He chose to separate himself from his friends so he could process his frustration! He did not take his anger at the play out on them; instead, he purposefully took time and space to be alone.

With that in mind, I don’t understand at all how Aang’s Avatar state quote could be interpreted as a threat? Canonly, Aang is someone who was aware enough of his frustration to separate himself from the others - yet the logical next step is him threatening Katara as a result? He knew his intense emotions were because of the play (which he says himself), so the logical conclusion is that he then pinned the fault on Katara? What?? Sorry, that interpretation has no textual basis, lmao. But I digress!

Aang tells Katara, “If I hadn’t blocked my chakra, I’d probably be in the Avatar State right now!” As you said, this is the line people point to in an attempt to justify their (baseless) conclusion that Aang is “threatening” Katara. So let’s bring in the two key pieces of context: imperialist propaganda and age. Given that Aang is 12, and given that Aang has just watched almost a full play that demeans him and everything his people stood for (and let’s not forget it also mocks his and Katara’s love for each other)…

His reaction is understandable. An exaggeration and needlessly dramatic, but understandable. He feels vulnerable and insecure and Aang is human. He is human and flawed and he overreacts here and I love that A:TLA shows how even our heroes, even people who are truly good at heart and in soul, can get overly upset (especially given the aforementioned circumstances!). Would Aang actually be in the Avatar state at that moment, had it been possible? Of course not! He’s young and he’s hurt and as such he says something dramatic to convey his anxieties and frustrations. The line is not meant to be taken literally, and seeing people do so despite all the factors that should be taken into consideration when analyzing it… Cue a long, tired sigh from me and so many other A:TLA fans.

And to be honest? I cannot fathom how people watch this episode and come to the conclusion that Aang is “threatening” Katara. To me, this episode - besides being a recap episode - is one that humanizes our cast even further. Aang snaps at Katara, kisses her when he shouldn’t (which the story appropriately treats as wrong). Katara pushes down her true feelings and retreats into herself, afraid to start a relationship with the boy she loves because she’s already lost him once before and can’t bear to do so again. Zuko further confronts the hurt he’s enacted upon others, especially upon Iroh. Toph practices being vulnerable and accepting vulnerability from others by conversing with Zuko. Sokka witnesses how others have erased his contributions and labelled him as nothing more than the token nonbender in the group. Even Suki learns that she is not the only person who holds a place in Sokka’s heart and that she can never replace what he has lost.

To watch this episode where our heroes must come to terms with how the Fire Nation deems them inherently inferior, with how they have more fights to overcome in the future with the Fire Nation than a single war, and to come to the conclusion that… that what, Aang is abusive? A monster? Irredeemable? That he would threaten his best friend, someone he loves in every way?

Wow. That says more than enough about the viewer, doesn’t it?

[insomniacowl]

Neon Genesis Evangelion analysis chapter 21: Kaji Ryoji Lies and Silence

Hi, it's been a while. I'm sorry I disappeared for 5 months while working on the graduate thesis. From now on I will try to upload once every two weeks at 7pm on Saturday.

From here on out, the analysis will focus on the important characters of Evangelion with 15 chapters left to go. Thank you for your patience so far and I hope you all stick with me for the remainder of the ride.

Also, I realized that Tumblr now allows maximum of 10 photos a post, so I am thinking of moving or co-posting on a different site. I'll update all of you when that happens

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Sakiel: The third angel, the first real opponent of Nerv. A portion of voice recordings of the battle attained

Shamel: The fourth angel, visual data gathered and backed up. Will send recordings of Unit – 01's battle against it.

Ramiel: The fifth angel, portion of remains attained and analyzed. Will send information about AT field.

Gagiel: The sixth angel, visual confirmation. Information attained from the UN. Will send information along with Unit – 02's battle data.

Israphel: The seventh angel, visual confirmation, will send data through channel 11-B. Attained sample of material composition

Sandalphon: The eight angels, confirmation through a still image. No further information

Matarael: The ninth angel, visual confirmation. Used the blackout to obtain a sample.

Sahaquel: The tenth angel, photographed attained. Will enter into the database through channel 57-F

Ireul: The eleventh angel, visual confirmation, data erased by Nerv. Will retrieve physically and send them over.

Reriel: The twelfth angel. Unit – 01 went berserk again

Bardiel: The thirteenth angel. Data attained from Mitsushiro facility

Zeruel: The fourteenth angel, visual confirmation. Unit – 01 went berserk. Will send video data.

---Excerpt from "The memos of Kaji Ryoji."

"2015: the Last Year of Ryoji Kaji" was written by the head scriptwriter Yamaguchi Hiroshi and was published in 1997. It contains Kaji's observations of various Incidents and set pieces in the series. It is not anything too particular; however, the fresh perspective Kaji's writings provide makes this an essential material in our understanding of the world of Evangelion. The excerpts mentioned above are essential proof of Kaji's identity as a spy and prove that the blackout during Matarael's attack was deliberately caused by Kaji and Seele.

Furthermore, it explains how Seele had attained information regarding Iruel's existence and its attack on the Nerv facility, even when Nerv/Gendou tried to hide this fact.

The memo above seems to be the observation of Nerv and the angels made by Kaji. While Kaji officially belongs under the Japanese government's command, as we have covered in Chapter 17, the Japanese government is unaware of Lilith's existence. It, therefore, has a different numbering system from Nerv and Seele.

Adding on to this point, the public in the world of Evangelion is unaware of the existence of Lilith. High-ranking Nerv officials such as Misato are aware of Lilith only as of the cause of the First impact and no more. Thus we can deduce that Kaji made the memo while he was on Seele's side, considering that he knew about Lilith in detail. But Kaji never once wholly and permanently sided with any organization. Like how his main character trait is a "flirt," he is never loyal to any organization, just like how he is perceived to be with women; two, perhaps three-timing.

Kaji: You've lost weight

Ritsuko: Are you flirting with me? Stop. A scary-looking friend is watching.

However, it is wrong to say that Kaji was a cheater by any means. His heart belonged only to Misato, and she was the one he trusted the most. His flirting with Ritsuko and Maya made others view him as a superficial person and did not take him too seriously. This got some eyes off his back. This would have given him more freedom to act in achieving his goals (but also, it might have been fun to get Misato jealous in a playful way).

Kaji: Not like you are going to repay that. I added some dummy information in case.

Now, let's take a closer look at Kaji's actions throughout the series. He makes his first appearance in episode 7, having a phone call with Gendou discussing the Jet Alone (JA) program. Because JA was developed as a competition to the Evangelion projects, its implementation would have caused Nerv's authority to weaken and jeopardize the HIP. Making it a top priority to prevent its further development. Minus the actions taken by Misato, the proceedings of JA going berserk and being miraculously fixed were likely a scenario manufactured by Gendou.

Kaji: it has been restored up to this point. It is frozen in a thick layer of bayclade, but it is alive.

The key to the HIP

We first see his face in episode 8 on a new mission: Transporting Adam and Unit – 02 to Nerv headquarters. He likely attained Adam's body in Germany, stealing it under the nose of our dear old friend Keel. The question is, how did he do it? We will never know the details, but we know that Seele's projects that required Adam were complete at this point (Creation of Evas and Tabris). They may not have had much use or concern for the leftovers. Since Adam's fetal form is small, it would have been easy to swap the original for a copy before he left. Of course, this would not have gone unnoticed for long, and it did not.

In episode 10, we see Kaji talking to an unknown woman about the initiation of protocol A-17. It appears to be a measure that limits and shrinks Nerv's authority and freeze their funds. Just like the JA plan, it shows the hostility of the Japanese government towards Nerv. Because Nerv and Seele are still on agreeable terms, Kaji is seen as a double spy between Nerv and the Japanese government. But in episode 11, the Nerv blackout happens. With clues spread over the episode pointing to Kaji as the culprit with Seele's support, we begin to see him in action as a triple spy.

The reason why Kaji undertook such a dangerous role is to get closer to the "Truth." Upon realizing the Japanese government's imbecility, he begins to walk the rope between Nerv and Seele to seek the truth.

Kaji: Is that an angel? This is not the time to be doing my job

We first see him in action in episode 13 while the HQ was distracted defending against Ireul. Here we see him collecting information around the central dogma. While doing so, Kaji notices the angel while passing through the passage in level 28 and hears the announcement that the "Sigma unit (the Eva simulation chamber) will be shut off in 60 seconds. Bearing in mind that Magi is located in level 40 and that a lower number refers to a deeper level, we can see that Kaji has already infiltrated deep into the complex. As central dogma and Lilith were information that Nerv and Seele wanted to keep secret, this infiltration was likely Kaji's initiative. With the same logic, we can also say that the information he gathered regarding the Marduk institution in episode 15 was his individual action as well.

