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florrickandassociates · 3 years

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TGF Thoughts: 5x01- Previously on...

Welcome back!! I’m so excited to be writing one of these again. I think this hiatus has been the longest I’ve gone without new Diane Lockhart content in ten years, and it sure feels like it. A lot of important stuff has happened in the time since TGF season four ended (not concluded—ended). Most notably, CBS All Access became Paramount+ and suddenly started offering a lot of content I care about! I kid. 2020 was quite an eventful year, so I was curious how television’s most topical show was going to take it on. TGF is always forward-looking, but too much happened in 2020 to be ignored. And while I didn’t think TGF would have much to say about the pandemic, it seemed impossible to imagine a season five that pretended it never happened. Going into this premiere, I was expecting that they’d either skip COVID entirely or include very few references, but after seeing this episode, I feel like the writers took the only approach that made sense. And that is why they are the writers, and I'm just some girl on the internet who writes recaps.

Anyway, before I dive into the episode, I should also note that my pandemic boredom spurred me to actually pay $30 to watch this episode early as part of the virtual ATX Festival. Yes, I paid $30 on top of the money I spend every month on Paramount+ for this show. But I write tens of thousands of words about each TGF episode—are my priorities really that surprising? I note this not to brag or even to poke fun at myself, but because watching the episode before I knew a single thing about it (not even the title!) completely changed my viewing experience. I’ve never had an experience like this with TGW or TGF. I’m one to search for critics tweeting cryptically about screeners and refresh sites looking for background extras (haven’t done this in the TGF era, though) and read every single piece of press I can find. For any big episode, I usually know the outline of what to expect going in (I even knew about Will before the episode aired in the US!). Not this one! So, I got to be surprised, and I had to—gasp—formulate my own opinions before I knew what anyone else thought! It was really pleasant, actually. I think the structure of the episode worked extremely well for me because it caught me by surprise... and also because I’m the kind of person who somehow managed to write a college paper about Previously On sequences.

I see Tumblr has made it so that “keep reading” expands the post in your dash instead of opening a new tab. I absolutely hate this. Here is a link to the post you can click instead of the keep reading button!

The ATX stream started mid-sentence, meaning I missed the “Previously On... 2020...” title card and skipped right to Adrian saying “I’m retiring.” It was pretty easy to pick up on the device (the directness of the scenes at the start, their cadence, and their placement in the episode made it clear this was meant to mimic a Previously) but the second title card hit way harder because... well, I had no idea if this was meant to be 2020 or some moment outside of real time until a bit later in the episode.

Man, before I get any farther into this, two things that I don’t know where else to put. First, this episode had to cover so much ground. They had to write out both Adrian and Lucca—more on that later--, figure out how to deal with all of 2020, figure out how to either wrap up or continue all the truncated season 4 plotlines, and set the stage for a new season... in 50 minutes.

Second, just wanna shout out the Kings’ other Paramout+ show, Evil, which you should absolutely be watching even if you hate horror. Evil is a Kings show, so it is unsurprisingly topical (sometimes evil takes the form of racism or misogyny or Scott Rudin) and at times very, very funny. I would be recapping it if Paramount+ weren’t attacking me personally by airing it at the same time as TGF. Ever hear of too much of a good thing, people?! (On that note, I am VERY upset with myself for not having made a Good vs Evil joke about the Good shows and Evil. I didn’t even think about it until Robert King made the joke on Twitter, and it was right fucking there. How did I fail so miserably?!)

So STR Laurie, who wants a 20% downsizing, is still a thing. Noted.

This scene with Landau is the only one in this previously that is actually old footage, right?

Unexpected Margo Martindale! Yay! (Ruth Eastman is a character who is so much more effective on Fight than she was on Wife and I’m quite glad they’ve had her appear on Fight several times. It kind of redeems season seven. Kind of.)

I don’t think the writers intentionally chose for Adrian’s book deal to be with Simon & Schuster because it is the most politically fraught publisher (the number of stories about controversial memoirs they’ve picked up in 2021 alone...) but I kind of like that Adrian’s Road Not Taken involves S&S. My guess is they chose S&S because it is owned by ViacomCBS.

“Years ago, I wanted to create a law firm run entirely by women, but it never worked out. So, why not now?” Diane says to Liz. One of the advantages of having twelve (!!!) seasons of Diane Lockhart is that we’ve seen what she’s talking about. And we’ve seen her put this idea forward multiple times, too. I have my reservations about Diane’s brand of feminism, and I’ll say more about how fraught a Diane/Liz firm would be as the show explores the potential issues there, but on the surface I’m kind of excited about the prospect of a Diane/Liz led firm. Diane has wanted this for ages, Liz is a good partner, and this actually makes sense (unlike the nonsensical Diane/Alicia alliance of late season seven, where the only rationale was “well, Alicia needs to betray Diane in the finale, but they’re not on good terms. So maybe we make them business partners so then the betrayal stings more?”). Plus I fully love that Diane would end up running a firm with Alicia’s law school rival.

(Has TGF mentioned that Liz and Alicia were law school rivals? No. Am I still clinging on to that as a large part of Liz’s character? ABSOLUTELY.)

Julius is on trial for Memo 618 reasons; Diane is defending him. So this is still happening. (There’s more old footage here.)

Do they put these references to one/two party consent in these episodes as a wink at the fans? It has to be intentional. (Please do not ask me what the actual law is on this, this show has thoroughly confused me.)

I knew Cush was filming stuff for TGF, but I didn’t know it was for the premiere. She was just posting about it a few weeks ago, so either they shot a lot of it right before air or she posted a while after filming. Anyway, yay Lucca!

Bianca’s still around. And, TGF gets to shoot New York for New York, since Bianca is there. I do wish TGF could do more location shoots; there’s something about seeing an actual skyline that feels more real.

Bianca wants Lucca, who has never been outside of the country (except to St. Lucia, as Bianca reminds her) to go to London and buy her a resort. It’s supposed to be a three week stay and Bianca’s already arranged childcare. Speaking of children, because of COVID and filming constraints, that’s Cush’s real kid in this scene! You can’t really see him, but I recognized his curly hair from Cush’s Instagram, and the Kings confirmed in an interview.

Adrian wants to write a book about police brutality cases he’s worked on. Ruth very much does not want him to write that book. She wants him to write a book without substance about how white people and black people can work together. He, understandably, has no interest in writing this book. (Also, you can see in the background that Ruth doesn’t think Biden’s odds of winning the Democratic primary are good—there is a big down arrow next to his picture, which definitely dates this scene.)

Oh, David Lee is in this episode. He acts like an asshole towards Marissa when she’s trying to help him.

Marissa, not happy with the lack of respect, calls Lucca for advice “for a friend.” Lucca mentions she’s in London and Marissa does not believe her and keeps going on and on about her frustrations and her new desire to become a lawyer—quickly.

Marissa wanting to become a lawyer because she “hates being talked down to” is not a plot I would’ve expected but it’s also one that makes a lot of sense. I think Marissa’s used to being respected and praised even when she’s doing things that aren’t glamorous, so I see how she’d get very restless when she’s no longer outperforming expectations and is instead taken for granted.

Bells toll in the background on Lucca’s side and Marissa asks where she is. Lucca again notes she’s in London and Marissa still doesn’t believe her.

I’m going to miss Lucca so much, especially since we’ll also be losing a lot of the Millennial Friendship scenes with her. Cush is fantastic (even if she never really got enough to do here) and she plays so well off of the rest of the cast. I even sometimes liked the writing for Maia (who?) when she had scenes with Lucca, Lucca is that good.

Jay wakes up sweating and unable to breathe, so he deliriously calls his father-figure Adrian. This whole scene is shot like something out of Evil and (I’m getting ahead of myself here) this plot is the only thing about this episode I felt was a misstep.

“I think you’re my father,” Jay says to Adrian. Heh, I didn’t catch this line the first time around (maybe subliminally I did, since I just called Adrian his father figure lol) but I love that it is included here. Adrian and Jay’s relationship definitely deserves a goodbye.

Adrian calls an ambulance and also gets to Jay before the ambulance somehow. Adrian notes that Jay might have “this thing from China” and... we’re doing the pandemic, y’all. (Minor nitpick: on March 13th, 2020, when this scene is dated, COVID was not “this thing from China”-- we were all aware of it. March 11th was the day Tom Hanks and Rita Wilson announced they’d tested positive and the NBA shut down and travel was restricted and every single brand that had my email sent me a message about their plans and measures. March 12th was the last time I was in my office, and we’d been getting emails telling us to wash our hands and prepare to work remotely for weeks. I went to San Francisco in mid-late February and distinctly remember deciding to leave a burrito unattended on a table while I washed my hands because I was paranoid about COVID... and then I remember making a specific trip to Walgreens to buy hand sanitizer so that didn’t happen again. My point is, Adrian lives in the same world I do. On March 13th 2020, he would not be treating COVID like it was some new thing he’d vaguely heard of.)

(I am going to nitpick this timeline, but please know that I’m only doing it because I can, not because I think it’s necessarily a bad choice. Lines like this do feel a little forced, but I see the reason for introducing COVID as something new rather than going for the line that’s exactly historically accurate. I also am pretty sure there are references to dates in March/April in s4 of TGF that are now going to be contradicted by this episode, but I truly do not care. The writers get a pass on this one.)

We skip slightly back in time to the beginning of March after the MARCH 13TH title card, or maybe this is supposed to be after March 13th and my own memories are preventing me from believing these face-to-face interactions were happening. Who knows.

Michael Bloomberg is... here, again, I guess? He asks Diane to assist with a Supreme Court case about gun control. I guess it does add some weight to the plot and make the stakes feel higher.

Oh hey, this case is the 7x17 case!!!! Love that continuity.

Diane and Adrian are both at the office late, working, and there is an unnecessary split screen that feels even more unnecessary when you consider that the editing alone was enough to create the parallel.

Diane and Adrian have a nice convo (which I’ll really miss, their dynamic is great and this really feels like a successful partnership) as they wait for the elevator. When the elevator dings, they nearly tumble down into nothingness because... the elevator never came. Apparently this is a reference to an law old show I’ve never seen that killed off a character this way, and it’s meant to be a wink at how they are not going to kill off Adrian.

I do not know why I remember this, but I do: after they killed off Will, a critic (Noel Murray; I just googled to confirm my memory) who didn’t want to spoil things tweeted, “Exactly 23 years and 2 days ago, Rosalind Shays fell down an elevator shaft.” Please tell me why I remember this reference that I didn’t even understand well enough to have tracked down the original tweet in under a minute. (https://twitter.com/NoelMu/status/447942456827326464)

Back on this show, Diane and Adrian share a drink and talk about their wishes. Diane wants to argue in front of the Supreme Court, and Adrian encourages her to speak up. His own near-death experience motivates him to trash the book Ruth has him writing, and Diane trashes the (bad) legal strategy someone else prepared for the Supreme Court.

DIANE IS WEARING JEANS!!!!!! Tbh, I think my favorite part of this episode is how many slice-of-life scenes and settings we get. These are always my favorite moments. I love the satirical and political stuff too, but the character moments are what get me invested enough to write these. (Yes, Diane in jeans constitutes a character moment.)

Diane tells Bloomberg she wants to be involved and advocates for herself. Kurt gets a call on their landline (hahaha) from Adrian.

God, I love Diane and Kurt. Not only is their banter fun, you can just see a different, more relaxed side of Diane in these scenes. Diane tells Kurt she has good news for herself, but bad news for him since she’s arguing for gun control. She asks him to help her prep for court, too.

So this is before Jay is rushed to the hospital, because now we are back at the hospital with Julius, Diane, and Marissa. I do not believe any of these people would be setting foot in a hospital like it’s any other day on March 13th, 2020. But I'm trying not to nitpick.

I get why they chose to give Jay a rather severe case of COVID. I just don’t get literally anything else that follows from the initial shock of Jay having COVID.

I see why the writers chose March 20th (the actual Illinois stay at home order) as the next date for this timeline. I still do not believe that people were in this particular office on that date.

You know what else I don’t believe? That RBL just shut down for two weeks and was like, no work is being done. Did law firms really do this? I can believe it if it’s an excuse to cost-cut, and I know there were massive layoffs, but this seems... really weird???

Why are they setting up a teleconferencing infrastructure (didn’t they have one at LG? In season five?) if they are not planning to do work?

Lol Diane explains what Zoom is, very slowly. She asks everyone to “download a program called Zoom.com” which is one of the first Zoom jokes I’ve chuckled at in a while.

Marissa is not happy to hear that there’s no work for her in a work-remote world (this I believe 100%), so she calls Lucca again with more questions about law school.

Love these NYC and London location shots. Wish they could do that for Chicago.

Lucca asks Bianca to help get Marissa into a law school, fast, and Bianca tells Lucca to use her name... then offers her a job.

Marissa is at the office, alone, boxing up her things, when one of the office phones rings with some dude offering her a spot in a law school class. I guess we are really all-in on this! (Why would Lucca have given a firm phone number not specific to Marissa, though?)

Adrian and his corrupt girlfriend decide to shelter in place together. I still do not understand why he is okay with her being corrupt. I also don’t really understand why they’re going from talking about sheltering-in-place to George Floyd. How did we just skip from late March to late May? Are Adrian and corrupt gf having a conversation about sheltering-in-place two months into sheltering in place?

Okay, I am not doing so good at this no-nitpicking thing. Again, I understand why they need to merge several scenes into one to keep things moving. And I guess they could just be getting around to this conversation.

I’m going to nitpick again, I can’t help myself. How did we just go from a scene of Adrian specifically talking about sheltering in place to a scene of Adrian bursting into a bustling and maskless DNC headquarters room? How!? The only masks in this scene are on TV!! There are like ten people in this scene!

Anyway, more importantly, Adrian tells Ruth off and screams at her that she needs to listen to him instead of acting like she knows the way forward. He is completely right.

Why is travel from London closing down in May 2020? Is it because this scene is supposed to be at a different place in the episode? Liz is asking Lucca to come back home from her three week stay in London (which has now lasted three months but travel is just now closing down), and Lucca’s hesitant to come home.

This is all happening via Zoom, btw. Lucca’s in her hotel, Diane and Adrian are at their respective homes, and Liz is in the office. All of this feels right. There is a chat off to the side of the screen where you can see Adrian and the others discussing how to unmute on Zoom. Very real. Though probably not very real in late May 2020. Feels more like April. I am convinced this scene got spliced in later to help the episode flow because everything in this scene (except the TV footage that definitely was added later) feels like it should be happening in the March section.

Lucca mentions that Bianca offered her a job, and at this point we as viewers know how things are going to go—Lucca's going to end up taking it. Liz types in the Zoom chat that they don’t want to lose Lucca. When Lucca tells them how much Bianca’s offering ($500k/year, go Lucca!), Diane types “Shit.” into the chat. “Shit’s right,” Liz replies. “Yes... What should our counter be?” Diane replies. Lucca is kind enough to point out the messages are not private (again, this feels like March not May) but I think knowing that their reaction to topping $500k is “shit” tells her all she needs to know.

