#but overall it's still a very good redemption arc where a character is actually confronted with their actions

[deusvervewrites]

I think you're right with Bakugo losing his quirk being something interesting for the series. I get that the intended reading (or at least a rather common interpretation in the fandom) of his character is supposed to be that he's generally completed his redemption, but to me it feels like its still got a lot to cover, mostly because I don't think that it dug that deep into his mindset or really made him actually reevaluate Why he wanted to be a hero.

I'm not saying he didn't have a character arc, its just that what arc was there was very slow paced, and kinda makes it look painfully slower when you compare it to the constant escalation of the rest of the plot. In theory its an interesting look into how changing as a person comes slowly, but in practice there's really only so long I can stand watching some little dick waffle about on whether or not he should treat people with basic human decency when he's looking to take on a position of power.

Like yeah he starts to respect his classmates, but to me it feels more like that respect came solely from recognizing their power rather than realizing that everyone deserves respect. It would be a solid start to an improvement arc! But no, its at what a lot of people think to be is the peak of Bakugo's redemption.

Especially in regards to Midoriya. Everyone cheers on the fact that he now sees him as a rival and even finds joy in their competition, but it currently falls flat to me because. its just validating Bakugo's power-based worldview now that Midoriya has a quirk. like sure he respects his heroic skills but does he respect him as a person?

But now, if he's lost his quirk... He's going to have to fully confront How Exactly He Fucked Up. No rationalizing that someone deserves his respect because they're as powerful as him and can compete against him in a game he's gonna win! Its either he rethinks his entire worldview or he wallows in his own misery at being quirkless, and there's no way that the story will go the second route, especially if Midoriya's own quirklessness sticks.

And honestly? that would be the most fulfilling ending to his character to me. Bakugo not being a hero would probably piss a rather vocal portion of the fanbase off, especially if Midoriya pulls off becoming a quirkless hero, but it would be very satisfying to me in particular, so. Yeah.

(OOPS this got long. My bad. I just started typing and it just spilled out)

I mean. I wrote a 1300 word essay on the problems I have with Bakugou's character arc. And like I said, his dialogue is worded once again to place value in Midoriya's Quirk over him. Personally I was hoping that Bakugou would be the Quirkless Hero because it would be a poetic inversion of how the series started while also showing a mindset that doesn't put that kind of value into Quirks.

Bakugou has some really good moments. The Final War has done a lot of good with him and addressed most of the issues I've had with his character overall. But with Bakugou you never know when you're gonna get a moment where he, I dunno, spitballing here, overhears that Midoriya lost his Quirk and starts crying because they can't compete anymore. Or physically attacks Midoriya for slapstick comedy. Wouldn't that be a weird writing decision? Making a joke about how Bakugou still attacks Midoriya? Over 250 chapters in? That'd be fucking weird.

[sir-phineas-lost]

TDP Book 5: Water

So this apparently dropped almost a week earlier than what was announced and I binged all of it at once as usual. Since I only just finished it I can’t quite tell if I like it better or worse than previous seasons (for summary: I loved the first 2 because it looked like they were heading somewhere really interesting, I hated season 3 because it completely dropped the ball and season 4 was starting to head back in the right direction). I feel like I should write a few things down to sort them out. Lots of spoilers below.

I think it was the right decision to split the party up more than they were last season because it no longer feels like Ezran is just hanging around for the sake of it and gives Rayla and Callum more time to interact and rebuild their relationship. I still don’t care one iota about said relationship because they are boring MC-shipping, but at least it doesn’t feel like it is actively eating up others’ screen-time.

The detour to Lux Aurea feel superfluous. It is very disconnected from the other subplot involving Karim and Kim’dael and the one lasting consequence (Zubeia’s wound) is apparently healed by the end of the season with absolutely no input from the main cast. Obviously this is setup for next season and this mysterious mushroom-mage but I can’t help but feel that there had to be a more convenient way to get there.

As usual, Claudia remains the very best part of the show and I will not hear a bad word about her. Her worry for Viren is so absolutely palpable it hurts and for once I think they dodged all the pitfalls of framing it as a sin. Having Terry around proves to be the best change to the show as a whole since the timeskip and he keeps being a positive influence on Claudia without being judgemental about it.

This also makes it pretty jarring when we get to Claudia’s final confrontation with the gang and after a full season of humanizing her and proving that she will listen to reason instead of going for the kill, she goes into full villain-mode from the start with crazy ranting and “I will destroy you all” speeches. All so that the gang can feel uncomplicated in dealing out the most graphic violence in the show so far. I used to joke that I would be ok with Claudia reducing elven cities to ash, I now think I would be fine with her ripping out Ezran’s spine while making Callum watch. As a treat.

Side-note: I am very ok with the trend of Claudia transforming into monster-ladies for big fights.

Please keep that up.

Viren also continues his positive development from last season, but unfortunately it is the exact kind of “redemption” I didn’t want for him and Claudia. The kind where it is all about him agreeing with everyone else that everything he ever does sucks and that dark magic is unambiguously evil. Sorry to people who like this development but I don’t see a lot of moral complexity in doing a 180.

Callum actually has a pretty interesting arc this season. After being convinced last season that it was his curiosity that would make him susceptible to Aaravos’ influence it instead draws direct parallells between him and Claudia by having love for his friends and especially Rayla be the reason he breaks his own moral code. It still relies heavily on the show’s nonsensical policy on dark magic for his guilt to make sense but it is something.

Unfortunately the show seems committed to its policy of character-centric morality. Ezran can make a speech to Callum about how they should focus on containing Aaravos instead of killing him because violence should be a last resort, and yet make no attempt at anything but violence when stopping Claudia.

Overall I just find it ironic how a book called “Ocean” manages to drive home how shallow this whole show is. It paints its main thesis on its forehead but has absolutely nothing of interest to say about it. “It is bad to do bad things for good reasons”. No shit Sherlock. Come back when you actually have something to say about what makes something bad in the first place or how to deal with the things that made someone think the bad thing was necessary.

[childofaura]

Watched S3 He-Man

HOOOOOOOOOOO.

So much! So much to talk about! There’s positives... and some minor negatives. But minor ones! Because this season mainly was awesome!

So positives first!

1. THE FIGHT SCENES. RADICAL. AMAZING. GREAT.

2. The story was great! They managed to pace everything perfectly in eight episodes!

3. ALAN OPPENHEIMER AS GRAYSKULL!!!!! WALLACE SHAWN AS ORKO!!!!

4. They saved Krass! And I like how she was still struggling between her emotions and continuing to be a bad guy, it really makes the confrontations agonizing.

5. Ork-0 used real magic! I’m very glad we got to see him again and he got some character growth. It had a real good life lesson for kids.

6. Ooooooooooh, the Hiss monster designs were sooooo good. The Basilisk was a smidge underwhelming but it was still awesome.

7. Actually EVERYTHING had great monster designs. Those weird mecha-horse things, Skeletor’s god forms, etc. Great stuff.

8. MY BOY DUNCAN GOT HIS TIME TO SHINE!!! Actually everyone equally got their time to shine, I’m so thankful to the writers that they treated everyone so equally respectful. But Duncan did such a good job, I’m so proud of this kid!

9. I don’t know if people will dislike it, but... I actually like that Adam restored Keldor to his human self. And it wasn’t for ham-fisted reasons and it wasn’t like he was forcing himself to see Keldor as family, he simply stated “It’s the right thing to do” because Adam doesn’t have it in him to kill.

10. Stratos and gang came back for a bit! I do kind of wish they could have played a bigger part but that’s ok. It’s hard juggling that many characters.

11. BABY TEELA WAS SO STINKIN’ CUTE!!!

12. The gang has come together as a family again :’D

13. Ok even though I don’t like Smith’s MotU... that cameo was hilarious, fight me.

14. OHOHOHO, HORDAK! EVELYN IS HORDAK’S DAUGHTER! Does this mean we get a Season 4?? >:3

Now... I do have some negatives, but honestly again these are minor nitpicks in the grand scheme of things. So they don’t really matter.

1. I... really don’t like how the show kept fluctuating Evelyn/Evil-lyn’s morality and gave her this semi-redemption arc. It was dumb and ham-fisted in the other MotU show and it was really painful here. Like... I LOVE Evelyn/Evil-Lyn. She’s so delightfully narcissistic and under-handed, but making her do good things and be more prone to helping really takes the “Evil” out of Evil-Lyn. Especially because it made no sense.

2. George Takei as Mer-Man, bleh... He was ok as an actor but could they have picked someone less... controversial? You want an Asian actor to play Mer-Man? Cary Hiroyuki-Tagawa is right there, guys. At least his character died. But I’ll admit the character design was pretty rad.

3. Some weird animation errors? During the scene where they’re trying to lure more Hiss monsters into Snake Mountain, there’s a scene where Kronis doesn’t have his jaw brace but suddenly in the next cut he does? I dunno, there were a couple of weird character-model inconsistencies between all the seasons but again, it’s not a big deal.

4. WHAT HAPPENED TO JUSTINE? D: Seriously, poor girl just disappears off the face of the earth. She had kind of a cute partnership/friendship with Tri-Clops, it seemed, but then all of a sudden she’s just- poof! Gone.

5. I’ll 100% admit that this is less of an overall criticism and more of a personal issue but... I don’t really like how Kronis and Evelyn’s partnership seemed to have such an abrupt change in dynamic. In the first season, they were equals and they seemed to tolerate each other smoothly, even mutually getting along (Like ”Your runt hit me with a transport!” “When we find him, how’s about we both hit him with one?” “Hmhmmm... I’d like that”. Or all the “dear Kronis” parts?). But then suddenly with S2, and even more so in S3, they made Evil-lyn the “leader” while Kronis/Trap-Jaw suddenly gets delegated to hulking, idiot henchman. I miss when the two of them were working together, they had a fun dynamic.

6. Oh gosh, speaking of which, Kronis just lost the charm of his character from S1. He turned into an idiot and a wimp, and he is just... drastically different from his S1 incarnation. Remember that this guy is supposed to be smart as hell? Remember how he took on Cringer with his bare hands (granted Cringer didn’t have claws but assuming Cringer weighs as much as the largest tiger breed, so like.. Amur tigers, which are 600 pounds? HE THREW 600 POUNDS OF MUSCLE)? You’d think instead of being screaming, fleeing bait for the Hiss minions he would have been more... I dunno, controlled and intelligent about it? Either way, RIP S1 Kronis. You were way more of an appealing sinister badass.

7. Ok... Why hire Kevin Smith as Tri-Clops? Did they just feel bad for him or something? Seems like a really weird choice considering how shitty he’s been to He-Man fans.

But honestly, like I said before, those nitpicks are so minor it doesn’t even matter. This season was amazing, I was initially sad to see it was only eight episodes long but they did such a fantastic job with the writing and pacing that it felt long enough. I love this show so much and I only hope it does get greenlit for S4.

[tenshindon]

I'm rereading dragonball cause this story mixes me up sometimes and god. Tien and Shen really do act like they're the hottest shit in their literal first appearance. And the fact that they did after they heard rumors of the kame students doing well last tournament is just so dramatic. How is tien not more popular his arc is probably the finest example of redemption and learning individuality in this series.

tien during the 22nd is literally my favorite ESPECIALLY in the anime like he’s such an asshole And For What it’s a fucking tournament you big-tittied fuck get help

but no you’re right it’s a real shame that tien isn’t praised more like??? his redemption arc is phenomenal like there’s a clear start and end to it- he’s shown consequences for his actions and he does his best to atone and apologize for them. you even see that the lessons he’s learned as a martial artist- that martial arts is about growing as a person and is not just a tool meant for violence or being better than someone- persists even throughout Z as he strives to be better than goku not to Be Better Than Goku but just to improve himself as a person: goku just happens to be a forever-moving finish line and inspiration. tien’s story really is wonderful and as much as i joke and poke fun at the guy he really is just one of my favorite characters not only for the little things about him but just for his backstory and growth

[acephysicskarkat]

One of the things that I keep coming back to with the c*trademption c*trasaster is just the sheer laziness of it.

Like, C*tra could sustain an incredible redemption arc with writers who cared enough about her character to commit to one, but nobody does. Not even the showrunner, who plainly thinks C*tra is the best thing since sliced bread, can be bothered to actually try.

Instead, the thing that stands out about everyone’s favourite stalker catgirl’s arc is just how obviously it is a means to an end. It is a narrative tool not to explore or do interesting things with the character, but to bring about a specific romantic pairing at the end of the season, and thus piss all in the way of effort is actually spent on the redemption arc itself; as long as the writers can shove C*tra onto Team Good Guys so she can be semi-believably paired up at the end of the season, the actual function of the arc has been accomplished.

That’s why most of the bad decisions in it are as bad as they are: there are good redemption arcs that have made those decisions, but they found ways to make them matter to the overall storyline.

Let’s zero in on a reasonable candidate for the worst line in the show, “That never stopped you before.” The problem with this line is pretty obvious: C*tra’s redemption has been entirely staked on a Big Dramatic Apology, but now the writing is undercutting that apology by showing that C*tra isn’t sorry, because that would involve accepting responsibility - and this line puts responsibility for their fights onto Adora, even though for the vast majority of them C*tra is very obviously the aggressor.

You could salvage this line with one simple tweak: have someone call her out on it.

As a comparison, in Megatron’s redemption arc in More than Meets the Eye, he openly starts out joining the heroes in service to his own ambitions - he regrets the damage he’s done to Cybertron, but he’s still a machine-supremacist asshole who is mostly just trying to hastily build himself a legacy not defined by genocidal warfare. At one point, he demands to know where it says he has to risk his life to help organic life-forms he’s never met and doesn’t care about...and one of the more full-time good guys taps Megs’s newly gained Autobot badge and says, “Right. There,” before ripping him a new one about how if changing sides hasn’t changed his behaviour, it doesn’t mean shit. And it’s a strong moment, because it makes it clear that there’s more to redemption than just choosing your side. You need to actually change.

C*tra, meanwhile? She’s changed sides, issued a big dramatic admission of responsibility...and here she is blaming Adora for shit C*tra herself did. Again. Like she’s been doing for the last four seasons. But instead of anyone snapping back to point this out, it’s just allowed to stand. Nothing ever comes of it, C*tra never seems to confront that resentment or move beyond it, the victim-blaming bullshit it is at its core is never addressed, it’s just a possibility for sorely needed character growth that’s wasted in favour of paper-thin both-sides rubbish that doesn’t make sense in light of their writing decisions in the other four seasons.

That’s a big part of the problem. C*tra keeps doing asshole things that could be used as opportunities to show her learning not to be an asshole, but because the writers don’t care enough about the substance of the arc to try, she never actually does the learning part.

And it just makes me sad that this character, who could have sustained a really good arc, who had two separate setups for good arcs, ended up producing just a damp fart of rushed and unconvincing half-assed character growth by people who only cared about the superficial elements.