Later in the episode, he is found by Misato as he was trying to infiltrate the central dogma. But Kaji does not seem surprised by this fact and opens the door without hesitation. What they see on the other side was the white giant Lilith. However, we hear Kaji refer to it as Adam. Why? There are two possible explanations for this. First is that Kaji knew that it was Lilith but deliberately lied to Misato.

This explanation is weak at best. It contradicts the characterization of Misato being the only woman Kaji trusts. Further, it contradicts the portrayal of their relationship in the following episodes. It is also difficult to explain why Kaji would distinguish between Adam and Lilith in his explanation to Misato.

The other possible explanation is that Kaji believed this to be Adam, and I am personally more convinced of this explanation. As we have seen in an earlier episode, Kaji passed on the Adam sample to Gendou. Both were fully aware of what he has gotten into his hands (puns perhaps intended). Then why did Kaji believe that it was Adam in central dogma? He likely at this moment believed that the white giant was the manifestation of the Adam sample that he stole. Although it looked different, Kaji, who saw Sandalphon transforming at an unbelievable speed, would have drawn parallels.

Kaji's misunderstanding is also supported by the secretiveness of the existence of Lilith. The information being top-secret accessible only to the Gendou and Seele. Even when Gendou referred to Adam as "The first man," it could be him trying to misdirect Kaji on the identity of the white giants. Although the reason for this secretiveness is not apparent, we know that Seele was ashamed of their status as the descendent of Lilith, this being the reason for conducting the ritual of atonement.

The HIP Seele type is, in essence, based on the feeling of perceived inferiority against the Adam-based angels. Thus it can explain away why Seele would want to keep the project a secret from the public. Even without such reasons, Lilith's identity as a being in the same caliber of existence as Adam might have created a need to keep her locked away and kept secret. This to minimize unnecessary friction and interference in their plans by other organizations.

To add on, let's touch on the strange phrase written on the container of Adam's sample that Kaji brought over. "Who is you? He is living. Why?". There are no explanations given regarding this phrase. It is likely written by one of the researchers in the german facility that was studying this sample. Being the only remaining Adam sample that seemed alive with the absence of a soul, it would have been baffling to look at it.

This lie about the identity of Adam and Lilith is a recurring motif. In the earlier chapters discussing the angels' identity, I have mentioned that due to the enemies being the "Angels," Evangelion fundamentally rejects the narrative of Good triumphing over Evil. During one of the sequences in the opening song, there is a frame reading "ADAM," and it is unique as it is the only one that is black words with a white background. This likely foreshadows the fact that information regarding Adam that we receive is different, thus, at some level, inaccurate or lies.

Either way, the truth of the White giant's identity is revealed near the end of the series. The audiences are made aware of it through the exposition of Tabris. For Miasto, she receives this truth from Kaji along with all the information and data he collected by himself. Through this 'Truth,' we can infer what Kaji wanted to protect and what his 'will' was. This 'will' to live is passed on from Kaji to Misato, from Misato to Shinji, and influences his decision during the end of Evangelion.

Kaji: Shinji, the only thing that I can do right now is to water these plants. And as much, there are things that only you are capable of accomplishing right now. No one is going to force you to do anything. Think for yourself. Decide for yourself. Determined what it is that you need to do right now.

So that you will not end up in regrets.

The alliance between Gendou and Seele began to show signs of schisms in episode 19 after Unit – 01 consumed Zeruel's S2 engine and became a being as though god. This was more in line with the plan of Gendou, who sought for the creation of a new god, the material conditions misaligning from Seele's plans of atoning for the sin of Lilith. Kaji was very much likely to have been aware of all this. When the schisms showed, Kaji had to choose the side he had to stand with. He seemed to have concluded that Nerv is closer to the truth that he wanted. Therefore he ended up helping Gendou achieve his version of the HIP.

I say this as Kaji played a crucial role in convincing Shinji to return and pilot Unit – 01 during the battle against Zeruel. Afterward, Kaji released Fuyutsuki, who was kidnapped by Seele, and began his pro-Nerv strategies. This leads up to his assassination by Seele's orders. To borrow Seele's words, "The bell around Gendou's neck lost its will to ring."

Fuyutsuki: Is that you Kaji?

Kaji: It's been a while.

Fuyutsuki: You will lose your life if you do this.

Kaji: I am just heading towards the truth that I believe in.

Let me talk a little more about his death. In episode 21 of the renewal version, an additional line was spoken: "They found out that I handed over Adam's sample to Gendou." This draws a line connecting the importance of Adam's Sample in Kaji's death and its role in the HIP.

Regarding the Assassin identity, due to the scene of Misato's grief being placed right after Kaji's death in "Death and Rebirth," some believed that it was Misato killed Kaji. One of the rare things that Anno came forward and cleared up was that Kaji's assassin was an unnamed individual that we do not see ever on screen. An additional argument made by those suspecting Misato as the culprit claims the evidence of interlaying of Misato's apartment door label right after the gunshot. This was later removed in the renewal version.

Kaji: No one can understand another person to a full extend. They can't even understand themselves.

But that is why people try their best to understand the other.

And that is what makes life such a fun experience.

Many of what Kaji says touches on the critical messages of Evangelion. It is also why I am starting off this section, the analysis of characters with Kaji; understanding Kaji is integral to understanding the series as a whole. He loved Misato but could not tell her his true feelings during the happiness of reunion after eight years. This was likely the greatest form of love that he could have given her, knowing that he is close to his death. The reason for Kaji's obsession with the truth and the sufferings he experienced in the past is fleshed out in detail in the comics version. He was orphaned as a consequence of the Second impact. After a failed attempt at stealing food from the military base, all of his friends were killed, leaving him alive and questioning the reason for their suffering and death. Kaji sought to avenge his friends by understanding why the Second impact happened.

But even without going into the details, we can try and understand the pain and suffering he went through as the generation living after the Second impact. Yet, his general attitude towards life and his ability to call living to be fun is his unique charm. He even managed to have a smile on his face while looking at the face of his death. His smile was not a forced fake that he made to mask his fear of death; he has probably smiled from the bottom of his heart.

Yo. You're late

Because he would have already reached the truth that he worked so part to attain.

TBC Chapter 22: Katsuragi Misato Part 1 With a cross in hand

[azaffranist]

Frozen 2 deleted/early content

On the road to F2 there were tons of leaks and I saved as many of them as I could in the fear that Disney would delete them (because they loved to shut down whole websites because of that back in the day). As a result I have a lot of pictures saved on my phone and looking back on them... some don’t sound quite right because it’s definitely not what I saw in the movie. So here’s everythinggg I have. I did my best to organize stuff a bit but there are so many things it was... hard. Feel free to add more stuff in reblogs, replies and such!

Something to note is that we won’t take into account the “officially” released deleted content, which would include everything that’s in the Blu-ray, because basically everyone already saw that (Home, I Seek the Truth, Get This Right, Unmeltable Me, the Secret Room scene, Hard Nokks, etc). Generally, we won’t be analyzing deleted scenes from the official trailers, either, because of this very reason. Something “official” that we will consider, though, are the deleted clips animators have been releasing on Instagram and other sites, because those aren’t that popular.

Before starting here’s the link to all the deleted F2 lines I could find as well as some other additions. The post itself has even more links to other posts containing deleted content so have fun clicking on links. 

Last thing to mention, none of the merch photos here are taken by me. I got most of them from the leaks channel of the Arendelle Kingdom server during 2019. If any image in this post belongs to someone here and you want to be credited please let me know and I’ll edit the post.

This post is long. Like really, really, lagging-my-browser-as-I’m-writing-it long. So grab some popcorn and get comfortable or just take a look at what interests you.

So without further ado, let’s get started!

Deleted Artbook Content

One of the most exciting leaks we got were definitely these sample artbook excerpts. None of these pages made it into the final artbook, though.

This piece definitely belongs in Iduna and Agnarr’s backstory, in which the Northuldra leader wasn’t an ordinary man but a shapeshifter.

The biggest picture in this page points to yet another version of Iduna and Agnarr’s backstory. It’s possible to deduce Bruni hadn’t been fully developed yet or created at all since the fire isn’t pink.

The one on the bottom right seems to be an earlier version of the “forest freed” scene in the final movie, or maybe it happened in another moment altogether.

The most interesting of the three, though, is this one. Nothing in the movie points to the existence of a place like this. It’s interesting to note that this peculiar house looks very similar to Iceland’s “elf houses”, tied to the myth of the Huldufólk, “hidden people”, who were said to be small and live in a parallel world, being able to make themselves visible at will.

