#but this show just keeps on telling us that he is very much a narrative tool

[wilcze-kudly]

Thoughts on…

https://www.tumblr.com/miss-sweetea-pie/731463633376313344/zutara-lens-vs-kataang-lens?source=share

Is it fair to even mention Zuko seeing as Katara never had feelings for him?

Honestly, I find it kinda funny that OP is sorta telling on themselves by seemingly primarily viewing Jet's storyline through a shipping lens, a stepping stone for Kataang or Zutara.

But sure, let's go with this narrative.

OP claims that Jetara could be seen a foreshadowing to Zutara, as they say that Zuko ans Jet have some similarities. And I suppose that can be true on a surface level. As OP says: Rugged teenage boys with traumatic back stories. But franky, other than being mildly edgy and also having been through some sort of trauma, there's not much there.

In fact, if you compare Aang and Jet, I think you'll find many deeper similarities than just "bad boy with questionable morals".

Aang and Jet have both experienced great loss at the hands of the Fire Nation. Aang losing his entire people and Jet losing his parents and village, presumably leaving them both alone in the world and with a lovely case of survivor's guilt to boot.

Jet and Aang are both kids who were forced by the war to take up positions of responsibility over their fellow victims. Aang, of course, being the Avatar and being fated to end the war. While Jet takes up a leadership positions, persumably gathering kids orphaned and hurt by the Fire Nation, leading them and keeping them safe, while also fighting back. Let's not forget that the reason Jet decided to flood that city was because the firebenders occupying it were planning to burn the forest Jet and the Freedom Fighters resided in, forcing them out and putting them in danger.

We also see a very sweet parallel of Jet encouraging Katara's confidence in her waterbending skills, which is something Aang does on numerous occasions, showing us exactly what affection Katara values in a potential partner and that both Jet and Aang not only believe in her skills, but also intuit her needs.

This is why Katara fell for Jet and why she fell for Aang. They're both protectors and heroes of the people, they're both victims of the Fire Nation who chose to stand up against it. They're revolutionaries, rebels, downright rabble-rousers. They both value communities, and do their best to uplift and defend their fellow victims, something Katara does as well. And they both connect with Katara over not only encouraging her in her own abilities, but also in their shared trauma, which leads me to my next point.

Aang works so well paralleling Jet, because both Jet and Aang were written and posited to parallel Katara. This aspect of Jetara is one OP completely neglected to mention, I suppose due to the fact that it doesn't hoist up Zutara as a ship.

Katara and Jet connect over their trauma very early in the episode, and I think this is where Katara's interest in Jet due to his role as a Freedom Fighter turns to a genuine connection over shared trauma.

Jet: The Fire Nation killed my parents. I was only eight years old. That day changed me forever. Katara: Sokka and I lost our mother to the Fire Nation. Jet: I'm so sorry, Katara..

Katara, Jet and Aang share many similarities, which is why I suppose these two boys were Katara's only explicitly confirmed love interests. Just like Aang and Jet, Katara is community oriented, a voice for victims and the marginalised, a fighter for the good of the people.

Seeing these parallels almost makes me wonder if the design team took this into account when making Jet's design colours mainly blue and orange, colours assvociated with Katara and Aang. Though Jet's colour palette is more muted and darker, perhaps signifying the erosion of his morals due to his trauma.

Jet goes astray when he begins to value the fight over the people he is fighting for, something Aang and Katara actively go against, prioritising human life and their moral integrity.

Atla explores the concept of victimhood and how it affects our morality in various ways, especially when it comes to victims of war. The particular focus of this theme is Katara, as we see the writers often connect her to victims who lost that morality, in order to showcase her character. Hama and Jet both serve as excellent foils to show what Katara could've been if she wasn't as kind and compassionate as she is. The crowning jewel of this storyline for her being, of course, the Southern Raiders, which bears callbacks to both Jet and Hama.

But as much as I want this post to be about Katara, OP has other plans, so let's go back to their arguments for Jetara foreshadowing Zutara.

OP makes an argument about how both Zuko and Jet break Katara's trust, testing her charcter, which is a good point, albeit they conveniently omit Hama from the circle of people who connected with Katara over shared trauma and then betrayed her trust.

Can't imagine why. Is it because Hama isn't hot, isnt it? Op doesn't fancy a nice morally compromised gilf, I suppose. 😒 we used to be a proper country.

OP also claims that the show portrays Katara as too trusting, and even claims that the shows message in Jet's case is, in their words: So from a k.ataang lens it leads more towards the lesson that katara need to stop letting these “bad boys” break her heart, “dumb girl your too trusting just give the sweet guy a chance”.

Which is quite the claim, since I actually really enjoy that Katara is never portrayed as being in the wrong, or 'dumb' for trusting Jet, Zuko and Hama. In fact, the three of them are made to look like assholes for taking advantage of her.

The thing about Katara's trust of Jet, Zuko and Hama isn't that it comes from a place of foolishness or naiveté. It comes from empathy and connection. She connects over shared pain ans trauma with these three and she wants to make a connection to alleviate their pain. It just so happens that Zuko is going through his disaster boyfailure era, while Jet and Hama are morally compromised by the horrific events that brutally formed their mentalities.

Anyways, to wrap this point up, can Hama be an honourary bad boy too I think she deserves that

Another argument of OP is that Jet's death could foreshadow Zuko almost dying in the finale and that is could teach, in their words: how we waste time holding grudges and sometimes people don’t have the luxury of apologizing to the people they love.

Now, this is interesting, because Jet's death very clearly connected to Aang's actual death and then ressuraction via Deus ex Katara. However, unlike the theme of pure romance OP proposes in their post, the canon storyline uses these events to feed more into Katara's personal development and stoyline, that of her fear of loss and helplessness, on which I elaborate here:

That is not to say that this storyline doesn't affect Katara and Aangs romance, but I like that the main focus is Katara's meantality and trauma. Because the thing with Katara and Aang's storylines and development is that they intertwine and feed into each other but aren't overshadowed by their romance.

OP continues to speculate that the jetara storyline through a kataang lense is that "bad boys" will break Katara's heart and that she should just "give the nice guy a chance".

I find this a gross twisting of the nature of multiple characters, relationships and storylines.

First of all, reducing Jet to a "bad boy" is fucking demeaning and kinda disgusting. He's not an edgy boy who smokes in the school's bathroom and rides a loudass motorcycle. He's a traumatised child soldier, caring for other children and desperately trying to stop the advance of an army that already has like 3 genocides under its belt. His morals getting messed up in the process doesn't make him a bad boy, they make him a realisitic victim. A kid who tried his best but became misguided.

In the same, paragraph, OP also claims that, despite the message of the show being that everyone is capable of good and evil and that everyone deserves a chance, because people are complex, Jet is not afforded that dignity and understanding.

AND LET ME TELL YOU LET ME FUCKING TELL YOU

That was upsetting.

Because Jet's redemption was shown so wonderfully and symbolically, to the point where sometimes it makes me more emotional than Zuko's.

In B2 we see that Jet has left the forest (persumably bcs the firebenders did burn down the forest) and his entourage has shrunk to just Longshot our trans queen Smellerbee 🏳️‍⚧️. We are told that he is looking for a new life in Ba Sing Se. So far so good.

It seems that the Gaang intervening with his plans has definetly made him rethink his actions. And he's looking to start a new, kinder life. Even going so far as to remove himself from the fight against the Fire Nation, something he had previously been so passionate about, perhaps because he recognised that it brought out his uglier side. Hell yeah we love a king who can recognise his flaws and strives to better himself.

Jet: I've done some things in my past that I'm not proud of, but that's why I'm going to Ba Sing Se: for a new beginning. A second chance.

Despite not being on the frontlines anymore, he's still a hero for the people, straling food for the ferry passengers from the greedy captain. Noice. He immediately takes an interest in Zuko, assuming as many, that Zuko was a victim of the Fire Nation like him, due to Zuko's scar.

Jet: You know, as soon as I saw your scar, I knew exactly who you were. You're an outcast, like me. And us outcasts have to stick together. We have to watch each other's backs. Because no one else will.

I find this SO endearing because atla places such emphasis on the connections and solidarity between victims. And Jet is no exception to this, having taken so many children orphaned by the Fire Nation (or just orphaned as seemed to be the case with the Duke) and also connecting over being hurt by the Fire Nation with Katara, the same way he thinks he is connecting with Zuko. (Jetara and Jetko should parallel each other actually instead of Jetara and Zutara)

Now things turn south when Jet realises that Zuko and Iroh are firebenders, which while showcasing that Jet's need for redemption hasn't healed his trauma (not surprising) around the Fire Nation, I can't really blame him. Like, he's seen the worst of what firebenders can do, why on earth would he stand by and let them infiltrate the city that refugees flock to in order to escape the war. And yeah he sounds like a raving lunatic, but he is right. Zuko and Iroh are firebenders.

From then on, Jet is used as a pawn by Long Feng and the Dai Li, but he still does his best to help the Gaang, seemingly holding no grudge against them for ruining his plans of mass murder.

We see a nice lil trauma flashback of Jet's childhood trauma, giving us a tangible illustration of his motivations and pushing us to sympathise with him. We see him and Katara share a sweet moment as she literally alleviates the pain of the memories. This scene can not only be read as romantic but as another example of solidarity and support between victims in atla.

But it's in the bowels of Lake Laogai, as Aang and Jet face off against Long Feng, that we see the symbolic redemption for Jet really come to its crescendo.

Long Feng, compels Jet into fighting Aang, directly paralleling Aang and Jet's previous battle in the Jet episode. Aang is trying to solve the situation peacefully, even while Jet is trying to hurt him.

Aang: Jet, it's me, Aang! You don't have to do this! Long Feng: I'm afraid he no longer has a choice.

[...] Aang: Jet, I'm your friend! Look inside your heart! Long Feng: Do your duty, Jet! Aang: He can't make you do this! You're a Freedom Fighter!

And I can't not think how the brainwashing pushed Jet into an almost identical situation as his grief and anger did all those years ago. It's a decent comparison, I suppose. Both stem from a painful, stressful situation, influence his actions, pusging him to do things against his usual morals, turning him away from the caring, idealist Freedom fighter he is.

