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total-drama-brainrot · 2 months

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father ophe shall you psychoanalize courtney

specifically her Problems™️

You know, as much as I'd like to say Courtney deserved better than she got, for the most part I think a lot of her suffering in Total Drama was easily predictable for a person with her characteristics.

And I don't mean that in a "Courtney earned everything she got by means of being a Bad Person™" kind of way. Because she's not - a bad person that is. But the fact remains that Courtney's depiction in the show, and most of her unfortunate actions/decisions, are a direct result of her character aspects. Her personality and drive. Her priorities.

In a more realistic show, she'd experience the same tragic outcome simply because she's too invested in winning, and that investment blinds her to the unsightly actions she can and will take to win.

So I'd like to preface this analysis with that; Courtney's actions in the show are easy enough to ignore as "poor writing choices", but they do make sense for someone with her particular temperament, chronic need for commandership, and perfectionism.

Let's start with season one Courtney (or Island Courtney).

At the beginning of the show in its entirety, we're introduced to a Courtney who's a lot less intense than the one we eventually come to know and love. In fact, Courtney in the first two episodes of the show is significantly different from how she's portrayed throughout the rest of the show; she's compassionate and caring (her concern for Izzy during her introduction), and she's far more rational and level-headed than her later depictions. That's not to say she's not the same competitive and managerial girl, she's just... more subdued.

Even her speech patterns are different - I remember there being some confusion about who her voice actress was in the first couple of episodes, simply because her voice is so much softer (and slightly nasally), though this can be excused by the fact that the VA was likely still getting a feel for her character and how she wanted to portray Courtney.

Of course, at the end of episode two, we get to see a glimpse of Courtney's competitive (and slightly unhinged) spirit in the little monologue she gives to the camera. A sign of things to come.

One thing I find particularly ironic for Courtney is this confession she makes about Eva, where she states that someone's strength doesn't excuse their "psychopathic" actions/behaviour. Given how she acts in later seasons, this really highlights either a complete lack of self awareness in Courtney herself, or a major shift of her priorities prompted by her deep-rooted need to win.

Episodes three and four seem to be where the real Courtney comes into play. She starts showing off the characteristics we'll eventually come to associate with Courtney's personality, most notably her quick temper and her need to be in charge/control of the team. Whereas previously Courtney had calmly cited her experience as a CIT to justify taking control, from Dodgebrawl and beyond she starts simply utilizing sheer assertiveness (and her team's unwillingness to challenge her authority, outside of Duncan) to order the Bass around. And it works. For the most part.

Then her romantic subplot with Duncan begins, and we get to see the less obvious aspects of Courtney's character come into play.

Her confidence issues and the value she ascribes to "strength" (in Phobia Factor, when she can't face her fear), her repressed rebelliousness and impulsivity spurred on by Duncan's influence (pretty much the secondary focus of episode 12, Basic Straining) and, in relation, her secret desire to be free from the constraints of being a "rule follower" and the lack of knowledge/confidence to seek said freedom.

And then she's eliminated. And something in Courtney shifts.

Which, to be fair, I'd probably snap too if I was unfairly eliminated via rigged votes from a competition I'd dedicated myself to winning, especially if the votes were rigged against me for the actions of my kind-of boyfriend.

In the interviews we get with her in Haute Camp-ture, Courtney is hell-bent on revenge against Harold for her elimination, and she's violent with her threats against him. And her acts against him - she literally attacks him with a light pole and then bends the metal of the pole around him.

People who are mentally sound don't trap people in light poles.

They also don't fixate on winning reality TV shows to the point that their relationships deteriorate underneath their competitiveness and drive, but I digress.

Action happens, and it's. A thing. Courtney's played as the second and more threatening antagonist of the season, and she fits into the role well. They really ramp up her self-entitlement this season to play into the whole "I'm a CIT and a lawyer in training" deal, to the point where she literally sues her way back into the running. And her louder personality traits are amplified to make her more objectively villainous - not in the sense that she herself is villain, more so that her actions and behaviour work as the catalyst for a lot of conflict within the show. None of the other girls can stand her, she actively suffocates her boyfriend under her perfectionist standards, so on so forth.

It's still Courtney, just more. Like someone dialled up the Courtney-meter to an eleven, and sprinkled in some extra temper issues.

It's not like this shift in personality came out of nowhere though. As I said before, she's already showcasing this new aggression and overbearing will to win in Haute Camp-ture, so we know that her initial elimination in Island is what prompted her mental descent into antagonism. Though at this point, she doesn't recognise her actions as unreasonable. To Courtney, everything she's doing is entirely justifiable, and anyone who disagrees with her is trying to sabotage her.

Just like Harold did.

Courtney's competitiveness and her willingness to do anything to win and, in part, innate aspects of her temperament, but they're also symptomatic of the trust issues her Island elimination instilled in her. Trust issues that cause her to alienate herself from the people around her, holding others to impossibly high standards and/or disregarding them as not worth her time, in a subconscious effort to prevent them from hurting her.

Her relationship with Duncan becomes rocky at this point because she's overbearing and distrustful, and he's averse to authority and flaky. Courtney's perfectionism and trust issues work directly against Duncan's own problems, and their romance crumbles under the pressure.

Or at least it would, if they'd stop getting back together.

And then World Tour happens.

Courtney is initially distrustful and avoidant of Gwen, because she sees everyone else in the competition as a direct threat towards her and her acquisition of the million, but slowly comes to see Gwen as an ally. And then a friend.

And then Gwen breaks that trust by kissing her boyfriend. The trust issues come back into play with this betrayal, and Courtney's more aggressive personality traits come into play once again. This time though, her intenseness is a defence mechanism against the people who've hurt her, not a means to fuel her desire to win.

Eventually she gets eliminated for putting what little fragments of trust she had left into Alejandro of all people, but to be fair she doesn't really seem that bothered about losing World Tour - if her continued support of Alejandro in the finale means anything.

And then, I've heard, All-stars is an awful season for her. I haven't watched it, so I can't comment there.

That about wraps up the summary, let's get into her mindset.

Courtney enters the show itself as a seemingly demure and responsible person. She's proud of her status as a CIT and future lawyer, and she strives to lead her team to victory.

From the get-go, we see hints of her internalised need for leadership, and glimpses of her perfectionism. As the series progresses, we get to see her character grow from someone who follows rules and regulations to the letter, to someone who isn't afraid to take risks and break rules to her own advantage - which directly opposes her perfect "goody two-shoes" mindset and feeds into that suppressed desire for freedom I mentioned earlier. We also get to see her temper come into play, as she becomes a lot more assertive and quick to anger as the season progresses.

The Duncney plot in Island could have been good for the both of them, had their eventual fate been written differently. Duncan taught Courtney how to let loose and be reckless, and Courtney could've taught Duncan the value of structure and control in day-to-day life. They balanced each other out.

Her elimination is where Courtney's Problems™ come into play. For the most part she was a bossy but bearable presence on the Island, and it isn't until she's booted off the show that her more manic and unreasonable behaviours start surfacing.

We know from her whole "uptight CIT" deal that she struggles with perfectionism, and confidence issues that stem from said perfectionism (since no one can ever be perfect all the time, that's just human nature), so she disguises her insecurity underneath a layer of fake emotional strength that usually manifests itself as pride. It can be assumed, given her track record of overachievement, that her parents are probably the ones that enforced the standard of flawlessness within her. To the point it became less of a suggestion or a goal, and more of a constant standard she has to live by.

Her unfair elimination hits her hard, not just because it gives her some trust issues (that are only exacerbated later on) but because losing the competition goes against her standards of perfection. She was supposed to win, and not doing so is falling short of her expectations.

Her perpetual need to be the leader is likely a symptom of control issues, which often times go hand-in-hand with perfectionism - it's easier to make sure things are exactly as they should be when you're in complete control of them. It's also probably a result of her upbringing as an overachiever or "Type-A", as leadership skills are seen as a desirable trait to cultivate.

You mix together her control issues, her perfectionism and her competitiveness and you have yourself a very volatile molotov cocktail of emotions ready to blow upon her elimination.

Another thing I want to touch on is how unaware Courtney is when it comes to other people's needs and desires. She's very egocentric in her perception of the world, and oftentimes ignores or just doesn't realise how her own actions can impact other people. The biggest example of this is her treatment of Duncan throughout Action, where the impossibly high standards she holds him to take a huge and visible toll on his health, but she doesn't seem to notice. Or care. Because she's so caught up in the idea of having a "perfect boyfriend" that she doesn't think to consider how said boyfriend feels about it.

This egocentrism also plays into her control/leadership issues, since she oftentimes sees herself as the only person qualified to lead a team of people.

So, to summarise:

Perfectionism instilled within her (probably by her parents) that lead Courtney to holding herself to impossibly high standards she can never hope to achieve.

Confidence issues because of these unachieveable standards that she compensates for with a "large and in charge" personality, feigning emotional strength by supressing her feelings, and getting as many academic and extracurricular credentials as she can get.

Despite the confidence issues, she sees herself as inherently better than other people, either because of her own achievements and "good qualities" or because the people around her don't meet her standards.

Competitiveness and ambition aplenty, fuelled by the perfectionism.

Trust issues thanks to the repeated unfair betrayals against her, that feed into her delusion of not needing other people, being better than other people.

Control issues that feed into her desire to always be in positions of power and/or leadership.

Egocentrism and a lack of awareness of others' thoughts and feelings, especially in relation to how her behaviour can affect others.

... Courtney has NPD.

Courtney has NPD and the stress of Total Drama acerbated it until Courtney herself became volatile and unstable.

But that's not the point of this post. Though it does explain the gradual shifting of her personality from a functional CIT to a semi-funcitonal Reality TV washup.

Her issues lead her to make decisions that seem rash and irrational, but to Courtney herself she's fighting tooth and nail against a cast that are actively praying for her downfall, so her ruthlessness is entrely warrented. She's a victim of her own delusions and trust issues, and a bigger victim of the horrors of Total Drama that led her to becoming the person she was shown to be.

Therapy and a lot of time away from competitions would do her a world of good. Getting herself out of the climate of Reality TV entirely could save her.

#Me when I write out a whole bunch of words and don't re-read them.#This is all word vomit and it probably makes no sense. I have no idea what I'm doing.#total drama #td courtney #character analysis #Kind of. We hit headcanon territory at the end there.#replies

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lakemichigans · 10 months

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howdy hey, i was wondering what your thoughts on the new hunger games movie were? you made a post saying you were gonna see it, so idk if im too early and you havent yet, but was curious your thoughts on it :)

i really really liked it!!! i just got back from seeing it with my friends and we all agreed it was better than both mockingjay movies in our opinions! i hadn't read the book yet (i know i know i'm kicking myself too) so i was really worried they were going to try to portray snow as the type of person who had good intentions but was corrupted by the system, which would have been aggravating to watch considering the sheer number of children snow will murder throughout his life. i wouldn't have been able to enjoy myself if i knew they were trying to make me feel sorry for snow. instead, they make it clear that he always had his own interests in mind, and although he's fully capable of love, loyalty, and morality (and occasionally does act with those characteristics in mind), he chose to follow a darker path. i absolutely love that writing decision!

when my friend and i realized that snow and lucy gray were flirting we turned to each other and said "are they seriously doing this??" but i was soooo impressed with how they handled the romance and especially with where their relationship was when the movie ended. i mean, i really should have had faith because suzanne collins has never let me down in the "nuanced and uniquely fucked up romance" category before 😌 i honestly think part three (after the arena) was my favorite even though the vibe shifts so harshly it almost feels like it becomes a psychological thriller. i'm just so so relieved they were able to show the inherent humanity in snow WITHOUT being like "see? both sides are bad! all people can be monsters given the right circumstances! the genocidal maniac feels bad about his actions, but what could he have done to stop it? :(" you know what i mean? the narrative allows you to feel snow's emotions without ever using them as an excuse. most of the time his feelings are not even a reasoning for his actions – even when he feels bad about something he's done, he makes no attempt to change. in fact he seems to accept that he's gone too far, so it'll be easier to bury his emotions down deep so he can do even worse shit without feeling bad about it. god it was just so INTERESTING

from a technical standpoint it was less impressive tbh, the cinematography was nothing special (not ugly, just okay). lucy gray's actress was good but she really shined in the subtle facial expressions (such as her growing distrust for snow) and when she was performing on stage, but not so much in emotional outbursts. snow's actor was the opposite, he reallyyy shined during high emotion.

i'm not entirely sure how i feel about viola davis' or peter dinklage's characters. we've seen how superficial, ableist, and classist the capitol is, so i find it odd that two of the most powerful people are visibly disabled. it just doesn't track with who the capitol is. but then again, it also seems that in the early days of the capitol, everything is MUCH less flashy and ostentatious; people are still stuck up and classist, but it's a far cry from the absolute spectacle that the capitol and the games would become 60 years later. compare tigris in this movie to who she becomes later and the shifting culture becomes super obvious:

so if they were trying to show that the people in the capitol used to treat disabled people as equals but no longer do, as a sign of their decreasing sense of humanity and community, then i think it was effective. but i'm not sure if that was the intention, i'll have to look into it more

ANYWAY IT WAS REALLY GOOD!!! i wrote all of this as soon as i got home so i haven't had time to sit with it or anything. i'll post more if i think of anything else!

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agentnico · 10 months

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Leave the World Behind (2023) Review

Guess that's one way to make me dislike Friends more.

Plot: A family vacation on Long Island is interrupted by two strangers bearing news of a blackout. As the threat grows, both families must decide how best to survive the potential crisis, all while grappling with their own place in this collapsing world.

So much wasted potential. A long drawn-out slow shuffle to Nowheresville. A movie that offers so many ideas, plot points, and thread lines that are never answered or go anywhere:

Why is there the random static noise throughout the film and where is it coming from?

The deers and flamingos congregating at the property are simply explained as "the animals know something we don't" and then there's no further explanation or follow-up about that.

Is Mahershala Ali's character's wife dead? Probably, but who cares?? Instead, let's have him and Julia Roberts have an awkward drunk dance scene where the two come close to cheating on their respective spouses because that makes sense! Oh, and Ethan Hawke's character may be a nonce!

Why are the son's teeth suddenly falling out? There's a reference to an insect biting him, so does that mean there's a mysterious plague spreading? Possibly, but we don't deserve to know apparently.

A random shot of the US flag on the moon overlooking Earth as it covers the sun to cause an eclipse is a lovely visual trick, but what's the point of it? Are they suggesting an alien invasion??

Why are Teslas without drivers crashing into one another? Actually no - that doesn't surprise me. Just so you know, that checks out.

I could go on. I'm all for a movie being mysterious and not giving us all the answers. Just look at any David Lynch project - the man's an enigma! But even with Twin Peaks and such Lynch at least provides enough depth and reason to the worlds he creates that all the weird stuff fits in well. In Leave the World Behind things are truly happening under the motto "just because" and "why the hell not" and it makes the viewing experience immensely frustrating. Especially when the movie is nearly 2 and a half hours long and the anticlimactic abrupt ending is a slap to your face for wasting your time.

The performances are alright. You have a trio of 1980s icon stars - Julia Roberts, Ethan Hawke, and Kevin Bacon - and naturally, they play their parts as you'd expect them to even if Bacon is heavily under-used and Roberts' line delivery in certain dramatic moments was over-the-top and borderline hysterical. Mahershala Ali lives and breathes Academy Award-worthy performances. He delivers every note of his dialogue with such a methodic approach that the guy could appear in any true stinker and still stand tall and proud. So of course he's great and probably carries most of the heavyweight acting here. Myha'la Herrold is given one characteristic of being constantly pissed off, so that works out as she does a solid resting b**ch face.

Visually director Sam Esmail does some funky camera work, with a particularly well-executed sequence when Roberts first walks into their holiday house, and as she's exploring and going up the staircase the camera twists and pans over her very smoothly. Another moment involves a drone chasing Hawke's character as he's driving away while it spills red leaflets everywhere, reminiscent of the alien from Jordan Peele's Nope. Again, the production design and aesthetic of the film are done well, even if it is at times amateur. Netlfix evidently did not chicken run from the budget. However, narratively the movie tries to portray so many different messages that it ends up failing to explore even one. Neither fitting in as a black comedy nor a clever social thriller, this truly may be the most irritating film of the year. Leave this movie behind.

Overall score: 3/10

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floralovebot · 2 years

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Literally no one cares about this but I recently rewatched barbie mariposa and it reminded me of how different I view Henna's intentions compared to how a lot of other people viewed her. And I should say first and foremost that I'm not shitting on anyone's interpretation of her! I just think it's really interesting

But I remember when I first started seeing posts for mariposa and how a lot of people thought she was queercoded or just headcanoned that she liked Mariposa and it was so obvious because of how Henna was always like "we're so similar you can join me we can do this together". And like... now I can probably see that but I think it's so interesting because when I watched this movie as a kid, and even now, her intentions always felt so far from that?

