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shortpplfedup · 2 months

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We Are Episodes 13-16: The gentlest of landings

As if I didn't love this show enough already, it gives me a 'Love Score' joke right at the end to seal the deal. I hope GMMTV directors continue to insert that song into every possible series until the end of time.

As the saying goes: the real We Are was the friends we (and they!) made along the way. Watching this gaggle of silly boys grow into a bigger gaggle of silly boys over the past 16 weeks was surprisingly satisfying and entirely enjoyable. The final four eps are really just a fluff victory lap, but it feels so sweet.

The pillars of the show for me right to the end were the platonic bonds within and amongst the friend group: Q and Peem's friendship, the core 5, Phum and Fang's brotherly relationship, the slow enmeshing of the disparate groups into a mammoth whole, and the way everybody silently agreed that Toey was theirs and spoiled him to death. Without the platonic love surrounding the romances, this show is cute enough but simply doesn't hold up.

Speaking of the romances, the only thing left to 'resolve' in these last eps, insofar as it required resolution, was the Chain/Pun romantic arc. This thing between them has been bubbling along in the background for the entire show, as Chain slowly got bolder and bolder about expressing his feelings, and Pun seemed more and more determined to never express his. Mans literally went 'I do not see it.' When Chain's frustrations finally boiled over and he just came out with it, Pun at least didn't let the shock hold him back. Nor the hooting, hollering onlookers🤣. And yunno what, I totally agree. These two waited long enough.

I was discussing with @ginnymoonbeam the real-time nostalgia feeling of this show, and this final block of eps really put an exclamation point on that with a lot of little vignettes and montages of the couples cementing their relationships emotionally and physically, and the whole gang just having a fucking blast travelling and hanging out together. It never really matters to them what they're doing, it could be absolutely nothing, as long as they're doing it together. You can see this footage playing on a mental loop for these boys ten, twenty, fifty years from now as they reminisce about these halcyon university days having a great time with their friends and their lovers.

To wrap up, I went on and on about enjoying how this show tackled courtship, so I wanted to categorise our couples on that along with my final couple scores!

Q and Toey (interrupted courtship): 3/4 hearts

Ah the second chance romance, truly an all-time classic trope. The key to this trope is always unpacking the feels about what happened before, what's happened since, and what's happening now, and I think the show made a decent fist of covering all three of those. Also, I gotta praise Satang here. Of all the actors, he was asked to play furthest away from himself, and he really finely balanced the Toey character I thought. This character is basically twelve types of aegyo in a sack and he made it cute rather than annoying, to the point where I totally understood why the rest of these boys were ready to do anything to see him happy.

Phum and Peem (long courtship: 3.5/4 hearts

Enemies to lovers, my old friend. The only couple without a history, who really had to get to know each other, and the continued contact their servant 'deal' drove gave them the opportunity to do just that. These two probably had the most satisfying traditional romance arc of the four couples, and I think Pond and Phuwin and the chemistry they've built worked great for these characters.

Tan and Fang (delayed courtship): 4/4 hearts

Phum and Peem might have been the most traditionally narratively satisfying, but Tan and Fang gave me the most emotional satisfaction of all the couples. They were the romantic heart of this show for me, and Tan especially held the centre, as the person who put his entire focus on loving out loud, giving his friends an example to look to. I've said it before but Tan telling his friends his and Fang's story is really the fulcrum this show rests on. Aou is the MVP of this show to me, for bringing this character to vivid, lovable life.

Pun and Chain (what is a 'courtship?'): 3/4 hearts

Absolutely totally unhinged. They'll probably get married the day after Chain's confession. It's the way everybody knew it but them. True idiot4idiot representation.

Farewell my good boys! I hope we get a reunion special!

#we are #we are the series #guys being dudes

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ghost-bxrd · 1 month

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GIRL CODED JASON !!!!! HI HELLO OMG TUMBLR USER AND AMAZING AO3 WRITER GHOST BIRD YOUR POSTS AND STORIES JUST ACTIVATE BRAINWORMS IN MY HEAD 😭😭😭😭 holy fuck hi I'm too shy to come off anon but I love the discussions you've been having, so just chipping in !!!

I love the many many looks on how people interpret him being girl-coded, exploring his feelings towards domestic violence, towards victims, women etc, extremely good points that you brought up ! And I'd like to bring up that on a more meta level, the way his character is treated by DC and by people in canon as a whole is also so... girl-coded ? Going to try my best to articulate since eng is my 3rd language 😔😔 Sorry if it's not consise 😭😭 I have FEELINGS AAAAAAAAAAAA

I think the core of this "girl-codedness" stems from a few things, two things I can point to currently are how he's treated as a victim and fridging. Fridging is the easier one to see imo, it's something that's usually associated with female characters but fits Jason a lot. It's not about him and his trauma/pain being feminine inherently (nothing can be categorised in that way honestly) but how it's dealt with by people and the narrative.

Let's take a look at its counterpart which is 'Dead Men Defrosting' trope coined by John Barton. Here's the source for that: https://www.lby3.com/wir/r-jbartol2.html, and a quote from the Women in Refridgerators website I feel is really encapsulates this whole situation.

"...women heroes are altered again and never allowed, as male heroes usually are, the chance to return to their original heroic states. And that's where we begin to see the difference."

Sounds familiar, doesn't it? Additionally, the grief that his death bought is made to be even more objectifying than it should have been. It's made to be Bruce's and everyone else's more than it is Jason's. The image of the dead character is, by necessity, distorted and is served as fuel towards a different character. He's reduced to his death and the pain associated with it is milked for like... 16 yearsish??? A perverted memorial, a perverted memory, an altered legacy. He was just 15. A boy. (Still, I wouldn't say Jason was fridged per say, as the term is created in reference to female characters and they have little to no agency in their stories there, but that 'feel' is there. So I understand where the girl-codedness comes from!)

It’s that the way a lot of characters treat him and a lot of the tropes used on him are things that are typically associated with feminine characters. It's also about how he's treated since he's not a perfect victim. Every attempt Jason has made to express his pain and his anger just gets him labelled as emotional, unreasonable and hysterical (which are again, unfortunately terms associated with women.)

There's many different points people have brought up about Jason, such as his bleeding compassion as Robin, the tears at the end of UTRH, and so on. Nonetheless, I think there's a lot of nuance that comes with gender discussions, since these things are deeply personal to people, and there's disagreements to be had. And that's cool !! There's many points loads of other people also being to the table that I love !! Contradictions too !!

Anyhow, so many cool PPL and analysis these days,,, ILY ANON WHO BROUGHT UP TITANS TOWER (anonanonanon pls chip in again and my life will be URS) Also ILY TUMBLR USER MAGIC-CRAZY-AS-THIS FOR PUTTING THE WEDDING DRESS IMAGERY IN MY HEAD, ALSO ILY GHOSTBIRD FOR THAT AMAZING REPLY AND ANALYSIS,, I LOVE THIS LITTLE POCKET OF COMMUNITY U HAVE CREATED this is so beloved 🥺🥺🥺💞💞💞💞

All very good points!