But this time, Jet breaks through the thing clouding his mind. He remembers himself. His trauma, his friendship and care for the freedom fighters and his connection to Katara. He sadly pays the ultimate price for this.

And while I dislike this plot point, because as a rule of thumb I dislike when a character gets a redemption arc and immediately dies or redeems themself by dying, but I can appreciate this scene for how it defined puts a lot of care into showing us the change in Jet, his perception by the gaang and his role in the story.

Katara tries to heal Jet, but is pessimistic(in the commentary of this episode, it's mentioned that there could be a few explanations as to why she didn't use the spirit water.) Here, Jet urges Katara and the Gaang to go find Appa, leaving him to essentially die.

And it's as the Gaang leave, we can compare the ends of the two Jet storylines. In Jet, the last time we look upon Jet's face, it is twisted by anger and rage. In Lake Laogai, he wears a sad, but reassuring smile, and somehow looks at peace.

When Katara first had to leave him in Jet, her expression is one of betrayal and disappointment. In Lake Laogai, she looks to be preparing to grieve, almost as if she were trying to hold back tears. She's conflicted and sad in both scenes, but for different reasons, showing how Jet has redeemed himself in her eyes.

Where in Jet, we leave Jet disgraced and in turmoil, in Lake Laogai we leave him dying, yes, but also a hero, kind and brave, and free. And I like to believe that the second is the real Jet.

Ok this just turned into me gushing over jet, but I think this was important to highlight the significance and uniqueness of Jet and Katara's relationship. Presenting it as "the proto-Zutara" is a disservice to this complex, heartwrenching storyline. And that was kinda gross of OP. Shame on them.

I also think OP is mistaken by labelling Aang as just the "nice guy" whom Katara should "give a chance to". Aang is indeed a nice, kind person and this is something that attracts Katara, because she's also a good person and she values such traits. But this is not the only reason Katara falls for Aang. Like with Jet, she connects with him over shared trauma. He enables her growth, respects her as a teacher, offers her comfort when needed, is her friend and supporter.

Katara is not "giving him a chance" their relation simply progresses very slowly and in a slightly unorthodox manner. We see that Katara has a growing crush on Aang, blushing over him and getting incredibly jealous when other girls try to get with him.

I also like that Aang and Jet are never pitted against each other and Aang is never jealous of Jet. In fact Aang seems almost just as infatuated with Jet as Katara lol (jetaang rights babey).

OP also claims that a lot of people misinterpret TSR as Katara being manipulated by Zuko and "needing Nice Guy Aang to save her". Which is something I've talked about a few times. I don't believe Zuko was consciously manipulating Katara. He was simply trying to build a relationship with her because she was very adamant on hating him. And because he didn't know her that well, he tried to help by projecting his own needs and anger over his mother's loss onto her. Which is very 16 year old boy of him.

And I don't believe Aang was even trying to "save" her. I think he was simply trying to help Katara think through her actions throughly before she did something rash that may haunt her forever.

Aang bringing up Jet also seemed more like a : "hey remember when we saw a guy betray his morals due to his grief pain and trauma despite being a kind and good person with an good goal?" Which I think is a kinda understandable thing since it happened like twice to them already. And remember that Aang has also experienced how destructive his anger can be and he knows Katara's morality and idealism well enough to know that what she is planning is way out of character.

OP tags this post with "I swear zutara gives the show so much more depth" and while I don't want to deride the ship as a whole, the themes and storylines OP gave don't really bring that much depth into the show. It simply repurposes the arcs and storylines that served to either explore Katara, or the concept of victimhood and morality into serving a romance.

Which is... fine, if that's what you consider deep I suppose. I just think it's obvious that OP had clear biases when coming up with their post. And like, biases are fine, we're writing meta about a kid's show not a fucking reseaech paper, I'd be a hypocrite if I called OP out on having preferences.

But it's obvious that OP did their darndest to present Kataang in the least favourable light and didn't even try to consider giving it a shred of anything but a cursory, critical glance.

If I were to talk about their "Jetara foreshadowing Zutara" idea with its "bittersweet lesson how we waste time holding grudges and sometimes people don’t have the luxury of apologizing to the people they love" like they talk about Kataang, I could say (altering OP's text here):

"So from a Zutara lens it leads more towards the lesson that katara need to stop holding a grudge towards these boys who hurt and used her, “dumb girl you need to forgive them quickly cause what if they suddenly die and you realise you love them and regret it“ .

...which sounds like some manner of abuse apologism. I don't think OP had this in mind, but it just shows how easy it is to paint a benign message into something shitty if you're just salty enough.

I think that wraps this up. I can vaguely understand what OP meant, and it's a cute concept for Zutara shippers, I just don't know why Kataang slander had to get dragged in here. Since while OP seems fairly invested in Zuko, they visibly have a little issue giving thought to Katara, Aang and Jet's storylines.

Which is sad, especially in Jet's case, since he doesn't get nearly enough love from the fandom. So here's the little note from the atla cookbook that made me really emotional over Jet lol

HE COOKED FOR THE FREEDOM FIGHTERS AGH OUGH AGH

[stagefoureddiediaz]

Is it too soon to talk about the Tommy and Taylor Kelly parallel(s) we got in this episode??

Because @b-dwolf and I were just talking about the fact that the Buck Tommy kiss is literally paralleling the Buck taylor bathroom hook up in season 2 - down to the song choice and the way Madney are sitting - just without the bathroom! we even got a secondary parallel with Taylor dumping Buck to go to work with Tommy dropping out of the party to go to work.

[physalian]

How To Make Your Writing Less Stiff 5

Movement

Dredging this back up from way back.

Make sure your characters move, but not too much during heavy dialogue scenes. E.g. two characters sitting and talking—do humans just stare at each other with their arms lifeless and bodies utterly motionless during conversation? No? Then neither should your characters. Make them…

Gesture

Wave

Frown

Laugh

Cross their legs/their arms

Shift around to get comfortable

Pound the table

Roll their eyes

Point

Shrug

Touch their face/their hair

Wring their hands

Pick at their nails

Yawn

Stretch

Sniff/sniffle

Tap their fingers/drum

Bounce their feet

Doodle

Fiddle with buttons or jewelry

Scratch an itch

Touch their weapons/gadgets/phones

Check the time

Get up and sit back down

Move from chair to tabletop

The list goes on.

Bonus points if these are tics that serve to develop your character, like a nervous fiddler, or if one moves a lot and the other doesn’t—what does that say about the both of them? This is where “show don’t tell” really comes into play.

As in, you could say “he’s nervous” or you could show, “He fidgets, constantly glancing at the clock as sweat beads at his temples.”

This site is full of discourse on telling vs showing so I’ll leave it at that.

Epithets

In the Sci-fi WIP that shall never see the light of day, I had a flashback arc for one male character and his relationship with another male character. On top of that, the flashback character was a nameless narrator for Reasons.

Enter the problem: How would you keep track of two male characters, one who you can't name, and the other who does have a name, but you can’t oversaturate the narrative with it? I did a few things.

Nameless Narrator (written in 3rd person limited POV) was the only narrator for the flashback arc. I never switched to the boyfriend’s POV.

Boyfriend had only a couple epithets that could only apply to him, and halfway through their relationship, NN went from describing him as “the other prisoner” to “his cellmate” to “his partner” (which was also a double entendre). NN also switched from using BF’s full name to a nickname both in narration and dialogue.

BF had a title for NN that he used exclusively in dialogue, since BF couldn’t use his given name and NN hadn’t picked a new one for himself.

Every time the subject of the narrative switched, I started a new paragraph so “he” never described either character ambiguously mid-paragraph.

Is this an extreme example? Absolutely, but I pulled it off according to my betas.

The point of all this is this: Epithets shouldn’t just exist to substitute an overused name. Epithets de-personalize the subject if you use them incorrectly. If your narrator is thinking of their lover and describing that person without their name, then the trait they pick to focus on should be something equally important to them. In contrast, if you want to drive home how little a narrator thinks of somebody, using depersonalizing epithets helps sell that disrespect.

Fanfic tends to be the most egregious with soulless epithets like "the black-haired boy" that tell the reader absolutely nothing about how the narrator feels about that black-haired boy, espeically if they're doing so during a highly-emotional moment.

As in, NN and BF had one implied sex scene. Had I said “the other prisoner” that would have completely ruined the mood. He’s so much more than “the other prisoner” at that point in the story. “His partner,” since they were both a combat team and romantically involved, encompassed their entire relationship.

The epithet also changed depending on what mood or how hopeless NN saw their situation. He’d wax and wane over how close he believed them to be for Reasons. NN was a very reserved character who kept BF at a distance, afraid to go “all in” because he knew there was a high chance of BF not surviving this campaign. So NN never used “his lover”.

All to say, epithets carried the subtext of that flashback arc, when I had a character who would not talk about his feelings. I could show you the progression of their relationship through how the epithets changed.

I could show you whenever NN was being a big fat liar about his feelings when he said he's not in love, but his narration gave him away. I could show you the exact moment their relationship shifted from comrades to something more when NN switched mid-paragraph from "his cellmate" to "his partner" and when he took up BF's nickame exclusively in the same scene.

I do the same thing in Eternal Night when Elias, my protagonist, stops referring to Dorian as "it" and "the vampire" instead of his name the moment they collide with a much more dangerous vampire, so jarringly that Elias notices in his own narration—the point of it being so explicit is that this degredation isn't automatic, it's something he has to conciously do, when everyone else in his clan wouldn't think twice about dehumanizing them.

—

Any literary device should be used with intent if you want those layers in your work. The curtains are rarely just blue. Whether it’s a simile with a deliberate comparison or an epithet with deliberate connotations, your readers will pick up on the subtext, I promise.

