#it doesn’t work imo. but the way they approach religion feels like it was written by someone who is not religious and doesn’t rly understand

[j-esbian]

i feel like there is so much to be said about drizzt do’urden’s religious views and how he’s a stand-in for culturally christian atheists. he grew up in a corrupt religious society and has religious trauma, so as a result he views all religion as bad. at first it seems like he’s going to have a “pagan finds jesus” story but he eventually rejects mielikki too, and imo, it always felt out of character that he followed her in the first place so i wasn’t surprised when he changed his mind. he was looking for a name to label his preexisting system of ideals, which feels very much like christians who claim “all that matters is that you live by the bible and live in a godly manner”. many religions are about teachings and traditions as much as they are about “just being a good person and following god’s vibes” (which i feel like is INCREDIBLY standard in american protestantism)

i think a lot of it comes down to the fact that the forgotten realms (and a lot of fantasy tbh) treats the gods as just Very Powerful People instead of the forces of nature personified (and again this is to be expected from a christian culture, where jesus was Just A Guy)

[thevelominati]

Vengeance of the Moon Knight

Some written thoughts now, actually...

I was a little wary that Reese jumping into therapy with Andrea would feel a little contrived – it worked for Marc for obvious reasons, and as much as I’ve enjoyed Andrea as a character and how good she was for Marc, repeating her for Reese didn’t feel like it was going to be the most interesting move. I’m glad that’s not quite what it turned out to be come the end of the issue though, so Mackay’s once again proving himself as a thoroughly competent writer and I really need to stop kneejerk worrying about the directions he occasionally chooses to head in.

Aside: Reese still looks fucking awesome in the suit.

“Marc had two gods, neither of whom he was on good terms with.”

It’s a simple line, but I do appreciate it. I’ve said it before, but I’ve really enjoyed how Mackay has tried to pull through the battle with religion and identity (and Judaism/his upbringing) that was so present in the 80s run to the present, because it did feel like a lot of the 90s/00s dropped that in favour of specifically focusing on Marc’s issues and relationship with Khonshu which – yeah, interesting and dynamic, but it’s most interesting when you consider what it’s played off against. He’s not just a man with dubious mental health and dubious trauma processing skills who’s the avatar of an Egyptian god, he’s a Jewish man with all of the above and a contentious relationship with every god (and father…) figure he encounters!

Ben Grimm is so good, I love him. I love the fact that Jake played poker with him and Ben insisted on remaining a connection with Judaism for Moon Knight as a whole, regardless of Marc’s … everything.

I am interested in what kind of conversations Marc had about funerals/his death he did actually have with anyone else in the Mission though. How did it come up? Why did it come up? Did Reese and co strongarm him into having a discussion about ‘so, what the fuck actually happens if you die?’ because I’m not sure I can really buy him sitting down and having that conversation of his own free will.

I wondered if we were going to see Marlene and Diatrice, or Frenchie and co, but them not knowing Marc’s dead (unless it’s covered in the news and they find out that way, I guess) and no-one at the Mission having a way to get in touch with any of them makes sense. The only characters it doesn’t mentally make sense for IMO is Gena and Crawley – I can buy both of them (more Gena than Crawley) not wanting anything more to do with Marc and everything he brings into their lives, but I don’t think either of them would have moved away from NYC in the same way Marlene and Frenchie have evidently done so.

I do find it interesting to note that Marc apparently did speak about JP and the rest of them a little bit though, given the comment about “any of the old crew”.

I feel like there are probably some interesting thoughts to be had on how Marc viewed being MK as his debt, duty, and everything about his life, whilst Reese is very much ‘I’ve got a lot of (un)life ahead of me, this isn’t going to be what I do forever’ about it. Where Sterman expresses concern about how Reese is processing or not her grief, it feels like this is quite an IC way for Reese to process her grief.

Tigra! My beloved! I love the contrast between Reese and Tigra (also, Tigra’s arms, unf) and the reminder that Tigra can be very brutal herself. There’s a reason why Marc and Greer have always gotten along, after all! I also really appreciate how whilst Reese’s approach at this point is to try and reflect the way that Marc was, to an extent, trying to run the Midnight Mission, she’s not aware of how much Marc didn’t let her see his brutality and questionable methodology. She’s not necessarily got any illusions about the type of person Marc was, but she didn’t get the same type of exposure to how fucked up he could be and the amount of blood he could be willing to spill.