I don’t have much to add here except perhaps the argument with the memorial case. You’re absolutely right. I never realized how similar it is to the classic hero trope of protagonist mourning their dead love interest/family and dedicating their entire life to a memory of them, citing the actions they take to be in honor of the dead person.

On one hand, I tend to enjoy that trope. On the other hand with Jason, it all became horribly twisted so very quickly and lead to a hard downward spiral of Bruce having a real assholish phase.

But yeah that’s a whole other can of worms better left unopened for now ksksks.

I’m very happy you’re enjoying this blog 💚 it’s honestly super rewarding to hear people say that when it was one of the main goals to have this be a safe and harmonious space for everyone 💚💚✨

#ghost talks #personal opinion #by no way right or wrong just… existing #obviously it’s also to okay if someone here doesn’t like Jason at all!#totally valid #although with how much I gush about Jason very unlikely around here kskskskks #fandom and ship positivity #harmonious vibes #and a healthy approach to fiction and online interaction #batfamily

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merrivia · 2 years

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Okay, I have read the Captive Prince trilogy and have so many thoughts...

(And if you like this, I have another essay on Auguste and Laurent here)

I think the question of why Damen first fell for Jokaste and then Laurent, is so interesting to me. Yes, there’s the blond hair/blue eyes (and the trope of opposites attract + rarity of that colouring), but I think crucially, Damen is smarter than he looks or seems, and I think, desires a partner who can match him. Not in complete equality but in a myriad of ways that achieve a sense of balance...

With Damen’s physique and fighting prowess and his cheerfully open sexual desires (ok fine, horniness), plus his innate, black and white sense of honour and fairness, you can see how people would assume that he is...well, not that bright. He’s so rooted in his physicality himself, so drawn to simplicity too, it can be difficult to see. He’s clearly not stupid, but it is human to categorise, and just like Auguste was probably seen as brawn and Laurent as brains, so Damen probably gets shoved into that first category. But one of the first things we hear about Damen from another person is that he is smart- he has a ‘mouth on him’ as one of the handlers warns. He isn’t brutally cutting and filthy in the way Laurent is; he’s just smarter and quicker than you’d expect. That first line to Laurent- ““I speak your language better than you speak mine, sweetheart.””- amply displays how he is quick; when he ironically calls Laurent’s mood “delightful”, the next day...this is not a clumsy, dumb jock.

Even the way Damen speaks languages and understands warfare and military strategies, shows his clear intelligence- he isn’t good with the twisty machinations of Vere because it’s completely outside of what he knows. He wasn’t educated that way. Clever Laurent, as a young teenager, wasn’t good at it. No-one, we assume, is born as a ready-made Machiavellian (though arguably, Laurent’s incredibly sharp mind that is good at puzzles etc., makes him innately good at it once he learns). You also have no need for plotting and planning and intrigue, when you get what you want, by virtue of who you are. Not only is Damen the heir, and pretty much the exemplary model of Akielon masculinity, but that gives him this shield of golden self-confidence- he walks into the room, and gains love and respect immediately; failing that, everyone at least has their head on the ground. He has been given such an outpouring of love from everyone around him, he sees the world far more simply because he has never had to see it any other way. As Nikandros says, no-one has ever refused him anything. Why would he recognise the long game of political manipulation- a game to get you what you want, when you can’t have it directly?

Over the months of Damen’s time with Laurent, he not only starts to pick up far more quickly on Laurent’s impenetrable personality but also gets a much firmer grip on Veretian (read: the Regent’s ) political intrigue- when he does, it’s often describe in terms of a radical shift in mindset, a complete tilting of his worldview. The reason why he didn’t get it before was a lack of experience of a world so cynical and dark; why he does get it after, because he is intelligent enough to start to grasp it. This might be a good time to mention also how Laurent calls Damen arrogant in Prince’s Gambit (“You, with your barbaric attitudes, your brutish, domineering arrogance, are always right”). This is actually, finally, a bit of angry honesty from Laurent. Damen has thought of Laurent as unbearably arrogant from the start of the trilogy; here, it seems, Laurent actually thinks the same thing of him. Yes partly that arrogance could be seen as body language and the way Damen holds himself, the look in his eyes, but also it’s how he speaks. He challenges Laurent with his mind.

And Laurent challenges him back. After all, when does Damen ever feel challenged? What tests the full repertoire of his skills? No-one can beat him in the field; he’s the best and he knows it. Yet, he does derive real pleasure from Laurent’s capabiilities- as a swordsman and his horsemanship. It’s why it was important that Laurent finish the okton first- and how happy that made Damen. The rooftop chase, too- Laurent can keep up, and he’s exhilarated by it. The true challenge though, lies in Laurent’s verbal repartee and his mind. Damen actually does like to use his brain, to engage in witty banter- it’s fun. The rooftop is fun. Laurent and Damen laugh together a number of times, and Damen is having a blast. Laurent is difficult, and to Damen, where everything hitherto has been easily won, this challenge is finally giving his brain and his body what they wanted. There is a whole other post I could make on why Laurent in turn is attracted to Damen, but I’ll just put here that I think, the way he pivots Laurent towards healthy relationship dynamics, where being happy and laughing freely together is how you can be with someone, is part of it.

I think this is also why, tragically, Jokaste, despite her self-sacrifices to save Damen, was never The One for him. As beautiful and cold and clever as she is, there’s nothing mischievous or light-hearted about her- you can’t see her and Damen having a laugh together. He likes how smart she is, and her ruthlessness because that is how she radiates power and that feels like equality to Damen (something he can never get from a romantic partner, as he outranks everyone), but she isn’t fun. Not only that but, ruthless-as-a-result-of-trauma-and-for-survival, is very different from ruthless-because-I-am-purely-ambitious; Laurent as the former, does get to retain a sense of honour and compassion that Jokaste seems to lack. Mostly though, Laurent gets to be Damen’s near-equal; where they don’t quite match, they complement. Where Laurent needs incisive, perceptive honesty, he gets it through Damen’s mind not his muscles. The moment that Laurent actually tips Damen into the first throes of love is when he gets out Volo’s cap- the sheer cleverness of it, makes him feel the “first dizzy edge of a new emotion”. In the end it is a mutual intelligence that binds them together as much as physical desire.