[likealittleheartbeat]

I deeply appreciate how ATLA depicts all the main characters responses to trauma. Aang’s, for me, however, stands out for its rareness in media. And we are not hammered over the head with the idea that Aang (or any other characters) repeatedly act certain ways because of a single traumatic event. Sure, there are key moments in our lives when a certain event comes to the forefront, but no one experiences the world as constant flashbacks. Rather, we see only in retrospect the way our sarcastic sense of humor or our heightened friendliness were protective responses to a deep emotional injury. Being able to understand Aang’s approach to loss is essential for the show. The structure of the series is founded on his arc (despite an incredible foil provided by Zuko). Our little air nomad initially confronts the loss of his people with a full-on meltdown in the episode “The Southern Air Temple,” where Katara’s offering of familial belonging soothes him. But this kind of outburst is not Aang’s primary response (and actually the literally out-of-character apocalyptic tantrums align with Aang’s overall process of grieving). Instead of constantly brooding (hey Zuko!), Aang leans heavily toward the monk’s pacifist teachings and toward his assumed destiny “to save the world.” He becomes overtly accommodating and joyful, constantly trying to see “the good” in everything with a perfectionist’s zeal. This is not to ascribe his bubbliness only to his trauma. Rather, he comes to emphasize this part of his personality for reasons related to the negative emotions he struggles to face.  Book 1: Water

In the first season, Aang is simply rediscovering his place in the world. “Water is the element of change. The people of the water tribe are capable of adapting to many things. They have a sense of community and love that holds them together.” This is vital to Aang as he initially faces his experience. He won’t get through this if he is not prepared for his life to change. Even if he hadn’t been frozen for 100 years, his world would never be the same. This fact involves eventually finding new people that he feels safe with. After such a massive loss, he’s learning who to trust, and also often making mistakes; not only does he find Sokka and Katara (and I’d argue he’s actually slow to truly open up to them), this is the season where he helps save a fire nation citizen who betrays him to soldiers, befriends the rebel extremist Jet, and attempts to befriend an actively belligerent Zuko (his moral complexity had only JUST! been revealed to the kid!). He’s constantly offering trust to others and seeking their approval in opposition to the deep well of shame and guilt he carries as a survivor of violence. This is also the season where Aang swears off firebending after burning Katara in an overeager attempt to master the element (one will note how fire throughout the series is aligned with, above all else, assertiveness and yang). Aang is so eager to be seen as morally good to others that he refuses to risk any possible harm to them.  And asserting himself carries a danger, in one sense, that he might make a mistake and lose someone’s positive regard, and, in another sense, that he is replicating the anger and violence he’s witnessed. He has no relationship to his anger at this stage of his grief, so it comes out uncontrollably, both in firebending and the Avatar State. It’s through the patience of his new family that he can begin to feel unashamed about his past and about the ways his shame is finding (sometimes violent) expression in the present. Book 2: Earth In the second season he begins to trust himself and stand his ground. Earth, after all, is the element of substance, persistence, and endurance. The “Bitter Work” episode encapsulates how Aang must come to a more sturdy sense of his values. First, there is the transition of pedagogical style. While Katara emphasized support and kindness, Toph insists on blunt and threatening instruction, not for a lack of care towards Aang. Instead, it’s so Aang learns how to stop placing the desires of others above his own--to stop accommodating everyone else above his own needs. Toph taunts Aang by stealing one of the few keepsakes from the monastery that he holds onto. This attachment to the lost airbending culture is echoed in the larger arc with Appa. And, by the end of this episode, it is Aang’s attachment to Sokka that allows him to stand firm. This foreshadows the capital T Tragic downfall in the “Crossroads of Destiny.” Aang gives up his attachment to the other member of his new found family, Katara, despite his moral qualms. Although he has access to all the power of the Avatar state, his sacrifice is not rewarded. Season 2 illustrates Aang coming to terms with his values. He is learning about what he stands for, what holds meaning to him. Understanding himself also includes integrating his grief, and there’s a lonely and dangerous aspect to that exploration. We see Aang’s anger and hopelessness over longer stretches rather than outbursts in this season. It’s hard to watch and hard to root for him. That depressive state leads to actions that counter his previous sense of morality, as he decisively kills an animal, treats his friends unkindly, and blames others for his loss. Letting these harsher feelings emerge is an experiment, and most people discover their boundaries by crossing them. Finding ways to hold compassion for himself, even the harm he causes others, is the other side of this process. Our past and our challenging emotions are a part of us, but they are only a part. Since Aang now has a strong sense of community and is learning to be himself rather than simply seeking validation, we also see him having more healthy boundaries with new people. He’s no longer befriending villains in the second season! He’s respectful and trusting enough, but he’s not putting himself in vulnerable situations nor blindly trusting everyone. Instead, he’s more likely to listen to his friends’ opinions or think about how the monks might’ve been critical towards something (they’re complaints about Ba Sing Se, for example). By knowing what he cares for, he can know himself, the powerful, loving, grief-struck monk. And he can trust that, though he might not be everyone’s favorite person, he does not need to feel ashamed or guilty for who he is or what he’s been through. Book 3: Fire However, despite a sense of self and a sense of belonging, Aang and the group still find themselves constantly asking for permission throughout their time in Ba Sing Se. It’s in the third season, Fire, that initiative and assertiveness become the focus. And who better to provide guidance in this than the official prince of “you never think these things through,” Zuko. It’s no longer a time for avoidance or sturdy defensiveness. It is the season of action. Fire is the element of power, desire, and will, all of which require us to impact others.  We see the motif of initiative throughout the season: the rebels attempt to storm the Firelord on the Day of the Black Sun; Aang attempts to share his feelings and kiss Katara; Katara bends Hama and a couple of fire nation soldiers to her will. In each of these examples, the initiators face disgrace. Positive intent does not bring forth success, by any means, only more consequences to be dealt with. This is perhaps Aang’s biggest challenge. He is afraid that his actions will fail, or worse, they will succeed but he will be wrong in what he has chosen. The sequencing in the series, here, is important. We have already seen how Aang has worked to care for (and appreciate) the well-being of others and how he has learned to care for his own needs. With this in mind, he should be able to trust that his actions will derive from these wells of compassion. But easier said than done. Compassion can also trap him into indecision, hearkening back to his avoidant mistake in the storm, in which the whole mess began. Aang’s internal conflict, here, becomes more pronounced as the finale draws nearer. I think it’s especially significant that we witness Aang disagreeing with his mentors and friends. He must act in a way that will contradict and even threaten his sources of support if he is to trust his own desires. Even the fandom disagrees about the choice Aang makes, which further highlights the fact that making a decisive choice is contentious. There is no point in believing it will grant you love or admiration or success. For someone who began (and spent much of) the series regularly sacrificing himself just to bring others peace, Aang’s decision to prioritize his own interests despite the very explicit possibility of failure is the ultimate growth his character can have and the ultimate representation of him processing his trauma. (This arc was echoed and made even more explicit in many ways with Adora in the She-ra finale.) The last significant time Aang followed his desire, in his mind, was when he escaped the Air Temple in the storm. To want something, to trust his desire and act on it, is an act of incredible courage for him, and whether it succeeded or failed, whether anyone agrees or disagrees with it, it offered Aang a sense of peace and resolution. Now I appreciate and love Zuko’s iconic redemption arc, but Aang’s subtler arc, which subverts the “chosen one” narrative and broke ground to represent a prevalent emotional experience, stands out to me as the foundation for the show I love so much.

[thebigqueer]

Ok, here we go. Dark!Bianca idea. Shortly after the events in the desert, a severely injured Bianca is found by agents of the Titans who were shadowing the quest party off-page. She is brought back to Titan HQ and is convinced to join their crusade against the gods while her friends and family think she's dead. Jump ahead to BotL, instead of Kelli the Empousa, it is a mysterious masked assassin who attacks Percy and Rachel at Goode. The events mostly play out unchanged until Geryon's (1/8)

ranch, where instead of Bianca, it is the ghost of Maria di Angelo who is revealed to be sending Iris messages to Percy about Nico, while also strongly hinting that Bianca's still alive. Jump ahead to Mt St. Helens, Percy fights the assassin again, and during his stint on Ogygia, Percy begins to put two and two together after the assassin demonstrated skills similar to the Hunters. At Antaeus' Arena, the assassin is finally unmasked to reveal a still-alive but scarred Bianca, replacing (2/8)

Ethan Nakamura as the demigod enforcer. Percy is convinced that Bianca is being mind-controlled and goes to Mt Tam to rescue her as well as stop Kronos. However, when he confronts her, Bianca reveals that she's operating of her own free will, feeling vengeful against the gods for robbing her of her life and having pledged her loyalty to her new Titan master. Kronos intends to make Bianca the prophesy kid, promising her the free will she craves so badly as well as promising not to hurt (3/8)

Nico. Going into the Last Olympian, Percy and Nico are both determined to convince Bianca that she's making a mistake, and this time Nico's duplicity is not to simply learn about his mother but to try and summon her spirit to get through to Bianca. At the same time, Kronos gradually starts treating Bianca as less of an ally and more of a tool, and the Titans' actions cause her to have doubts even though she dosen't know what else to do. It all comes to a head in the final battle.(4/8)

Nico returns from the Underworld by himself early, giving Hades an ultimatum to come and fight or hide. Just before the final attack, Kronos sends Bianca to infiltrate Olympus to disable the magic defenses, but Nico arrives to intercept her and make one last bid to save her. They fight, with both begging the other to stand down even as they slug it out. Finally, just as Percy arrives to chase Kronos, the battered siblings' duel ends when Nico gives another ultimatum. He throws down his (5/8)

sword and gives Bianca, now reduced to fear and frustration-induced tears, the choice between perusing her grudge and allowing herself to continue being Kronos’s slave or doing the right thing. Finally able to make a legitimate choice of her own, Bianca chooses to turn her back on the Titans. She still ends up wounded, but unlike Ethan in canon, Nico manages to save his sister while Percy and Kronos have their final battle. After everything ends, Percy petitions for Bianca’s pardon along (6/8)

with the rest of his list, though Bianca turns it down, realizing the harm she almost caused to the person she loved more than anybody else. She is given a reduced sentence in service to her father, and though she does not properly forgive any of the gods that hurt her, she does recognize that the spite and anger she felt would only lead to more death. Nico gets to visit her occasionally, and she starts a road to redemption that Luke never got the chance to take. In HoO, Bianca is (7/8)

more of a background character, but it is she that finds Hazel in Asphodel and alerts Nico to her. Overall, dark!Bianca is an anti-villain who’s affiliation with Kronos is clearly drawn from her pain and grief over the gods’ interference in her life, but her saving grace is her brother. Nico manages to pull her out of the darkness and save her from becoming the same monster Luke became. What do you think? (bear in mind, this is my rough draft) (8/8)

Okay, WOW. Anon, I am actually going to start a petition to make you the new Percy Jackson author because that was such an interesting plot to read.

First of all, I love that you replaced Bianca with Ethan. As interesting as he was in the series, and as much as I loved his character, after reading through your rough draft, I feel like Bianca would have been a much better character to use throughout PJO. Her arc could have been expanded upon and completed thoroughly, and it could have made a lot of sense. Ethan felt more like a representation of "demigods turned to the other side," which I get is the point, but I loved the way you used Bianca because with your plot, her character could have been used so well to properly show how easily the Titan army manipulated kids.

Furthermore, I feel like your plot with Bianca could have been a much better way to use her character throughout the series. From my interpretation, in canon she seemed more like a stand-in tool just to enhance Nico's own character arc and his motives, but your plot for her would have actually given her some kind of foundation and an actual arc for her to go through. You've given her such an interesting character and I think it really provides more justice to what she could have been.

I also love the way that not only did you give her a better arc, but you also enhanced Nico's own arc and the plot, too. Her death in the books seemed more symbolic to him and a turning point in his character, but with her character in your AU, it's both important to Nico and Bianca. You've given her an actual character, and you've set up such an interesting conflict between Nico and Bianca.

Additionally, I love the divide you've created between them. I think that - based on what we know about her in the books - as much as she loves her brother, Bianca also feels very limited with him because of how she's been forced to grow up and be his savior. She understands that he's only a child, though, which I think could also play into her own hatred for the gods - they've not only destroyed her family, but now they're forcing her to take the role of an adult when she's a mere child, too? She was never angry at Nico - she was only ever mad with the gods.

Maybe that's something that Nico also feels bad about, and maybe he tells her about it when they're standing each other down. Maybe she lets him know that she never hated him or felt that he was bringing her down.

Also, I want to add that I adore the way you put them on opposite sides. It sets up such an interesting dynamic to their relationship because here you have two people who love each other so much, but they're on two different sides of a large war. They're both too stubborn to go onto each other's sides, and Nico knows Bianca's only going to get herself into more danger. I just love the potential that has for both of their characters.

I know Percy had a large fear about Nico being another kid to join Kronos' army, so I bet Bianca being on his team would have left Percy incredibly terrified for Nico, too, because he knew how much Nico loved Bianca. Would he have been nervous for Nico's ability to change his mind? Nico knows he'd never join Kronos, but would Percy have known?

And, knowing that Bianca's now on the Kronos side, how would Percy react? Because he felt pretty guilty about her death in TTC, right? Would he feel guilty that she's on the other side now, too? Would he try to reason with her, only to push her further away? I'd love to see how Percy would deal with knowing that Bianca - an important child of the Big Three - would react to her being there. He was already nervous about Nico joining sides, but having Bianca there would have really scared him.

And the part about Bianca finding Hazel instead of Nico? That was mind-blowing. I love everything about that situation because now that introduces Hazel into the narrative of Nico and Bianca's story. My question for you would be how does Hazel's character change now? How does she fit in with Nico and Bianca? Because in Heroes of Olympus she's clearly very insecure about her relationship with Nico and how he views her, but if she actually knew Bianca, how would she feel? Would she feel more left out (knowing that Bianca and Nico have known each other much longer and have a stronger connection with each other)? Would she be distrustful? And how would the three of them adapt to this additional family member? I have high hopes that by the end they would all love each other very much, but I'm just really curious into how Hazel's addition would influence the dynamic of all three.

And, essentially, it all ends into a somewhat win-win situation. Bianca's still living; Nico's got two new sisters; Hazel now has a new family.

I think this is such an interesting concept, and I'd love to read it. If you ever post it anywhere, please do share the link! This was such an intriguing plot to go through and, again, I think this could have been a much better use of Bianca's character.

Thank you so much for sharing it with me.

[kingwuko]

Wuko in the Comics: Ruins of the Empire: Book 1, Part 1

Welcome to my second post on Wuko in the comics. In this post I’ll be discussing the first half of Ruins of the Empire: Book 1. Wu is a prominent character in this comic trilogy, and there is lots of character development and exploration for him. There are also a lot of scenes with Wu and Mako together, and what’s more, there are a handful of visual parallels to Korrasami!