[foodfightnovelization]

ROTTEN: Behind The Foodfight

Holy chips! It's an exciting time to be a Foodfight! fan, because ROTTEN: Behind The Foodfight is finally out! This really is THE definitive documentary on the insanity behind the movie, and it finally answers the question of just what was going on behind the scenes during production. Since I helped out with research (and I even get a short line of dialogue at 45:19) I've already seen everything that was shown off, but had to keep quiet until all the interviews were conducted and the documentary was finished. But now it's out and everything has been made public, the cat's out of the bag (the Fat Cat Burglar?) and I can talk about all the production material that's been shared.

Before I get into any of that though, I'd highly recommend you watch the documentary for yourself. It's insanely well researched and put together, and having worked together with Ziggy Cashmere (the documentary's creator) I know how hard he dedicated himself towards making this all possible. If it weren't for him, the most interesting Foodfight! discovery would've been finding the novelization, and we would have never gotten any real insight into how this movie came to be. It's also a documentary that really speaks for itself- I don't want to say too much about what it reveals since it's all expressed far better through its narrative and the interviews with people who actually worked on the project. My favorite is the interview with texture artist Mona Weiss- she tells such horrifying stories about how she was treated by Larry and other crewmembers, yet does it all with a sense of humor that makes it clear she's enjoying getting to talk about her crazy experiences. It's clear Foodfight! was an unmitigated disaster from start to finish, and there's nobody to blame for that but Larry Kasanoff himself. The movie was rotten from the top down and despite the countless talented animators and artists working on it, nothing could fix the fact that it was fundamentally mismanaged in the worst way possible. I think the quote from producer George Johnsen summarizes it best: "Foodfight! was a good idea that unfortunately lost its way during production. The technology, the art, and the direction were not in sync. Many very talented people gave their all to make the picture, but more understanding of process from the top was needed for it to succeed."

But if you saw the documentary, you already know all that, right? So instead, let's talk about the behind-the-scenes material that's finally been shared! You can find everything I'll talking about HERE on archive.org-

It's worth following the link and checking it out for yourself- there's so much it'd impossible to discuss everything. Artwork, storyboards, bloopers, models, a nude render of Lady X, an interview with Larry Kasanoff, the list goes on and it's still being updated! Despite the documentary already being out, people who worked on the movie are continuing to share new material! It's pretty incredible- for the past year I've ran this blog all I've really had to discuss are two tie-in books, and now there's so much Foodfight! material I can't even keep up with it.

I mean LOOK at all this, isn't it fantastic? The character art by Jim George showing off just how much better these designs originally were, the countless environments showing off just how stunning Marketropolis could've looked as well as the strength of the core idea "what if a supermarket came to life at night", and insanely detailed storyboards for a 7-minute pitch reel that was used to sell the movie to investors. Normally, I'd be ALL OVER this because it's all just incredible, but there's something far, FAR more fascinating than any of it.

There are even multiple drafts of the script (one from 2005 and one from 2007 respectively) and normally I'd be insanely fascinated by those too, making extremely detailed posts explaining the differences between the drafts and how they compare to the novelization, but there's something else that was found that blows ALL of this out of the water and is easily one of the most monumental lost media discoveries of ALL TIME.

That's right, a rough cut of the ENTIRE movie from 2005 has been found, containing nearly ALL the completed animation from earlier on in production. I mean, that's mindblowing right? We first got sent this around a month ago, a little while before the documentary came out, and I literally stopped everything I was doing at work to just sit and watch this. This is the closest we're ever going to get to the "original" version of Foodfight! after all- only 7 minutes of footage was ever actually made before they switched to mocap, made solely for the aforementioned pitch reel, and this workprint contains practically all of it! On top of that there are some great storyboards in here, as well as some truly hilarious ones cobbled together from 3D renders, and the plot is far better than what we ended up with, a lot of the more inappropriate jokes being absent. This rough cut is actually pretty similar to the novelization in that regard, and it also contains scenes that we'd previously only read about in there.

For example, in the novelization there's a snowmobile chase through the mountains, with Brand X soldiers on snowmobiles and a heavy avalanche close behind. This scene was completely left out of the movie itself, but in this workprint it's here! ALL the previously novelization-exclusive scenes are included, and this rough cut is seemingly based on an even earlier draft of the script than that- here Brand X are still defeated by a flood, whereas by the time of the novelization it'd been changed to a lightning storm. There are SO many exciting differences in this workprint, the snippets of original animation we get to see are SO good, and it's SO much better than the movie itself that I think it by far deserves the crown as the DEFINITIVE version of Foodfight! There's so much in it I want to discuss, that there's no way I can fit it all into this one post...so stay tuned, because in the next few days I'll be doing a FULL analysis of the 2005 workprint, pointing out all the extra brand mascots not in the finished film, and generally just gushing about how amazing it is.

I mean, this is it. Just take it all in for a second- the original footage was considered lost media for over a decade, and now it's practically been found in its entirety, embedded in an early cut of the whole movie...isn't that just phenomenal? All the mysteries have been unraveled, all the questions have been answered, and now we can relax, take a deep breath, and watch Foodfight!...the REAL Foodfight! Make sure to enjoy it, and join me next time for my analysis!

[galedekarios]

just musing about gale and his parents:

we only have a handful of conversations where he mentions his parents and when he does, it's usually only his mother, morena dekarios.

his mother is mentioned at several points in the game. during a custom protag playthrough, he mentions her in a datamined conversation that appears to be bugged/broken:

and he mentions her at the end of the game as well when he proposes to the player:

i was also able to find another mention in a banter with karlach that usually happens for me shortly after recruiting her:

from gale's origin, this aspect is explored even more deeply:

there's more, of course, and it very clearly shows that the bond he shares with his mother is a deep and loving one from both sides. it's also very interesting that he is called dekarios after his mother and not--even though naming conventions could certainly vary even in waterdeep--after his father.

who he doesn't mention at all.

the only time we do get a vague mention is during a conversation with the protag after saving mirkon from the harpies:

after that, i haven't been able to find any reference, indirect or direct, to gale's father in the game.

so, here we enter theory territory:

i feel that, from a narrative point of view, in keeping with what i think gale's themes are, gale's father may have abandoned gale and his mother when gale was still young.

gale's character is rife with what might be interpreted as abandonment issue and it makes sense to me at least that those weave through his life up until the point where the protag meets him in the game.

another theme with gale is that he appears to have a lot of female figures in this life, who all had a profound impact on him, whether that impact is positive or negative: morena, tara, and yes, mystra.

it feels like to me that he had no father figure--and i use that term a bit more loosely here--until later in his life with elminster. this is already hinted at in a game with a custom protag, but all the more solidified in a gale origin playthrough:

i think without directing telling you, the game does allow you to sort of guess at that part of his background in this way, and understand why gale is as he is as a consequence. you can also understand why he acts as he does with elminster. seeking his approval. yearning for it. being extremely hurt by elminster having to see him like this when mystra sends him to gale to deliver her... instructions. this almost pointed absence of a mention of his father in all his comments (and tara's too, now that i think about it) when it comes to family is glaring to me.

being left, being abandoned, makes it much more understandable to me why he doesn't speak of him at all: if gale's father had died, it would make more sense to me that he would remark on it or share it in some way or another. it might have come up in a banter with wyll, perhaps, who is struggling with the expectations his own father had placed on him.

"he died when i was still very young." perhaps, or something along the lines of, "i barely remember him; he died when i was only a child.", etc etc etc.

YET if gale's father indeed abandoned his mother--who he holds in such high regard, and not to mention his own hurt--i can easily see and understand why he wouldn't waste a word on him.

anyhow yes, this is long and ramble-y, and i 100% might be reading too much into what may be a simple oversight, but it was interesting to me and i still see it as tying in with the theme of abandonment, even though we don't know the reasons for it in this particular case.

was it not wishing to deal with a child with magical talents he couldn't control yet? was it for another reason entirely?

[pascaloverx]

BORN TO DIE

Summary: In a tense political setting, a Targaryen bastard working as a prostitute is summoned by Prince Aemond to the Red Keep. Aemond wants her to approach his dragon, Vhagar, as a test of her worth. Although he plans for her to claim another dragon in the future, her immediate challenge is to survive Prince Aemond demands while trying to stay alive.

Author’s Note: This work is set in the world created by George R.R. Martin, as depicted in his book Fire & Blood, and none of the characters belong to me. The story will follow some events from the series House of the Dragon (2022), but with changes to fit the fanfiction narrative. Therefore, it will not adhere strictly to the series' storyline. This fanfiction is a work of fiction and may contain inappropriate language, adult content, and violence. Readers be warned. I hope you enjoy the story and interact with it. I apologize if there are any errors in the High Valyrian sections; I used a translator and am unsure of its accuracy. Thank you and happy reading.

AO3 LINK ONE

PREVIEW

Walking through King's Landing is exhausting. Your life as a bastard has not been easy, especially with the struggle for the Iron Throne. Unsure of which direction to take, you have tried to be invisible to the Targaryens while working in a brothel to survive. This morning, you were summoned by a royal messenger on behalf of King Aegon II. You thought it was a joke, but soon realized you really had to go to the Red Keep. You are taken to whoever summoned you like a little mouse sneaking through the sewers until you reach the surface. Perhaps they don't want to publicize that a prostitute is being brought in for a private conversation with the ruler of the Seven Kingdoms.

"I heard that my presence here had been requested. But I didn't imagine I would be summoned by Prince Aemond," you say as you enter the room indicated by the messenger and come face to face with Aemond One-Eye. He looks a bit more intimidating in person, but in a way, it's not a bad kind of intimidating. Just surprising.

"Ao kostagon enter, bastard." Prince Aemond commands with a certain skill. But you are somewhat worried that he might know you are a Targaryen bastard. So pretending to be oblivious seems to be the wisest course of action for now.

"This is a lovely place. An extremely enchanting castle. However, if you summoned me here for a conversation in another language, I will be a nuisance to Your Highness. Since your request for my presence proves ineffective, perhaps I should leave immediately," you say, trying not to show any hint of fear. You are a prostitute, accustomed to pretending all sorts of things. As you hesitantly move toward the exit of the room, where you are alone with the Prince, he doesn't seem to fall for your ruse. He throws a dagger in your direction, which grazes the corner of your cheek before embedding itself in the door, which is closed.

