#shes very subtle with her character growth

[brickbozo]

I've noticed that Noodle has always been a bit aloof and detached (esp in Demon Dayz and Plastic Beach) but Song Machine streamlined the journey of her growth as a part of Gorillaz. MVs like Aries, Pacman and The Lost Chord captured the push and pull between the different members of the band, and Noodle being explicitly shown as running around after 2d and visibly reacting to past betrayals was her way of expressing that she was also capable of connecting and forming elationships instead of being an astute observer from the sidelines (like that one cyborg counterpart)

She's definitely more than a collection of witty one-liners and cool poses.

[thespoonisvictory]

my neverafter hot take is that ylfa is probs my least fav of the pcs at this point. she’s delightful but I am so enamored with every one of the intrepid heroes’ pcs that she just feels the most redundant in comparison 

[ruellakuma]

nobara's character may have touched me more than i expected. the scene with the empty chairs, her friends from the village, the switch back to her childhood self sitting on that chair for her to stand up and knock it over, everything about that scene touched me to the core. it literally spoke to me.

i feel like she has a very clear standard for the people she meets and very clear expectations too, yet the ones she meets in jujutsu high managed to slide into her life and made their own place around her, just like that scene where she pictured them sitting down amongst the empty chairs she put up. in the end, i believe that they were one of the best things that happened to her.

literally, nobara's character was so beautifully subtle and so relatable that it hits close to home. she definitely showed us what growth and friendship looked like oh im going to cry, she's so precious to me.

i never expected myself to cry when i watched today's episode, but as soon as i saw it being animated i just started bawling.

[coolluminarycoffee]

I would like to explain my point of view on how I end up shipping Gwynriel (and Elucien) even before knowing there was an Az POV chapter.

When reading a book with romance, it is really important for me the chemistry a potential couple brings from the beginnig, as like comunication/first impression. I don't know how to explain it without examples. This happened to me with Tamlin and Feyre; from the very beginning, I didn't like them together at all, it felt wrong. I was going to drop the book (but continued because of Lucien), but when Rhys appeared for the FIRST time, my reaction was, "I see what you are doing here, Sarah", it totally click for me. I immediately saw the chemistry with Nesta and Cassian (in the first meeting), and then the potential with Lucien and Elain (it shock me this one, because it was so chaotic all this first meeting scene).

I stopped reading the series with Acomaf in 2018 and returned reading the saga this year. I saw through Booktok something between Elain and Azriel and entered the series with an open mind. The scenes they have during Acowar and Acosaf didn't click for me (neither their first meeting in Acomaf). I didn't see it and I tried looking for it. I have to say Acowar only made like more Elain and Lucien; it made me see the similarities they have. I don"t know what happened with those two between the end of Acowar and Acosaf.

Fastfoward to Acosf and the introduction to Gwyn (my favourite character after Lucien). How subtle Sarah J Maas brings the reader to the reaction between Gwyn and Azriel throught out the book, and the growth of the relationship; from observing from afar, the dagger lesson, the post and the ribbon, to the actual phrased conversation scenes (only two but it click). I fell in love with the idea of them being the next couple. I don't like the way Azriel acts with Elain in this book, it remind me of Tamlin with Feyre in Acomaf, not letting/"protecting" Elain from helpping with the scry when SHE has said personally she wants to help (and HE was present when she said it). I'm sorry it triggered me. Of course I saw the tension between those two growing, but I was triggered of how Azriel treated her. I have to add this here because I'm talking of acosf, but Nesta not changing Elains body being an indication of Gwynriel, excuse me but NO, because if a couple wants a baby and can't have it, adoption exist, and the kid would be their own.

I was a casual reader until I read CC trilogy (i wanted to read theories for the plot of next acotar book) and entered the fandom. That was when I heared of all the bonus chapters that exist. I was intriged to read the famous bonus chapter where Elain and Azriel almost kissed and try to understand the ship, I didn't know Gwyn appeared in this chapter.

It felt so wrong and heavy the scene between Elain and Azriel, the way he felt and how little he saw and felt for her (just his fantasies and entitlement and not her happiness o future together). For me I saw a toxic behaviour from Azriel towards Elain, and that woman needs to get out of the night court, travel and heal what she is bottling up and masking. But the scene with Gwyn was so refreshing, organic and playful. How the shadows act with her was so funny and how they even relaxed!!! And don't get me started with the silent music and the spark thing. That only made me more of a Gwynriel shipper.

I have to point out 2 things:

- I was casual reader and saw the scenes Gwyn and Azriel have together, it is subtle but the quality of the conversation between those two just clicks.

- My first language it's not english (I read them in my language) and I got access to the bonus chapter with no problem.

Thanks for reading, I had to share my latest obsession.

[thekingofwinterblog]

Why Maka and Crona works so well together

Probably my favorite part about any series is relationships between characters, what dynamics they have, how shared history drastically affects how they act together, and one of the reasons i love shonen so much, is how great the genre is at taking a relationship of mutual enemies, and flipping it on its head through two very disconnected souls suddenly developing a shared understanding, and a new and powerful bond blossoming from that.

Naruto and Gaara, Luffy and... Everyone, Izuku and Todoroki, heck series like Hajime no Ippo pretty much runs on this kinda dynamic. Even Fairy Tail, which didnt exactly start off great, and only got worse, managed to squeeze out one absolutely excellent character using this dynamic in the form of Gajeel and his relationship with the rest of the fairy tail crew.

In Soul Eater, this method of storytelling is used, speciffically to create the single best relationship between characters that the franchise ever made, in the form of Maka and her rival turned bestie Crona.

I'll leave a full analysis of why the actual fight that formed this relationhip was the series highlight for another day, as what i wanna focus on here is analysing what it is that makes this relationship so great post Crona's heelturn.

What makes Maka and Crona's relationship such a special thing, both in universe and from a storytelling perspective, is that both of them compliment the other perfectly, and helps them to grow... But it's not really spelled out the way that a less talented series might do.

Now with Crona, the way Maka helps in development and growth for the demon swordmaster is pretty obvious.

Timid, shy, afraid, and would much rather stay inside a dark safe, dark shell. That is how Crona starts the series, and doesnt exactly lose these qualities once Medusa's direct influence is lifted.

But that is not what Crona actually wants.

What Crona wants is to connect with people, but is way too terrified to try, as well as risking failing while doing so.

Crona needs someone who is willing to prod and poke, but also to show gentleness while doing so.

What makes their relationship hit so hard from day 1 is how Maka understands Crona completely, and is willing, and wants to give Crona the help and support to break the hold of Medusa. But not only that, Maka WANTS to be around Crona, valuing their relationahip enough that she is willing to stand up to Shinigami to defend Crona if necessary.

Maka thusly serves as Crona's anchorpoint, the center of all character growth and developments. She brings out all the best qualities out of Crona.

But the thing is that this goes both ways, because while the way Maka brings Crona out of the dark shell and into the Light, Crona does the exact same, just in a more subtle manner.

Maka at the start of the series, is a girl that is absolutely defined by her flaws, and all of those flaws are rooted in, not too dissimilar from Crona, fear.

"I wish all of you would just die!"

The total breakdown of her parents relationship, personally witnessing her father's many affairs, and not at all having come to terms with her mother abandoning her, has left Maka with a fear of many, many things.

At the start of the series, that fear manifests itself as being terrified at Soul abandoning her, her being completely unable to find it in herself to try to make up with her father, and her inability to confront the fact her mother abandoned her.

All of it comes together and it brings out all of her worst qualities.

Her hyper agressiveness, her short temper, her complete and total inability of giving her partner and friend soul the benefit of the doubt, and so on.

It also manifests itself in several moments where Maka's fear of danger hamstrings her, like when the sheer power of Stein's soul brings her to her knees, or when her hesitation to using Soul as a weapon(out of fear that he would get hurt) during her first fight with Crona ended up with him having to block an attack in human form, which drastically inreased the actual damage he would have taken as opposed to if she had just blocked the standard way.

Even when Soul was gravely injured, this fear also manifested itself as her being completely unable to really show how devastated she was over how badly he was hurt on her behalf before she was alone with the unconcious Soul.

She was afraid of her father, of stein, of anyone else seeing just how hard things could hit her.

This is not to say that Soul and Maka had an absolute trainwreck of a relationship at the beginning of the series, quite on the contrary.

They have a relatively functioning relationship, where they act as nagging siblings, or a bickering old married couple, but there is always that ugly side of their relationship hiding just under the surface, all fueled by Maka's flaws and fears.

But there is also the opposite, moments where the two strengthen each other, or take the bullet for the other if need be.

But what their relationship does not have, is Soul helping Maka truly grow past her flaws.

Maka at the start of the series and the person she was when she faced Crona a second time was a braver soul than she was in episode 1, but she had not grown past her flaws, merely become hardened, strengthened by expiriences.

Her truly changing from the girl dealing with the aftermath of her parents divorce, into the young woman that would defeat Asura, began in that basement surrounded by pillars.