Diane’s background still says that RBL is a division of STR Laurie. Weird how little we are hearing about the overlords except the 20% staff cut.

Liz and Adrian chat and decide the only way to keep Lucca is to make her a partner. Which, yeah, if you’d just made her a partner years ago when you told her she was in the running for partner and then offered it to fucking MAIA, maybe she wouldn’t be considering Bianca’s offer. Lucca is definitely one of RBL’s stars, and I don’t think she’s wrong to feel like they don’t value her enough. They treat her well enough to be upset about losing her, but not well enough to have already made her partner and not well enough to actually give her authority (even though she runs a whole department). I’d be pretty unhappy too. It kind of feels sometimes like they take her for granted, and I don’t know that Lucca is one to feel like she owes a company anything. She’s more of an “I’m out for myself” type.

Madeline and the other partner we’ve seen a few times who isn’t Liz/Diane/Adrian, walk into the office (wearing masks! Which they take off as soon as they enter a room with Liz! Without asking her if she is okay with this! TV logic!) and ask who is replacing Adrian. They think this is a good time to reevaluate having a white name partner of an African American firm, and they are spot on. Liz tries to deflect, noting that Diane is already a name partner and was before Liz even joined, but Madeline and other partner (whose name I really wish they would say so I can stop calling him “other partner”) won’t let up. Their position is that Diane shouldn’t have been made a name partner then—all she did was bring in ChumHum, an account that quickly left the firm. Good point.

“What is this firm if it’s not African American? It’s just another midsized all-service Midwestern law firm, one of 50,” Madeline argues. The other partner says Liz needs to remove Diane and promote two African Americans to name partner. Liz laughs and asks if they mean themselves. Madeline does not—she's concerned about the number of black associates they’re letting go. Liz heads out, but this conversation is very much ongoing.

And I think it’s a very interesting dilemma! There’s a lot of mileage the writers can get out of this, because I don’t think there’s a right answer or a wrong one. It’s all about what Liz decides she wants the future of the firm to be. If Liz chooses Diane, she might be choosing something that works for her personally or that she thinks is a safer financial bet—but she’ll be choosing to work at a firm that can no longer be thought of as a black firm, and she’ll be choosing to move away from her father’s vision for the firm. And since the plot hinges on what Liz will decide rather than what’s objectively the right path forward, there’s a lot of interesting tension there I can’t wait to see.

(My favorite thing about Adrian leaving is that Liz will likely get more to do, especially when it comes to managing the firm. Adrian tends to speak up first, but Liz is more than capable of managing without him and I’m so excited to see what she does when her ex-husband isn’t constantly talking over her.)

Marissa and Lucca video chat with Jay. He’s still in the hospital. One thing that bugs me about how this episode handles COVID is that I never really get the sense that any of the characters are particularly afraid of the virus. Maybe none of them were. But you’d think you’d see a little of that fear, the weird dance of trying to assess others’ comfort levels with masking, etc., in an ep specifically about living through this time. ESPECIALLY since someone they all know and are close to has been hospitalized for MONTHS with this thing! It’s just so weird to go from a scene where people wear masks until they come in contact with other people (when masks matter the most) to a scene of someone in the hospital with COVID.

And now Jay’s weird hallucinations start as his battery dies on the video chat. I really, truly, hated these hallucinations. I was ready to be done with these from the second they started. They’re weirdly shot, they go on for too long, and they feel like the clunkiest parts of Mind’s Eye when Alicia starts having a debate in her mind about atheism mixed with the (far superior) hospital episode of Evil.

I don’t have much to say about these hallucinations except that I hated them a lot. When there’s the reveal that Jay is hallucinating a commerical, I almost came around on the hallucinations because that’s kind of funny and inspired. And then several more hallucinations popped up and they had a round table and Jesus got added to the mix and I was like, nope, this is bad in a very uninteresting way. I reject this.

I feel like the Kings didn’t have much to say about COVID, the actual virus. This episode is definitely more about what the characters’ lives were like during COVID and not the pandemic itself. I think they likely got a lot of their COVID commentary out of their system with their zombie COVID show The Bite (I have not seen The Bite due to it airing on Spectrum On Demand, which I have no way of accessing. Like, I would have to move and then decide to pay for cable in order to watch it.) I also suspect a lot of their commentary on COVID isn’t going to be specific to the virus and is instead going to be about things like mask-wearing and vaccinations becoming political. And, really, that’s just a new variation on talking about polarization... and they’ve been talking about polarization for years.

In fact, they even wrote a whole series about an outbreak of a (space-bug-spread) virus that caused political polarization before Trump was even elected. BrainDead is basically commentary on the pandemic before the pandemic even happened. Soooooo I get why they are more interested in recapping 2020 than in doing a Very Special Episode about themes they’ve been talking about for years. (I still think they would’ve benefitted from at least one character being afraid of getting sick or getting their family sick.)

There is likely some interesting content in these Jay hallucinations. I hate them so much I cannot find it. You know when you’re just on a completely different wavelength than the writers? This is an example of that.

Also I’m not a fan of the shadowy directing. I think this is meant to look cooler than it does.

Have I mentioned yet that I absolutely love the “Previously On” device for this episode? It’s such a fun, propulsive way to get through the slog of 2020. Scenes can be short and to the point, and each scene has to do a lot of lifting to fill in the gaps. I think that leads to scenes that are better constructed and telling on lots of levels—where are people when they’re quarantined? Who’s wearing casual clothes and when? What about this scene defines this character’s life at that moment in time?

Bizarrely, even though this episode is pretty much all plot (this happens! Then that!), I actually found this to be one of the most character-driven episodes TGF has ever done. There’s a lot of story, but most of that story is about how the characters reacted to 2020 rather than overarching plots that will weigh on the rest of the season. This episode covers a lot of ground, but it does it with character moments that resonate.

Now it’s July and Diane’s prepping to argue in front of the Supreme Court. Kurt’s helping her witness prep and it gets a little personal... and that ends up turning Diane on. Good to see McHart hasn’t lost its spark. (Remember how Kurt cheated on Diane in season 7 of Wife? No, me neither, because that never happened.)

Corrupt judge is back. Adrian playfully tries to distract her from work. Then he takes a video call from Liz, who updates him on the conversation she had with John (so that’s his name) and Madeline. I guess that part of May was close to July? Anyway, Adrian isn’t surprised to hear that people are upset at the prospect of Diane being one of two name partners.

Liz is at the office in workout clothes and I love it!

They’re losing 15 black associates (and Adrian and Lucca) and 4 white ones, Liz says. This sounds like a very big problem. (I’d be curious to know what that is as a percentage of the firm and how the racial composition shifts.)

Liz knows it’s not exactly up to her if Diane stays on as name partner (the other partners get a vote, but I think Liz knows she has a lot of sway here). She’s also wondering if Biden could win, and if so, would it be to the firm’s advantage to be black-owned? Interesting.

“Well. If you’re thinking it, then Diane’s thinking it, too,” Adrian says. He’s right. “White guilt. It runs verrrrry deep on that one, huh?” Ha. He is right about that, too. I actually can’t decide which of these interpretations is correct, because it could be either even though they seem contradictory. (1) Is Adrian saying it with a hint of mockery because he knows Diane will fight for her partnership even as she would say she’s a huge supporter of black businesses? (2) Is he saying it because he knows Diane would have enough white guilt to realize what her presence as a partner means and think through the implications? I think it is, somehow, a combination. I’m interested in this line because this whole dilemma (from Diane’s POV) is something that’s very familiar. Diane’s always been an idealist who will betray her ideals for personal gain. That sounds like an attack, but I mean that as neutrally as I possibly can. There are so many examples of this that this is kind of just a character trait of hers at this point. Usually those ideals are about feminism, but this situation seems closely related.

Adrian overhears Corrupt GF talking about Julius, Diane, and Memo 618. You would think she would wait to have this conversation until there is no chance of Adrian overhearing, because if Adrian overhears, he might...

... do exactly what he proceeds to do and hop into a car with Diane to give her a heads up. (I think I’m just going to have to accept that the mask usage rule on this episode is “we use masks to show that the characters would wear them, but we don’t want to have scenes where characters are fully masked because that’s annoying.” If that’s not the rule, then why else would Adrian be masked outside... and then take off his mask as soon as he gets into a confined indoor space with Diane?

Baranski looks ESPECIALLY like Taylor Swift in this scene.

Adrian tells Diane what he knows. He dug deeper after overhearing Charlotte, so he has even more info. “If you tell me, I will use it,” Diane warns. Adrian knows that, so he takes a moment to decide. And he decides that he cares more about Diane and Julius than about his relationship with a corrupt judge.

Diane and Julius are masked in court. Visitor and the judge are not. They use masking in a clever way in this scene: Diane uses being masked to her advantage because it means no one can possibly read her lips, so she can use the info Adrian fed her against Charlotte without any fear of spies. Charlotte, who is unmasked, guards her lips with a folder, as the Visitor watches interestedly.

Diane convinces Charlotte to recuse herself. Charlotte says she’s making a mistake; Diane does not care.

The new judge is, unfortunately, the idiot who doesn’t know anything about the law. Uh oh.

Charlotte decides she’s done sheltering in place with Adrian. He tries to talk through the conflict, but Charlotte says “You made your choice, Adrian. Julius Cain over me.”

“The choice was about right and wrong, Charlotte,” Adrian tries to explain. I mean, yeah, but if you’re dating a judge who has admitted she’s totally corrupt, didn’t right and wrong go out the window a while ago?

Adrian seems to think the other people involved in the events are bad and Charlotte is good. I am not convinced. I don’t think she’s the big bad, but I don’t think she’s good.

Charlotte points out that he invaded her privacy. She is right about that. “You said the choice was between right and wrong. Turning over my emails was the choice,” she said. I get her POV. But also, she is corrupt.

I do not like the way the part of the scene where Adrian physically restrains Charlotte to keep her from leaving is shot. I don’t think this is an abusive scene but I think it should’ve been shot from a little farther back so we could see it’s more like Adrian reaching out in desperation than trying to choke Charlotte. Because it very much looks like he is trying to choke Charlotte.

He tells Charlotte he loves her. She says it’s too late and leaves. “Maybe you won’t be with me. But you keep down this path... you’ll be done, I’m telling you, you’ll be done.”

I think something that I’ve been missing in these interactions is that I didn’t quite realize until this scene that the Adrian/Charlotte dynamic is more interesting than Adrian liking a corrupt judge. I think he truly believes Charlotte is a good person who got caught up in some bad stuff, and that she can bounce back from it. I’ve always seen Charlotte as someone who is corrupt for herself and then ended up going along with the corruption of others, too, so I’ve dismissed her and the relationship. This is the first scene that has felt real to me, and the first scene where she’s felt like more than a caricature. Kind of sad it’s the last she’ll get with Adrian—now I’m actually starting to find her interesting. Notice how in these last few sentences I’ve used her name instead of “Corrupt GF”!

Charlotte says she loved Adrian too, but that’s not enough. Awww.

He can’t really be surprised though, can he?

Now it is August and we get to see Diane and Liz react to the announcement of Kamala Harris as Biden’s VP pick, and I would like to thank the writers for giving me the opportunity to see Diane and Liz react to this. It’s kind of fan-service, but it’s also a nice tie-in to the girl-power theme of the Diane/Liz alliance.

Diane and Liz realize that Adrian’s probably not a good candidate for 2024 if the DNC only wants one black candidate and Harris is the clear front-runner. Liz suggests keeping him on as partner instead, in a way that very much implies this would be her ideal solution. Diane, being Diane, says she was liking the idea of an all-female firm. Liz hesitantly says she was too, and Diane senses the hesitation.

“Let’s look again at which associates to fire. I’m worried we’re losing too many African Americans,” Diane switches the subject. How have they still not made this decision? If any employees know downsizing is coming, and they’ve had months to act on it, assuming there are jobs elsewhere, people would’ve been jumping ship by now.

But that’s not the point of this scene. The point of this scene is that Liz corrects Diane: “Black. You can just say Black people.” Very nice moment underlining the tension. Diane means well, but she’s still acting like a white lady who doesn’t know how to act around black people... and she wants to (and, I guess, already does) run a black firm. Major yikes.

Marissa and Lucca are talking again. Marissa does not want to be in law school—she just wants to be a lawyer. Lucca won’t accept Marissa’s refusal to memorize meaningless rules: “Marissa. I know that you know how to play the game, but you have to pass the bar to get into a position to play the game.” Why does this line make me love Lucca? This line isn’t even anything amazing. It’s just a line that cuts through the bullshit and makes a good point.

Marissa keeps going, insulting all of her peers and teachers, and Lucca figures out how to cut through that, too: she tells Marissa that she’d hire her as a lawyer if she killed someone, but only if Marissa passes the bar. Marissa is instantly intrigued.

“Why are you leaving here? I’ll miss you,” Marissa says.

“Because they won’t pay me what I deserve,” Lucca says in a matter-of-fact tone. “Anyway, I thought they fired you.”

“But they didn’t mean it. It’s like the smoothie place—they kept trying to fire me and I just kept showing up,” Marissa replies. That checks out. (Love the callback!)

Lucca tries to get Marissa to come over to England. Marissa shuts that down as Lucca gets a news alert—and it’s not good news.

Our next date is September 18th, 2020 and I will get my nitpicks out of the way up front! I don’t really know why it is daytime for Lucca when she reads the news, considering it was already the evening in the States when the RBG news broke. And, also, it was Rosh Hashanah, so Marissa probably would not have been sitting in her bedroom studying... she most likely would’ve been with family or friends. OK I’M DONE. FOR NOW.

Diane is getting ready for her arguments in front of the Supreme Court. It’s almost time! She’s in casual clothes but has on a wonderful mask. She’s standing in front of Kurt’s guns to make a point (love that she’s using her video call background to her advantage) and there are several people in her bedroom getting the tech all set up. I have noted before that they only built one set for Diane’s apartment, and it’s just a massive bedroom. Diane choosing to be in front of the guns does a nice job of cutting off my question about why she’d be arguing in front of the Supreme Court from her bedroom rather than the home office she absolutely would have.

Kurt walks in and tries to shake hands... he’s clearly not very COVID paranoid, and Diane seems to be, and... that’s something I might have wanted to see? How was Diane okay with Kurt taking risks that also affected her?

Diane confirms she intentionally chose to stand in front of the guns. That’s when Kurt gets the push notification. He pulls Diane into the bathroom to show her the news. He hands her his phone and Diane’s face falls. She starts tearing up. “2020 just won’t let go,” she says, speaking for us all.

Normally I hate things that are like, we’re going to contrive this so the news hits at the worst possible moment! This works for me, because the Supreme Court plot for Diane feels more like something that exists to be a through line for the episode. It would also be a little hard to work in RBG’s death as a main plot point—and it is definitely important enough to be a main plotpoint—if it didn’t also affect something in the world of the show.