Which kind of brings us to her not recognising the ~~new Moon Knight. I am really excited for the potential of came back wrong! Marc and what that’ll mean for the Mission, but I don’t want to wait until Feb 14th…

(Also poor 8-Ball. Everyone forgets about him. Don’t worry Jeff, we love you…)

[sneakyneighboururchin]

Genuinely asking here bc maybe I've missed/forgotten some stuff but... when homo- and transphobic stuff is said in DA, it's addressed in game as being bad, isn't it? Like Dorian's first personal quest is about his dad acknowleding his homophobia and apologizing to Dorian. And with Krem, Krem and Bull both correct the Inquisitor pretty sternly if you misgender him, and Bull explains how gender identity is respected under the Qun. Not trying to fight you on this, nor do I think DA is by any means perfect, I just don't recall seeing homophobia or transphobia that isn't quickly shut down by the player or other characters. Don't feel pressured to answer tho, I know it's not your job to pull receipts for every shitty thing in a video game lol

Well first off thanks for being so polite and nice in this message, I appreciate it. I'm gonna try and cover the stuff that I've seen myself and have had pointed out to me by other people but keep in mind that I'm not trans, most of what I'll say here on the transphobia issue is me parroting other trans fans who've said this sort of thing before. I am gay though, so I guess we're clear on that front. It's also been a while since i played any of the games so if i get stuff wrong, I'm sorry. This is gonna be long so sorry for that in advance.

So homophobia and transphobia in our world. Why is it a thing? A combination of humanity hating and fearing what it doesn't understand (which Dragon Age also has) and religion, specifically in my experience Christianity (which Dragon Age does not have). Yes the Chantry and Andrastianism is heavily based off of Christianity and Catholicism but it doesn't have any of the bullshit about sexuality and gender that Christianity does. Neither in it's holy texts or it's teachings. The in universe writing about sexuality, a codex by Brother Genitivi, is also kinda homophobic and doesn't explain why this is a thing in Thedas at all. Queer relations and relationships are aparently viewed by most of Southern Thedas as 'peculiar' but no explanation is given as to why. Now I'm gonna go into specific instances. 

First off, let's look at some of the stuff you've mentioned. Dorian and his dad. Yeah that whole situation hit me pretty close to home as a queer person who's pretty much accepted at this point that my dad will never accept who I am and my mother died still not having accepted me. What Halward did is definitely portrayed as a bad thing, that is correct. The narrative kind of subtly pushing the reconciliation being the good option is a bit iffy. What Halward tried to do to Dorian is straight up abuse and I really don't like plotlines that push making nice with the abuser and forgiving them as a good resolution. This is kind of more personal feelings than straight from the script fact but I wanted to say it anyway. 

Second issue: Krem's treatment. So many trans people have talked about this before me, if you want some more in depth analysis of this you should go check out some of their stuff, it won't be hard to find. The basics though: Krem is voiced by a cis woman. This immediately sets a shitty precedent on the side of the devs lending proof to the theory that they don't care about uplifting trans people, just making money off them. Krem should have been voiced by a trans actor. In the actual conversation with Iron Bull you get the opportunity to be extremely transphobic. And if you do this you get told off, and that's kind of it. The fact that your character even has the option to do that is a) gross from an out of character writing perspective, and b) makes no sense in character. Why would your character have these views? There is no in lore reason for any of the potential groups your character comes from to be transphobic. Also, and this is just my opinion, but if you're transphobic to Krem (even though it makes no sense in universe) the Iron Bull's reaction shouldn't be a bit of disapproval, he should send you through the fucking wall. Seems more in character. Also, gender roles under the Qun also have a lot of potential to be transphobic, they are by no means an improvement on ours imo. Under the Qun your gender is essentially decided by your role. So if you're a fighter you're male. If you care for children you're female. Not only is that pretty hella sexist and reliant on our dumb ideas of gender roles (that again aren't supposed to be a thing in Thedas) it also has potential to be hell for trans people. Yes it would work for someone like Krem, but for someone who was AMAB and good at fighting but they were a woman? Being shoved into male gender roles and treated as a man would not be good. If the writer's intent was to create a society with an entirely different concept of and approach to gender they've done it wrong because of how much of it is reliant on the audience's perception of gender which (going by general gaming demographics) is pretty cis and het normative. 

Now I'm gonna talk about the transphobia that doesn't get challenged. Sera makes a couple transphobic comments throughout the game I believe, the one I can remember in detail is in the Winter Palace when she says someone presenting a certain way isn't actually that. And without any further context the only way the audience can really interpret that is that the writers decided to take a cheap shot at someone cross dressing in a bad attempt at comedy. 