I always saw it as Henna trying to take advantage of how insecure Mariposa was and manipulating her into joining. It also felt like a comparison to Elina dealing with Laverna in the first movie. Just the whole, "you have this major insecurity and I know about it and here, I can fix it :)" yknow? What she said and the way she talked to Mariposa always felt manipulative to me, especially once it got revealed that she was the villain and lying to everyone else about how good she was. Lying about wanting to help the queen, lying about wanting to help the citizens, lying about wanting to help Carlos... she was even lying about wanting to help the skeezites because it was heavily implied that she was just using them so she could take over efficiently. It just goes on and on and her trying to "help" Mariposa always felt like another example of that to me.

And I think the way Henna treats Mariposa was supposed to be a really big comparison to how everyone else treats her yknow? Like you have Willa being very supportive, no matter what Mariposa does. You have Rayna and Rayla gradually going from slightly antagonistic to learning that they're being assholes and genuinely wanting to be better people, both in general and to Mariposa. You have Carlos genuinely feeling the same way that Mariposa does, a very literal comparison to Henna just saying she understands but never actually showing it.

And maybe I'm looking into it too much but I always thought that they purposely made it really vague as to whether or not Henna actually would've kept her promises if Mariposa joined her. I don't think it was supposed to be obvious? I feel like that just goes along with how cunning and manipulative she is throughout the movie! As viewers, and even the characters themselves, we just don't know if she was telling the truth or if she was intentionally lying to get Mariposa to trust her.

Idk again I'm not shitting on any of the henna liked mariposa headcanons, I just think it's super interesting how people can interpret her actions and intentions in wildly different ways which very much goes along with her lying to everyone and being one of the best two-faced villains in the barbie cinematic universe (yes i'm including preminger. henna could beat his ass)

#barbie #barbie mariposa #she's so interesting to me!!#and i love how everyone interprets her actions and dialogue differently #because it makes so much sense given her characteristics and how she acts throughout the movie #like. we don't know! we don't know if she's being genuine or not!! we don't know if she's lying!!#with a lot of the barbie villains its pretty obvious if they would break their promise #i feel like laverna is a good example of that actually #but henna is So good at lying and So good at acting the way people Want her to act #and i think thats the biggest thing with her act #its always based on what the person wants to hear. what would connect to Them and make Them feel good #so it's just... not obvious if she genuinely wanted to help mariposa or if this was just Another lie to get people to trust her #BUH #into the barbieverse #but for me since everything else was revealed to be a big dookie lie i just assumed it was like that with mariposa as well #personally im very much on board the mariposa/willa train so idk maybe i was too far up that to see henna's potential #akjgdhkjadhg

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marcspectrr · 3 years

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A word or two on Kiara's mental health...

Before I attempt to summarize the 39 page slideshow living rent free in my brain, a preface! This will include spoilers for s2, as well as a few mentions of suicidal thoughts! Also. I love Kiara Carrera with all of my heart so if you're not a fan of her, you might wanna keep scrolling. If you don't vibe with her that's perfectly fine, but this post is heavy with Kiara appreciation, be warned, my respect for her runs deep. The choice is yours, of course, just understand that I'm writing this bc @yellowlaboratory among others have encouraged me to get it out there because it's all I've been thinking about since I watched s2. This is not to start anything.

(This is also not me hating on Pope because I genuinely like his character, he's just made some very questionable choices throughout the show, some I can forgive and some that still don't sit right with me.)

Deep breath, here we go.

It's no secret Kiara has been poorly handled by the writers and therefore the characters at times. We got little development in s1 compared to other main male characters, leaving us to fill in the gaps as far as her ambitions, motivations, family, overall interest in the boys, etc. While I do keep this in mind, I could rant about it for days so for this I'm going off of what we have as well as what's been implied.

Kiara didn't have the same upbringing as the boys but it's clear the Carrera's had/have their struggles. She's got her foot in both worlds, not quite 'rich' but not entirely 'poor', inevitably giving her a fragile sense of belonging and identity. 16 is a hard age even without societal pressures and growing up in a classist environment, but here is where we're assuming the boys come in. They give her a place to feel comfortable in her own skin, with shared interests and accepting her for who she is, which we know the kooks don't provide. Just being around them helps ease those deep insecurities, helps her form meaningful bonds. We weren't given an explicit scene where this was shown but over the course of the two seasons it's clear how she feels about them and what they do for her mentally.

Her relationship with the pogues, however, puts a rift between her and her parents. Mike and Anna clearly want what's best for Kie but it's also obvious they've struggled with her even before the pogues. Anna wants Kiara to have the things she never got growing up, breeding a disconnect since Kiara doesn't share in her mother's interests. This leads into my biggest problem with Kiara's arc in s2, which was how Anna and Mike were written.

Yes, Kiara didn't/doesn't treat them the best but it went both ways -- they all failed at communicating. Instead of finding a common ground and compensating for the things Kiara cares about, Anna shuts her down and ignores her, leaving her to feel like a problem rather than a person, further perpetuating even less healthy communication. Kiara even says in s2 that's why she doesn't like going home, because it always means walking into an argument and not feeling accepted.

I sorta expected a little more understanding from Anna considering her own background with pogues but instead it backfired. And Mike...he didn't contribute much at all. They could've all done better and need some work. Kiara could be more grateful and Anna and Mike are the parents, the adults, they need to make the space feel safe to talk. Kie didn't just wake up one day and decide to act out and keep her parents in the dark all the time, that stems from not feeling listened to when she does try and open up.

Expanding on this with...the whole Blue Ridge plot. Moment of silence for the show neglecting to acknowledge the academy, even though it clearly had a big impact on Kiara's life. In s1 we got a brief look into how her 'kook year' affected her and it was not good. More isolation, blurred identity, insecurity and this time suicidal thoughts, with no one to turn to for support, assuming she was not on good terms with her parents then either. I'm assuming this because for them to send her to the academy, hoping to give her better opportunities only for it to end with her wanting to cut her wrists, to then thinking the best option is to send her away again? At this point I hope they didn’t know how badly the academy affected her because sending her away a second time with that knowledge is such a hurtful and oblivious move.

Kiara already thinks her parents see her as a burden, hurting her sense of worth as is. I really wanted to like the Carrera's and I still feel like they genuinely love and care for Kie, I just need to see more communication maybe. And if they choose to include the Blue Ridge plot, which I'm leaning towards yes on that one, I hope it's handled somewhat well, preferably not a tool to create drama even though I know a lot of people want to see it be used that way. I'm very particular, I'm sorry I'm this way.

Things I've seen her being criticized for in s2 is her behavior. The thing that people have to remember is that she's 16 and teenagers are just not the best with navigating their emotions. She made questionable choices (the 'murderer' thing and 'abusing' Pope) but these are both things that fit the plot and her character. She was by no means the only one grieving so I don't know why she's being targeted for it (although I'm not surprised, the fandom treats her horribly). Some of her core characteristics are her high moral integrity as well as her headstrong belief in people and causes. She's never been one to make herself palatable for people and s2 shows a lot of this (calling out the Cameron's, going off in front of the court, etc). Even if it caused them problems and even if they are flaws, that doesn't make her an inherently intolerable character, it makes her realistic. She was not in a good place emotionally and it would've been wrong to shy away from depicting it any other way, especially in a show where the teenage experience is decently represented.

Now with the Pope thing. I think it was handled as well as it could've been considering the circumstances. It really should've never happened but to justify it, emotions are messy, relationships even messier and they were both spiraling at the end of s1. I don't agree with the way it started (why give Kie the line of literally telling him she wanted something different only to show them together next episode, I'm forever confused) but I'm not mad about how it ended. They were both in the wrong at times so only bringing up Kie's faults is just unfair.

I believe they both tried their best and even wanted to feel the right things but learned quickly that's not exactly how it works, which was how it was supposed to be shown. Not as this romanticized, idealistic healthy relationship but as one that has its bumps and was bred out of all the wrong things. All of their body language pointed towards this. Pope didn't deserve to be hurt but Kie clearly didn't intend for things to turn out how they did. She wasn't mentally comfortable enough for a relationship and I can appreciate them showing this in the ways the writers framed it. Even the conversation with Kie describing their night on the beach, I think it was perfect. It was awkward but it was honest, which is so important.

Overall, I think Kiara's gone through a lot mentally that the show could be better at exploring. It doesn't have to be big, obvious lingering shots, they can be subtle and still mean so much to people who relate to her. Seeing someone on screen grapple with real life struggles (even if the show walks a painfully fine line as far as realism), it means a lot. Especially when mental health (more prominent than ever) is so rarely portrayed to translate in any significant way in media now. It's definitely something I would love to see get more time and effort so until then, just know I'll be manifesting the screen time Kiara Carrera deserves.

#obx #outer banks #obx s2 #outer banks season 2 #kiara carrera #whoever read this whole thing kudos to you #i also hate the tumblr app for posting it twice before it was finished :)#i have MANY thoughts on kie #as well as the rest of the pogues arcs in s2 #its a curse to have this many opinions agshdjf #obx rants #i guess?

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gakkubi · 3 years

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Ame Trio's Personalities: Yahiko

I want to share some thoughts on the Ame Trio/Ame Orphans because I do think they have one of the most complex, interesting and beautiful arcs in the Narutoverse.

I will discuss their personalities and thoughts. This post is about Yahiko, there are also Nagato and Konan.

(1/3): I'll start with Yahiko because he's the one who dies first and influences the others' personalities.

YAHIKO:

Also available in Russian: ссылка на русский перевод

Although Yahiko is arguably the character who appears “less” among the Ame Trio - naturally, for dying first - he takes up significant part of the flashbacks he appears in. Jiraiya, Nagato, Konan; even in Obito’s memory of the Ame Trio - which serve the plot purpose of showing how Obito started manipulating Nagato - he spends most of the flashback interacting with Yahiko. Yahiko was extremely remarkable to all the people who met him, there is no doubt that Kishimoto took every opportunity he had to tell us he was a very important character.

Something I find very interesting about Yahiko is how easily he could be a villain; he has many of the personality traits of of classical villains. This is not accidental - in Chapter 372, when Jiraiya finds and confronts Konan, his memories of the Ame Orphans lead him to believe Yahiko was the one who first turned evil (in their conversation, Konan never clearly explains whose ideology they have embraced; it’s very implied Jiraiya was inclined to believe that was Yahiko).

This is built purposefully to confuse the audience regarding Pain’s identity as the one who possesses the rinnegan is Nagato; one has the “villainous” personality, the other has the power.

Of course, we all know Yahiko is not a villain, even though he could easily be. Yahiko’s most powerful personality trait is his ambition; this trait is the one that will always surpass the others.

Yahiko is a survivor; we are shown repeatedly that he would do just about anything to to keep alive (and Nagato and Konan with him). We are shown some of his big and most drastic actions like stealing, but minor details like cooking, gathering supplies and stabilising a house for him and Konan - taking from the story and Nagato’s conversation with Jiraiya, it’s safe to assume Yahiko was the mastermind behind all the actions that allowed them to survive as children. Yahiko knew they needed power to survive, and we’re shown in the anime their journey to find Jiraiya and how he quickly learned to navigate in the warzone by being able to put himself in the shoes of his “enemies” and think like they did. Yahiko always had an extremely clear sense of what he wants and how to get there.

He is also a natural leader; we can’t say for sure how much of his leadership is actually his nature and how much it comes from needing to step up as the leader of the trio, given how Nagato and Konan have more passive personalities. The fact is, by the time Yahiko dies, he has been acting as a leader for more than half os his life; giving orders and being in control is his comfort zone. He will have control and boss others even if they don’t agree with him, which is clearly stated when he tells Konan he believes Nagato is the one who will bring peace; he put Nagato in that position regardless of Nagato’s opinions - Konan will support Nagato and not him, regardless who she thinks is the “bridge to peace” (Chapter 509).

In that particular flashback of Jiraiya, there are two classically villainous traits shown: the first is anger; it’s implied that Yahiko is a kid full of anger and hate, but in fact, he is a very emotional and sensitive person - in that, he is very similar to Nagato - although unlike him, Yahiko will almost always express his feelings. He’s angry because he’s in pain and won’t conform to his fate as a victim of a poor country. The second one is both his ambition and megalomania: He will change the country, no matter the lenghts he has to go through.

Another strong trait of Yahiko’s thought process is that ends justify the means. This is proven by many of his actions; to survive, he will steal; to defend others, he will put his own life at risk - the ultimate proof of this is sacrificing his life to save Nagato and Konan from Hanzo. They are the ones who must survive no matter what; no matter if he dies. Although the famous “the end justify the means” sentence is usually associated with Machiavellianism, Yahiko doesn’t display the other traits needed such as manipulativeness and indifference to morality to classify him as a machiavellian person.

Yahiko could easily become a “villain”; he has unbreakable ambition and he’s willing to go to extreme lengths to get what he wants regardless of the opinion of those around him. I could easily say just about the very same about Obito, Madara and Orochimaru with a few changes here and there; I could even describe adult Nagato like that.

Seeing this particular scene in Jiraiya's memory, his ambition and anger and a "well-intentioned world-domination" goal are enough to convince the reader to believe Yahiko is Pain, even before seeing his appearance. It's notable that Nagato doesn't reply anything while Yahiko is screaming at him, highlighting his more passive personality.

You, reader, must be rather shocked at what I'm saying, because Yahiko is the only one who was never evil among the three of them; in fact, the others turned evil because of his absence. Yahiko is such a special character because he was all those classically villainous traits, the key to his character lies in why he never turns evil despite all of that.

Ambition is the trait that will rule above all; but his vision comes second in command. We are shown Yahiko is a very sensitive child, he cries a lot, he's easy to anger because he's overwhelmed by the situation he finds himself in. In the same flashback that gives the audience all the reason to believe Yahiko could be Pain, Yahiko himself admits inflicting pain on others wouldn't work as a solution.

The very fact that Yahiko wanted help from the very people who were destroying his country and were directly or indirectly responsible for him being an orphan (that is, foreigners) shows how the end goal was more important to him than the mean of how to get there; Nagato's initial distrust was the feeling most people would have in their situation, which shows another difference between their thought process; Nagato holds grudges (he could accept Jiraiya individually, but not Konoha, and he couldn't ever get over his parents or Yahiko's death) whereas Yahiko doesn't ever let any past event, situation or prejudice come between him and the goal he wants to achieve.

But ambition, vision and idealism (which I have not mentioned yet) are all traits he also shares with villains.

What makes Yahiko different from other villains, especially Nagato, is that he develops an amazing emotional intelligence to deal with the information his sensitivity gathers from the world.

Yahiko was extremely hopeful, positive and emotionally intelligent, all characteristics he shares with other heroes like Naruto. Throughout his life, the "classically villainous" characteristics of his childhood were outgrown by the "classically heroic" traits that gained strength overtime. Yahiko walked away from the evil path he could have easily taken by confronting his "villainous" traits.

It was through the use of emotional intelligence that Yahiko dismantled the initial megalomania and revengfullness he displays in both Jiraiya's and Nagato's childhood flashbacks. It's important to highlight that Yahiko's "Savior Complex" was something that stayed with Nagato long after Yahiko no longer believed only a single powerful person could force peace upon others. Yahiko "grew out" of his childish megalomania - Nagato did the very opposite when absorbing many of Yahiko's characteristics after his death.

His emotional intelligence can be clearly seen in Obito's memories of him in Chapter 607; in that same instance Yahiko was one of the few characters to rule out the idea of the masked man being Madara. Yahiko was not especially powerful or intelligent, so he rellied heavily in taking accurate conclusions from his observations of the world.

Another sign of Yahiko's emotional intelligence is his mirroring of Jiraiya's behavior - although it may be first seen as something done just for comedy, it shows how Yahiko was eager to understand other people - mirroring is a display of empathy. The natural inclination he had to understand other people led Yahiko to develop his peaceful philosophy, and was also used for him to gather allies (as shown in the anime).

It was both his emotional intelligence and his vision that kept him from becoming arrogant (and doing things like stealing Nagato's rinnegan to himself, as Jiraiya considered plausible). Whereas villains will usually harvest power for themselves, Yahiko knew that the key to the success of his plans didn't depend solely on him and his actions. He had to support others and believe in them. Understanding the value in community and extreme loyalty was a value Yahiko and Konan shared - a value Nagato also had, which was eventually displaced by other traits. It's important to note how Nagato and Konan perceive their memories of Yahiko differently; of course their flashbacks serve plot purposes, but they also show completely different aspects of his personality, and these differences in perception reflect the own values of Konan and Nagato.

Although his ambition, energy and protectiveness are displayed in both of their memories, other characteristics vary in intensity.

