#next time you wanna copy/argue with my meta just do it on the actual post so I can argue back

[notyourdaisybuchanan]

I just think it's special that Rooster and Hangman have kind of equal and parallel journeys in terms of character + flying development over the course of the film. What I mean is that their big individual triumphant moments in the narrative use their piloting choices to reflect emotional development. The film shows us from the start that they each have a Big Flaw--and the finale shows them overcoming these flaws.

Not only that, but the narrative uses their dynamic to introduce these individual shortcomings to us, the audience. Their first on screen conversation with each other is how we learn about their Big Flaws in the first place. Because of their relationship and the way they interact, we know how Rooster and Hangman are going to fly before we ever see them in the air.

For Rooster, it's "snug on that perch, waiting for just the right moment...that never comes.” We hear this over and over again, from both Hangman and Maverick–"Now you got it, don't think, just do." "Rooster, you got him, drop down and take the shot!" "Too late, had your chance.” "...same old Rooster." "You're not. flying. fast enough. You don't have a second to waste." This is Rooster’s Big Flaw–he doesn’t trust himself. He flies too slow, and he’s too careful, too hesitant in moments when he needs to believe in his abilities and let instinct take over. This is what Maverick and Hangman are trying to pound into his head the whoooole time. 

And then he’s on the mission, and Fanboy’s laser doesn’t work. And instead of waiting, well: "There's no time, I'm dropping blind." "Bullseye bullseye bullseye!"

This moment is HUGE for him. Fanboy is literally telling him to wait so he can line it up, and maybe a prior Rooster would have done that, but this Rooster has finally learned that he gets one chance and he has to take the shot that's in front of him. [Cue Hangman cheering.] The decision he makes as a pilot in this moment shows that he's learned what Maverick and Hangman were trying to teach him and that he's grown emotionally. He's more sure of himself now–he was always capable of taking the shot, but now he actually trusts himself to do it.

And then we have Hangman, Bagman, Mr. "Where's he going?" "That's why we call him Hangman, he'll always hang you out to dry." "Leaving your wingman, there's a strategy I haven't seen in a while." He's not a good team player; he flies solo both literally and metaphorically. We hear this over and over again, especially from Rooster–"Watch your back, Phoenix." "You put your team in danger and your wingman's dead." Hangman’s response? “They couldn't keep up." (And I can't stop thinking about "Hangman, the only place you'll lead anyone is an early grave." There's so much history there, and so much belief from Rooster that Hangman is Not a person to depend on in a moment of crisis.)

But then, Hangman’s ultimate moment of triumph is that he refuses to leave Maverick and Rooster hanging, that he is the one person who has their backs in a moment of crisis. We see exactly how concerned he is while waiting on the carrier, and we see him ASK to go engage in the fight to fly cover for his squad when the bandits aren’t even attacking anyone yet!! Like I could seriously cry about "Dagger spare, request permission to launch and fly air cover." Because he is specifically asking so that Rooster can go back and get Mav, something that we know is completely at odds with his Big Flaw. And then we see him presumably disobey orders to show up and save Maverick and Rooster's lives anyway. He learned from Maverick and Rooster–he's part of a team now, those are his wingmen out there, and he's not leaving them behind. 

So the film uses their big triumphant moments in the air to show Rooster and Hangman overcoming their respective flaws. It’s part of what makes the action of the finale so fucking good, because while yes, it is very satisfying action on its own, it’s also rooted in their character development. We’re not just happy that Rooster made the shot, we’re happy because Rooster making the shot means something about him. We’re happy that Hangman is the one to come through for Rooster and Mav because that means something about him and his growth.

The most iconic part is that the traits they each needed to adopt belonged to the other. Rooster is set up from the start as the pilot who won’t leave his wingman, even when it’s gonna cost him–“Should be us down there.” “But it’s not. And now you know a little something about Rooster.” This is the exact thing Hangman struggles with, and it’s what he overcomes to have his moment of triumph. Meanwhile Hangman is set up as the one who flies by instinct–”Yeah, you’re good, I’ll give you that.” He flies fast, he doesn’t overthink, and above all, he trusts himself as a pilot. This is the exact thing Rooster struggles with, and it’s what he has to overcome to have his moment of triumph. 

The fact that the two of them have parallel arcs like this? The fact that they both learn to be better, more complete pilots by adopting the strength that comes naturally to the other?

I just think that's beautiful.