After their shared experience of connecting to the other's souls, and understanding who Crona was deep down, Maka does something she hasn't truly been able to do since her parents divorce.

She shows genuine, honest compassion and kindness withouth the fear of rejection.

Compassion, understanding, and giving someone the benefit of the doubt.

It all begins here.

This is the point where Maka really begins healing from her parents divorce, where she is finally able to truly bare her heart to another person again withouth the nagging feeling in the back of her mind that she is setting herself up for failure, that was always the big problem with her and Soul's relationship.

Crona is not the only source of Maka's development in the latter half of the series, but it all began here, and Crona keeps bringing out all of Maka's best qualities just by being close to her.

Maka brings out Crona's kidness, bravery, and a deep, deep wish to connect with everyone else, while Crona in turn brings out Maka's compassionate side, her kidness, her understanding side, all of which she had very deliberately buried at the beginning of the series.

And it all culminates in the sand pit, where Maka discovers that her faith in Crona ultimately was misplaced, and she got backstabbed, just as she always feared... And rather than fly off the handle, she reacts with a display of tough love... That is rooted in understanding, and compassion.

She forgives Crona, because she understands. She knows Crona, and she knows just how deep down the scars Medusa gave bites, and so she reacts with understanding, she gives Crona the benefit of the doubt, and her support, a far, far cry from the impulsive and angry girl who screamed that All men should just die in epsiode 1 after feeling hurt by Soul's seeming betrayal.

And when she thinks Crona is about to die, the girl who was once absolutely terrified of showing anyone around her how she felt when she tought Soul might be about to die in a similar situation, and kept it all in, no longer does so, because such display of stoicism to keep face, rather than show the people you care abouy you actually love them, wasn't really worth much to begin with.

Maka Grows a lot over the course of Soul Eater, but the development that really, truly matters, is all rooted in her relationship to Crona.

Understanding, forgiveness, the bravery to take the moral high ground, to show how you truly feel rather than keep up a facade that isnt really you... To happily take the risk of being hurt by opening your heart because you know the warmth and joy that only comes by opening yourself to another person... It's a side of her that only Crona was able to bring out, the same way that only Maka was able to bring out the best aspects of Crona.

And that, is why they have the best relationship in Soul Eater.

[maespri]

assigning one word to every persona 5 character

hiii local girl (me) got bored and decided to make this character analysis post of sorts for fun!! so here's one word i think each persona 5 character embodies, as well as my explanation... <3

ryuji: acceptance

ryuji is the first character we formally meet and befriend in persona 5. to others, he's rowdy, unpredictable, and not very pleasant to be around. we're warned multiple times about him and about what he's done. we also get to witness for ourselves how easy it is for him to form a grudge and hold to it for dear life, whether it be toward a corrupt adult, other students, morgana, some of the other phantom thieves, etc.

one of my favorite things about ryuji's character arc and growth is actually how subtle it is, especially for a game that (bless it's heart, i love it, but-) has very little subtlety at times. it kind of just occurs in the background and you slowly watch him change.

he goes from openly despising, attacking, and badmouthing kamoshida to simply saying "it's all in the past" when asked about it in one of his future confidant events. he goes from desperately wanting to be viewed as a hero to accepting that some things have to happen in secrecy. he even becomes kinder to morgana and the other phantom thieves when previously, he wouldn't hesitate to verbally jump them. my point is, he comes to accept a lot of things and leave them all behind in the pursuit of just being happy with what he's got now.

the antithesis of this is also true, where ryuji doesn't accept any of the corruption that happens around him, another aspect that is a huge part of his character. he's usually one of the firsts to suggest infiltrating a palace or heading into mementos.

overall, ryuji's character arc really just involves a whole lot of moving on and letting the past be the past in order to facilitate his own change and his own path toward having peace. and i love it!!!

ann: connection

i felt as though a lot of ann's character was centered around the idea of connection. when we first meet her, she has only one friend, and she puts herself into a terrible situation with kamoshida just to make sure that friend doesn't lose her spot on the volleyball team. she's established as somebody who clearly values her connections very deeply.

but there's also a flipside to this, in that. y'know. ann only has one friend at the start of the game. in one of her confidant events, she also talks about how she had no friends for a while when she first came to japan due to her appearance, ethnicity, and nationality, and how she often faced adversity due to this.

when she does befriend joker and ryuji, it is a rocky beginning- but she comes to value her friends so much. when she meets yusuke, she gives him a chance. when she meets makoto, she's the first to reassure makoto that she doesn't hate her for stalking them, and that she actually wants to be friends. when she meets futaba, haru, you name it- she is always trying to be kind to them. to immediately become their friend and connect with them.

during akechi's battle in shido's palace, she's the one who suggests he join them in taking down shido. she's the one who wants him to be a part of them, even after everything.

she also has a passion for connecting with the world around her, most notably, i would say, through modeling.

it's clear ann values connection a lot. she goes to great lengths for the people she loves, she encourages befriending people, and she enjoys involving herself in the things that go on around her. i think it's really great to get to watch as her trust in everyone, and her relationships with them, grow stronger.

yusuke: passion

yusuke's arc is very much centered around passion, from the moment you meet him to the end of his confidant events. he's on an endless search for the perfect muse, to make the perfect painting, to become the perfect artist.

so much so that when he finds out that the person he looked up to the most lied to him, and when he finds out that the person who came before him (his mother), who had the exact same passion as him, was killed by the person he looked up to the most- his world crumbles.

he loses that passion some, or at least struggles to figure out how he's going to ever paint something worthy again now that he knows the one thing he loves to do was built off of something so heinous.

but you see over time how he finds that passion again, through his friends, through trial and error, through just going at it over and over again. to the final realization that maybe that passion has dissipated some, but it's still within him. he can never paint the way he used to, but that isn't the bad thing he thought it was- it's good.

his passion is also just a central part of his character. he can come across as melodramatic or "a bit much," as he even says himself at one point during a confidant event in mementos-

but the people he's surrounded himself with don't think so, and love him anyway. so... safe to say his passion and his love for the beauty in the world is what carries him throughout all of persona 5.

makoto: practical

definitions of "practical":

(of an idea, plan, or method) likely to succeed or be effective in real circumstances; feasible

suitable for a particular purpose

sensible and realistic in their approach to a situation or problem

makoto is my favorite character in persona 5 right next to yusuke, and i think the word "practical" describes her in many great ways.

the first reason being that both the word itself as well as its antithesis apply to makoto very well. she is rather deceptively practical in some ways, in the sense that she comes across as well put-together, intelligent, and sensible when you first meet her-

until you find out she's actually the same as any other reckless teenager out there, running to kaneshiro and getting herself and all the other phantom thieves into a blackmailing scandal.

she also does this because a big part of makoto's character during this arc is the idea of being useful to somebody- being, as the second definition says up there, "suitable for a particular purpose." she just wants to help somebody. she feels like a deadweight to sae, she's doing everything she can to be a top student in school and it still isn't enough, and she's getting nowhere in the one task her principal assigned to her.

being useful to someone is very important to her.

then she actually joins the phantom thieves and the meaning of this word flips a little bit, because makoto is practical, in the sense of being sensible and intelligent. she's the "brains" of the phantom thieves-

but she no longer has to be "worth something" or "useful." i think ann is the one who explains this concept to her, of how they just want makoto to be their friend. not to be some sort of tool.

so makoto instead turns her attention to just being helpful where she can rather than ruining her life over it. she asks for help when she needs it, such as when she's trying to help one of her friends with his weird boyfriend and asks joker to help her out. and she does try to help her friend with her weird boyfriend, another example of trying to contribute. and she's a part of the phantom thieves, an organization that literally devotes itself to ridding the world of corruption and evil figures.

for her, i think what is really important is how 'practical' goes from her constantly trying to be presentable, constantly bending over backwards to help other people, and constantly hating herself for being 'useful'... to allowing herself to be honest with her friends, and be silly and confused and ask for help, and do what she can to help other people without killing herself over it.

so, yeah. i think she has a really lovely arc in this sense as well.

futaba: freedom

this one i feel like is a given... futaba's arc, in many ways, is centered around the idea of freedom.

freedom from blaming herself for her mom, freedom from her bedroom, freedom from being afraid of being around or talking to people. leaving behind all the things in her past that brought her so much pain, and moving forward in her life.

i'm surprised i don't have much more to say, but honestly, i feel like it's kind of the obvious word for futaba. her entire arc is surrounded with the idea of escaping her self-blame and the tomb she trapped herself in. and she gets that through hanging out with the phantom thieves, and through doing her promise list with ren, and through just. freeing herself from all of her blame.

i also think the word embodies her carefree nature and openness to trying things, even when they scare her. she isn't bound by social norms or what she thinks she's supposed to act like. i also think these traits really help the people around her let loose as well. she also strays from the norm in the sense of her being her own little NPC in battle. you don't know what she's going to do for you. she's free as a bird!

anyway. i love her!

haru: action

haru was difficult for me to pick a word for because there were so many i could've gone with, but i settled on 'action' for a few reasons.