In Konan's memories, Yahiko is much more kind and calm, happy but also introspective. In her childhood memories, he appears more joyful and carefree - as an adult, it's shown how he is hurt by the war, how understanding has made him kind and and how he wants to protect his comrades both physically and mentally. In Nagato's memories, he appears much more angry and harsh in comparison - the anime even takes an effort to "soften" some of his actions; in the anime Yahiko gives back some of the stealing and also prays for Chibi in his death (instead of just scolding Nagato for crying and mourning as he does in the manga).

I don't know how manga to anime adaptations work but it's possible that, due to the difference in pace between manga and anime, Studio Pierrot realized Yahiko would come across much more "evil" if he wasn't softened - and I like the adaptations because it makes Nagato's memories less different than Konan's; all they did was add moments foreshadowing a much kinder personality Yahiko would display on the chapters later on.

(Edit: I added this image from chapter 509 to better illustrate Yahiko's emotional intelligence using an actual canon moment where Yahiko himself reflects on his past feelings and how they changed as he grew up. I really like this chapter, and I think it's nice how soft and caring Yahiko behaves towards Nagato in Konan's flashbacks, worrying about his injuries and telling that "it's ok" and encouraging him to rest, as opposed to Nagato's own flashbacks that show younger Yahiko screaming and scolding him for behaving like a "crybaby" and "victim" while they were all struggling to survive. I think it's important to consider the scenarios of those flashbacks; Nagato's flashbacks find the characters all recently traumatized, while Konan's find them in a much more stable and safe period of their lives).

Yahiko was the first among the three to understand that the pursuit of "justice" would only result in more conflict as one's noble justice could be seen as mere acts of vengeance by another. All the Ame Orphans knew in their lives was war, suffering and trauma, so the decision to pursue a different path away from violence could only come from a person who could look inside their own heart without the fear of seeing ugly things and confront their feelings.

Yahiko's unshakable hope on his dream of bringing peace was a result of his ambition, his vision and emotional intelligence. His sensitivity led him to become a kind, caring person, who avoided violence as much as he could. We know he was extremely loyal to his ideals, preferring to sacrifice himself and die instead of giving up the peaceful philosophy he had established for the Akatsuki to fight Hanzo. The extreme loyalty and the will to sacrifice anything for that was another trait he shared with Konan.

Although I consider Yahiko's vision to be one of the pillars in his personality, he was also extremely naïve. Yahiko's hopefulness and faith in his dreams and plans were not countered by opposite personality traits like being cynical or hesitant. The first time we see Yahiko being naïve was at the very idea of approaching the Sannin and begging for training, which could have easily ended with them all killed (or, more likely, just ignored). Unfortunately for Yahiko, his biggest flaw was not putting limits to how much he believed his ideals, leading him to fall in a trap he could have easily avoided - I left this trait for last because the anime makes Yahiko's willingness to believe Hanzo a key reason for falling on his trap, even though the manga never shows evidence for that and only implies Yahiko's innocence by Nagato's perception of them being "still children." However, I still think it's fitting for someone who displayed early signs of megalomania to have such naïvety.

Other traits that were not mentioned are less about his ideals and more about his nature; Yahiko is also naturally expansive, friendly and unafraid- these traits help him to become both the trio and Akatsuki's leader. In Chapter 509 Konan mentions he was adored by the rest of the Akatsuki, and it's very implied in the manga (and shown in anime fillers) he lead the Akatsuki with a egalitarian philosophy, not abusing his positon as leader through authority, which is another important trait of his personality; Yahiko may be bossy and unreceptive to challenges on his orders, but he is not comfortable with hierarchy and the idea of some people acting as if they were better than others.

I won't talk much about Yahiko and Konan's romance as I don't believe "being in love" can be a part of someones personality, and I don't believe his decision to kill himself to save her and Nagato was influenced by being in love. His decision to sacrifice himself comes directly from his “ends justifying the means” logic, even if in that particular case the survival of Nagato and Konan is the end which can be justified by the loss of his own life.

I do believe, though, that there are many reasons why they could be attracted to each other and I'll highlight specially their loyalty. Yahiko and Konan are both extremely loyal people; Yahiko is loyal to his ideals, Konan is loyal to what she considers "her own'' - her friends, her people. They are also people who are full of faith in the things they believe in; we are never shown Yahiko having doubts on his plans, as well as we never see Konan ever doubting the capability of the people she supports. People who share such characteristics of loyalty and faith will find great comfort in each other, creating a positive circle of both giving and receiving love and support.

Yahiko's expansive and dominant personality, as well as his positivity and hopefulness contrast immensely with Konan and Nagato's passiveness and melancholy. He is shown to be a person who could deal with his pain and his traumas, and was likely the biggest emotional support of the other two; as he himself said, he had hopes and dreams, his dreams became Nagato and Konan's dreams. His death left an immense void that could not be filled with positive, healthy thoughts and feelings, as Nagato and Konan always relied on his hopeful ideals.

The very traits that could have easily made him a villain are the same ones which lead him to achieve his and the trio's survival. Yahiko's personality exists in a delicate ballance between many "classically villainous" traits and the abundance of other solid "classically heroic" foundations.

By taking a complete look at his character it's easy to understand why his death was something really, near-impossible to recover from given the circumstances, and why the love and respect they felt endured so long after his death.

#yahiko #meta #mymeta #character study #character analysis #analysis #naruto #naruto meta #amegakure

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sometimesrosy · 3 years

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Hey. It's been a long time since I had a question. Maybe the 100's demise was the reason.

Now coming to my actual query. This past year I have binged numerous shows ranging from American to korean dramas or Turkish dizis. There is certain thing that I have felt and noticed throughout i.e., the woman characters aren't given even a slight leeway by the audience. If the even make a slight mistake, the audience remembers it always to stand against that character. Whereas if there is a male villain, people gets cheerful seeing even a slight bit of humanity in him. They even wait for its redemption.

Let me take an example of a Turkish show "kara sevda(black love)". A one line synopsis can be put like- two leads who love each other endlessly but can never be together. So, the villain in that show is beyond redemption. That character has fallen so far off that there is no coming back. But still when he is playing with a baby, people's comments are like 'best moment of the show.' 'see he is such a good person'. 'the female lead should accept his love'. Am like what?

And if I tell you about the female lead. She is a good person at heart who is sacrificing love for family. And she is labelled "selfish" by audience. 'She doesn't deserve the male lead' etc. And you know I too felt like that for the majority of the show until I reached the point of self reflect.

Even Clarke from the 100 faced so much hate that there wasn't any visible backlash when in the end the makers made her a villain. The backlash was for Bellamy death and stupid end instead.

Looking through tv series, it's so easy to see why tv or films doesn't have female anti heroes. Male anti heroes are so easy to find and also widely successful like Damon from tvd or Klaus.

What is your take?

Yup!

Yes.

Definitely.

You are absolutely correct. The leeway for female characters to show human imperfection is very, very thin. Meanwhile, a guy can literally blow up a planet, kill his beloved father, have temper tantrums with kicking and screaming and torture the female main characters and fandom-- and the creators-- think that makes him a hero. And the requirements for his redemption, if there are any at all amounts to:

WOOPSIE! I'M SOWWY.

I simply do NOT understand that phenomenon.

I mean, I get the need to relate to darker characters, morally gray characters, to explore our own negative impulses...but the whole tendency is, for me anyway, given a more sinister light when you compare how the audience tends to treat these outright villainous male characters compared to even SLIGHTLY morally gray female characters. Maybe just flawed.

It also interferes with satisfying redemption arcs. Because YES watching someone face their dark past and attempt to become better and be redeemed is a great story... but if male characters only have to wear a cape and be hot to be redeemed.... then that's not a satisfying redemption arc. And if women can't do ANYTHING to be redeemed because they are considered irredeemably selfish or whatever for the same flaws someone's Hot Dark Badboy smirks about and isn't even sorry for? Then we barely even get redemption stories for women.

And that's part of the problem, isn't it? Women aren't allowed the same representation as men... even as flawed characters.

The point of good representation is not to represent only the best, most perfect, most desirable, most successful type of people. The point is to allow everyone of any sex, race, gender, sexuality, religion, class, ability, etc to take part in the full spectrum of humanity in our stories, good and bad and mediocre. A female Mary Sue is just the female version your general male hero. One is considered bad storytelling the other is taken as The Way It Should Be.

Women are not allowed to have flaws in most of our pop culture, or women are ghettoized into only women's fic or romance or YA, or women take backseat to male villains, or whatever.

I'm writing a book where the woman abandoned her child, and she sleeps around and cons people and avoids commitment. I purposely wrote her to be unlikable.... or rather, she's not unlikable, she's clever and funny and weird, but she has characteristics that women aren't supposed to have. She essentially acts like a male anti-hero, until her call to action and she is forced to face her past mistakes. But I know that these are things that audiences say are irredeemable for women. Abandon her own child?? No. Not allowed. Even though plenty of male characters go off on adventures leaving wife and child behind and it isn't even considered a character flaw, just... a male adventurer. Or honestly, just a guy. Sure one who's imperfect, but that old ball and chain was probably the worst, right? He had to move on and now he has a tragic backstory and complexity and oh the audience will probably either want to be him or want to be with him, because, that's how these things work.

Not saying that characters shouldn't be dark, do bad things, have flaws, be anti-heroes, have redemption arcs, or have a deep, multilayered villainy.

But I am saying we might want to be a little more critical about what we consider irredeemable for certain people and what war crimes and abuse we let some characters get away with in the name of bold (white) masculinity.

IS the nature of being a (white) man we look up to someone who destroys other people?

I think that toxic masculinity IS seen as sexy. Unfortunately, that's one of the reasons it's seeped into our culture. Manly (white) men who abandon kids and kill without remorse, but with muscles. Manly (white) men who murder whole regions because bad things happened to them, and smolder while doing it. Manly (white) men who commit genocide regularly, but fall for the heroine and save her once. Manly (white) men who are serial killers but with an intriguing depth.

tbh there's lots more to say on the topic, some of it very controversial. These are the stories we like to hear and the characters we love. And it might be rooted in the toxic masculinity that our society has been selling to us as propaganda for decades, if not centuries-- but we don't like to be told to examine our biases, our tastes, our preferences, or our beliefs. It's threatening to our sense of self.

However, that is how you unravel all sorts of toxic belief systems, from misogyny to racism to homophobia to bigotry of all kinds. I added the (white) to this post after I read through it, because I realized non white male characters are not allowed this leeway, either. So this phenomenon is generally (not always) limited to white men. Why?????

my theory? we're still making the colonialists the heroes of the story, friends.

#misogyny #toxic masculinity #media #anti heroes and villains #colonialism #pop culture #fandom #redemption arcs

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thedumpsterqueen · 4 years

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Standards of Performance, Chapter 12: What Happens in Alleyways

From the Beginning, Previous Chapter

AO3 Link

Sorry it's a lil short, it's more of a transition chapter to actually jumping into this case and Reader's now even more confusing "relationship" with Hotch. Things get kinkier and angrier and more explicit from here, but I'll do my best to tag stuff. Thanks for your patience as always, guys, especially amidst the dumpster fire that is current events right now <3 Your reblogs and tags slay me and I love it.

Summary: You’re the BAU’s newest intern, desperate to prove yourself amongst an established team of much more experienced profilers. Agent Hotchner, the seemingly infallible team leader, sets strict expectations for your performance. He commands your respect without even trying, but is there something more to your relationship than a simple desire to impress your stony-faced boss?

Chapter Summary: Turns out, the world doesn't stop on its axis just because you had sex with your boss. You’re unsure whether or not that’s a good thing.

Words: 1,882

Rating: Explicit, 18+. Violence, dark themes, explicit sexual content. More specific warnings on AO3.

Pairings: Hotch x Reader, Hotch x You

You awoke to the dim light of the dawn, rain gently pattering on the windows, and the blaring sound of Hotch’s ringtone three feet from your face.

“Jesus christ, old man,” you groaned, blinking your eyes open, “turn your hearing aids up.”

Already sitting up in bed, he paused with the phone halfway to his ear.

Shit. You were being too casual - waking up in his bed, joking with him. Acting like you belonged there. You didn’t know how he felt about what happened, for all you knew he regretted every second and-

“You’re paying for that later,” he smiled before answering the call.

The playful threat filled you with relief before it made your stomach flip, and the memories of last night came flooding back. His body, his eyes, his hands all burned inside your eyelids as if you’d been staring directly at the sun. You’d never been in this situation before - waking up next to someone you’d spent the night with and desperately hoping it was the first time rather than the last. But you’d also never felt your body sing with the white-hot pleasure it did when it was touched by the seemingly unattainable man who did so last night, so. There was that.

The low rumble of his voice brought you back to the present, and you looked up at his face to find it was twisted up in concentration, resignation, and something else.

“I’ll be right down,” he said, standing up swiftly and pulling his work clothes on with practiced speed. “Don’t let anyone touch anything.”

He shoved his phone in his suit pocket and looked at you, still tangled up in his sheets.

“Get dressed and meet me downstairs,” he said, terse. “There’s a body in the alley outside the building.”

“Outside this building?”

“Yes,” he responded, “and there’s a note.”

As he swept out the door, leaving you reeling, you realized what the other expression on his face was. Fear.

***

Hotch had gotten ready and exited the apartment before you had even processed the situation, and your mind was racing a mile a minute as you flung yourself out of bed and scrambled to get dressed. The logical assumption, of course, was that the stalker had left the body. People didn’t just end up dead in alleyways in this part of town, and certainly not in the middle of a rainstorm mere floors from where the BAU Unit Chief slept - not without a reason.

You threw on your coat and boots, forgoing contacts and makeup in favor of your glasses and a hat to cover the tangled mess last night’s tryst had made of your hair. Without even pausing to look in a mirror, you scurried down the stairwell and exited the lobby into the cold October wind.

It was easy to tell which alley the body occupied - there were an excess of thirty people milling in and out of the space to the right of the building. Crime scene investigators, policemen, and other personnel talked in hushed voices. You spotted a clearing in the sea of people and knew that’s where the victim would be, given a wide berth per Hotch’s instruction.

The team hung out at the edge of the circle watching Reid, who was kneeling in front of the body slumped against the side of the apartment building. Moving closer, you could tell he was in the middle of one of his spiels, gesturing wildly while the everyone nodded along. You joined the group that had formed around him and caught the middle of what seemed to be a hypothesis about victimology.

“ -no patterns, obviously, but if we assume similar characteristics would be present in all his victims, it’s hard to discern what statement he could be making. Positing a male in his mid-to-late twenties is statistically most likely, but stalkers of this age group also frequently have some sort of sexual motivation, and if the autopsy is consistent with what we can observe now,” he gestured to the body, “I don’t think that’s the case here.”

Throughout his speech, you’d been scrutinizing the victim - a brunette women who looked to be no older than 20, arranged in a half-sitting position against the wall behind her. There was no blood anywhere you could see, in fact, she barely looked dead at all, likely thanks to the below-freezing temperatures last night that had put a pause on the early stages of decomposition. Pinned to her shirt was a white envelope that bore an ominous message in bold, black ink:

“For my friends at the BAU.”

Not hard to guess who had killed this woman.

“Can you determine cause of death, Spence?” Prentiss asked, her arms folded.

“I’m not sure, but if I had to guess…” he used his pen to push the victim’s hair to the side, exposing a neck mottled with stark blue bruises.

“Anger, then,” you offered, speaking to the psychological drivers behind strangulation, “but I doubt we’ll find any sign of sexual assault. The unsub made it clear that his disdain is directed towards us; it’s not likely that would extend to his victim.”

The rest of the team nodded in thought, but Hotch looked at you in surprise, as if just noticing your presence. As his eyes glued on yours, his face changed, and he grabbed your arm in an unpleasantly tight grip.

“Open the note. I’ll just be a moment.”

Unaware of his boss’ sudden change in demeanor and the vice on your elbow, Morgan gloved up and reached for the envelope. Hotch, meanwhile, unceremoniously dragged you down the alleyway and around to the deserted back side of the building.

“What the hell?” you hissed, yanking your arm out of his grip.

“Did you fail to look in a mirror before you came down here?” Hotch’s narrowed stare betrayed nothing but contempt, and you scrambled to determine the implication of his question.

“I’m sorry, did you want me to take a shower before looking at the dead body? I did the best I could, it seemed urgent -”

“No,” he snapped, “I’m referring to the fact that your neck looks worse off than our victim’s does.”

You processed his words for a moment before the implication hit you.

“Are you talking about the hickies?! Christ, Hotch, I’ll get a scarf then. Just give me a second!”

“Please do. I’d like my agents to appear professional, not like they’re college kids coming off a one night stand.”

His words halted your stomp back into the building, and you turned back, furious.

“You put them there! How is this my fault?”