[insert-cleverurl]

solaine copies her dsmp meta twitter part one

preface: i wrote this on february 13th and am now archiving it over here on tumblr before i get around posting it to the actual archive (of our own). i'd like to clean it up before i go there, becuase i wrote this at like one am lying in bed and typing on my laptop that was sitting on my stomach. it's a lot of rambling. i go on a lot of tangents. it is not the cleanest nor likely most accurate meta you will ever read.

how characters (children) on the smp learn from history rather than repeat it: a thread

aka: stop liking the other one you fucks i opened the wikia so i actually know what happened now /lh

context here is that i had earlier made a much less coherent thread (not that this one is very coherent) with the caveat that i was going entirely off memory

this thread is mainly going over how tommy + tubbo both emulate and turned away from wilbur + schlatt respectively, and how i think that's going to reflect in ranboo's arc

"as long as i can't be the next jschlatt, you can't be the next wilbur." okay we all know this. it's obvious from this point on that both tubbo and tommy saw or had fears of how they were each developing into scarily familiar people - schlatt, a dictator, and wilbur, a madman.

starting with tommy, the parallels between his exile arc and wilbur's pogtopia arc are immediately, and glaringly, obvious. paranoia, trust issues, "maybe i'm actually the bad guy here", and most notably, intense loneliness. wilbur made it obvious he believed pogtopis's allies would all abandon them in the end (them being he and tommy, though how much he trusted tommy by the end is also up in the air), and he was completely prepared to kill anyone he had to in order to secure pogtopia's victory, despite also preparing himself to be the one to end it. wilbur gave up on l'manberg, at the very end. he believed tyranny was all that would ever reign, so he blew it up.

tommy, in his exile arc, was also despairingly lonely. he hallucinated tubbo, grew attached to dream, etc etc. tommy was very very close to "becoming" wilbur here (god i'm sorry this is so long already and just me summing things up we already know it's to keep my thoughts in order + satisfy my inability to shut up and use too many words)

where wilbur and tommy go their separate ways is when they were given an out. dream gave wilbur tnt + for tommy, he was. you know. gestures vaguely at logstedshire. wilbur took the out - he gave up. he gave in. we know he had moments of clarity (when niki was in danger) and Maybe this was one he could've had too, but he didn't. he took the tnt.

tommy decided enough was enough. so at a crucial moment in time, tommy turned away from being wilbur. he did not repeat history.

onto tubbo; admittedly i know much less about his arc as president so this will be less outlined. tubbo,,,, acted very similarly to schlatt. probably moreso than tommy and wilbur! strange new laws, ignoring his cabinet, execution, generally appearing to lose his care for the world and the opinions of others. i'd argue the thing that separates him from schlatt is the most important part of this thread, because it proves my point: he remembered.

i just want to clarify here: by "proves my point" i mean this is the clsoest we get to an agreement of the ideas i'm putting out here in canon?? ig?? as in like. this is the most on the nose way to say it. similarly in recent days to quackity consistently referring to his treatment of dream as torture, which seems to be a very "I Am Not In Character" move but is definitely meant for us, the viewers, rather than character dream or character quackity themselves. tubbo's is a little less like that but still it's kind of like pointing at the X on a map for us the viewers. ok tangent over

tubbo lived under schlatt's rule as one of those people he treated extremely shittily. he lived under schlatt's rule as that person he executed. and tubbo remembers all that! tubbo remembers how schlatt's rule played out, and he looks at his own uh, less than stellar time in office, and he admits this out loud (to ranboo, according to the wikia. i am getting all of this off the wikia. i did not watch any streams during this arc.) that he can See himself becoming schlatt.

and when quackity tries to execute ranboo for being a traitor, tubbo stops him.

onto dream and ranboo! dream is a special case in that we never get to see his perspective of things and are rather left to play fill in the blank, and this whole arc is special (in terms of this thread) in that it isn't over. so i will be doing a lot of extrapolating here.

dream starts out as a generally ambivalent character who has very few rules that he pretty much never bothers to enforce anyways (i think? i don't remember).

by this i mean, this is all stuff i heard secondhand in recent months and can no longer remember what it actually was because i never went back to check. i'm pretty sure, but just a disclaimer. i don't wanna get hit with an "um, actually

his villain arc starts very very early - two whole seasons before he really became one. in the war, he is the antagonist and he plays up to it! most of the war is from l'manberg's pov (or that's how we look at it now, at least) so obviously he is the Bad Guy here.

ranboo griefed a house like two days into the server. 'nuff said /lh

ranboo + dream are both heavily vilified characters from the get-go - dream's part should be fairly obvious (uh, the everything leading up the exile arc where he actually did villainous things), whereas ranboo's is most notably during the second festival's aftermath. taking the blame for blowing up the community house, wanting to "pick people not sides" (he wants all his friends to be happy - sounds familiar, right?), etc etc, and now he's with techno and phil, the former of which is Definitely considered a villain for working with dream

now many many parallels are being drawn between he and dream, especially with the whole enderwalking thing. in the aftermath of everything happening, he chooses to stay out of all conflict, until Something Happens and forces his hand. (the egg!) he wants peace for everyone, which again, sounds very familiar, right?