the first being that, for quite a while in her life, it would appear as though haru doesn't take action. doesn't try to change the things she dislikes, just meekly goes along with whatever life throws her way. she's trapped in her engagement and just does whatever her father wants her to do.

but there's definitely something bubbling up in her, a desire to lash back out and actually change her situation.

which is why when she does enter the metaverse for the first time, meets this talking cat, and is told to just go along with whatever morgana says... it's no wonder she instantly jumps on board. this is her finally doing something for herself, not for anyone else. this is her straying from the norm.

when everything with the phantom thieves and the metaverse is explained to haru, she's quick to grow, and transform, and work with them to take down her father.

finally, haru gets to actually do something about her situation, and she isn't hesitating at all. she's jumping headfirst to acting on what she's always wanted to do. taking action.

this is just a side note, but i also think haru empathizes with akechi on a more personal level. she knows what it's like to abhor what somebody in your family has done, and to want to end it- they're two sides of the same coin, they just went about their situations in completely different ways.

it floored me when i saw how forgiving she was toward him even after knowing he killed her father. but none of that kindness is coming from a place of forgiving him, or absolving his guilt, or from complacency- it's from understanding his desperation. he wants to be free just as badly as she wanted to. on some level, haru understands this.

anyway. i know i say this about all of them, but man... i truly love haru. <3

akechi: worth

akechi's character is arguably one of the most fun to study in this game. he's difficult to get a grasp on at first outside of what he shows the player, a facade of pleasantries and friendliness. but at his core, akechi's character and ideals revolve a lot around the concept of worth.

it starts with himself. obviously, he views himself as worthless, says as much, and has spent his entire life trying to shake off that self-imposed title. he's worked so hard to become somebody people want to be around, somebody they support, somebody they revere.

so much so that when he abandons ship (no pun intended) and shows the phantom thieves who he really is, he's disgusted by the fact that they aren't disgusted. he's someone who wholeheartedly believes that being worth something to someone is the only important thing, is the only way to be appreciated, is the only thing worth fighting for.

its why he despises the weak and wants to take down those who have made him feel worthless (namely shido). and he'll do those things, he'll kill tens of people with little regard, because it's worth it. it is worth it if it means he'll be able to kill the root of his worthlessness.

he talks all about how he wasn't wanted as a child, he's just some bastard child, everything he's done has been a lie in an attempt to make people love him. he says he thinks the phantom thieves are terrible, "licking each other's wounds," that they'e idiots for showing him mercy, and yet, he accepts it.

he accepts it, because for once, he's worth something to people who don't want anything from him in return. he's worth something to people who have witnessed the absolute worst parts of him. he's worth something to people who are worth nothing to world because of him. the person he killed outstretches his hand toward him and tells him he wants him to be a part of this. to be a part of his life.

unlike makoto, worth to akechi is internal. he doesn't just want to be useful, he wants to be liked. he wants to be appreciated. he wants someone to see him for who he is and love him anyway, but he buries those desires under a hundred layers of "i don't need this, i just need to get revenge, i just need to make my father pay."

his obsession with being perfect is also the reason he holds so much anger toward joker. joker didn't have to try at all to be liked, to make friends, to have an entire group of people at his side, willing to do anything he asked. i think the line drawn between akechi and joker is born from a simple fundamental misunderstanding of how relationships work. akechi thinks they're built on mutual gain, on being admired, on having power over them. joker knows they're built on simply loving someone despite all the things you don't like about them.

anyway, overall, worthiness obviously means a lot to akechi. man he's a tough nut to crack... but i hope i did him some justice...

that's it!

thank you for reading <3

[oneatlatime]

The Crossroads of Destiny

Strap in folks it's finally finale time!

I'm getting a bad feeling from the 'previously on' segment.

*gasp* Song's bird horse!?!?!

Toph gets some serious speed with that earth tongue walking.

Ty Lee's flattery gets less and less subtle. I get the feeling that a lot of Azula's more worrying tendencies could have been curtailed if someone had stuck her on stage as a child.

Is Zuko taller?

The cuts between these scenes are getting ridiculous. Some of these scenes are maybe 15 seconds long.

Zuko knows what's up. He and Iroh have teamed up on that particular fire breathing party trick before.

"It's time I face Azula." Buddy. No.

"You're so dramatic." POT. KETTLE. BLACK.

The last time Iroh and the Aang Gang teamed up, it was also against Azula. She has a way of uniting enemies.

The longer I stare at this the more I giggle.

"Good inside him isn't enough. Why don't you come back when it's outside him too, ok?" Congratulations to Sokka for articulating one of the fundamental human truths. Intentions can go take a hike when all that's visible are actions.

I love that! Iroh says he brought someone along in a tone that very much implies that he asked for help from a friend! Then you go outside and see he kidnapped a dude! And then they just leave him there!

I see your fake meditation. No one as rotten inside as this guy actually meditates properly.

The Dai Li be like

Katara? Why are you ripping into Zuko? Why is Season one bitchy Katara back? I don't want season 1 bitchy Katara to come back.

"No offence." "None taken." Iroh loves his nephew, but Iroh knows his nephew.

The one time Iroh's advice is explicitly solicited is the one time his advice is corny crap. That sucks.

Ba Sing Se is a tel? That's neat.

Hey Toph? Now would be a great time for that new metal bending trick of yours.

Avatar inadvertently validating my fear of subway grates.

I know this is life or death serious and all, but isn't the Sokka and Ty Lee dynamic cute?

MOMO!

This episode's thesis statement boils down to "what happens when you cancel arts programs and theatre kids don't get a chance to monologue in controlled conditions."

Honest question: Is Azula actually so deluded to believe that Divine Right of Kings crap she just spouted, or is she saying what the Dai Li needs to hear to side with her? Usually I think everything out of Azula's mouth is a calculated statement for manipulating others, but the way the show framed that monologue makes me think she actually believes what she's saying.

This conversation between Katara and Zuko, aside from showing that Katara is as capable as Sokka at sticking her foot in her mouth, is actually showing Zuko's growth well. So many of the things that he waves away with an "it's ok" are things that would have made him explode back in season one. It's about time he redefined that scar of his too.

"Aang! I knew you'd come!" "Uncle! The fuck?" Zuko truly has a way with words.

Hey Iroh maybe save your heart to heart until after you've exited the prison?

Wait so this episode is named after Zuko's arc? It's Zuko's destiny this finale is dealing with? Poor Aang's not even the main character in his eponymous show's season finale? Dang.

What was I saying about waiting to chat until you're outside the prison?

So every word out of Azula's mouth here is definitely a lie. She doesn't need Zuko at all. She's got a whole army and already has possession of the throne. What does she need with someone she considers to be an inferior firebender?

Father's love? That guy who burns off faces? The audacity.

"You are free to choose." Is it really freedom of choice if choosing the answer Azula doesn't want to hear ends with Zuko in a crystal cage?

Gotta say I'm intrigued by how quiet Zuko's being for this whole episode. Compare it to the volume of his confrontation with Azula at the Spa place at the beginning of the season.

This is so awful. This is so skin crawly. This is so going to end badly.

Toph can turn doors into ping pong balls. I like that. And what does she need Sokka scouting for Dai Li agents for? She can sense people for miles.

I love the line read on the "I'm not leaving without Bosco!" But does this guy really think he's in a position to make demands, after all the stuff he's ruined in the last, what, two days?

This is a cool move. Full body air bitchslap.

Katara cut her hair! That's kind of like what she did to Pakku with the ice disks.

How has no one been knocked out yet? Everyone in this fight should have at least 5 concussions by now.

I don't know what to make of it, but when Zuko says "I have changed" he sounds more calm and confident than he has all season.

I love the dynamic between Sokka & Toph and Mai & Ty Lee. Everyone involved knows they're second string and no one's really that invested. So they're all kind of chill.

I don't know what's going on in this fight, but Zuko is far too talented and Katara and Aang are both going down too easily.

And this right here is why this fight is only going to end badly for Aang. As soon as Azula's tired of playing, she'll call in reinforcements. Aang doesn't have those.

I hate Azula so much, which means I'm very annoyed to say that she and Zuko actually make a good fighting team. Did they practice drills together or something back in the day? They way they tag out and back in, and exchange fights, flows so well.

Jesus

Crap ok

She nerfed him in the power up sequence! That's not allowed!

So help me god if the writers hook these two up after pulling this crap I will riot.

Iroh could have been helpful if he'd been there earlier. Guess it takes a while to break out of crystals. Although I do like the detail that he stops fighting as soon as Aang and Katara are out & safe.

I was wondering why the magic water was randomly brought up earlier after disappearing for the entire season. I figured it had been lost in the desert with the rest of the stuff on Appa's saddle.

I'm so sorry, but the way Aang's arrow flashes once to confirm that Katara's saved him makes him look like an external USB device confirming successful connection.

I'm loving how immediate the regret from Zuko is. Proof that he has learned over the last two seasons.

"The Earth Kingdom... has fallen." AND WHOSE FAULT IS THAT? This King rubs me the wrong way. Consistently.