These are definitely the inhabitants of the Enchanted Lands, who look completely different than in the final movie with their long cloaks, hoods and staves. They look like mages. Were these the very first concepts of the Northuldra, or another group of characters altogether that ended up being scrapped? Only Ahtohallan knows...

Even though the tree and the vegetation illustration is in the book, there’s one missing and that one is the bottom left. One of the most popular theories in the fandom regarding that illustration is that it was an Arendellian military camp tied to the expedition to the Enchanted Lands. I think what we got in the movie is a watered down version of a much more violent and sinister endeavor to invade the Northuldra. The above mentioned deleted scene of the battle of Arendellians agains Northuldrans is proof of that.

This one shows the Arendellian gang and most likely Mattias looking at the walls of a cave with drawings on it depicting the Nokk among other things that I can’t quite make out. I’ve heard people say that an earlier version of F2 involved the gang encountering Mattias in a volcanic cave and that’s where this scene would go, but I don’t know if those are rumors or there’s an actual source. If someone happens to have knowledge on this topic in particular please let me know and I’ll update the post.

_________________________

Incomplete Frozen Fan Fest books and their alternate scenes

As I’ve mentioned in another post, Frozen Fan Fest happened on October 4th, 2019, and it was the official release of the movie’s first merchandise. We were all super excited to look at the storybooks and read the ending!

Except there was no ending and the books ended abruptly right before Olaf’s death, completely skipping over Show Yourself.

You hear that? “Elsa bravely dives into the Dark Sea”. We know the Dark Sea scene was shortened and that’s more proof.

This section of a Frozen 2 storybook explains how it went a bit better. After Elsa was defeated twice by the ferocious waves she climbed up some giant rocks and dove back in. Only Ahtohallan knows how that would be effective in this situation and not a waste of strength, but hey, I’m sure it looked super cool and I’d be down to see it.

”Elsa trudged through terrible winds and thick snow”... um... she didn’t? This might’ve been created when Show Yourself wasn’t a thing yet and her path through Ahtohallan was just that, trudging through terrible winds and snow, and not an inspiring song about self-love and finding yourself. I wonder how that scene would’ve looked.

Maybe we can find something relating to that “unused” section of Ahtohallan in a book called “Anna, Elsa and the Secret River”. Basically Iduna tells them that there’s a secret river out there and after the lullaby Elsa and Anna go nuts and try to look for the river outside. Seems like it was all a shared acid trip because next morning they seriously consider it was a dream.

Maybe here they didn’t realize they were in front of a river, because “Glaciers are rivers of ice” and this is what that Ahtohallan Elsa ventured into originally would’ve looked like? The white river doesn’t know...

This is by far one of my favorite ones. I wouldn’t exactly describe post-Show Yourself as a moment of calm and peace. Maybe peace but definitely not calm. Then it says that the signal meant that “she managed to cross the sea”. That’s a really weird way to describe “horrifying ice statue of colonialist grandpa killing an innocent native man”. I don’t know if they’re hiding the actual plot here of if they hadn’t yet worked out all the details of SY and the moment Elsa found the truth.

Anna has her cloak on as she finds the truth. Readers have no idea what this enlightening truth is because the ice statue is indistinguishable.

As it shows here, the original Iduna being Northuldra reveal was going to happen in a different way. I’m glad we got that final version... Because wow, Elsa and Anna are completely unable to connect the dots here. Anna was smart enough to figure out what to do after receiving Elsa’s message, c’mon! This should’ve been piece of cake...

 Iduna called Elsa “Little Snow”. This points to an alternate All is Found scene and we’ll talk about that more in depth later.

Same scene. Translation is: 

“While tucking the little princesses in, Queen Iduna sang them a lullaby about a far-away river called Ahtohallan, which holds all the answers about the past.

“Does Ahtohallan know why I have powers?” asked Elsa her mother.

“If it exists, it definitely knows that and much more,” answered the Queen.

So in this earlier version, Elsa has always asked herself if Ahtohallan had the answer to her powers... Doesn’t this make Show Yourself work even better? Here she always looked for that answer and she’d learn that she is the answer. I wonder why they took it out because it makes a lot of sense and would give buildup to Show Yourself.

Here what really matters are the squares with text. Olaf never ran through moss or became covered in it. Olaf never looks down a brook to be met by Nokk’s gaze from below. Maybe it’s an alternate When I’m Older?

And relating to that particular piece of merch:

Seems like in an earlier version, the Nokk was associated with waterfalls.

Everyone shut up there’s SWORD ANNA here. Found in a coloring book. I don’t speak Italian but Google Translate says: 

“Anna is a brave one: she does not hesitate to draw her sword to defend her sister Elsa and her friends from any new threat.”

GOOD FOR HER! This is definitely from the version we were shown in the teaser, when Anna wielding an actual sword and slicing someone with it was still a thing. Man, how I wanted that to happen...

_________________________

Alternate fully animated scenes found in animators’ posts

After the release of Frozen 2, animators started to post scenes they had worked on and showing the process behind them. Some of them were deleted, are different in the final movie, or have a completely different score accompanying them.

View this post on Instagram

A post shared by Adam Green (@agreenster) on Apr 6, 2020 at 5:31pm PDT

A completely different dialogue during the boat scene. Pretty heartbreaking and it’s even more buildup for TNRT, when Anna was left by literally everyone she loved in the planet.

View this post on Instagram

A post shared by Trent Correy (@trentanimation) on Apr 14, 2020 at 8:50am PDT

Apparently, for whatever reason, Gale was going to appear in the castle first.

View this post on Instagram

A post shared by Trent Correy (@trentanimation) on Mar 29, 2020 at 10:51am PDT

Olaf’s revival was going to be way different, and this implies that his death might’ve been different, too. Maybe his snow just dissipated and didn’t go anywhere? Maybe instead of being neatly placed by a waterfall, it fell all over the Enchanted Lands? I have no idea.

View this post on Instagram

A post shared by Mariusz Furmanczyk (@mariofurmanczyk) on Mar 21, 2020 at 7:11pm PDT

I absolutely LOVE this one, okay, and I have no idea why they’d leave it out. Turn your sound on and listen to the much more tragic alternate score. But more importantly, pay attention when she turns to solid ice: just like in F1 with Anna, her last breath is visible. Beautiful parallels, poetic cinema, and I’m hurt and confused and I want it in the movie. Excuse me while I call the police.

View this post on Instagram

A post shared by Mariusz Furmanczyk (@mariofurmanczyk) on Feb 26, 2020 at 5:47pm PST

Here the only change is the different score as she unfreezes. I love it so much. It’s so tragic, heavy and powerful. You can basically hear the fragility of Elsa’s fate as the ice breaks and she falls. Help. Here, here, and here, you can see other glimpses of this beautiful alternate score. Once again I’m calling the police and telling them Disney hurt my feelings by leaving this out.

I’ve hit the 5 videos limit already, but here is a link to an animation by jdublish. The change isn’t the scene itself but the completely different siren call Elsa hears. Much more ominous and creepy and I also love it, even though I have to admit the final siren call sounds catchier and more iconic. Also, kids under five won’t start crying of fear when they hear it.

Then there were also plenty of changes in the Elsa vs Nokk scene and we got to see one. Thanks to @justlookatthosesausages for pointing this out and letting me use her gif! The original video was set to private for some reason so I can’t post a Youtube link, but this is @justlookatthosesausages‘ gif:

Elsa struggled way more in the original version. Go to her post to see a comparison with the final version.

And now the awaited All is Found alternate scene! Thanks a lot to @lovewillthaw-j who helped me collect all the scenes. 

First two scenes from the trailers: the Official one, Elsa looks up and Iduna gazes at the northern lights.

The Japanese one, in which Iduna kisses Elsa’s hands. @catloafs pointed that out after F2′s release so thanks!

And the last two were found by @antoineharrakblog, so thanks for that! Here and here.

BUT there’s no need to click a bazillion links because @lovewillthaw-j‘s post reconstructs in a single video what the original scene would’ve been like. Go watch it!

UPDATE: Additions by @antoineharrakblog​. Thanks a lot!

Here we can see that originally, as the elements fled and Kristoff held Olaf, he yelled, “Wow, you’re heavy!”. Don’t know why this would be removed. Maybe they wanted to keep the scene serious? Maybe they needed to shorten the movie so that it didn’t exceed 100 minutes and cut little jokes like that?

 And here, showing Elsa seeing how Iduna saved her father, there’s some deleted dialogue: “Get the prince out of here!” “King Runeard, what did you decide?” in addition to a much more tense score in general.