Sera's writing in general is super homophobic because she was written by a homophobe. I'm not gonna go into all of that in this cos this is already too long and I could write essays about it. Other people already have! But basically, she's the only out and out lesbian romance we have in the series, and her writing in that respect is really not good. 

So how about the other games? Well. In origins you can hire sex workers at a brothel. The 'special' on offer is a very masc presenting dwarf in a poorly fitting dress. This was a very transphobic attempt at humour. Zevran, much as I love him dearly, is a walking bisexual stereotype, made worse by feeding into the 'sexy Latine' stereotype on top of that, which isn't an in universe problem so much as it is proof that the writers are guilty of prejudices whether they know it or not. I suspect there's more instances in origins but I can't remember right now. 

In Dragon Age 2 Seneschal Bran has a relationship of some kind with a sex worker named Serendipity, a feminine presenting elf with a very deep voice. This is played as something that Bran should be ashamed of. At least I think so, it could be that he's ashamed of having a relationship with a sex worker. Not that far fetched considering Aveline's weaponisation of the word 'whore' against Isabela. But this is also something that doesn't make sense honestly. Why is sex work taboo in thedas? Christianity isn't around to make it so and Andrastianism doesn't have purity culture going except for their clergy ( which also is never explained why and makes no sense.) Additionally, Uncle Gamlen is super homophobic. Why? There is no reason culturally or religiously for him to be that way? Yes he's an asshole but why is he an asshole in that manner? And you don't even get to challenge him on it! It's passive dialogue that you trigger when walking into his house and you don't immediately get the option to fucking fight him about it? Why put it in then?! 

A good amount of this is off topic from the actual question so sorry about that but TLDR there's a lot of in universe homophobia and transphobia, most of it is not handled well in or out of universe. I do believe that they're trying to do better in this respect, inquisition was a step up from previous games it just wasn't enough of one. 

If you want more stuff like this go check out @dalishious cos they have a ton of very good meta on subjects related to this.

[feliciamontagues]

My Ranking of Every Hercule Flambeau Episode (S01-S08)

There are some spoilers for S7 and S8, but they are fairly vague and pretty much the sort of thing that you might see on the official press release. So not true spoilers as such. Also this is totally subjective and the result of my own personal biases. It’s also behind the cut because it’s looooonnng. 

8. The Two Deaths of Hercule Flambeau (s06e10)--

So, this episode is *fine*. It’s hardly the worst episode of the show, but it’s easily the weakest of the Flamby eps, despite their being a few isolated moments I enjoy. (Hercule getting a long overdue bedroom scene for one :P)

My main gripe is with this episode is the uneven way Lisandra Flambeau is written. The script seems to flip-flop over whether we are supposed to find her sympathetic or not.  On one hand,  many scenes imply that she genuinely loves Hercule despite them having a shotgun marriage after only a few days of knowing each other. On the other hand, she does not hesitate for a minute before poisoning an innocent (Fr. B) for no other reason than to hurt Flamby, which makes her lose a lot of sympathy points.

And as a result, it seems to make Flambeau seem like more of arse than normal for betraying her, while somehow also absolving him of responsibility for doing so, because she turns around and does *THAT.*

And ngl, it does make me a little uncomfortable that while the character of Lisandra (as an Italian) is possibly not meant to be interpreted as a POC, the actress portraying her definitely is. (Sara Martins is of Afro-Portuguese descent).  Which makes the uneven characterization (and underwritten-ness) seem even more glaring, especially  when compared to that of the other (white) women in Flambeau’s life (his first love Rebecca and his daughter Marianne, arguably Lady Felicia as well). It just leaves a bad taste in my mouth even if  in all likelihood, the part wasn’t written with Sara Martins in mind.

I think a much more interesting approach to Lisandra would be to have intending to betray Flambeau all along. Maybe she had her own agenda for seducing Flamby, meanwhile he thinks he’s the one using her for his plan. Maybe she does develop some feelings for him along the way, but it only makes her hesitate for a moment before going ahead with her original plan. That way, she keeps her agency and isn’t reduced to the “woman scorned” stereotype while also leaving the writers free to ship Flamby with others in the future without seemingly endorsing guilt-free adultery .

Other random note: I can’t take  parts of this episode seriously because the “Crown of Lombardy” is very obviously Guinevere’s crown from BBC Merlin with no attempt to alter or disguise it. 

7. The Daughter of Autolycus (s04e05)--

Not gonna lie, I am not really a fan of “character has long lost relative that we’ve never heard of until now” plots. And that goes double when said long-lost relative is a child or sibling. As such my low ranking of this episode is partly due to unconscious personal biases against that trope.