#captive prince #capri #lamen #can't help writing an essay #laurent #laurent of vere #damen of akielos #damen #meta

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iridescentscarecrow · 3 months

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something i find very interesting is how csm's worldbuilding containing [devilhood] & its consequent categories especially on axes of utilisation is tied into the gendered dynamics of part 2. & a character i find at the centre of this is barem, who seamlessly brings together the implications of part 1 with the narrative of part 2 during his few & yet highly impactful appearances.

i've talked about this in more detail earlier but re: how categorisation in part 1 operates, through framers like aki [the start of his revenge arc at many levels composed of the contours of toxic masculinity & its condensation into story trope]. the human/devil dichotomy drawn out is flawed & yet presented as popular narrative to simultaneously the public, to denji & to the audience.

i think large parts of this is of utmost relevance in how barem regards makima as an ideal. makima is a centre around which both [devilhood] & [gender] constructs itself. he idolises her & attributes the most harmful of his actions to the effects of her control. this happens alongside him reducing the fulfilment of her actual desires as embodied by nayuta's birth, desires otherwise obscured by narrative, to ashes.

it's interesting how he talks about his body being under makima's rule as part of this aforementioned attribution & then a few chapters later uses this same control to cast suspicion upon nayuta, effectively the control devil outside the structure of subjugation she was brought up in. personally the way i like to extrapolate this & understand it in my head is through calling him a Dead Wife: not the Wife, the original figure of the Woman (makima) but rather a perversion of it used to lend a direction to the male (MC). barem does this exercise by himself. there is no story device, no flashback, he evokes images of makima that he misinterprets onto his own body: how he carries out the effects of her actions [robbing denji of his family] without understanding what underlies it. its a distortion of her into story structure, aligning with the Disposable Woman archetype. the woman itself becomes less individuated as a character and is transformed into a Concept for the development of an MC.

i particularly enjoy talking about this [misogynistic] trope in the context of csm because i find fjmt is very interested by conceptualisation/production/fictionalisation within his own stories, and what barem does is an echo of that.

the misogyny here is especially obvious, i think, when comparing his ruminations on makima to eyepatch's dialogue about his wife. a similar lack of real understanding: we only receive her as a product of his narrative (one he literally gives to us) & the only disruption here, acknowledgement of issue, happens when he is torn apart by her chainsaw self. the Woman, forever iconised, suspected, obsessed over, subjugated is quite visible within these two strands of story, and i think this is something that this forms a major stem of p2.

concept & utlisation of concept & is something fujimoto already problematises in part 1 with how it initially sets up category & then brings forth the institutional violence faced by its agents (especially denji in his hybridhood). devilhood overlapping with misogyny is something already relevant when viewed wrt. makima but i think it's also significant how this extends to asa, who at parts takes over makima's dialogues in her interactions with denji.

barem's dismissal of her as "cute, dumb girl" in the earlier chapters & his comparison of her here & her lack of sadness creates a similar divide between the rest of the group & her, apart from drawing on aspects of the aquarium arc earlier [the detaching arm thing]. particularly, he compares her to devils: overwriting <sadness>, an emotion the audience is already aware she feels, similar to how he overwrote makima. it's particularly painful due to asa's own self restraints & internalised misogyny... how she is made absent from the narrative in this manner.

#csm 169 #csm meta #chainsaw man #crow.txt

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reyreadersblog · 1 month

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Is it just me who hates when romance in TIG is categorised as love triangle?

Ik even the author herself calls the trope love triangle but it feels so...wrong, like it was so obvious from the start who she was going to end up with.

And it's just wierd thinking about Avery being with anyone other than Jameson, and gray being with anyone other than Lyra

#the inheritance games #the hawthorne legacy #grayson hawthorne #the hawthorne brothers #the brothers hawthorne #avery grambs #the final gambit #the grandest game #libby grambs #nash hawthorne

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cookiesupplier · 7 months

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Every Rose Has Its Thorns - Part Twenty-Seven

pairing: Ricky Olson x ofc x Chris 'Motionless' Cerulli

warnings/tropes: slow burn, soulmates, strangers to enemies to lovers, betrayal, angst, fluff, smut, language, panic attack, stalking, online bullying, serious mental health issues.

summary: In a world where soulmates inexplicably receive a tattoo that will match that of their soulmate the moment they turn eighteen years old, being famous and covered in very visible tattoos can make finding your true soulmate a questionable fate. For everyone involved.

❗❗ author’s note: This chapter includes serious mental health situations in the past of a character, involving in this case voluntary treatment in a mental facility. Treatment for Depression, Anxiety, and Grief Counselling. Please beware of these potential triggers. I am in no way a medical professional writing this.❗❗

an2: finished editing last night, so you are getting this baby EARLY, going to try and be back to my usual schedule! Now.. concerning this part.. *hides*

tags: @tearfallpixie @cncohshit @jordynyingling0219 @faceless-mirror @nyxthedestroyerofworlds @wild-child-7747 @witchyweeb34 @black-damask1999 @jilliemiw86 @ilovesamkiszka @lyschko666 @lacktoesandtoddlerants @bngurngheart @collapsedglasshouses @laurpartyprogram @sunsshinesunny @malerieee

Tag List is Open, please let me know if you would like to be added to it or in general.

Talia took in a surprised breath when Chris said he’d been committed. She would never in her life say that she thought he was the type, because who in their mind was the type, was she the type? No. No one was a person she could look at and think, oh, that would be someone she for sure thought should end up in an institution at some point in their life. She would absolutely hate herself if she did. Even the people who talked to themselves didn’t deserve to be thought of that way, they were people who were in desperate need of help, not people who needed to be judged like that, it was cruel. Still, at that moment, knowing what she did already, she was lost.

She glanced from Chris to Ricky, unsure of what to think, and saw the concerned expression passed between them, Rick reached for Chris’ hand, and she swallowed slightly, her soulmate tattoo tingling, but it wasn’t upsetting, it was… she wasn’t sure how she’d describe the feeling. When did she start categorising them? Pleased.. Whatever was driving these feelings, it was pleased.. Seeing him comfort his friend, seeing this side of him, was that it, was it pleased, this, the bond between them. She watched, staying quiet as they spoke softly, whispering, not wanting to interfere, but hearing whispered words, knowing they weren’t for her though.

“Are you sure..”

“She’s bound to find out-”

“But-”

“Rick, I know you’re worried, I get it, but I trust her.”

As Chris’ whispered explanation of why he should tell her to Ricky continued, Talia chose to purposely pushed them from her mind. She didn’t want to be unworthy of that trust, unworthy of her friendship with Chris, because with how close they had gotten, he meant the world to her. He had become more important to her than he could possibly know, and it, and the thought that he was willing to trust her with something so personal like this.. Looking down at her hands, trying not to think about the fact that she’d just trusted them with something that she’d not spoken of out-loud about since she’d left the facility, to anyone. Not even Ava.

She should tell her the truth, she should tell all her friends and hope that they won't hate her for hiding it from them for so long. Taking in a deep breath, holding it for a moment to ground herself, before letting it out slowly, just grounding herself for a moment while the boys sorted themselves out. Chris’ voice, clear and no longer whispering, brought her back.