Ruins of the Empire

Book 1 of RotE was released in May 2019. The art style is different from Turf Wars- the colors are very vibrant and it almost looks like stills of the animated series. It takes place 3 months after the conclusion of the animated series, and there is lots of continuity following the events of Turf wars. Some major plot points that carry from Turf Wars include: Wu has been governing the Earth Kingdom, Korra and Asami are in a firmly established relationship, and Zhu Li is President of the United Nations.

Plot Summary

The first half of Book 1 of RotE highlights the transition of the Earth Kingdom into a democracy by focusing on the first state to hold its elections, Gaoling. Gaoling’s election is at risk of being disrupted by Earth Empire general, Guan, who didn’t surrender when the rest of the empire did. The Krew decides to accompany King Wu to Gaoling to ensure the election proceeds without interference.

Major plot points in the first half of Book 1

We start out with a flashback that sets the timeline for the rest of the comic. In Gaoling, Commander Guan is running an earth empire “reeducation camp” and has just gotten word that Kuvira surrendered, but isn’t planning to give up so easily. He insists that his “experiments” and the Earth Empire will go on, with or without Kuvira as the Earth Emperor…. Then we jump ahead 3 months to Republic City, City Hall. We start out with an excellent frame, the first of many Wuko Korrasami parallels! Get excited, there are SO many!

Bolin is working for President Zhu Li Moon now, because, why not? He just quit his job working with Mako on the police force, and now he’s Zhu Li’s administrative assistant or something. Zhu Li is going to be introducing King Wu for a “big speech” to the citizens of Republic City. Korra gives Wu a friendly elbow nudge and asks if he’s ready. (the first of many wholesome friendship moments between the two of them)

Wu is not ready, he’s nervous. He asks Mako to read his speech for him, and Mako says no way- but then he reassures Wu that he’ll do great. “Just be yourself” Wu is immediately comforted and says that Mako always knows the right thing to say and that must be why he keeps Mako around! (I can think of a couple other reasons...) Mako’s expressions are very stoic and closed off. He’s got his arms crossed and looks grumpy (I feel like I’m always saying Mako looks grumpy. But that’s the best adjective I can come up with).

Wu begins his speech where he announces that it’s almost time for the Earth Kingdom states to begin holding elections, starting in the state of Gaoling. Grandma Yin and cousin Tu are in the audience and Yin is booing Wu, and also yelling “Long live the monarchy” while holding framed portraits of Wu and Hou-Ting.

Asami, Korra, Mako and Varric are standing behind Wu, applauding along with the crowd (well, the crowd minus Yin). Korra and Mako casually compliment Wu, saying that he's doing great and almost looks like a real leader! Wu says that within a year there will be a peaceful transition to democracy. He gets bombarded by questions and panics and starts singing. He tosses his stylish hat into the crowd, which Yin catches and says “you’ll always be my king!” Mako covers his face with his hands, Korra says ”well you did tell him to be himself” and Mako says “this is NOT what I meant”. Sorry Mako. You know Wu better than anyone so you should have known a song was coming. Zhu Li takes the podium and Wu dramatically faints/collapses into Mako’s arms. I presume on purpose.

We cut to a scene of Kuvira’s trial. Kuvira, after being read the charges against her, pleads not guilty (because every thing she did was for the “greater good”), Suyin confronts her and Kuvira apologizes but Suyin isn’t having it and forcefully tells her that apologies aren’t enough, she has to take responsibility.

We move on to President Moon’s office, where Wu is sitting on a sofa and Bolin welcomes Asami, Mako and Korra in. Mako lampshades Bolin’s many career changes. Bolin makes a comment to Mako that just because Mako has “found” himself it doesn’t mean the rest of them have. I, for the life of me, can’t figure out exactly what Bolin is trying to say here. Is he referring to the fact that Mako has “found” his career as a detective? Or something else, like his true feelings for Wu? Probably the first thing but us Wuko shippers will happily apply it to the other thing.

Once everyone is settled in, Wu asks them to come with him to Gaoling for the upcoming elections! Mako is actually not thrilled, and tells Wu that they aren’t going to be there for him to show off as his entourage. Wu is like No, that’s not it! Well, yes, kinda. He wants their help dealing with the Earth Empire loyalists being led by Guan. The Earth Kingdom army is understaffed and Wu is worried the Guan will try to prevent the elections from happening. The Krew agrees that it could be a problem, especially since it could cause other states to back out of holding elections and allow the earth empire to rise again.

So the Krew plans to come to Gaoling to show support for the elections, hopefully deter Guan from interfering, and Mako says they will keep Wu safe. Zhu Li encourages Bolin to go as well. Wu is very excited to team up with Mako again! After they leave the President's office, Korra suggests going to go speak to Kuvira to try to gather intel on Guan- Asami is not thrilled and doesn’t want to go with her because Kuvira was responsible for her father’s death. Korra is understanding and supportive and they share a lovely little kiss before Korra heads off.

Korra arrives at Kuvira’s prison with Naga. We catch a quick glimpse into Kuvira’s mind as she remembers a moment from her childhood when she ran away from her parents-after her parents accused her of breaking a vase, the take away her toys and lock her in her room “for her own good”, and she uses her earth bending to break the wall and escape. This and other flashbacks attempt to make us more sympathetic to Kuvira so we can accept her redemption arc in the remainder of the comics. After her little flashback, Korra and Kuvira discuss Guan. Kuvira says she didn’t know Guan hadn’t surrendered, and that Korra should consider him a major threat because he is cunning and strategic. Then Kuvira tells Korra if she wants to stop Guan, she should bring Kuvira along to reason with him and convince him to stand down and surrender. Korra is not convinced, but Kuvira tells her to take time to think about it, and she’ll be there to help when Korra asks.

Meanwhile, Guan is rallying his troops. He’s got a sizable regiment of soldiers along with tanks, and is giving them a big speech about taking back the empire and rising from the ruins of defeat. He and his troops head out of their fortress, presumably to do exactly what everyone is worried about and stop Gaoling’s election.

Mako and Wu Scenes

Mako and Wu are featured in many scenes of these comics, together more often than not!

The very first scene with Wu, he is standing right next to Mako, in the same frame as Korra and Asami. I realize “standing next to each other” might not actually be ground breaking evidence for Wuko, but it feels like a parallel to Korrasami, and most importantly creates kind of an establishing shot, planting Wu at the center along with Korra. This is kind of amazing considering he was in only one season of the show and he was largely a comic relief character that I don’t think the writers meant for us to take seriously. There is a pattern of parallels in RotE with Korrasami and Wuko, and we don’t really need to reach for them. They are right there, visually.

We also get to see some lovely moments of Korra’s and Wu’s friendship. She elbows him good-naturedly. She’s kind and supportive. She compliments him. He does seem a little awkward but overall it seems he really fits in with the Krew now, and I find it really sweet. His characterization feels very different from the show. He isn’t obnoxiously flirting with every 'dame' he lays eyes on. He isn’t bratty, or materialistic. He’s still goofy and lands some comic relief joke moments, but overall he is treated like an actual character with substantial development and plot-advancing roles.

During Wu’s speech, Mako is staring like, way too intently at him while casually complementing how he almost looks like a real leader. (Well, up until Wu starts singing, and then his second-hand embarrassment seems more intense than the others, who mostly just seem a little stunned, while Mako has his face buried in his hands). Also, the running gag of Grandma Yin being obsessed with royalty has it’s funny moments during his speech, but I really like it because the fact that Mako’s grandma is reverent, affectionate, AND outspoken with Wu would probably create an interesting in-law dynamic, right? Also, during his song, the tosses his hat out to the crowd which Yin catches like a single lady catching the bridal bouquet, and says “You’ll always be my King!” I like to imagine that she now wears his hat everywhere, along with Mako’s scarf. I know I’m reaching but Yin wearing both their accessories is another Wuko moment in my mind.

Let’s also talk about Wu fainting. After his panic-singing, Zhu Li quickly takes over and Wu steps back and dramatically faints, saying “Wu down”- right into Mako’s arms. Why into Mako’s arms? Did he step back and strategically aim himself at Mako? Technically the closest person to him was Varrick. So he had to stagger back diagonally and fall back toward Mako on purpose. Did Mako catch him with lightning-fast reflexes? Korra was also right there and she’s the Avatar, you’d think she’d react quicker than Mako. Nope. The best explanation is that Wu for sure was intentionally falling into Mako’s arms, and Mako’s ‘protect Wu’ instincts kicked in faster than anyone else's because.. Well. You ship Wuko. You know what I'm saying. <3

During the conversation in Zhu Li’s office, once again, visually Mako and Wu are parallel to Korra and Asami. They are sitting next to each other on a couch opposite Korra and Asami. However, there is this one moment where Mako is NOT HAVING IT with Wu. When Wu asks the Krew to join him, Mako is like, why? For show? No way. He says “We’re not your entourage, Wu.” Honestly that was kinda mean of him to say. I’m not sure what to make of it other than Mako is suddenly grumpy because his brother (who was visibly offended by Mako lamp-shading his career-hopping) snatched away a tray of cupcakes a moment before. Still, Wu is quick to reassure him that it’s not like that at all, and delivers the news of Guan and quickly makes a case that it’s the practical thing to do considering the political climate. Mako immediately agrees after that, and quickly flips his script to “we’ll keep you safe”. And Wu’s triple “yes” response with an excited fist in the air is enough of a Wuko moment for me.

When they leave Zhu Li’s office, yet another visual Korrasami/Wuko parallel. Korra and Asami are in the back holding hands, and Mako and Wu are in the front with Wu’s arm draped around Mako’s shoulders. Wu is very happy that Mako is coming along. Says they should get a smoothie to celebrate, and it’ll be just like old times! I’m sure Wu missed Mako. Mako doesn’t seem quite as thrilled but at this point it's really just Mako’s face. He just always looks like that. Who knows what he’s thinking inside.

What this means for Wuko

So if you are writing some fanfic or just coming up with headcanons with the comics in mind, there is a lot of material to work with right away. They are in close proximity for most of their scenes. Wu is accepted by the Krew, and he is buddy-buddy enough with Korra to presume he’s probably been talking to her outside of the scenes depicted in the comics. So there’s some potential for wingman or matchmaker Korra, or at the very least she will be happy and supportive of them getting together since she has warmed up to Wu a lot. Both Mako and Wu have matured enough that a healthy relationship is within reach. Wu clearly has affection toward Mako, and Mako still has that protective instinct toward Wu, even if he looks like he’s not having a great time (But like I said, he looks like that all the time, so I'm pretty sure he just has resting bitch face).

So that is about the halfway point of book 1. The next post I will talk about the second half of book 1. Some things to look forward to: a sauna scene, Mako, Bolin and Wu giving Kuvira the Bitchiest collective look ever, and Wu casually telling Mako that he loves him.

Wuko in Turf War

Wuko in RotE part 2

[hamliet]

The Girl Who Gets to Have It All: Buffy Summers

So with @linkspooky​‘s encouragement, I have binged Buffy the Vampire Slayer and relived my childhood culture. And, it's a 10/10 for me. Not that it doesn't have flaws, but it's genuinely one of the best stories I've seen, with consistent character arcs, powerful themes, and a beautiful message. It's also like... purportedly about vampires and demons and superpowered chosen ones, but it's actually all about humanity.

Buffy was able to be a teenage girl, allowed to like the things teen girls are scorned for (boys, shopping, etc), to be insecure about the thing teenage girls are insecure about (future careers, dating, school, parents), and to be a superhero with its good and its bad aspects. The story wasn’t afraid to call Buffy on her flaws (sometimes she got in a very ‘I am the righteous chosen one’ mode) and to respect and honor each of her desires (to be a good person, to be loved, and more). The story listened to what she wanted and respected her desires, giving her the challenges needed to overcome her flaws while also never teaching her a lesson about wanting bad boys or romance is silly or any manner of dark warnings stories like to throw at teenage girls. 

It respected teenage girls--nerdy girls like Willow, jocks like Buffy, lonely wallflowers with trauma like Dawn, and popular/snobby ones like Cordelia, girls gone wild like Faith. It never once reduced them to the stereotypes that were lurking right there: each character was fully rounded, human, flawed and yet with respected interests and goals. This is so rare for a story that I’m still in awe. 

The story as a whole follows Buffy from 15 to 21, of her as she grows from teenager to adult. She acts like a teenager and grows to act like a young adult, wrestling with loneliness and duty. The adults, like Giles, Joyce, and Jenny, are not perfect either, but neither are they “bad parents” or “bad mentors” necessarily. Joyce in particular says something terrible to Buffy, but she tries to do better, and it’s rare to see a parent in YA stories shown with such nuance. Basically, it wrote the long-lasting adult characters as human beings, too. 

Speaking of growing up, I appreciated how Buffy’s love interests mirrored this. Angel was someone Buffy loved and admired, wanted to be like, but who was always either extreme good or extreme bad, and combined with Buffy’s own tendencies towards black-white thinking, made for a beautiful relationship to help her grow, but didn’t necessarily form a foundation for a long-term partner. Spike, on the other hand... they both saw each other at their worst and were drawn to each other even then, and were inspired to become better because they couldn’t bear to be a person who treated the other person so wrongly. They pushed each other to become the best them they could be, and believed in each other. Also, Spuffy is an enemies to lovers ship for the ages. 

(Also, most of the other ships were well-done or at least can be understood. Riley was very obviously wrong for Buffy which paralleled Harmony and Spike in being 100% wrong for each other. Cordelia and Xander were a fun ship even if we all knew it would never last, and Willow and Oz were beautiful and cute. But Xander and Anya and Willow and Tara? OTPs. As were Giles and Jenny, the librarian and the computer teacher.) 

That said, it’s not a perfect series. No story is. All of the characters and ships had problematic aspects to them worthy of critique, and the writing is very 90s in a lot of ways. It’s a product of its time, and in many ways it’s good society has progressed beyond some of the tropes/metaphors used in the show. In other way, though, the show was ahead of its time, and in a good way it wasn’t bound by the fear of purity policing with its takes on redemption (many characters would never fly today). 

So, in order of seasons ranked from my very favorite to my “still enjoyed it very much” (no season was actually bad, imo), here’s my review. I’ll also review my top 10 villains in the show, because Buffy does villains very well in terms of the redeemable and irredeemable.  

Season 7:  Yep, the final season was my favorite. 