(slight tangent: yes, the griefing was forcing dream's hand. it's nigh impossible to construe it as anything other than a political attack - the vice president of l'manberg griefing the home of the greater dream smp's king? dream looks weak + open to attack if he lets it slide)

this was a bad way to put it but the spirit of it gets across i think. fuck character limit on twitter

that catches us up on all current lore. where do i think dream and ranboo are going to split? dream has been alone in his decision-making basically since the very first war. not once has he (successfully, we don't know if he tried) gone to fall back on his friends' support and ask for their help in making these hard decisions (of which there are many). he severs his final connections ("i don't care about anything on this server") and cements his place in history as a monster.

i think it is very likely that we are getting a ranboo "friendship and relying on other people" arc here. there are other ways they could go with it, obviously, but given his current arctic anarchist ties and what appears to be other friendships developing. hmm! i'm interested. this part is entirely speculation/extrapolation. point being. the kids on the smp do, in fact, learn from history. they still make mistakes sometimes, but past a certain point, they're always different mistakes. they learn, and they almost always get happier endings for it

i don't know if it's a coincidence that it's the three lore-relevant kids who are the ones doing this. i don't think it is, because this is a very well-written and clever story. the younger generation is the one learning and fixing past mistakes and leaving the world better off for it. that's very neat! i like it a lot. also now that purpled's becoming lore-relevant, goddamnit if i don't want to see next season being his "learning from history" arc. punz vs purpled, maybe? that'd be neat. who knows. ok i think im finally done lol ty for reading :)

caveat I forgot to add last night: obviously ranboo and dream start out in very different positions, moreso than both tommy and tubbo. but at the end of the day, all three of them are their own people who just happen to take after other people in some ways :)

again, ty for reading! here's the original thread. i'd like to add that this is probably out of date and i may come back to it some day but who knows. maybe this will just be a relic of before Now (may 25)

[sicklyscribe]

hey so if you wanna hit me with that sweet sweet elijah’s characterization meta anytime please feel free. or direct me to any previous posts because my dumb ass is using this time to re-obsess over vampire melodrama.....

It appears that most of my non-tag and non-petty-casual commentary is still in drafts... so instead of finishing the ‘What the hell is wrong with season 4: an itemized list’ meta and finishing answering the ‘What would you change if you could rewrite any of the show?’ ask from a while ago, I’ll just pick out the Elijah bits and add on to them for garnish. (Those posts might exist at some point. But honestly not soon enough for me to worry about people getting annoyed with copy/paste so PREVIEW TIME: ELIJAH FLAVOR)

This is way sloppier and un-cited than I usually meta, by the way, but what the hell, The Fandom is Dead and I Only Have Friends to Entertain Now, so if anyone gets angry and tries to step into my asks then it’ll just be nostalgic rather than annoying.  Here’s the starter, which is from the F*CK YOU SEASON 4 meta and quite a few of these points will be repeated later because you asked for it technically so.

The cracks in the narrative began to show as early as season two, and believe me when I say I’m not saying this because I love him - it began with Elijah. I can make a lot of arguments to this effect, but the only one that I am certain is not propelled by my very strong bias concerns the presentation of the Red Door.

Initially, I was ecstatic at the opportunity to explore Elijah’s past, his perspective, his darkest moments. I was a bit wary in that it seemed as though the narrative wanted to Explain Everything about Elijah through this device, but he was finally getting some attention so I tried to hold back judgement.The result was pretty promising. One of the most gorgeous moments on the show occurs when Klaus enters Elijah’s mind and tells him how much he needs him. It showcases the main pillar of the show - the structural trifecta of Hope, Klaus, and Elijah. And afterwards, as usual, Elijah pushes the experience away.Until it’s convenient. 