_________________________

UPDATE: Screencaps of deleted/alternate scenes

Thanks a lot to @antoineharrakblog for bringing all of these pictures to my attention! Multiples screencaps have appeared in different magazines or books that clearly didn’t make it to the movie.

Anna never makes that movement in the final movie. There’s more proof of an alternate/extended “Elsa and Anna talk” scene.

This is another one. There exists a lower quality version of this picture which I can’t find right now, but it shows that Anna and Elsa are sharing kransekake in this particular scene (the particular food that we can see at the beginning of OFA).

These are all part of the All is Found scene we’ve been talking about. In the final movie we can see that All is Found serves as a sort of “bridge” between the past and the present, as it transitions from Iduna singing the song to Elsa to Elsa in the castle, reminiscing. But originally, Iduna finished singing All is Found in the past. There’s proof of this here. 

_________________________

UPDATE: Novelization deleted content

This information was provided by @theupsidedownpyramid​ so thanks a lot! There are some really interesting deleted scenes in the novelization.

In this one, Elsa felt the urge to release her magic after hearing the voice at the end of All is Found.

In the novelization Mattias and Yelena’s (or Yelana? Disney will never decide) relationship was a lot deeper than what was shown in the movie.

For more information and a more thorough analysis, read @theupsidedownpyramid​‘s reblog!

_________________________

Miscellaneous

So there’s only one image in this section but believe me, it’s so worth it. 

An animator casually mentioned that there was going to be a head kiss scene. Process it. Can’t? I can’t either.

_________________________

Wow I’m TIRED. I must’ve missed something but that’s all my brain can handle as of now. Thank quarantine for giving me the opportunity to work on this post all day.

Disney committed war crimes when they deleted some of these scenes. I have only one question: Why in the world would they do that? And more information might see the light of day in the future. I’ll never get tired of trying to piece together the convoluted puzzle that is the original Frozen 2.

I will update this post if I remember something else or if someone else has more content to share. Let’s reconstruct F2 together to visualize that movie Disney deemed too cool for us!

UPDATE: Into the Unknown: the Making of Frozen 2 Documentary finally has a concrete release date, June 26th. Let’s hope we can see more stuff then!

[scp-professor-mond]

Transcript of Incident Report A21-B Cycle 8. For dissemination to O5 Command and Staff.

Interviewers: ██████████, █████, and ███████████ Present: O5-2, O5-5, O5-7, O5-10, and Staff Interviewed: Dr. Tilda David Moose, M03-Gloria Lead

Excerpt 35A

She tried to talk to us. We all heard her voice in our heads, in a sort of half-language we couldn't fully understand. Some of the others passed out immediately. I lasted a little longer, but it wasn't because of mental fortitude. It's just that she was trying to tell us different things.

She showed Jones a replay of all the memories of everything Jones ever felt anything about. All over the course of a few minutes. She ripped three of the researchers apart and put them back together unharmed. She doesn't understand human emotion, or pain. Or very much about how we experience the world.

Yes, I would say the containment procedures are necessary.

Listen, she wants to remake the world. Into a paradise. A paradise filtered through her own alien understanding of paradise, but still, a paradise designed for us. For humanity. She would be happy to make a paradise for any sufficiently complex organism she comes across first. Anything with a complex enough mind to accept her. Say, a dog. Or a housefly.

If she breaches again, we have to be there first.

What would it be like? I don't know. She showed us images — not quite images. I can see them in my head, but they're not pictures. The closest thing I can think of is what you see when you close your eyes suddenly and tightly, but brighter and more complex. The images had metallic sounds associated with them, and sensory details that we don't have the words or concepts to describe.

The whole effect felt like words of some kind. I believe she wanted to see what we could understand, so she could understand us.

She didn't have time to finish analyzing us. I don't know what would have happened if she had.

[vylequinnewriting]

WIP INTRODUCTION

The Muse’s Band of Misfits (working title)

Excerpt:

The first time I remember opening my eyes, I thought I was blind. I was positive I was awake but all I could make out was darkness. My hands and feet were in as much of a predicament as the rest of my body, binded with a slick and sturdy thread. Yelling in this instance wouldn’t do anything but cause panic. All I could do was wait in abject horror until my captor released me. The wait wasn’t that long, fortunately.

Despite my initial vow of silence, I must’ve made enough sound for me to be heard. By what or who, I didn’t have time to imagine. Faint footsteps towards my left. A single set. Lightweight and dedicated. No sight was necessary to tell what their destination was. After a minute or so, they stopped right before me with an authoritative stomp. Then, they simply waited. Not quite sure for how long, but more than enough for me to hate the silence.

“I’ll help you in a second, dear, but I have a question I so desperately need answered,” explained a calm, caring, and calculated voice. “Most would beg me at this point. Others would have ripped themselves free by now. But you did neither. Why?”      

Genre: Dark fantasy / Horror

Status: Planning/building a backlog of chapters (still figuring out where to post.)

Themes: Found family, memory loss, overcoming fear, overcoming trauma, fighting fate, gods vs. mortals, forbidden magic, POC, Disabled and LGBTQ+ characters

POV: First Person (Five’s Perspective)

Synopsis:

On the eve of an unfortunate incident no one can recall but can still dread, ten individuals are stolen in the dead of night and brought into an unexplored corner of the world. They awake in a palace of stone and ice without names and “with a hole instead of that which their souls held dearest”. Choosing names based on the numbered tattoos they received while asleep, the only thing they can trust are what little memories they have left. Some wish to regain what they’ve lost leave as soon as possible. Others wish to stay and find out the mystery of their prison. Fives is the only one of these ten with no knowledge or feelings at all towards their past life.

Before them stands Lecuto, an enigmatic figure set on testing the group for even more mysterious figures she reports to. She fills the air with barely hidden contempt and snide remarks. Her intrigue peaks when she learns of Five’s extensive memory loss. When they ask her about the test, she has only one answer. “You will pervert the very essence of magic.” Forced to relive their trauma in exchange for power, the group now has no choice but to pass these increasingly dangerous tests. What trials will they have to go through in order to escape? And better yet, why were they selected?

Characters:

(1) Inizio:

 An older man who quickly makes himself a force to be reckoned. Beneath his golden eyes lies knowledge the others don’t have. Supposedly Sei’s grandfather.

(2) Zilli:

A diplomatic woman who is quick to try to prove her resourcefulness. Instead of lingering on what's lost, she tries to find out the secrets of the prison.

(3) San:

A boy desperate to return to his family. Though his chronic pain is often debilitating, he proves himself to be extremely knowledgeable. You can often find him signing back and forth with Diezo.

(4) Quaeter:

A member of the exceedingly rare, draconic Chrominé. Her second set of arms is perfect for hugging you twice as gently. Her uniquely Chrominé accent/lisp may be hard to hear, but you can still make out a kind sensibility underneath.

(5) Fives:

The protagonist of Muse’s Band of Misfits. They may have no memory, but they have a penchant for analyzing everything as much as possible. They much prefer to investigate by themselves, but will still try to help a friend in need.

(6) Sei:

The youngest of the group by a large margin. Despite his age, he shows emotional intelligence beyond his years, though he may be quick to step over someone’s feelings regardless. Supposedly Inizio’s grandson.

(7) Syet:

A full-blooded Thae. He is often confrontational with the others, only stopping to converse with those he can’t interpret as a threat. 

(8) Achten:

The only one to rival Quaeter’s tall stature. Despite being quick to anger, he is even quicker to defend the small.

(9) Divye:

A woman who is quick to run from danger. Her constant paranoia often morphs into distrust, except in the case of Fives.

(10) Diezo:

A boy who only wishes to help whenever possible. His smile is as bright as the morning sun. You can often find him signing with San, who acts as his interpreter. 

Lecuto:

A mysterious entity who only refers to herself and her comrades as “Administrators.” While she cannot harm the group physically, she is not above psychological torment. Her skill to poke holes in some one’s mental defense is only matched by her skill at always being present even if she’s not seen.

Content Warnings: Death, (mentioned) child abuse, body horror, forced captivity, swearing, violence (will be updated as more comes up)

Send me an ask if you’re interested in being tagged!