Overall Opinion: Buffy's finale is literally "f*ck them men, our power is ours" and while it seems cheesy it actually works (also, f*ck in both a literal and figurative sense). The series strongly hit all the themes: love as strength, and redemption. Buffy consistently shows love as her strength--*all* kinds of love. Friendship w Willow/Xander, familial with Joyce/Dawn, romantic with Spike/Angel. These types of love are also never pitted against each other as is so often the case in current-day media. It's beautiful. Also, Spike’s confrontation with Wood was so powerful in terms of exploring forgiveness, redemption, and reconciliation: where they overlap and where they don't, and what it means to move forward. 

Unpopular Opinion: I have seen a lot didn’t like the inclusion of Potential Slayers, and while I agree they could have been better incorporated/characterized, it was a great way to show Buffy’s final stage of growing up to be ending her chosen one status and projecting/multiplying her powers over the world. 

Biggest Critique: Kennedy was female Riley--the anti-Tara to Riley’s anti-Angel (by ‘anti’ I mean opposite in every way). Kennedy was annoying and immature. Her role, like Riley’s, was less about exploring her as a character and more about her just being stamped as “love interest: lesbian.” 

Favorite Episodes: Beneath You, Lies My Parents Told Me, Touched, Chosen

Season 6: 

Overall Opinion: I said this on Twitter, but I felt like this was Buffy’s The Last Jedi or Empire Strikes Back moment. It is polarizing and dark, deconstructing the tropes it stands on--but by digging to the core of these tropes, it actually makes what’s good about them shine brighter. Everyone’s enemy was the worst versions of themselves. Giles left Buffy, Willow's struggle to relate to the world led to her trying to destroy it, Buffy hurt everyone through her anger, Xander abandoned Anya at the altar, Spike... yeah. It ages well as an integral part of the story, and the Trio were eerily prophetic. 

Unpopular Opinion: Dawn is a great character with a good arc. A traumatized teen acting out and struggling to come to terms with loss and identity? She wasn’t whiny; she was realistic. 

Biggest Critique: Willow’s addiction coding (I’ll discuss this below) and Seeing Red as an episode. I see the argument for both of its controversial scenes from a narrative perspective: Willow starts the season not grieving Buffy but instead being determined to fix it with magic and needs to learn to grieve, but. Still. Bury your gays is not a good look. For the Spike scene... he conflates sex/passion and violence (”love is blood, children” is something he said way back in season 3), but like Tara’s death, it had more to do with Spike (as Tara’s death did for Willow) than with Buffy’s arc, and as for the actual execution... they really botched that. Did it like... have to go on that long or go that far? No. Also, the framing was good, but inconsistent with the rest of the series (Xander to Buffy in the hyena episode, Faith to Xander and to Riley, etc.) 

Favorite Episodes: Once More With Feeling, Smashed, Grave

Season 3 (tied with Season 5):

Overall Opinion: The opening continuity of Buffy meeting Lily/Anne after saving her life in Season 2 was sweet. The Witchhunt episode had really powerful subtext: stories of deaths that aren’t even true are actually demons that possess the town and convince them to turn against their children in the name of protecting the children. It’s a good commentary on, oh, everything in society. Faith’s character arc was fantastic, and her chemistry with Buffy was off the charts (look, I may be Spuffy all the way, but Fuffy has rights). The finale was satisfying in so many ways, seeing the entire graduating class unite to destroy the Mayor and the school with it, symbolizing Buffy et al’s readiness to move on to college. Oz's relationship with Willow was very sweet and meaningful for a first romance for Willow. 

Unpopular Opinion: I actually don’t really have one. Maybe that the miracle in Amends was earned? I think you can make a decent case that Season 3 is the best written of the seasons, but can only truly be thematically appreciated to its full potential in the light of subsequent seasons (which finish Faith’s arc and deconstruct Buffy’s).  

Biggest Critique: It forgot Buffy killed the hyena guy in Season 1, making her continual insistence that she can’t kill people very ????? 

Favorite Episodes: Lovers Walk, Amends, Graduation Day Part 2 

Season 5, which ties with Season 3:

Overall Opinion: The entire season is about family and what it means, from Tara’s to Buffy’s to the Scoobies. I loved Glory aka Enoshima Junko as the Big Bad, I loved Dawn’s interesting meta commentary on retconning (like, the fact that she’s retconned in matters), and most of my ships are still alive. Joyce’s relationship with Spike is one of the most heartwarming aspects, and Spike’s arc’s desire is clearly highlighted: he wants to be seen as a person. The episodes after Joyce’s death are the most honest portrayals of grief I’ve ever seen, and absolutely brutal to watch. 

Unpopular Opinion: Buffy’s choice at the end seems a deliberate inversion of her choice at the end of Season 2 (sacrifice a loved one to save the world), but it actually isn’t: much like at the end of Season 2 where Buffy skips town because she’s devastated after killing Angel and doesn’t want to sort out being expelled, her mom knowing she’s the slayer, and her own trauma, Buffy’s sacrifice here was as much about her wanting the easy way out of relationships, family, college, etc. as it was about saving Dawn. Buffy’s death is coded as a suicide, which Season 6 emphasizes as well. 

Biggest Critique: Like Season 3, I don’t have a lot to critique here. I wish the suicidal coding had been a little more obvious in Season 5 itself, but also I’m not sure it could have been more obvious; it’s pretty apparent if you pay attention. Maybe also that Buffy and Riley’s relationship failing should have been more squarely blamed on Riley, you know, being insecure and cheating. 

Favorite Episodes: Family, Fool for Love, Intervention. 

Season 2:

Overall Opinion: Heartbreakingly tragic but exciting and revealing at the same time. It asked the viewer interesting questions about redemption and forgiveness and atonement through Angel being honest about his past, and then decided to show us his past now reenacted, challenging us. And still, we saw them save him in a parallel to saving Willow in Season 6 (but Season 2 was tragic because it wasn’t enough, while Season 6 was not). Jenny’s death was agonizing, and the scene were Angel watches Buffy, Willow, and Joyce get the news through the window was powerful. We didn’t have to hear them to get the grief. 

Unpopular Opinion: Jenny’s death isn’t a fridging; it works for her arc too when you consider her history. She worked to save the person whose life she was tasked to ruin, and it cost her her own--yet she still succeeded, because Jenny brought joy and wisdom to the show. Kendra’s death, on the other hand... was because they needed the stakes to be high--but we already knew that before she died. So, her death was useless. 

Biggest Critique: The subtext was Not It. It was essentially “do not have sex. Your older boyfriend will lose his soul, kill your friends, you’ll lose your family, your school, your home, and have to kill your true love or else hell will literally swallow earth.” 

Favorite Episodes: School Hard, Passion, Becoming Part 2.

Season 1:

Overall Opinion: I really liked it; it’s just lower on this list because the others are just better. It’s a great introduction to the series and to its characters, from Giles to Buffy to Willow to Jenny to Cordelia. It has great subtext a lot of the time (for example, Natalie French as She-Mantis is a literal predatory bug who engages in predatory behavior with students). Additionally, it subverts the typical YA trope of two guys and a girl, in which the girl is usually the least interesting character. Buffy and Willow were both fully fledged characters from the beginning with distinct strengths (even before Willow became a witch, as she wasn’t one in season 1 yet), while Xander was the more ordinary of the group. 

Unpopular Opinion/Biggest Critique: Xander’s arc showed its first flaws that unfortunately continued throughout the series: his writing was either very good or very indulgent in ways it never was for other characters.  (cough, the hyena episode, cough, in which he gets to skirt responsibility--and acknowledges that he is skirting it--for something the show will later hold others to account for). Xander’s just kind of inconsistent, which weakened his character over all. (Which is why both his love interests--Cordelia and then ultimately Anya--were good for him: they did not indulge him.) 

Favorite Episode: Witch, Nightmares. 

Season 4:

Overall Opinion: it’s still a good season. It’s a good portrayal of college and the growing pains of branching out, the strains of college growth on relationships (romantic and platonic). It shows us the first hints of Spuffy, giving us some serious Jungian symbolism between Spike and Buffy early on, and does well in establishing Xander/Anya and Willow/Tara as beautiful OTPs. Faith and Buffy’s foiling is fantastic. The Halloween episode was very fun as well. However, it suffers because its Big Bad, Adam, is not all that compelling thematically--yet, he could have been. See, the final battle pulls off the Power of Friendship in a really strong way but notably the season does not end there. Instead, it ends on dreams of each character’s worst fears, continuing what we saw in Nightmares in Season 1. Why? Because it shows us that the characters’ wars aren’t against monsters, but monsters of their own making: their flaws. Adam, as a literal Frankenstein, exemplifies this, but it wasn’t capitalized on as well as it could have been. 

Unpopular Opinion: Beer Bad isn’t a bad episode, at the very least because Buffy gets to punch Parker. It’s not one of the series’ best, obviously, but it does give Buffy an arc in that she gets her daydream of Parker begging her to come back, but she has overcome that desire and her desire for revenge. If we wanna talk about bad subtext in Season 4, Season 2′s Not It sex subtext continues in the Where the Wild Things Are episode in this season; it’s a powerful callout of abusive purity-culture churches, until the fact that the shame creates a literal curse undermines the progressive message it’s supposed to send. Also, the Thanksgiving episode (Pangs) is a nightmare of white guilt and Oh God Shut Up White People. 

Biggest Critique: Riley is awful. Like Kennedy, he had “love interest:normal” stamped on him and that was it. The thing is, he could have worked as an Angel foil, representative of the normal-life aspect of Buffy to Angel’s vampire/supernatural aspect, but the writers never explore this and seemed to even try to back away from that later on. They threw all the romantic cliches at the wall to see what sticks, from klutzy “I dropped my schoolbooks, that’s how we met” to cliché lines that had me rolling my eyes. Do you know how bad a romance has to be to make me dislike romantic tropes? 

Favorite Episodes: Fear Itself, Hush, Restless

Villain rankings: 

Dark Willow, the only villain to be truly sympathetic. While the addiction coding was insensitive and, while unsurprising for its time, aged extremely poorly. That said, Willow’s turn to the dark side after Tara’s death worked well for her character and the story: it was believable and paid off what had been building since Season 1's “Nightmares” episode (Willow’s inferiority complex). 

Glory managed to be genuinely terrifying, and humorous/enjoyable too. Her minions and their numerous nicknames for Glorificus were hilarious, as was her intense vanity. Her merging with Ben--a human being who genuinely wanted to be kind and good--added complexity and tragedy to her role. 

The First. A really good take on Satan. The seventh season as well as the First’s first appearance in season 3′s “Amends” had kind of blatant Christian symbolism, and so the First being essentially Satan works. Their disguising themselves as dead loved ones and the subtle manipulation they used to alienate people was really disturbing and well done. 

The Mayor, who was a terrible person but a truly good father. He provided an interesting contrast to the normal ‘bad dad’ bad guy character, in that he provided Faith exactly what the other characters refused to: he saw the best in her and offered her parental support, while the heroes didn’t and wound up pushing her away. 

The Trio, who were villains ahead of their time: whiny fanboy reddit dudebros, basically. The stakes seemed so much lower than fighting Glory, a literal god, the previous season. But that’s why they worked so well for Season 6′s human themes, and were especially disturbing because we all know people like them. I also appreciated the surprisingly sensitive takes on Jonathan and Andrew, who got to redeem themselves, but Warren did not, and I don’t think he should have either. 

Angelus + Drusilla. I’m ranking them below the Trio because Angelus was just sooooo different from Angel that it was difficult for me to feel the same way for him. He was still Angel, so it wasn’t possible to enjoy his villainy, but he also wasn’t nearly as sympathetic as Dark Willow, had no redeeming qualities like the Mayor, and wasn’t as disturbingly realistic as the Trio. However, the emotional stakes were excellently executed with him as the Big Bad, in that you were never quite sure how to feel and it just plain hurt. Also, Drusilla was a favorite recurring character. She was sympathetic and yet batsh*t enough to be enjoyable as a villain at the same time. 

The Master, who was just completely camp and really worked as an introductory villain. He was scary enough to believe he was a threat, and was funny enough to introduce the series’ humor as well. He was, like Glory, an enjoyable Big Bad. 

The Gentlemen, the one-off villains of Season 4′s Hush who were genuinely terrifying. It’s not as if they got a lot of explanation or any backstory, but they didn’t need it. 

Caleb, the misogynist priest. Fitting with the First’s Christian symbolism, Caleb serving as a spokesperson of all bad religious beliefs felt appropriate. He was also a good foil to Warren--being actually supernaturally powered instead of a wannabe--and to Tara’s family in being full-out evil. I despised him. 

Snyder. Okay Snyder is not a Big Bad like Adam is, but let’s face it: Adam is lame compared to the other villains. But Snyder as a principal? He was so irritating and yet really well used in the series to critique overly strict, hypocritical teachers. Like, we all know teachers like him. I loved to hate him, and his ending was so satisfying. 

[ginmo]

How do you think the Bran and Jaime’s meeting will go in the books? I’ve read theories guessing he might end up as King Bran’s Hand, meta where the writers want him to become a mentor or father figure to the Starks in a full circle of his redemption arc, while others don’t want or think he should be involved with the Starks long-term either because of his and his family’s sins against the Starks or because they view his arc as reclamation rather than redemption or atonement. 1/2

This is what GRRM said about Bran and exploring time. 

“It's an obscenity to go into somebody's mind. So Bran may be responsible for Hodor's simplicity, due to going into his mind so powerfully that it rippled back through time. The explanation of Bran's powers, the whole questions of time and causality - can we affect the past? Is time a river you can only sail one way or an ocean that can be affected wherever you drop into it? These are issues I want to explore in the book, but it's harder to explain in a show.” - Fire Cannot Kill a Dragon

Hodor’s name reveal is neat and all, but Bran’s power to manipulate the past doesn't exist just so we can randomly learn Hodor’s pointless name origin. That would be ridiculous unless the scene was used to introduce that ability. Hodor’s name reveal is important to the narrative, and I believe its purpose is to set up a much bigger event/reveal involved around Bran interfering with the past, not just observing it. I’m pretty sure GRRM was hint-hinting to D&D about this, which is why he told them about the random ass Hodor scene that was already written, thinking it would be obvious what that means for the overall plot and letting them run with it but………………..

Because of this, I think it’s possible Bran brought himself to where he is. 

IF Bran isn’t involved in The Push, then he could have been involved with Jaime killing the Mad King. I kinda like the idea of Bran playing into Aerys’ madness, causing him to stock up on wildfire around the city, because then the wildfire would be an essential future plot element for a bigger purpose towards the end of the series and it would be a question of time, “a river you can only sail one way, or an ocean that can be affected wherever you drop it,” but for the entire series. (And, as someone with a passion in astrophysics, I’m a sucker for discussions around time. BUTTHAT’SJUSTME) 

Do I totally subscribe to this theory? Eh. I’m still not convinced Bran is King of All of Westeros for reasons, but I’m open-minded. I DO think Jaime is surviving the series, for reasonsssss, so I’m putting that disclaimer out there right now. I will never claim with absolute confidence that he is surviving though because, I mean, nobody fucking knows, and there’s an argument for death. I’m just going off of narrative clues that I perceive to be clues, and taking other character arcs into consideration. After literally drawing up a table because I’m weird, the column for Survive has more evidence and justification than the column for Dies, so that’s why I lean the way I lean. SO with that being said, I think it’s possible he has more of a political future.