Also, another reason I like this contrivance is that it makes it all the more powerful when Diane says, “It’s over. He gets to nominate someone. Another Kavanaugh! We’ll have a conservative court for the next 20 years. My whole fucking life!” She’s not thinking about how this affects her case (and that case is basically a life-long dream for her). She is thinking about way bigger things, and knowing that her mind goes to the bigger things before the personal with news like this really underlines how big of a deal RBG’s death was.

Diane tells Kurt, “I don’t deserve you. You don’t agree with me.” “I can still feel bad for you,” he responds. He holds her while she cries.

Jay’s hallucination thing is back. Now Karl Marx is here. So is Jesus. I’m so done with this. It’s nice to get a break from writing.

Malcolm X is also on the roundtable and now they’re talking over each other in that way that everyone on this show always does. (RK gave an interview about Evil where he said he likes having the children on that show talk over each other because he grew up in a household like that. I did not need to read that interview to understand that RK likes scenes where people talk over each other.)

If anything happened in those hallucinations, I missed it, because I didn’t pause the episode. Because I do not care about the hallucinations. Because I hate them.

Now it’s November 2020... Diane’s watching election results and rocking back and forth. She tells Kurt he can go watch Fox News in the other room (so they do have more than one room!). He says he’s fine—he thinks Diane needs it more.

“Yes, but Kurt, if you stay, I know this isn’t sensible, but... Trump seems to get more votes whenever you’re sitting on this couch,” Diane tells him. Ha, I relate to this kind of superstition so hard. “Are you serious?” Kurt says. “I am so deathly serious,” Diane responds. “Whenever you’re sitting here, Arizona goes for Trump. Humor me, please. Just go in the other room.”

When Kurt tries to kiss her, she pulls away: “No, no, no. No kiss. If you kiss me, we’ll lose Georgia.” This scene feels so, so real and perfectly captures what it was like (at least for me, though I don’t have a Republican husband or anything) watching election results come in.

“Uh, if you lose, we’ll be fine, right?” Kurt asks. “Kurt, let me just say this. I’m only saying that we won’t be fine so that the universe will grant me a win,” Diane responds. This scene is so fun and so good! It simultaneously captures a relatable mood, adds some levity, gives us a window into Diane’s life, and shows some of the tensions in her marriage?! I want this all the time!

Kurt leaves the room. Diane pours more wine.

Later, with Diane still rocking back and forth with anxiety (just you wait for the several more days this will drag on!), Kurt brings in the champagne. “That was for when Hillary won. I can only drink it if Biden wins,” Diane protests. Did I also refuse to drink any celebratory alcohol until things were absolutely certain? No comment.

“It’s odd you progressives resisted religion. You seem to have a hundred religions to take its place,” Kurt says, speaking on behalf of the writers’ room. (This joke doesn’t get written if the writers don’t believe this and probably even see it in themselves.)

“Go away, Trump. I mean Kurt,” she shoos him away. Have I mentioned yet I love this scene?

“Love me even if you lose?” he jokes (though I do wonder if this isn’t that joking? I think it is, but he keeps saying it!) as Diane gestures at him to get out.

I could do without the joke about Diane’s heart on the TV for a couple reasons. One, it goes on too long. Two, I was very worried something would actually happen to Diane. You’d think that would make the scene feel more tense, but it does not, because it takes me out of the moment.

“Ok, God. You know I don’t believe in you. But I will believe in you if Joe Biden wins. I’m sorry. I know that that’s not what Jesus taught. There’s nothing in the New Testament that says, ‘Believe in me, and I’ll make sure your candidate wins,’ but I need Joe Biden to win. I’m sorry, God, but I just do. I need some faith.” This is a little much but... yeah. Also, is this the first time Diane’s flat out said she’s an atheist? I think it is, though I’ve assumed as much for quite a while.

The next day in court, masks are no longer required if you’re a series regular and votes are still being counted. I remember those days. Marissa thought Diane was checking in on Jay... Diane was not. She was checking on vote counts.

Apparently Jay’s finally being released from the hospital!

Bad news for Julius—the idiot judge finds him guilty of some nonsense charge and sentences him to seven years in prison.

Diane says not to worry, and Julius asks “Why not?” Good point.

Then we have election results! We skip, specifically, to December 14th and the electoral college vote. I’m a little sad we skipped over the huge party that was November 7th, but I get why they’d rather keep things moving along. I think showing November 7th in an uncomplicated way would’ve just been too close to fanservice. But, man, what a day.

Diane, in a red hoodie with leopard print that she somehow manages to still look classy in, is ready to pop champagne. Then she hears that on January 6th, a joint session of Congress will count the electoral votes and there might be a debate. “Nope. If I open it now, something bad will happen,” she reasons. “I’ve waited four years. I can wait another few weeks.”

It’s been almost a year and they’re still somehow negotiating with Lucca, but I understand why they’d space this out across the episode. Otherwise we’d have to say goodbye to Lucca in the first like, 15 mins of the episode and all those scenes would be in a row. I can forgive (and still nitpick) choices like this when the reasoning behind them seems sound.

Adrian says they don’t want to lose Lucca. He, Liz, and Diane are all in the conference room, and they ask Lucca for a yes or no on their latest offer by the end of the call. Diane offers Lucca partner—she'll be the youngest partner in the firm’s history—and she’ll get a $500,000/year salary. Adrian tries to sell her on being part of American history by being part of the firm.

“We are a black firm, Lucca, and we need you,” Liz says with a lot of passion for someone who knows she might very well partner with Diane. Diane looks at Liz with a bit of suspicion at this, wondering if Liz is showing her cards.

Lucca manages to make the wifi malfunction (or she gets very lucky) and uses the disconnection to call Bianca for a counteroffer, even though they said they needed a yes or no on the spot.

“They used George Floyd because they want you for less. They have never appreciated you as much as I do. All those scars, all that time being taken for granted and undervalued has made you a fighter. It’s made you someone I now want,” Bianca tells Lucca. She gives Lucca a counter offer of $1.3 million and the title of CFO. Lucca takes it. Is there really another choice? (If she were concerned about loyalty to the firm and the partnership was what she wanted, she probably would've just taken it.)

(Also, the partners can’t really act like Lucca is making history by being the youngest partner ever when they passed her over for partner two years earlier and offered it to Maia! To MAIA! Who had like three years of work experience! And yes I was fine with Alicia and Cary getting partnership offers with four years but, one, that was a scam, and two, Alicia and Cary actually worked. Oh, I see I still hate Maia with a passion. Back to THIS season...)

Lucca apologetically informs Marissa she’s leaving and the offer was just too good to turn down. I believe it. I also believe Lucca wants that job more. What has loyalty to RBL gotten her? She's someone so talented and good at her job that she just gets job offers from acquaintances all the time (starting with Alicia!). RBL appreciates her, but just enough to appease her while still undervaluing her. I don’t know that I would’ve believed a plot where Lucca actively job hunts, but I definitely believe this.

“Marissa, we don’t have to work together to be friends,” Lucca tells Marissa. I’m going to miss this so much. Why is this the best material Lucca’s gotten in ages?! I think one of the things that makes Lucca such a great character is that you can see why everyone instantly wants her on their team. She’s a fantastic friend (without giving too much of herself), she’s not a pushover, and she is incredibly sharp and able to get to the heart of any situation. I love her and I’m sad we won’t get to see more of her.

(On that bit about friendship—I can’t write about Lucca’s departure without writing about the moment I realized just how great of a character Lucca was. It was in 7x13, when Alicia has her breakdown that’s seven seasons in the making... and Lucca supports her. But the writing, and Cush’s performance, never make it feel like Lucca exists to be a part of Alicia’s story. Lucca seems like her own fully formed person who happens to be supporting Alicia at this moment. I don’t think I can overstate how tough of a task it is to get me to care about the other person in a pivotal Alicia scene, especially when that other person was added to the cast in the final season and many suspected she’d just be a replacement for a different beloved character! Anyway, Lucca’s been great for years, and I’ll miss her.)

Just when I thought I couldn’t hate the hallucinations more, we get a hint that they are going to continue: Jay sees one right after he learns that Marissa’s used her quarantine to start law school and he’s done nothing.

Jay says he carries a gun now and it’s “performative.” I have no idea what that means and Marissa and Lucca don’t seem to, either.

Another thing I like about Lucca’s final scene is that it isn’t rushed. We have time for all that, and also for Lucca to tell Marissa about the time she stole her breakfast sandwich, and for Marissa to react to it, and for Marissa to find Lucca’s Birkin bag, and for Lucca to tell Marissa to keep it, and for Marissa to react to that, and for Lucca to sappily say “think of me when you use it,” and for Marissa to nonsensically reply, “you think of me when I use it,” and there’s still a little bit more of the scene after that!

Marissa’s silly line makes Lucca tear up. “God, I’m gonna miss you guys,” she says. “I’m gonna miss this. You make me smile. I didn’t smile much before you guys.” Awwwwwww. This is also so true to character! Her friendship with Alicia aside, Lucca’s definitely said before she’s not one to have friends (which is hilarious because she is, as I've said like 100 times, a fantastic friend and also just like, the coolest person??? Who wouldn’t want to be HER friend?!).

She says she has to go because she’s getting too emotional and says goodbye. She’s also super sappy and when Marissa says, “you were the best,” she responds that they were the best TOGETHER! Awwwwwww.

What a nice, fitting goodbye for Lucca. There’s no bad blood or fireworks—she just makes a change like a lot of people do. I’d like to think she’ll still be friends with Marissa and Jay after this. I don’t want too many Lucca references in future episodes, but I would really like it if we see Marissa and Jay update each other on the latest from Lucca, or if a scene begins with Marissa closing out an Instagram post from Lucca of her kid, or something. I wouldn’t want clues about what Lucca’s up to, but I’d love to see that she’s still a part of Marissa and Jay’s lives.

Now it is January 6th. Liz, Adrian, and Diane sit on the floor of the mostly empty office, watching TV coverage and drinking. It’s so relaxed it’s almost surreal, and it, like many other moments in this episode, feels like a slice of life. Everyone’s dressed casually and no one is worried about appearances or looking like the boss.

“God, have you ever seen anything like it. It’s so fucked,” Diane says. Adrian’s more optimistic—the courts rejected most of the challenges to election results! “System worked,” he says. “Yay.” Liz says in response. She’s not as optimistic as he is.

“Liz. Liz. Sometimes when things work out, there is no parade. There’s no congratulations, but I’ll tell you this: We live to fight another day,” he explains to her even though she makes a good point that a system just barely hanging on doesn’t bode well for the future. (She doesn’t say all this, but that’s a very loaded, “Yay.”)

“Yeah? Then why are you leaving the law?” Liz asks. Diane seconds to the question.

Adrian announces he’s still retiring—and he’s moving to Atlanta. He wants to go to the south to help “create and consolidate political power.” He’s excited to start over and inspired by Georgia going blue. This is a very nice exit for Adrian. I fully believe that he’s interested in political organizing, that he’d be good at it, and that he’s ready for a change. I don’t think he’s always the most progressive person (of the three in this scene, Liz is absolutely the most progressive one, though Diane probably thinks she is!), but I absolutely think he thinks of himself as an activist and I believe that if he’s going to step away from the law, he’d do so to make a move like this.

Adrian—and Lucca, but especially Adrian—probably both got better exits thanks to the events of 2020. If Adrian had just left to be groomed by the DNC, that would’ve been a predictable and boring ending for him. His candidacy would, obviously, go nowhere, and the whole thing felt weird from the minute it was introduced. But this? Adrian being energized—like so many others were—by the ways the world changed in 2020 and using his already announced departure from the firm and recent breakup as a chance to start over and make change? This is great!

Adrian asks Liz and Diane what’s next for them. Liz says that she thinks the Biden admin will be better for black businesses. Adrian asks if they’re replacing him, and Diane says, “I think the big question is, are you replacing me?” She’s smart. I like how this scene goes from friendly to tense very fast, with everyone kind of testing the waters. Adrian tries to force the conversation, Liz opens with something vague yet pointed, and Diane speaks what’s previously been unspoken.

Liz says it’s not her intention to push Diane out. “I can’t change the color of my skin,” Diane replies. “I know,” Liz laughs. Audra’s delivery is fantastic on that line.

“Hey, I’m gonna fight for my partnership,” Diane says. “I know,” Liz says. The tone of this scene is so different from previous partnership drama on these shows and I’m excited about it. This is just a bunch of adults talking about business decisions with each other and treating each other as equals?? It's not backstabbing?? Or drama?? No one is hiding things?? It’s refreshing and I hope this plot stays like this. We’ve done so much partnership drama that I think drama that stems from a real, pressing question that has no easy answers and isn’t anyone’s fault is going to be much more fruitful for the show.

Adrian heads out—ah, I see now this scene is set in his empty office and this is why they are on the floor—and gets a nice last moment with Diane. And then they give him a last moment with Liz, which I knew they would but was still glad to see.

Liz asks if he knows what he’s doing—he says he’s not sure.

Adrian asks if Liz knows where she stands regarding Diane. “It’s going to be interesting,” Liz says. I don’t think she’s decided what she’s going to do yet.

It wouldn’t be an Adrian and Liz scene if Adrian didn’t have some unsolicited advice. “Diane’s a terrific lawyer, but this firm belongs to you. Your dad built it. He did, Liz. Despite all his faults. You got to run this place the way you want. This is a black firm. And after today, the world needs black firms. You got me?” He tells Liz. He makes it seem like Liz gets the choice and then tells her what to do. She says, “I got it,” signaling she understood him but not that she necessarily agrees.

I cannot wait to see what Liz does next!!!!!!! About this but just in general!!!!! Without Adrian there giving her constant advice I feel like she can grow so much and the show will have to give her more to do!!! I think Adrian, for all his many wonderful qualities and all he brought to the show, can suck all the air out of a room with his charisma, and Liz usually ends up suffering as a result. She’s such a capable lawyer in her own right, but Adrian has a way of making it always seem like he’s right—even in arguments she wins. I’m excited to see Liz lead (or stumble at leadership; she is fairly new to management) without Adrian’s direct influence.

Liz walks Adrian out and it’s cute. They run into Marissa and Jay. “Everybody fun is leaving,” Marissa notes. Liz is minorly offended, but playfully. Heh.

Adrian asks Jay how he’s doing; Jay says he’s a long-hauler but he’s doing okay. I like that they included that moment in Adrian’s goodbye sequence. It’s a very little thing, but it underlines that Adrian cares about Jay.

Then Liz interrupts to note that Trump pardoned a lot of convicted and corrupt Republican officials....... including Julius.

Everyone celebrates, but especially Diane and Marissa. Diane lets out her wonderful laugh and then we, finally, get to the credits. Because now that the previouslies are over, it’s time for the real show.

The credits are absolutely delightful, btw. I was a little worried some of the kittens would blow up, though! Once I relaxed and realized what they were up to—literal puppies and kittens because Biden won—I couldn’t get enough of these credits. They work so well because they accurately capture the way I (and all of these characters, except maybe Julius and Kurt) feel about the election results, but it’s so exaggerated that you know the kittens and puppies aren’t a realistic representation of our new reality. They’re just too good to be true, but you may as well enjoy them for a minute. I’m sure we’ll be back to exploding vases next week.