I'm fascinated by the fact that they managed to securely transport a bear on Appa's back.

Final Thoughts

Poor Aang has been demoted to secondary character in his own show. This finale was all Fire Nation.

Well done Azula. No matter which way you look at it, she won. If Azula was the main character, this episode would be the crowning glory series finale.

Sokka and Toph spent the whole episode running around putting out fires, only for five more to spring up in their place. I honestly don't know how they and Appa reconnected with the rest of the Gaang to fly out at the end. There's this feeling the whole episode of being consistently one too many steps behind, and I think it's most obvious in their incessant side quests.

Poor Katara went through about seventy billion emotions this episode. I take back my anger at her bitchiness. She deserved a vent session, although I don't think Zuko quite deserved to be the recipient of it. But he took it well.

Congratulations to Zuko for falling backwards into the only right choice for all the wrong reasons. This episode was only going to end with Azula victorious. She recruited an army and successfully executed a coup without breaking a sweat - that is not a level of enemy that Aang and friends has ever faced before, and not one they can realistically win against. Like with Long Feng, this is not a threat you can hit. You can't bend at ideologies and loyalties.

Zuko was going to end this episode siding with the Fire Nation as a free man, or in Fire Nation custody. This way, someone with an actual semi-functioning conscience now has access to the upper levels of the Fire Nation. This could be really interesting.

To be clear, I fully believe that Zuko chose to side with Azula because he swallowed her offer hook, line & sinker. For the guy who invented "Azula always lies" he sure does fall for her lies a lot, especially when she's saying exactly what he wants to hear. I believe Zuko believed her about getting his honour back bla bla bla, chose to follow her because of that belief, and has already realised at least some of what she said was lies by the end of the episode. Which is promising! It looks like there's potential for a Zuko mole next season!

I'm worried for Iroh. Firelords who burn their children's faces off with no shame don't strike me as the type to shy away from executing their brothers.

The Aang fakeout death at the end was not remotely believable unfortunately, mostly because kids' cartoons don't ever pull a Psycho and kill the nominal main character half way through. It probably would have freaked me out if I'd seen this episode as a kid though.

Azula hitting Aang during his power up sequence was inspired. A very well done subversion of expectations, which finally validates my frustrations with the concept of power up sequences in general. Few things bug me more than the mooks politely waiting their turn while the good guy does a quick wardrobe change.

So... is the war over? The Earth Kingdom's fallen, the Southern Water Tribe have been functionally out of the game for a while now. There's only the Northern Water Tribe left, which are only still standing because of a Hail Mary that I very much doubt Aang can pull off twice. So is next season's focus going to be defending the Northern Water Tribe from a final Fire Nation push? I think that's the only place that isn't conquered by the Fire Nation in name at least. On the bright side, this means the Gaang won't be returning to Ba Sing Se. Good riddance. I hate that place.

I've never seen a show with a finale that focuses so intensely on the conflict of someone other than the main character. I don't really know what to make of this episode. I think I liked the one before it better. To be clear, everything that happened made sense - characters were in character, events unfolded as expected (if you handwave an elite force of earthbenders preferring a 14 year old over their seasoned leader), but something about this episode is just a bit boring to me. Maybe they telegraphed it too hard in the previous episodes? I don't know. I'll have to chew on this one a bit.

[percheduphere]

Okay. First post trying to use gifs properly. I've switched out improper gifs for these type for my last 3-4 posts. Gonna work on some more corrections tomorrow when I have time. Please let me know if I'm misstepping anywhere. Thanks for your patience! That said...

LET'S TALK ABOUT SYLVIE💕, INTERSECTIONAL FEMINISM (SYLVIE & LOKI)✊🏽, AND QUEER REPRESENTATION (LOKIUS)🏳️‍🌈🏳️‍⚧️!

SYLVIE

I'm rooting for Lokius, AND I also love how much Sylvie has forged a life for herself in S2. A lot of her development is implied, so I think it's worth looking at her growth outside the context of Loki himself: She found a job, locals know her by name, she has friends and acquaintances, she has hobbies!

People call her by name in her timeline on 4 occasions:

1. When the McDonald's shift manager (John) checks in on her after work. See the kid with the tie in the image below. I couldn't find any gifs of him visiting Sylvie at her truck. She asked him if his mom was gonna pick him up to make sure he was gonna be okay late at night. 🥹

2. When a customer picks up their McDonald's order and thanks her (cheerfully). Also note how many employee stars she had on her badge! Queen.

3. Lyle at the record store. They seem like really good friends, and I got the "beginnings of an attraction" vibe between the two of them. Unfortunately, the gifs below are the only ones I could find of him and I'm still searching for the source. His interaction with Sylvie before spaghetti-trauma was so sincere. He could tell she was down and offered her Velvet Underground. Come on, that's a solid move.

4. Eric at the bar, who comments 2 shots of bourbon is a good choice. Let me tell you, finding a gif of Eric was like finding a needle in a haystack, but here he is leaning close to Sylvie. Thank you, @zehiiro!

I tried to find more gifs of all the people Sylvie has in her life but couldn't find any, which is a darn shame because there are so many subtle cues she's built a support system on her own and she's thriving.

She's a regular at many places in her timeline, and when people greet her, they do so with a smile. She loves music, a hard drink, and punk fashion.

When she engages with Loki, she may come across as cold, but I honestly think she's being firm with her boundaries and true to her beliefs. The TVA threatened her life for centuries. I don't doubt setting foot in the building is traumatic for her, which may explain why she was more harsh than usually in S2E4. Her psychological defenses were all on overdrive. Yet when Sylvie's in her own timeline, far away from the TVA, she can be her real self. Turns out, her real self is pretty well-liked! (I'll talk about how this is mirrored in Loki soon).

INTERSECTIONAL FEMINISM

Sylvie's an unapologetically "selfish" woman who knows what she wants, wants it on her own, is doing it on her own, and isn't afraid to put her foot down when it comes to her personal boundaries. We should be applauding all of that!

This is exactly the kind of female representation we need, but the show did Sylvie a disservice in S1 by coming at her character as a love interest first (look at all the media promos classifying her as such) instead of more thoughtfully showing how badly she has been affected by the TVA and planting what her desires are throughout. If they had done this with more intention and finesse, her position in S2 wouldn't come off as completely irresponsible.

As a result of this apparent marketing and pre-production development decision, her perception as a character (by both lokius and sylki shippers) is muddled by the question of her relationship status with Loki. This truly isn't fair, most especially to Sophia Di Martino.

Of course, Sylvie isn't perfect. No well-written character should be. I just think she's cooler than she gets credit for precisely because her character arc doesn't require the fulfillment of a romance. She will be fine whether or not she ends up with Loki. It's very feminist!

Loki, in turn, found safety, belonging, and love at the TVA. All the things that are the complete opposite of Sylvie's lived experience. I often see fans complaining about how Loki is ooc in his own series.

The thing is, and Loki admits this himself: it's all part of an illusion.

This illusion started far before the first Thor movie. He comes from a hyper-masculine (dare I say toxic-masculine) warrior society. His true nature doesn't conform with this, so he has to overcompensate with some (genuinely awesome) bad assery.

BUT he doesn't like it.

As a comparison to a far lesser but more relatable degree: imagine putting on a customer service persona 24/7. UGH. It's just not sustainable without becoming increasingly angry and bitter, which is what Sacred Timeline Loki becomes. Mobius gets ahead of this.

In the series, Loki can finally TURN OFF that persona, and TURN IT ON again when it's needed (and fun!).

He also now has the freedom to be silly, expressive, and magical (unapologetically queer!) without anyone making fun of him for it.

The end result is a much calmer, happier, likable person (like Sylvie in her timeline, his defenses are no longer on overdrive!). Who shows him this is possible?

Here's the receipt:

QUEER REPRESENTATION

Sociopoliticaly, Loki and Mobius come from a different angle. A lot of men (cis, fluid, trans, or otherwise) struggle with the social expectation of burying feelings and never ever showing vulnerability, especially to another men. Now, some might argue that shipping men together perpetuates this construct. There's some truth to this, but only through the lens that it is shameful to be gay. In order to get to a point in society where there's no shame in being mistaken as gay (or queer, generally) when being affectionate with another man, there must be continuous positive representation of homosexual relationships in which the characters are not stereotypes. Loki and Mobius are exactly this, especially Mobius.

Whereas Loki, on Asgard, represents the openly queer oppressed (i.e. magic and cunning, qualities historically tied to witches or "immoral women" instead of brute strength), Mobius can represent the closeted repressed.

In S1, Mobius was much more uptight, rule-abiding, and just shy of holier-than-thou. The power structure in which he existed perpetuated this, until Loki reveals to him it was all a lie (an illusion).

In S2, he becomes more flexible, more fun-loving, and more expressive in his affection. In S1, most of his support of Loki manifested as words of affirmation. In S2, his support extended to physical touch and bonding. Mobius, if seen through the lens of a closeted man allegory, finds the courage (and partner) to slowly come out.