IF this is what GRRM is writing, Jaime would still be responsible for pushing him, of course, but future Bran would want to be pushed. He'd be setting everything in motion to create the butterfly effect that makes it happen. 

Even if that isn’t what GRRM had intended with exploring time, it’s highly likely Bran’s character development is taking him down a path of apathy over it, meaning he wouldn’t be needing Jaime to do something for the purpose of redemption for him. 

Speaking of Redemption…

-deep breath-

I’m going to go off on this a bit because it IS relevant, I swear. 

“Limits of redemption” is probably the biggest wtf interpretation fandom has when it comes to what GRRM actually said. I’ll try not to go off on it too much here but -

Interviewer: Both Jaime and Cersei are clearly despicable in those moments. Later, though, we see a more humane side of Jaime when he rescues a woman, who had been an enemy, from rape. All of a sudden we don’t know what to feel about Jaime.

GRRM: One of the things I wanted to explore with Jaime, and with so many of the characters, is the whole issue of redemption. When can we be redeemed? Is redemption even possible? I don’t have an answer. But when do we forgive people? [...]  I want there to be a possibility of redemption for us, because we all do terrible things. We should be able to be forgiven. Because if there is no possibility of redemption, what’s the answer then?  [x]

I bolded “we” from the interviewer, because it gives context to GRRM’s answer with “we” being the readers, not the characters or Jaime himself. (I think there’s another interview where he says “limits of redemption” but it’s in the same context. I could be wrong but I SWEAR I heard it. Anyway…) 

“I kind of tried to ask, ‘do you think he’s changed?’ to get him to talk about Jaime’s redemption arc, so he said something like he wanted to explore the concept of forgiveness and whether it’s possible to be forgiven for doing such horrible things, and that his goal was to ask the question, not give an answer.” [x]

Fandom thinks this is the characters giving Jaime forgiveness, and maybe there will be a small element of that in the books, but the question is for the readers. No, Jaime is not actively seeking redemption from people. His redemption is for himself, through living his best life, by rediscovering the person he used to be. Yes He Will Be Redeemed and No He Will Fail assume redemption is some arbitrary checklist determined by One Big Act, and they’re answers to a question GRRM doesn’t want to give an answer to. 

The purpose of Jaime’s POVs is to ask the readers, and the most obvious moment of this was the bath scene. GRRM smacks us over the head with the Aerys confession, and then as we’re introduced to more and more of his POV chapters, he slowly chips away at the Jaime illusion that was intentionally established the moment he pushed one of the perceived child protagonists out of a window. It’s brilliant, and I’m sorry GRRM that a large chunk of your fandom is too dense to get it. How frustrating lol. I’ll be insulted for him. (I’m legit wondering if his recent angsty tweets about grey and redemption about real life stem from a concern that his fandom won’t understand the point of the series.) 

To give you an idea of where these people are coming from, at least one BNF idiot on Twitter believes redemption hasn’t been explored with Jaime yet. 

But uh… 

GRRM mentioned his intent is to “explore redemption” after delivering Jaime POVs, because... it’s... not a spoiler… he’s already exploring redemption, because the question is being asked TO US. We were supposed to have an “oh shit” moment, realizing this is more complex than the surface level, biased perspective we were delivered at the beginning of the story. “Maybe Westeros and my protagonist have it wrong.” -cough- the people in the village in BatB -cough- 

No matter how much fandom likes to pretend they love GRRM for pushing the boundaries of fantasy, they secretly fucking hate it. They love to be comfortable, dude. That’s why they read this series as if it’s a clear cut Good vs. Evil, because a) ego and b) that’s easy. If GRRM was writing Jaime as doing everything with ill intent then…. his… question isn’t being asked. They think everything he does right now is selfish and Bad, so they’re waiting. They want it spoon fed to them. They want classic fantasy. They want Starks = Good, Lannisters = Bad. 

But… if the author sees Jaime’s actions as grey and complex, enough to ask the question to the readers if he’s redeemed in their eyes or not, then he’s not going to write an endgame that punishes the character for narrative payoff, because he doesn’t see his actions as “sins” or “crimes” in the same way that these people are. Once upon a time, a person on tumblr reblogged one of my posts and said that Jaime will rape Cersei before he kills himself and that will be his endgame. But GRRM doesn’t view Jaime as a rapist, so he’s not going to write Jaime as a rapist. I’m bringing that up, because it’s the same phenomenon. People can ignore authorial intent all they want, but NOT when it comes to predicting narrative trajectory. The general fandom is terrible at that lol. 

The exploration of redemption for Jaime comes in the form of confronting his disillusioned self and everything attached to it. Before someone thinks, “lolllll he isn’t disillusioned” 

 “he actually was a very idealistic young man who was disillusioned by life” [x]

Jaime’s redemption is the path of returning to that idealistic man for himself. It’s by feeling ashamed of the things he’s done to hide his love for Cersei. It’s by gaining independence and detaching from the toxic relationship that caused a mess outside of them. It’s by wanting to be like the knights he admired in his youth, and like the woman warrior that inspired him. 

So when I think about narrative payoff for Jaime, I don’t see it framed as him being “punished” for actions viewed as “crimes,” when GRRM clearly established those “crimes” as complicated and grey with a character already going through some positive development, and especially when the characters judging are written to be flawed as well.

On the other side, having him be “punished” by succumbing to hatred and anger is for sure giving an answer (this just… -sits on hands- don’t even get me started on THIS fucking hot take). That answer would be a clear, solid, “No, no matter how hard he tries to turn his life around, he can’t be redeemed, because he’s a hateful, angry, fucked up person.” I’ve legit seen people think “limits of redemption” is a boundary of redemption drawn in the sand that Jaime is walking towards but he won’t be able to cross it. I-......................... 

And what’s even the point of his handchop if scenario number 2 happens?  

“And Jaime, losing a hand, losing the very thing he defined himself on is crucial to where I think I want to go with the character. And he questions what do you make of yourself if you’ve lost that.” - GRRM [x]

(I’m going to put this quote in every post sorry not sorry) 

So he’s going to take Jaime on this big identity journey just for him to be like “lol nah he isn’t that” …?? That makes the loss of his hand meaningless, not “crucial.” Is it really crucial for him to lose his hand if he’s bringing him back to the beginning? Is it really crucial for him to lose his hand to make himself realize he’s hateful and a failure and murder Cersei and then himself? No. He could have still met Brienne and been inspired by her knightly ways, attempted to live a better life, found out about Cersei’s affairs, etc. He doesn’t need to lose his hand to reach a point of fucking murder/suicide lmao fuck (not saying he’ll do that but I KNOW people are thinking it). 

The loss of his hand is “crucial,” because GRRM has bigger endgame plans for him in the form of politics, and the journey to believably get there requires the forced loss of his warrior identity and everything that the hand symbolized. 

AS FOR THE ACTUAL HAND THEORY...

Even though I’m undecided on it, I CAN see it IF Bran is King. I get it. Jaime’s missing his right Hand, he becomes the Hand to the kid he pushed out the window. Hardy har har. I understand how that would be pleasing.

And we all know GRRM said something about how the best ones for power are the ones who don’t want it…  

And… this suspicious scene at the very beginning of the series… 

“You should be the Hand.” 

“Gods forbid,” a man’s voice replied lazily. “It’s not an honor I’d want. There’s far too much work involved.” 

Bran hung, listening, suddenly afraid to go on. -AGOT

BUT IF that happens, it wouldn’t be there as some sort of #atonement #forredemption. It would be there because of Jaime’s growth as a character after developing into a political player, after asking himself, “what do you make of yourself if you’ve lost [the swordhand]?” He’s no longer the warrior he once was. He dislikes any sort of political position, because he feels most alive with a sword in his hand. But that was Warrior Jaime, and the point of “what do you make of yourself after you’ve lost that” is Jaime going down a different path after discovering that Warrior Jaime has died. I mean, he’d never be actively seeking power and thinking it’s the best career ever, like he’d probably be all -sighhhhhhh- about it, but he’d be doing the responsible thing and what’s necessary. He’d make himself useful in a new way. 

“The Warrior had been Jaime’s god since he was old enough to hold a sword. Other men might be fathers, sons, husbands, but never Jaime Lannister, whose sword was as golden as his hair. He was a warrior, and that was all he would ever be.” - AFFC (Do I really need to make a post about how GRRM foreshadows? Mr. Bran: “I never fall”...?)

Jaime losing his hand was the narrative consequence for The Push, making all of his development post handchop -ALL OF HIS POVS- the redemption theme. It was the hand that pushed Bran, fucked his twin, killed his king, swung the sword against fandom’s Precious Protagonists… 

“You ought to be pleased. I’ve lost the hand I killed the king with. The hand that flung the Stark boy from that tower. The hand I’d slide between my sister’s thighs to make her wet.” - AFFC

So if Jaime becomes his Hand, it would be the two characters meeting in the middle, not Jaime groveling at his feet, begging for forgiveness, framed as a punishment for sins - “sins” that fandom views as “sins” that need narrative payoff, because they don’t understand intent. 

[brave-clarice]

“Clarice” Liveblog: Episode 2

Again, some extremely unfashionably late hot takes.

(Special thanks to @kathrynethegreat and @special-agent-pendragon​ for encouraging another liveblog!)

Clarice is working out! And eating junk food! I love it.

and cleaning her gun!

hey, Ardelia is drinking what I’m going to assume is her grandmother’s “smart people tea”.

Krendler disciplining Clarice already is infuriating but appropriate.

“I lost control.” Oh no, I don’t like that. Don’t make Clarice unstable. Her mental and emotional state never had anything to do with her failing career.

getting weird mixed signals from Ardelia. Last week, she obviously didn’t want Clarice to lie/stick to the script Krendler gave her, but now she’s telling Clarice she messed up by not doing so...?

“I better know you if you’re calling this early.” Amen, Ardelia.

I’m in love: this cinematography is straight out of the film (when she’s flying to WV with Crawford)!

“When’s the last time you went back to Appalachia?” “It’s been years.” What??? It has NOT been years--Clarice was JUST in West Virginia last week as well as in Silence, and she arguably attended college there as well. (UVA is at least nestled in the mountains, and you don’t have to drive far outside the Albemarle Valley to hit Appalachia proper.) After all the details about her character they’ve been nailing, they miss this glaring error? 

I like the tiny details she’s noticing (like the guy biting his nails). Not only because she’s an investigator, but because it’s reminiscent of Hannibal’s influence (imo).

Clarice Is Short: The Saga continues

still not getting any creepy vibes off Krendler. He’s going to be much less effective as an antagonist if he isn’t lewd as well as a dick.

I really don’t care for the way the opening “credits” fade out from the death’s-head moth to Clarice’s face. There are MANY animals that represent her, or parts of her, in the books--lions, lambs, horses, and of course birds--so this choice feels empty and lazy to me.

also lazy: having a fellow agent straight-up tell her in episode 2 “you shouldn’t be in the Bureau.” Maybe in two or three years, after some further “Death Angel”-type incidents, I could see this blatant rudeness, but not yet.

“Reesey”? Thanks, I hate it.

this flashback must be of Clarice’s little brother. That answers one question I had last week. That said...Clarice’s brother doesn’t play the same role in her story that Mischa does in Hannibal’s--but this sure feels like a Mischa-esque flashback.

good: they’re finally getting to the source of Clarice’s actual trauma!

bad: this is NOT how Clarice found out about her father. In fact, that whole incident is laid out in detail in the novels, and there’s nothing overly literary/un-cinematic about it, so this feels unnecessary. “The police are here! Something happened to Daddy!” No, bad! Show, don’t tell!

she would’ve known better than to introduce herself to that kid as “Clarice Starling, FBI,” come on now.

were they regularly able to wire tap hair clips in 1993? 

actually, nothing in this show looks very 90s to me so far. I’m sad about it.

so in eighteen months, Ruth Martin has gone from a junior Senator to the Attorney freakin’ General, and now she might run for governor?? At least let her get settled in one position of power first, why don’t you!

yet more Buffalo Bill flashbacks...alas.

are they trying to make this guy another surrogate Hannibal character? He’s commenting on Clarice’s accent and the dryness of her skin, asking about who she “left behind”...it all feels very Hannibal. (I know he’s a Charismatic Cult Leader trope, too--but when played off of Clarice...)

“Ew.” “I hate this guy.” I laughed.

I understand that Clarice probably feels conflicted re: her siblings in the book, but I’m really not digging the flashbacks of this Tim Burton character her brother.

@ the writers: Clarice already has the lamb backstory/symbolism, too. We don’t need this Little Brother stuff.

*shrieking* Mrs. Starling! At the sink washing the blood out of his hat!!! 

...aaand they had to ruin it with the brother’s painfully bad dialogue. Will still be good for gif-making, though.

are we supposed to interpret all these flashbacks as Clarice being incapable of controlling her emotions/state of mind? She keeps losing herself in memories and emerging all doe-eyed and panicky. I don’t like it.

not to be a broken record but...Clarice should be TOUGH. Again, Ardelia only saw her cry once in seven years. But she’s more worked up in this scene than Jodie was in Memphis!

when Mr. Cult Leader shouts “Agent Starling! Agent Starling!” he sounds exactly like Hannibal calling her back to his cell in the asylum. That has to be intentional. 

damn, wish that I could look as good five minutes after I’ve been crying as Clarice does.

I LOVE that Ardelia gets to be the crucial behind-the-scenes book-smart partner to Clarice’s action heroine.

AG Martin’s just playing politics by turning a blind eye to the crooked sheriff. But when her own daughter was just kidnapped and almost killed, she looks like a real hypocrite.

gosh, Rebecca Breeds is great. I already hope she gets nominated for an Emmy.

so Krendler is...doing the right thing???

Clarice’s father was definitely not a sheriff. I hope she’s just exaggerating for dramatic effect. (Maybe this will be clarified later.)

she couldn’t just sit with a manipulative guy without getting emotional, but she’s cool as a cucumber while telling an extended story about her father? HmmMM.

sometimes her mannerisms and facial expressions are so much like Jodie’s that it’s uncanny, like here when she leans forward to confront the Cult Leader.

“She did it.” Damn straight!

another great callback to Silence. this show’s camera crew knows its stuff!

“He’s concerned I have some residual trauma from Bill.” I. Hate. This. Subplot--and all its OOC implications.