“I didn’t think I would have to be this explicit about the fact that I don’t want the fact that we had sex last night broadcast to everyone at the crime scene.”

You gaped at him in disbelief.

“Are you embarrassed or something? I’m sorry if you regret what happened, but you don’t need to lash out at me like this -”

“I’m not lashing out,” he interrupted, “I’m informing you of my expectations for my agents. Is there a problem?”

You wanted to scream at him. You wanted to smack that perfectly raised eyebrow and controlled expression right off his face. But he was boxing you in - speaking to you as your boss and not the man you slept with last night, and as much as you hated him for it, your sense of self-preservation won out.

“There’s no problem,” you mumbled, unable to make eye contact as you slipped past him and around the building.

You made it halfway up the stairwell before the tears started flowing. Had you really thought sleeping with him was going to change something? That he was going to ask you to be his fucking girlfriend, like he wasn’t the chief of your unit and you weren’t a twenty-something intern? For all you knew, he did this all the time. His level of skill in the area certainly made it seem like he did.

That wasn’t true, though, you knew it. He may not reveal much, but you could tell it had been a fraught decision to let your relationship develop the way it had. Perhaps even a decision he regretted now - and it certainly seemed so, given his behavior.

Wiping tears on your sleeve, you fumbled with the spare key he’d given you to his apartment and walked in. You glanced in the mirror by the entrance and your eyes nearly bugged out of your head. Hotch wasn’t exaggerating when he likened the marks to strangulation - indigo smudges, still peppered with the angry red of burst capillaries, circled your throat.

It was a juvenile, possessive, ridiculous display, and Hotch was absolutely right to label it unprofessional. And yet, the thought that you’d walked onto the scene bearing the marks he’d given you filled you with a thrill so intense you had to brace yourself against the entryway table and clamp your legs together.

Breathe. There’s still a fucking murder scene downstairs.

You steadied yourself and headed for your duffel bag, where you’d thankfully packed a scarf in preparation for the cold snap that was predicted to hit the state this week. Midway through unzipping your bag, though, your eyes landed on his dresser and the devil sitting on your shoulder, buzzing with a deadly combination of anger and arousal, whispered a terrible, reckless idea in your ear.

***

You practically skipped downstairs to rejoin the team, who appeared to be engaged in a lively debate about the contents of the envelope Morgan was holding. After gloving up, you reached out a hand towards him.

“Can I read it?”

He handed it over, distracted by another stream of consciousness from Reid. Hotch took note of your return and glanced in your direction before turning back to the conversation.

You pretended to read the note and waited for him to notice.

You waited all of three seconds.

He whipped his head back so comically fast you struggled to suppress a snort, and you knew exactly what he was looking at. A midnight blue cashmere scarf, nicked from his dresser and wrapped artfully around your neck to cover the bruises, just like he’d asked. The first compliment you’d ever paid him was in regards to this scarf; tentatively whispered when he’d worn it to a chilly 2 am crime scene. He’d accepted the compliment passively, but the optimistic part of you had noted that he seemed to wear it much more frequently after that.

You weren’t entirely sure what statement you were intending to make by wearing it, but his reaction told you you’d certainly succeeded at provoking something.

Morgan reached back out for the note you were still pretending to read and dropped it in an evidence bag. If he noticed Hotch steaming from the ears next to you, he didn’t say so.

“They’re ready to pack everything up and head back to the lab. Let’s meet ‘em there?”

Everyone nodded in the affirmative and headed back to the SUVs.

“You riding with me?” Morgan asked, nudging your ribs with an elbow.

“No,” Hotch answered for you, an unseen hand suddenly gripping the back of your neck. “She’s not.”

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tvandenneagram · 4 years

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Avatar the Last Airbender: Zuko - Type 6w5

Zuko is complex, emotional and holds a lot of self doubt. Throughout the series Zuko changes a lot as he learns who he is and becomes more sure of himself.

At his best, Zuko gains a sense of calm and a better sense of self (integrating to 9). By the end of the series, Zuko grew into a benevolent leader ushering in an era of love and peace. He finally realises the love he gets from Iroh and becomes truly happy.

At his worst, Zuko was bitter and jaded because of his exile. He carried a pompous attitude and had a fixation on regaining his birthright. Zuko would sometimes resort to dishonest means to achieve his goals or to secure his safety (disintegrating to 3). For example, he stole from the family who took him and Iroh in for dinner.

Even in the first season, Zuko was principled and loyal. There were numerous times when he had to choose between capturing Aang and the safety of his soldiers or Iroh and in every instance Zuko chose to leave Aang behind. Additionally, Zuko was banished because he felt the need to speak up because he felt it was wrong for Fire Nation soldiers to be sacrificed.

Throughout the series, Zuko experiences a lot of internal conflict and often behaves like a walking contradiction. For example, he would always say he was marked as unlucky but at the same time believe he made his own luck. This kind of duality and contradictory nature is something that is often seen in 6s.

Like Sokka, Zuko has shown himself to be quite strategic. For example, he successfully hid his movements from Zhao by using the damage done to his ship as a smokescreen. He was also able to evade an attempt on his life and make Zhao think he had died. Zuko is also able to think quickly and solve problems, such as using his swords to shine light on the sunstone.

Zuko was the typing that I struggled the most with, because he shares a lot of traits with other types. I have seen Zuko typed as a 4 and an 8, however the enneagram is about motivation and I do not think that Zuko fits the motivations of these types. For Zuko I was stuck between a 1 and a 6, because his main motivations were to regain his honour and to become accepted by his family again. Ultimately I settled on type 6 for Zuko over type 1 for a few main reasons. The first reason was that Zuko is very reactive and has trouble controlling his emotions. This is much more in line with type 6 than type 1, as 6s are part of the reactive triad. Furthermore a key characteristic of type 1s is that they repress their anger which is something Zuko is not successful with. Zuko often uses his anger as a sort of fuel for his actions and it is a driving force of his bending for most of the series. Another reason why I think Zuko is a 6 over a 1 is that he will resort to immoral acts if they need to be done more readily than a type 1. That said, Zuko does have an extremely strong moral compass and will always try to do the right and honourable thing. For example, he tries to save Zhao even though they are in the middle of an Agni Kai and Zhao had tried to assassinate him.

Type 6s often have complicated relationships with their father. Obviously this is evident in spades with Zuko (who at one point even called the Fire Lord the Father Lord). He was never treated well by his father but always wanted to earn his respect and approval. This is quite common in type 6s who often seek acceptance and approval from their parental figures. 6s seek stability and want to have a safe home. At the beginning of the series, Zuko has been exiled from the Fire Nation and has been told that the only way he will be welcomed back is if he finds the Avatar. This is essentially a wild goose chase as at the time he was given the mission nobody knew about Aang. Even so, Zuko doggedly pursued the mission as it gave him a false sense of hope of being able to return home. It takes Zuko a long time to learn that he will never get the acceptance he craves from his family and to appreciate Iroh's unconditional love.

Zuko shows his 5 wing as he is more reserved and aloof than a 7 wing. He is also more independent and will often push people away (like Iroh) which is unlikely in a 7 wing as they are more people-oriented.

Tri-type: 6w5 - 1w2 - 4w3

Some quotes to describe Zuko’s traits and motivations:

"I used to think this scar marked me – the mark of the banished prince, cursed to chase the Avatar forever. But lately, I've realized I'm free to determine my own destiny, even if I'll never be free of my mark."

"I've struggled for so long to do what's right; to even know what's right. [...] But asking you to end me if I went bad; that was like asking you to figure out right and wrong for me. [...] I understand now. The struggle isn't something a Fire Lord can escape."

"After I leave here today, I'm gonna free Uncle Iroh from his prison. And I'm gonna beg for his forgiveness. He's the one who's been a real father to me!"

“I finally have you [Aang]. But I can't get you home because of this blizzard. There's always something. Not that you would understand. You're like my sister. Everything always came easy to her. She's a firebending prodigy and everyone adores her. My father says she was born lucky. He says I was lucky to be born. I don't need luck, though. I don't want it. I've always had to struggle and fight, and that's made me strong. It's made me who I am.”

"For so long, all I wanted was for you to love me, to accept me. I thought it was my honor that I wanted, but really, I was just trying to please you. You, my father, who banished me just for talking out of turn! My father, who challenged me, a thirteen year-old boy, to an Agni Kai! How can you possibly justify a duel with a child?"

[yelling angrily toward the sky] “You've always thrown everything you could at me! Well, I can take it, and now I can give it back! Come on! STRIKE ME! You've never held back before!”

“I’m angry at myself!

“I don’t need any calming tea! I need to capture the Avatar!”

“Why am I so bad at being good?”

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clayandstuff · 4 years

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Becho Musings Part 2

Some more musings about Becho while simultaneously addressing unfounded blorke takes that make my blood boil and have no basis in reality. Focusing on S5 and on since I’ve already covered Becho’s relationship before they got together, this will look at them specifically as a couple. Posting this for posterity on my blog.

TL;DR

Not to accidentally validate any of these blorke claims by talking about them or giving them attention, but they’re so easily debunked by canon I can’t help myself...

Garbage take #1

Echo is just following Bellamy, she doesn’t love him, he is her King, they have a spy/king dynamic (lmao this isn’t even a real thing like wtf does this mean? You can tell blorkes are pressed about the knight/princess racist trope their ship falls into but you can’t just make things up! What a sad, misguided attempt to create a false equivalence between bellarke and Becho. A spy/king dynamic is literally not a thing - and unsurprisingly, it doesn’t accurately represent the relationship between Bellamy and Echo at all - but nice try I guess), Echo is only looking for someone to follow and take orders from, etc.

There’s so much to break down in this hot garbage take:

Before I get into absolutely destroying this hot garbage, let’s quickly address how the subtle framing of these “arguments” purposefully doesn’t acknowledge Bellamy’s feelings for Echo. Attempting to discredit Becho by designating Echo as a follower deliberately disregards Bellamy’s active role in his relationship and his feelings for her. Bellamy loves Echo and that’s clear throughout the show, but it’s wonderfully vocalized on screen multiple times in S5. Bellamy considers Echo his family (5x01 “we’re family and nothing can change that”) and it’s explicitly verbalized in 5x07 (”Our friends are there. People we love”) and once again in 5x12, from Clarke herself, when she told Echo “Bellamy loved you”. So, ya know, Bellamy loves Echo. That’s not debatable.

So first off, Echo’s relationship with Bellamy is not at all like her relationship to the Azgeda royal family (who she was in servitude of and essentially employed by). This is one of the worst takes I’ve ever seen and I’m not sure how anyone can logically come to that conclusion? (Which is mainly due to the fact that this claim is made in bad faith and isn’t actually based on logic or what we’ve seen in canon, but I digress). Not to mention Echo refers to Roan and Nia with honorifics and obviously does NOT do that with Bellamy, seriously wtf show are blorkes watching... Being loyal or devoted to someone does not mean the same thing for every relationship. Context matters. People can be loyal to each other for a variety or reasons, family/survival/clan/duty/temporary alliance/self-preservation/etc. Echo's never even hugged Roan, that already contextually makes her relationship with Bellamy very different from her relationship with Roan. Being devoted to someone because it's your job to protect the royal family (as a member of the Queen's guard and spy for the Ice Nation) is not the same as being devoted to someone because you are in love with them, in a romantic relationship with them, and want to keep them safe because they’re precious to you. Hello??

The other glaring inaccuracy with this garbage take is that Echo is not someone who just follows people or orders. That’s never been her character. She is a soldier, like Bellamy - but even when she was loyal to Azgeda she was never just a good little follower. She singlehandedly took control of Polis for Azgeda and commanded the entire Azgeda army in Roan’s absence. She doesn’t sit around waiting for people to give her orders or tell her what to do next. That’s simply contradictory to what we’ve actually been shown on the show. Mischaracterizing her as such is nothing more than a blorke ploy to minimize (and outright ignore) her strengths and agency as a character, intentionally erasing the fact that she is a brilliant strategist, skilled warrior, and a trusted political confidant.

Also, did blorkes forget that she’s literally a goddamn spy?! Being a spy is not the job for a follower who can’t think for themselves and needs someone to take orders from. A spy is given a mission and it’s up to them alone to make it happen. There’s actually an enormous amount of freedom and trust given to a spy. No one gives you step-by-step instructions to achieve your goal. You are literally on your own, often in enemy territory, having to think on your feet, adapt, and come up with a plan to get the job done. Oops embarrassing they forgot she’s a spy (it’s laughable to watch S7 and think she would ever actually betray her friends. She. Is. A. Spy. Infiltration is her job - we even saw her successfully infiltrate Diyoza’s camp in S5 and Diyoza herself actually admits she “got played” by Echo - CMON. Loyalty is her defining characteristic. PAY ATTENTION)

Calling her a follower is such a gross mischaracterization. Just look at her relationship with Roan (her actual King). She constantly argues with him, gives him push back, and even insinuates that he’s weak (to his face) on more than one occasion (in 4x01 when she flat out tells him “we can’t afford for our people to think you’re weak” and he gets offended enough to call her out on it, and then again when she’s sparring with him in 4x02 and offers to take his place once she knocks him on his ass). She doesn't even follow orders all that well if we're being honest (bless her little panda heart). She's the one who tells Roan to "send me to Arkadia" when she thinks Skaikru isn't being honest. She's the one telling Roan, the king, what to do! Not only does he let her talk to him like that, he actually values what she has to say.

Furthermore, the one time we see Roan actually give her a direct order (to bring Octavia back alive) Echo ends up NOT doing that (lol). She isn’t afraid to speak her mind or make her own decisions. One of her biggest character defining moments (that gets her banished from her clan) is when she decides to act of her own volition and go directly behind Roan’s back, to cheat in the conclave. No one ordered her to do that, it was all her. And there’s also all of the S7 Bardo Disciples plot which further proves that Echo isn’t just some mindless follower (cough cough Bellamy with the Shepard cough cough and Pike...). She’s always been her own person who thinks for herself and does what she believes is best for her people. (Even as far back as her introduction in S2 when she realizes Bellamy is Skaikru but still decides to trust and work with him in Mt. Weather. She also silences all those grounders in the cages with a single command and they ALL shut up and obey her, but sure yeah she’s just a follower 🙄🙄🙄)

So now that we’ve established how she interacts with Roan, let’s look at how she interacts with Bellamy. I’ve already detailed their attitude towards each other before they get together here, but now let’s look at how they act as a couple.

In S5, we see in their first scene together that they are very affectionate towards one another (so much kissing, arm rubbing, smiling, and forehead touching) as they mutually comfort each other. Echo is apprehensive about things changing on the ground because of Octavia and the fact that she’s still banished, but Bellamy makes an effort to get her to smile (even going so far as to joke about her “almost killing” his sister and him being more stubborn than Octavia. He gets her to laugh with him and even exclaims “good!” once she finally relaxes and smiles). He also tells her “we’re family and nothing can change that” - very different from her relationship with Nia (who Echo bowed down to when in her presence) who used Echo as spy/weapon of war, and Roan, who cast her out after using her political knowhow to effectively lead. Then on the Eligius ship in 5x03 they get their battle couple on by working together and fighting side-by-side to take out the prisoner who woke up. Later in that same episode, they jointly come up with a plan to deal with the cryo-sleeping prisoners that isn’t just murdering them (ultimately utilizing Echo’s plan to use them as leverage since Bellamy doesn’t want to kill them and Echo knows that it’s a strategic mistake to leave their enemy with reinforcements if they can stop it). When they don’t agree on something, they always talk it through and compromise (a sign of a healthy and mature relationship, where both people are regarded as equals and their input is valued).

Also, Echo was the one who came up with the plan to counter McCreary’s forces when he’d stolen Diyoza’s battle plans. Echo and Bellamy share a voiceover as they both relay the plan simultaneously to their separate groups. Once Bellamy finishes explaining, Octavia says to him “tell Echo I said well done”, giving Echo credit and acknowledging the fact that this is indeed Echo’s idea. Can someone kindly point me to where Echo is being a follower waiting patiently to be given her orders from her “King”?? Because as far as I can tell that never actually happens...

Side note, anyone else remember how blorkes were irate that Echo was the one leading Spacekru at the end of s5. They complained that it didn’t make sense for Echo to be in charge because “Raven was smarter” and Echo was being “so bossy”. Let’s just take a moment to acknowledge the contradictory nature of the arguments “Echo is so bossy and leading Spacekru” but also “she’s just a follower with a spy/king dynamic to Bellamy”. She can’t be both 🤣 stick to a story please. (Also, I LOVE Raven so this is in no way me shading Raven, she’s amazing and brilliant). Bonus: when the show runner is sick of your garbage takes and calls you out

To reiterate, the contradictory claims and clear disregard for facts and the truth of the show just further proves that their “complaints” are made entirely in bad faith. They are rejecting reality and demonstrate no comprehension of canon - their garbage takes should not hold any weight and are merely a form of lashing out because they’re upset their fanon ship never happened.