"Do you intend to waste our time here? I know you speak High Valyrian, and honestly, I’m hating your attempt to deceive me, gundjabo." He speaks while watching you turn, somewhat irritated by his actions. However, the One-Eyed Prince seems very proud of his deed. He is speaking in High Valyrian to you, probably to test you, but you feel that if you do not meet his expectations, the dagger will find its final mark and you will die.

"If you know that I can speak and understand what you are saying in High Valyrian, Your Highness, tell me, what use would a prostitute be to you? Do you, by any chance, have some secret desire in your chambers that requires a different language?" You might lose your tongue for speaking this way to the Prince Regent, but anger got the better of your temper, causing you to suggest that he brought you to the Red Keep to exchange heated vows in High Valyrian, which is nothing but folly.

"Your mouth would be much better sealed forever. But I need you for a mission, so for once, be less of a deceitful prostitute and serve your King," Prince Aemond says as he moves across the room, seemingly trying to reach you. You, however, despite your nerves, manage to grasp the dagger embedded in the door. Now, he stands just a few steps away from you, while you hold the dagger that could have gravely wounded you.

"I think this is yours, Your Highness." Your eyes meet the Prince's gaze. One eye reveals a hint of surprise, perhaps even pride, confirming that you can speak High Valyrian. The other eye, covered forever, conceals something deeper—perhaps resentment, perhaps fear. He approaches slowly, as if analyzing your behavior; likely wary of being harmed. But swiftly, his hand moves over yours, pulling the dagger from your grip and into his own.

"Follow me," is all he says as he sheathes the dagger somewhere in his attire and opens the door. You don’t fully understand his intent, but you know you don’t want to provoke Prince Aemond's wrath. At least not in this way. You follow him quickly, while the Prince seems to be almost racing toward one of the castle’s exits. He mounts a horse with enviable precision. You watch him, still unsure of your role in his sudden departure from the castle. He adjusts his long hair and then extends a hand toward you. You stare at him for three seconds before hearing him grunt in your direction. Seemingly as impatient as possible, he nearly falls off the horse while trying to grasp your arm, but he manages to hold onto it after the first attempt—holding your arm, not falling off the horse.

"Where are we going, Your Highness?" you ask, feeling your hair whip in the wind, as you notice a few people—probably servants of King Aegon II—passing by as if you’re inconsequential. Another grunt from Prince Aemond makes it clear that if you don’t get on the horse, you might be risking your well-being.

"I intend to test you before revealing your purpose. Now I suggest you come with me, or I’ll be forced to find another bastard to replace you and order your death." Prince Aemond seems astonished by your reluctance, forcing you to follow his commands. But really, there’s no other option. You leap toward him, being propelled onto the back of his horse. He begins to gallop with astonishing speed, so fast that you’re compelled to wrap your arms around his waist. He gives a slight turn of his head, looking in your direction, which startles you and almost makes you fall off the horse. However, this seems to amuse Prince Aemond. Before you can react, it seems you’re arriving at a location. A place certainly surrounded by nature, which gives you a comforting feeling despite the unknown. That is, of course, until you notice a massive dragon ahead. He brought you here to become dragon food.

"As flattered as I am by the importance you place on feeding your dragon well, I must say that a prostitute who speaks High Valyrian will not be any more special than any other meal given to your dragon," you say as you dismount the horse, struggling a bit. Prince Aemond is too absorbed in admiring his dragon to notice your struggle to get off the horse.

"Vhagar is a female dragon. And keep your mouth shut for a moment. You’ll soon understand your purpose here," Prince Aemond says, drawing closer to Vhagar. She, with her head lowered, lifts it from amidst some branches and foliage to see who is approaching.

"She is quite impressive. But I don’t understand why I was brought here, Prince Aemond. Is there a reason I need to meet your dragon?" you say as you follow the Prince toward the dragon. Vhagar emits a somewhat shrill noise, making you stop for a moment to look at her.

"I’ve heard that my sister plans to raise an army of bastards. I thought I might at least try to have one bastard on my side. There is a dragon, which has been confirmed to be available to be claimed. I want you to claim it for me and fight alongside your King." Prince Aemond speaks with vigor, as if discussing a great triumph that is to come. You look at him reluctantly, struggling to accept such an absurd proposal.

"You brought me here to force me to interact with your dragon. So if I don’t pass this test, I’ll be eliminated one way or another," you say, looking at Prince Aemond with some anger. He remains indifferent to whether you live or die. He just wants to ensure that he isn’t wasting his time chasing an illusion.

"I'm glad you're not as stupid as you seem. Now, stop wasting our time and go on," he says, as impatient as ever, stopping midway between you and Vhagar. You let out a nervous laugh, not quite believing that this is how you're going to meet your end.

"Likyri, ȳdra daor sagon zūgagon." You speak with a certain precision as you approach Vhagar. It’s not as if your job is to claim her. But if she accepts you, you might be able to prove useful to the Prince. And if you’re useful to him, you’ll be useful to the King. You move your hand forward to signal Vhagar that you are there. You are a nobody to her, but you appear alongside her rider. You look into her eyes, trying to stay steady as the dragon raises part of her body in your direction. She seems to be still assessing who or what you are.

"Gīda, Vhagar. Ao ȳdra daor jorrāelagon naejot zūgagon nyke." You try to calm her, speaking in High Valyrian or at least the most you’ve learned. You’re somewhat terrified when you notice that your hand is on Vhagar. It seems she has allowed you to touch her, perhaps mistaking you for a previous rider. The reasons for the dragon allowing your touch may not be particularly relevant. What matters is that now you’re at risk of becoming dragon food, as Prince Aemond certainly seems very enthusiastic about the fact that you’ve touched, and are still touching, his dragon.

TO BE CONTINUED...

[tossawary]

I finished Volume 3 of SVSSS, which encompasses the main story, and currently have my bookmark sitting at the first chapter of the Airplane Extras in Volume 4. I took a bunch of quote pics but have yet to review them and add thoughts.

Every time I read SVSSS, I forget how... incredible... the inside of Shen Yuan's head is. He's fascinating.

Like, he's misogynistic (even while criticizing Airplane's own misogynistic writing), he's homophobic, AND he's transphobic. Not in a way where I think he thinks anyone deserves fewer rights than anyone else (I think he's generally a nice person, although, holy shit, I would not trust this man to craft policy of any kind) or would prevent anyone from living however they chose to live, a lot of his problematic bullshit stays inside his own head as he tries to understand the world around him using the stallion novel formulas he was given, but he's carrying around SO MUCH unexamined bias that supports his refusal to examine himself and his own desires.

Some of it reads (presumably intentionally) a LOT like the kind of conflicting, problematic bullshit a lot of queer people carry around inside their heads as they struggle to untangle themselves and their beliefs.

And while I do wish that Shen Yuan had been forced to confront and address his misogyny and transmisogyny even further than it does come up (in part because it is DEFINITELY affecting the way he thinks about gay men as well, including and especially Binghe), I do kind of... appreciate on some level that he thinks this way? From a character standpoint? Because I think it's probably realistic for a privileged young man spending a lot of time on the internet reading shit like PIDW to look at the world this way. And it's clear even through his own narration that his blindness in certain areas is causing him a lot of trouble. While I do have criticisms and personal wishes, I do appreciate the depiction of personal character development that is just... a cringeworthy mess of internalized bullshit the whole fucking time.

Also, it's SO funny to me that he reads as SO aro-ace-spectrum to me (probably gay, but generally detached from sexuality and possibly also partially from gender) AND he actually knows... the word asexual, I don't think he has a very broad understanding of asexuality... but he knows the word and yet doesn't personally identify that way. He mentally accuses both Luo Binghe (main story, before finding out Binghe is into him) and Liu Qingge (Succubus Extra) of being asexual for showing no interest in women, only to fail to reflect on how he ALSO demonstrably has no lasting personal interest in the women around them, which doesn't read as very genuine to me.

(EDIT: Again, I am not against a bisexual Shen Yuan interpretation either! I am willing to be persuaded by any author who wishes to tell a particular story. But Shen Yuan's attraction towards women often reads personally to me as very shallow and possibly insincere.)

"I willingly read PIDW, that proves I'm straight!" he sincerely thinks to himself, even though his favorite wife is the one without explicit sex scenes and he also admits to skipping over a lot of them.

"I'm able to tell when women are beautiful, that makes me straight!" thinks the guy who mentally censors nudity whenever demon women lose their clothes, and keeps telling us how "the average reader" of PIDW would react to these beautiful women instead of conveying his own attracted reactions. His actual reactions are generally centered on a woman's narrative significance. The only people he personally seems to find attractive are Luo Binghe and maybe Liu Qingge.

Though my interpretation was that he does probably experience sexual arousal and have a sex drive (see his username), which probably helps with his conviction of straightness, I'm not sure that there's any mention of Shen Yuan even masturbating at all in the entire main story of SVSSS? He never tried to hook up with anyone. Sex is apparently not a priority for him.

(EDIT: He does seem to enjoy sex with Binghe in the "Bing-mei vs. Bing-ge" Extra. He loves Binghe and likes the closeness and the physical pleasure. I appreciate the indication that they're working on moving on from the AWFUL intercourse pushed by Xin Mo's possession and possibly also the System's Scenario Pusher.)

And Shen Yuan seems to view women as being and behaving Fundamentally Differently from men and gay men as behaving Fundamentally Differently from straight men (as soon as he learns Binghe is into him, he thinks about how Binghe isn't behaving like the characters in his sister's gay, non-con, BDSM erotica novels), seeing everything through the lens of novel tropes, such that he seems to view sex and sexuality and gender as being deeply mixed with a person's personality. So he can't be a gay man, because he's too "Normal", in his mind at first, because he doesn't behave like his own mental image of "How Gay Men Behave" (or "How Women Behave / A PIDW Wife Behaves"), while also demonstrably not being anything like "the average reader" of PIDW and also apparently not caring too much about his own masculinity? Like, I do think he likes being the gentleman scholar of Qing Jing Peak, he does like appearing dignified and strong and cool, he doesn't like losing, he doesn't really like playing "damsel in distress" roles, and I do think he likes being gallant towards women, but he's not too concerned about seriously competing with figures like Luo Binghe or Liu Qingge? He's happy enough to back down and let someone else take the lead if necessary. He puts up with being put into the roles of female leads even if it embarrasses him and he rolls with the punches to his pride easily enough. He seems to have decided his Sexuality By Default, so it does make me have a lot of thoughts about whether or not he's potentially going with Gender By Default / Convenience as well.