“Catherine was close to her father, too.” Ooh, a nice allusion to the novel! Clarice makes note of their “common wound,” the loss of a father, when she’s in Catherine’s apartment in Silence.

she is just SO pretty.

little Clarice looks a LOT like Rebecca Breeds. I hope we see some more of her. 

The Good:

the continuing visual nods to the Silence film via cinematography

Mama Starling!!!

Clarice’s “The World Will Not Be This Way Within the Reach of my Arm” attitude, refusing to leave without helping the victims.

Ardelia Mapp coming in clutch! 

Clarice being, generally, a badass

and using psychological tricks/mind games to pin the antagonist...that’s the woman who disarmed a monster with just a few words.

Rebecca Breed’s acting has been phenomenal so far.

I like Clarice’s haircut a lot better when worn down (though it’s not very practical for fieldwork, so we probably won’t see it much).

The Bad:

the continuing Buffalo Bill-related Trauma Subplot. Ugh.

all the flashbacks to Clarice’s brother (and the not-so-subtle suggestion that her brother is, symbolically, another lamb).

will the real Paul Krendler please come forward? this guy is so TAME.

the other agents’ hostility towards Clarice needs to be toned down slightly so that it can escalate. Otherwise, where’s the tension?

is this actually 1993? I’m not feeling it. Shouldn’t it have a little of that Season 1/2 X-Files aesthetic? Please give me more than once-an-episode references to pagers and fax machines!

that glaring Appalachia continuity error...it’s still bugging me.

I missed the overt Hannibal references, even though they’re not necessary to any part of this episode. A lady can dream!

Overall, I really liked this one despite my various issues with it. It started shakily but built to a great finish. The emphasis across both episodes on Clarice being in the FBI not just to “get out, get anywhere,” but out of a genuine desire to help victims has been wonderful. I just hope they don’t swerve too far into the “too traumatized and emotionally compromised to function” lane. It would be a disservice to Clarice’s character and to her journey (and would smack too much of “Hannibal really did prey on her weak mind/brainwash her”.

Things I’d still like to see: More of her personality. Her hobbies and interests. That she’s cleaning her gun is great! Now let’s see “Poison Oakley” practicing her sharpshooting skills. Or car shopping. Or clothes shopping to show off her “developing taste.” (Ardelia can come!) I’ll take literally anything. Give us more of Clarice’s sense of humor as well. She had some subtle funny moments in the pilot, and it’s nice to see Rebecca smile for a change.

And Krendler? Smear that man in grease! I appreciated a happy ending even though Clarice’s career is, as we know, already in a downward spiral--the last thing we want is for every episode to be a slog, especially when a good chunk of the audience hasn’t read the book and doesn’t know Clarice is doomed to fail in the Bureau.

However... Krendler’s not a “redemption arc” kind of character. Or even a “run-of-the-mill sexist asshole” character. This is a man who spent seven years systematically sabotaging a young woman’s career because a) he was jealous that she solved the Gumb case before him, and b) she wouldn’t fuck him. He was a Justice Department official working fist-in-glove with a serial child molester who was planning some of the heinous vigilante justice imaginable. THAT’S why his very gruesome end at Hannibal’s hands felt deserved--even Clarice thought so! In short, he needs to get nasty.

Anyway, thanks for coming to another long-overdue TedTalk. Fingers crossed that the next one will be more timely (aiming for Sunday night)! 

[warsmith-38]

How I would do RWBY pt. 1

Revised Timeline of story events (This is not a script, but a semi-loose outline of the story)

Red, White, Blake, and Yellow trailers can stay. They’re perfectly fine as is, barring some early series production foibles (and the voice acting).

Series would be split into three arcs with three seasons each. 1. The School Arc 2. The World Travel Arc 3. The War Arc. (4. The epilogue season of mini episodes just to cap a few things off)

School Arc.

Season One.

Ruby is shopping.

Roman tries robbing the place.

Ruby gets involved because ‘fight good yes’.

Fights Roman and goons.

Beats goons but starts losing against Roman.

Glynda intervenes.

Roman am-scrays and Ruby is detained by Glynda.

This is not the first time Ruby has been called in like this.

She’s been doing free-lance vigilante stuff for a while now.

Tai comes in, worried to hell and back… again.

It’s almost routine by now, but he has a heart attack each time.

Ozpin gets wind of it this time.

Is impressed by her and offers her position at school.

Ruby says yes.

Tai says Ruby is too young to be-

Ruby says yes.

Tai keeps trying to argue-

Ruby. Says. YES!

She wants to be a huntress like her mother was more than anything else in the world.

Next few days is various entities trying to get Tai to greenlight the idea.

Ruby constantly begs, Yang says it���s a good idea, Ozpin is quite forward as to the benefits, et cetera.

Tai relents when Qrow calls him and argues that Ruby is never going to stop her vigilante thing and should at least be doing it legally and with training.

Tai tells Yang to watch over Ruby.

Yang only promises to try.

Ruby instantly loses her after they arrive at Beacon.

Yang tried, just not very hard. Wants Ruby to be independent, both from her and Tai.

Ruby meets Weiss.

Carefree and rebellious Ruby immediately clashes with stuck-up and bad-tempered Weiss.

Blake intervenes, slags off the SDC, everyone walks away annoyed.

Ruby meets Jaune.

Jaune is less bumbling.

More of an Octavian figure. Meek of body, but quite strong of tactical and strategic mind.

Jaune meets Pyrrha.

Has no idea who she is. Not all that into celebrity gossip, especially whole kingdoms away.

Comes off as polite and charming, if a bit oblivious.

Ruby encounters Blake on her own.

Says thanks for helping ward off angry Weiss.

Blake seems a little standoffish but Ruby’s infectious friendliness makes her give her a chance.

Have actual conversation about books.

Have minor debate over the exact meaning behind the symbolism of a character in a story.

Y’know, nerd shit.

Orientation.

Ruby and Weiss talk again.

Goes roughly as canon. IE: poorly.

Ren and Nora introduced, again, roughly as canon.

Ren talks a bit more, less of Nora motor-mouth with him just being there.

Have brief conversations with Jaune and/or Pyrrha.

Relic hunt starts.

Catapult!

Ruby and Weiss meet each other faster than usual.

Grimm show up and they kill them together.

Weiss calls her an idiot but agrees that she’s at least competent in a fight.

Blake and Yang meet each other.

Have actual conversation.

Blake tries to be standoffish and curt but Yang’s winning smile and corny sense of humor makes it hard.

Jaune and Pyrrha meet again.

Jaune has actual plan to get relic.

Have conversation about aura and semblances in a way that doesn’t make Jaune seem like he was dropped multiple times on his head as a child.

Says that he hasn’t unlocked his semblance yet, but he says that he scored high enough on his aptitude tests to make up for it.

Ren and Nora meet up because… well, duh.

Meet Jaune and Pyrrha and decide to team up to speed the overall process up.

Bumble into pissing off giant grimm.

Ruby and Weiss start arguing, come to brief blows even.

Teenagers, am I right?

Big grimm shows up.

They bond a little by fighting it off together.

Main characters start to coalesce at the relic site.

Future JNPR is there too.

Everyone has brief hello with each other.

The two large grimm from earlier show up.

Each would-be team gets one.

Happy teamwork scene.

Kill the grimm, get the relics, same old shit.

Teams RWBY and JNPR are made official.

Team CFVY are present as the designated senpai group.

Cue bonding scenes.

Ruby and Blake create book club with Ren, Jaune, and Yatsuhashi.

Yang, Fox, and Ren have Kung-Fu training scenes.

Velvet passes around the collection plate for Wild Call, a large and helpful faunus rights group.

Blake and Velvet are kind of tense with each other. No one knows why.

Then again, Blake is pretty tense with everyone, but especially Velvet and Weiss.

(Velvet knows that Blake is a faunus and dislikes that she hides it. Blake dislikes Weiss because Schnee.)

Ruby is happy to talk to Coco-senpai and her crazy purse mini-gun.

Nora, Yang, and Pyrrha have push up contest. Ruby wins.

Weiss helps Ruby study with things like flash cards, note taking strategies, and other things she ignores.

Weiss has tense moment or two with Ruby but Yang delivers some context as to why Ruby is so unruly.

Mom died, dad got WAY overprotective of Ruby and more than a little distant with Yang.

Ruby always wanted to be like her badass of a mother and saw their father as being in the way of that.

Weiss empathizes to a degree.

Weiss and Yang team up to be the semi-responsible ones for Ruby.

CRDL are cunts.

Act racist to Velvet.

Push Jaune and Ruby around a little.

Say ungentlemanly things to Yang and Pyrrha. (They do it to all of the girls, but to them the most)

Cunt stuff.

CVFY can’t do much because A. They can’t be brawling with underclassmen and B. They wouldn’t be able to not kill the little pricks and that’d be a bad look for them.

JNPR is just trying to ignore them.

This leads to a confrontation between CRDL and RWBY.

They make a bet over a set of sparring matches.

If CRDL wins then RWBY has to operate as their maids or something creepy like that for the school year.

If RWBY wins then CRDL has to fuck off for the school year.

Best of four matches with a team battle if a tiebreaker is needed.

Ruby actually loses to Cardin due to his tankiness, him being the most (IE: only) competent part of his team, and secret cheating.

Weiss beats Russel rather handily.

Blake loses to Dove due to him cheating and everyone still not noticing yet.

Yang traumatizes Lark as a warning.

Team battle!

CRDL takes an early advantage due to RWBY having some coordination issues.

RWBY figures out that CRDL is cheating via wire tapping into their team communications.

Ruby takes the reigns.

Coordinates with her team via code with an old inside joke to Yang, a literary reference to Blake, and one of those studying tricks to Weiss.

They act in ways that CRDL aren’t expecting and can’t cheat around.

RWBY wins.

Yang and Blake take CRDL aside and threaten them that if they renege at all they will make what Yang did to Lark look like a massage, not to mention telling the staff about the cheating.

They are scared into avoiding RWBY and co. where convenient.

CRDL slink off to be cunts elsewhere.

Pyrrha, because fuck ‘will they won’t they’, asks Jaune out on a date.

Jaune, breaking dense anime boy tradition, says yes.

They’re cute together and N+R support them.

Beginnings of Vital Festival starts.

Team RWBY sees Sun causing chaos.

He briefly introduces himself to them and then runs off to cause more monkey mischief.

SSN are right behind him and are rude bastards who don’t introduce themselves while fleeing the cops.

Penny meets team in glorious awkwardness.

Ciel, whom Weiss recognizes from Atlas (they went to the same starter school together), is constantly chasing after her and her antics.

Her other two teammates are just combat bots with special retrofits. (They’re prototypes for Penny)

Gives context of tournament and her place in it like an awkward robot would.

Weiss says something pretty damn racist directed towards Sun.

RBY call out Weiss on racism.

Blake gets angry with her.

The topic of the White Fang comes up.

R + Y both agree with Weiss that the White Fang are assholes, despite also condemning Weiss’ racism.

Weiss has horror stories about what they’ve done, including kidnapping her at young age.

Points to her scar for emphasis.

Blake can’t argue against what they’re talking about but counters with the horrible stuff the SDC has done across planet.

General scumbag corporate crap as well as paramilitary actions that break most international laws.

R + Y also agree with Blake that SDC sucks too.

Weiss is a little taken aback.

She genuinely had no clue that things like that were happening.

Blake lets slip that she was White Fang.

Runs off before people can react.

Team gives chase.

Blake thinks they’re going to turn her in and/or lynch her.

They only want to talk to her and get the full story.

Weiss is conflicted about things.

Sun finds Blake, says that he remembers her from a White Fang attack in Vacuo, despite the masks they wear, and wants some answers.

Sun says that general opinion among faunus (at least in Vacuo and Mistral) is that the White Fang are asshole supremacists that cause more problems than they ever solve or even try to solve.

Blake gets reality check about White Fang.

Confesses that she was involved with some acts of violence but thought it was for the greater good.

She makes a point of saying that she, herself, did not kill anyone. If anyone was killed it was not by her.

If someone died, then it was either an ‘accident’ someone else did or Adam swung the sword.

Also thought that the genuinely horrible stuff she heard was propaganda or just Adam being a dick.

It was said dickishness of Adam’s cell that was tolerated by larger organization that made her leave and try to repent.

She had no idea that Adam was only marginally more of a lunatic than other cell leaders.

Blake happens to see telltale signs of White Fang attack. Uses them as an excuse to change subject.

Sun gives her benefit of the doubt on her attempt at personal redemption and assists her in trying to stop terrorist plot.

Penny has nothing better to do so she gives Ciel the slip and starts helping Ruby look for Blake.

Have conversation about friendship, freedom, and weapons.

Weiss airs concerns to Yang about future of team.

She seems scared at the idea of losing a friend like Blake.

White Fang are taking orders from Torchwick and his goons.

Blake tries to appeal to their good side.

They call her and Sun race traitors and try to kill them.

Blake and Sun vs Torchwick.

Neo (Roman’s adopted daughter) shows up to help Torchwick.

White Fang go all out.

This is a problem.

RWY and Penny arrive to brawl.

Penny solves problems.

Sun and Penny take on the White Fang

Roman + Neo are final boss of season for RWBY.

Hard fought fight, but it is clear that RWBY is going to win.

White Fang have contingency explosive.

No one important dies, but Penny is grabbed by her superiors in the confusion.

Weiss and Blake confrontation.

Both apologize for the mistakes in their earlier arguments and for flying off the handle.

Both still have rose-tinted glasses about their respective sides but the tint is wearing off.

Blake stops hiding being a faunus because the rest of the world isn’t as horrible and racist as the supremacist terrorists told her it was.

Agrees to be more transparent to her team.

Weiss agrees that #notallfaunus and that the SDC has done some dirt.

Torchwick meets with mysterious benefactor about problems with latest job.

Cinder, Emerald, Mercury, and Adam tell him not to worry and that Evil Plan is still a go.

Season one done.

[flightfoot]

What's your favorite Rick Riordan series between Percy Jackson, The Kane Chronicles, Heroes of Olympus, Magnus Chase and Trials of Apollo? (or like, if you can't choose, what do you like about the series you've read?)

Trials of Apollo, no contest. 

I liked Percy Jackson a lot, it was VERY well done. Percy was hilarious and relatable, but also just super awesome, his dynamic with Annabeth was fun to read, along with his dynamic with Grover, the quests had a lot of entertaining encounters, and it had some well-executed themes that tied in with the overall conflict nicely, mostly about how parents’ and adults’ negligence and even abuse can harm their kids, the overall effects of that, and just... generally trying to get the parents to shape up, as well as the effects of not respecting others in general, like with how the minor gods and by extension, their children, are treated by the Olympians. It comes up with Percy’s relationships with both Gabe and Poseidon, and most of the campers’ relationships with their godly parents, and that’s a MAJOR cause behind the entire conflict, and one of the major things that Percy tries to make better at the end of the last book.