That being said, if we had to get a long-lost relative that we’ve never heard of until now plot, I’m so glad we got Marianne--even if it takes her another episode to really live up to her potential. 

I have to knock off a few more points for Nero Hound as a villain. For one thing, he was played by Nancy Carroll’s real-life hubby, but they didn’t let let him interact with Lady F at all. Such a *waste.*  Also Nero Hound is far too similar a name to Nero Wolfe, and I’ve definitely confused them on more than one occasion). He’s also rather generic in my opinion, even compared to some of Flambeau’s other “generic mobster” rivals/associates like the ones in S8.

However, there are some moments in this episode I genuinely like--particularly the theft “imagine spot” and Flambeau’s bishop disguise in general. Plus, the scenes where Flambeau and Marianne appear together are excellent, as are the hints that Marianne will become a redemptive trigger in Flambeau’s life.

6. The Judgement of Man (s03e10)--

Again, the low ranking of this one may be due to personal biases.  In this case, I’m still low-key bitter--five years later-- at the BBC marketing department for baiting me with the idea of Flambeau actually interacting with the rest of the squad (esp romantic tiems with Lady F)  and then giving me the absolute minimum of Felicia/Flambeau flirting and no Flambeau/Sid and Flambeau/Mrs. M interaction.

But there are other reasons why this is in my bottom 3 Flambeau episodes. 

Honestly, I feel like an equally compelling episode about the Vatican’s complicity in Nazi art theft could’ve been made without having to insert Flambeau in it. I mean I suppose it does make sense to have the art thief character  in the art episode, but still I feel like both Flambeau backstory and important historical lesson about Nazis, the Church, and Jewish art suffer from being crammed into the same episode. 

That being said, Mrs. McCarthy’s duchess disguise in this episode cleared my skin, watered my crops, etc, which is why I’ve ranked it higher than the previous two. 

5. The Folly of Jephthah (s08e05)

It loses a few points because I got very exited about the idea of Marianne becoming Bunty’s thief gf cool new friend, and yet in the episode itself, they only shared one scene and didn’t really interact much in it. That being said, I did like like that Bunty and Mrs. M had a bigger role in this episode than the squad usually gets in Flambeau episodes. 

Overall, I feel this episode works a lot better than most of the other “backstory-heavy” Flambeau episodes, because we’ve already gotten the Marianne-related exposition out of the way and can focus more on allowing her character, Flambeau’s and their relationship with each other to develop.

I’m also a bit smug in that I predicted (or at least hoped for) this exact character arc for Marianne within a few weeks of “The Daughter of Autocylus” airing and that my hopes came to fruition so beautifully.

It doesn’t particularly impact the ranking too much, but I do feel like this episode deserves a special shout out, because it has established a (hopefully-continuing!) pattern of Father Brown calling Flamby  almost exclusively by his first name, which is a major significant step in their bromance and deserves recognition as such. 

4. The Blue Cross (s01e10)--

As someone who was first exposed to Father Brown through reading the stories for a college course, I always find it especially interesting to look at the episodes that were adapted from Chesterton. 

This episode is neither the most faithful book-to-show adaptation (which is probably “The Three Tools of Death”) nor is it the best (imo “The Sign of the Broken Sword’) , but it is arguably the most significant. “The Blue Cross” was the first ever Fr. Brown story and is probably the most well-known. It’s also the first real look we get at the character of Flambeau, who (in the stories and arguably the show as well) is probably the closest thing we get to a clear character arc.

The show keeps some of the important elements of the short  story: Flambeau’s clergyman disguise, the switching of the packages. But it also has the challenging task of upping the relatively low stakes of the story, as well as introducing a major recurring character that resembles his book counterpart but remains distinct enough to justify the fairly different direction show canon is taking him. 

The show does this reasonably well--if not particularly imaginatively. I do enjoy some of the touches (I’ve written an entire meta before about Flamby’s reading material on the train and how it relates to his character)--particularly the show’s choice to have Flambeau fixated on religious art specifically (RIP for Flambeau’s Dairy Company though. It will always live in my heart).

Unfortunately in the adaptation, loses a few points for not really using the show-original characters particularly effectively. It loses still more for Flambeau’s characterization in this episode . He comes across as much more  serious and menacing in this episode than in all the others. It works okay when we consider this as a standalone episode but provides some glaring Early Installment Weirdness when we compare it to other episodes. 