Someone get this man some amateur and academic literature on gender and sexuality (and a lot of other stuff), stat, so he can ignore it, probably.

[lemotmo]

I don't often do this, because I try to avoid discourse in fandom and sometimes you just don't vibe with a character. It happens.

But I keep seeing these horrible and, quite frankly, very wrong and disrespectful takes on Eddie Diaz' character. And I can't just sit here and ignore them anymore.

I cannot and will never understand why people don't like Eddie.

I've read some posts and comments earlier about people disliking Eddie and... really? Eddie is boring? He doesn't get interesting storylines? He's just a prop for Buck and his storylines?

Are we watching the same show here?

Eddie is, by far, one of the most interesting characters on 911. The man has had one trauma after the other piled up on him, but still he keeps going. Why? Because of the one thing that matters more to him than life itself: Christopher.

As a single mother myself, I can relate. The struggle to want to give your child everything, to do everything for them, even if it comes at the cost of your own mental and emotional well-being? It is very real. I cannot tell you how many times I end up crying to myself at night, blaming myself because I wasn't able to stop the outside world from hurting my son. And you have to do it all by yourself as well. There is no one there to share the burden with, to share the heartache with. It's tough and it's real.

Eddie's storylines are intricate and nuanced and based in reality. They aren't necessarily the biggest and loudest storylines, but they still matter to people who can relate to him. People like me.

Now, 911 is guilty of showing a lot of important Eddie moments from someone else's point of view. That is true. Especially Buck's POV. The shooting comes to mind, even a part of his breakdown and more recently Eddie's friendship with Tommy. He made a bro-friend and seemed so happy and carefree, but since we saw it from Buck's POV, we can't fully trust this image.

So, I think that is why some people see him as just a prop in Buck's story. But it's much more complex than that. Buck stepped inside Eddie's world without complaint. He helped him out from day one by introducing Eddie to Carla. For the first time, Eddie is no longer alone in life. There is someone there who understands him and his love for Chris. He can safely rest and trust that Buck will be there to step in if necessary. He actually went ahead and put it in his will. Eddie loves the way that Buck loves his son. And the show is still using that bond to date. We saw Buck and Eddie in conversation about Chris, Buck talking to Chris, Buck being jealous of Chris thinking Tommy was cool...

I don't know what the future will bring for Eddie, but I desperately want and need him to be happy. And yes, I do think the narrative will eventually lead him to Buck. His happiness has always been intricatelly linked to Christopher. The way they keep weaving in Christopher in Buck's storyline? The way Eddie keeps being inserted in Buck's bisexuality storyline? These are some of the many reasons that give me absolute certainty that Buddie is in the works.

In conclusion? Just stop hating on Eddie Diaz folks. It's not a good look on you.

[nohaijiachi]

I got randomly recommended this video by YT and wrote a ginormous comment in response because I have no self control, apparently, so I thought I might as well also share my thoughts here in regard to whatever is going with THIS FUCKING SMILE

(under a cut to not clog y'alls dashboards)

(the first part of the comment here is a direct response to some of the ideas put forth in the video, it is very short so give it a quick watch for more context if you want)

Imo it's not necessary to look into overcomplicated theories that rely too much on off screen shenanigans to explain the smile, for how amusing the idea of them having swapped during the kiss is (like, the kind of stuff I won't want to be actually canon, but I'll be very happy to see explored in fan fics lol)

I think to fully explain that smile we have to take in consideration multiple factors:

This show is very purposeful in what it does and doesn't, well... show. That last shot is very long and I think the fact that Aziraphale's and Crowley's expressions in the aftermath of their disastrous break up is shown in such a manner tells us a LOT about the state of mind they might be at the start of S3, and the obstacles they'll have to face. Aziraphale doesn't immediately smile, rather he seems to look almost shell-shocked for most of the shot; it's clear (to me at least lol) that the quiet ride up the elevator is finally giving him some desperately needed time to fully digest everything that happened, because too much has happened in an extremely short amount of time, and we all know Aziraphale doesn't do well with speed lol.

But, for how much he can sometimes be a complete moron, he is smart, and all he needs are just those seconds of quiet to properly ponder on everything, on the choices made and the ramifications of said choices, and that's how we get to smile-- I'll delve into what I think Aziraphale is going through in his mind in more details later, because I also think it's necessary to focus a bit on Crowley's own expression, since the both of them are so intrinsically linked that the narrative cannot make sense without taking the both of them into account.

Crowley's expression is much more static and doesn't change the way Aziraphale's does; he looks profoundly tired in ways we've never seen him before. I don't think he's giving up on Aziraphale, and I fully believe the fact that he stood there and waited for Aziraphale to disappear in the elevator, the both of them sharing that last look, was a quiet message: He'll never give up on Aziraphale, he'll be there, waiting. But wait is all he can do for Aziraphale, now, because he can't follow where Aziraphale is going.

For how messy and full of heightened emotions the confession + kiss are, I think actually denying Aziraphale's request was a HUGE step forward for Crowley's character. He's never been able to deny Aziraphale, he always went back to him after every fight, and we all know how stupidly whipped for Aziraphale he is and how he'd empty the ocean with a spoon if Aziraphale asked him nicely-- But to actually put his foot down and say "no, I cannot do this for you" when asked to all but renounce the person he is now? Especially with how Aziraphale is all but begging him openly? That's a huge step, and something I think Crowley desperately needs to mature as a person (or, well, person-shaped being). We all love how Aziraphale has him wrapped around his little finger I'm sure, but we also all know that if they truly want to build a strong, healthy relationship they also both need to be able to keep their individuality and to put forth adequate boundaries about what they are willing to do for each other within reason.

Asking Crowley to come back to being an angel when he's made blatantly clear for six thousand bloody years how much he despises Heaven is not a 'within reason' request, innit?

So, yeah, for how heartbreaking the break-up was, in a sense Crowley needs it. They both do. They both need time apart to figure their own shit out, dismantle all those unhealthy habits they had to adopt in order to be with one another as safely as they possibly could while still 'employed', and then come back together with a clearer mind and a whole deal stronger than before, both as individuals and as a couple.

And I think how tired and downtrodden Crowley looks in that last shot is a precursor to this process, just as much as Aziraphale's smile is... So, let me get back to our favorite angel and what I personally think is going on with him.

I think to properly contextualize that smile we need to look at not just the happening of those infamous last fifteen minutes, but of S2 as a whole, and what Aziraphale does in it.

So, what is Aziraphale doing during S2?

At the start he seems to be more or less comfortably settled in his current life; he's as happy as ever doing what he's always done, enjoying humanity's creativity with his books and his music and his food and drinks, seemingly content to be puttering about in his bookshop (which is a stark contrast with Crowley's homelessness and his kinda adrift and depressed attitude). Of course then Jim!Gabriel throws a wrench right into that, but imo I think there was a lot more going on behind the facade of Aziraphale's well ingrained habits.

Sure, he still has all of his familiar comforts and his routine, but from the moment we see him interact with Crowley I saw a deep restlessness emerge in him: The panicked look he launches Crowley when Nina asks him about his 'naked man friend', the way he speaks with Crowley with all those 'our' he uses, the blatant way he keeps reaching over and touching Crowley-- To me that suggests that Aziraphale is clearly not as happy as he seems to be on a superficial glance. He clearly wants more with Crowley, wants to bring their relationship to the next step, but because the both of them are so deeply entrenched in their unhealthy coping mechanisms and habits and their inability to openly communicate it doesn't even occur to Aziraphale to just... You know. Take the first step, actually say something about it. So he just keeps throwing bait after bait in the water, hoping Crowley will bite and be the one taking the initiative as he's always done, finally allowing Aziraphale to accept said initiative, this time around.

Of course, we all see that Crowley doesn't take any first step, which is probably something deeply frustrating for Aziraphale at a subconscious level. That's how we get the ball; sure, on the face of it it was Aziraphale's way to make Nina and Maggie fall in love, but... Was it, really? Let's be real, for how entirely believable it is that Aziraphale makes up the lie about Nina and Maggie's love to cover for their miracle is, since we've seen him being anxious around other angels, I don't think for a second that had Aziraphale just stopped and spent three minutes thinking about it he wouldn't have found a way to convince Muriel that Nina and Maggie were, in fact, in love, especially with how 'green' Muriel is about humans.

I fully believe that Aziraphale is not properly thinking during S2, period. He's frustrated by his inability to bring his and Crowley's relationship to what he wants it to be, and that frustration and single-minded objective is utterly obfuscating his thought process. There are plenty of moments he seemed almost manic, imo, which I read as another sign about his 'impaired' (allow me the term) state of mind as of S2.

So, yes, the ball: On the face of it something to actually turn his lie to the Archangels into truth, but deeper down, perhaps almost unconsciously, I think Aziraphale sees the ball as a way to finally make him and Crowley happen. That fact that he's taking pointers about romance from human literature is blatant, and obviously he truly does believe the ball will be THE way to make love bloom.

If you stop and think about it, the ball scene is terrifying. These people are being manipulated to play the perfect background parts to make, what is in Aziraphale's mind, the height of romance atmosphere happen. The fact we get a juxtaposition with Nina's "what the F is going on, am I losing my mind???" rightful attitude underlines this. And I truly believe Aziraphale isn't exerting said manipulation with intent, but rather doing so subconsciously, because he's just so fixated on the idea of having finally the perfect set-up to have Crowley as he desires that he is influencing everything around him. After all, we all know they both have the tendency of making things happen the way they want simply by thinking that's how things are supposed to happen.

And again, he's so manic and giddy when he asks Crowley to dance, his ass is not LISTENING. He literally needed a brick thrown through a window to snap out of it.