What a great episode! My timeline nitpicks and whatever they’re trying to do with Jay aside, I was blown away by how well the writers managed to move on from season 4, tie up loose ends, and write out two main characters. And they did it all while making me revisit the events of 2020, a year I don’t think many of us want to spend much time thinking about! This episode was enjoyable, fun, emotional, and clever. I don’t know what to expect from the rest of the season, but I’m definitely excited about the show in a way I haven’t really been in quite some time.

This season’s naming convention seems to be titles that end with ... and only have the first word capitalized. I want to see more.

Season FIVE? There have already been as many TGF seasons as there were TGW seasons prior to Hitting the Fan?! Time flies.

Please writers: No topical episodes this year-- no pee tape, no Melania divorce, no Epstein. None of that business.

Sorry if I repeated myself here. I never proofread these things, and I wrote half of this on Saturday and half of it today (Wednesday) and the days in between were an absolute blur so I cannot remember if I said the same things about this episode twice.

#the good fight #tgfthoughts

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jonroxton · 3 years

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can you talk about chlark beyond chloe? personally i think it's weird that the writers kept adding kisses and weird romantic moments without any pay off. i don't know much about the fandom back then but i think the writers were baiting fans since clark/chloe seems to be the second most popular ship after clex. second i personally think chloe would never be happy with clark or anyone tbh and she doesn't seem like the type of person who would have kids so the finale was weird to me.

this got looooong :)

0. it WAS weird, and the choice to never not once go for it with them was to the story's detriment. I'll get into it a little later on in this post.

Re: shipping in sv fandom. there was definitely drama (clana was HUGE when the show was airing and every ship was basically derailed by it lol) but I stayed in my clois lane with a small circle of fandom friends much like I do now. a good measure of clois fans were fans of lois and clark from other mediums, come to sv just for lois and clark, myself included. we were pretty insulated as a fandom even back then. I do remember seeing more Chlark after the S5 finale (when Chloe kisses him goodbye), but those dropped off after Jimmy was introduced right away in S6. The most drama I encountered was with Chloisers: Chloe fans who believed wholeheartedly that Chloe was Lois. They hated SV!Lois and were convinced she would die so Chloe could take her name and job and place by Clark's side, thus a Chlark endgame. this was a popular theory amongst that fandom even into s9, when the clois ball started to roll for true.

bait and switch

a lot of Chlark is rooted in this notion that chloe WOULD be the best thing for Clark, the ideal Lois, the true best friend, the human hand guiding him through Earth's troubles. she would be could be the BEST possible lois archetype for Clark. it's not a wrong interpretation. she was specifically written as a lois-and-lana-proxy (teenage lana is a reporter in some AUs and even some as an adult as a tv correspondent) and she's given many lois-ish traits (tenacious, secretly crushing on clark and in denial), but this interpretation is deeply flawed. first, because lois does eventually enter into the picture and she has her own defining traits that, when compared to chloe, make chloe seem much shallower than realized. secondly, within the complete context of the story, her position in the greater narrative is not as ~the one who got away, the way it did very early on in S1-S4, but one who clark tolerates.

they're friends because clark is forgiving and chloe has staying power. their friendship is riddled with insecurities and unknowns the characters create for themselves. their dynamic is defined by conflict, not resolutions. this is not made easy by the fact that chloe is such a strangely written character, but ultimately she is positioned as a counter to clark achieving his happiness. not a thematic narrative foil but an obstacle clark eventually relents to.

2. and it has been so from the get-go

S1 is the best season for them and the single season which actually considers Clark's side in this dynamic. everything about them later on can be explained with how they are in this season. and that's the problem. when they're 14 it's nice teen angst drama and works perfectly to establish the dynamic. when they're 24 it's at best a pattern, at worst regression. we expect certain behaviors, dismiss them too, when it's children, at least I do. clark and chloe never move beyond the dynamic they establish in s1 and early s2. in essence, clark and chloe remain children around each other. they have many discussions in the later seasons that make at least one appear petulant.

so S1 clark has just been told the greatest secret of his existence and he imprints on lana hard that same night (right AFTER jonathan tells him, he meets lana at the graveyard and talks to her for the first time EVER, a lot of childhood imprinting going on in SV). all of s1 follows clark's heartache over lana, watching her from afar and figuring out a way to be near her. this pain is exacerbated by the fact that he believes he caused her her greatest grief: the death of her parents via the meteor shower which he arrived in.

here the first beat of the chlark dynamic is established: chloe's job and passion – the wall of weird and her pursuing the meteor infected oddities of SV - directly affects clark in a negative way (he's suicidal for much of s1-s3). so her crush on him is countered with her unknowingly causing him great grief. om top of that: clark becomes part of this passion of hers and she eventually begins to pursue him as a story to be uncovered, very superman yes. here tho, it causes nothing but strife for them and paints chloe in an awful light (and clark too, highlighting his refusal to open up). I personally enjoy this aspect of them in s1. bc they're so young I give em a free pass and it's a good conflict playing around with old superman tropes, but it makes for a fraught friendship.

3. the second beat

is that neither chloe's crush on clark, nor his asking her to stop pursuing his truth, do anything to stay her. her tenaciousness becomes intrusiveness and inconsideration (many of her accomplishments irt the daily planet are directly bc she betrays clark). she simply will not listen to her friend and does not believe his livelihood and autonomy is worth losing a story over. this is literally the opposite of comics/live action lois lane, who in various versions drops the clark reveal story to protect him. this passion turns vindictive pretty early for chloe, who eventually pursues stories about clark out of jealousy and entitlement (against lana also).

4. the third beat

is that clark doesn't ever see chloe as romantic prospect except this time in s1. the tornado trapping lana pulls him away from any solidifying of the clark/chloe dynamic, and that's that. but we know clark was willing to go for it in early s2 when he apologizes to chloe about running off on her. it's chloe who decides not to go on with the relationship. clark is visibly confused, but also 15 so he can't see that chloe is putting on a brave front to protect herself from clark running off again. I liked this too as it's another play on superman tropes, but my sympathy for them stops here.

5. and stays here

these beats are the entirety of this dynamic. everything about chlark can be distilled down to their childhood. it's why I don't hate them completely, bc I have a lot of love for kids who hurt in such a way and that time is never easy. in s8 (I think its s8) when we get a flashback to when they meet as kids (more imprinting!). little tenacious cute chloe kisses insecure clark bc of the funny awkward tension, acknowledging it, and then immediately takes it back because they're better as friends. (also they’re like 11 lol)

every single romantic moment with them is undercut either by chloe herself, or by the presence of other storylines/romances the writers wanted to pursue. the lack of integrity in chloe and the lack of interest in clark, regardless of how sincere their connection or how messed up, is a central part of their dynamic that needs to be reconciled with their friendship. and its exhausting bc there is never a point they are ever truly comfortable around each other.

6. to a fault

knowing the secret doesn't change chloe's methods. it doesn't make chloe clark's great confidante. if anything, it complicates matters for both because their relationship then becomes about the greater good and clark's great destiny. everything chloe does becomes about that, which in theory sounds awesome, but is executed much the same way as s1!chlark: by reiterating behaviors that highlight the negative aspects of that loyalty and the negative aspects of their characters.

the single time they do actively examine what this loyalty means and how chloe's hero complex complicates things for chlark is with s8 and davis. she protects davis with the skills of subterfuge and secrecy she developed as clark's friend. and it costs her jimmy and a lot of her personal integrity as a character. tho ironically it makes chloe the strongest she's been as a character. this is the first time clark is forced to view chloe as an enemy and he never quite recovers from discovering the dark depths she’s willing to go to.

it's an arc dealing with the established beats: how far chloe is willing to go for a kryptonian (very far), how much she's willing to do for him (A LOT and all of it illegal), and what it costs her (jimmy). it deals with her jealousy (always second choice) and her motivations (uncovering the truth). this great want that she struggled with for years is turned on its head and examined, revealing just how weird and dark her hero complex is because obviously davis is not clark. davis/chloe served to highlight more than any other arc how it's really too bad that clark never saw her that way, because she has so much love to give and when channeled, it's a great force. only it's a great force for evil. clark has to confront that it’s not just lex but his other closest friend who is willing to go so far. they backtrack hard in s9 and s10 but they keep this underlying wariness in clark towards Chloe throughout. it’s not anything new, but it’s no longer subtext that clark doesn’t fully trust chloe.

7. And that's the rub

in the end. chloe and clark have many storylines they're in together and chloe's important.... to develop clark and as a counter to clark. clark never instigates anything, not once, for 9 years! when the show did give us Moments TM, clark is reacting, not actively making choices to connect to her. if anything, clark is incredibly awkward about chloe when they become intimate. he doesn't seem to know what to do with her crushing on him (the elevator scene is a great one to show just how awkward chloe makes him feel). more than that. clark never tells her his secret. and later on, chloe doesn't tell him half the crazy wild shit she does to protect him bc she knows he would disapprove. I still hold that the only reason they work is bc clark is a forgiving character and would give her chance after chance after chance. that's the watsonian explanation, but the doylist explanation is that the writers just never cared to explore them beyond this point.

8. and what was beyond that point?

they would've been a great counter to lexana in S6 and early clana (clark finally having a gf who knows). it’s playing the clark/Chloe as a straight lois/clark proxy before actually pursuing lois and clark. it could’ve been the precursor to davis and caused an even more personal conflict! the kiss at the end of s5 was their chance. they could've written chlark devolving much the same way lexana did in s6 (or not). but again. the writers never went that far and clearly never wanted to. it kept chlark forever in this stage of childhood friendship always on the brink of collapsing, tittering either way. it's also tough to speculate bc clark's just not into her. in fact he becomes more and more wary of her, to the point where he believes she can do horrible things, and he's right. the stories continually make their methods complete opposite.

they go out of their way to show chloe realizing how happy clark is with lois. and even play a joke on the fandom by literally turning her into lois and seeing the sparks between her friends. it's almost... cruel but it does serve to show how clark is when he's smitten and he's never looked at chloe that way except during the dance when they were kids. other unrequited dynamics have at least some spark from the desired, but nil from clark. clark is into chloe in late s1, but she shuts him down, and when he seems to be into her again (damn that s5 kiss was a good one lol), she shuts him down again. it's just a weird writing choice all around, and that they kept nuggets of it throughout the show is the thing I cringe at most whenever I rewatch.

9. bait and switch 2

with hindsight it is definitely ship baiting and that sucks for that dynamic bc without it their friendship would’ve been the stronger, or at least not full of so much negativity. all it did was remind everyone that chloe’s been duped since she was a kid and that clark is both stupid and strange for never noticing and letting her get away with shit just bc she’s the most loyal. I don’t ship them and even I get frustrated lol

#mystuff #smallville #superman #anti chlark #sayruq #my meta

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yumeka36 · 3 years

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Thoughts on Rebuild of Evangelion (all movies plus ending interpretation)

*Artwork credited to リオ on pixiv*

Now that Evangelion 3.0+1.0 Thrice Upon a Time, the last movie of the Rebuild of Evangelion saga, has been released, I'm finally ready to discuss all the movies as a whole, including my interpretation of the ending...

MAJOR SPOILERS AHEAD!

I've been a fan of Evangelion for nearly 20 years, starting back in 2002. After hearing the series praised by some classmates, I asked for the DVD set of the original TV anime for Christmas that year. I was 15 years old and a fairly new anime fan at the time, so naturally I was blown away by the show. The Internet was young then, and since there were no fandom wikis or YouTube explanation videos available in those days, I had to rely on a few scattered fan sites and my own resources (mostly bonus features on the old DVDs) to try and figure out the lore and symbolism. Even though many aspects of the series, as well as the eventual "true ending" movie, End of Evangelion, left me scratching my head, I still loved it and it left a long-lasting impression on me. And now, here I am almost two decades later, sharing my thoughts about the new movies...

-Before Thrice Upon a Time was released, I hadn't touched Evangelion since 3.33 came out in 2012. I had forgotten many details, and since Evangelion is a franchise that is fraught with nuances and subtleties that can be key to understanding what the heck is going on, I wanted to watch all the Rebuild movies again before watching Thrice Upon a Time. So I plowed through all four movies this week, and I gotta say, after being away from the franchise for so many years, I'm happy to report that I still thoroughly enjoyed it. But I can also recognize that it is definitely not a series for everyone. The drawn-out technobabble, constant introduction of lore jargon with little to no explanation, and the ambiguity between what's real and what's symbolic, can certainly turn off casual viewers (it gives Kingdom Hearts lore a run for its money!) Funnily enough, as I was watching the Rebuild movies, I was thinking, "I understood the lore better 20 years ago than I do now, lol" (maybe it's because I was younger and didn't have as strong of a theorizing mind as I do now!) But after reading through a bunch of pages on the EvaGeeks Wiki, I learned enough to get a gist of the story's vaguer elements. But unfortunately, the fact that information necessary for understanding the plot can only be found by Internet research, could certainly be a turn-off for viewers. But at the same time, for those willing to make the commitment, or at least appreciate the series' other qualities even if you can't follow many aspects of the lore, it's definitely an anime unlike any other. There's a reason it's been such a well-known franchise in Japan for so long.

-Asuka has been one of my favorite anime characters ever since I saw the original Eva TV series, and thankfully, I'm happy with what they did with her character in the Rebuild movies. My only complaint is that I preferred her original backstory that emphasized her relationship with her mother, rather than having a "clone-complex" similar to Rei. However, her character development in this new storyline made up for it. The Rebuild movies really nailed her abrasive, no-nonsense personality that hides depth within. There were also more scenes that showed her "softer" side, something I always felt was lacking in the original series, such as when she confides in Misato towards the end of 2.22 and when she confesses her feelings to Shinji in Thrice Upon a Time. I also felt her initial dislike for Shinji and Rei was a bit more warranted this time; despising the fact that they were able to become Eva pilots purely by connection to Gendo while she had to work hard for it. But again, we get more hints at her kinder side when she makes the sacrifice to help Rei get Shinji and Gendo together. This is pretty contrasting to the original series, where she was always oozing hate for Rei. Even their infamous elevator scene ended differently in 2.22 compared to the TV series, where instead of hitting and yelling at Rei, she agrees to help her (in her subtle, Asuka-way). Asuka and Rei also had a brief scene together when they were at Village 3 in Thrice Upon a Time, and the way Asuka talked to her made me feel like she actually cared about her, or at least didn't hate her. But even with the Rebuild movies giving Asuka more scenes to show her goodness, they still stayed true to her tough-love personality - it's not like she suddenly started smiling a lot, or gave Shinji a passionate hug, or broke out in tears...they developed her character without making her do a 180 change, which I appreciated. Even in her final scene with Shinji on the beach before he saves her (loved that scene, and the shoutout to End of Eva there) she still reacted in her "tsundere" way (though not as harshly of course). I'd also like to mention that they made the fourteen year time-skip in 3.33 very believable in terms of Asuka's growth. I really liked the hardened, lone-wolf, protector role she had in Thrice Upon a Time because it makes sense - fourteen years had passed and she not only matured during that time, but she had spent all those years being the sole Eva pilot along with Mari fighting to protect humanity, so settling into that kind of identity makes sense for her. But yeah, Asuka's always been a great character, and the Rebuild movies made her even more awesome in my opinion.