Kane Chronicles... it’s been awhile since I read it. I don’t remember it having as prevalent a theme as Percy Jackson did, though there was definitely social commentary on racism, with how Carter was sometimes treated, and with how people had trouble comprehending that Carter and Sadie were full siblings, since while both are mixed, Carter’s pretty dark-skinned, while Sadie looks White. It was more of a background thing though, not a major plot point. I liked the characters and the plot fine, they were entertaining, and it was good overall - but it’s not a series I’ve felt a pressing need to reread either. Only real complaint I have about it is the romances centering around Sadie. Her and Anubis were kinda cute, but it would’ve been a lot cuter if she was older than 12-13, and he wasn’t a 4000-year-old god who looked, acted, and was treated as a 16-year-old. And then the whole thing with making it a love triangle with Walt who’s ALSO 16 and Rick’s method of “solving” the love triangle... look honestly I just would’ve been a lot more ok with the romantic shenanigans there if Sadie wasn’t a middle-schooler throughout it. Overall still good though, I’d be down for an adaptation of it, but it’s one of the few cases where I hope something IS flat-out changed to make the romances more palatable.

Heroes of Olympus is where I originally fell off of the Riordanverse. There was just so long between books and I could barely remember what happened between them, and with most of the books being like parts of the same quest (especially books 3, 4, and 5), unless you were constantly refreshing your memory of them via fandom, they were hard to follow, especially with several main characters and different character dynamics to keep track of. When I went back and read the whole set of them though, getting back into the series, it was WAY better, since I could read them as a coherent whole. I could tell he was struggling to juggle all the characters, but I thought he did a fairly decent job of it for what it was. I ended up liking all the characters - ESPECIALLY Leo, I thought he was great and relatable and funny, but I also wanted to hug him - and while the quest could drag on a bit at times, there were some interesting parts there. And Percy and Annabeth’s journey through Tartarus was GREAT. 

The themes for Heroes Of Olympus overall were pretty much the same as with Percy Jackson, but with less emphasis I think. It was mostly just “the gods (mostly Zeus, really) are being crappy again, but this time we have enough support among ourselves to manage, except for when a god is technically required to defeat a Giant”. A lot more emphasis was placed on individual character arcs and circumstances, which I think was a good choice, since with so many main characters, they needed more concentrated character development in order to put them up to par with Percy and Annabeth. Plus it allowed Rick to still go into some different themes a bit, like racism with Hazel, trauma with Leo, insecurity with Frank, etc, in a way that felt natural and relevant. It helped that they were broken up into different books for their introductions, so not everything was dumped in at once.

The ending of Heroes of Olmypus... yeah the final battle with the GIants was lame as all hell, and honestly the quest ended up feeling a bit like busywork, but screw it, I did LOVE one part of the ending. The imagery of big, bad Gaia, who even Zeus is so scared of he just wants to hide away with his head in the ground, physically manifesting and being about to take everyone out, everyone losing hope... and then screaming as Festus appears and snatches her up into the sky as Leo gives a shit-eating grin and hurls fireballs at her while insulting her the whole time is just GREAT. I always giggle, and I honestly found it a lot more memorable than the Kronos fight, even if it was technically less epic. It seemed fitting for her to be taken out in such an embarrassing way, by the boy she’d personally taken the most from.

Magnus Chase... yeah that’s the only one I didn’t finish. Quick note: its been over a year since I tried it, so I’m operating off of memory here. I wanted to like it, and after reading through Heroes of Olympus (which i originally stopped reading after Mark of Athena) and Trials of Apollo, I was all hyped up for more Riordanverse... and was disappointed. The basic elements were there, and the writing itself wasn’t bad, but... well, I never really got attached to most of the characters this time, I didn’t find the quest very interesting, and... well, you see how I mentioned about the themes in the earlier reviews? I thought Rick bit off more than he could chew with Magnus Chase, at least with the first book. (I slogged through the first book, got a hundred pages into the second book to see whether Alex, who I’d heard a lot of hype about, could save it, thought Alex was only ok but not someone who saved the book, and called it quits). 

So in Magnus Chase, Rick went DEEP into the social commentary on a lot of disparate subjects, trying to really tackle homelessness, child abuse (because no duh, that’s pretty much a staple, I think the only of his series that DOESN’T have major themes around that is Kane Chronicles), Islamophobia, ableism, and... I’m having trouble thinking of the exact term for it, but Blitzen was heavily looked down upon and derided for wanting to make fashionable armor and just being into fashion in general, so... I think it’s supposed to commentary on making fun of people for having interests that are generally seen as feminine? I guess? I dunno, it was definitely social commentary on SOMETHING, but I think the dwarves having their own particular culture here hurt whatever Rick was trying to say, since social commentary is very much tied to the culture it’s in, and we only have a small taste of dwarven culture, at least in the first book. 

In any case, all these things are fine to do social commentary on, but when you’re trying to go in-depth and really address them, it helps if they’re more tied in with the overall conflict in the book, and if each issue has room to breathe. As it was, it kinda felt to me like the characters were being paraded from location to location to confront some different social issue. I just thought it was too much, too crammed into one book, and the overall conflict had pretty much nothing to do with that. Like, at the end of the book Rick tried to tie it together with some sort of “we’re a band of misfits” message, and... well, a message based on NOT fitting in with society, isn’t one that’s very satisfying or cohesive. And the individual issues, while there’s certainly cross-sectionality between, aren’t intrinsically linked, so... they just don’t mesh together very well. Not so many, all mashed into one book. Plus I just didn’t care for any of the gods, and the only characters I liked were Magnus and Sam. Blitz and Hearthstone... they were just sort of “there” for me.

I can see why people like Magnus Chase, and it’s not BAD by any means, but it just wasn’t for me. Maybe I’ll take another crack at it at some point, but I’m not super optimistic about it. As it was, I just ended up looking up the parts where Magnus met with Annabeth and read those.

Trials of Apollo though, I ADORE. Apollo was hilarious (along with the books in general), it had a pretty focused message about child abuse and abuse in general, along with how a privileged position can blind you from the travesties that are going on around you, or that you yourself cause, and I just thought the themes worked very well. Rick went more in-depth this time on the exact consequences of child abuse and the ways that a parent could abuse and manipulate their child, something that wasn’t covered as much in his earlier series, as those were more based around neglect. I’m a sucker for a good redemption arc, and I was really impressed with how it was kinda slipped in with Apollo. Like, he didn’t even know he NEEDED one, and the good guys weren’t especially pressing him on that point, it’s a realization he slowly came to over the course of several books. And you can clearly tell that he’s conceited and has issues, but isn’t actually malicious... and slowly the reader comes to the realization that he has hidden depths, that not even HE knew he had. It’s really interesting how he did some pretty bad things (or DIDN’T do, a lot of it has to do with inaction and just being uncaring), but he never comes off as being like, evil. He comes off as being an arrogant, narcissistic person at first, but then slowly finding out that beneath that is a lot of pain and trauma, and part of that persona he’s built up has been to deal with this. Watching him slowly change and grow and discover himself during the series, in a way he never had before... it’s just amazing to read. Also puts a nice cap on the Greco-Roman saga, in that the past two series had a heavy emphasis on how the gods didn’t care enough and had to have their hands forced a lot, and Apollo sort of acting as a stand-in for those other gods, showing that yes, they CAN change for the better - something that most of the gods, and even other immortals, didn’t think was possible, even as they did it.

Well that was super long. But yeah, I have strong feelings on the Riordanverse, and Trials of Apollo is far and away my favorite.

[ariainstars]

TRoS Speculation: Maybe It Was Intentional…

All right, since the subject obviously doesn’t let me go, new speculation on my side. WARNING: this is a longer post.

 Ever since the 80es, Star Wars has become a universal phenomenon with millions of fans all over the world. And while fans often agree, they more often than not disagree about the characters, the themes, the different turn of events etc. Star Wars touches very many different kinds of people deep down due to the emotions it provokes. Many of us have grown up with the saga, some with one trilogy, others with another. Others have read the EU novels or watched the TV shows first. The saga’s themes are so many that they appeal to all kinds of people, and the approaches are varying. There are very many topics on which we will never make everybody agree. Being the foundation for many fan’s view of the world, the root to a lot of their ideals, the source of many a dream, the saga has become a hugely personal matter. No wonder viewers all over the world can quarrel about it so venomously and get downright aggressive if you only introduce a new line of thoughts. Many fans feel that the saga belongs to them and not to the man who created it and the creative studios who are now employing it to develop new stories.

We have made our mistakes in our fandom, too, in the years since The Force Awakens came out. We were so excited in what we believed was investing into a redemption arc, love story and happy ending, connecting all kinds of dots throughout the saga and analyzing it from almost every angle. Some of us simply thought that who didn’t think like us was stupid. But many other fans believe that this saga is only about Good against Evil and not about human feelings. They keep seeing it as some superhero story, a comforting world where to retire when reality got too much, a place where bad things happen but then the hero eventually comes to take care of it. They stick to their conviction that the good guy (or the one you root for even if he’s a villain) is the one who’s the coolest. Many of them love the OT above all and plainly refuse to see anything positive about the PT or ST because they always expected to see the New Adventures of Han, Luke and Leia. Some of them have waited for literally decades for the OT’s continuation. We, who also love the other trilogies (or at least the sequels) were at times disrespectful and arrogant looking down on them and believing that they simply don’t know what the saga actually is about. And all of us need heroes. We apply our own problems, needs and expectations to them and wait for them to fix the problem as an example for us. That’s also why we expect them to get their happy ending.

I have seen videos and read articles about how highly divisive The Last Jedi was. Some fans (a few of them even with tears in their eyes) openly declared that the saga was ruined for them. Similarly to us, who identify with Ben Solo and / or Rey, they had often found courage in the examples set by their heroes and it was offensive and hurtful to them to see Luke Skywalker reduced to a hermit who drinks green milk, rejects the ways of the Jedi and was personally responsible for his nephew’s fall into his abuser’s clutches. They were entitled to their feelings of disappointment and inner numbness as we are now. I know of people who actually survived many ugly periods in their lives finding solace in the saga. Some in one part of it, some in another. And we all got duped and let down, each by one chapter of the sequel trilogy, like some naughty, sadistic kid was kicking apart our favorite doll house a few days before Christmas.

I assume now that The Last Jedi was an experiment to gauge the audience’s reaction. It touched many a sensitive issue. My personal approach is that in order to like it, you don’t only have to be a fan of the sequel trilogy and its characters in general, or a hopeless romantic who wanted to see Rey and Ben Solo’s love story. You have to accept in the first place what the prequel trilogy painstakingly tried to explain to us (though it wasn’t actually said but more shown): that the Jedi were no heroes but got destroyed by their own hubris, and that Anakin Skywalker was largely a victim and not someone who became a villain because he enjoyed being evil, like the typical Batman or Superman villains. The prequels are not a fairy tale like the original trilogy but a cautionary tale following the lines of “society creates its own monsters.” It was only logical to deduce that if the Jedi were so perfect and the Old Republic so idyllic as Obi-Wan described them to Luke when they first met on Tatooine, Vader’s rise and the creation of the Empire couldn’t have happened in the first place. This was never said as clearly and concisely as by Luke to Rey during their second lesson on Ahch-To:

“Now that they’re extinct, the Jedi are romanticized, deified. But strip away the myth and look at their deeds: the legacy of the Jedi is failure, hypocrisy, hubris. At the height of their power they allowed Darth Sidious to rise, create the Empire and wipe them out. It was a Jedi who was responsible for the training and creation of Darth Vader.”

This is the message of the prequels in a few sentences, and a pivotal change to the “superhero approach” to the Jedi which might qualified if you only watch the OT and never question its themes on a larger scale. If you accept the Jedi’s failure for a fact, all of the rest falls into place - Vader being but a broken, sad old guy, Luke’s disillusion, his decision to give up the ways of the Jedi, his first lesson teaching Rey that the Force is not some kind of superpower, his forgiveness towards his nephew, the glimpses of goodness we saw foreshadowing Ben Solo’s redemption. The prequels also make much more sense this way than watching them expecting to see the Jedi being super-cool heroes and Anakin becoming Vader because he thought it might be fun.

But many fans chose not to see or accept what The Last Jedi actually was trying to say: that things couldn’t continue the way they did, because the Old Republic and the Jedi (though they didn’t actually have bad intentions) were deeply flawed. Leia tried to build another republic without any major changes that we are aware of, and Luke wanted to rebuild the Jedi Order without effectuating the considerable changes their Code would have needed. Both failed. It was e.g. never explained why Luke spirited his students away to a lonely planet for their training, but the fact that they were taken from their families when they were too small to make a choice and stick to it - Ben e.g. wanted to be a pilot like his father and not a Jedi - already shows the same pattern. Luke had not learned from the faults of his teachers until his exile. Logically, Episode IX ought to have continued these themes and showed the ST protagonist finding a new and better approach to the Force. Instead, what we got was another (in my opinion: redundant) Ultimate Battle of Good Against Evil, in other words some kind of superhero film which largely ignores the themes of its predecessor.

Any fan is entitled to his opinion. If someone hates the PT because it shows a stagnant society and the Jedi as highly flawed, because they didn’t get to see Darth Vader becoming over-the-top cool but were confronted, in Anakin, with a deeply compassionate person crushed by expectations he never could meet in the first place, if they judged him a whiny brat instead of an intelligent guy who clearly saw through the flaws of the society he was forced to live in and simply didn’t find the right words to express it: they’re entitled to it. Same goes for not feeling the tension between Rey and Kylo in the ST, for judging Kylo quickly (again) as a whiny brat instead of a complex, tormented character, for not appreciating new characters like Rose on account of not being Star-Wars-y enough. These feelings mostly stem from the fans’ long-standing wish to see an actual continuation of the original trilogy, not a new instalment where a new generation takes over and the old heroes are relegated to the background and, additionally, their characters and past decisions are openly criticized.

We may claim that fanbros are simply too stupid to understand what the saga is actually about. Well, maybe they are, or they are just too lazy to look at the bigger picture. But they have a right to that.  Of course, it doesn’t entitle them to harass the studios, directors, creative team or actors the way they were, mind you: what e.g. Kelly Marie Tran, Ahmed Best and Jake Lloyd had to endure was a disgrace. There are very many fans who disagree with the PT and ST without getting bitter or even vicious.

This doesn’t mean I have changed my mind. I still believe that the Jedi were everything but heroes, that Darth Vader is a tragic figure, that the main themes of the saga are family, hope and new beginnings and not “the coolest ones win, ka-boom, the end”; that what it means to say is that human feelings are in the end more important than power, even an enormous power like the one the Force can provide.

We who are angry and disappointed with TRoS now like to blame how it went that way due to the influence of angry white dudebros, misogyny, Calvinism, racism, the overall political situation, the Mouse only wanting to make money etc.