So, in the present we have an Aziraphale who , in his own way, is trying to take the initiative, come out with plans. There is a moment that I think might have slipped under the radar of a lot of people but that's frightfully important about who Aziraphale is at this point in the story, and who he will need to become: "I have a plan," Aziraphale said to Crowley during the stare down with the demons outside of the bookshop after the ruined ball; Crowley didn't even seem to have registered that sentence at all, because his mind is already projected forward and going a mile a minute about what to do to keep both the humans and Aziraphale safe in this situation.

Crowley, who loves to swoop in and save Aziraphale, doing what he's always done to keep his angel safe, even to the detriment of their relationship with one another... And Aziraphale, who adores playing the part of the damsel in distress in turn, is actually telling Crowley that *he has a plan*.

That's not something to take lightly, methinks. That's very much just another sign that Aziraphale's individuality is struggling, trying to emerge through Aziraphale's anxiety and doubts and fears and deeply ingrained habits. Aziraphale's cognitive dissonance in regards to heaven, and his shaken faith in God are huge motivators of his actions, and in the grand scheme of things the scant few years he had away from under the oppressive thumb of heaven is nothing. It was barely any time at all in the face of the eternity of an immortal life spent under that oppression, and yet we are already seeing little glimpses of Aziraphale's rebellious side struggling to get fully free.

I think these little glimpses inform us at great lengths about the evolution Aziraphale's character will go through in S3, and greatly explains that strange smile right at the end; in my opinion that smile isn't the smile of someone who's trying to convince himself that he's ok, or realizing that Crowley loves him (he knew already, they both knew and have known for a long time, their inability to properly express those feelings was their downfall, but I don't think either of them has doubted even for a second when it comes to how much they love one another). In my opinion that smile is the smile of someone who is steeling himself for what he envisions in his future; equal parts old-sedated anxiety and yet determination to actually enact plans he's surely concocting in his brilliant little mind. That's the smile of someone who has just realized that not only they can, but that they need to do something, and you can damn well be sure they won't be sitting and twiddling their thumbs waiting to be saved, but they'll be the one saving themselves and everybody else along with 'em, this time.

Just as Crowley needs to actually spend some time define himself as himself, and not just in relation to Aziraphale, Aziraphale needs to spend some time shedding all those fears and doubts that are weighing him down, and emerge the other side someone much more self-assured and ready to do what he thinks is right without all the hesitations that have indirectly been strengthened by Crowley; in a way, by allowing Aziraphale an out with his 'temptations', Crowley had been feeding into those hesitations, and had been holding Aziraphale back from fully maturing, even if not done on purpose, obviously. Imo is very important for Aziraphale's character that he comes to realize that he doesn't need those excuses Crowley gifted him to keep doing what he thinks is right, that he actualizes his own morality properly, and enacts on it.

I don't have the faintest clue about what is going to happen in S3, but I do fully believe the above paragraph is what Aziraphale and Crowley's respective character arcs will focus on. And once they'll come back together they'll be the most power couple that has ever power coupl-ed, and the Metatron will have no clue about what is about to hit him >:)

[lurkingshan]

10 Things I Love About Triage

I am extraordinarily late to this party but I am here to scream about Triage, a show which I started on a whim after a stray comment from @incandescentflower and subsequently finished in two sittings. This drama has been on my list forever (I didn't watch it live because the distribution was wacky) and then it just kept getting overlooked as I fought to keep up with the deluge of Thai BL coming at us at all times. But I am very glad I finally hunted it down and made the time and I would like to tell you why!

Hello Again, Dr. Sammon

I am on record as a Sammon fan. She is one of the best writers working in Thai BL and she has a knack for mystery and suspense. Her narratives are always really well constructed with tight plotting and smart character work, and Triage is no exception. This story feels confident, steady, and complete in a way few Thai BLs do.

The time travel rules are blessedly consistent

Part of what makes the story sing is it's a time travel plot that actually gets the particulars right. In a time loop, the details are everything, and this show understands that. The series of events are consistent, the rules of the time travel mechanics are clearly explained, and when our protagonists learn something new, it always lines up with something we'd gotten hints about before or gives us new context for old information. There are no loose threads in this show.

My boy Tin is going through it

Tin is a fantastic protagonist. He starts the show disillusioned with his work and hilariously grumpy about this time loop situation--he is a busy ER doctor and he does not have time for this--but as he starts to piece together how the loop works he gets more methodical in his approach, and eventually becomes emotionally invested in his mission to save Tol. Tin felt really well-calibrated in that he was smart and he tried all the things you would be shouting at the screen for him to try, but he's still a human being with flaws and insecurities and so he makes mistakes, learns, and has to try again. The show really successfully put us in the frustration with him.

Tol makes for an interesting damsel

Because he's kind of an asshole! Tol is rude and disrespectful when he first meets Tin, he hangs around with some truly awful bullies, he treats Rit like garbage, and he's all around an arrogant dick. Until he isn't. I like the choice to make the focus of our mission such a difficult character, not only because it makes Tin's challenge that much harder, but also because it invites us to consider the reasons why someone might be behaving the way he is and whether they can be redeemed.

This show has everything: action, romance, and agony

It's truly an emotional rollercoaster all the way through, and you can't relax for a moment. The pacing is relentless through most of the show, and even as a bond develops between Tin and Tol and they begin a tentative romance, danger is lurking around every corner. As soon as these boys started making out in episode 9 I knew something awful was coming for me and IT SURE DID.

Jinta, the ultimate frenemy

On that note let's talk about Jinta, my nemesis!! Jinta is some kind of unspecified deity/whimsical god and the one who appears to be responsible for putting Tin and Tol in this loop. Is he trying to help them? Is he trying to torture them? I definitely think it's both! He seems to delight in showing up to taunt Tin as he struggles to figure out how to get through to Tol, and when it's Tol's turn on the merry-go-round he sends him to the darkest timeline for his high stakes final attempt to save Tin just because he can. I love/hate you, sir!

Sing and Gap and the darkest timeline

Speaking of which, can we talk about how appropriate it is that Sing and Gap are a couple only in the darkest timeline? I don't know if people were shipping this for real during the live watch, but I definitely was not and so I started cackling when we got to the worst possible timeline and Sing was suddenly calling Gap his boyfriend. Sammon, you are hilarious and I salute you.

Fantastic side characters

Let's talk about the sides I did love. First of all, aside from his weird aggressive flirting/not flirting thing with Gap, I actually did like Sing's friendship with Tin a lot. I also loved the hospital gang who were around to alternately tease and help Tin, most especially Toy and Fang. Toy is a sweetheart and a gossip who never misses a trick, and Fang is an actual badass who first cracked the case with that evil doctor and saved Tin's life. They are fabulous. Rit was also an excellent character with a lot of complexity and he added some much needed depth to the school storyline (does anyone else think he was basically the proto-DFF Non?). And while Mai and Heart were not my favorite people, I did appreciate that the show gave them a sympathetic portrayal instead of making them evil villains (we had the organ harvesters for that).

That beautiful clocktower

I must give a shoutout to this gorgeous clocktower featured in several important scenes. I got so excited every time it showed up. Fun fact: in the first clocktower scene I was like oh hey I recognize that from gifs, but it can't be that scene because it's too early for a kis--TIN WHAT ARE YOU DOING! (I was right, it was too early for a kiss and Tol was Big Mad but bless you for going for it anyway, Tin).

The romance is balanced and rootable

And on that note, let me give a shoutout to the romance part of this story for actually feeling balanced. This is not an epic swoony love affair, but more a story of two people putting in the time to understand and empathize with each other. Sometimes in these kind of time loop stories the romance can end up feeling very one-sided because one character is holding all the knowledge and all the cards. But in this show we have the neat trick of Tol taking over the loop to try to save Tin in the final arc, which means he got to go through a similar process of getting to know the darkest version of his lover and figuring out how to get through to him. I was delighted by all the events of the long loop playing out again, but this time with Tin being the obstinate one. Tol got a taste of his own medicine and it left me feeling like they were both equally invested in this relationship.

TL;DR: If you haven't watched this yet, you really should! It's a fast binge and a great time with some Thai BL favorites. It's unfortunately still not available for international streaming, but it's very easy to find grey now and it's worth the effort. Go forth!

[genericpuff]

I really don't like how Melinoe looks like a female Hades with Persephone's pink eyes. It's too generic. Maybe keep her hair and eye colors, but maybe make her skin color a blend of both of them, like a muted purple/gray to contrast her with Dionysus? Anything other than what she has in canon.

What's wild is that the narrative is trying to convince us now that all of the dreams he had of him and Persephone were just peeks into the future. But if that's the case-

1.) Melinoe learns to communicate verbally at some point

2.) There's ANOTHER BABY we haven't even established yet (though Rachel did confirm in a tweet from ages ago that it's some god named Brimos who she read about in a book when she was a kid ???):

(but Brimo was an epithet associated with Hecate/Persephone/other gods of the dead, not necessarily an actual direct offspring of H x P, so... yeah, weird choice of a 'nod' especially now that she's trying to implement Hades' dreams into the plot as 'future sight' or w/e)

3.) All of the visions of their future together feature children that predominantly resemble Hades, not Persephone. This is really telling as to how much the relationship - both on a narrative level and even a visual one - revolves around Hades. Persephone is just an accessory, to the point that none of their children can resemble her in any major way, only through very miniscule references, such as the vines coming out of Melinoe's back and her pink eyes (whereas "Brimos" doesn't resemble her at all).

4.) This goes hand-in-hand with #3, but Dionysus and Thanatos are not present in any of these visions. I'm willing to give Thanatos a pass because he's an adult man (although it does just go to show how little Hades views him as a child), but what about Dionysus? Does his absence from these scenes tell us that Persephone found other accommodations for him? Or, more likely, is it because Rachel never planned to include Dionysus in the first place? And of course, Dionysus' design is also inherently linked to Hades, because while he has purple skin (referencing wine/grapes/etc.) he's got white hair that's explained as a genetic trait that's been passed down through Hades.