“You okay, JellyBean?”

Chris looked across the table, whispering with Risky, semi-arguing with him about the validity of telling her the whole story about everything that had happened. Rick didn’t understand why he had to tell her, when part of the reason his life was as peaceful as it was from stalkers and shit these days, was that no one outside the immediate band and crew that we trusted implicitly, knew. The thing was, he wasn’t sure he could explain it to Ricky, but even though he’d only known her for a short time, he did trust her, especially after hearing what they’d just heard.

This was a woman who has had her soul bond ripped open by not only her own flesh and blood family, whom she could no longer trust, but strangers that her family put their trust in more than her, and she still came out fighting to keep going. He’d seen her over this past week, sitting in that café, laughing, and smiling, and was the most wonderfully sweet person, even after what she’d been through. Yes, he trusted her, because, above all she was right here, sitting with her soulmate, she didn’t give in, she didn’t give up. Well, some might say she did, but she didn’t do that because of the doctors, she did that because of a fucked up stalker that tipped the scales just a little bit too far, and frankly, Chris got it now. The day Talia had seen Ricky with Grace, had seen them together, and seen what she thought him to be, happy, he more than understood why she took that giant step back and didn’t fight against it. When someone you were destined to love was happy, all you wanted, was that happiness for them.

When Talia’s eyes opened and met his and a soft smile curving across that beautiful face, Chris returned it,

“There she is, are you okay? We don’t have to talk about this if it’s going to be too much?”

And yet it was Chris’ hand that Ricky was squeezing slightly, his fingers tight, he knew how he got about the whole thing, if he only knew lately.. If he only knew.

“I’m okay, Chris, are you?”

He nodded slightly in response to her worry, just keeping his gentle smile.

“Yes, but I should really start from the beginning, it’s a bit of a story, some of which you probably know, but not everything. Are you okay with that?”

Hearing everything, Chris didn’t want to put this all on her, it had been an intense day, and he didn’t want her to feel like she had to take the weight of his story on top of it at the same time. However, before he had much time to worry about whether she was going to have a hard time with the situation, she was shifting her chair along the table so she could reach for his other hand, a comfort from both of them, his fingers curving around her delicate ones.

“As long as you’re comfortable, Chris, I’m not going anywhere.”

His smile growing at the thought, squeezing both of their hands gently,

“Well, you probably know I was in a long-term relationship, we were engaged, wedding planning, had a date set.. Venue booked.. Her dress was picked out and being altered, it was..”

He sighed remembering, looking down at the table, just finding a spot on the wood, barely paying attention to the fact that neither of them had let go of his hands, but at the same time, his fingers were clinging to theirs a bit tightly. Chris needed the touch not to get lost in the memories, for in more ways than one, which he knew she’d understand.

“It’s common knowledge in the fan base that she wasn’t my soulmate, but neither of us cared, we loved each other, and wanted to be together.. At least that's what I thought, how we felt at the time.”

Chris shook his head slightly, this wasn’t even the hardest part to talk about, but it all lead to why he’d been committed, because if he just said the little bit at the end, it didn’t tell close to the full picture.

“A few weeks before we were meant to be married, a woman claiming to be my soulmate turned up, her tattoo was perfect, a fake, but perfect, so she thought. I knew she wasn’t my soulmate, I proved it easily, I’d laid out false trails for my soulmate tattoo years ago. Where it was, what it was, how big it was, she was not my soulmate.”

He felt Ricky’s hand squeeze his firmly, he knew, Ricky had been through all of this with him, he’d had to deal with the whole debacle as well, and now again with Grace on a whole different level. Chris felt for Rick, because hiding his tattoo was so much worse for him than Chris, at least his could go under his shirt most days, there was a reason that there wasn’t very many shirtless photographs out there of him in the world. Those that there are, he’d covered in paint and makeup usually, so it worked for him.

“My fiancé, however, didn’t take it well, she tried to continue like it didn’t matter, but during the lead up to the wedding my fiancé became, distant. Worried about what she was thinking I tried to reassure her, I tried to help everything go as smoothly as humanly possible, but, nothing helped, nothing worked.. I loved her, and she.. A few days before the wedding she broke it off. She couldn’t handle the possibility my soulmate could turn up, and so publicly try to claim me.”

“The way she fucking said that, as if you were something for your soulmate to own.. Cunt.”

“Ricky!” Chris looked over at him, scolding him, despite the fact this was no the first time he’d heard him speak of her in such a hostile way.

“What? She was! I’m sorry Chris, but what she did was fucking shit, I get it, she was having second thoughts, but she blamed you, and how you were famous, how and your soulmate could turn up at any time. Well funnily enough, her soulmate could have turned up at any fucking time too, but she didn’t think about that, now, did she?”

Chris took in a breath, yea, that was something he’d thought about as well, and Ricky was spot on, but he didn’t want to argue about it, not in front of- oh- he looked over towards Talia as he felt her squeeze his hand again.. Seeing her nod with a small smile, she got it.

“It’s okay, Chris, he’s right.. You both had other soulmates, her putting it on yours turning up, wasn’t fair. Especially if she loved you.”

“Exactly.”

His breath was shaky as Rick agreed with Talia,

“the Story isn’t over, and Ricky knows it, so…”

A half-hearted glare at Ricky which pointedly said a silent shut up, which earned a bit of a giggle from Talia, Chris smiled as he continued.

“After the wedding was cancelled, I hit a patch of depression, which wasn’t helped when the stalker saw an opening, and started attacking my life since her main obstacle was suddenly gone. She came at me in so many different ways, you don’t want to know, it will keep you up at night, it was, frankly, terrifying thinking about all the different things that did and could have happened, I ended up in the hospital A&E more than once because of her, and it wasn’t pretty.”

Taking in a deep breath, he didn’t want to go into detail, because it was hard enough to talk about as he was, and Ricky being here with him, and knowing he wasn’t going to be home on his own after all of this, was a fucking comfort if he was being honest.

“Eventually they caught her, we were able to keep most of it out of the press, because the stress, the pain, had me cracking.. But, but um.. About a little over two months after I was supposed to get married.. My soulmate tattoo..”

Chris’ voice cracked, and he felt both hands almost simultaneously grip his so tightly, even if only one of them knew for certain wasn’t coming, the other could fucking guess, there was one thing everyone in the world knew happened to the tattoos without a doubt.

“It turned white.”

The moment it did, he knew his soulmate had died.