Taglist (just Muse’s Band): @avian-writes, @ashen-crest​​​

General Taglist (all writing): @ecwrenn​

[you-are-my-neverland]

so. it’s finally time to talk about [my] nano.

i’ve kept my nano project pretty under wraps so far, mostly because it’s been out of my hands. i wasn’t actually planning on doing a for real for real nano; instead, i thought i would dedicate some time to my fanfic (spoiler alert, but i haven’t yet) or work on finishing up revising fairbone (spoiler alert: i did revise one chapter, but i still have like half of it left to go and a nov 30 deadline...rip). if that didn’t work, i thought i would pick a wip i started over the summer or one i had half developed (let’s just say the ideas note i have really boomed over the summer and like...yeah). in conclusion, there were many wips ready for me to work on them, including ash heart, which i really want to write but haven’t figured out how to.

instead i started a new wip.

well, it’s not necessarily new, persay. it’s an idea i’ve had stewing since like late september/early october and planned out a good portion of. however, deciding to start it was a last minute decision - and by last decision, i mean that on october 31st i finished developing the barebones of character development and basic plot lol and then gave it a go. it’s honestly been going crazy well. as of today (november 9th), i just hit 21.2k words. i’m hopeful about this year, while also not wanting to jinx stuff, but like...wow. but writing is has made me realize that, wow, this book is going to be crazy long probably...like i’m 21k words in and we’re still like in the exposition idk what’s going on. but hey, i finished planning out the rest of the basic plot for it today!!!

right. onto the wip details.

honestly, the only reason i haven’t introduced this wip is because a) i want actual stuff done on it and like a proven commitment, because i feel like too often i introduce wips i don’t actually go anywhere with and i hate it, b) i don’t have a set title and c) i actually have no idea how to summarize this.

the novel i’m working on right now is the first of a projected trilogy. i say projected because i have a vague idea that it belongs to a trilogy, but like not a lot of plot except some vaguely connected ideas that should happen in the future. in it, i used a lot of characters from these violent ends, which i tried to write for camp april 2020, but like just their basic barebones; i changed a lot to fit the story, of course. 

not to sound nerdy, but it is like....harry potter inspired, but ONLY in the magical boarding school sense. of course, right now all i have is magical boarding school shenanigans, which i don’t really like because i feel like it unfairly sets the book up as like fun magical stuff when it’s really about murder & politics & student activism (+ a lot of other things ending in -ism). the whole activism part came from watching the trial of the chicago 7 and i was like, bingo, this is what this story needs. 

kay but ANYWAYS. onto the story. like i said, i can’t really summarize it, but there are lots of themes of classism, feminism, the affect on youth and youth’s effect, manipulative adults, revolution, terrorism, sibling dynamics and found family vibes, like all that stuff...packaged into a magical boarding school off the coast of maine setting...recipe for disaster!

mainly i’ve been writing in ophelia’s pov, because she’s my main girl and she’s problematic, but also she’s trying her best and just having a little difficulty fitting in. some other main characters are her twin brother, sebastian, and two other boys, asriel and vincent, who have an initially animistic relationship with ophelia (& kind of each other?) but it’s like enemies to friends (to lovers?).

anyways. here are some carefully curated excerpts below the cut:

i. vincent and asriel meet on a train (ch. 1)

The boy pursed his lips together. “It’s unusual,” he said, finally. “That’s all.” But he was looking at Vincent as if he was noticing him, which meant he was lying, or at least withholding the truth about something. He added, “You’re not from around here, are you?”

“Do you mean geographically?” Vincent replied, raising an eyebrow. “Because I’m from New York.”

A small glimmer of a smile appeared on the boy’s lips, though it vanished as quickly as it had come. “From the Magical World,” he clarified. 

“What gives it away?” Vincent asked sarcastically, waving a hand across his body. “My impeccable taste?”

“Among other things,” the boy said.

ii. sebastian and ophelia discuss grief on a ferry (ch.2 )

“You and mom talked?” Ophelia asked, surprised. She hadn’t exactly been keeping track of them, but she was sure she and Sebastian had spent much of the day together, as they were wont to do.

Sebastian looked at the floor. “Yeah,” he answered, hoarsely. “At least she wants to talk about Des. Dad doesn’t, and neither do you.”

Ophelia sighed, wondering why, today of all days, her sister was haunting them. Maybe it was because there should have been three people heading to Rijevduct, instead of two. Maybe Mother Magic was reminded of the loss of one of her own. 

“I’ve let her go,” she said. “You should too. We have too much of our lives ahead of us to mourn Desdemona forever.”

“I don’t mourn,” Sebastian said, words uncharacteristically sharp. “But I do grieve.”

“Isn’t that basically the same thing,” Ophelia mumbled, closing her eyes and feeling the press of a headache behind them. 

“Sorrow,” Sebastian said, the word a soft shudder. “And sad endings.”

“What?” 

“That’s what makes a good tragedy,” Sebastian answered. “I read it in a book.”

iii. headmistress alexeyev gives a speech (ch. 2)

“Eight years ago, seventy two students were slaughtered here. Some died on the very spot where you now stand today.” Ophelia glanced down at the floor, seeing the motion repeated instinctively around her as well. She looked over at Sebastian, who had closed his eyes instead, a pale flush meeting the faint color in his cheeks. His throat bobbed as he swallowed, tennis shoes scraping against stone as he toed them against the floor, as if he was shaking something only visible to him off.

“It was a tragedy,” Headmistress Alexeyev continued. “I say this because it is the truth. It was a tragedy, and not one that should never have happened.” She inhaled; Ophelia saw her chest rise, shoulders with it, in a sharp motion before she exhaled, body rearranging itself into poise once more. “I speak of this to tell you to assure you that Rijevduct is safe. I know there have been continuous doubts over the security of this school since that day eight years ago. I cannot, of course, guarantee that you will not come to any harm here. I cannot tell you that Rijevduct is the safe haven you were taught it was growing up; events have already proved that it is, in fact, not as impenetrable as one might think.”

Ophelia frowned, confused as to the line of reasoning. She had thought the whole point of the year of transition was to make sure that Rijevduct was infinitely more safer than it had been—and they had all been under the assumption that Rijevduct was virtually impenetrable until the massacre, which had led to the heightened security measures they saw today.

“I can, however, promise you that I, and everyone here today, will do anything in their power to keep you safe,” the Headmistress said. Next to Ophelia, Briar bowed her head, lowering her eyes and swallowing, the action almost a convulsion of her throat and mouth. Ophelia brushed her hand, lightly, in question, and the other girl just shook her head, looking away purposefully, so that Ophelia lost sight of her face and her sad eyes.

“These next three years will be far from easy. Gone are the sheltered lives where your parents could kiss your injuries goodbye, or sing you to sleep at night. Rijevduct is far from the cold, real world, but it is close enough when it comes to not asking you what you want first. This is an adjustment period. This is learning how to survive—and I will tell you this; surviving means many different things to many different people. You will have to decide on your own what this will mean for you, and how you will apply what you are taught here to your futures. Be wise. Be proud. Be humble. Cry. Laugh. Live. As your Headmistress, I, along with your professors, will be here throughout your time.” She raised her glass, “To the worthy,” and then drank, turning and walking back to her seat, which she lowered herself into gracefully.

iv. sebastian pov! (ch. 3)

There was a dead girl in Sebastian’s first period Magical Theory class. She was sitting diagonal from him, on the Glass side of the classroom, in an empty chair, staring straight ahead at the chalkboard. Sebastian tried not to look at her too obviously, his eyes straying from the open book in front of him to her cautiously, beneath the sleeve of his sweater.

She was sitting blankly in the chair, scraping her shoes against the ground, though they could not leave any scuff marks. Though she was the same faded shades most girls were, Sebastian could make out her pleated pale blue plaid skirt, which brushed around her knees, and the stained white blouse that might have once been spotless, but had been marred forever by the circumstances surrounding her death—objectively, that was to say, with blood. Her dark brown hair fell into loose curls around her shoulders, little silver studs glinting dimly, unable to catch the light. Her knee high socks now pooled around her calves and ankles, revealing a rotting bandaid on one of her knees. One of her tennis shoes was peeling at the toes, looking as if it had been ripped apart. 

Her fingernails had all been pulled off. Sebastian was good at analyzing ghosts by this point; he recognized the bloody flesh and bone of the nail bed. There was also blood matted across her head, trickling down her temple, with bruises covering her body; they peeked out from beneath the collar of her shirt, blackened across her cheekbones with a sunken quality in particular to one of her cheeks, as if the bone had begun to cave.

Subjectively, she was far from one of the worst that Sebastian had seen.

[ansheofthevalley]

Do you like Lindsay Ellis? Even though her points on Sansa and Dany were completely off? She basically bashed Sansa and defended Dany treating her like an actual hero. That’s just wrong.

I haven’t heard of her until her name started to pop up on my dash because of her “hot takes”, especially on Sansa. So, to give you a proper answer, I went and watched her video. And, oh boy...

 You may take this as a counter-argument to hers. I’ll take her approach; first I’ll speak about power citing Important People™, and then I’ll head straight to the rebuttals. (You may skip the philosophy lecture if you want. I’ll actually use it to justify my answers, so, it’s up to you. In case you don’t want to read the whole thing - which is totally understandable and, you know what, even recommend - I’ve put the key points at the end of first part of this meta.)