[autumnmobile12]

I’m hoping that as Nocturne continues, that there might be some eventual parallels between Alucard and Richter.

I’ve mentioned in another post I don’t really like Richter.  I’m not going to reiterate the entire thing, but the long and short of it is I found his character unnecessarily mean-spirited.  Some of his dialogue really rubbed me the wrong way and I didn’t find his lines all that funny.  But it’s this specific line to Tera that sealed the deal with me disliking him.

“And you just happened to stumble upon it one day while you were out picking flowers?”

Um, what the fuck?  She raised you, gave you a safe place to grow up, has been a surrogate mother to you, and has shown you nothing but kindness and support, and you’re going to talk to her like that?  What an asshole.

And this is the difference between Richter and Trevor’s characters.  Trevor is an asshole, but did he ever talk to Sypha or her grandfather this way?  No.  Did he talk to Alucard this way?  Well…yeah, but also observe Alucard also woke up snarky and began insulting him from minute one, so we can argue they are delightfully matching each other’s energy with a vengeance.

But I’m not gonna lie…for the first two seasons, I also didn’t like Alucard’s character all that much and for the same reasons.  I’m a little biased as I generally don't like protagonists who are just mean for no reason.  We all know someone like that in real life, whether they’re a relative or a co-worker or a boss, so why deal with it in fiction?  Okay yeah, I get that it’s often part of a character arc and symbolism for growth and finding maturity.  I understand why storylines like this are necessary, but I’m still gonna hate the little shits for the duration they’re assholes.

So Alucard…the way he treats Trevor in the first two seasons is also pretty crappy behavior.

“I imagine one sacrifices a chicken, and divines the location of the book you want from the intestines. Maybe Belmont has a crystal ball in here you could ask. ….  Your ancestors were apparently mentally ill hoarders.  I fully expect to find family cats mummified under some of these shelves.  Unless your family preferred to eat them.”

You’re gonna talk to your comrade like that…in his own home…where his entire family was brutally slaughtered by a mob....possibly right in front of him?  Yeah, real charming, Alucard.  And this is the tone for his character in the beginning.  There is the point where Sypha calls him out and tells him to stop testing Trevor, but I think there’s another element at play.  “…and he’s a drunk and he’s self-destructive and anyone trying to hold on to him may as well be dragged down with him.”  He isn’t just testing him, he’s judging him and he’s already decided he’s a useless drunk who got lucky and happened to win a few fights.

All right, now that I’ve dragged him through the mud, I’m going to pull back and assess the wider perspective of Alucard’s full character arc.  Alucard’s growth follows the line of the spoiled brat who experienced hardship and had to grow up because of it.  I think Alucard lived a very sheltered life before his mother died, and his actions and dialogue in the Belmont Hold are the strongest indicator to this.  We clearly see he’s disgusted by the trophies and the history of murder against the vampires, and he is not shy about voicing his contempt towards the family’s entire purpose.  He’s right, though.  With the presence of the infant skull in the display case, we do get the very subtle nod that the Belmonts, for all their claims of virtue and protecting humanity, have also committed atrocities.  He does have a right to his anger against Trevor and his family.

But what’s absent from Alucard’s character here is the fact he doesn’t seem to consider the atrocities the vampires have committed against his mother’s people.  To the vampires, humans are food, livestock, and a lesser species.  Godbrand brutally murders several humans in his flashback with no clear intent on actually eating them, so he kills for sport.  Cho torments the humans in her court by amusing herself with duels to the death that only she can win.  Not a humane way to treat the vampire equivalent of livestock.  And exactly how long does Erzsebet Báthory keep those girls chained up while she drains them of blood?

Why does Alucard condone what the vampires do to humans and at the same time condemns the Belmonts for hunting the vampires?

The answer:  I don’t think he did because I don’t think he was fully aware of these scenarios.  Think about it, he had no knowledge of Dracula’s Generals and the only thing he talked about regarding his father was the tragedy of his madness and how killing him would be destroying centuries of knowledge.  I think Dracula wanted him to have a peaceful life and fed him the more rosy-colored version of their history.  Maybe he intended to tell him one day, and that day kept being put off by the sentiment,  “He’s a boy.  Let him continue to be a boy.”

Alucard lives his peaceful childhood until it comes to a screeching halt when Lisa is killed, so I honestly think there is an innocence behind his upbringing that gave him a very clear bias against the Belmonts that was completely justified in some elements and not so much in others.  There’s also the point that he keeps referencing Trevor as a drunk, which is very much condescension.  It’s not until Season 3, after he’s experienced his traumas and has fallen into his own slump of grief that his attitude towards Trevor changes.   There’s still ribbing between the pair, but it’s not the same cutting remarks that we saw back in Season 2.  Alucard walked a mile in Trevor’s shoes, and that mile was bitter.

...

So where I stand with Nocturne:  Richter has started off in a way similar to Alucard.  He lost his mother at a young age, but aside from that, he grew up safe and loved in a stable home, has a good relationship with Tera and Maria, and has otherwise led a relatively peaceful life. Even in the midst of the French Revolution, they don't seem like suffering peasants.  Like Alucard before his world truly went to hell, Richter also didn’t have a full concept of what real hardship looks like.  This is apparent when he’s all confidence and bravado, going around and yelling he’s the ‘last of the Belmonts’ and he ‘kills vampires’ and “Who’s next?”  And then Olrox shows up and he cows him right back into the scared, little boy he’s pretending he’s not.

And so not only is there a parallel between Richter and Alucard, but there is also a big one between Trevor and Annette.  Both of them have suffered through their own individual hardships, both losing their loved ones in some of the most brutal ways imaginable, but those same hardships gave them their pride and their poignant maturity and cynicism in how they see the world.  Granted, the difference between Trevor and Annette is she never lost her purpose or her will to fight despite having been dealt the worse lot of having been born a slave, but still…Trevor never ran away from his nightmares like Richter did.  Even though Annette and Trevor have their moments when they are scared, both of them stood up and said,  “Fuck it, I have a bastard to kill and if I die killing them, so be it.”  They don’t give an absolute damn.  They took their pain and they wore it like armor.

“Killing you was the point.  Living was a luxury.”

“If I let my past terrify me, I’d never be free of it.”

…

Compared to them, Richter is a spoiled brat who has yet to grow up.

And I think Alucard’s going to be right there with him saying,  “Don’t worry.  I was like you once and we’ll get there together.”

[saltyspacecat]

Some thoughts about contrasting characteristics and diversion tactics in A Deadly Education (I have not yet read the other two books in the series)

Regarding El, she is described as feeling like its going to rain, and its understandable why people would see that and immediately think "bad", but rain isnt necessarily a bad thing. I think Novik chose that specifically because of the symbolism a coming storm can bring. Its destructive and scary, yeah maybe, but rain is cleansing, it brings new life/growth.

I have a hunch that is going to tie in quite beautifully with her character arc/what ever role she will grow into in the next two books.

And I feel like Novik does a lot of subtle misdirection like this, giving El a description we're meant to immediately interpret as bad, but that can actually be interpreted much differently if you stop to think about it (maybe the only reason people fear her is because they fear the unknown. she's not bringing destruction as death, she's bringing it as change. and people hate change, change is scary in and of itself). I notice this misdirection a lot with how Orion and her are being constantly contrasted. They are very much opposites in a lot of ways--physically: Orion is pale and silver haired and kinda more small of stature for a guy, El has darker skin, dark hair, on her way to being above average in height; socially: orion is well loved and well recieved, kinda socially oblivious tho (very autistic imo) doesnt realize all the structures benefiting him, whereas El is an outcast people take an automatic disliking to, is very socially speculative,extremely good at reading people, and very aware of how everything functions, the structure of the hierarchies, the systems in place and necessary procedures to make it through life at the school, etc. -- but if you stop reading into all the opposites that are being deliberately thrown at you and analyze their relationship and their characters, you see they have a lot of core things in common. like that they both have similar feelings of social isolation (even if it is in opposite directions), theyre both brave and self sacrificing. It almost feels like im not meant to realize that yet, because then i will realize how everything is going to end. (I have a fear that the self-sacrificing bit is reaaalllly going to hurt later on.)

There is also a prevalent theme of ballance in this book, and that ties into the comparing and contrasting of Orion vs El. They are extremely yin yang coded.

I feel like this isnt the kind of thing I'd usually be thinking so deep about in an average book, but this author has already proven that shes is very smart. The ways she writes about the different politics, the realistic characters (looking at you, trauma responses so realistic they triggered my own XD), the rich culture of the school and of the magic itself, etc., it makes it feel completely possible that she'd be doing all of these subtle things very on purpose. Immediately I think of the scene in the library, where the school is using distraction and misdirection to try to keep El from noticing the maw-mouth. And the thought of Novik using this kind of misdirection/distraction literally in the story (like the library scene) but also as writing device (where its not directed at the main character, but at us, the audience/4th wall) is soooooo cool to me wow.

Naomi Novik is a genius.

[dremerie]

APOLOGY TOUR IS OUT

Let's talk about it!