Getting back on topic...

So, S5 is where Becho are canonically established as a romantic relationship and the audience gets to see, for the first time, how they interact after 6 years in space and falling love. (Can I just point out that the entire purpose of a time jump is to have our characters change and be in emotionally new and different places - it’s a storytelling device to change the status quo and shake things up - it’s perfectly acceptable to have Becho get together during it given their history with one another. I address this in more detail later so we’ll put a pin in this for now)

Once they get down to the ground, Bellamy fights for Echo (both figuratively and literally) with Octavia and at every turn he doubles down on his love for Echo. To summarize, Echo won’t turn in the defectors and is willing to be banished for it, leaving Bellamy to stay in Polis with Octavia so he can still have a relationship with his sister. However, Bellamy won’t let Echo do that. He doesn’t want her to leave and he doesn’t want to be apart from her. He offers to defect with her! He would chose to give up his relationship with Octavia and Clarke (who he just found out was alive and reunited with) to be with Echo. Echo doesn’t like that plan because she doesn’t want Bellamy to be in harm’s way. She even tells him “we’ve been through this. You’re not going with me” to which he responds “like hell I’m not!” and she tells him “you are not dying for me”. Bellamy seems inconsolable at the thought of her leaving and can’t even look Echo in the eye when he’s telling her that he’ll be in the rover and it’ll only take him a few days to get to her, and once again Echo comforts and reassures him.

While Echo is at Diyoza’s camp trying to take down the eye, Bellamy has been staring at the monitor nonstop for 8 hours waiting for any change or sign that Echo made it there safely. Harper has to come in and tell him "you've been staring at that all night" and to “go, get some sleep”, knowing that if left on his own he would emotionally exhaust himself worrying about Echo and her safety indefinitely. Bellamy responds that the eye should be down by now and even says that he "wishes it was me over there". (This line reminds me of when he took her place in Mt. Weather to get bled in the harvest chamber. He is always willing to put himself in her place if it means getting her out of danger - he loves her and would do whatever it takes to keep her out of harm’s way).

Eventually Bellamy marches through the desert and carries Echo’s sword for her. He even sits by the fire and holds onto her sword because he can’t reach out and hold Echo (meanwhile Echo is being comforted by Emori that she’ll be together with Bellamy soon - I love a good yearning parallel!). When they reunite at the end of the season, they hug, grip each other tightly, and stay pressed together just being in each other’s embrace (again, this is NOT how she acted with Roan or Nia... this is a romantic relationship, and it's obviously played out on screen very differently. Echo never received a singe bit of comfort - physical or otherwise - from anyone in Azgeda).

Before they get out of the rover after rescuing Octavia, the minute Echo and Bellamy are reunited, Bellamy reaches out for Echo's hand and holds it (a callback to earlier in the season when he was reaching out for and grabbing onto her sword in her absence). Then they battle-couple-it-up again and take out the gunners making it possible for Wonkru to march through the gorge. They are equals (and partners) on and off the battle field.

S5 ends with Bellamy staring at Echo in cryosleep, yearning for her once again. And in S6 right off the bat they compromise with each other to get things done. The planet is dangerous and Bellamy doesn’t want to take fighters but Echo counters that it might be a mistake not to bring their to best fighters (Echo vouches for Octavia here) and Bellamy doesn’t want Octavia to come so instead he agrees to wake up Miller - another compromise where they make decisions together and work as a team. In S6 we also see in real-time Echo opening up to Bellamy and trusting him enough to let him in to her traumatic past, strengthening their relationship (directly in front of the audience) as Bellamy promises “from now on, we look forward not back” and comforts her with a loving forehead touch and a kiss.

Bellamy and Echo both come up with the plan to rescue Clarke from Josephine (Echo directly gives Bellamy the go ahead to “go save Clarke” while she stays back and saves the rest of their friends after they set off the EMP taking down the radiation shield). While Bellamy is in the forest, he expresses regret and worry for Echo explicitly two separate times (Bellamy asks Clarke “what about the people I left behind” and Clarke assures him his actions helped to keep Echo specifically (as well as Madi) safe. He has another separate conversation with Octavia about Echo where Octavia reassures him that “Echo’s strong” and “she’ll be okay”). Bellamy also gets more reassurance from Murphy, who informs him that “Echo is in trouble” but he’ll “do what [he] can for her”. He tries to console Bellamy because Bellamy is currently captured and can’t get to her to help. Once Bellamy returns from his mission in the forest, he sees Echo smiling right at him and he sprints into her arms, hugging her desperately and smiling into her shoulder with his eyes closed. Becho is a loving, healthy, mature relationship filled with trust and mutual respect, where both people are treated as equals.

So yeah, no follower spy king dynamic BS. Equal partners in love.

Garbage take #2

Becho is toxic because he got mad at her and called her a spy, etc.

Blorkes love to incorrectly imply that Bellamy’s little outburst in 6x04 at the party means that “Becho is toxic”. Well, if you actually watch the rest of the episode you’d see that there was a loving resolution to this “fight” 🙄

As Echo is walking away from Bellamy at the party, Bellamy instantly hangs his head in regret. He then immediately goes to find her and apologizes. He tells her “I’m a jerk. I was taking my feelings about Octavia out on you” and “I’m sorry”. Then we see Echo open up to him about her past and would you look at that! Their romantic relationship is being explicitly developed on screen! The trust! The love! The tears in Bellamy’s eyes as he listens (it hurts him just to hear what she’s been through)! The way he gets up on his bad leg (thanks Clarke) and goes to comfort her, kisses her head before he even sits down and tells her “Everything we’ve been through has brought us here. From now on, we look forward, not back”, fully committed to her and reaffirming that they’re in this together. Then Bellamy touches his forehead to Echo’s, but that’s not close enough so they kiss to be together. Their love is so palpable.

Show me where this is toxic??? Because it’s not and you can’t just say things. Words have meaning. I don’t understand how anyone can deny that lovingly resolving a misunderstanding only strengthens Becho. Getting in disagreements/arguments is part of every relationship. Becho having one (one-sided) “fight” doesn’t make them toxic. Especially when Bellamy immediately goes to apologize, knows that what he did was wrong and wasn’t fair, and they talk about their feelings and work through it together. That’s like the exact opposite of being toxic.

It's fine not to ship them, but there's no need to be willfully obtuse about canon or what the show presents. Their romantic relationship is not toxic and is arguably the healthiest one on the show.

Garbage take #3

Becho’s development happened off screen, Becho has no development, etc.

In season 5 Bellamy and Echo are revealed to be in a romantic relationship. I’ve already addressed how the ‘no development’ claim is just a blatant lie, so I won’t repeat myself here (you can just read about it in my other post which was previously linked). But let’s talk about why this “argument” is also pretty garbage and is once again made in bad faith.

S5 is THE definitive Becho season (and it absolutely slaps). Blorkes couldn’t accept that Becho were a couple because they intentionally chose to ignore all of their previous development and then had the nerve to (falsely) claim that it all happened off screen. (Which is blatantly untrue, but even if it was true - quick reminder that “lack of development” doesn’t seem to be an issue for Marper - it’s just a problem for Becho 🙄 even though most of S4 was explicitly focused on developing Bellamy and Echo’s relationship while Harper and Monty had sex once and then were instantly a couple...hypocrites 🤷). It’s the flagrant refusal to accept what’s being shown on screen that bothers me. You don’t need to make up lies and spread asinine comments about the characters - you can just acknowledge that the show is going down a route you don’t personally like. You don’t need to twist yourselves into a pretzel to justify your preferred ship. Just be honest about what’s really upsetting you.

I’ll admit that it’s fair to say you wished we could have seen more of their development becoming explicitly romantic, but the ground work is absolutely there and to say there’s NO development and that it all happened off screen (ala Gina the walking plot device who didn’t exist as a character until she showed up as Bellamy’s gf for all of 5 mins before getting killed off) is just simply untrue. And while I’m addressing genuine criticism/complaints, it’s definitely frustrating that we never got to see any flashbacks of the Ring during S5 despite getting to see both Clarke and the Bunker during the 6 year jump. Thankfully, we did eventually get to see Becho’s first kiss flashback (swoon 🥰) in S7 but even without explicitly seeing Spacekru flashbacks during S5, all of Becho and Spacekru’s interactions throughout the season made it perfectly clear how much they all loved each other and were a family. The writing and character interactions easily convey to the audience Spacekru’s closeness and tightknit bond and it was a joy to watch. Because Octavia becomes Blodreina, you need to see at least some of how that happened, so we get bunker flashbacks. And Madi is an entirely new character, so we have to see how she met Clarke. But it’s actually not that big of a leap to get to romantic Becho since it was clearly set up (we also don’t see Memori break up, but again it’s not a big leap to understand why they would given the explanation we got), so Spacekru flashbacks aren’t actually necessary although they would have been greatly appreciated.

Garbage take #4

Bellamy doesn’t care about Echo and abandoned her for Clarke

This is somehow the narrative blorkes like to perpetuate about S6, but again this is completely factually incorrect. If what they are referring to is Bellamy going to get Josephine out of Clarke’s body while Echo stays back and looks after everyone else, it still makes no sense. There is no reading of the show in which this garbage claim has any basis. Bellamy would never willingly leave Echo behind (splitting up to take care of something they previously established they were going to do is not abandoning her 🙄x50).

Here’s what is actually happening in that scene: Echo is the one who tells Bellamy that she will stay and “keep the others safe”, and that he should “go save Clarke”. (keep in mind that saving Clarke actually isn’t the end goal of what they are trying to do here anyway. They are trying to get Josephine’s mind drive to use as leverage with Russell so that their people can have a place to live). Echo told him to go because the alarms were going off and they needed to get Josephine to Gabriel instead of waiting for Jackson to get to them and take out the mind drive. Context fucking matters. Blorkes just love to twist anything onscreen to fit their agenda and it just ends up making them look delusional.

As for “Bellamy not caring about Echo”, show me where????? S6 gave us one of their softest and sweetest scenes (as well as a fireside cuddle) that begs to differ. All of S5 begs to differ. Hell, all of S4 begs to differ too. In fact, the entire goddam show begs to differ. Bellamy “sprint into the arms of my girlfriend Echo” Blake begs to differ. This garbage take has no basis in canon. It’s once again just another bad faith claim by blorkes who are hardcore projecting. Because guess what? Not caring about the other person is exactly the way Clarke feels (or more accurately doesn’t) about Bellamy. Clarke left Bellamy to die in Polis in S5. Clarke physically slapped him in his face. This is canon. That’s THEIR ship, that’s not how Bellamy feels about Echo.

Blorkes like to say Becho don’t have any scenes together, but they’re really just so tilted that Echo gets her own plotlines every season, has relevance to the story, and actually isn’t solely defined by her relationship with Bellamy. She can’t be “just Bellamy’s girlfriend” while blorkes claim that “Becho doesn’t even have any scenes together“. Those are two contradictory statements guys... again, stick to a story please. So we have Schrödinger’s Echo, who is somehow both “just Bellamy’s girlfriend” and also “doesn’t have any scenes with him”. Give me a break. Neither of these statements are true and they’re honestly just dumb. It makes blorkes furious that Echo gets narrative focus each season, so they decide to twist that into “she and Bellamy don’t share any scenes”. But guess what? Queen gets both 👑. She can cuddle by the fire with her little spoon boyfriend and also spread the seeds of revolution while sniping at Russel with her bow and arrow during an execution to save her family and friends.

Also to the people who think S6 was so good for bellarke

Why didn’t Bellamy actually realize that Clarke wasn’t Clarke. Josephine reveals herself to him, he didn’t figure it out 🥴 (Echo was able to piece it together though, so Clecho Endgame I guess)

At the naming day lantern thing, Clarke tells Bellamy that she “lost sight” of him (supposedly) being important to her. She tells him that he is her family too (which he doesn’t verbalize back oop) and she won’t forget it. How nice that that’s something Clarke COULD forget and that she said that to his face 🥴

Bellamy is oblivious that Josephine is impersonating Clarke, so much so that when he hears her say “chill out” to Gaia, he repeats back “chill out? Happiness looks good on you”. He can’t even tell that’s not Clarke and he actually thinks she looks happy 🥴

Why was Bellamy completely unfazed, not jealous at all, and totally cool with Clarke having sex with Cillian. He even says “I take it you had fun with the doctor?” and Josephine!Clarke says back “let’s just say it’ll be a while until he recovers” and Bellamy couldn’t care less that “Clarke” is talking to him about her sexcapades with other people. There’s no angst or jealousy or longing looks or sadness lsdjsdkf. He’s genuinely happy for her. Then he makes an “ugh TMI” face and turns away. As if the thought of Clarke having sex in general is uncomfortable. Great blarke content, much romance 🥴

When Josephine has control of Clarke’s body she flirts with Murphy (and not Bellamy... a huge L in the metastory)

When Josephine is in Clarke’s mind and has access to all of her innermost thoughts and feelings - there’s no mention of any hidden or repressed romantic feelings for Bellamy (but we do get Josephine taunting Clarke about an actual love interest - “it’s why you cry when you think of Lexa”). Where was all this good blarke content guys?? 😩

The crumbs were extra stale in S6 if you ask me... almost as if the story between Bellamy and Clarke is, in fact, not a romance 🥴 🥴 🥴

ANYWAY

Becho as a couple are emotionally supportive of one another, unshakably stable, communicative, open, and loving. They support each other, they fight for each other, and they absolutely cherish each other. Whoops looks like I accidently wrote a thesis paper (and I’m sure I still managed to leave a bunch of stuff out). Thankfully, the show is the show. And it will always be about canon romantic Becho. And blorkes can die mad about it while we rewatch and enjoy the show to our heart’s content 😊

#The 100 #Becho #Echo Kom Azgeda #Bellamy Blake #anti bellarke #Becho positivity #becho musings #this started out as just looking at Becho as a couple #but then I remembered some truly garbage takes that were so smelly #I had to eviscerate them #so please enjoy my now incoherent Becho ramblings #with some anti bellarke sentiment splashed in #I hope this makes some kind of sense #I had to get all this out for my own sanity #help this is so long and maybe a little bit all over the place #TLDR; all blorke criticisms of becho are just them projecting the worst parts of their ship they refuse to acknowledge #I'm so envious of new fans who never have to witness blorkes firsthand #I sincerely believe blorkes don't have a single brain cell between them #thanks for coming to my TED talk #grab a bagel on your way out

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ober-affen-geil · 4 years

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This is a very old meta I wrote in the s1/s2 hiatus, and in looking for something to post this week I happened across it. It was basically done so I decided to post it. Please keep the s1 context in mind, I did not update it based on season 2 but I still stand by everything in here.

There is something I see thrown around a lot when it comes to Max, and I want to add my two cents. I am not trying to tell people what to think on this subject, but I would like to try to explain my reasoning behind some of his motivations which manifest in...unfortunate ways. Max has almost every privilege known to an American and at times he is blinded by it. This makes him do and say things that are incredibly problematic.

He is not however, in my opinion, misogynistic.

*Please let it be known I am not condoning Max’s behavior. As much as I think his actions are extremely justifiable given context, they still come across at times as sexist and controlling. This is because Max is coming from a position of Male Privilege and his blinders cause him to fail to recognize the issue with his well-meaning intent. With that said, carrying on.*

A misogynist, in its literal definition, is someone (usually a man) who hates or is strongly biased against women. The word has developed to be associated with deep-seated sexism; not necessarily “hating” women but viewing them as somehow “lesser” than men. Max displays none of these characteristics.

He is perfectly happy to see Cam pull her own weight as his partner on duty, and he doesn’t seem to have any issue with answering to Sheriff Valenti as his superior.

On multiple occasions, he respects Liz’s autonomy as a person and yields to her authority where he has no experience (with science). She is an equal partner in their relationship, and he makes that clear.

Where I think he’s gotten a bad rap is his overprotective tendencies, specifically when it comes to Liz and Isobel. And yes, from an outside perspective there are certain lines/scenes that come across as sexist. However. I don’t believe this behavior comes from thinking Isobel and Liz can’t protect themselves. I think this comes from specific incidents with both women that leads to feelings of guilt (which manifests into a strong need to do better) on Max’s part.

With Isobel, Max is dismissive of her odd behavior and apparent blackouts as teenagers. Both he and Michael are also unconcerned with, if not outright annoyed at, her distress over the two of them leaving after graduation. (Typical teenage sibling behavior.) What happened to change that?

Well. For one thing, Isobel killed three people.