“I never even got to meet them. Never knew who they were.. And ah,” Chris heaved a deep sigh, pausing before he continued. “Because of government regulations, everyone that loses a soulmate, whether met or not, bonded or not, I had to go through the mandatory grief counselling within six months. So, I knew that with everything that was happening, there was no way that I was going to be able to handle, ah, I couldn’t handle doing the basic therapy, so, I willingly admitted myself to a private confidential inpatient care, with a NDA twist. Of course, most facilities have those included when it comes to medical patients, but I went into one specifically for those trying to stay out of the press. Not just for grief counselling, either, but also for depression and generalised anxiety.”

Chris glanced at Rick, before looking towards Talia,

“Sort of felt like therapy for the soul for me sometimes.. And Talia, I hate that what you went through was so horrible.. Because it should have never been like that.. JellyBean.. They’re supposed to help you, listen to you.. Not assume, and from the sounds of it, that's all that they did to you.”

They hadn’t helped her, they’d listened to her parents and given in to the money that talked. Taking in a deep breath as he squeezed her hand back slightly, hating that she went through something so horrific when his time in the facility had been so therapeutic in the long run. Now, now, back to the whole point of why he was telling the story in the first place, back to the point of why everything was happening. Their soulmate marks.

“Ever since I finished my treatment, I’ve been kind of fascinated by all the theories and different studies involved with the soulmate phenomenon. It is a phenomenon, because no one can fully prove or explain how or why it even exists. Not one scientist in the world, that I have found in any publication, can scientifically prove a damn thing. For all the studies, and papers, it is all theoretical.. Even what's happening to you was nothing but a proposed theory that I’d read about, until now.”

Dividers by @saradika-graphics (roses) and @cafekitsune (trigger)

#motionless in white #miw #ricky olson #ricky olson fanfiction #original female character #soulmates #fanfiction #miw band #soulmate au #ricky olson fanfic #chris motionless #chris cerulli #chris cerulli fanfic #tw mental health #tw stalking #fic: every rose has its thorns

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zahri-melitor · 27 days

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Made the terrible mistake of reading the comments and tags in the bookmark post and it's like...

Oh. You don't remember when 'fic reccer' was a hugely influential position in a fandom. As was 'indexer' as you could go to that person and know they had categorised every fic about let's say Tarsus IV, with ratings on whether they liked them or not and what pairings and tropes they contained.

People bookmark to be able to come back to things and to collect things. While frequently that is because they like something it's not always the case; I might want to have a way to look at every adaption of a particular story, or collect all the works that refer to a certain OC, or have Bruce Banner as a main character not just tagged for appearing, and so on. Heck I HAVE all the Rear-Admiral Stefan Vorlakial and Markov fics bookmarked and tagged as such, because digging them out every time I want to read the Rear-Admiral's advice is a PAIN.

The bookmarks functionality was designed for how people were using del.ici.ous at the time and what people had asked for in terms of being able to track and collect things they wanted to bookmark!

And that's where the 'public' part comes in: if you've made it as a collection, you often want other people to be able to see your work. Particularly for aggravating situations like 'actually has Bruce Banner as a main character', whether or not you personally like the story. So sometimes things might end up tagged "this feels OOC but it does contain Bruce, so if you're hurting for content try it!" because when material that fits what you want gets thin, you often are more open to trying anything once.

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procrastiel · 8 months

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You know what I absolutely love about Good Omens?

IT’S COMPLEX

The story defies categorisation/labels, tropes, and black-and-white thinking

oh, and also it makes your brain spin

#good omens #gomens #go #my two cents #i have things to say #complexity #life is complex #good omens book #good omens tv #meta post

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leoslosttoolbelt · 1 year

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The DemiGods as content creators / you tubers

Percy: ngl I feel like he would be one of those annoying prank/joke youtubers that make skits and challenges and prank videos and amasses a huge fucking audience of people between the ages of 12-18

Annabeth: A booktuber! One of those 'that girl' lifestyle/study content creators. She has 2 channels, one where she post book hauls and deep dives into different tropes etc and another more chill one where she does study vlogs and all that :)

Jason: I feel like he would have the most random channel in the world nobody knows what's going on. One Tuesday he's in Austria because he accidentally fell asleep on a European train and next week he's posting a video of him learning how to fish with professionals and then there's a surprise ghost hunting episode in the mix.

Piper: Not too sure how to categorise this but she would have a very ChadChad vibe. Funny commentary / reaction videos sprinkled in with some funny skits and stuff in between.

Frank: off wouldn't it be so funny if he was a tiktok thirst trapper? yeah well he's not but he does make cooking videos!! very high quality videos with the best recipes. He has a series about cooking meals friendly for college students budget/time friendly and also Hazel always makes cameos to do a taste test.

Hazel: I think it would be really nice for her to have a very girly makeup/clothes/hair type channel? all her videos are so calming and aesthetic and cosy and she does so many q/n/a sessions she's kind of like being the internets big sister very cute very wholesome :)

Leo: He has a channel where he just builds things and talks. Now this might sound boring BUT it's kind of like ASMR in a way because Leo always has the most wild fucking stories and watching someone work is oddly calming. He takes requests where someone asks him to fix something of a specific model, Leo finds that exact model, breaks it in that specific way so that he can help his viewers!

Nico: OOOhhh he'd definitely be a gamer actually. A twitch streamer if you will. He plays the most random games and also somehow knows everybody for collaborations, like how tf did Nico invite Leo, Reyna, Percy and Jason to play among us with him how does he know these people.

Reyna: aaaaaahhhhh I don't know actually maybe she has two channels one where she does work out videos and stuff and the other one where she is very anti-alpha male podcast vibes,,just talking videos where she kind of talks sense into people and give people (mostly centred towards women) money advice and breakup advice and college advice you get the gist.

Octavian: Got cancelled.

#pjo hoo toa #percy jackson #annabeth chase #jason grace #piper mclean #frank zhang #hazel levesque #leo valdez #nico di angelo #reyna avila ramirez arellano #octavian pjo #pjo headcanon

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misc-obeyme · 5 months

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Hiiiiii, yandere veteran here! :'DD

I saw your post about yandere and stuff, so i thought i could explain a few things! Firstly, there are different types of yandere out there! Clingy submissive type, sadistic yandere, the subtle manipulator yandere, possessive, obsessive, Yangire, Yeredere, Delusional, Intelligenct, quiet etc.

You can even combine two archetypes together, for example, Tsunyandere (Tsundere + Yandere) and kuuyandere (Kuudere + Yandere). There's even a slight difference between female and male yandere! Male tend to be more violent and possessive meanwhile Female yandere tend to be more passionate and submissive.

Generally speaking, the term "Yandere" associate with someone who is so into you and possessive that they would go to great lengths to monopolize you. Yanderes start sweet and overly affectionate, and then they get possessive and possibly violent. A classical yandere goes after the people surrounding their target first and tries to separate the love interest/target from everyone else. If that means locking them in a cage, so be it. Doesn't necessarily have to be bloody and/or gore. Again, it depends on the yandere type!