I overall think this episode is really strong and follows on pretty nicely from its predecessor. I actually think I prefer this episode to full moon, it felt better focused with less tangents. The episode was allowed to stay consistent with its focus which I feel was really important.

I feel like the dialogue between blitzø and Stolas, particularly in the first scene, was really well executed and had good tension. It was nice to see Stolas maintain his frustration while in clear anguish over the situation.

I feel like the writers do a good job of showing how both are affected by the conflict, though, if I am to be a little critical (it could just be me) but it seems they are leaning more sympathy towards Stolas than Blitzø.

I do think Blitzø is more flawed in the vacuum of the relationship (with his ingoing problems with relationships), but in this case, his fears over the aspect of Stolas' position could be explored more and I hope they have Stolas reflect on how that impacts Blitzø

I loved the humour in this episode. It was more subtle and didn't take away from the tone of the episode. I especially liked the twist of the characters from ep1! I also found it funny how Blitzø's words on that apology list seemed more accurate in spelling and grammar than usual 🤔

I especially loved the ending. Though I wish we could have gotten more about Verosika and her specific history with Blitzø, I feel like we were given what we needed.

I like how they characterised Verosika in this episode. Though she is evidently very resentful, she takes the time to actually talk to and reasonably criticise Blitzø.

Her talk of their relationship works as a nice parallel to the present relationship between him and Stolas, giving good advice for how Blitzø can be better with the people he has now, which leaves him, quite rightfully, letting Stolas have fun without him.

I really hope they maintain this level of space between the two for a little to leave room for independent growth rather than a rushed rekindling. Time will tell! Overall I really enjoyed this episode and think it's one of my favourites in the season.

Let me know what you thought below!

[purplerakath]

Cobra Kai S6 - Tory and Sam

(But mostly Tory)

Complete 180 on yesterday, let's gush about how good the girls have been so far! Spoilers and such but this is just- yes good.

Talking about Sam First

Sam's growth is a little more subtle, and her utilization this season a little less focused, but she's still good. Nothing thus far is about her, it's all been her and Tory. But that's fine, the two of them being unable to fight each other after calling a truce, both afraid the peace won't last (but not wanting to break the peace) matters.

Both airing out how the other hurt them, and owning their parts matters.

About the only thing missing is Sam should have recognized Tory wasn't okay going into the fight. But all in all they did an excellent job making the pair of them believably awkward at each other.

Okay now for our Queen Cobra

Tory's character has always been shaped by how little life gives her, how much she has to fight for. Making that a core memory of her's, a part of her mother loving her, is really solid context to give before she goes Cobra again.

The episode isn't perfect, largely because it needed more showing that Tory is pushing them away (them, not just Robby) than it showed. That she's so used to the fight, and so used to being alone, she can't ask for help. And putting her on team Cobra means that she's set-up to be opponents of both Sam and Devon in Part 2.

And, personally, I hope that Johnny will get through to her in Part 2 after Danny fucked it up so badly in Part 1. Because it'll also be a measure of self-rescue. If he can save another angry blonde from John Kreese.

The other Problem...

Because these eps are all conflict, no resolution (see my post on Sunday about what I mean) it means nobody could go after Tory in the moment. They all got to be surprised by her being team Cobra. This is due to Amanda, Johnny, Sam, or Robby talking to her would be a resolution of some form. And we don't have time for that.

Ep 5 was about ten minutes longer than every other ep so far and it still cut stuff that they needed. Which says something about how much is going on.

I expect between Sam, Robby, and Johnny we'll get a resolution and a final heel-face turn for Tory. But having Tory sink into the darkside after her mother died is just- very very right for this show.

[the-way-astray]

do you think sokeefe will be a lasting relationship, or will they break up, or secret third thing (they break up and get back together again over and over again)?

anon, i assume you're asking about the canon story. and without question, sokeefe will be in a lasting relationship in canon. i have no doubts there whatsoever. as i discussed in my rant, shannon has a gargantuan tendency to tell, not show, things when in comes to what she wants to communicate about her relationships to the audience. it's not at all subtle. and as i discussed in the rant, sokeefe falls prey to this the most. shannon jumps through all these crazy hoops to tell, not show, the audience how perfect sokeefe will be together. there are even more instances of this in the unlocked novella and stellarlune, but unfortunately i haven't gotten there yet. it's a very insecure way of writing and basically tells your audience you don't trust them to understand what you're trying to tell them from the interactions and dynamic alone.

now why is this relevant? well obviously, if shannon wants so bad for the audience to know that sokeefe will be great together, she isn't doing that for nothing. she clearly wants them together. i haven't discussed stellarlune's famous chapter 42 yet, but in this post, i talk about how that entire scene felt out-of-character for sokeefe. in essence: it's too perfect for their dynamic. almost as if shannon is so insecure about whether her readers will like sokeefe that she removes everything that makes them them in favor of making a impersonal, washed out scene that feels generic and bland. why does she do this? because any imperfections, any flaws, any personality that's unique to sophie and keefe and their dynamic could turn readers against them as a couple. so those have to be erased. and so in the end, all we have is the picture perfect romantic scene that feels way too easy and not at all earned. it reeks of insecurity, in my humble opinion.

all this is to say, shannon did some pretty desperate things to make sure fans understand that sokeefe are great together. she also villainized fitz in the process so that fans would know that sophie and fitz are not good together. and authors don't do these sorts of things unless they are sure they want these characters together forever.

however, fanon exists. and the idea of sophie and keefe breaking up and getting back together endlessly is so funny to me, i can't just not discuss it. the elves' indefinite lifespan allows for it. i think they would do it not because they're actually on and off, but because they want to purposefully spread rumors and gossip about themselves. or at least, keefe would. they want to mess with people's minds because it's funny and they're bored and old and everyone know who they are and there's nothing better to do.

they make a calendar and mark all their break-up dates and get-back-together dates in blue and red. they work out a whole algorithm for how much time to spend in each phase that's just long enough to get the public to think hey, maybe this time it's permanent, and then bam! never mind. they flipped to the other status again. the matchmaking office has nineteen different match-fail forms submitted by the same couple. sometimes, centuries go by between them. sometimes, mere weeks. the matchmakers go to the council and beg them to sign a law into action that puts a restriction on how many times you can divorce and remarry the same person, but the council turns them down because they can't piss off their local genetically modified celebrity couple because they defeated the neverseen and the public love them too much. sophie and keefe spend the rest of eternity (officially) breaking up and getting back together again and again and again and again. the elvin world accepts this as the new reality. it's a metaphor for change and growth in the lost cities.

[avacolemanplsbebi]

The Subtle Romance of Avanine: Could It Be Real?

In the season 3 finale for "Abbott Elementary," Gregory and Janine seem to be throwing caution to the wind and finally getting together. To Avanine truthers everywhere, that seemed to be the final nail in the coffin and relegated any Ava x Janine content to fanfiction and fanart. But I am fully delusional and believe that this might not be the end for Ava and Janine. In this essay, I will explain why I think Avanine could be endgame, including narrative evidence and character development throughout the series.

Janine's Journey of Self-Discovery

Janine Teagues has been on a remarkable journey of self-discovery from the very beginning of "Abbott Elementary." Introduced as an idealistic and perpetually optimistic second-grade teacher, Janine's character is defined by her selflessness and unwavering dedication to her students. However, this dedication often comes at the expense of her own happiness and personal growth. Over the course of three seasons, Janine's character has evolved significantly, marked by several pivotal moments that have shaped her journey.

One of the most defining moments in Janine's journey was her breakup with Tariq, her long-term boyfriend. This relationship, while comforting and familiar, was also limiting. Tariq's lack of ambition and direction contrasted sharply with Janine's passion and drive. Their breakup in season 1 was a crucial step for Janine, allowing her to break free from a relationship that was holding her back and start focusing on her own aspirations and needs.

As Janine navigates single life, she begins to explore new relationships, including a brief romance with Maurice, a friend of Gregory. This relationship serves as a stepping stone for Janine, helping her to understand what she truly wants in a partner. Maurice's easygoing nature and genuine interest in Janine provide her with a sense of validation and confidence. However, it also highlights the contrast between Maurice's laid-back attitude and Gregory's more serious and supportive demeanor.

The kiss between Janine and Gregory during the teacher's conference is another pivotal moment in her journey. This unexpected and passionate kiss brings Janine's feelings for Gregory to the forefront, forcing her to confront the reality of her emotions. It's a moment of vulnerability and clarity for Janine, one that sets the stage for future developments in their relationship.

Janine's decision to tell Gregory that she wants to be selfish marks a significant turning point in her character arc. Throughout the series, Janine has consistently put others before herself, often to her own detriment. Her declaration of wanting to be selfish is a bold step towards self-empowerment and self-care. It's a moment of self-realization where Janine acknowledges her own needs and desires, setting the stage for her to make decisions that prioritize her happiness.