She didn’t really, of course, but Max doesn’t know that. Max outright says this about Isobel to Michael in the cave after failing to save Rosa. “We never should have left her alone. We-we should have protected her. So we protect her now.” Both Michael and Max blame themselves for the deaths of the three girls. Max is overprotective of Isobel because as far as he’s concerned, the last time he failed her she became a murderer. She doesn’t remember doing it either, which tells a clueless 17-year-old who reads a lot that this incident is connected to her mental state. Max thinks that if Isobel is pushed too far again, she will become homicidal.

Even after it is revealed that Isobel was not actually responsible for the murders, Max is overprotective of her because of who actually is. In 1x12 when Isobel resolves to talk to Noah privately, Max flat out tells her “No”. Noah violated Isobel right under Max’s nose in every sense of the word for over 10 years. Of course Max’s instinct is to not let Noah get anywhere near her ever again.

BUT it is important to note that when Isobel says “I wasn’t asking”, Max capitulates immediately. He respects Isobel’s decision to face her abuser alone and backs off to let her. He doesn’t even insist that he accompanies her. He comes with her only at her invitation and at no point tries to control the interaction.

With Liz, when they were in high school Max learns of her intentions to leave and not only does not try to dissuade her, he offers to change his plans for her. Then Rosa died, which he thinks was his fault, and she left before he could say goodbye. What happened to make him so protective of her?

She got shot and died in front of him.

The only reason Liz Ortecho survives the pilot is because she had the good fortune to die in front of the only undercover alien in Roswell who had the ability and the inclination to save her life. Max is not overprotective of Liz because he is under the paranoid and mistaken idea that she will break without him there to save her, he is overprotective of her because that’s almost exactly what actually went down. He knows that there are people in this town who bear Liz a very violent ill-will and they have already proven they will act on it. And the last time it happened he was literally the only person able to do something about it.

And when he finds out that Liz, completely unwillingly, is mentally connected to Noah, the man who used Isobel as a sock puppet for over 10 years? To know that Noah has now violated not one but two of the most important people in Max’s life, who he feels responsible for, who he views as under his protection? Yeah, he’s pissed.

And yes, his comment about Liz being “marked” by Noah comes off as very caveman territorial. But. Again, important to note. Max does not act on those feelings. He has every opportunity to literally kill Noah with his bare hands for what he did and he doesn’t do it. (Well. Not until later when it’s in self-defense.) He is ready to let the serum run its course, he doesn’t have to take matters into his own hands and prove how manly and protective he is.

What I’m trying to say is, Max does some things throughout season one that come across uncomfortably close to controlling or otherwise misogynistic behavior. I, personally, do not believe that his motivations come from a place of sexism, and I disagree with the standpoint that Max is a misogynist. He’s just trying to do his best for the people most important to him.

#roswell new mexico #rnm #my roswell meta #max evans #tw abuse #tw murder #tw mysoginy #tw non consensual possession #a riley special

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goneseriesanalysis · 4 years

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Subversion of Tropes

Spoiler warning for Fear, Lies and Plague down below

TW: mentions of s@xual @ssault and r@pe

In my recent post, Misogyny in Gone, I pointed out numerous instances in the series where misogynistic tropes are present, and how that affects the narrative of the story. The women often seem to be underdeveloped, sexualised and demonised for choices and characteristics that their male counterparts make and have with no consequence. Of course this is not true for every female character, and it is certainly not present all the time, but it still has a huge impact on the story. There is one scene in particular though, that seems to subvert these tropes and I wanted to talk about it as I think it is both a really important aspect of the story and introduces us to a fascinating power dynamic, that I really wish mg had developed further.

The interplay between sex and violence is a theme that is heavily prevalent in Plague and is present in both Lies and Fear. It shows up in many different forms throughout the series and presents itself in multiple ways such as: Caine and Diana’s relationship, Astrid and Orc’s Scene in Plague and Drake with pretty much every attractive woman he comes across. This is a theme that mg writes particularly well – Astrid and Orc’s scene in Plague (with a small cameo from Drake) is one of the best written examples of this trope I have ever read. However, for me personally, this scene is marginally outdone by another example of this trope that occurs in Fear – that being Caine’s cementing.

Not only does this scene have the cathartic tint of revenge to it, but it also subverts this trope in that it is the woman who is the perpetrator and the man (boy) who is the victim. When I first read Fear, nothing about this scene seemed even remotely sexual to me (because I was a child and unless it was outright stated I was never going to pick up on it.) But, when I re-read the scene a few days ago in preparation for my misogyny in gone post, I noticed how reminiscent Penny’s takedown of Caine is to the way women typically experience sexual violence (both in media and real life.)

So the scene starts out with Caine turning up to Penny’s house to discuss the situation with Cigar. Great. Fast forward a bit and we get to Penny outright telling Caine that she has a crush on him….and him outright rejecting her. Instead of accepting this, she pushes, telling him that she could be anyone in his imagination. He rejects her again. And she does not take that well. While she doesn’t show it on the outside, we as a reader get to see her internal monologue, where she has an extremely inappropriate reaction to his rejection. It is clear from this that she feels entitled to his affection, despite him never giving any indication that her feelings were reciprocated. Penny seems to believe that Caine has falsely led her on, but we as a reader know that he has rejected any and all advances that she has made and has not ever, in canon, used her crush to manipulate her. (Before I continue I want to make it clear that I am by no means saying that Caine is innocent. Penny has every right to be angry with him for a multitude of other reasons. But her reasoning here is misguided.) So the first question that this brings to mind is: Would Penny have continued with the cementing if Caine had welcomed her advances?? I think mg left this purposely ambiguous. But I like (and I use this word very loosely) the idea that she wouldn’t have. The trope of a woman having to cater to the desires of a man in order to avoid violence is one that is common in all types of media, and is one that we see throughout Gone as well. The best examples being Astrid with Sam and, of course, Diana with Caine. Both of these women are forced to conform to what Sam and Caine want them to be in order to be safe in the FAYZ, and so mg flipping the switch on this and having Caine’s inability to capitulate Penny’s desires being the final straw to his downfall (even if he was unaware of this fact) is an amazing touch.

This theme is then continued in the way that Penny takes Caine down…by drugging him and incapacitating him. Now, these are occurrences that are usually associated with date r@pe, which is something that is mostly experienced by women. Of course, this is not what actually happened in the book, but the association is there for a reason, I’m sure. Given Penny’s attraction to Caine, her take-down of him is inherently sexual in both its execution and come about. Her extreme reaction to his refusal is probably a result of her less-than-ideal childhood. We are told than Penny’s father used to take inappropriate pictures of her older, but still under-aged sister. When her sister became of age, Penny assumed that her father would move on to her, but instead he skipped her and began taking photos of her younger sister. Mg doesn’t really go into much detail on how this must have affected Penny’s psyche – only that she was so jealous that she took her father’s laptop into the school and showed the other students, resulting in his arrest. It is heavily implied that Penny’s parents were not affectionate – they neglected their children (at least emotionally) and so Penny sought out attention and affection, as any child would. Seeing how much time her father spent with her older sister, and seeing why – it isn’t hard to believe that Penny would equate sexualisation to affection, and even love. (lemme just have a cry real quick.) This makes sense when you take into account her reaction to Caine’s refusal (which was actually pretty mild) and even when you look at earlier events – such as him helping to bathe her. I can’t speak for everyone, but if someone broke MY legs and then came in to help bathe me, I would not be happy, and yet Penny seems to almost enjoy it. We then learn that Penny and her sisters were sent to live with their aunt after their mother became too depressed to care for them. And, once again, Penny found that her sisters were getting all the attention. So she reacted with violence – by putting bleach in her older sister’s cereal. She later found out that her father had committed suicide in prison, after being beaten by other inmates. And so Penny’s formative years have been tinted with sex and violence – two things that no child should be exposed to (although that’s kind of the whole premise of the series.) When you look at her past it becomes clear that her take-down of Caine was an attempt to gain control over one of the many people who have denied her affection in favour of giving it to someone else. As she associates sex with affection, and responds to a lack of affection with violence, it makes sense that she would attack him in a way that is associated with sexual violence.

My final point is in relation to the actions that she takes while Caine is unconscious. She does three things that really give us an insight into her mentality regarding the cementing:

- She cements him

- She makes a tin foil crown for him

- She cuts off his shirt

These actions again are reminiscent, at least subtextually, of the act of r@pe - a sexual crime done with the intent to both incapacitate and embarrass the victim – in essence, a power-play. And this is exactly what Penny does. She begins by entrapping him in the cement, taking his power from him. We know that Penny was not scared of Caine’s power, this was not an act of paranoia as the cementing of the Coates kids was. But rather, she knew how much his power meant to him, how much he relied on it – and she wanted to make him feel just as powerless as he had made her feel. This is further reinforced by her making the tin foil crown. Of course, she partly did this to cause him more pain (she literally stapled it to his head), but the main reason was to embarrass him. To turn his own narcissism against him. And then, to top it all off, she cuts of his shirt – which is just straight up sexual assault. This is the moment in the scene where the interplay between sex and violence really comes out. As she sees it, sexualisation is a form of affection. But as her whole life she has been denied any form of affection she has twisted this in her mind to where she sees violence as a viable outlet of emotions – or rather a replacement for affection. I think Caine’s cementing showed the breaking point for Penny – there are so many things she wants to communicate (her anger at Caine for all the horrible things he has done to her, her affection towards him, her desire for power and respect) and she just doesn’t have the emotional intelligence to do it, due to years of witnessing sexual assault and experiencing neglect. So instead everything gets distilled down into this twisted act of violence where she both expresses all of these things and gets none of them.

I really love this scene as I think it is a great example of mg’s writing ability. I know her attack of Caine was not only due unrequited affections, but I think this side of it is really excellently written, and makes me wish that we has seen more of Penny. I think it would have been a very interesting plot twist and a great use of character if Penny had managed to discard of Drake in Fear and take over his role in the story. Anyway this was only meant to be a short post and I really rambled on (as if anyone is surprised by now). Thank you for reading and please feel free to comment on/ criticise this!! :)

#the gone series #penny

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be-not-afeared · 4 years

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Jaime Lannister and John Silver: of arcs and endings

Or, herein follows a possibly niche comparison between the character arcs of Jaime Lannister (Game of Thrones, HBO, 2011-2019) and John Silver (Black Sails, Starz, 2014-2017), in which I will argue that Jaime’s character arc fails not because of Jaime’s actions, but because of the way his story is framed to the viewer throughout the series, using Silver as a springboard to explore the requisites for a tragic yet satisfying ending.

(Yes, this is 5K words long. No, I am not sorry. Spoilers for Jaime’s and Silver’s storylines in their respective shows, and while I’ve tried to stay vague about the Bigger Picture, read at your own risk.)

Okay, so. I was, and still am, to an extent, a huge Game of Thrones fan. I’ve pored over the books, been to conventions, and spent a good couple of years while I was at uni discussing fan theories on message boards into the early hours of the morning. Jaime Lannister has been one of my favourite fictional characters for over a decade. Yet I certainly wasn’t alone in watching in horror as years of hopeful build up was thrown away in the span of one and a half episodes during the final season of the show. There are *many* things that hurt about season 8 of Game of Thrones. But the swift 180 we see in Jaime, from aiding the Starks in the Battle of Winterfell and finally choosing Brienne, to abandoning her to return to Cersei 20 minutes later, was, for me, one of the deepest cuts.

When I started watching Black Sails this August, I was immediately compelled by Silver – unsurprisingly, as someone who has exactly one favourite character type: Traumatised and Morally Grey Anti-Villain. Watching Silver’s character develop over the four seasons of Black Sails was an absolute joy, and his ending in the finale, though *incredibly difficult*, was nuanced and in character and satisfying. (Am going to try and keep as vague as possible on details here, because Black Sails is an incredible show that more people should watch and I don’t want to completely spoil the ending). Silver and Jaime are two characters with a lot of similarities and their characters arcs appear to run in direct parallel with each other: both selfish and arrogant men who become more empathetic and invested in others as the series progresses, in large part prompted by the loss of a limb. However, the gulf in reception of their overall arcs can be pinpointed to one huge disparity between the way both storylines were framed to the audience, and that is difference between redemption and tragedy.

“I was that hand”

But first! Let’s start with the more obvious stuff.

When we meet Jaime Lannister and John Silver in the pilots of their respective shows, they are both introduced as arrogant and self-serving – yet charming – men, who place the needs of themselves (and Cersei, in Jaime’s case) above all else. Silver kills and impersonates the cook on the merchant ship Flint’s crew captures, and has no qualms about lying his way onto the crew whilst simultaneously planning to sell the Urca schedule to the highest bidder. For Silver, his own survival comes before any sense of moral code. We are told stories about Jaime before we properly meet him – that he killed the previous king, Aerys Targaryen, that he has no honour – but nothing that we see first-hand contradicts this; at the end of the pilot he attempts to kill a child to cover up his and Cersei’s incestuous relationship. Silver is certainly supposed to be more likeable than Jaime, but both men, despite their lack of morals, are presented as charming, clever, and good with a one-liner. As we move through the early seasons of both shows, they are consistent in these traits, although Jaime is presented as an outright antagonist whereas Silver from the outset is a morally grey unknown entity, keeping viewers on our toes wondering if he’ll turn against Flint, against Billy, against Eleanor. Things change, for both men, however, with the direct lead up and fallout of the loss of a limb: Jaime’s hand and Silver’s leg.

The introduction of Brienne of Tarth as Jaime’s foil kickstarts his path towards becoming the honourable man he once dreamed of being. During their roadtrip across Westeros, she challenges him and is able to get under his skin in a way we haven’t yet seen before. This comes to a head when the duo are captured, and Jaime intervenes during her attempted rape, lying about her ransom worth and saving her from an awful fate. The result? The immediate amputation of Jaime’s sword hand, representative of Jaime’s identity (“I was that hand”). Jaime is punished for the first selfless act we see him commit on the show with the loss of the source of his power and self-worth.

Silver, in a similar fashion, finds himself in a position to save the crew he has spent two seasons disparaging. When he is offered the opportunity to betray his crew for an escape route, he refuses (the reasons for this refusal never outright stated, although I imagine Flint’s “where else will you wake up in the morning and matter” and Billy’s “that’s our brother you’ve got there” both factor heavily). Again, the result of this refusal is the brutal torture and eventual amputation of Silver’s leg – a man who in his own words is “not a joiner”, prone to taking what he needs and leaving, to reinventing himself, to always having an escape route. As actor Luke Arnold says: “He's a guy who's always had one leg out the door, and then they cut it off.”

What is interesting here is not only that we have two characters who are *punished* for moving beyond their selfishness, but that that punishment is specifically catered towards their defining characteristics. Jaime is left unable to fight, unable to defend himself, unable to uphold his reputation. Silver is left unable to run, unable to leave his past behind him, unable to remain without attachments. Both are left vulnerable. The loss of Jaime’s hand forces him to reinvent himself in a world ruled by swords; as Lord Commander of the Kingsguard, father to Tommen, and an honourable man working to uphold his oath, through Brienne, to Catelyn Stark. The loss of Silver’s leg, however, leaves him *unable* to reinvent himself; forcing him to rely on his crew and paving the way for the growth of his relationship with Flint and Madi. In losing their limbs both Jaime and Silver are set on paths towards gaining empathy, and are able to become invested in those around them.

“Defined by their histories, distorted to fit their narratives”

Game of Thrones and Black Sails both engage heavily with ideas of myth-making and storytelling. Stories are woven into the mythology of Westeros; a world with thousands of years of history revealed to us slowly over the seasons to suit the narrative and the teller. We are told the story of Rhaegar Targaryen’s kidnap and rape of Lyanna Stark in the pilot, and at first this serves to provide a tragic landscape for Robert’s unhealthy relationship with his wife and his crown. It is only as the show develops and we hear more about Rhaegar and Lyanna that we realise there is more to this story; in season 5 Littlefinger recounts the events of the Tourney of Harrenhal to foreshadow the reveal of Jon’s parentage later that season, that Rhaegar and Lyanna had a happy and consensual relationship and that it is Robert who could be viewed as the villain of this sequence. We are taught through watching the show to never assume that any given story is true. Black Sails similarly plays with the idea of the power of the storyteller, combining historical pirates with fictional pirates and an origin story for Treasure Island, and going to great lengths to show that history is in the hands of the victor. Most of the primary sources of pirate history are from the perspective of civilised England, and in the process of watching the show we come to realise the bias inherent in these histories; much like in Game of Thrones, they are stories, and should not be assumed to be either true or accurate. As Jack says in the finale: “a story is true, a story is untrue […] The stories we want to believe, those are the ones that survive”.