This is gonna be a little personal, but for me, I like yanderes a lot because I like the idea of someone loving me so much they'd do anything for me. I fell in love with the idea that someone loves you so much, they're willing to do insane, socially unacceptable things for your love. Of course, this doesn't supply to real life.

Anyway, moving on to Belphegor, i would say he's more of a "mild yandere" and possibly leaning more towards the "Nonviolent/Manipulative yandere" those types of yandere never bring direct harm to someone, and never will directly kill someone themselves, but will manipulate others to achieve their goals. It's the psychological and emotional manipulation that makes it so interesting. And seeing how much of a brat he can be, i would say that fits him the best.

Fun fact: There's an old devilgram story, i forgot the name, where belphegor poisoned Satan bc he was flirting with mc, lol.

Moving on to Barbatos, the reason fans suspect him to be a yandere is bc of his character song "Crazy About you," in which he sings the following lines:

"My heart in turmoil

Having you with me makes me want you

I’m crazy about you

I, too, cannot stop this billowing feeling

I wish to please you always

Please leave everything to me

But your poor manner will not be tolerated

Not matter how many times

Let me give you a lecture in calm

I will not hand you to anyone else, oh

I can’t take this

My feelings for you

I’ll make you mine"

"Crazy About you" does give off some yandere vibes, but does that make Barbatos a yandere? I don't think so. Considering all the characters had their "yandere" moments doesn't make them Yandere per say. But Barbatos does seem to be possessive in his song about Mc. Honestly, considering that his sin is greed, that makes quite a lot of sense. If i had to categorise him to a Yandere trope, then he would be the "Intelligenct/quiet yandere." Those types of yandere plan far in advance and fight more with their brains than with their brawn. It's almost similar to the "Manipulative yandere."

He could be absolutely terrifying, a yandere able to manipulate time and space? That's absolutely scary IF he was a yandere.

unironically, the closest thing to a yandere in Obey Me has is Mammon. He's shown that he constantly wants Mc to himself and seeking their attention, even getting in the way of his brothers and constantly reminding everyone that he's Mc first pact demon. In the beginning of the OG, obey me, he even said “I want to be the one who saves you, and if I can’t be, just die already" and remember that ONE NB lesson where he lost control over his Greed and wanted Mc to himself? Yeah, yandere moment definitely.

Anyway, what i'm trying to say is there are different types of yandere, and not everything has to be bloody. Sometimes, yanderes can be subtle with their motives.

Hello there, anon!

Okay see I had a feeling there was more to it than what my basic search of the term had indicated. I have seen some of the other -dere types because someone asked me about that and I had to look it up lol. But my knowledge of the different yandere types is pretty much nonexistent, so thank you for this explanation!

Okay, okay, so I wasn't taking Barb's song into consideration at all. The songs are all fun and there are certainly parts that are informative of character, but generally speaking I don't really think about them in terms of their characterization. (Not that it's bad to do that or anything, that's just a me quirk lol.)

That being said, I think any character can be written as a yandere if that's what the person writing the story wants to do. I would say most characters edge on some of those qualities, which really just boils down to them being a well rounded character.

Especially because Barbatos has this kind of vibe that's he's always holding something back. Not just truths about himself, but his own feelings, too. I think it'd be easy to say that he just doesn't allow himself to act in the way he really wants to.

And in that case, I think the concept of subtle yandere could apply to him. But again, this is all something that I think would need to be explored in fanfiction. I just don't think that in the story itself there's any indication of Barbatos having secret yandere motives. But I don't think it's a stretch to give him some in a fic by any means.

Interesting point about Mammon, though! I think his general tsundere personality probably overshadows those other yandere moments lol. I've never seen anyone refer to him as such, but it sounds like it fits to me! Then again, as I stated, my knowledge of these terms is very limited.

I like what you said about Belphie too - his whole thing is manipulation so that checks out to me!

Anyway, I like when characters have flaws and act jealous or possessive because it makes them feel more real to me. But that means it's only one aspect of who they are, so I don't tend to focus only on those traits when I write about them. But this is just a personal preference and I think that if you like yandere characters, it's perfectly reasonable to make your faves yandere even if they aren't in the source material.

Thank you for this thorough explanation, anon! I'm glad someone who knew more about it was able to add more insight and nuance to the discussion! It sounds to me like we're in agreement that Barbatos has some yandere moments, but in general is not a yandere.

#because you know there's only so much a google search can do #and like I've looked it up multiple times but I'm still new to the concept so #obey me #obey me nightbringer #obey me barbatos #anon asks #misc answers

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that-ari-blogger · 5 months

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No Cat Can Walk Out Of Her Own Story (Once Upon A Time In The Wastes)

To those who have read my posts before, you may have picked up on my complicated relationship with the concept of genre, in that I don’t really believe in it.

Don’t get me wrong, genre is definitely a thing, it just exists from the perspective of a reader, not a writer. Genre allows audiences to categorise their preferences, and allows librarians to categorise their catalogues. But from the angle of a writer, I find that trying to stick to a genre often leads to restrictions that limit creativity.

The tricky thing is, this is my opinion. Art is not science, and does not jell at all with ubiquitous statements. There is evidence to back up my claim, but at the same time, evidence that completely contradicts it. Funnily enough, She-Ra and the Princesses Of Power count as both, especially Once Upon a Time in the Waste.

Let me explain.

SPOILERS AHEAD (She-Ra and the Princesses Of Power)

First, a few framing devices for this post.

I have been analysing the series as a whole through the lens of tragedy, which isn’t quite a genre, but it’s close enough that I feel the need to explain myself.

Tragedy is a vibe. It is an end goal for the story, a trajectory that it will try to hit. She-Ra is most definitely on this trajectory for most of its runtime, which plays into its themes of trauma and the cycle of abuse. The core question of the story is whether love will be enough to overpower that trajectory. Agency vs fate, like Romeo and Juliet.

A genre, meanwhile, is a collection of tropes, which can include a plot structure, but it doesn’t have to. They are different concepts that relate to each other, and overlap occasionally, but they are distinct.

Now, genre is, first and foremost, a literary tool. Tropes give expectations and implications, and often have meaning ascribed. So a story written in a specific genre can make use of that for its own purposes.

Part of the reason I am so chwit-chwat about my position on this is that I have a friend who excels at writing genre stories, and that has benefited their work immensely. Their ability to subvert expectations is predicated on the groundwork that they are writing within, that being the framework provided by each genre.

Cliches have a bad name, but there is genuinely a place for stories that are exactly what you expect. Not every art piece has to be thought provoking. Sometimes you just want to sit down, relax, and watch an adventure, and the Guardians of Ga’Hoole movie is engineered to suit your every need. If you want to think about what you are experiencing, read the Guardians of Ga’Hoole books, because they really play around with the genre.

So, what is my point?