 She starts the video talking about the nature of power, quoting the writer Robert A. Caro:

 “We’re taught Lord Acton’s axiom: all power corrupts, absolute power corrupts absolutely [...]. I believed that when I started these books (about Lyndon B. Johnson), but I don’t believe it’s always true anymore. [...] What I believe is always true about power is that power reveals. When you have enough power to do what you always wanted to do, then you get to see what the guy always wanted to do”.

Let’s take a second to analyze this. First off, it starts with a quote that GRRM likes to go back to a lot. After all, ASOIAF is a work of (fantasy) fiction that analyzes the nature of power and its dynamics and just how much it can corrupt a person, even those with good intentions. That’s the core of GRRM’s work, the nature of power and what it can do to a person.

I agree with Caro when he says that power reveals, but power does not only reveals what a person wants to do, but how that person does that. The how is just as important as the what, especially when we’re talking about political figures (fictional or not).

(I talked about Daenerys and what is it that she does with her power in a couple of metas - some are mine, the others are from awesome people in which case I’m just putting my two cents on the matter - : X, X, X, X, X)

There’s a very interesting conversation between Michel Foucault and Gilles Deleuze, called “Intellectuals and power”. Here are some excerpts that I believe are important when talking about the nature of power:

M. Foucault: [while talking about the prison system and can power be found its raw form in prisons] What is fascinating about prisons is that, for once, power doesn’t hide or mask itself; it reveals itself as tyranny pursued into the tiniest details; it is cynical and at the same time pure and entirely “justified”, because its practice can be totally formulated within the framework of morality. Its brutal tyranny consequently appears as the serene domination of Good over Evil, of order versus disorder.

What Foucault is that we can find power (in this particular case, in prisons) that is tyrannical but, at the same time, manages to justify its ruthlessness, all because it was built in a framework that enables it to do so. So, we can see people punishing other people, sometimes in the most brutal of ways, all in the name of morality: because Evil must be punished by Good, as to set an example that Good will always dominate over Evil.

M. Foucault: [about the nature of power] (Power) is at once visible and invisible, present and hidden, unbiquitous. [...] The question of power remains a total enigma. Who exercises power? [...] We now know with reasonable certainty who exploits others, who recieves the profits, which people are involved [...] But as for power... We know that it is not in the hands of those who govern. [...] Everywhere that power exists, it is being exercised. No one, strictly speaking, has an official right to power; and yet it is always exerted in a particular direction, with some people on one side and some on the other. It is often difficult to say who holds power in a precise sense, but it is easy to see who lacks power”.

In this excerpt, in which Foucault disscuses the nature of power and how it works, I’d like to highlight two sentences; the first one being “Everywhere that power exists, it is being exercised” and the second being “ [...] It is easy to see who lacks power”.

Regarding the first sentence, it shows power as something that is always active; there’s always someone with power, using that power. There is a person/group regarded as the powerful. But given the dual nature of power (visible/invisible,present/hidden), if there’s the powerful, then there’s also the powerless. And that’s where the struggle appears. Because power is a force with no master, yet it seems someone/some specific group has it. So, there’s always a struggle to obtain power.

Regarding the second sentence, Foucault distinguishes that the most recognizable characteristic about power are the powerless. When you have something that can hide and disguise itself, which is the case with power, then it’s clear that it’s easier to spot those who lack that something. That’s why when trying to understand power dynamics, we always talk about things like “true power”, “the person behind the curtain/calling the shots”, etc., but we don’t have phrases like that regarding those who lack power. The powerless are just that: people who lack power. Powerlessness doesn’t hide to the eye, it’s always present in its true form, unlike power itself.

G. Deleuze: [...] How is it that people whose interests are not being served can strictly support the existing power structure by demanding a piece of the action? Perhaps, this is because in terms of investments, [...] there are investments of desire that function in a more profound way and diffuse manner than our interests dictate. But of course, we never desire against our interests, because interest always follows and finds itself where desire has placed it.

Here, Deleuze presents an intriguing thought. How is it that people that have no power support a system that won’t change their situation (in relation with power) and still be active in said system? Deleuze argues that desire weights more than interests when it comes to the powerless; so, when driven by desire, people act according to them. But there is something that’s worth keeping in mind: whether be powerless or powerful, people never desire against their interests, because desire can act as a tool to protect those interests.

TL;DR:

Power can be tyrannical while disguising itself as being moral, all because it exists in a framework that allows it to do so. With this kind of power, ruthlessness is justified as Good dominating Evil.

Where there’s power, there’s always a person/group exercising said power, even though power belongs to no one. So, with the exercise of power, comes the making of two distinct groups: the powerful and the powerless; both groups then struggle to control that power: the powerless fight to gain power, the powerful fight to keep their power.

Powerlessness doesn’t disguise itself. It’s easy to recognize. So, the powerless appear just as they are, they have no reason (or means) to disguise their true nature.

Sometimes desire can weight more than interests, but people never desire against their own interests.

So that’s that on (some of) the philosophy of power. Now, let’s get into the what you asked, nonny.

I’ll start with the things that I agree with.

Problems with characterization

I think we can all agree on one single fact: D&D (and the entirety of the writer’s room) downplayed the characters’ defining traits in order for them to fit within the plot/drive the narrative forward. This is something that started around S5, when D&D ran out of books to adapt. So, the problem D&D were presented with at that time is that they knew the endgame to all the core characters, but had no step-by-step guide to help them reach said endgame.

Flash-forward to S8, and we’re in the middle of a whole mess. We get to certain plot-points, but we reach those by the way of the narrative explaining us how the characters or the story gets there, instead of the characters reaching those plot-points organically. The characters’ endgame is treated more as a destination (somewhere we must reach) and less as something that would wrap up the characters’ arcs in an organic* way.

* By organic, I mean that we (the audience) see the characters make certain choices (or not), say things (or not) that will eventually lead them to their endgame. A story like Thrones is character-driven, it always was. It was the decisions these characters made that had a ripple effect on the storyline, either personal or political (or both). By season 7, and more explicitly in season 8, the storyline was driven by plot-points, so it was not the characters influencing the story, but the story influencing the characters acted

So, what we end up with is various examples of “tell, don’t show”, which really is a sin in storytelling, especially in a visual medium. That’s why a lot of people weren’t sold by Jonerice, because it was so easy to spot the “lie”.

 Now, time for the counter-arguments! (I’ll focus on some of the “arguments” she makes that stood up for me).

 “Sansa has no pathos”

Well, that’s actually true. First, let’s start with some definitions of pathos:

 Pathos is a quality of an experience in life, or a work of art, that stirs up emotions of pity, sympathy, and sorrow. Pathos can be expressed through words, pictures, or even with gestures of the body.

Pathos is an important tool of persuasion in arguments. Pathos is a method of convincing people with an argument drawn out through an emotional response.

Emotional appeal can be accomplished in many ways, such as the following:

 -by a metaphor or storytelling, commonly known as a hook;

-by passion in the delivery of the speech or writing, as determined by the audience; and

-by personal anecdote.

One of the characters in GOT/ASOIAF that appeals to the emotion of others (uses pathos in their rethoric) is Daenerys. I’ve written a little thing about it here

Sansa, instead, uses ethos in her arguments. That’s how she appeals to people. But, what is ethos?

Ethos represents credibility, or an ethical appeal, which involves persuasion by the character involved. [...]  The credibility of a speaker or a writer relies on his or her authority on the subject matter, as well as on how much he or she is liked and deemed worthy of respect.

Ethos forms the root of ethikos (ἠθικός), meaning "moral, showing moral character"

Speakers must establish ethos from the start. This can involve "moral competence" only; Aristotle, however, broadens the concept to include expertise and knowledge. Ethos is limited, in his view, by what the speaker says. Others, however, contend that a speaker's ethos extends to and is shaped by the overall moral character and history of the speaker—that is, what people think of his or her character before the speech has even begun.

For Aristotle, a speaker's ethos was a rhetorical strategy employed by an orator whose purpose was to "inspire trust in his audience" (Rhetorica 1380). Ethos was therefore achieved through the orator's "good sense, good moral character, and goodwill", and central to Aristotelian virtue ethics was the notion that this "good moral character" was increased in virtuous degree by habit (Rhetorica 1380).

Lindsay Ellis refers to pathos (or the lack-of) in Sansa’s arc meaning that she’s never shown to emotionally process what she’s been through. But if we were to properly use the word pathos, Sansa never appeals to us, the audience, in an emotional way. That’s her criticism. And it’s fine, but there’s something she’s missing while making this criticism: all of Sansa’s storylines were based around other characters, oftentimes male characters. Sansa has never been at the center of her own narrative, unlike Daenerys.