Jaime Lannister and John Silver are both characters defined by stories that are forced upon them without choice: the Kingslayer and Long John Silver. We meet Jaime as the Kingslayer; our opinion of him is immediately formed by the story of him stabbing in the back the King he had sworn to protect, and cemented by the fact that our protagonist, Ned Stark, a man we like and trust, is the one telling this story. The Kingslayer’s presence is so strong in the first two seasons of the show that Jaime becomes nameless, reduced to this one defining act. It is only after the loss of his hand, and through his developing bond with Brienne, that he is finally able to tell his own story and we realise our entire perception of Jaime’s character has been based on an incorrect interpretation of events: that in killing Aerys Targaryen Jaime was saving the population of Kings Landing from destruction via wildfire. It is only after the truth of this story has been revealed to us that Jaime is able to begin moving past the Kingslayer and forging a new identity.

We see this in reverse in Black Sails, for the story of Long John Silver is not introduced until the season 3 finale, but like Jaime, this story is not told by Silver. Billy creates the myth of Long John, commits the acts attributed to him, and uses him as a figurehead for the pirate rebellion all without Silver’s knowledge or consent. Season 4 sees Silver wrestle with this identity of King of the Pirates, surrounded by people who want to use ‘Long John Silver’ for their own benefit: Billy, Israel Hands, even Flint. As the power and influence of Long John Silver the story grows, John Silver the man is disregarded, and his value reduced to how he can further everyone else’s individual causes. Though he does embrace this title (for a time, at least) to further “Flint and Madi’s war”, a cause he doesn’t truly believe in beyond his investment in Flint and Madi as people, we come to realise that the ‘character’ of Long John Silver that we know from Treasure Island is only that: a character, a story, a collective created for a larger cause that Silver himself eventually betrays.

I have seen some criticism of this scene, but for me one of the few redeeming moments of the Game of Thrones finale was Brienne writing Jaime’s story in the Book of White. Despite Jaime’s less than satisfactory conclusion, with this act he is finally able to move past the Kingslayer; Brienne has rewritten his narrative, and he will be remembered as a Knight who “died protecting his Queen”. Silver is offered no such release. By contrast, the story of Long John Silver is all that will be remembered; the worst fear for a man who cannot bear for his own story to be known. Indeed, we learn that “those who stood to benefit most from [Long John Silver] were the most eager to leave it all behind”. While Jaime is able to escape the story of the Kingslayer, the story of Long John Silver is what will endure, “all that is left of [him] is the monster in the story they tell their children”. Hello Treasure Island.

“Reviled by so many for my finest act"

We can see here that Jaime and Silver’s narratives deal with similar themes, but often in contrasting ways. Just as with storytelling, Jaime and Silver’s backstories are key parts of their storylines in their respective shows, but operate with very different functions. (It is only as I am writing this that I’m realising how similar the themes of Game of Thrones and Black Sails actually are? If only Game of Thrones had the follow through of Black Sails... We were all rooting for you, etc etc).

Jaime’s backstory, and the truth of the act that earned him the title ‘Kingslayer’, is revealed to us mid-way through season 3. This comes at a very key moment for his character: Jaime has just lost his hand and is at his most vulnerable, and Brienne’s stubborn and persistent honour is clearly starting to affect him. “I trust you,” he says to her in the bathroom scene in 3x05, and we can assume that this is the first time he has said this to someone who isn’t a Lannister in quite some time, possibly ever. Essentially, the reveal of Jaime’s backstory comes at a moment where we are already beginning to soften towards him and are therefore open to hearing an alternative interpretation of events. While Jaime needs to be able to tell his story to begin to move past the identity of the Kingslayer, if this reveal had come too soon it wouldn’t have had the same dramatic effect, as viewers wouldn’t have been open to seeing him in a different light. All we saw of Jaime in the first two seasons was the “man without honour” that everyone believes him to be; by mid-season three we are already beginning to realise that there is perhaps more to him that meets the eye, so the reveal of his backstory has the most impact.

(This is exactly what Black Sails does with Flint’s backstory, and I firmly believe that if we had been told his story in season one as was originally the plan it wouldn’t have been anywhere near as effective. We needed to know more about Flint, and to see his uneasy partnership with Silver begin to develop as we delved into the backstory piece by piece, so that by 2x05 our hearts were ready to be broken. Buuut that’s a different essay.)

Black Sails loves a backstory. As we move through the show we slowly learn why and how our favourite characters came to be in Nassau , and universally these reveals add to our understanding of that character and their motivations: for Flint, for Billy, for Max, for Jack. We enter season four with Silver as the only character we don’t know anything about prior to the pilot. Surely then, we were about to get a ‘Jaime Lannister bathroom scene’ equivalent, a moment that will add depth and understanding to Silver’s character? Were any of the stories he has told about his past true? Who is Solomon Little? … Instead, what we get is one of my favourite sequences of the entire show, in which, after Flint realises that he knows nothing of Silver’s past, Silver reveals that Flint, and by proxy the viewer, knows “of [him] all [he] can bear to be known”. Silver is the ultimate storyteller, master of manipulating and deceiving others through the power of a narrative, yet he cannot bear to be the story himself. We never learn Silver’s backstory, and all he reveals of his past is that it speaks to “events of the kind no one can divine any meaning from, other than the world is a place of unending horrors”; he has chosen to repress his past, has rendered it unspeakable, and both Flint and the viewer are only left to wonder at what these “horrors” could be.

Although this lack of backstory adds nothing to our view of who Silver *was*, it is key to understanding who Silver *is*, and *why* Silver makes some of his more controversial choices further down the line. Silver’s need to repress his past is as key to his character as Flint’s need to define himself by his own backstory. We understand from this that Silver has experienced a level of trauma which is unspeakable, quite a feat for a show with plenty of other horrific backstories and especially pertinent given that Silver is one of our most gifted orators. Silver’s inability to process his past explains a lot of his actions in the early seasons; his coping mechanism has been to move through life without forming attachments, convincing himself that he doesn’t need (and shouldn’t need) other people. It is safe to assume that Madi and Flint are the first people he has let himself be truly vulnerable with, which paints his actions throughout season four in a different light; loving people is new for Silver, and he doesn’t know how to do it in a healthy or selfless way. The placement of this scene is as important to Black Sails as Jamie’s bathroom scene is to Game of Thrones; we needed to have already seen Long John Silver’s significance to the war spiral beyond Silver’s control, to have seen him become compromised by his love for Madi and the beginnings of the collapse of his partnership with Flint, for this scene to pack the punch that it aims for and to beautifully set up the culmination of his arc in the finale. How devastating, for a man who cannot bear for himself to be known, to be the one figure whose story will outlive them all.

Both of these scenes have stayed with me long past my first watch, and feel vital to understanding Jaime and Silver as characters. For Jaime, his backstory informs all his actions moving forward, his desire to transcend the Kingslayer, to become an “Oathkeeper”, or even “Golden-hand the Just”. For Silver, his lack of backstory informs all his actions up to this point in the narrative and prepares us for the choices to come. Just as Jaime is defined by his past, Silver is defined by his *lack* of past.

“This is not what I wanted”

So, we’ve tracked Jaime and Silver’s characters throughout the show, but how do they both end? The answer, of course, is… tragically. Jaime is offered a glimpse at what could be a peaceful life, in Winterfell with Brienne, before turning it down to return to Cersei’s side only to meet his end while the duo try to escape the collapsing walls of Kings Landing. Silver betrays Flint and Madi in a horrific fashion, ensuring that they both survive though knowing that in doing so he was destroying his relationship with Flint and that there was a chance Madi would never forgive him his actions. (Or, this is my chosen interpretation of the ending, in any case, although the point still works if you prefer one of the other readings). Just thinking about Silver’s ending in Black Sails makes me want to cry. Thinking about Jaime’s ending in Game of Thrones makes to want to cry too, although for a very different reason. Neither are the ending we would hope for these characters in an optimistic and ideal world. But Silver’s decision to betray Flint and Madi feels narratively satisfying in a way that Jaime’s decision to betray Brienne and return to Cersei never could. Why is that?

Jaime Lannister’s character progression from season 3 onwards was set up as a redemption arc. We thought we were watching a jaded and selfish man become an honourable man. The show, admittedly, takes its sweet time with this journey in comparison to the book equivalent, and inserts some *interesting* deviations which I won’t dwell on here (looking at you 4x03 and the entirety of season 5). But, ultimately, the journey that Jaime finds himself on from the moment he loses his hand seems to be heading for a triumphant ending. Don’t get me wrong, I wasn’t expecting him to survive the series. But I was expecting him to go out in a blaze of glory – fighting side by side with Brienne, perhaps, or protecting Bran, or one of the other characters he had wronged in the past. There was also always the chance that he would end up fulfilling the much subscribed to book theory of the valonqar, although this admittedly looked less likely as that particular line of the prophecy was cut from the show. When Jaime finally leaves Cersei at the end of season 7 it is such a triumphant moment – after years of struggling with these warring parts of himself, his toxic love for Cersei and his growing moral conscience, a decision had been made and a tie cut. We enter season 8 assuming that there is no going back. We don’t get a hint of any conflicting feelings from Jaime about this decision in the first half of season 8; we are focused on preparation for the Battle of Winterfell, and revelling in the joy of having Jaime and Brienne in the same place for longer than a single episode for the first time since season 4. We get the knighting scene (which, let’s be honest, is where the season peaks). We get the battle. We get the sex scene between Jaime and Brienne (which I… don’t love, for many reasons up to and including the weird virgin shaming jokes from Tyrion in the previous scene and their level of intoxication, but still gives no hint that Jaime is battling an inner war). And then later in that same episode, despite Brienne pleading with him to stay, we get Jaime’s snap decision to return to Kings Landing to attempt to save Cersei: “You think I’m a good man? […] She’s hateful, and so am I”.

The issue here isn’t the decision itself, or Jaime’s choice of words. We know that Jaime isn’t a good man. We know that he’s done awful things for Cersei’s love. And, if we think about it, it makes sense that he wouldn’t be able to leave behind a lifelong co-dependent and unhealthy relationship without looking back, and that he would be driven to return to Cersei’s side when the reality of her impending death hit. The issue is that none of this decision making is presented in the show itself; there was no build up, no foreshadowing. Instead of showing us why this decision was made, the show presents this scene as a shock twist, leaving the viewer with whiplash wondering how Jaime’s story could have taken such an unexpected turn so quickly. The redemption arc that we all thought we were watching was not a redemption arc at all, and don’t think I was alone in finding this revelation deeply unsatisfying.

Let’s leave Jaime for a moment and turn to John Silver. Even for viewers who entered Black Sails without knowing they were watching a prequel to Treasure Island (such as myself!), we can assume that most people have heard of the fictional pirate Long John Silver: the ‘villain’ of Robert Louis Stevenson’s adventure who embodies what it means to be a “gentleman of fortune”. When we meet clean-shaved, smarmy, two-legged Silver in the pilot most viewers will at least have an idea of the trajectory his arc will take – and that it won’t end with him and Flint skipping off into the sunset hand in hand. We know, because of history, that the pirate rebellion is doomed to fail, that slavery does not end in the West Indies, that Nassau does indeed fall back under English rule, and that piracy is eventually stamped out of New Providence. And we know, because of Treasure Island, that John Silver will end up hunting for Captain Flint’s treasure, while Billy Bones dies from a stroke at the very idea of a visit from Long John and Flint drinks himself to death in Savannah. In essence, we know that we are watching a tragedy.

The genre of tragedy dates back to Ancient Greece, and describes a narrative that presents an examination of human suffering while evoking a sense of catharsis. Aristotle defines tragedy as “an imitation of an action that is serious, complete, and of a certain magnitude … through pity and fear effecting the proper purgation [release] of these emotions.” In other words, in order for a tragedy to achieve this state of emotional release, we as the viewer need to both anticipate (or, fear) the resolution and feel sympathy (or, pity) towards the tragic hero. Black Sails does this masterfully. The pathway towards the destruction of Silver and Flint’s partnership has its grounds as early as season 2, before it has even really started to develop, where Silver talks of his fears of being “used and discarded” by Flint. In the finale of season 3 it is made explicit during their conversation before the battle, with Silver interrogating what he sees as the pattern of Flint’s loved ones dying “not just during [their] relationship, but because of it”. Silver finds himself “unnerved by the thought that when this pattern applies itself to [Flint] and [Silver], that [he] will be the end of [Flint]”. As they lock eyes across the water later on in this episode, the setup of their opposition, complicated by the genuine care between them, is complete, and we enter season 4 dreading the crumbling of their relationship. Season 4 dangles this dramatic irony over us; every time Flint mentions the indestructible force of their partnership, the things they can achieve when there is “no daylight” between them; every time Silver mentions that Flint has his “genuine trust and friendship”; every time they both speak of their partnership in the same terms as the love that Silver holds for Madi, “I’m committed to Flint, I’m committed to Madi” / “he is my friend, too”, we dread the moment where this will all change. We may not know how it will play out, but we know it is coming. The “fear” is very much present. As, indeed, is the “pity”. We understand why Silver makes the decision he does, even if we don’t agree with it. The show has taken lengths to track the development of Silver’s ability to care and make himself vulnerable to others; we believe in his love for Madi, and understand why he believes that he is doing the right thing. Silver’s tragic flaw is that in gaining empathy his selfishness moves to encompass those he cares about; he will do dark things to protect them without consideration of their own choices or agency. The finale of Black Sails is difficult, beautiful, and yes, tragic, but we end Silver’s story understanding and perhaps even empathising with the decisions he made, believing him when he says that “this is not what [he] wanted”.

Tragedy vs redemption

John Silver’s story is a tragedy. And I believe that Jaime Lannister’s story is also a tragedy; a deeply flawed man who tries to escape the inevitability of an abusive and unhealthy relationship, only to eventually fall back into this cycle and become consumed by it. The problem is that this wasn’t the story we thought we were watching. The ending of Jamie’s character arc has none of the fear, none of the pity, none of the catharsis of Silver’s, because there was no signposting towards this end. If Jaime’s arc had been treated as a tragedy from the outset then perhaps it would have felt emotionally satisfying rather than rushed and unexpected.

Admittedly, as Jaime is not as central to Game of Thrones as Silver is to Black Sails, the show could not spend as much time detailing his inner world as Black Sails does to the latter. However, if the show had framed Jaime’s story with a sense of tragedy rather than triumph, then his decision to return to Cersei in season 8 would have had the same inevitability as Silver’s betrayal. In season 1 of Game of Thrones, as in the first instalment of A Song of Ice and Fire, Cersei tells Ned Stark that she and Jaime “are more than brother and sister. We shared a womb, came into this world together. We belong together”. However, the show doesn’t include Jaime and Cersei’s later, darker ruminations, that “we will die together as we were born together” (Jaime, ASOS), and “we will leave this world together, as we once came into it” (Cersei, AFFC). Jaime and Cersei’s doomed fate in the books is entangled in a way it never is in the show, and doubly so when you factor in the possibility of Jaime actively causing Cersei’s end due to the valonqar prophecy. In addition to this, if we had seen Jaime leave Cersei earlier in the narrative and then grapple with this decision, showing him struggling to be the man Brienne believes him to be and overcome his past actions, then his failure wouldn’t have seemed so out of the blue. With very little effort or changes on the part of the show, Jaime’s *entire* arc could have been framed in a way that would have made his death a tragically fitting end to his and Cersei’s story.

Jaime and Silver both end their respective narratives in very similar places to when they were introduced, or at least they do on the surface: Jaime unable to leave Cersei even in death, Silver alone and eventually chasing treasure (yes, Madi is still in the picture, but I don’t think we are meant to infer that their future relationship will be a trusting one). However, for Silver, this similarity is only surface deep, for we followed his growth and development and understand the tragedy of his choices. Although Jaime goes through a very similar pattern of growth, the framing of his arc as redemptive means that the unexpected nosedive into tragedy in season 8 doesn’t have the weight or impact that it intends, and we are left without understanding *why* he makes his choices. Jaime’s arc is a failed tragedy that doesn’t fulfil the cathartic requirements of the genre, but with a bit of reframing it could have been as emotionally resonant as Silver’s.

Long story short: watch Black Sails.

#game of thrones #asoaif #Black Sails #jaime lannister #john silver #long john silver #black sails meta #game of thrones meta #also this is just my opinion and i am fully aware i have blind spots when it comes to both of these characters #this is just part of my new agenda to make everyone in my life watch black sails

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totallyjazzed · 4 years

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Analysing Copaganda (or "I watched seven seasons of Brooklyn 99 so you don't have to")

Introduction:

Several months ago my parents approached me asking if I wanted to watch Brooklyn 99, not knowing anything about it, my first instinct was to say no, but then I thought it would be interesting, to watch it and write a proper analysis for exactly what makes it propaganda and why it gives liberals brain worms. If you've spent any amount of time engaging with politics online for the last few years, you've likely already heard of Brooklyn 99. It's a sitcom written by Michael Schur, who previously wrote The Office (I'll get to that later), Parks & Recreation, and The Good Place. The show follows the lives of a squad of police detectives in Brooklyn and the wacky hijinks they get up to.

