I like to think that at least once, the Avatar cycle seemed to skip the Water Tribe—like people knew it was the water tribe’s turn, everyone was looking for them, the tests are done on all the kids, but like 60-80 years go by and no avatar until some Earth Kingdom kid shows up. People wonder if the cycle skipped a generation or what, but nothing serious was going on at that time so they shrug and move on.
It’s only many many years later that someone is researching Swampbender oral history and someone tells the story of “Ol Stinky Jess, she was a funny one, could light the swamp on fire an’ all sorts o’ shenanigans! Best catfishgator catcher in the tribe, she was” and thats literally it, she just lived a totally chill life in the swamp and nobody knew what an avatar was at the time so they just rolled with that funny gal’s odd bending ways.
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hdhahdhajfbajdnaudb Okay having Thoughts™️ about some of these ‘Odysseus raises Astyanax’ fics. Because. Because if we’re talking about the full odyssey experience. If Astyanax were to survive. He would have spent 11 years of his life growing up with Odysseus as his father. Now, to the main area of thought - Telemachus. Imagine. Imagine being a child, hearing of your father only in stories. From your mother, the servants, your grandparents. Seeing your grandmother succumb to her grief, seeing your mother grow sadder by the day, more sullen, seeing your grandfather withdraw into himself, all because of your father.
The man you are told you look like, the man who left for war, six, eight, eleven, fifteen, TWENTY years ago, left your home in disrepair, left your mother and you to deal with suitors disrespecting your house and name, the man who you are so angry at, yet Also worship as a god, because you don’t have a CHOICE. You can’t love him, you don’t KNOW him, but you love him in the way you love your gods - distant, unknowable, unreachable, and yet you have his face, your mother sometimes gates at you with these sad, sad eyes and you know she’s not really seeing you when she tells you she loves you.
You know he is a man, logically, how could he not be when your mother still remembers every calous on his hands and your grandfather tells you of how he almost set his room on fire one day, but he is only a legend to you. You hear other Kings, Kings from the same war your father left for (they came back, they are already back and he is still gone) discussing him, you hear how he helped end the war with your and your mother’s name on his lips and YET! He’s not here, he’s not here but he can’t be dead, because everyone agrees that he is too stubborn to die.
And then. He is back. And he has a boy with him. A boy who is younger than you, still just a child. And he regards the boy as his own, introduces him to you as ‘your brother’. He hasn’t dishonoured your mother, he took the child from the burning city of Troy because he is merciful and kind and you see it in the way the boy hugs him and calls him papa. And you should be happy, your father is back, you have a sibling now, your mother finally smiles properly again, your grandfather no longer cries when he sees you.
But. This boy. The boy your father brought from Troy. He got all that you have ever wanted: he got your father, from the moment he was Born he got your father, he was there for his first steps, his first words, he taught him how to sail, fight, read, count, he has been there with him through it all and you have never wanted anything more. ‘This child is not his son’ says that hateful, angry voice in your head.
You spend time with your father. He weeps, hugs you. Tells you he’s proud of the man you are now. Teaches you how to rule, it is your birthright, he says. He goes hunting with you and tells you he loves you and that the thought of you and your mother got him through many a peril. You spend time with your brother, you make him laugh, he loves you, clings to you just as much as he clings to your father, you teach him more about Ithaca, the way it is now, because he’s only heard stories. And still, in the back of your mind, you know you hate the child. You despise him with every fiber of your heart even if your mind knows he is not to blame - and that he has dealt with the same thing, just opposite to you.
Whereas you had a home, your mother and the rest of your family, but yearned for more than just the memory of your father, wanted for freedom, the boy had him, in the flesh, soothing his nightmares and teaching him to live, had the open sea and the deck of a ship, the capability to go anywhere, he lacked the stability that you had and despised. He didn’t know his grandfathers, would never get to know his grandmother, only had a memory of a mother and a brother, saw them as saints, as a reason to keep pushing forth.
You are opossites. You don’t know how it happened, as the child is not hers, but your brother looks like your mother where you are clearly your father’s son, yet your personalities seem to have been switched. You’re calmer, much more subdued, you don’t smile easily and are weaker of will. Your brother is loud and boisterous, quick to crack a grin and so, so Brave.
You still get the compulsion to bow to your father whenever he enters a room, to touch him to make sure he is real, at times. He sometimes wakes screaming, seeing horrors that you could not imagine in his sleep and doesn’t feel comfortable in a proper bed for years. He sets the curtains on fire and your father laughs in relief and he holds him to his chest. Your own chest cleaves in two.
Just. Is this anything?
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I originally had typed up a whole ass angry rant about how fucking awful some of the takes are about Oppenheimer (it seems primarily from people who haven't even seen the fucking film), but I decided against posting it (and then I wrote this which now that I'm reading over it, still ended up being a bit of an angry fucking rant so oops).
But what I will say is that the film does not glorify the bomb or what it was used for. So please shut the fuck up about that. Also, this is a story about J. Robert Oppenheimer. The bomb is a large part of the story because it was a huge part of his life. But the focus is on him and his emotional journey through the film. They are trying to pack about 600 pages of dense material into three hours. There is simply not enough time to go on a side quest to address a lot of the things many of you are insisting be addressed. Especially when Oppenheimer himself was not directly involved in them.
I've seen many people say that this story should never have been told. And, kindly, fuck you. We live in an age where people are constantly trying to change, discredit, or dismiss history. We desperately need more people to become engaged with it again. Prior to this film, there were a whole ton of people who had been so failed by their history classes they had no idea who J. Robert Oppenheimer even was. People still know alarmingly little about the bomb and the scientists who worked on it and if this film allows them to be more interested/educated in that topic, that's a win.
This film brings to light more than just the bomb. It's a discussion on morality and the relationship between scientists and the government.
Also, you don't get to say that a piece of art shouldn't be made just because it makes you fucking uncomfortable. Don't consume that piece of art, then. But you have no right to say someone shouldn't make something, or others shouldn't consume or enjoy it just because it makes you uncomfortable.
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