Well, I will come back to this at the end of the series, but I think She-Ra is on both ends of a spectrum, it can be classified as a ton of genres, but also none at all. Once Upon a Time in the Waste is a microcosm of this.

So, I’m going to argue here that this episode is a western story. As in, the archetype with lone wanderers and such. But I’m also going to argue that it isn’t.

Buckle up, this is going to get complicated.

Westerns are technically just stories set in outback America in the late 1800s. But we can all agree that there is more to the genre than that. Duels at dawn, train heists, riding into the sunset. Think Rango, the third Back to the Future movie, and the 1960 version of The Magnificent Seven film. There is a framework to play around in.

The genre doesn’t so much carry the theme of freedom as collapse under its weight. Protagonists in these stories are usually on the run from the law, or seeking a new beginning, and plots have a tendency to bear a distinct anti-colonialist message. Mostly. The golden age of the genre was between 1940 and 1960, and modern writers have, for the most part, got better at writing this over time.

So, this episode has an implied theme of freedom, that goes with series as a whole’s discussion of agency. It also draws on the idea of a new beginning and the promise of an empty world. All it has to do is make itself clear, and it does this off the bat with two of the most western shots ever to western.

The amount that is being communicated by these two shots is astounding. Obviously, the vultures are circling Catra, and she’s watching them. Catra is aware that she is at rock bottom, and that death is closing in on her. Or at least, she thinks she is.

However, the worldbuilding element is there as well. Multiple moons instantly signals that this is a fantasy setting, and if you look closely, those aren’t actually vultures.

So, this is a western story with a bit of that fantastical flavour, right? Or is it a fantasy story with a bit of western flavour? Yes. The answer to both of those questions is “yes”.

This episode is told from Catra’s perspective, and I think there is a bit of unreliable narration going on here. Not in the sense that events aren’t playing out as we see, but in the way that the cinematography surrounding those events influences us. This might not be a western story at all, those birds might have just found a column of air, but doom and gloom is what Catra sees, so it's what the audience sees.

On a side note, Catra’s dialogue in this episode is written like she has spent the last month listening to nothing but Linkin Park’s Crawling In My Skin on repeat. I have a deep love for angsty emo storytelling, but I think it is a stroke of genius to translate that exact energy into something so aesthetically at odds with being emo.

“You know what? It doesn't matter. Nothing matters anymore. You know what I see here? All my hard work, ignored because of one mistake. My dreams, turning to dust in front of my eyes. But mainly I'm looking at that?”

This is Catra’s first little speech of the episode, and she gets a few of these. Here, she is venting at Scorpia, which I will comment on in a bit, but it is important to note that Catra fully accepts responsibility for her fate. Yes, the world was against her, but she was the one who messed up. Which is interesting.

In my reading of this story, Catra has intellectually recognised that the Horde was abusive, but emotionally, not so much. She convinced herself that if she was perfect, she could just coast above, because the moments in-between the abuse were half decent. But that wasn't possible.

I feel it is important to understand that Catra doesn’t crave safety, she craves the feeling of being safe. She is chasing the high of security, and she was able to push through Shadow Weaver’s abuse and to ignore Hordack’s obvious red flags enough to obtain that feeling from authority. The high never lasted, but she has convinced herself that she could have made it work.

Back to the western thing. Protagonists in western stories are rarely good people, although they aren’t usually villainous. They are heroes, but their defining character trait is that they were capable enough to take control of the situation. Sometimes, they will save a village from some bandits, but half the time this is to save a love interest or because they have a grudge against the bandit leader or even just because the village pays well. Morality isn’t really a thing in western films.

In other words:

“There are only two rules in the Crimson Waste. One, the strong make the rules-” (Laughing) “So, here's the thing. I've done this. The whole “threatening people” bit, the intimidation. I've been there. And I just don't care anymore. Some people have a bad day. I've had a bad life. If I want something, it's taken from me. If I win a fight, I lose the war. Threats only work on someone who has something to lose. But me? I've already lost it all. And you can't be any good at this, because you just let yourself get distracted.”

What I said about Catra from before works here as well. This also meshes rather nicely with the western protagonist. Catra has rocked up out of nowhere and demonstrated her capability.

However, that capability lies in force of personality, and in her allegiance with Scorpia, someone who exists to prove Catra wrong. Catra still has her friendship with Scorpia, and thats what this episode exists to show her.

This episode actually show Catra getting to be happy with herself and the world around her, because her worldview is rewarded. She has no higher authority, she can be mean in the way that the Horde has taught her to be, and it pays off.

Granted, it’s not exactly healthy, but it's better than what she had before.

So, Catra can feel safe, even in a place that is objectively more hostile to her than anywhere else. The ground tries to eat her, multiple times, but she is fine, she has her force of personality, and she has Scorpia.

“We make a good team, that's it.”

Scorpia makes Catra feel safe, she protects her, and she raises her up to make her own choices. The only other person that has done that, was Adora.

Before I continue, however, I feel the need to stress something. How Catra treated Scorpia up until this episode wasn’t great. It will get worse after this episode, and I will talk about that when I get there (If you know the show, you know which episode will prompt my full diagnoses), but for now, Catra hasn’t seen Scorpia as an equal until this point.

This is based on her upbringing. Whether you like her as a character or not, it is hard to disagree with the fact that Catra is mean. But that comes from a place of fear and of discomfort. Catra has no idea how to socialise with anyone, because she has never had a parental figure to show her. She was nice to Adora, and Adora left, so being nice was clearly not the right decision, in her mind.

On a similar note, it never occurs to Catra that anyone might like her. As in, she assumes at all times that people are trying to one up her or outmanoeuvre her. She was betrayed by Adora, in her mind, and Shadow Weaver never treated her with any dignity. Why would anyone help her? She has to force her way through everything.

Except, here is Scorpia. Scorpia, who offers a guiding hand to Catra to save her from the quicksand, even when it would be wiser to let Catra die and take over. Scorpia, who will follow Catra into the desert. Scorpia, who makes Catra feel safe and asks nothing in return.

The episode even gets in the duel at midday and the standoff with the bandits, with the reward for victory being more underlings. Catra builds herself a support network.

The sartorial detail of the jacket. Catra starts the episode clinging onto the cloak from the Horde. But it's too big for her. She then sheds it and steals the jacket when she starts fitting into the Horde and finding belonging. The jacket fits her perfectly, and she looks really good in it. She then offers a similar jacket to Scorpia as a gesture of friendship. "I belong with you."

“A toast to driving Huntara out of the Waste! A toast to finding all this new loot, huh? And a toast to Boss Catra, best leader we've ever had!” “Scorpia! A toast to Scorpia!”

So, about that new beginning then. I spoke at length in a previous post about how character development and allegiance relate to location. Adora changes location and can develop as a person. Shadow Weaver makes the exact same decision, and refuses to change, mostly. Now we have Catra, who has likewise shifted scenery, and she is making big strides in terms of relationships.