Brooklyn 99 has become famous, or arguably infamous, on Tumblr (and potentially other social media websites too) for being used as a "retort" to anti-cop sentiments (namely ACAB and any variation thereof), mainly taking the form of "the only good cop is Raymond Holt". In this essay (to use a funny Tumblr meme phrase) I will provide a brief overview of the show and the main characters, and analyse how the show, and each character individually, is pro-cop propaganda (copaganda).

The Show:

Brooklyn 99 is The Office, at least from what I understand about The Office. It’s a sitcom based in a workplace in which characters often pull pranks on each other and have wacky adventures pertaining to their job. The main thing that sets it apart from The Office is that the workplace in question is a police station, this makes it a cop show too. However, unlike more “classic” cop shows like CSI, Law & Order, The Wire, and so on, B99 doesn’t seek to glorify it’s characters as action heroes, but rather paint them as normal people living normal lives. This is far more insidious than the picture of the gnarled man of action who doesn’t play by the book, and by making the characters relatable the show gives viewers people to project onto, making them more vulnerable to the propaganda of the show.

Occasionally, in a break from the antics of Relatable Immature Prankster Archetype and Funny Overly Attached Best Friend Archetype, the show will attempt to say something about racism, or homophobia, or misogyny, or something like that, and while it usually feels well-meaning it often falls flat as it’s a watered-down safe-for-TV version of whatever the issue du jour is.

In S4E16 (“Moo Moo”), Terry is harassed by a racist cop while he doesn’t have his badge, and is almost arrested until he manages to prove his cop status, the rest of the episode revolves around how racism is bad and that one singular racist cop is a problem, in the end Terry submits a complaint to the NYPD higher-ups and gets his job application denied, and the racist cop gets away with a slap on the wrist. Throughout the show, Captain Holt tells stories about how he suffered from racism and homophobia, and still does. Transphobia is mentioned once (presumably for brownie points) in a throwaway line about Ace Ventura.

At the end of Season 4, Jake and Rosa are framed for a series of bank robberies and sent to prison, and the first two episodes of Season 5 work to show that prison is bad and prisoners are mistreated, they also make abundantly clear that everyone in prison is a menace and deserves to be there (Jake’s cellmate is a literal cannibal and he’s shown to be one of the nice inmates), once the duo are released from jail, there are a few lines here and there about how prison is bad, but they’re only throwaways used to serve as one-off jokes and never again used as an actual critique of the prison system.

Police Brutality is never mentioned, the closest it comes to bringing it up is in S1E19 (“Tactical Village”), where Rosa is introduced to a sonic-blast weapon and aims it as Charles, this is clearly supposed to be a very harmful piece of equipment, but it's only appearance is treated as a joke.

There are also recurring gags about Defense Lawyers being “the enemy” because they only defend guilty parties (the show heavily implies that none of the squad has ever arrested the wrong person), which meshes with the harmful stereotype in cop shows of only guilty people saying for a lawyer or a warrant or whatever, which has been documented before by others.

The Characters:

Jake Peralta (played by Andy Samberg) is the Relatable Immature Prankster Archetype I mentioned before, he’s the office funnyman and usually responsible for the majority of the goings-on and goings-wrong in the show, while he does mature and evolve through the show he never grows out of this character. He’s the closest the show gets to the “gnarled man of action who doesn’t play by the book” character I mentioned before, not because he is that character but because he wants to be, his favourite movie is Die Hard and it’s the reason he joined the police, so he could be like the cool bruce willis man. He’s also the most unlawful character on the show, in S1E7 (“48 Hours”), he arrests a man with no evidence and the squad is essentially locked down until evidence can be found, in the end it turns out the man is guilty. Jake is scolded for this, not for essentially breaking the law, but for wasting everyone’s time when they had much better things to do that night. Jake’s character is propaganda because he’s the zany relatable one with a heart of gold.

Amy Santiago (played by Melissa Fumero) is the overly-organised hyper-nerd archetype, in direct opposition to Jake. Her dream is to be the NYPD’s youngest female captain, and she’s very “I want to keep the people safe” in her approach to policing. In S3E3 (“Boyle’s Hunch”), she is used as the face of the NYPD’s poster campaign, only to have her image vandalised, which is painted by the show as being very bad and sad. Amy’s character is propaganda because she’s the uptight peacekeeper who sticks to the rules.

Charles Boyle (played by Joe Lo Truglio) is the Funny Overly Attached Best Friend Archetype I mentioned before, often depicted as bumbling and naive, he’s an incredibly competent detective, arguably more so than Jake. He’s usually polite and friendly, and has moments of childishness that compliment Jake’s character. Charles’ character is propaganda because he’s the nice guy who just wants what’s best for everyone.

Raymond Holt (played by Andre Braugher) is probably the character most people are aware of, he’s a somewhat stuck-up man who embodies a lot of the same characteristics as Amy, he’s highly-educated, incredibly smart and quick-witted, and emotionally restrained. Originally presented as an outsider, being the new guy to the pre-existing friendgroup, he learns to relax and let go over the course of the show, and acts almost as a father figure to the other characters, primarily Jake and Amy. Raymond’s character is propaganda because he’s a black gay cop.

Rosa Diaz (played by Stephanie Beatriz) is tough, aloof, and often scary in the eyes of the other characters, she is shown to have problems with engaging with people socially, particularly romantically, and while her exterior is rough as uncaring, she’s shown to be fiercely loyal and have some not-so-tough secrets. In Season 5 she comes out to the squad as Bisexual. Rosa’s character is propaganda because she’s the no-nonsense tough cop who secretly has a heart of gold.

Terry Jeffords (played by Terry Crews) is a kind and caring man with a firm-but-fair attitude, acting as Holt’s second-in-command he also acts as a father figure to the other characters, he has two (eventually three) children which he is often seen gushing about. He is the most mature of the group, on-par with Holt in some respects but sometimes more so, refusing to take part in hijinks to focus on his job. Terry’s character is propaganda because he’s the physically strong and imposing, yet kind cop who just wants to provide for his family.

Michael Hitchcock (played by Dirk Blocker) and Norm Scully (played by Joel McKinnon Miller) are an inseparable pair of bumbling, lazy, oafs. Scully is fat, lazy, and old, Hitchcock is lecherous, lazy, and old. They’re propaganda because they’re the lazy incompetent cop archetype.

There are plenty of minor recurring characters, as well as Gina Linetti, a main character who left after Season 6, however as she’s a liaison and not a cop I won’t be analysing her in detail.

There’s a lot more I could have mentioned here, from the dirty cop that sense Jake and Rosa to jail, or the police commissioner who wants to spy on everyone’s phones all at once, Holt even says the line “I don’t want to live in a Police State”, but I’ve left them out for the sake of brevity.

Conclusion:

Brooklyn 99 is copaganda to it’s very core, this much everyone already knows, but unlike serious cop dramas and high-stakes high-action cop shows, Brooklyn 99 offers viewers an escape to a world where the police are the force for good that people want them to be. The premise of “The Office but police” suckers people in with nostalgia for the late 2000s/early 2010s back when things were “good”. Given Michael Schur’s previous work I imagine he and the other writers didn’t explicitly set out to make copaganda, but it’s undeniable that this is what was achieved. And now with the political climate being what it is and the threat of a potential Season 8 addressing this year’s BLM protests, it’s now more important than ever to be able to identify and root out police propaganda, no matter how unassuming, no matter the source.

#long post

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inessencedevided · 4 years

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Once you're done with the entire show, could you maybe do sorting for all the characters? I usually know the house for each character, but I have literally no idea with The Untamed. WWX for example I can equally see him as a Gryffindor, Ravenclaw or Hufflepuff and my brain hurts trying to decide.

First of all: I'm so so sorry anon! This took ages to answer! I hope you're still out there to read this! I started answering ages ago and then trailed off because I had to think about it. So here goes:

Thank you so much for this opening! I LOVE sorting non-HP characters into Hogwarts houses!! And for some of these, I’ve already done so in my head ages ago :D

Disclaimer: I’m mostly going off live action canon here, but will make some comments about the novel from time to time.

Disclaimer 2: Obviously, these are extremely subjective. If anyone disagrees, I would love to hear your counter arguments! I love discussing these things!

Wei Wuxian

GRYFFINDOR!

I know you said you weren’t sure but in my book, he’s a textbook Gryffindor. I’m not saying he doesn’t have Hufflepuff or Raveclaw traits (his sense of justice and his “out of the box thinking” kinda genius come to mind), but those aren’t the main drive of his actions imo. WWX follows his confiction and he often does so without even considering a second option or a compromise, especially before his death. And he is not afraid of deviating from the law or societal expectations to do so. This alone could also make him a Slytherin. The reason I wouldn’t place him there is the way he acts very much in the open. He doesn’t try to bring about change by quietly working in the background. He openly calls people out on their bullshit, even when it is clearly to his disadvantage and might just come back to bite him in the ass. Imo, WWX is a brilliant example of how a gryffindor might be driven to doing some very questionable shit given the "right" circumstances.

Lan Wangji

Now, he’s a different story. I have a lot more problems sorting him, maybe because he is not our point of view character. And he's the reason why it took me so long to answer this ask. My conclusion might be controversial, so let me work up to it. Slytherin? His most slytherin trait, imo, is his determination and drive, which I think stems, among other things, from a desire to prove himself. However, I believe his main reasons for this were family loyalty and (somewhat headcanon territory) the rejection he must have felt at his parents absence. And I don't see him as cunning either, as that always carries a certain level of deceitful intent, even if it's not malicious. And deceitful? That's one thing lwj certainly isn't. So, Slytherin is not a good fit for him. Ravenclaw maybe? He is certainly very intelligent, but that intelligence is more due to his studious nature and his focus, imo. And wisdom and out-of-the-box-thinking are not traits I would associate him with, especially in his younger years. So gryffindor then? He is certainly brave in many ways. He is enduring and stubborn, both gryffindor traits. But he also someone who takes his time to arrive at decisions, unless he is under extreme emotional duress (losing his mother or the love of his live). His bravery, to me, seems to be deeply rooted in his deep deep devotion. He goes through extreme, long lasting pain for the few people he holds close to his heart. In the end it all comes down to his heart, his loyalties, his devotion. Ironically, even more so in the book than in cql. And that loyalty, that steadfastness, that devotion is extremely hufflepuff.

So here you go:

HUFFLEPUFF! (There is no yellow:/)

(And now I really wanna write that AU :D on first glance, lwj would make such an unusual hufflepuff, with his cold and aloof behaviour. I want to play with this idea now!)

Lan Xichen

HUFFLEPUFF!

Aaaahhh! Now I really like the idea of the twin jades of hufflepuff. :D and Lan Xichen is a bit more obvious right? He certainly has the intelligence of a ravenclaw, but his defining characteristics are his devotion to his duty, his kindness, his fairness and his willingness to carefully consider all sides. A hufflepuff to boot. No wonder, I love him so much.

(And now I can't help but imagine lan Xichen, welcoming his little brother at the hufflepuff table, beaming with pride. And later, making sure that they eat at least 1 meal per day together because he knows his brother doesn't make friends easily, even in a house as theirs. Until there's a certain rebellious and bright eyed gryffindor, with a penchant for DADA ...)

Jiang Cheng

He, too, gave me a hard time sorting him. Ravenclaw, I discarded immediately. Gryffindor came next. He's definitely brave in his own way. Going on after the devastating loss of his entire family is brave beyond anything I can imagine, but his motivation why he did it, I believe, was a mixture of family loyalty and his competitiveness and drive to prove himself worthy. Thise are hufflepuff and Slytherin traits, respectively. I would tip the scale towards the latter, simply because his inner conflict is so defined by his feelings of inferiority, his feelings of never living up to his parents expectations. He's in that weird place of being both extremely privileged and emotionally neglected. It reminds me of Draco, come to think of it. So, my favourite angry grape, I'll place in ...

SLYTHERIN!

(He's even rockin' the snake aesthetic already :D)

Jiang Yanli

With her association with cooking and motherly love she seems to be a rather obvious hufflepuff. She is certainly brave, too, enduring her family's near destruction and moving on, or standing in front of her adoptive brother and defending his place in her family and in society. But again, it's very much tied to the people she loves. So yeah,

HUFFLEPUFF!

Nie Mingjue

The jock to end all jocks and still he's got a heart of gold. He's kinda the cliche gryffindor and I can't find a reason to not place him there. So *head barely touches him*

GRYFFINDOR!

Nie Huaisang

SLYTHERIN!

If the twist at the end didn't happen, I'd have placed him in Ravenclaw, as it is, he is such a quintessential Slytherin and also, just ... my favourite kind, especially in cql, where he just fuvjs off to paint his fans and leaves others to do the heavy lifting. He got what he wanted, revenge for his beloved older brother. It reminds me a bit of Horace Slughorn (minus the people collecting). He doesn't want to be at the top. He just wants a comfortable enough life and the possibility to reach his very specific and not at all mainstream goals. A legend. (In mdzs, where he becomes chief cultivator, he's still a Slytherin, albeit a slightly less interesting one.)

Wen Qing

Now, she is another hard one. Another fiercely loyal person (although that's a common trait in mdzs/cql), she also had to show incredible resourcefulness to survive and still stick to her principles throughout her life. But to mention that she invented and su subsequently performed the first core transfer in history. (In the book, it is specifically mentioned that the essay on this subject was written by her). In short, this woman is s genius in her field and forward thinking and incentive. All of those are textbook Ravenclaw traits. So, with her we have ...

RAVENCLAW!

Wen Ning

Puh, he is hard. I know, with his timid behaviour and gentle nature, hufflepuff comes to mind BUT ... he strikes me as a neville. As in, his bravery lies in the fact that his own insecurities hinder him constantly and yet he overcomes them every day in a hundred small ways. He is brave precisely because he is afraid of so many things. And, like Neville, when his sense if right and wrong demands it, he takes a stand. His rescue of wwx and jc extremely dangerous circumstances and the core reveal come to mind. So, even though he probably argues with the hat to place him in hufflepuff, I'll place him in ...

GRYFFINDOR!

Jin Guangyao

SLYTHERIN!

Do I have to explain this?

Luo Qingyang

I know, she's a much more minor character than the others but I love her and this is my post, so she's in it. Do i have to say it? I hate to be the "Gryffindors ftw!!!"-one (as a proud snake), but yeah, Nie Mingjue was goddamn right when he said that she's got more backbone than half the cultivation world combined. My queen snapped and removed herself from the narrative and I love her for it!

GRYFFINDOR!

Let's get to the juniors:

Lan Sizhui

Now, maybe the hufflepuff does run in his family because I do think he belongs there, too. His defining characteristics are shown to be kindness, fairness and filial piety, even though he also has a mischievous streak and does not shy away from confrontation when he thinks his warranted (politely defending "Mo Xuanyu" in front of the Mo clan comes to mind). So yeah

HUFFLEPUFF!

Lan Jingyi

His brash and outgoing nature would make him a good gryffindor fit, certainly. However, the trait I associate with him the most is his nonconformity and that in a sect where that is highly unusual. He might not be as much of a social butterfly as Luba, but he still reminds me more of the kind of eccentricity associated with ...

RAVENCLAW!

Jin Ling

Now he's hard. Maybe because he postures a lot though that's something that's true for a lot of these characters. He tries to imitate his uncle but has non of the trauma to back it up, though he is an orphan and,in his position, probably pretty lonely which leads to the kind of breakdown we see him having over his confrontation with the person who killed his parents and he can't even really blame and so he just... crumbles. And non of that really helps me in my search for a house for him. I don't really see him as a Slytherin because while he loves to posture and play his privileges, he mostly crumbles under pressure and I don't think there's conviction behind it. He's certainly not sly either. Rabenclaw? Nah. I see neither outstanding amounts of eccentricity or wisdom. Gryffindor? Maybe. He's certainly impulsive. And he displayed bravery both in Yi City and even more so in the Guanyin temple where he had to face the fact that one of his uncles, the men who raised him, would kill him to achieve his goals. Still, what left the biggest impression on me was how, after his own world had just completely changed, he send his dog away because wwx would fear him. And how he then tried to get his uncle to talk to wwx. So I'd tentatively go with

HUFFLEPUFF!

Ouyang Zizhen

Another hard one because we don't know him very well in canon. But what we do know is that he is very emotional (passionate one might say) and has no qualms going against his father in a fit of teenage rebellion. I love him for it but that's not that much to go on. Both of these point to gryffindor however, so that's where he goes. :D

GRYFFINDOR!

So ... that's where I'll leave it. I know I missed the Yi city arc but it's getting late and I'm tired. 😅 If anyone wants to add them, feel free!

Congrats of you've made it this far down! :D

Please, do come and discuss these with me!

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