Elijah begins to be erratically vicious. At first, I felt as though it wasn’t handled poorly, I could explain away my worries easily, and that was all I needed. But it happens over, and over, and over again, with the same excuse - protecting the family, protecting Hope. Elijah’s triggers, once so crucial, begin to break down, but we don’t see why or how that process occurs. He begins to be the character that is level-headed when it is convenient, and a violent one-track-mind when it’s convenient. Eventually, in order to maintain balanced tension with a softening Klaus, Elijah became violent without nuance in every situation. His continued development is no longer possible, since his character no longer displays depth.

Which is annoying, as a fan. But as a person who loves to analyze narrative, it’s a huge red flag. Elijah is necessary for this story. His love for Klaus, and Klaus’ relationship with him, is one of the things that holds the narrative together as it goes forward. The two of them need each other in order to experience growth, but cannot grow from each other any longer - and that friction is what provides energy and substance that can help drive a multi-year melodrama. This is why I mentioned above that Elijah’s violence was likely intended to balance with Klaus’ changing heart - but there is no balance in the level of development the two brothers experience. It has been shoddy in many places, but attention has been given to Klaus’ journey towards peace and kindness, while Elijah has been given a single metaphor, a single psychosis, and is expected to carry half of the narrative weight. The story has no choice but to make a plot device out of him - he simply does not have the required depth to be anything else, which is made obvious by the attempt to do so in the ritual to bring Inadu to the material plane, which I will discuss later.

When his development is ignored, when he is used as a tool to get from point A to point B time and time again - that’s when the pillar starts to crumble.

Zooming back in on s1, this was actually my only major structural gripe with season 1, so it comprises the entirety of the ‘what would you change’ for that season:

The poison that rotted the whole dang show started very small — casting Elijah too strongly as a white hat, to offset the darkness of the rest of the main family. This was the right move, of course, but it was pushed a twinge too far and it was the tiny weight that set everything wobbling. As an offshoot of that, this was also done with Hayley to a degree. I would have had them bond very similarly to the way they do in the show, but I would have had them connect at least once over the skeletons in their closets. (Only once or twice, again, since their ship relied in this season on the fallacy of each other being saviors). In fact, this was one I felt so strongly about that I actually did rewrite their scene in 1x07 ‘Bloodletting’.

Then season two when it gets more pronounced: 

The rift in the show widened with the swing-and-miss that was The Red Door arc. Elijah became a Problem when it was convenient for the plot and A Fixer/Sounding Board when it was not. They used probably the most INTERESTING and INTEGRAL part of his characterization -- which had been a mystery for YEARS counting The Vampire Diaries appearances -- and Elijah discovering that either from trauma or his mother’s magic, he has repressed the moments which forged him. This lack of knowledge, this lack of control, should have been something much more cataclysmic and its effects should be clear when comparing ‘Elijah Before’ to ‘Elijah After’. Instead, it kind of served to take off Elijah’s ‘White Hat’ that he’d been illy-fitted with in S1, and allow him to accessorize with it or whatever version of Elijah fits the episode at hand.

This tension, and this chaos should have been much stronger and much more messy than simply putting the Suit back on and being Pretty Much Okay (barring one plot-insignificant diner massacre) only a few episodes later. It would make the therapy scene later with Camille even more gorgeous than it already is and it would then place Elijah’s moment of catharsis, and the beginning of his attempts to move on, with Klaus’ monumental forgiveness in 2x11. I think this is what was intended, but it was not at all achieved, because Elijah is such a tricky character to write, and it is so very easy to use him for whatever the scene requires. Because of this, Elijah’s struggles got dropped just long enough for Klaus’ forgiveness to hit powerfully in viewers for Klaus, but not for Elijah. The writing began to lean on Elijah as a Drama Everyman more and more throughout the show, and it’s just tragic to me that The Red Door wasn’t utilized to its potential. (And that we didn’t have a Klaus/Tatia conversation, but hey, I have an unfinished fixit for that whole saga on Ao3, you’re welcome and I’m sorry).

In season three, we got a few good glimpses of the kind of complexity that Elijah should live in -- the way he kills Arianne, for example, I’ve linked what I called a ‘headcanon’ but in retrospect it was pretty explicitly canon -- and we see the youth and terror and involuntary power in him in the flashback where he discovers that Klaus killed their mother. But the relationship between Tristan and Elijah? The man that he made, and that made him? That was far too pedestrian to have produced either of them. If Elijah learned ‘nobility’ from Tristan, learned what ‘superiority’ looked like, and this was the time that he began to change... we should have had words between them, or a scene highlighting just them, at least once in the flashbacks. 