 “New Empowerment Sansa spends the whole battle trash-talking Daenerys, who, unlike Sansa, is out there risking her life”

(I’ll do this one in parts because there’s a lot to unpack here)

First of all, it’s not trash-talking if it’s true. As I pointed out before with the conversation between Foucault and Deleuze, there are two things to keep in mind regarding the Sansa-Daenerys clash in S8:

 “Everywhere that power exists, it is being exercised”; and

“We never desire against our interests, because interest always follows and finds itself where desire has placed it.”

The struggle between Sansa and Daenerys is political, they both seek to have power over a specific territory (the North). That’s their interest and their desire. It’s Sansa’s desire to keep Northern Independence and it’s in her best interests (and those of her people). Sansa’s desire and interests clashes with Daenerys’, since having the largest region of the Seven Kingdoms to remain independence goes against her interests (and desires) as a Conqueror.

Secondly, the living only had a fighting chance because of all the efforts made by the northerners and the KOTV, all under Sansa’s leadership as Lady of Winterfell. In S7, most of the northern lords were ready to jump out of the USS Jon Snow, but it’s because of Sansa’s leadership skills that the North remained a united front. The people fighting outside Winterfell were vital in the Battle of WF, but so were the efforts of the people tasked with assembling the barracks with dragonglass, the people putting leather on the armours, the men forging dragonglass weapons, the people tasked with feeding the soldiers and the refugees from all parts of the North. All of that was possible because of Sansa.

 “New Empowerment Sansa won’t shut the fuck up about how much she doesn’t like Daenerys”

Seeing Sansa express her discontent with Daenerys is actually good, especially when you remember that she has been surrounded by enemies basically by the entire run of the show. That means she always had to keep her true feelings to herself, relying on very few people (trust issues are a big thing in Sansa’s overall arc). Sansa voicing her opinions shows us, the audience, she’s finally at a place in the story in which she finally feels safe to do so.

 “Sansa’s evolution mirrors the Starks as a whole. The compassion and nobility that defined the Starks is one of their biggest assets, but in the end, they’re no better than the fucking Lannisters”

Ok, here’s the thing. Time and time again, we had different characters tell us, the audience, that northerners are loyal to their own, that they’re distrustful of outsiders (there’s a reason why “The North remembers” is basically their cathphrase). We’ve seen it with Robb, Cat, Sansa and Jon.

If one had to single out a theme for S8 (something weird to do, since D&D don’t believe in themes, but themes are present in every single story, whether you believe in them or not), the theme could very well be survival. At this point, everyone’s looking after their own. All those that made it this far had been through so damn much, have seen so damn much, that what they all want is to survive.

People have this misconception about the Starks: they’re this very good, very noble group of people. That’s true; if you talk about how the Starks are with the people they love and trust. And we’ve seen that trust issues are a big thing for the remaining Starklings. Ever since the start of the show, all of the Starks were separated: you had Ned with Sansa and Arya in the South; Cat with Robb, Bran and Rickon in WF; and Jon at the Wall. As the story moves forward, the Starkling find themselves alone; it’s all so they can learn to fend for themselves and once they reunite, act like a Pack of Wolves, each with a particular skill. From the beginning, the Starks were the one family that was beaten time and time again, only to get up and get beat one more time. People talk about the Starks acting like the Lannisters in S8 because we, as an audience, never had the chance to watch them act as a unit. And is it really so surprising to watch a family taking care of each other  when every single person in the show is doing the exact same thing?

The Starks, for the first time since reuniting, are acting like a Pack. Like Old Papa Stark used to say: the lone wolf dies, but the pack survives. The Starklings are after survival, just like everyone else. The difference with, let’s say, northman #3 is that the Starks are aware of the political struggle in the near future with Daenerys and what that political struggle means fro everybody. Take S8E4 as an example. Tension is growing between the Starks and Daenerys. We, the audience, know that. Northman #3 doesn’t.

Going back to the subject of power, it’s really noteworthy how the powerful players use their power regarding others:    

We see Sansa put the food issue on the table

(an issue no one seems to worry about or even remember, not even the writers).

She insists for the gates to remain open until the last northerner arrives for shelter. She is constantly fighting for the freedom of her people

(the northerners chose Robb as KITN, then chose Jon).

She also uses her power as Lady of Winterfell to protect her family

.

She tells Tyrion about RLJ not because she wants to cause trouble, but because she knows if the truth gets out, Daenerys won’t be able to hurt Jon

while they’re in the South.Since it’s difficult to make a clear reading of Jon’s arc in S8 (

since D&D butchered his character

), this will be more of an assumption. What

I

get from Jon in S8 is

Sacrificial!Jon

.

He does whatever he has to do to secure the alliance with Daenerys and to protect his family

. Ride a dragon? He’ll do it. Try to ease her temper regarding his family, namely Sansa? He’ll try his damnest. Tell her she’s his queen and that he loves her? A thousand times. Ride South to help her get the Iron Throne? Well... that didn’t go as he has hoped. What I’m trying to say is that

Jon tried to manage the situation at hand with the little power he had

(and he had

very little

power).

What we see is Jon trying and failing, and ultimately, he has this huge dilemma presented in front of him

: kill Daenerys and save the Starks; or let Daenerys roam free, knowing she will most likely burn Sansa (and all of those she feels like it) for treason? But the answer to this dilemma has been there since the beginning.

Jon Snow fights for the North. All his life, he wanted to be a Stark

. We know what happened next.

Ned says something that captures the essence of the Starks:

Ned: (to Arya) You’re a Stark of Winterfell, you know our words. (Winter Is Coming) You were born in the Long Summer, you’ve never known anything else but now Winter is truly coming, and in the winter we must protect ourselves, look after one another. 

“So Sansa is a northern separatist now for some fucking reason even though now is not the time”

Sansa has been “a northern separatist” since this moment:

She’s been a central part of the Northern Independence plot. In case some of you don’t remember, Joffrey used to command his Kingsguards to beat her every time Robb won a battle (which was pretty much all the time). 

The Red Wedding only intensifies her desire to go home and rebuild it (RE: Northern Independence). S5 happens (let’s leave it at that). In S6, we see Sansa reclaim her identity as a Stark, leading her House alongside Jon and fight for the North, for her people. In S7, we see her in a place of power, we see her leading her people. And in S8, we see her fight for Northern Independence, just like her brother before her. The only difference between her and Robb is that she doesn’t use a sword, she uses words and politics. 

Northern Independence is a key plot-point all throughout the story. It’s what drives the political side of the story forward. It’s when the North declares itself independent from the Iron Throne that shit gets real for Joffrey and Cersei (and the rest of the Lannisters). From there, we have the War of the Five Kings, which ends with all five kings dead. We have a fractured Westeros, divided by war and power and sides. You can’t talk about Thrones without talking about the Northern Independence plot.

About the timing. If one argues that Sansa’s timing is off, then one could also say the exact same thing about Daenerys in S7. By S7E7, she has already seen the Night King and his army, she has seen what they can do. But still, she insists on a truce. Even as of S8E2, she doesn’t see the Battle of Winterfell as her duty as Protector of the Realm (since she calls herself Queen of the Seven Kingdoms, PoR is one of her many, many titles) but sees it as “Jon’s war”. Sansa, representing the North, has to give away their independence (and yes, I say Sansa and not Jon because the true political power of the North is Sansa, not Jon Snow) to a foreign Conqueror. And even then, after having to give away their hard-earned independence, their new Queen still don’t see defending them from a life-threatening situation as her duty but as something her boyfriend has to deal with and she’s so cool by helping him. 

Also, seeing that the supernatural threat was dealt with by episode 3, we had 3 90+ minutes episodes to deal with the political side of the story. And what has been an integral part of that side of the plot? The North.

Lindsay Ellis mentions Torrhen Stark in her video, as someone Sansa should’ve taken as an example when dealing with Daenerys. But I disagree with this thought.

Torrhen and Sansa are supposed to mirror each other. Not parallel, not follow, not imitate. Why? Because they achieved the same goal when in the (basically) same situation, only by doing the opposite of what the other did. 

Torrhen Stark, “the King who knelt”, bent the knee to Aegon, a Targaryen Conqueror, so his people would be safe. Sansa Stark, “the Queen who never knelt”, who pushed for Northern Independence did the same by not kneeling to Daenerys (a Targaryen Conqueror), because she knew she would’ve been the same (or worse, if we’re actually being honest with ourselves) as any other Southern ruler.

Also, the last King in the North was Robb Stark. 