-When I first watched 2.22 years ago when it came out, I was puzzled that they decided to put Asuka in the Eva that Unit-01 ends up destroying rather than Toji. But looking back on it it now, it worked better since they had a plan for Toji's character that had nothing to do with the Evas. I did kind of miss Asuka's friendship with Hikari though (they could have tied that into her staying with Toji and Hikari at Village 3 instead of with Kensuke). I actually wrote a WYDS fanfic for End of Evangelion way back in 2003 that emphasizes Asuka and Hikari's friendship (that's somehow still on Fanfiction.net!) But she got a friendship with Mari instead, so it's fine, lol (I also liked that they removed her crush on Kaji, which I never thought fit well in the original series). But I do wish we got to see what was going through her mind while she was stuck in the Eva and getting attacked by Unit-01. We know she was aware of what was going on because she knew what Shinji did (that he didn't try to save her or attack) so it would have been nice to see a scene or two of her reactions.

-Misato was always my second favorite character after Asuka, but I wasn't thrilled with the coldness she exhibited towards Shinji after the time-skip in 3.33. I know she probably got hardened after all those years and maybe still felt resentment towards him for initiating Near Third Impact (which killed Kaji among others). But even so, I felt like her coldness was more to keep the suspense rather than stay true to her character (plus she was the one encouraging him to do what we wanted at the time of Near Third Impact). It makes sense for Asuka to be cold to Shinji, since she was always standoffish like that, but Misato was always shown to be a source of warmth and the most "human" of the characters. But at least she made up with Shinji in the end and got to finish her story arc with a bang (literally).

-I'm not sure if it's still a thing now, but back in the day, Shinji got a lot of hate from anime fans for being too whiny and indecisive when confronted with his task of piloting the Eva. But even all those years ago, I always thought those reactions made him believable. Maybe it's because he's compared to anime shonen heroes like Naruto and Luffy, who are always cheerful and brimming with motivation, while Shinji is pretty much the opposite of those kinds of characters. But it makes sense for him to be like that...if I were a fourteen-year old kid who never knew my mother, had a father who abandoned me, and had to live on my own in a crumbling world while witnessing death and destruction all around, I'd be pretty hesitant and scared too. He's definitely not a "wish-fulfilling" protagonist like many shonen and super heroes are, but a protagonist grounded more in reality, representing a disillusioned youth. So it was nice to see him finally get over his insecurities and be proactive with saving everyone at the end of Thrice Upon a Time (compared to everyone giving him the pep talk at the end of the original series). Though I did think his personality shift was a bit abrupt...he was at his lowest point at the beginning of Thrice Upon a Time, but the one kind gesture from Rei seemed to immediately snap him out of it. A little more gradual build-up to his change would have been better, but it's a nitpick.

-Mari was an enigma in 2.22 and 3.33, so I was hoping Thrice Upon a Time would give us her origin story. Unfortunately, it didn't offer much and maybe brought up more questions than not. My main question is, we see that she knew Gendo and Yui when they were younger, yet if she was their age then, that doesn't match up to the age she appears to be when Shinji first meets her. So she must have been afflicted with the "Eva curse" all those years back, which means she must have become an Eva pilot around that time, but it seems too soon. I thought the first Evangelion pilots didn't exist until after Yui died, so Mari should have been older...I don't know, I'm still having trouble figuring out her place in the timeline. But besides that, I did like her relationship with Asuka that we see in Thrice Upon a Time. Again, it makes sense in terms of the time-skip that they'd develop a good friendship after spending all those years being Eva pilots together.

-I don't have a lot to say about Rei, since I feel her story arc is one of the simpler ones (which isn't saying much for this series, lol). The scenes of her in Village 3 in Thrice Upon a Time were endearing, though I knew they would end in tragedy. Actually, that whole part of the movie with the characters spending time in the village was great. The world-building in those scenes was fantastic too - it really felt like what a post-apocolyptic survival camp in that situation would be like. It was nice to see the characters partaking in and reacting to situations that don't have to do with Angels and Evas (spin-off series for this when?)

-And lastly, how did I interpret the end of the Rebuild saga? Was I satisfied with how it ended? Right after I watched Thrice Upon a Time, I wasn't totally sure. But after reading some more wiki pages and watching some explanation videos, especially this one here (it's a great explanation if you can forgive the bad pronunciation of the names), I've realized just how brilliant of a conclusion it is. There's been speculation that the story involves a time loop, with the events of the original TV series, as well as the Death & Rebirth and End of Evangelion movies, being different versions of the time loop, while the Rebuild movies is where the loop ends because Shinji finally overcomes the pain of his past and can restore the world this time (while he had failed to in the previous loops). I don't think it's a time loop so much as a cycle that keeps resetting and repeating. Further support for this theory is that Kaoru acts like he's met Shinji before, since he's reborn in each cycle to meet Shinji only to be killed by him later (all the coffins seen on the moon are for his past/future selves). I think the final movie title is symbolic of this too, with "Thrice Upon a Time" meaning "three times upon a time," the three times being the three cycles of the Evangelion story: the original TV series, the movies Death & Rebirth and The End of Evangelion, and finally the Rebirth movies. But mostly, the scene towards the end where Shinji meets Rei in the anti-verse, and they're standing in what appears to be a filming room while projected images from the Eva TV series are shown behind them. This to me symbolizes that the original Eva series exists in the Rebuild movies as one version of the cycle, and Shinji has now finally broken out of the loop. Once Shinji has saved everyone, the filming room (which symbolizes the old versions of the story, as I believe it's supposed to be the room where live-action footage used in previous Eva works was filmed) fades away and the literal animation around Shinji begins to break down into its purest forms, as key animation, then layouts, etc., - a near 4th wall-breaking depiction of the world resetting. However, Gendo and Yui had sacrificed themselves so that Shinji wouldn't have to, so Mari is able to pull him back into the world, just like she had promised. In the end, Shinji is able to join his friends in the new world that's free of Evas. Without the Eva curse, all the pilots are now their proper ages as well. The movie closes with Mari and Shinji heading off somewhere in their new lives while the environment merges into live-action footage, representing the fact that the story has now transcended animation and is now "real" because the cycle has finally ended and a true Neon Genesis took place. Like many aspects of the franchise, there are many ways to interpret this ending, but this is the interpretation I've settled on.

-While I am satisfied with the ending overall, I do wish the epilogue showed us more of what the other characters were doing, especially the survivors from Wille and Village 3. I know we can assume they're living out their lives as well, but it would have been nice to get confirmation of that with a few quick cameos. But there are some main characters whose fates are uncertain, particularly Misato, Kaji, and Fuyutsuki. I'm assuming the only people Shinji was able to save were the ones whose souls were still bound to Evas, namely Asuka, Rei, and Kaoru. I don't know about Kaji since I'm still not clear on exactly how he died. Maybe Shinji couldn't save Misato because she died "for real" and wasn't just trapped inside an Eva/Angel. But it is implied that many souls, not just Eva pilots, were saved when the world was restored...so maybe she was too? And like Kaji, I'm not sure what happened with Fuyutsuki. Did he turn into LCL because he gave up his humanity in some way, like Gendo? I'm also a little salty that we didn't get a decent shot of adult Asuka at the train station, lol. I'm not sure if the ending was hinting at Mari and Shinji being an item...possibly Rei and Kaoru too, maybe even Asuka and Kensuke. Like many things in the franchise, the eventual pairings, or lack thereof, could be interpreted in many ways.

In conclusion, while there were some aspects of the old Eva TV series and movies that I liked better, the Rebuild movies overall did an excellent job of retelling the story with the same rich lore and thought-provoking symbolism that we're used to for the franchise, but with enough new twists to make it stand out. And as I mentioned in my interpretation of the ending, these movies weren't just a retelling but a redefinition of the franchise as whole, bringing together the previous versions of the story and giving them true closure. Though we could see some spin-off material at some point, Thrice Upon a Time does seem like it was intended to be the final installment of the Evangelion series. While I was satisfied enough with the endings for the TV series and End of Eva movie, having watched the Rebuild movies, I do believe they're the "retelling we didn't know we needed." It's a tad bittersweet to know that such an influential franchise, and one of my favorite anime for years, has come to its true end. So, to translate the text in the below fan art...

"Thank you , Evangelion."

*Artwork credited to リオ on pixiv*

#evangelion 3.0+1.0 #neon genesis evangelion #evangelion #rebuild of evangelion #evangelion spoilers #rei ayanami #asuka shikinami langley #shinji ikari #evangelion thrice upon a time

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thebluelemontree · 4 years

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Hiya blue lemon it's me again. Do you have any criticism in the way GRRM wrote Sansa in book1/2? EX:.Sansa and Jeyne are BFF but we amolst never see the girls talking to eachother, and when JP is sex traffikced sansa just forget about her(we could have a scene where sansa try to find what happened to JP or at least grieve for her). Every time sansa appears as a non-POV in AGOT she's been mean and whe we have her POV she's mean for no good reason(SANSA III AGOT). >PART 1<

And the worst is why GRRM wrote sansa goin to Cercei to tell her the "Ned Plans", it's just bad writing, Cercei kill lady so Sansa going to her was OOC GRRM just wrote that to we hate Sansa And in the book it's not explained what "the Ned plans" was(And it was nothing imortant at all, and would make no difference at Ned's fate) so ordinary readers blame Sansa for Ned's death and GRRM does that too in book 2 Cercei put all the blame for Ned death in sansa nd "the Ned Plans" Your thoughts?PART 2

There’s a lot to unpack here.

I get a sense that in the early books, George was not as comfortable writing female relationships as he was writing male relationships or even male-female ones. I mean, Catelyn has no female friends, no companions like Margaery Tyrell’s cousins, no fostering wards of her own, no correspondences with other ladies except that one letter from Lysa for plot reasons. This is just weird for the lady of two major houses. It is neglectful on George’s part to give most of the important social connections to men. This doesn’t mean he was totally inept at writing female relationships, though, and it does seem like he’s tried to improve upon highlighting the positive in later books.

By comparison, the positive side of the brotherly relationships are presented so strongly that it tends to smooth over the conflicts with many readers. Jon can feel envious and resentful of Robb, but the love and loyalty is always in the foreground. The conflict between Arya, Jeyne, and Sansa does have legitimate character arc and plot purposes, so this isn’t bad writing. It’s unfortunate that GRRM presses down so hard on the constant bickering and occasional nastiness, but he did write some positives (albeit they tended to be revealed in later books) and there are understandable reasons for the dynamics. It was not done in a totally unrealistic way. What’s depicted is a typical and relatable rocky period for that age group, and there was negative adult influence at play. It’s not a permanent feature of the sisterhood. It’s all there if you pay attention and you’re inclined to be charitable toward the mistakes of young girls.

If a reader is already predisposed to see the bonds between male characters as more pure and more able to overcome the negative aspects, then they probably also view the bonds between female characters as inherently weaker and more fraught with conflict. Fandom misogyny is not GRRM’s fault. That sector of the fandom will always have contempt for girls for being girls, especially preteen girls. They will always hone in on their faults and belittle their virtues.

I don’t think that is true that we hardly ever see Jeyne and Sansa talking. They are nearly always in each other’s company. There was real friendship between Sansa and Jeyne, because what George does do well with them, is realistically write the way girls cement their bonds. Young girls strengthen their relationship by communicating and confiding in each other. Sharing secrets, crushes, hopes, fears, and pieces of gossip builds trust and intimacy. Jeyne and Sansa do this all the time, even though they can have different opinions and disagree about a lot. Yes, there is some one-sidedness in that Sansa socially outranks Jeyne and believes that makes her more mature and wiser than her friend. Jeyne is dependent on her closeness to Sansa as a highborn lady and future queen to rise successfully, so she’s not going to push back on Sansa’s dominance. This is also a reason Jeyne sometimes bullies Arya to supplant her as Sansa’s “sister.” When Sansa has something to share, she goes to Jeyne to talk about it. I think it’s hilarious that the girls have a debate over which castle Gregor Clegane’s head will get spiked. Sansa wants Jeyne at her side for these new and exciting events like the tourney. When things get serious and dangerous, they comfort each other. Again, this is not all George’s fault if some readers don’t recognize or value the way girls do friendships.

It’s stated quite clearly why Sansa tries to not think about Jeyne or her deceased family members very often. It’s fucking traumatic and her survival while among her captors depends on mentally holding herself together.

If only she had someone to tell her what to do. She missed Septa Mordane, and even more Jeyne Poole, her truest friend. The septa had lost her head with the rest, for the crime of serving House Stark. Sansa did not know what had happened to Jeyne, who had disappeared from her rooms afterward, never to be mentioned again. She tried not to think of them too often, yet sometimes the memories came unbidden, and then it was hard to hold back the tears. Once in a while, Sansa even missed her sister. By now Arya was safe back in Winterfell, dancing and sewing, playing with Bran and baby Rickon, even riding through the winter town if she liked. Sansa was allowed to go riding too, but only in the bailey, and it got boring going round in a circle all day. -- Sansa II, ACOK.

Following her father’s beheading, Sansa was in a suicidal depression for days. She wouldn’t eat, wouldn’t bathe, welcomed drug-induced sleep, and contemplated killing herself. If she thinks too much on those she lost, she falls to pieces. She can’t openly weep and mourn for “traitors” if her life depends on appearing to be loyal to Joffrey. Most of her grief is suppressed inside. This also includes asking too many questions she doesn’t feel psychologically prepared to hear the answer to. She was there when the decision was made to shuttle Jeyne off to Littlefinger; however, she has no idea this is going to result in Jeyne being sent to a brothel and worse. I would also keep in mind that even if she did ask, it’s not like Cersei or Littlefinger would ever tell her the truth. Why would they? Does she really want to hear lies and have to think about what the horrible truth might be when she can’t do anything about it? When it comes to Arya, Sansa believes her sister escaped on the ship bound for home. She comforts herself with imagining that Arya is safe and free, and that’s enough to keep her going.

And she prays and sings for Jeyne, wherever she is.

She sang for mercy, for the living and the dead alike, for Bran and Rickon and Robb, for her sister Arya and her bastard brother Jon Snow, away off on the Wall. She sang for her mother and her father, for her grandfather Lord Hoster and her uncle Edmure Tully, for her friend Jeyne Poole, for old drunken King Robert, for Septa Mordane and Ser Dontos and Jory Cassel and Maester Luwin... -- Sansa V, ACOK.

It’s only until later in the books that Sansa feels emotionally at peace enough to start remembering the good times with Arya and Jeyne without breaking down into tears. We can also see the conflicts weren’t always a thing, and the love was strong with all three.