In the first episode of season 3, Janine's journey takes another significant turn when she goes to Gregory, hoping to rekindle their relationship. However, Gregory's response, "Honestly, Janine, in my mind, I had kind of put a period on that," is a harsh reality check for Janine. This moment forces her to confront the fact that not everything will go according to her plans, and it challenges her to reassess her approach to relationships and her own emotional needs.

The culmination of Janine and Gregory's journey occurs at the end of season 3 when they seemingly "get together." This moment, while joyous, is also complex. It's a culmination of their long-standing chemistry and mutual feelings, but it also raises questions about Janine's growth and her ability to prioritize herself. Gregory's decisive action in going to Janine's place and initiating their relationship contrasts with Janine's earlier desire to make decisions for herself. This dynamic sets the stage for potential conflicts and growth in their relationship moving forward.

Gregory's Character Development

Gregory Eddie's character development throughout "Abbott Elementary" has been more subtle compared to Janine's and Ava's, yet it is equally significant. Gregory starts as a substitute teacher with aspirations of becoming a principal. His reserved and disciplined nature often puts him at odds with the more chaotic and unpredictable environment of Abbott Elementary. Despite this, Gregory's character evolves as he becomes more integrated into the school's community.

One of the key aspects of Gregory's development is his dating life. Gregory's relationships with various women throughout the series highlight his struggle to find a balance between his professional ambitions and personal life. His interactions with Janine, however, reveal a deeper emotional connection that transcends his usual guarded demeanor. Gregory's evolving feelings for Janine are evident in the way he supports her, offers advice, and ultimately, the way he handles his own emotions.

The pivotal moment of Gregory telling Janine, "Honestly, Janine, in my mind, I had kind of put a period on that," is crucial in understanding his character. This statement reflects Gregory's attempt to protect himself from emotional turmoil by setting boundaries. It also indicates his frustration with the uncertainty of their relationship. Gregory's desire for stability and clarity contrasts with Janine's more spontaneous and emotionally driven nature.

By the end of season 3, Gregory's character reaches a turning point when he decides to be with Janine. His visit to her place and the subsequent kiss signify his willingness to take a risk and embrace his feelings. However, this decision is not without its complexities. Gregory's choice to initiate their relationship, rather than allowing Janine to make the decision herself, highlights a potential conflict. Janine's journey towards self-empowerment is challenged by Gregory's assertiveness, setting the stage for future growth and negotiation in their relationship.

Gregory's development from a cautious and reserved individual to someone willing to take emotional risks is significant. His relationship with Janine serves as a catalyst for his growth, pushing him out of his comfort zone and challenging him to confront his own vulnerabilities. This evolution is crucial in understanding the dynamics of their relationship and the potential challenges they may face in the future.

Ava's Transformation

Ava Coleman has undergone one of the most remarkable transformations in the series. Initially portrayed as a self-absorbed and unprofessional leader, Ava's character is revealed to have surprising depth and complexity. Her journey from a seemingly selfish individual to someone who genuinely cares about the school and its staff is both compelling and significant.

Ava's initial portrayal as a self-centered and flamboyant principal sets the stage for her character development. Her disregard for rules and her tendency to prioritize her own interests over those of the school create a comedic but problematic dynamic. However, as the series progresses, Ava's character begins to reveal unexpected layers. Her interactions with Janine, in particular, showcase a different side of her personality.

One of the most surprising aspects of Ava's character is her adeptness at various tasks when she chooses to apply herself. This skillset, combined with her sharp wit and resourcefulness, highlights Ava's potential as a leader. Her transformation is marked by moments where she steps up to support the school and its staff, demonstrating a growing sense of responsibility and care. This shift is particularly evident in her interactions with Janine, where Ava often goes out of her way to support and protect her.

Ava's relationship with Janine is a key element of her character development. While Ava's initial interactions with Janine are marked by teasing and superficial comments, their relationship evolves into one of mutual respect and support. Ava's protectiveness over Janine becomes more apparent as the series progresses, and their shared moments outside of work hint at a deeper connection. This transformation from a self-centered individual to someone capable of selflessness is significant in understanding Ava's character arc.

A notable moment in Ava's development is when Janine decides to leave Abbott Elementary to work at the District. Ava's decision to hire someone who is the exact opposite of Janine underscores her deep attachment and appreciation for Janine's presence at the school. This action highlights Ava's growth and her recognition of Janine's importance, not just as a colleague, but as a friend and confidante.

Janine and Gregory's Relationship

The relationship between Janine and Gregory has been a central narrative thread throughout "Abbott Elementary," marked by numerous ups and downs. Their journey from colleagues to potential romantic partners is complex and layered, reflecting the intricacies of their characters and their individual growth. Understanding their relationship requires a detailed examination of key moments and developments over the seasons.

From the moment Gregory joins Abbott Elementary, there is an undeniable chemistry between him and Janine. Their shared passion for teaching and their mutual respect for each other's dedication create a strong foundation for their relationship. Gregory's initial crush on Janine is evident in his supportive actions and the way he often goes out of his way to help her. Janine, on the other hand, is initially oblivious to Gregory's feelings, focused on her relationship with Tariq and her commitment to her students.

As their friendship deepens, Gregory and Janine share several significant moments that bring them closer. The kiss during the teacher's conference is a turning point, bringing their feelings for each other to the surface. This moment of vulnerability and passion highlights the depth of their connection and sets the stage for future developments. However, the complexity of their feelings and the external pressures they face create a turbulent path forward.

Janine's declaration that she wants to be selfish and focus on herself adds another layer to their relationship. Gregory's response, "Honestly, Janine, in my mind, I had kind of put a period on that," is a pivotal moment that reflects the tension between their individual needs and their mutual feelings. This statement underscores Gregory's desire for stability and clarity, contrasting with Janine's journey towards self-empowerment and self-care.

The culmination of their relationship occurs at the end of season 3, when Gregory goes to Janine's place and initiates their romantic relationship. This decisive action by Gregory contrasts with Janine's earlier desire to make decisions for herself. While this moment is a culmination

 of their long-standing chemistry and mutual feelings, it also raises questions about the dynamics of their relationship. Gregory's assertiveness and Janine's journey towards self-empowerment create a complex interplay that sets the stage for potential conflicts and growth in their relationship.

Overall, the relationship between Janine and Gregory is marked by significant moments of connection, tension, and growth. Their journey reflects the complexities of balancing personal needs with mutual feelings, and their evolving dynamic highlights the challenges and potential of their partnership.

Janine, Ava, and Gregory

The dynamics between Janine, Ava, and Gregory add another layer of complexity to the narrative of "Abbott Elementary." Ava's initial attraction to Gregory and her evolving relationship with Janine create a rich tapestry of interactions and emotions that influence the main characters' journeys. Understanding these dynamics is crucial to fully appreciating the potential of an Avanine romance.

Initially, Ava's attraction to Gregory is a source of comedic tension in the series. While Ava is not interested in a serious relationship with Gregory, her flirtatious behavior and attempts to get his attention create a humorous dynamic. However, this attraction also sets the stage for Ava's evolving feelings towards Janine and her protective behavior regarding Janine's relationship with Gregory.

One of the key moments that highlight the dynamics between the three characters is the club scene where Janine and Gregory are dancing together. Ava's decision to break them up and invite Janine to continue clubbing with her and her boyfriend is significant. This moment not only underscores Ava's attraction to Gregory but also her interest in spending time with Janine. Janine's reaction to Ava being in a relationship and her decision to join Ava instead of going home alone highlights the evolving bond between the two women.

Following this, Ava and Janine's relationship deepens as they begin to spend more time together outside of work. Their shared moments suggest a growing intimacy and mutual support. Ava's protectiveness over Janine becomes more apparent, and their interactions reflect a deeper connection that goes beyond mere friendship. This evolving dynamic adds a layer of complexity to the potential of an Avanine romance.

However, the most significant shift in Ava's behavior occurs in season 3, when she begins to actively push Janine and Gregory apart. Despite having previously supported their relationship, Ava's actions in season 3 suggest a change in her feelings. Her happiness when Gregory tells Janine he has put a period on their potential relationship, and her constant interruptions, indicate a deeper emotional investment. This behavior raises questions about Ava's true feelings and her motivations for keeping Janine and Gregory apart.

The final look Ava gives Gregory during the party scene in the last episode of season 3 is particularly telling. Despite being canonically over Gregory, Ava's expression suggests jealousy and concern. This moment highlights the complexity of Ava's emotions and her potential feelings for Janine. It raises the possibility that Ava's actions are driven by more than just friendship, suggesting a deeper, unspoken attraction to Janine.

Ava and Janine's Relationship

The relationship between Ava and Janine is one of the most intriguing and complex dynamics in "Abbott Elementary." While much of their interaction occurs off-camera, the glimpses we see suggest a deep and evolving bond that could potentially develop into a romantic relationship. Understanding the nuances of their relationship requires examining key moments and the subtext of their interactions.

One of the most significant aspects of Ava and Janine's relationship is the way they support and understand each other. Ava's hyper-awareness of Janine's location and her actions to ensure Janine's well-being suggest a level of care that goes beyond mere friendship. Janine, in turn, knows exactly how to break Ava out of her serious moments and bring out her playful side. This mutual understanding and support highlight the depth of their connection.