But we ought to consider that The Last Jedi, which was so deeply controversial, hit theatres only two years ago. Have mentalities, politics and social structures and Disney’s overall approached changed so considerably, in so short a time, to produce two so radically different approaches to the saga within the scope of two years?

Sorry, I can’t believe it. it doesn’t really make sense.

The Mandalorian is met with universal acclaim, no doubt partly due to the fact that it’s a standalone story without the huge dynastic weight the saga has on its shoulders. Being a TV show, it had more time to introduce characters and situations and develop them. And it worked out fine. It had all the Star Wars themes - a lot of action scenes, sure, but it was also about belonging, family, redemption, protectiveness, friendship. Meaning that the studios didn’t lose track or are too dumb to think up a good story.

The Rise of Skywalker seems to bring the saga to a closure, but it could also be a wholly new beginning; the beginning of what I was foreseeing and still believe was in the cards - a new galaxy with a new and better political order kept together by a common belief in the Force as a whole; a new Jedi order where Force-sensitive children are not torn away from their families but can choose whether they want to become Jedi or not; and where Jedi are not taught emotional detachment. This would mean balance at last, a balance from which everyone would benefit. I have no idea how Ben Solo could be revived but I still am certain that he would be an excellent father figure, the perfect foil to his grandfather; and that the best thing for Rey would be to take care of children who are lost and abandoned the way she once was. And with Rey being a Palpatine, there is an interesting ground from which to explore her character’s tendency to the Dark, mirroring Ben’s. The basic approaches for this kind of development were all there in The Last Jedi. But a project like that would be something completely different from the original saga, and it would take a lot of time. Maybe that’s why the studios dropped it in favor of appeasing the angry fanbros who didn’t receive The Last Jedi well at all.

Anyone has the right to think that the original trilogy is the one and only and that the rest is rubbish. But the heroes of that story had their friendship, their family, their adventures, their successes, their happy ending. Even the heroes of the prequel trilogy had their moments, including Anakin Skywalker. Our heroes didn’t. That’s why this ending is so bitter for us and so hard to stomach. Essentially, we were right - we knew that Ben and Rey belong together, that Ben would redeem himself and make peace with his family, that balance would come. What we didn’t get was our happy ending.

The Force Awakens was still more or less accepted, because despite the many new themes and choices it wasn’t subversive and controversial in its approach. The actual wasps’ nest was stirred with The Last Jedi. No argumentation could convince antis that it is actually a well-made film and that their personal approach on the saga is too narrow-minded to appreciate it. They wanted the same villains, the same settings and costumes, the same heroes (or at least rehashes). And they had a right to want that, exactly as we had the right to expect a better development and ending for our new heroes. The hardcore OT fans wanted and expected The New Adventures of Han, Luke and Leia kicking ass. Well, it seems The Rise of Skywalker took care of that, finally giving them what they wanted and ignoring or “correcting” the course of events from The Last Jedi.

So, that’s it now. The OT fanbros got “their” Star Wars. I hope they’re finally appeased. They can ignore anything that happens next. That the saga is finished does not mean that the Star Wars universe came to a standstill.

If fans of the original trilogy felt entitled to ask for The Last Jedi to be removed from canon, or at least to be “fixed” in some way, so can we. In case you didn’t see it yet, the petition is already there: https://www.change.org/p/lucasfilm-continue-ben-solo-s-story

Let’s tell the studios to keep TRoS the way they prefer, but that we wish to have our Star Wars now. Let us not steep down to the level of who made the lives of actors who played characters they disapproved of a living hell (see above) or say over and over “Star Wars is dead” when we don’t know what’s in store for the future. With the Star Wars universe, you always have to be patient. In the meantime, we can write and read fanfiction and other stories and purse our own lives, telling our own happy endings.

Happy New Year everyone. Feel free to reblog. 😊

  P.P.S. On a side note: Rey’s last scene shows her where Luke used to be, on Tatooine watching the suns set. The twin suns. In A New Hope, this was shortly before he met the other half of his soul who had been separated from him right after birth - his twin sister. Considering that it was explicitly said that Rey and Ben Solo share the same soul, it might be a hint about the future. I’m not trying to make false promises or to fuel wrong expectations here. Just sayin’. 😉

[abigailnussbaum]

She-Ra and the Princesses of Power, S5

Overall I’d say this was the best season since the first one, and the ending it gives the story is a satisfying and moving one. I really liked how the show gestures back at some canonical She-Ra concepts - the rebels hiding out in the Whispering Woods, for example - while at the same time doing things that are completely outside the original canon’s scope - She-Ra in Space! And I thought the ensemble was well-used, main characters, side characters, and antagonists all getting their own storylines and resolutions in a way that isn’t easy with such a wide cast of characters, but was handled with elegance.

But look, if you’ve read anything I’ve written or tweeted about this show over the last four seasons, you know I have fundamental issues with how it chooses to direct its storytelling and characterization energies. It doesn’t come as much of a surprise that the concluding season didn’t address most of those issues. A big part of that is that the show I wanted She-Ra to be clearly wasn’t the one Stevenson and her team were making, and that’s fine. But I find it genuinely strange that of the three series that are obvious thematic and emotional successors to Avatar: The Last Airbender - She-Ra, The Legend of Korra, and The Dragon Prince - none of them reach the same heights of plotting and characterization, and at least in She-Ra’s case I think this is rooted in an unwillingness to complicate a rather simplistic central theme. 

(Also, at least part of the problem has to be that the show’s five-season, 52-episode run spanned only seventeen months. Even if you add in the production period for the first season, that’s a truly bonkers schedule that must have told in the depth and complexity of the final product.)

Take Catra, for example. If you’d asked me where I thought her storyline was going before watching the season, I would have said pretty confidently that she was going to get at least some level of redemption story. After all, her situation at the end of S4 perfectly positions her to switch sides by stripping her of all the things she thought she wanted and placing her in a precarious position that she might not be able to talk or manipulate her way out of. The season premiere establishes those facts even further by making Horde Prime a literal monomaniacal monster. And yeah, it’s pretty clever that in a series that places so much emphasis on the importance of friendship as the path towards moral growth, the villain is narcissism personified, a person who has no use for others except as they reflect himself, and subjugate themselves entirely to his will. So it’s not surprising that, finally cut off from any realistic path towards power and made to feel her own vulnerability, Catra would finally start doing some soul-searching and realize how badly she’d treated the people who cared about her. 

(Though if you’ll allow me a snide moment, I can’t help but point out that in the Best Redemption Story Ever, Zuko actually gets all the power and approval he’d thought he wanted before realizing that it means nothing without his honor and self-respect. I think we all know that if Catra had gotten a position of power from Horde Prime, she would have felt no loyalty towards Adora and Etheria, and helped him to conquer them.)

Similarly, I think I would have given you better odds than even that the series would end with some romantic storyline between Catra and Adora. And I don’t want to downplay the importance of depicting a story like that - before the end of the season I found myself wondering why Bow and Glimmer’s romance was being depicted so chastely, before realizing that the writers wanted the first kiss on the show to be between two women. I respect that impulse and the representation the show ends up delivering - we’ve come a long way from Korra and Asami holding hands at the end of their show. But at the same time, I can’t help but feel that the way that the show arrives at this point requires a significant rewriting of Catra’s personality and character arc, not to mention the history of her relationship with Adora.

As the fifth season argues it, the root of Catra’s resentment of Adora is romantic disappointment. She complains that “Adora doesn’t want me. Not the way I want her”, and leaves the team when Adora decides to risk her life by destroying the Heart of Etheria because she takes it as a personal rejection. But this is, to say the least, a massive whitewashing of what we’ve seen of Catra and Adora’s past relationship. In flashbacks, particularly the ones from S4, it’s made clear that even when they were on the same wavelength, Catra and Adora’s friendship was toxic and dysfunctional. Catra may have always loved Adora, but it was a selfish love, one that saw Adora as an instrument for the validation of Catra’s confidence and self-image, and denied her any opportunity for pursuing her own interests and desires. 

There’s room for a story about Catra growing past that selfishness and learning to love generously and openly, of course, but we don’t get that story in S5. When Catra complains that in sacrificing herself for Etheria, Adora is refusing to want things for herself, it’s not an honest character moment. Catra has never cared what Adora wants - in fact, her refusal to acknowledge Adora’s right to make her own choices and take a path in life that left Catra behind has been the crux of their enmity since the series premiere. Having her suddenly change tunes doesn’t feel organic, but like a parachuted-in personality transplant.

To put it back in ATLA terms, Catra was never Zuko. Adora is Zuko - someone raised with bad principles who nevertheless has enough innate compassion, and a powerful moral compass, that with a little support - emotional or magical - they can break through their indoctrination and become a hero. Catra is Azula - obsessed with power, possessed of very little compassion for others, and, most importantly, seriously emotionally unbalanced. I’m not saying someone like that can’t be helped and can’t become a better person, but it takes a great deal more than what the last season of She-Ra has given us.

Meanwhile, if you look at Adora’s storyline, on one level it gives us what I’ve wanted for a while. I’ve complained a lot about how Adora has remained static throughout the middle seasons of the show while other characters - Glimmer, Catra, Scorpia - got character arcs and changed meaningfully. One effect of that has been to create a strange disconnect between the show’s central themes and its main character. In a story that is supposedly all about the importance of friendship and personal connections, the heroine is someone who achieves her heroic destiny by rejecting those connections in favor of a more global morality, and who then had to struggle with balancing her sense of global responsibility with personal attachments - to Glimmer and Bow as much as to Catra.

The fifth season finally circles back to these ideas and places Adora at its center. I thought her conversation with Mara about having the right to be more than She-Ra, and to do more with her life than sacrifice it for others, was a really powerful moment. I just feel like, once again, the foundation wasn’t laid for it. First because Adora’s growth has been mostly ignored during the intervening three seasons, and second because this is a character arc that clashes with the show’s friendship-above-all message in ways that aren’t really acknowledged.

When you think about it, the moments when Adora has been the most herself are the ones when she rejects toxic friendship and stands up for herself - in her confrontations with Catra, especially over the course of the first season, and when she defies Glimmer’s decision to use the Heart of Etheria and the end of S4 and destroys the sword. So to the already complicated issue of where to draw the line between the things you want for yourself and the things you owe others, you add the thorny matter of when to detach yourself from toxic friends who see you only as a means to an end. Except that She-Ra never really grapples with this extra wrinkle - and again, Catra’s hasty personality transplant plays into this, because we get to pretend that the only problem she and Adora ever had was romantic miscommunication.

In a season that is all about putting aside differences and personal grievances to fight for a common cause, there is a refreshing number of instances that remind us that those grievances are still relevant - the fact that nobody will ever really trust Shadow Weaver, for example, or the other princesses calling Entrapta out on her seeming indifference to the consequences of her actions (though in this case, and yet again, Entrapta’s neuroatypicality is used as a get-out-of-jail-free card from taking personal responsibility). Even Glimmer gets to spend a bit of time in the dog house, at the same time that she and Bow work together and save each other’s lives. But once again, when it comes to the main character, we can’t let pesky matters like a lifetime of toxic friendship get in the way of a happy ending in which lesbian love conquers all.

There was a good story to be told here, one that could have easily ended up in the same place as the series actually did. But it required actually delving into the complexity of a character like Adora, and dealing honestly with the problems in her relationship with Catra. She-Ra ends - as it did throughout it run - by choosing to paper over those difficulties in favor of a friendship-conquers-all message that is a great deal less convincing.

(Also, am I wrong or are there a lot of loose ends still? I don’t think we ever find out who Adora was, what Greyskull is, and what She-Ra actually is.)

[locktobre]

I think I made a post about this the first time I read the PCS novelization, but since I just reread it recently I’ve been thinking about it again

there’s some great scenes in the book that perfectly showcase exactly why I love Delancy’s character growth, and how you can pinpoint the exact scene she starts her redemption arc

this first one isn’t in the movie, but I go back and forth on whether I would have wanted it to be. this is right after the scene where Blair leaves bc Dame Devin says her home is going to be torn down

With Blair out of sight, Delancy turned to her mother. “I was in the hall of portraits,” Delancy started. “I saw a painting of Queen Isabella when she was young... and I see the way you are with Blair...” She paused. “Does it have anything to do with her being baby Sophia?” she asked.

Dame Devin looked surprised but recovered quickly. She looked deep into her daughter’s eyes and asked, “Do you really want to know the answer?”

Delancy opened her mouth, sure of her response. But when her eyes met Dame Devin’s ice-cold glare, suddenly Delancy was afraid of all the horrible things her mother could have done and could still do.

She closed her mouth.

Dame Devin nodded. “I didn’t think so.”

on the one hand, having Delancy actually confront Dame Devin about this is a powerful move. but on the other hand, if you think your mom could be part of a conspiracy like this, it might be best to not confront her directly.

the second great scene is when the girls are being accused of theft

Delancy’s eyes darted from Blair to her mother. “I... I don’t remember,” she stammered. Then she saw her mother’s eyes narrow and feared what her mother would do to her. “I... Yes. Yes, I did.”

I know it’s implied in the movie, but it’s nice to see that in no uncertain terms, Delancy was suddenly very afraid of her mom. up to that point she’s just a generic bully and the book doesn’t really show her perspective at all, until after the shift in her thinking. it’s a beautiful illustration of the exact time she became a sympathetic character, bc she realized that her life was basically a lie. she has some inner turmoil, but ultimately decides to do the right thing.

there’s also a scene just before, during the “fire drill” where Dame Devin pulls Delancy back inside to keep watch while she frames the girls, instead of Delancy just walking past on her way outside. Delancy is still regretful in both scenes, but I like the movie way much better.

one thing that sucks about the book is that it doesn’t show Delancy stalling the coronation, or her being the one to give Blair the crown at the end, so the movie is much more powerful overall. 

one last thing of note are Delancy’s thoughts after the portrait scene:

Could someone have really left a baby on a stranger’s doorstep? And could it have been my very own mother?

which is... a very interesting take, to say the least. I mean, there is a question of who did leave baby Sophia on Miss Willows’ doorstep, but I don’t believe for a second it was Dame Devin. (why leave an heir out there, alive, when she could discover the truth and come back at any moment?) I wonder if this was the book’s attempt to soften the fact that Dame Devin had attempted to murder a 1-year-old, or if it’s Delancy trying to make sense of the situation and think, well, even if she was involved, maybe she still did a good thing and left Sophia somewhere safe. or maybe it’s supposed to be canon that Dame Devin did, in which case, as I said, that makes no sense and I’m going to ignore that.

anyway, all the keys to a good (if brief) redemption arc are all there: Delancy does some bad stuff, she feels bad, and she works to improve the situation and make amends. obviously we don’t see much after the coronation, but she’s on a good path now and I love that for her