Sansa began to make snowballs, shaping and smoothing them until they were round and white and perfect. She remembered a summer's snow in Winterfell when Arya and Bran had ambushed her as she emerged from the keep one morning. They'd each had a dozen snowballs to hand, and she'd had none. Bran had been perched on the roof of the covered bridge, out of reach, but Sansa had chased Arya through the stables and around the kitchen until both of them were breathless. She might even have caught her, but she'd slipped on some ice. Her sister came back to see if she was hurt. When she said she wasn't, Arya hit her in the face with another snowball, but Sansa grabbed her leg and pulled her down and was rubbing snow in her hair when Jory came along and pulled them apart, laughing. -- Sansa VII, ASOS.

It was most unladylike, but Alayne sound found herself laughing. For just a little while, as she ran, she forget who she was, and where, and found herself remembering bright cold days at Winterfell, when she would race through Winterfell with her friend Jeyne Poole, with Arya running after them trying to keep up. -- Alayne I, TWOW.

So it’s not even that the girls only bond through confiding. They run, play, and roughhouse with each other. It’s interesting that AGOT!Sansa tried to be so mature and proper, but now that she’s older, she’s remembering how good and freeing it was just to be a kid. But let’s not act like this part of the story is over. Jeyne is still very much alive and seems likely to run into Arya in Braavos. We can almost be 100% certain that Sansa will find out the truth about what happened to Jeyne and what Littlefinger did to her (and her parents), then watch out. Sansa will turn all that buried pain into a righteous fury at Littlefinger.

Now as for Sansa being mean for “no reason.” Um... yeah, LOL. Sometimes she’s just a total unwarranted bitch to her sister, and it’s not meant to be a good look. Sometimes she’s superficial, insufferably immature and annoying, judgmental and prejudiced AND THAT’S OKAY. I mean, she sounds no better or worse than your average middle-schooler if they were of the privileged nobility. Guess what? Sometimes preteens are really like that. Sometimes siblings have ugly, knockdown drag out fights where they say horrible things to each other. Most will grow past those phases and still wind up just as loving and close. It’s realistic and believable. Sansa has flaws, but they aren’t deep moral flaws. She does an amazing job at growing, learning, and overcoming those flaws over the course of the books. In TWOW, she’s warm and affectionate with people, easy-going, nonjudgmental, and genuinely more mature than ever. She took the stick out of her ass and became a happier person for it. What’s the problem? What did you want her to be? Perfect? Unfailingly kind and loved by everyone all the time? She’d be a saint, not a multifaceted human being. Even with her occasional ugly side, Sansa is still a strong, smart, compassionate badass. I don’t care if some people don’t like her as she is written or if they vilify her with their misinterpretations or ignore her strengths. What bearing does that have on GRRM’s vision for her character? He never set out to write any character that the whole fandom would either unanimously love or hate.

This is not bad writing. This NOT bad writing. This is GOOD writing.

*Sigh* Listen... this whole nonsense about Sansa being to blame for Ned’s demise has been going on since ASOIAF was written on clay tablets. You don’t have to listen to every stupid thing the fandom says about anything. It’s just factually wrong. End of story. This misinterpretation and reader inattentiveness is not GRRM’s fault, because he lays out all the details of everything that went down between Arya, Ned, and Sansa’s POV as it was happening. It’s totally understandable why an upset and frustrated Sansa would go to Cersei, the mother figure she implicitly trusts and admires. She didn’t go to Cersei to betray her father’s plans. She went to the queen to intercede in what she thought had to be some big misunderstanding, having no idea what was really going on or at stake.

This is not OOC for her to go to Cersei after Lady’s death. The hand that killed Lady was her own father’s, a undeniable breach of trust that wounded their relationship. Ned just doesn’t really do a lot to deal with the emotional aftermath either. Ned and Sansa are very similar in turning a blind eye when confronted with unpleasantness from someone they love. Ned is also at that moment disillusioned with Robert’s failure to do the right thing after the Trident incident. He begs Robert in the name of their brotherly love and the love he bore Lyanna, and Robert turns his back on Ned anyway. Yet Ned immediately goes right back to believing in the best of Robert’s nature, despite all evidence to the contrary. Every sign points to this being a one-sided friendship with Robert being lazy, irresponsible, and completely selfish. Like father, like daughter. Sansa has a very hard time accepting that Joffrey and Cersei are not the people she thought they were, even when she’s seen some cracks. And since she can’t understand her father’s actions and the communication has been shot to hell between them, of course she runs to Cersei with her problems. Cersei can flip a switch and pretend to be kind, loving, and understanding.

This is so typical of a teenage thought process: “Dad just doesn’t understand and he’s making a big mistake. I don’t understand why he’s doing this. He doesn’t get how important this is to me. This will all work out if a sympathetic adult steps in and fixes it. Everything will turn out great and we’ll all be happy.” While Sansa is pouring her heart out about how it isn’t fair she can’t say goodbye to Joffrey, Cersei pretends to be that sympathetic mother figure that really understands her. How hard would it be then to pump Sansa for information? Like “Oh my sweet little dove. I know how much you love my son. Don’t worry. I’ll help you straighten this out. You said your father wants to send you away? How? When? What’s the name of that ship again?”

And that line from Cersei’s POV is horseshit. Cersei is a liar and regularly lies in her POV to absolve herself of responsibility and force the blame entirely on others. In this case, Cersei is acting like she didn’t totally manipulate a trusting child to betray her. We also know this is a lie because Ned was the one that told her himself of his plans to reveal the invest and remove her as queen. Sansa had nothing to do with that. All Sansa did was give Cersei information that allowed Cersei the opportunity to take her hostage before the girls could leave by ship. Cersei’s plans against Ned were already well underway. Sansa never came to her with the intent of knowingly betraying anyone, but she did have selfish reasons for going to the queen to complain in the first place. GRRM said himself that Sansa wasn’t to blame for Ned’s capture or death, but she did play a role in the events that transpired. That’s fair. All that makes her is a kid who made a not entirely innocent mistake, but a mistake nonetheless, which she immediately learned from. Does she trust Cersei or Joffrey again? Hell no.

Relax, anon. It’s fine for her to not be nice all the time. It’s fine for her to have some realistic, garden variety flaws. It’s one of the most universal human mistakes to fall too hard and fast for the wrong person, act the fool over them despite all the red flags, only to realize you only saw what you wanted to see in them. And Sansa learned this lesson at eleven when some adults haven’t learned it at all. Relax. She’s a great, well-written, relatable character who has overcome most of these issues successfully.

#Sansa stark meta #sansa stark #sansa stark characterization #asoiaf characterization #arya stark #jeyne poole #ned stark #asoiaf commentary #fandom nonsense #Anonymous #my meta

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fruitchakra · 3 years

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why you should read haikyuu!! (no spoilers)

as an sns-focused blog, i’m going to frame this through the lens of sns/naruto (the series) because the fact is that i finally, finally picked up haikyuu because i read something posted by someone on tumblr or twitter saying ‘hinata and kageyama are basically just naruto and sasuke in high school’.

which is true but mostly false BUT i am so glad i gave it a chance when even my best friend pestering me couldn’t get me to watch/read it (she doesn’t watch naruto so i didn’t trust her lmao).

the reason i’m so hesitant to start on new manga is because i’m extremely picky with the type of shonen manga i read. 9/10 times i’m just disappointed with the art style, plot, storyline progression, etc. this is also the reason why i reread and rewatch naruto for the nth time because i just cannot get into anything else.

enter haikyuu. haikyuu is truly what a shonen manga is imo - one that revolves around friendship and rivalry with a single key person and overcoming adversities to become the best. compare this to naruto which is a love story because i still cannot believe that it is a shonen manga because it’s not (naruto’s focus on sasuke is not normal or platonic lol. it can’t be. i refuse).

1. character development and world building

the characterizations are really good and they don’t go obsessively deep about people or a single character - hinata’s rivalry with kageyama is clear but it is not the basis of the entire plot. there are no real ‘villains’ too, even if the other team is the opponent. the way things are written makes you root for everyone involved (unlike naruto because there are many characters that i absolutely cannot stand. in haikyu i either like them or can’t remember them because there’s so...many...players.)

furudate’s strength is making you connect with the characters.

the most refreshing thing is that the world building is good (volleyball is super interesting) but not fraught with things that are uncomfortable, like naruto and its politics and how some people absolutely lose all critical thinking skills when it comes to examining things like fascism and genocide. haikyuu is so much more lighthearted and because of this, it’s a lot of fun.

2. hinata and kageyama’s bond

this is one of my favourite things and it’s so SO refreshing compared to naruto and sasuke’s relationship. hinata and kageyama are introduced as rivals and hinata doesn’t fixate over kageyama - his main goal is to the best volleyball player. in naruto, the narrative is set up as naruto’s desire to be acknowledged and become hokage, but there is a disconnect because the plot is driven by sasuke and his actions.

i watch naruto for sasuke so i absolutely have no issue with it but when the second character becomes more important than your titular character, something has gone wrong in your plotting/writing.

but there is no escaping that there are similarities: hinata’s name means sun and kageyama’s name means shadow. their character designs and colors are in direct contrast as well (tall and short, bright and dark hair).

3. tsukishima

give me an aloof, quiet character with brother issues, who finds himself changing due to the influence of the protagonist and I AM SOLD. add in moon symbolisms and i am crying because you are now my favorite character.

4. nostalgia

the best thing is the nostalgia i think! pretty sure everyone reading this has gone to high school. most people have (or were forced to) participate in some sort of sport. everyone has had dreams and in high school, the world outside seems impossibly big and anything and everything is possible. haikyuu really plays into this and it is absolutely hopeful and inspiring it is.

it also reminds me how naive and flawed this thinking is because life will not go the way you want to, just because you really truly want something and work hard for it. of course, as a children’s manga, it doesn’t linger on the negative aspects of growing up but seeing something so hopeful and happy really highlights the stark reality of adult lives. and i honestly love how introspective it makes me.

5. furudate’s art style

the manga is 100000% better than the anime because we get furudate’s art style which is insanely good because you can really sense the speed and motion and excitement of the volleyball.

more importantly are the little tiny details he adds into little frames. it builds so much more character and i’m slowly getting through the anime because the volleyball parts are much better animated and the OPs are hype but the pacing is really off and i don’t think the voice casting is as good as naruto’s.

6. the importance of a strong opening

the first chapter made me cry, with hinata’s enthusiasm and lack of support and him still finding his way around it to make things work as best as he can. it’s incredibly earnest and just so pure.

naruto didn’t do this for me tbh, and it was only sasuke’s introduction that hooked me. the closest feeling i’ve come across in the introduction of a story from another form of media is the kdrama vagabond. no other opening has hit me as hard with this sense of warmth and purity (12/10 would recommend. it’s on netflix!)

7. stand-out characters

hinata - my big hearted sunshine boy. best protagonist ever thank u for existing

kageyama - the way to my heart: a boy with dark hair and dark eyes. his growth is so so good

tsukishima - moon. background and character growth. i love his attitude

yamaguchi - i scream whenever he steps onto court. pure and sweet

basically everyone on the karasuno team

kenma - basically me irl

oikawa - “i hope they both lose” truly the single best sentence ever given to a character

miya twins - they’re drawn so beautifully?? and great chaotic energy

if you’ve read all the way here, you’re the best and take it as a sign you start haikyuu :)

#truly no thoughts just haikyu

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jawritter · 4 years

Text

You and Me...

Chapter 3

***SERIES WARNINGS**** Rape, non-con, male!rape, injury, violence, description of injury caused by rape, nightmares, self-harm, panic attacks, implied female non-con, language, ass hole Jensen, hurt!Jensen, dark fic, smut. If there is anything else I will add it as I go.

***Chatper Warnings***

Word Coung: 2464

Pairing: Jensen Ackles X Reader, Jared x reader, OFC Steve x Reader, OFC Justin x Reader. Misha x Reader, Jensen x Jared, Jensen x Misha

A/N: When I originally wrote this chapter I didn’t even know who Steve Carlson was, so the Steve in this story isn’t him lol. Oddly enough I wrote this before I even really knew he was making an album lol. Anyway, all mistakes are mine, please don’t copy my work, Feedback is golden. If you want to be added to the series tag list, or my tag list just let me know! I hope you enjoy this one. After this chapter things tend to start to pick up a little.

Summary: It’s funny how one choice you made can change your whole life. One mistake can alter your course, and set you on a path that forever will haunt you. Two people find themselves getting through one of the hardest trials of Jensen’s life, on just one small promise. You and Me. We’ll get through it together…

Want more? Check out my Masterlist!!

***MASTERLIST***

***YOU AND ME MASTERLIST***

Last night was a bad night for you. You were crushed that Jensen thought you were just some slut that likes to flirt with every married man that came through the studio because not a word of that was true. The way he was looking at you when he said it. There was no emotion in his eyes whatsoever. Just coldness. He looked at you like you were just another gold-digging whore. You don’t know why his opinion of you crushed you so badly, but it did.

It’s not like it was unusual in the industry that you were working in. Groupies came all the time to hang out and see if they could land themselves an upcoming artist that has potential, then ride that ride all the way down to music row. Steve did try and keep them at bay because he couldn't stand that part of the industry. It didn’t stop them from coming, but at least he did try.

You were no groupie, you worked your ass off to get to where you were in your job. You did it yourself through straight hard work and talent. You had no favors, no handouts, nothing. Everything you had, everything you accomplished, it was all you.

Women are looked down on in most businesses, but in the entertainment industry, that reputation of whore seems to resound past any talent a woman might have. It wasn't usual for men to come in, and treat you the way Jensen had yesterday, but when he did it, it really hurt.

The way he jerked the coffee out of your hand, not even looking at you. Like you were nothing, trash, someone that wasn't worthy to be in his presents.

That cut you deep.

Why did you care so much what this snob thought about you? You didn't like the way his opinion of you made you feel. The way it seemed to etch itself into you, and take root there. You whipped away a stray tear that was making its way down your face.

Most of the night you dreamed of Demon Dean. Because that's who he looked like yesterday when he demanded Steve make you bring him his coffee.

The nightmares were vivid, more vivid than you’d ever experienced in your life.

You used to like Demon Dean. You found it to be an interesting take on Dean's character. Now though. It gave you chills. You didn't know how you were going to face Jensen today. Still, you weren't going to let it cost you your job. You’d worked too hard, and come too far to let one man’s opinion of you destroy everything you had worked to build for yourself.

So you text Steve back for the thousandth time just this morning telling him that you were fine and would see him in a little while. Justin and Steve knew you pretty well, and they could tell how Jensen's opinion of you had affected you. You had never walked out on a job before like that. Steve knew you weren’t just not feeling well and needed to go home. He knew Jensen had gotten to you.

You just wish you knew why it affected you so much. You never cared what people thought about you before. It didn't make sense.

You jump in the shower quickly. Not feeling real into dressing up today, which there was no dress code at your job anyway, you throw on an old black and white Slipknot band shirt Justin had bought you years ago for a dirty Santa gift at work. It was comfortable, so, therefore, it was your favorite. A black pair of skinny ripped jeans, and a pair of black and white converse. You threw your hair into a messy bun and a light dusting of makeup. Today, that was just as good as it was going to get.