If this season was supposed to be about the creation of the Trinity, the First Children (because Finn didn’t tell no one that Sage is actually the oldest ‘cuz he’s an ashamed little bitch) why did we see only TWO of the THREE transformations? Klaus turned Lucien accidentally, trying to heal him. Rebekah’s sympathy and love were used as Aurora’s tool to turn herself. When and how did Elijah turn Tristan? It is explained that Elijah turned him in order to create a third vampire for his plot to trick Mikael into chasing them instead -- it is explained that Tristan, Aurora, and Lucien were compelled to believe that they were in fact Elijah, Rebekah, and Klaus in order to make their decoy impeccable. But when this compulsion was shattered -- when Lucien learned that he had been used and made monstrous as a tool for a monster who wasn’t even noble -- did he confront Elijah? Did they ever speak, or was their next meeting the day Elijah learned that Tristan had taken over Elijah’s coven? I would argue that Elijah needed equal weight in the France flashbacks even though he didn’t have a flashy romance (though if early press release rumors were true, he and Tristan could have had one and that would have been perfect) 

Season four is really where you can pick an episode and Elijah will put on the stage makeup and play any part. It’s also -- BIG COINCIDENCE -- where the plot deteriorates completely. Here’s just one example from my Excuse You What the Hell? Season Four meta: 

On to the next moment that showed major neglect (I know this has been Elijah-heavy so far, but again, this is where the problem started so I want to carry this thread through for a while before addressing other issues) - the ritual to bring Inadu to the mortal realm. The purpose of this ritual was to scare viewers with the risk of Hope’s safety and hype the Hollow’s “bad”ness, but also to make the first move in the ‘Letting Go’ thread between Hayley and Elijah. Elijah was supposed to be forced to choose between children's lives and letting the Hollow loose upon the world, and decide to kill the children. That was the dramatic point of placing this ritual in the narrative, but it isn’t mechanically sound.

It is stated outright that the ritual has to end with the death of the children linked to the spell. The children were linked via their totems found in 4x03 - placing Hope definitively in this group.

But we only ever see four of the five in one place. Maybe it was worth it to the Hollow to reach as far out as Hope was to bind her via her hairbrush, maybe it was worth it to the Hollow to drain her from afar, I’d buy that easily. But they made no attempt to kidnap her and place her with the other four children during the ritual. The ritual that required the deaths of five children. Unless it required Hope to be there only on standby, which is absolutely ridiculous. They had the kids on an alter, even if it was just for show. But why not all of them? If the real goal of the ritual was to lure Klaus and/or Marcel, wouldn’t kidnapping Klaus’ child be a more surefire way to accomplish that rather than just hoping the Mikaelsons would come to the right mystical diagnosis in time?

The reason why Hope wasn’t there was because the ritual was never thought through. The reason she wasn’t there is because it didn’t make sense for Elijah to want to kill Hope to stop the Hollow, which is what this ritual actually demanded if it actually worked the way Vincent claimed. In actuality, all that was desired was for Elijah to display a willingness to kill innocents in front of Hayley, and in doing so it demanded that Hope’s life both be at stake and not at stake at all. This failure to coherently execute a single-episode arc is plainly poor storytelling. It displays not only disrespect to the narrative structure, but a blatant flippancy towards one of their main characters and arguably the most complex one on the series. The sloppily contrived tension here between Hayley and Elijah does eventually contribute to the supposed theme, yes, but at what cost?

Elijah was neglected because he was hard to write, and even harder to write well as a ‘light’ foil to Klaus. Marcel should have fully owned that role, and not been similarly jerked around as a plot-serving every-man once the mystery of season 1 and the reasons behind Marcel’s ‘senseless’ cruelty were revealed. 

Elijah was always the cornerstone of the family’s narrative, because he was complex enough to carry it. Camille provided an additional column of support to Klaus’ individual journey as a person/father, but she was bulldozed for Allmighty Plot as well. By the end of season three, both she and Elijah had effectively been thrown in the garbage one way or another, and the show tried to go on without them. It couldn’t. 

I will say that Elijah’s conversation with Hope in that ludicrous backdoor pilot did make me feel things. I did also see the clip where Elijah and Klaus have a heart-to-heart in some sort of european flashback, which was touching, but felt incongruous for their relationship/dev at the time. Hope asking Elijah how old he was when he made his promises to Klaus, though? Elijah offering carte blanche to Hope for how to punish her friend’s bullies? TWO OF THE THREE SCENES INVOLVING ICE CREAM? 

SOME of season 5 is valid but ONLY because it stole scripts from my headcanons.