3. The Penitent Man (s05e15)--

So as the rest of this list  will testify, I have strong preference for the “fun” Flambeau episodes over the more series ones. This is the exception that proves the rule--the  serious, cerebral, melancholy episode that simply “works” for me in the way that some of the others have not.

A lot of it is due to the more-intense-than-usual Flambeau character focus that goes into this. Sure, we’ve met his (presumably ex-by-now) wife, his daughter, and his first love by this point, but all of those episodes focused primarily on Flambeau as an extension of the relationships with others. (”The Judgement of Man”  in particular is far more Rebecca’s story than Hercule’s.)

Whereas this episode is very definitively focused on Flambeau himself and allows more nuanced exploration of two of the most defining facets of Flambeau’s character:  (1) his fascination with religion--and spiritual salvation in particular--  as  something he seems to resist and crave in near equal measure  (2) his almost masochistic streak of recklessness.

Even though Flambeau’s supposed “piety” is revealed to be all part of his heist plan, there are strong hints that his desire for redemption and atonement are at least somewhat genuine, even if he is not  ready to pursue them just yet. 

Off topic, but a few random things of note in this episode: this episode all-but-confirms bi!Flambeau, wet!Flambeau at the end is extremely relevant to my interests, Father Brown attempts to smuggle Flamby a lock pick from the beginning and has the audacity to say “ I only use it when I get locked out of the presbytery.”

Also, it has this iconic exchange:

Goodfellow: What is that awful smell?

Father Brown (covered in sewage): It’s me

2. The Honorable Thief (S07e10)-- So nearly all of the Flambeau-centered episodes from S3 on  have been a little preoccupied with filling in some of the gaps in Flambeau’s backstory, which is *fine*, but honestly, I feel like in doing so, they’ve really lost sight of why we fell in love with the character in the first place. 

 He’s vibrant and clever and funny and over-the-top. But most importantly, Flambeau is a lot of fun. Therefore, it follows that episodes that feature him should be a lot of fun too. 

And well... they are all fun in some way,  but they aren’t as fun as they really could be. John Light is insanely charismatic, but charisma can only go so far when the episode in question is a downer.

Fortunately, this episode is the furthest thing from a downer imaginable. It’s absolutely delightful from start to finish. The plot is serious enough to keep things engaging, but also light enough to keep us from getting too distracted by angst. 

I’m also incredibly biased in favor of this episode, because it finally gave me the Felicia/Flambeau ship tease I’d been passionately hoping for (if not really expecting to get after “The Judgement of Man” disappointed me). But it was so much and so good, and I wasn’t ready for it.

In a broader sense though, this episode really delivered with Flambeau/squad interaction in general--which was a key component that has been missing from most of the other episodes. And the Father Brown & Flambeau interactions were also has heartwarming and funny as they always are.

If I have one tiny little gripe with the episode, it’s that Daniel is not Sid. He has enough broad similarities with Sid that I can’t help but wonder if the episode was originally written with Sid and then hastily re-written when Alex Price couldn’t return. That being said, he was a likable enough guest character in his own right, and I wouldn’t mind seeing him again.

1.  The Mysteries of the Rosary (S02e05)-- Perfection. Not only is this THE definitive Flambeau episode, but is also one of the best episodes of the show overall. It has everything: the birth of bearded Flamby, bromantic road trips, a treasure hunt, great guest turns from Anton Lesser and Sylvestra Le Touzel.

I think part of the reason this episode resonates so strongly with me is that it’s really the first proper sense that we get of Show!Flambeau as a character. Sure we officially met him in “The Blue Cross,” but considering he didn’t show up until halfway through the episode and was in disguise for most of it, we didn’t really get much of a sense of who he is.

This episode changes all that and sets Flambeau up as the character we will know and love for the rest of the series--charming, urbane, funny, passionate, a carefree carpe diem exterior masking (or overcompensating for?) a sense of uncertainty and conflictedness.

Somewhat off topic, but as great an episode as this is for Flambeau’s character, it is nearly as wonderful for both Sid and Father Brown’s characters. We get to see Sid’s  ease with Father Brown, the casual camraderie that the two of them have--as well as Sid’s protectiveness (and jealousy) when Flambeau decides to gatecrash their bromantic road trip. 

Honestly, there are so many things that are great about this episode that I don’t think I could possibly list them--but one little detail that really struck my the last time I watched was that the first proper glimpse we see of Flambeau in this episode (we see him in shadow in a flashback before) involves him  saving Father Brown’s life.  Whereas the last proper glimpse we see of Flambeau is after Father Brown has saved Flambeau’s life.  Thematic reversals. Cinematic parallels. We love to see it.