Their regular outings to a drag club indicate that they spend significant time together outside of work. These moments away from the school environment allow them to connect on a personal level, further deepening their bond. The fact that they have a regular place where they hang out suggests a routine and comfort in each other's company that is significant in any relationship.

Most of Ava and Janine's interactions that have deepened their connection have occurred off-screen and in private settings. This contrasts with Janine's interactions with Gregory, which are often public and chaperoned by their colleagues. The private nature of Ava and Janine's moments suggests a level of intimacy and trust that is crucial in building a strong relationship. These off-screen interactions allow them to explore their feelings and support each other without the pressures of their professional environment.

The comments from Janelle James, who plays Ava, further support the potential for an Avanine romance. James has hinted at the depth of Ava's feelings for Janine and suggested that their relationship could develop into something more. Additionally, the show's creator, Quinta Brunson, liking an obviously gay Avanine edit, adds another layer of intrigue to the potential for a romantic relationship between Ava and Janine.

The evolving dynamics between Ava and Janine, marked by mutual support, private interactions, and hints of deeper feelings, suggest a strong foundation for a potential romance. Their relationship is built on a genuine connection and understanding, making the possibility of Avanine an exciting prospect for the future of "Abbott Elementary."

Conclusion

While Ava and Janine might not get together, the evidence suggests that Ava has a significant crush on Janine. This crush, combined with the complex dynamics between Janine, Ava, and Gregory, is likely to create interesting developments in the fourth season of "Abbott Elementary." The potential for an Avanine romance adds depth and intrigue to the narrative, and fans can look forward to seeing how these relationships evolve. Whether or not Avanine becomes canon, the possibility itself enriches the story and keeps viewers engaged with the characters' journeys.

TL;DR: The season 3 finale seems to solidify Gregory and Janine's relationship, potentially sidelining any romantic possibilities between Janine and Ava. However, examining the narrative and character development reveals that the potential for an Avanine romance remains strong. Janine's journey of self-discovery, marked by pivotal moments like her breakup with Tariq and her declaration of wanting to be selfish, contrasts with Gregory's more stable but less aggressively developed character arc. Ava, initially self-centered, undergoes significant growth, showing unexpected depth and selflessness, particularly towards Janine. Their off-camera interactions and mutual support hint at a deeper connection. The complex dynamics between Janine, Ava, and Gregory, including Ava's changing behavior towards Gregory and her evident jealousy, suggest Ava's unspoken feelings for Janine. With Ava canonically over Gregory, her actions indicate a crush on Janine, setting the stage for intriguing developments in season 4. The essay argues that while Avanine might not become canon, the possibility enriches the narrative and keeps fans engaged.

[timetodiverge]

TL:DR: a brief treatise on learning to love Ahsoka for the gifts it gave us, rather than its shortcomings

Reasons why I struggled to like Ahsoka on first watch:

-my Rebels-fan brain constantly chanting WHERE IS EZRA WHERE IS EZRA WHERE IS EZRA; every episode that ended without him had me screaming

-the portrayal of Ezra as some noble war hero/wise Jedi instead of the little shit devious street urchin thief who, after four seasons of growth, pain, and temptation to turn darkside, turned into an IGnoble war hero with the potential to become a wise Jedi

-the show's habit of far-too-casually dropping facts that emotionally wrecked Rebels fans (ALL the Wrens died on Mandalore?? Could we maybe explore that a bit?? Dave do you remember when you had Sabine collapse into what she thought were her mother's ashes, and the depth of her relief when she realised her family was still alive and she still had a chance to make things right with them?? DO YOU???)

-the show's refusal to recap/reference insanely important events from Rebels and The Clone Wars (Mortis Gods, Trials of the Darksaber, Vader v Ahsoka and Ezra rescuing her via the World Between Worlds, Ahsoka's entire existence, etc) that would have made Ahsoka, Sabine, & Hera's importance in the larger Star Wars universe much more comprehendible for non-Rebels & TCW fans

-watching Sabine, who only ever wanted to be a valued, equal member of a family & team, and who was already incredibly skilled (art/warfare/mechanics), belittling and limiting herself trying to play the part of Jedi Padawan

-the wasted potential of show that could have truly explored how non-Jedi&Sith engage with the whole spectrum of the Force (e.g. other force users such as Nightsisters, loth wolves, purrgil, and non-force-sensative people such as Sabine), instead ultimately championing the light-dark binary and the traditions of the Jedi order (which many of us have little respect for) such as the Master-Apprentice relationship

Reasons why I now adore Ahsoka and would defend it to the death:

-the breath-taking care, love, and attention the production team put into every tiny detail (the sets, the costumes, props, the MUSIC, the background art, the ships and weapons, my god the detail!!)

-the shameless centring of diverse, layered female characters and the exquisite, subtle performances of Mary Elizabeth Winstead & Genevieve O'Reilly

-a mature exploration of how traumatic events e.g. wars may technically "end", but don't end for everyone: Ahsoka and Sabine are still traumatised ex-child soldiers mourning people they desperately loved but had complex & unresolved issues with; Hera still has zero boundaries between being a soldier and her personal life. And this PTSD has very real consequences to the narrative

-the show ultimately resisting the urge to choose a plot-twist Ezra reveal (e.g. turns out Thrawn and Ezra are now buddies/Ezra is the new big bad/Ezra was Marrok), which may have been more interesting but would have deprived us of the wholesome Ezra reveal we actually wanted

-Eman Esfandi giving us the most successful animation-to-live-action transition since Katee Sackhoff's Bo-Katan, and being so perfect in his mannerisms and behaviour that it was almost worth the wait (and looking so much like Ezra's father in Rebels!!)

(...unless you include Chopper, whose transition was actually 120% perfect)

-ultimately refreshing and levelling-up the potential for mature and diverse Star Wars narratives, like Andor did, but instead of leaning away from SW tropes and traditions like Andor, digging deeper into SW tropes and history, and linking non-mainstream-SW-elements such as the Nightsisters of Dathomir, the Mortis Gods, the World Between Worlds, and the existence of other galaxies

[ocdeeznut]

In rewatching s8 i have some thoughts. Why it didn’t work as an ending, and what i think could have been changed.

WARNING THIS POST IS LONG AS FUCK, so strap in if you’re interested.

- The feel of the writing is distinctly off. Not bad, but it doesn’t feel like you’re watching Voltron anymore. It feels grittier and more like a high stakes adult animation than the other seasons. Which, again, isn’t necessarily bad, but the shift is too quick and it could have been executed better if they spent more time digging into the individual characters and their growth during s6/7.

- The issue of ‘there’s always a bigger enemy’ starts to make the plot feel stale. You get bored of a bigger robot, higher stakes, more to lose. They start killing people and planets for a cheap audience reaction when we weren’t all that invested in the first place. It felt like a split second decision by the writers to destroy Olkarion. Something like that needs to be pencilled in from the beginning. There were too many attacks on Olkarion, and as a consequence we got too used to seeing it’s people in peril. There should’ve been a distinct shift where we, as the audience, realised Voltron wasn’t going to be there to save them this time. Whether that’s a writing, animation or atmospheric issue i’m unsure. Maybe it’s just a me thing.

- The Atlas should never have been able to transform. That for me was the biggest investment turn off. Why do we need Voltron anymore if there’s a bigger, stronger robot on their side? If they were going to replace the castle, they should have made it clear and stuck with the intention. That’s not a support ship anymore, that’s something else entirely. I’d gladly watch a show JUST about the Atlas, with Shiro at the helm, but it’s not Voltron.

- Too many things happen at once, and it’s massively convoluted. 13 episodes is not enough time to: introduce a romance, have me actually care about that romance, kill off a main character, form a new version of voltron, redeem three main antagonists, AND cutely tie up all the glaring plot holes of the show. S8 needed to be two seasons at least. If things were spread out and more passion was pumped into the writing, it could’ve worked.

- Allura’s character was ruined. She became a nagging, reckless, martyred love interest. I love her dearly, i have from S1, but they did her SO dirty. Lance, too. They both deserved better.

- I think, personally, that Sendak should’ve been the final villain. Not Honerva. Her arc was rushed and her CORE motivation made little sense. They used the flimsy excuse of her corruption to redeem her love for Lotor, and his name was literally raked through hell and back for a very mediocre payoff. If that was the plan from the start, it needed to be hinted at more.

- There was too much, as i call it, flip-flopping. The alteans are alive, now they’re evil, now they’re not. We can’t get into Oriande, but now we can! Personally, i need explanations, and strict universal rules. If those rules are to be broken for whatever reason - it has to be a show stopping exception and a main event. Everything is excused and explained away when it doesn’t make any sense.

- Now, i actually really likes the subtle art style and animation adjustments in the season, visually it was spectacular so i have no critiques there. If only the plot could have done its outer shell some justice.

AND GET LANCE OFF THAT DAMN FARM.