You just didn't feel pretty this morning. So you didn't see any need in trying. Yesterday you did the work, and it did not go well. Business suit, perfect hair, makeup. Still, you were just a whore that liked to flirt with married men and needed to get Jensen his coffee.

As soon as you walked into the recording room this morning Justin and Steve were on their feet giving you a hug.

"Don't pay attention to that overpaid, spoiled fuck Y/N," Justin said, pulling you into a bone-crushing hug.

"Yeah, Jen's back today. She can pack him his damn coffee, and I hope she spits in it," Steve said through gritted teeth.

They were a little overprotective of you, so this reaction didn't surprise you. They had become like family to you over the years. They treated you like a little sister, and they had no problem going to war for you if they had to.

You look through the glass in front of you and see Jennifer sitting up everything for the day. She was young, probably 19 or 20, you didn't really ever ask. She was pretty though. Long blonde hair. Skinnier than you were, even though you weren't really all that heavy. Blue eyes.

She would probably make it far in the entertainment industry one day on her looks alone. She was dressed in her usual casual skinny jeans and tank top. You smirk at the fact that Jensen was probably gonna eat her alive today since he obviously had a problem with women. She looked a little to you like a gold-digging groupie the more you thought about it. She was a working mom though, and you respected her for that. It was hard to be a young mom, much less a working young mom.

"Has Jensen arrived yet?" you turn to Steve and ask, dreading the moment he walked into the studio already.

Also, you were inwardly regretting your outfit choice. You weren't sure who would be under attack more, Jennifer, or you.

"No, he's running a little late. Jared will be here again today, along with Misha Collins. He's in town for some type of charity function, and Jensen invited him to come to watch a little today," Steve said, turning to his buzzing phone, and walking out of the recording room.

You turned about to say that you hoped Misha wasn't as big of an ass hole as Jensen when you saw the group of actors walk into the studio. “Well crap, here it goes.”

"Misha, this is Y/N, and Justin, that girl in there putting out drinks is Jennifer," Steve said, and you all shook Misha's hand. He greeted everyone warmly and seemed to be a genuinely friendly guy. Jensen was looking at you with a look of distaste on his face, but there was a look in his eyes that you didn't recognize, something you hadn't seen yesterday, even if he was staring at you and snarling at you in a cocky smirk.

"What is this?" he asked gesturing up, and down your small frame. He was a giant compared to you. "Casual Tuesday? You are aware that it's not Friday yet right?" he blows off in a cocky tone.

Misha and Jared turn to stare at him, but you say nothing. Taking a deep calming breath you turn around and start logging into the equipment. Misha came and took a seat by you, giving your shoulder a comforting squeeze. You smile at him and watch as Jennifer enters the room. “Showtime,” you think to yourself, but boy did you get the shock, and disappointment of your life.

"Well, well, I don't believe we met yesterday. What's your name beautiful?" Jensen said, turning to Jennifer.

You felt your stomach lurch, and you fraught to hold onto your breakfast. You got up and excused yourself to the bathroom. Steve and Justin watched you like you might snap at any minute.

Well, he wants to be a jackass then two can play at this game. You were in control of today's recording session, and today wasn't going to be an easy one, for Jensen anyway. You, on the other hand, were going to enjoy this.

You walked out of the bathroom after composing your emotions and ran headlong into the large frame that was Jared. He grabbed your shoulders to steady you and keep you from falling back on your ass.

"Sorry," he said in a rush.

"It's okay," you retorted, turning a little red. Could you just not do anything right today?

"I wanted to talk to you before we got started today. I want to apologize for the way Jensen is acting toward you. I've never seen him act quite like this toward anyone. He's going a divorce. It was just finalized yesterday. He's under a lot of stress," you held your hand up to stop Jared's retort of excuses he was trying to make for his friend's attitude.

"I'm sure he will be able to blow off a little steam with Jennifer on the break. Maybe if he gets one off he won't be such a dick. Now If you'll excuse me I've got work to do," you say, pushing past Jared before he could say anything and stepping back toward the recording room.

Neither of you saw Jensen leaning against the door in the hallway. He’d heard every word that Jared had said to you, and he was livid.

"What the fuck Jar?" Jensen said, making his presence known to his friend. Jared swore under his breath, turning to face a red face; and obviously pissed Jensen.

"I could ask you the same question," Jared said, rounding on his friend. "What you do have against Y/N? She's done nothing to you, and you act like such an ass towards her every time you open your mouth?!"

Jensen stood there with his head cocked to the side. He had been acting like a dick, he was well aware of it. Still, he couldn't help it. Whether she was doing it on purpose or not she was driving him crazy, and he couldn’t quite put his finger on why. She was beautiful, but that wasn't it. It was something he felt deep down in his gut every time she looked at him. It scared him a little. He thought Danneel was the love of his life, he shouldn’t be feeling this way this early after a divorce. Maybe Y/N was right, maybe he did just need to get one off...

"Do you hate her or something?" Jared said, looking at his friend's dead-looking eyes with concern. Ever since Danneel had left him it was like Jensen had just shut down emotionally. He hated it. Hated seeing his friend like this.

"No, I don't hate her Jared," Jensen said, rubbing his hand through his hair, and turning to walk back into the recording room. Not wanting to have this conversation.

"Well, you got a real fucked up way of showing it, man," Jared said as Jensen closed the door.

----------------------------------

Three hours later Jensen was about six mess ups into the same song he'd sang one thousand times. Mostly because every time you heard a note slightly off you would turn the mike on, and yell, "That's wrong, do it again".

By now his face was red and he was getting pissed. You couldn’t help yourself though, you found it deeply satisfying. Every time you made him start over Jared and Misha would laugh hysterically behind you. Both of them thought that Jensen was getting exactly what he deserved. Jensen had obviously met his match.

"This whole house had got to be shaken.'."

"Wrong. Do it again."

"This whole house had got to be shaken.'."

"Wrong. Do it again."

"This whole house had got to be shaken’."

"Wrong. Do it again."

"This whole house had got to be shaken'."

"Wrong. Do it again."

This time Jensen had all he could take.

"What is your fucking problem you bitch," he yelled into the microphone, and the whole room fell silent as the two of you stared at each other. Jensen was on his feet breathing heavily. His voice was slightly hoarse from trying to hit the same note over and over again. Still, he was slightly off every time, and you had every intention to make him do it until he got it right. The miss was so subtle that you would have to be listening to really hear it, most people wouldn’t have even caught it, and that's what made it fun for you. You were gonna make this ass hole lose his shit. Just like he was trying to do you. You were going to beat him in his own game.

You reached over and turned the speaker back on, staring at him, not even blinking. Everyone in the room was holding their breath.

"You keep hitting the wrong note. You are gonna do it until you get it right. Now... Again..."

You stare at him coldly, and he looked at you like if you were a man he'd hit you. Misha started to snicker under his breath behind you, leaning over he whispered to Jared, "I like this one."

You try to hide the smirk that threatens to play at your lips.

Jensen put his guitar back on his shoulder and began to strum the chorus again. Looking at you with a shit-eating grin on his face this time, which confused you a little. Was he enjoying this? Damn that man was gorgeous. Too bad he was a dick.

"This whole house had got to be shaken',"

That time he hit it. He even realized when he hit it. The look of shock sat on everyone in the room's face. He finished out the chorus and you came back on the mic.

He was standing there staring at you. A hard, yet mischievous look on his face. Something in his eyes lighting up for the first time since you met him.

"That's a wrap," you say over the spacker, turning to Justin and Steve who were both grinning at you too.

"Shut it down. That's enough for today," with that, you grabbed your stuff, hugged Misha who was laughing uncontrollably at the look on Jensen's face as you hugged Jared too; then left for the day more than a little proud of yourself.

This man, he does something to you. Something you don't quite understand. He pulls a side of you out that you never knew was there, but you kinda like it. If you were being honest. You had forgotten what it felt like to stand up against something on your own two feet.

Ever since you moved back to Austin after the death of both your parents, you had lost your fight somehow, and you hadn’t even realized it. Jensen seemed to be pulling that fight out of you, even if he didn’t mean to do it, or realize that he was doing it.

You needed this challenge, and you sure as fuck weren’ going to let him win.

--------------------------------------------------------------------------------------------------

Tag List:

@deanwanddamons @imabitch4jensen @rvgrsbrns @bi-danvers0 @onethirstyunicorn @i-love-superhero @akshi8278 @alanegaming @magssteenkamp @lemondropirwin

Series Tag List:

@idksupernatural

@fuzzycloudsz

@supernatural-bellawinchester

@magssteenkamp

@vicmc624

@imaginationisgrowth

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charaznablescanontoyota · 3 years

Note

if rai gets to ask about luis i would like to know. your thoughts on declan suzanne? also if you have any about sebastian telephone

i certainly do have thoughts about Both of them (seb much more recently so my thoughts on him might be slightly half baked)

DECLAN

favorite thing about them

the first time i read up on declan’s lore i was really tickled by the idea of him as just a mostly normal guy who is trying his best but always gets it wrong somehow or who always manages to be at the wrong place at the wrong time. i love declan as a civil servant who doesn’t really have a life outside of firefighting and blaseball and just sits around playing minecraft or wandering in and out of other peoples’ dumpster fire situations. declan is definitely the most grounded character in the tillmikelan trio for me because he’s just. a guy i have probably seen at the mall. i think he’s neat.

least favorite thing about them

please become less irony poisoned and learn to accept the rewards of being loved

favorite moment

declan having the hitting streak record from s4 all the way through s11 like what the fuck is that about

also the fact that in one of the ffs games like 3 in-game days after tillman died declan suddenly started playing his little heart out and batted in 3 runs + scored on a sacrifice. i think one of those runs was on a tilly triple, too

brOTP

declan and any of the ffs probably..........i like declan and lou being friends. i feel like waalkrr has drawn declan and tosser a few times and i enjoy them being weird gremlins together

OTP

i mean, tillmikelan, but i’m also sort of partial to mikelan as their own unit of two regular-ass guys teaching each other about the mortifying ordeal of being known.

nOTP

i dunno! maybe like. declan and any of the ffs bc i only see them as having like found family sibling relationships

random headcanon

i think that after tillman dies declan has a moment of like ‘oh i think i fucked up really bad by letting tillman enable me becoming emotionally aloof to like everything else in my life’ and he gradually has to reach out to people and rebuild some connections he let shrivel up

unpopular opinion

probably that i think deeply about mikelan more than tilldec at this point lol

song i associate with them

passing through a screen door

favorite picture of them

any of waalkrr’s declans..........sleepy cereal declan especially

SEBASTIAN

favorite thing about them

i LOVE fraught sibling relationships (i’m an only child so i could not even tell you why lmao). seb very much plays to my love of that in being an overlooked twin sibling of one of the most powerful and popular players in the entire league. i love that his story is basically a footnote to jess’s and just like a quiet tragedy playing out in the background

least favorite thing about them

hmmmm i wish more people would characterize him as more than shy/cute baby brother. give that boy some depth.

favorite moment

i thought him being incinerated a second time was hysterical i’m sorry everyone

brOTP

seb and any of the steaks!! i fully believe that the steaks adopted that boy

OTP

i already pitched seb/derrick in the one of these i did for derrick so i won’t retread except to say it’s very good. i like seb/derrick/mike and seb/mike too for similar reasons (and seb/dom/derrick where dom is trying to Oldest Sibling everyone into getting their act together and seb has Youngest Child syndrome and derrick is an only child just trying to live his life). the crabitat has also made me think very deeply about seb/stevenson monstera in that they’re both overlooked younger brothers who a lot of people don’t really know much about

nOTP

idk

random headcanon

he has a great sense of humor! i think it’s really dry and a little morbid and it catches a lot of people off guard

unpopular opinion

gonna copy waveridden here and say that he is by no means a main character of blaseball lol. but it’s ok i still love him.

song i associate with them

brother of the mayor of bridgewater

favorite picture of them

very partial to null team hoodie seb

#blaseball #socksmaybe

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palmett-hoes · 4 years

Text

since the first step in achieving your goals is to state them aloud, here's a list of aftg fics/ au s that i'd like to write some day

- pre-canon fic from aaron's perspective spanning the twins' first meeting till they're drafted by the foxes and graduate high school. i'm increasingly enamored with aaron as a character as well as with an outside perspective of andrew's actions and i think it would be very interesting to look at the foundation on which their fraught relationship is built and first developed

- even more pre-canon fic. andrew's early life in foster care. yes, we all know about the most... gruesome things that were done to him, but i believe that there is plenty more that has affected and shaped him, especially in relation to my interpretation of andrew as an autistic poc. this would not be a happy fic.

- anastasia au. neil as anya, andrew as dimitri. possibly a plot amalgamation from both the animated movie and the stage show, with changes as i see fit. (no, neil is not the prince of russia). what i find most compelling about this au is the story of neil and andrew as childhood friends and then the angst of having andrew, as an adult, teaching an amnesiac neil how to act like a noble while being convinced that neil is an imposter. good shit

- art school/dance club au. the foxes attend the palmetto school of art at prestigious edgar allen university. they're considered the school's charity cases, and they are NOT friends. andrew is a studio arts major with a concentration in sculpture who works in the campus coffee shop in the mornings and frequents night clubs that employ pretty boys in the evenings. neil is attending college completely on his father's dime, PROVIDED he study what his father wants, despite his desire to study dance and music. going crazy without an outlet, neil takes a secret job as a go-go dancer. look. this may slightly possibly be a result of me having planned to party hardy this summer, then having my plans ruined by the virus :c

- 1950s High School au. the 1950s aesthetics fucking rock even though the 1950s fucking sucked. kinda wanna tackle both. plus, andrew already has that james dean bad boy fast car appeal

- an exploration of mary and nathan's relationship and history. i get that neil's parents are both super taboo and both really really awful people, but i have questions and i want to answer them

- neil never returns from baltimore. in order to keep his deals, permanently, andrew kills riko and tetsugi, and gets over 20 years in prison. when he gets out, he just wants to be alone, but it seems there's a ghost haunting him. this was conceived for MAXIMUM angst, no getting around it. i got the idea from a badacts fic and it has haunted me ever since

- post-canon sexuality exploration fic. i have a real passion for quality sex education and healthy experimentation, and neil very clearly didn't get the chance for either. yet at the end of the books he finds himself in a very intense sexual relationship. i just really want to give him the opportunity to find out how desire works for him and what he likes, on his own terms. i read a lot of fics where neil's desires seem to be completely dependent on andrew's initiaton, and while i do believe that andrew is the only person neil is attracted to and will ever be attracted to, i also want to explore how his sexuality manifests on its own. the vibe i'm going for is, uh, HornySweet (tm), but also with a lot of genuine eductional material. i want this is to be something that offers real information to its readers that may have been inaccessible for a lot of people, on topics like like sexual hygiene, maturbation, and sex toys in a non-fetishy way. this will be very very E rated, but like,, in a very earnest and goofy way because sex and sexuality is neat and cool but it's also not all serious perfect fucking. it's just,, a topic that deserves to be DISCUSSED