All that said, the baby plotlines in LO are a mess in and of themselves, and you can tell just how much of it revolves around Persephone "fixing" Hades or being the solution to all of his infertility and relationship problems. Persephone is the most perfect woman of all who Hades is dependant on to solve all of his problems, everything is about what she can provide him and what he can stand to gain from her, even if it means dragging her down to his level.

Man. Minthe was right.

(seriously in ANY other story this would have been FORESHADOWING-)

[girllookingoutwindow]

This is going to be a little requested analysis of how the letters work in their relationship. But first, I need to be honest. The show lost it here. Personaly, I can't think in something more romantic that voice in off letters.

From the beginning it was clear that the letters who mattered to the plot I mean, were Pen's letters. The letters are a big part of their relationship, maybe one of the most important, because it's creates some kind of intimacy that belongs only to the characters. Even, us, we don't have the knowledge of what it's on them (with the exception of the last letter the Colin reads, because a fandom does this things)

But we don't have more knowledge about his letters. We know he talks about his travels. We know that he find his own voice writing to Pen, what is a proof of his love. Because is the softness she makes him feel what it's making him understand than being soft it's a good thing. In the letters he sends to her, he's a little more of himself, a part of him that society doesn't aloud him to be. He is enough smart to understand this, but he can't connect the dots. Being soft is something that has value. It has a meaning in his life. Because created a bond with Pen, a bond he really appreciated. Colin sees on Pen, her good qualities, and he really cares about her and actually it's gives to him the permission to feel he has value too. Because of that his value persona is connected to the way she sees him too.

  Something is between the lines I never saw  many comments. Pen answer his letters, but it's exposed to us, that he writes to her, very often. Rarely, nobody in her family notice it. They notice she writes to him and mocks her. Perhaps Pen hides them.

Maybe it's because they're assuming it's not the romantic nature, but that's opposite of what it always was.

The letters created an affectionate bond between them, so it was romantic all along. Even, if neither of them really realize. We know he keeps her letters, we don't know how many times he read them, but something tells me that more than once. Possible because he find her amusing and made him feel more close to his family, to his childhood, and his home. It's a little line there between the connection with home and Pen. Pen becomes home.

But then, the letters stopped. He says I wrote to you this summer..., we don't know how much, but it feels like more than once. It's possible he tried to justify her silence first, before he went for the conclusion 'she doesn't care about me'. He doesn't really know, why she stopped to answer him. But the effect that this creates on him it's very interesting. He lost with her letters, that part of himself that made him feel that it was okay to be soft, to be kind, to care about others. The idea that others care about him. But others, are just one, Penelope. He only cares about what she thinks, she feels and wants. It didn't matter if someone else answered him, he was lost without her, he lost himself. The part of him that she wakes on him. She actually tells him that after. So, when the letters stopped all she represented it's lost. Everything she made him feel goes away, and a part of himself does with it. He saying he miss her is not really a surprise. It was always there.

His idea of love, it's nothing less than a connection and bond that's pure. He's a romantic of nature, his hero complex comes from it. His love for her it's linked to the need of connection.     She, being LW didn't change all that, even if he didn't realize at first. I always felt it was weird that Colin didn't recognise her through LW post, because her narrative style and thoughts were there. Even when we write fiction, the way we express ourselves, the words we chose, the beat, it's all there. It was part of the plot, obviously, but a miss.

Because she writes to him with the intimacy he always desire to have. He is open to her and his  real self is in the letters he wrote to her. So, when he says 'you've a one voice' is saying I know you, I loved you there, and I do it know. Like you know me, the real me. That's the piece he needed to find, to understand, of course it was her. It was always her.

[flashyfools]

months ago, while mindlessly scrolling through twitter, i came across an analysis of this particular panel from chapter 434 (i can’t remember who wrote the thread, i’m so sorry </3), and i really want to talk about it too.

(EDIT: original author of the thread is @goingbuggy!!! go check out their metas, they're amazing)

the thread was focusing on the way the speech bubble covers shanks's scar completely, and how it can be seen as a sign of vulnerability. oda is using shanks’s own words to hide his suffering, letting his physical scars be representative of his emotional ones, even though the event he’s talking about is completely unrelated to the way he got his scar.

in fact, we know shanks is not ashamed of the scar, since just a couple of pages after this one he mentions it directly as a way to start the conversation about blackbeard:

he doesn’t have a problem with the marking itself, it’s just used as a narrative device, a tool to highlight (in an extradiegetic way) his emotional wounds and the pain he always tries so hard to hide, in an effort to keep his usual composure.

the original author of the thread compared the panel from chapter 434 to another, way older one, from the very first chapter:

this takes place right after shanks loses his left arm to save luffy’s life. it’s obviously a very emotionally charged moment, which means the best thing to do would be showing a close-up of shanks’s reaction to everything that’s unfolding in front of him at that moment (luffy’s cries, or even his own reaction to his sacrifice). oda, however, chooses not to do that; instead, he hides half of shanks’s face, just like he did in chapter 434. the way the moment is portrayed tells the reader shanks is willing to hide his pain in an even deeper way than what he’s showing by smiling at luffy right after getting his arm chopped off.

it’s a great way to explain an important characteristic without stating it right away. it's a focal point of shanks's character: it's his way of showing luffy he cares about him and would much rather hide his suffering than pass it onto him, but it's also oda's way of conveying that shanks is much more vulnerable than what he allows himself to show.

having said that, the reason oda chose to bring back this framing in chapter 434 appears obvious: shanks misses buggy.

it’s plain to see, especially if we look at the whole page.

shanks tries so hard to act collected when talking about buggy, but it’s obvious that he’s hurting. his wording makes it clear he’s trying to detach from him (“that’s the end of it” + “rumors have it”); he acts like buggy doesn’t exist in his thoughts anymore, when it’s obvious he still does. he feels remorse, he regrets letting buggy go. he’s scared he might have been in the wrong. he knows he hurt buggy, but he desperately wishes he didn’t.

all of this weighs on him in a way he isn’t used to, so he locks these feelings up, thinking of them only in relation to something that happened in the past, and as so, stays in the past. he smiles while talking about him and buggy, but it’s a remorseful smile. he cuts the conversation short even though he vividly remembers what happened between them, and as he does so, his words hide the scar. he desperately tries to patch things up in his mind by exclusively clinging onto the good memories they share, but the remorse always creeps up on him. he always smiles when talking about buggy, even when he’s talking directly to him. but his smile always ends up looking sour.

this is exactly why i hate it when people say shanks doesn’t care about buggy. oda wouldn’t have given these panels so much depth if he didn’t want to show just how much shanks actually cares. even just the fact the panel we are focusing on directly mirrors a panel from the first chapter, one so important and impactful, should tell you everything you need to know.

buggy will always be shanks’s weakness. caring so much about someone when you’re a pirate of that caliber is difficult in itself, even more so when that someone is so far away from you now.

[virahaus]

Okay so I'm gonna say this cause I've just seen another post reiterating this narrative and I simply cannot comprehend the way people are going out of their way to make Tommy a villain when he's NOT.

First of all, the much discussed date.

It was clear that before Eddie and Marisol showed up Tommy was totally fine with Buck being a bit of a clueless baby bi and did not put it against him. He didn't say anything snarky to him, nor he questioned him being out or not, he teased and flirted with him even after the whole "I'm an ally" speech, which kudos to my man cause I couldn't have taken my date seriously if they said something like that.

It's clear that Tommy only took issues with the way the date was going after Buck made the horrible decision to say that they are going to pick up "hot chicks" and play it up like that.

Now, I don't think the issue here is Buck not saying he's on a date with him. It's clear by the way the dialogue has been constructed with all the hints about closet space and by Tommy's snarky line (which again VALID. He was not outing Buck. He was not trying in the slightest to do so. Eddie and Marisol are talking about closet space as in FURNITURE. To that for Eddie to take a leap and think that the closet is something more than it is, is frankly ridiculous. We know the double meaning because we are the audience. It's a joke for US, and for Buck only, not for Eddie who by the way was also clueless about Tommy's own sexuality);

The real problem was that Buck also shoved Tommy back in the closet. I don't think Tommy wanted Buck to announce there and there that they were on a date, especially after the whole convo and questions about being out in the workplace. It's an obvious hint to the fact that Buck is not out and it's reinforced by Buck also telling him that it's his first date with a dude. Season 7 Tommy hasn't been shown to be stupid or insensitive so it's obvious that he would have read between the lines.

So, it's clear that the issue here is that Tommy did not want to be shoved back into the closet, especially after years of unlearning bad behaviour and the journey to accept the fact he's gay. He doesn't offer it but he also doesn't want to be shoved back into a position where he has to deny he's gay. Which again, is super valid of him.

The moment most people try to use against Tommy is the fact that he cut off their date and left Buck alone outside the restaurant, which... Tommy had all the right to cut short their date. He was uncomfortable with how things were going and so he cut his losses. He's not rude or disrespectful, he even reiterates how he thinks Buck is adorable and in the same breath he also establishes his limits. Again, fair.

But some of y'all are acting as if he left Buck alone in the middle of the desert, not in fucking LA where Buck can call a cab anytime and go back home easily. Buck is not a kid, he's a grown ass man and can very well go back home alone. He's not drunk, nor under substance, he's not injured and he certainly can use his phone and call a cab.

You all have a thing about seeing Buck as completely incompetent, helpless and unable to take care of himself, and I must remind you that he's the same person who got out of his parents house and immediately took off and did a tour of the Americas, managed to live on his own, and was healthy and alive when he got to LA in season 1.

So you might want to remember that.

Another thing you all like to dangle over Tommy like "gotcha" kinda moment is the fact that in his past he was an asshole to Chin and Hen, some almost 10 years before what is being shown on screen now. It's clear that he's friends with Chim still and even if he did not keep in touch with Hen there's no animosity there either. In the flashback where he leaves the 118 Hen is the one to shove him face first into a cake. Do you think he would have taken it so well had they not been friendly? Or that Hen would have done that if she didn't think she could do so? It's already established in the flashbacks that they have worked through their issues and for you to demand Hen or Chim to be hostile with him rn or that he needs to "work for their friendship" it's simply madness.