There are people who cheer her name unprompted, people who will keep her safe. This is everything she wants, right? Hold this thought.

Also, correct me if I’m wrong, but this is the first actively altruistic thing Catra has done. Yes, she shared the blanket, but that felt more like paying back a debt than actual kindness. This feels like growth, like Catra is finding a new place to start.

Catra's body language in this tiny scene is really well done. She starts off clutching the sword like a teddy bear, like she is taking comfort in having it. Then it falls to her side as Scorpia gets through to her and she subconsciously stops needing to have that victory.

“We've got the most important thing right here. You heard that hologram. This is the key to the whole planet. When I bring this back to the Fright Zone, Hordak will see me for what I'm worth and I'll be back on top.” “Or, you know, counterpoint, we don't go back at all.” “What? Why wouldn't we go back?” “Uh... Because you hate it there?” “I don't.” “Hear me out, okay? Within like, a day, you've defeated the gangs ruling the Crimson Waste and made yourself their leader. This is the happiest I've ever seen you. Scratch that. This is the first time I've ever seen you happy, period. So, why would we go back? Let's stay here. Forget Hordak. Forget Adora. Forget all of them. We could rule the Crimson Waste together, just the two of us. We could, you know, be happy.” “I… I don't… I have to go check on the prisoner.”

I think Catra actually considers this option. Again, the idea that her emotions and her thoughts are at separate levels of understanding comes back. But in a very real sense, this is what Catra wants, she has her life’s goal. So why can’t she stay?

For that, we need to talk about why Catra and Adora are such good foils.

Catra and Adora are the two tragic heroes of this story, but they exhibit their hamartia in completely opposite ways. For clarity, hamartia is another term for a heroic flaw, the thing that causes things to go wrong. She-Ra has a really interesting way of writing that, simplicity.

Every character in this story has a greatest strength that is also their greatest weakness. Glimmer is unyielding, which means her courage is second to none, but her adaptability is lessened. Huntara is both idealistic and cautious, when balanced these traits carry the crew, when unbalanced, these traits cause trouble.

Adora and Catra are opposites. Adora thinks incredibly quickly, which means that she is a remarkably good short-term tactician, but she struggles to think on the wider scale. Catra, meanwhile, is always planning five or six steps ahead of everyone else, but she can’t see the moment for what it is.

However, there is one more facet to these two, and it is the thing that joins them. Both Catra and Adora have a binary worldview. Something is either good or bad, someone is either a hero or a villain. Or, in Catra’s case, affection is exclusionary.

“Catra, Shadow Weaver is in Bright Moon.”

Catra is wounded by Shadow Weaver, more than she can possibly imagine. She wants to feel safe, and even while she is in the Crimson Wastes, she is not immune from her abuser’s ability to take away her security.

The news that Shadow Weaver is with Adora brings back all of Catra’s insecurities. It reminds Catra that she isn’t good enough, and that she can’t be safe. Most of all, it coalesces the two people who left Catra into one force, the Princess Alliance. Now, there is a single entity that Catra can fight, and her desire to feel safe means that she cannot think clearly until that entity is removed.

The final sequence of the episode is so unbelievably well written. The heavy breaths and deep, foreboding music drowning out everything. Pair that with the revisiting of the episode’s early shots, but this time with a Dutch tilt, and you have a sequence of a character in inner turmoil.

This could be a western story. This could be a tale of two outcasts seeking out a living in the vast wilderness, disappearing and being happy. But Catra can’t ride off into the sunset.

When Catra looks up, there are tears in her eyes, and the camera shifts to punctuate her words and decisions by zooming in, until all you can see are Catra’s eyes, and the tears that weigh them down.

Speaking of trauma, this episode is also the introduction of Mara, and that happens in a really interesting way.

The comedy of Adora's wacky expression in this shot is pulling double duty here. It's funny, but its emphasising the fact that Adora's apparent success in finding answers is being undercut.

“Of course it's on a loop. Of course it is. Because why would a hologram ever give me a straight answer? Solve a puzzle. Train. Let go. I do everything they tell me, waiting for answers, And all I'm left with is... is... Why was I taken from my family? Why was I forced to become a soldier? Why did I come here if this was nothing but another dead end?”

Aimee Carrero is officially a god, because the line delivery of this is gut wrenching. This season has seen Adora spiralling downwards, and Catra gradually building herself up. That’s why this episode cuts between them both, its juxtaposing their opposite arcs.

So, here is Adora, shouting at her last hope of answers, and getting no response.

I want to point out that the monologue is the series’ thesis statement. The cyclical thing, the agency, the trauma. This is everything rolled into one.

The loop thing is a metaphor for the whole series, a metaphor made clearer by She-Ra itself.

When Mara is introduced, she is transformed, and she is a failure. She is the warning that Light Hope gives to Adora. When we meet her in this episode, we get that same image.

“I am Mara, She-Ra of Etheria, and I am gone.”

It towers over Adora, looking down on her. Adora is beneath the vision of even a failure like Mara. At least, until she lets go of the sword.

This is Mara. She’s small, about as tall as Adora; she’s wounded and dying; and she’s sorry.

“I couldn't stop them before, but I can now. Hiding is our only option. Maybe it's been a week. Maybe it's been thousands of years. I never wanted to be a hero. I won't be remembered as one.”

Mara’s character thematic can be summed up by one word: Legacy. Not how she will be remembered, but what effect she will have on the future.

Again, she is wounded, but she has managed to lock away an entire planet. Mara saved Etheria, once upon a time. I’d put that as pretty heroic.

But this also spins the perception of Light Hope. Adora can now see the alternate side of Light Hope’s words, and she can see the lies and the mistruths. So, by leaving a message, Mara pushed Adora away from destroying the world. She created a failsafe for Etheria, by telling the next She-Ra to think and take their own agency.

Mara was living in a tragedy, her fate was to die, but she twisted it. She broke free, and she saved people. I wonder if that idea will be revisited.

Final Thoughts

This episode could have been a season.

The second and third seasons of She-Ra are short, and I think the series would have been more interesting if they had been linked. Drop a few of the episodes, relocate some others, and make the whole thing about the Crimson Wastes. You get more time to Catra’s rise, and the fall feels more impactful.

I am mostly joking here. The series we got is the series we got, and this blog doesn’t analyse what could have been.

To that end, this episode falls short for me, because there isn’t enough of it. Catra’s improvement lasts for half an episode, and I think that if it had had a little more time to breathe, the gut punch at the end would have hit so much harder.

That is my critique, it’s a good episode, but it’s paced a bit too fast for me. You are welcome do disagree in the replies.

Next week, I will be looking at the absolute highway to hell (in a good way) that is Moment Of Truth, so stick around if that interests you.

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