- mobster au. andrew, having never met aaron, takes a job for the moriyamas to track down a runaway asset. Neil. upon completion, they make andrew the butcher's apprentice, and pull neil back into the fold as a commodity rather than a person. lots of violence, lots of shady underground dealings, lots of plotting, lots of secrets.

i'm gonna put some more under the cut, ones that i don't feel as strong a drive towards right now or that i haven't thought as much about. if you (yes, YOU) like any of these, or are interested in any of these, or wanna hear more about any of these, or are even inspired to write something yourself by any of these please, PLEASE, say something in the notes, or send me a message, or an ask or anything. ANYTHING. i am stuck inside, all the time, and i am so, so lonely. i answer from hoob-gooblin

- princess bride au. come ON. princess bride is one of the most romantic AND most snarky movies of all time, and andreil literally invented love and devotion sooooooo it's a perfect match. "yes or no" vs "as you wish" kings of consent and communication and unconventional love declarations. also,, he may not be how I imagine andrew, but a young cary elwes in dramatic black pirate getup is DEFINITELY a valid andrew

- hozier au. sometimes,, i listen to an album, and imagine a fic that encompases the whole thing. nothing speaks louder to me than hozier's discography. (also, yes, i am gay). maybe a little bit inside llewyn davis. neil wanders through a small town and takes up some small jobs, but sings his heart out through twisted metaphors once a week in a hole in the wall bar staffed by a very short, dead eyed veteran

- prince and the pauper au. on a stealth recon mission in enemy territory, andrew encounters a local lord who happens to have his face. in a moment of desperation to save himself from arrest, andrew knocks the lord out and assumes his identity. he returns to the castle just in time for prince moriyama to arrive with a shifty-eyed, red-headed handservant in tow. lord aaron of columbia, meanwhile, wakes up on a ship manned by crown traitor and fugitive kevin day, calling him by a name he's never heard before, and then he's in the hands of the guerilla rebel forces that have been attacking the kingdom. i watched barbie princess and the pauper as a child and that movie fucking slaps

- little mermaid/beauty and the beast/bride of the rose beast/ladyhawke au. in a last ditch attempt to escape his father, neil trades his voice and his tail for legs and washes ashore on a small kingdom with horrible secrets. because he cannot speak, read or write, prince aaron employs neil to serve the monster in the catacombs, the prince's twin brother. the twins are under a curse that turns them into terrifying monsters, andrew by day and aaron by night. aaron's affliction is a secret, as is andrew's humanity. this is such a hodgepodge idea lol. did neil also have to be a mermaid for this to work? no. is he? hell yeah

- new york private school/twin swap au. aaron wins a scholarship to a prestigious school that will guarantee him a future, but then he relapses. convinced he just needs a little more time to get clean, he makes a deal with his volatile new brother, andrew, to stand in for him at the school just until he can his shit together. neil and ichirou moriyama have been raised together their entire lives, always under the knowledge that ichirou will inherit the family empire with nathaniel as his right hand. they hate the idea, but they have no way to escape, and now neil is being harassed by ichirou's bitchass estranged brother at their stupid, fancy private school. LISTEN, we as a fandom do NOT take enough advantage of the twin swap possibilities presented to us. pathetic

- post-canon fic where ichirou, realizing that the life of a mob boss is a lonely one, decides that he needs... a friend. however, because of the nature of his work, he can't just make friends with anyone, so he decides to make friends with neil. without consulting neil first. cue a lot of very weird, very awkward coffee dates where neil is convinced he's about to be disposed of, and ichirou just wants to know about his cats. the thing i like about ichirou is he’s a complete blank slate. i can make him a good guy, a bad guy, an ally, the Big Bad

- Kill Bill au. mary survives a bullet to the head and wakes up from a coma over a year later. with nothing left to lose, she sets out to single-handedly dismantle the wesninski circle. good thing she used to be its top assassin

- single dad andrew au. except look, look, stay with me here, okay, aaron is his son, and he's adopted nicky and kevin. LISTEN. STAY WITH ME. JUST THINK ABOUT IT. tbh the idea comes from my interpretation of the andrew/neil/kevin dynamic as distincly parental, then extending that interpretation to andrew's protection over the rest of his family.

- fashion au. andrew is a fashion designer and photographer who frequently works with allison reynolds. one day she brings around a short, twitchy assistant who looks like she just plucked him out of an alley. somehow, he becomes andrew's muse. i watch a lot of fashion competition shows

- ghibli. either howl's moving castle (andrew as sophie, neil as howl) or spirited away (?). maybe both idk

- legally blonde au. legally blonde is so good guys

#aftg #fic #fic ideas #aftg fic #the foxes #neil josten #andrew minyard #andreil

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pumpkinpaix · 5 years

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hi again! previous anon here, just remembered a question. there's something that's been nagging at me about the show's lan parents storyline — LXC tells WWX that story about his parents and it seems like it's meant as a parallel for LWJ and WWX. But the Lan parents thing sounded like a super toxic/unhealthy relationship? like their mom was literally being kept against her will... maybe i'm just missing the nuance for the parallel? would love to hear your thoughts on this!

(ask con’t, sorry it’s long) i’ve just gotten out of a bad relationship not too long ago and gets really leery of cdramas portraying control as love (ie one love interest preventing the other from leaving, or clear power imbalances as with period dramas). i really don’t think that’s what’s happening here but got kind of uncomfortable too at the “i want to bring someone back to gusu/hide them away” line LWJ had earlier. might you have an alternate interpretation? i’m almost sure i’m misreading!

So a couple things first: thank you so much for asking me this question because my thoughts about the untamed/mdzs have been so much and turbulent that having a specific thing to focus on is really helpful, AND it’s also really flattering that you think I??? would have worthwhile thoughts???? about this really complicated thing.

Second: I want to make sure to say that no matter how strongly I feel about my interpretation, no matter how long I spend composing this response, you are not obligated to change how you feel. If that line still bothers you, it still bothers you. Our experiences are different! And it’s okay! That being said, haha, buckle up I guess, because WOW do I have a lot of things to say.

Spoilers up through episode 43, obviously, with allusions to the novel. I will try to keep any details about things that happen post-43 vague.

Let’s begin with this moment:

“Was he right to do this?” || “I don’t know.”

[id: image 1 is a screenshot of lan xichen asking “was he right to do this” and image 2 is a screenshot of wei wuxian responding “i don’t know” from episode 43 of the untamed /end id]

I think we need to think about how to answer this question before we can answer your question: how can we interpret the relationship between lan wangji and lan xichen’s parents? Was it moral? Was it okay? Was it right? This is clearly a question that lan xichen has been wrestling with his whole life. And from this scene, I think that he’s made his peace with the fact that it’s always going to be a question for him, not because the inherent morality is unclear, but because of the emotional subjectivity he’s always going to hold for it. He doesn’t expect wei wuxian to have an answer because he doesn’t have an answer himself.

Something that I remember from the novel that doesn’t make it into this scene, though, is what wei wuxian says after lan xichen asks, “can you understand why my father acted this way?” and he nods, is the explanation he gives: he hated the person who had murdered his mentor, but he also loved her so much he couldn’t bear to see her destroyed. Unable to live with himself, he married her, swore to protect her, and then imprisoned her for the rest of her life. Tormented by his contradictions, he then locked himself away as well. lan xichen agrees.

lan wangji and lan xichen were raised without their parents—largely, they were raised by their upright uncle, who, due to his brother’s behavior, took up the responsibilities of sect leader and parent at the same time. (It’s really no wonder that lan qiren has such a vicious dislike for wei wuxian: he loves lan wangji so much, and he’s so afraid to watch the child he raised repeat history. Beyond that, I think it’s pretty safe to say that lan qiren probably harbors not insignificant resentment towards his brother for the harm he did to both his children and to lan qiren himself.) Lan qiren is not married and as far as we know, never has any romantic entanglements after he begins raising the lan brothers. So where does that leave lan wangji and lan xichen in terms of models for romance? All they have is the fraught relationship between their parents.

lan wangji is not good with words. He expresses himself primarily through action, which we see time and time again. When lan wangji says to lan xichen, “there’s someone I want to take back to the cloud recesses. take them back and hide them away,” I think he’s trying to explain (with words) his feelings for wei wuxian in the only way he knows how: by making a reference to the only romantic relationship to which he and lan xichen were firsthand witnesses. lan xichen canonically understands wangji better than pretty much everyone: he sees straight through him at Biling lake when he invites wei wuxian and jiang cheng along to hunt the water spirits because he knows lan wangji wants wei wuxian to come. He asks if he wants loquats even when wangji refuses them. So when lan wangji says that, lan xichen first repeats the statement carefully to make sure he understands what’s at stake, and then he says something very crucial: “you only fear that he isn’t willing”.

I think this says a lot— specifically, that both lan xichen and lan wangji understand firsthand the pain their father caused and what exactly was wrong about it. I think what lan wangji is saying between the lines is, “I’m in love with someone. I want to take them home with me. I want to hide them away from the world to protect them. I fear this makes me like our father, whose love led him to do such terrible things to our mother, and by extension, to us and our uncle. I can’t repeat his mistakes.” And lan xichen, understanding all of that, gets to the heart of lan wangji’s inner conflict: wei wuxian is not willing, and lan wangji refuses to follow in his father’s footsteps, no matter how tormented he feels about the person he loves, no matter how much he wants to.

Every time lan wangji tries and fails to get wei wuxian to return with him to gusu, it’s with the intention of trying to help him, trying to protect him from the other sects, trying to pull him back before he does something unforgivable, much like his father’s motivations for bringing his mother back to gusu (“he swore that this was his beloved wife and that anyone who wished to hurt her [for her crimes] would have to go through him”), but unlike his father, lan wangji never forces wei wuxian to do anything. He never keeps him locked up, never forcibly kidnaps him. Not only that, but lan wangji is also willing to fight wei wuxian when he believes that wei wuxian is doing something inadmissible: heis the only one to stand against his initial forays into demonic cultivation, and physically confronts him on the roof at the nightless city. Would he have actually followed through on killing him, had things gone differently? Maybe, maybe not, but at the very least, it shows that he, unlike his father, was willing to try to destroy the person he loved when he crossed the line.

Anon, you’re right that there’s a parallel between the lan parents and wangxian, but I think the key is how they parallel each other. Lan wangji doesn’t repeat his father’s mistakes. When he finally does bring wei wuxian back to gusu and hide him away to protect him, wei wuxian is not there against his will, and, I think also importantly, lan wangji is with him. It’s no accident that lan wangji’s residence is the jingshi, the place his mother was imprisoned for his whole life, and it’s no accident that he brings wei wuxian there. But lan wangji doesn’t lock him there and abandon him like his father did with his mother: he’s there with him the whole time. Lan wangji, when all is said and done, is finally ready to stand by wei wuxian in spite of everything he did, unlike his father, who couldn’t do so with his wife: couldn’t destroy her, couldn’t stand with her. lan wangji makes his choice. “I regretted that I couldn’t stand with you at the nightless city.” The parallel is one that emphasizes contrast in spite of similarity.

All this ties vaguely into bigger themes present within the story, particularly the tensions between freedom/restriction and parents/children. These are like, two whole other essays haha, so I won’t get too deep into the weeds (unless you or anyone else wants to ask me!!! bc, anon, believe me, I would BE WILLING!!!) but:

1. lan wangji and wei wuxian are fundamentally very similar people, even if their personalities are not. They have incredibly strong moral compasses and want nothing more than to be righteous and to live with clear consciences about their choices. The difference is in how they go about that. wei wuxian chafes under rules, breaks them when he finds them unjust or unimportant, and thinks that he doesn’t deserve to be punished. When lan wangji finds that his moral compass conflicts with the rules he chooses to live by, he prioritizes his own sense of justice, much like wei wuxian, but he also accepts the punishments that are given to him without complaint. wei wuxian cherishes freedom over all while lan wangji lives under strict regulation, but the point is that they both take it too far. wei wuxian is righteous to the point of arrogance, flaunts his peers’ judgments and warnings to his eventual downfall. lan wangji, after doing what he thinks is right, allows himself to be punished without protest so severely he’s bedridden and imprisoned for three years. I would say neither of these approaches is… ideal, and I think that’s part of why wangxian feels so profound. They temper each other’s worst weaknesses. (rereading this, i’m not sure i’m 100% behind everything I just said lol, but again, an essay for another time)

2. Like lan wangji is paralleled with his father, wei wuxian is paralleled with his mother, zangse-sanren: free-spirited, mischievous, and ultimately meeting a tragic end for the choices she made out of that desire for freedom. He too is able to eventually escape his mother’s fate, just as lan wangji escapes his father’s. The parallels between parent and child are strong for almost all the mains, though not all of them manage to free themselves and achieve some measure of happiness, and this in itself relates to the even bigger questions of what matters more: your heritage, or your actions? Your heritage, or your upbringing? What can you do to avoid making the same mistakes as your predecessors?

I’ve already talked about this wrt wei wuxian and lan wangji, but the same goes for characters like jiang cheng, jin zixuan, wen qing, wen ning, mianmian, jin guangyao, su she, nie huaisang, jin ling, lan sizhui, ouyang zizhen, xiao xingchen, song lan, xue yang etc. like the list is endless. Part of why mdzs/the untamed is so heartwrenching is watching history repeat itself while the protagonists, who are also acutely aware, are nearly powerless to stop it. The juniors end up being the breaking from all that: willing to defy their parents, make their own decisions about right and wrong, recognize that a person’s actions should speak louder than the rumors that run on their account.

tl;dr: the lan parents’ relationship is toxic and hurtful to everyone around them. wangxian absolutely parallels it, but in a way that highlights how they differ from their predecessors, tying into larger thematic issues of the story.

eek that was almost 2k words yikes!! I hope my enthusiastic rambling helped you see that “take them back, hide them away” line in a different light haha, but I want to say again: you’re not obligated to take my interpretation as fact, and you also don’t have to think everything about wangxian is perfect to still like it. We all consume and like imperfect stories! I totally get your feelings on weird power dynamics/inequalities in relationships because… it’s abusive? it’s terrible? It hurts to see?? esp given what you said about your own experience, like yeah, for sure!!! but for me? when lan wangji says, “I want to take someone back to the cloud recesses—take them back, hide them away”, it reads as a really powerful, self-aware expression of what it means for someone like him to fall in love.

EDIT 16 APR 2020: I find myself only agreeing with ~85% of this after many months of reflection. /o\ *hides face* leaving it as-is because it’s what I wrote at the time, but! you know. I have changed some of my views.

#the untamed #mdzs #mo dao zu shi #wangxian #陈情令 #魔道祖师 #meta #mine #anonymous #asks and replies #this is so long i'm so sorry!!!#this is also an open invitation for everyone to come talk to me about the untamed/mdzs #please #let me put my literary and film analysis training to any use at all please #mymeta

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