The flashbacks already established him as having changed and being friends with both them and Bobby, since there's also a scene of them going out to a bar together and they all have fun together. For you to demand more without also having a Tommy Begins episode it's frankly ridiculous. He's not that important in Chim or Hen's lives as of now to need a further explanation but "they resolved their issues and there's that". And he was not obligated to come out to Hen at any time. You do not owe your sexuality to anyone.

Anyway. There's that. My big rant for some of the things I've seen since the break. If y'all liked this I might do more dissertations of the other out of pocket takes I've seen around. And my ask is also open if you want to ask my opinion on something

[bcacstuff]

A Thank You

To start with a thank you to all the people in the comments on my previous post, and all the Anons, all the kind words, showing your support and appreciation for my blog. I received some very sweet and lovely messages which I will cherish and look again at when things get so negative that I start to question myself why am I doing this.

Snapped

Yes something snapped, after a long time ignoring all the harassment, negativity, toxicity, name calling and recently even threats in my inbox. Telling me, oh we all know how toxic this fandom is, isn't realistic. Logging on here and first being confronted with it personally as it is in my inbox, takes the fun and pleasure out of things. It's like getting home, but you first have to clean out your doorway because the neighbours dumped all their trash on it. At some point you will address your neighbours with this bad behaviour, wont you? (and probably not in the nicest way)

I ignored them all the time, trashed them right away stopped even reading them, as the content had not any substance. I wondered often, why do people do this? Does it make you feel better? Do you feel a hero hiding behind an Anon? Do you go tell your friends what you just sent to a person you clearly don't know the first thing about. Do you think it is justified because you don't like what I post or what doesn't fit your narrative?

It is never justified, no matter what, to do these kind of things to another human being. Never!

There are people that call me obsessed. When I see multiple harassment messages all similar, simply recognizable coming from the same person(s) on a daily basis in my inbox, lurking around on my blog just to get off on every post I publish, the second after I post it. Running to the Anon button to mock every word and purposely give a false interpretation of the things I write, or write on a daily basis on your blog about it, that is not obsession? But when I do what everyone does here, look at some IG accounts is obsession?

You know, posts on IG accounts stay there forever (most of the time), no matter when you look. Stories are published for 24 hours, and even forever when an account also puts them in their highlights. You surely know about that don't you? There is no need for me to watch every minute of the day an IG account, I don't refresh it every minute to see if there is something new. It's your biased imagination that makes you unable to see it in a normal way. I do not sit 24/7 in a cellar with 5 screens around me watching people. I also do not sit in my car for hours and hours in front of someone's house to wait till someone comes out of the house or arrives. That is stalking, watching someone's IG account isn't.

And perhaps I look at a few things more related to an IG account, like the analytics, as an interest because of my marketing background, using a simple tool available for everyone, doesn't make me obsessed or a stalker either. There is no need to watch it every minute of the day either, I can refresh it whenever I like, the numbers from a whole month (and more) are still there.

Saying I keep track of every move he does is a false interpretation. I don't know what he ate for breakfast this morning, or what color socks he wears today. I don't know all the time where he hangs out, what he is doing or whom he is with. I don't know, I know as much as you all! I simply use my logic, can see like you all can at what times he posts, and as he has his habits and patterns (which you learn easily over a bit of time) it is no rocket science to see when these times shift and he likely traveled to a place in another timezone. That doesn't justify calling someone obsessed or a stalker neither.

And then, on top of it all, I learned some things about his activity last weekend, which was perhaps the last drop. Yes I added that part, because it was part of why something snapped in me at that moment. Perhaps my reaction would have been different if it didn't came on top of all this negativity and toxicity I already deal with for a long time and only got more. Oh yes, I could've simply stayed quiet about it and perhaps I would have if not for above reasons. People that like to say I did mention it because I was just seeking attention, are just ignorant. Gosh the (negative) attention in my inbox is overwhelming, I don't need it and actually wish it wasn't so OTT. But since I mentioned it, I will address it in a separate post, but don't get too excited. I will share how I learned about it but wont elaborate on my personal thoughts which I choose to keep to myself. I also will not share any name or any other details.

If you don't like my blog, don't like to read about some things I post, don't like me as a person; Remember instead of running to the Anon button to lecture me and give me unwanted (and very unneeded) advise about how I should run my blog or live my life after you called me out, you also have the option to scroll on or move to another blog. You don't need to read my blog, I don't force you to come to my blog, you are here on your own free will and can leave whenever you want.

Anon

As a result of all this bad behaviour, I have switched off the Anon option. It's a bit with a heavy heart, as I prefer to keep my blog open and accessible to everyone who wants to be here and send messages to me. You still can send a message, but only with an account which will be visible to me. You can of course ask me to hide it when I choose to post your message, I will absolutely do so. For me it is just a way to finally prevent the cowards to send hateful messages to me.

I feel sorry for the ones that do not have an account on here and always gave me useful tips, and sent constructive messages. I hope you'll understand and consider to create an account. I don't mind if there is nothing on it, I don't see empty blogs necessarily as a sockaccount like some do.

I have to say, since switching the Anon option off, I received 0 messages. (that tells you a lot about how brave the Anons are) I enjoy the calm, the positive feeling instead of the negative feeling that I first need to clean out all this crap when I log on. So I will keep it this way at least for a while, and perhaps even forever.

Let's just try to keep the good and positive atmosphere here again, have some fun, some good discussions in a respectful way and exchange our thoughts on things.

[wildemaven]

first anniversary | dieter x poppy

A Sweet Creature

Ava Greene sits down with actor and friend, Dieter Bravo. Hollywood’s new leading man gets candid about life in front of and behind the camera. He talks about his latest movie, his commitment to his sobriety and his newest role— husband?!

Ava Greene: You're approaching three years sober now, how are you feeling?

Dieter Bravo: Probably the best I’ve felt in a long time. Sobriety is a day to day progression that I take very seriously, and I try to not lose sight of that even when I’m having bad days. Though, I’m grateful bad days have been few and far between at this point in my sobriety. I can attribute that to the support system I have built for myself through friends, family, my sponsor that I still work with and most importantly my wife who keeps me grounded daily. They all continue to keep me in check and remind me how awesome my life is, especially right now. Staying clean is a full time commitment, and it’s really a beautiful thing.

AG: You followed in your famous parents footsteps by going into acting and your career and struggles with sobriety have been well documented but your parents have rarely commented publicly, are they supportive of your work and your journey?

DB: For me, I don’t need them to make a show of it by commenting or sharing their thoughts publicly to know they support me. There was a point in time where they did all they could do for me, but ultimately it had to be my choice to make the decision to get clean. Thankfully, we’ve been rebuilding our relationship over the last few years. And being in the public eye for most of our lives, the last thing we want is for outsiders thinking they have a say in our lives. In short, yes I have very supportive parents in all aspects of my life and I’m so happy for that.

AG: This is your second project since rehab, are you viewing this as a comeback or a fresh start?

DB: Comeback? I didn’t know I left… Kidding! Sure, some might say it’s a comeback. A fresh start. Whatever analogy best fits the narrative is fine by me— and I don’t mean that negatively in any sense. I mean, you’ve known me long enough to know I just try not to focus on any of that stuff, messes with my fucking brain waves. I just see it as me doing what I love with a new perspective and a different approach to choosing what projects I’m going to give my time to than I have in the past.

AG: What can you tell us about this project and the character you're playing?

DB: I had the best f*ckin’ time while shooting this film— sorry, but the emphasis was needed. I was really drawn to the vibrancy that this script evoked, even with the serious nature of the storyline and characters. I couldn’t stop thinking or talking about for weeks afterwards. I’d sit with my wife at breakfast and we’d discuss the script and my character for what felt like hours. I knew after I heard her feedback that I needed to be apart of this film— she might have said I’d be stupid to say no to it, in her own loving way.

The film is really about the process of rediscovering yourself. Navigating the challenges that come along with being at your lowest point and leaning on the ones who have been there for you. It’s about finding love in its purest form when you never thought you were deserving of it.

I found bits of myself in this character as we were filming, it was very much a cathartic experience for me. I guess you could say it was art imitating life in a weird way.

AG: There's already been some buzz about this year's award season, do you think this is finally your year?

DB: Ooooh! Is it too presumptuous for me to say yes?! I’ve started dusting the spot where I plan for it to go. I sound like some sort of pompous idiot! Now no one is going to go see it!*

I take it back!

In all seriousness, ‘cause I’m sure Poppy and my agent will be rolling their eyes when they read this. If all I get is a couple nominations, that alone feels like winning. A shiny statue would be nice though— just saying.

AG: You've talked often about your love of art and you recently purchased a gallery. Are you planning to publicly pursue other creative endeavors?

DB: I won’t be joining American Idol anytime soon if that’s what you’re asking. Oh, you weren’t referring to my ability to hold a note during our many karaoke nights— noted!

How did you put it? Other creative endeavors? I’ve got a few art pieces in the works right now that I’m itching to dive back into when I get home. I’ve got a major gallery in LA lined up later in the year for an artist spotlight exhibit, they’ll be housing some of my work through the next year. Shoutout to my wife for getting that all lined up while I was away shooting this film.

AG: What's next for Dieter Bravo? Any other projects lined up you can tell us about?

DB: I’m looking forward to some downtime I have coming up. Poppy has the summer off, so we’ll get to finally live that newlywed life. Settle into the role of doting husband while she does her thing at the gallery.

AG: Off the record, if you got married and didn't tell anyone I will kick yours and Poppy’s ass!

DB: We’re celebrating our one year this month actually. We eloped quietly last year right after we got engaged— wanted to keep it to ourselves for a little while. Which reminds me, you and Bryony should hop on a call with Poppy after this. Seeing as I let the cat out of the bag and this is our announcement— surprise!

Huge shoutout out to @gnpwdrnwhiskey for allowing me to borrow her Ava from Conversations with a Movie Star for this. Ava was so gracious and even wrote the questions herself. I’m so grateful for Lellen and all her support and advice she had given me throughout the writing process of Sweet Creature!

Sweet Creature Celebration