“What do dragons eat anyway? You know what, Sansa? It doesn’t matter. Don’t worry your empowered little head about it. Enjoy those dragons and supplies from other regions now that it’s fucking winter and you all have a common enemy”

RE: the food. Daenerys burned all the food from the Reach (y’know, the harvest that was meant to be stored for the longest winter to date) in S7E4. Maybe people forgot about the first war crime Dany committed in Westeros?

But I already talked about the food issue. If you want to read more about it, here you go.

The line “what do dragons eat anyway?” is a subtle way to do two things at the same time: Daenerys threatens Sansa (basically saying anything that I might set my eyes upon will be mine, because you cannot overpower me and you can’t do nothing about unless you want become my enemy) and it showcases just how different Sansa and Dany are when it comes to “everyday ruling”. It’s been established back in Meereen that these “trivial” things bore Daenerys to death, but what she failed to comprehend back then and fails to comprehend again once she’s in Westeros is the fact that those “trivial” things are what solidifies her rule. How she rules and what she does has a direct impact on her people, noble and smallfolk alike. That’s why she failed in Meereen: she failed to meet the best interests of both the smallfolk and the nobles. In Westeros, she faced resistance in the nobles. After the Battle of Winterfell, sure, she won some nobles over. The smallfolk felt indebted to her. But her role in the Battle of Winterfell doesn’t erase her previous actions: it doesn’t erase her treatment of the meereenese, it doesn’t erase her burning the Tarlys (father and son, just like her father did to the Starks), it doesn’t erase her willingness to burn a city to the ground (and a million innocent people with it) just to win the war, and it most definitely doesn’t erase her promise of “liberating” the world, from Winterfell to Dorne, from Lannisport from Qarth, from the Summer Isles to the Jade Sea.

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I already mentioned the Night King and his army, but what the hell, I’ll do it again. They do have a common enemy in the Night King. But that enemy is half of the story. That’s the Ice of the famous Song for the Prince that was Promised. The other half is Fire. And that Fire is Daenerys. The NK and Daenerys are the ultimate Big Baddies the heroes (the Starks) have to face off.

“Sansa’s only purpose this season is to have an unfounded suspicion of Daenerys, which only proves to be founded when Daenerys does something nonsensical”

Sansa’s role in S8 was to further the Northern Independence plot, as well as to be a resisting force in Daenerys’ quest for absolute power in Westeros. Like I mentioned before, Sansa’s desires and interests clash against Daenerys’ own, so there ought to be a power struggle. 

Sansa’s suspicions are founded. Let’s me rephrase this. Any type of suspicion Sansa might have of someone that doesn’t come from the North are founded in her own mind, and that’s what matters. Because it’s the character driving the story forward using previous stages of the character’s arc as justification. Sansa has been held prisoner since S1; she was at the mercy of the Lannisters, the Tyrells (yes, I include the Tyrells because incriminating Sansa was a very important part in Olenna’s plans for the Purple Wedding), her aunt Lysa, Littlefinger and the Boltons. She was used for her claim, she bled and was tortured for the North, every time Robb “I’ve won every battle but I’m losing this war” Stark would win, Joffrey would order one of his Kingsguard to beat her for it. It makes sense for her to be distrustful, especially of someone who came to claim something that wasn’t hers. Now, we can go on a merry-go round about whether Daenerys deserved this treatment or not, but facts are facts: it made sense for Sansa as a character to act that way, even if the execution (RE: the writing) was a bit off.

And Dany’s actions in S8E5 weren’t nonsensical. I’ll just leave these pictures:

And how can we forget her infamous speech to the Dothraki in S6?

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So, if anyone says that Dany’s actions were nonsensical or out of nowhere, that’s because they weren’t paying attention. I mean, getting what’s “yours” with Fire and Blood? I don’t know what people expected... Rainbows and sunshine and a happy song? The Targaryens are villain-coded for a reason.

“Otherwise, Daenerys has essentially given all of her resources to defend Winterfell based on the promise of the guy in charge and Sansa is still like “Hmmm... I don’t know. I don’t like the cut to her jib”.

I’ll try to keep it short because this is getting repetitive:

Sansa had reasons not to trust Daenerys

Jon Snow might had the title, but Sansa was the true political power of the North

Daenerys did take her armies and dragons North, but that was her duty as Protector of the Realm, since she’s claiming to be the rightful Queen of the Seven Kingdoms

I’ll expand a bit on this part, though: “otherwise, Daenerys has essentially given all of her resources to defend Winterfell based on the promise of the guy in charge”

Since the northern lords elected Jon Snow as King in the North, the true (raw) power lies with the lords. To quote Michel Foucault from the excerpt I transcribed at the beginning of this meta : “But as for power... We know that it is not in the hands of those who govern.” Power is an ever-changing force. It’s always in flux. Political power might be one one side, then on the other (just as it was with the Boltons/Lannisters, then with the Starks), but the true, raw power lies with the people and their desire. The people choose who they want to rule them. As of S7, they wanted Sansa to rule them, but she declines their very kind and subtle offer at treason siding with and supporting Jon. That is until Daenerys arrives and she’s able to form an opinion of her. As of S8E1, she doesn’t trust Daenerys, doesn’t believe her to be their Queen, and even questions Jon’s reasons for bending the knee (something she, and the lords didn’t approve of). Her purpose in the story, since S6, is to play an explicit role in Northern Independence, to finish what Robb started. Daenerys is to Sansa what Tywin and Joffrey were to Robb.

“By the end of the stupid, dumb Battle of Winterfell, Daenerys has proved herself worthy of being a Queen about as well as one can expect in this universe. She’s forging alliances, doing battle, keeping her promises to her followers and to her allies. So Sansa’s stink-eye over Daenerys makes no sense”

As to Daenerys being worthy of being Queen of the 7K, I’ll say it one more time: she did her duty. As claimant of the titles Queen of the Andals, the Rhoynar and the First Men, Queen of the Seven Kingdoms, she’s also claiming the title of Protector of the Realm.  The title of Protector is a military one, basically it gives her command of the armies of Westeros. So, it’s part of the job to defend the Realm from any and every threat: that includes ice zombies and the dead, making her war, too, not just “Jon’s war”.

Also, she did what Stannis Baratheon did in S5. Did he do the right thing by aiding the Night’s Watch? Yeah. Was he fitted to be King? Well, he burned his only daughter alive so he could win a fight, so I’d double check that one. It all boils down to the same fact that I’ve been talking about time and time again: doing the right thing for the right reasons. Stannis didn’t do the right thing for the right reasons. And he didn’t make a good king. Sure, he was far better than all the other options available, but he still wasn’t good. Same thing with Daenerys. She did a lot of good things, but all for selfish reasons. Was she a better option from all the others she was fighting against? Yeah, maybe. But she didn’t put any effort in doing right by those people, by doing something that benefitted them and only them. So, was she fitted to be Queen? The answer is no.

Daenerys forged alliances when it benefitted her (she made a deal with the Greyjoys – which included independence btw, since a lot of you seemed to have forgotten – because she needed ships to get to Westeros; Varys forged alliances in her name with Olenna Tyrell and Ellaria Sand – she needed Westerosi allies, otherwise it would’ve been too simple for Cersei to win the war – bringing two powerful regions into her command). But, once Yara and Ellaria were captured, she didn’t even lift a finger to rescue them. It was a great opportunity to show the rest of the nobility that she wouldn’t forsake her allies, that she wouldn’t leave them at the mercy of her enemies. Alas, she did leave them to the mercy of Cersei and Euron. And her reaction to the Lannister forces taking Highgarden? Burn all the food, in a spectacularly stupid way of saying “if I can’t have it, then no one can”.

And since we’re in the subject of allies; ­Olenna actually sided with Daenerys not because she believed her to be the rightful heir to the throne or because she thought Dany would be a good Queen. Olenna wanted some plain old and simple revenge. She wanted to watch Cersei and everything she worked (and bled and disgraced) for to burn, just like Cersei did with House Tyrell. And what better way to do achieve your revenge plans than with a Targaryen with three weapons of mass destruction? Same goes for Ellaria and the Sand Snakes, they just wanted revenge for what the Lannisters did to Oberyn and Elia Martell (oh, the irony of making the people that want to avenge Elia Martell side with a woman that belongs to the family that was just as responsible for what happened to her and her children as the Lannisters. THE IRONY, I TELL YOU). 

So... that’s all I can think of.

I’m sure you expected something shorter, nonny, but when it comes to defending Sansa Stark, I gotta do it properly.

So, I apologize. I know this got out of hand. But the thing is, when it comes to Sansa (and people treating her as an Evil Bitch That Needs To Calm Down™, while claiming D is someone who Did Nothing Wrong™):

Thanks for the ask!