#that anyone trying to inform you that codependency is harmful... is trying to force you to never interact with them

[aro-culture-is]

aro culture is wondering why some people have so much problem with being single that they start hating on every couple

.

[effei-s]

What shatter-me Warner would do.

The fastest character assassination I’ve ever seen.

Here’s the thing: Warner from original trilogy had character arch. More important: he was a character.

He was mean, villainous, cold, cruel murderer, with daddy who basically bought him regency (like come on, if it wasn’t for Anderson no one would even think about giving him that position; n for nepotism), but he also was deeply traumatized and abused his whole life and had little to none normal human interactions. I loved that fact that the only good thing he did (killing Fletcher because he was abusing his family) resolved into a complete catastrophe (Anderson killing children and wife) because Warner didn’t think it through. He tried to do the right thing and failed miserably, because he was more concerned with making a spectacle for Juliette. And after that he still had the audacity to paint himself as a hero who saved poor family from terrible tyrant in Ignite me.

I didn’t expect him to act and think like a human being. He didn’t need to act like a normal human. Warner gas lighting Juliette in the first third of ignite me is Warner’s thing to do. Him yelling and throwing tantrums and making scenes in Unravel me is Warner’s thing to do. Him forcing Juliette to do things she doesn’t want and traumatizing her in the process in Shatter me is Warner’s thing to do. Him wanting to torture Adam to death is Warner’s thing to want.

There’s a few reasons for this:

a) he doesn’t know how to communicate with people other than giving them orders or making threats;

b) he truly believes that he’s in the right here (he doesn’t see himself as a bad guy in Juliette story, more like a knight on a white horse);

c) he’s physically unable to be honest with himself and always has someone to blame for his own mistakes and failures;

d) he’s ‘results justify the means’ kind of guy.

Changes for good, with trauma that deep, when you basically don’t have a moral compass, don’t happen over night.

Was his ignite-me arch made sloppy? Yes. Everything was too info-dumpy and too convenient (Juliette forgetting that Warner was going to torture Adam to death; Juliette feeling that she’s the one who needs to apologize; Leila’s entire character used only for a sob story; Adam turned into a douchebag so Warner would look a more suitable love interest, etc). But it still was an arch. And the finale of ignite me was so open I really could imagine that, little by little, in the future, he will start to trust people more and really gonna help Juliette and co to make the world a better place. And his redemption arch wasn’t finished in the slightest, and I would even say that it was only the beginning of it, but it was implied that things will get better from there (the most important part of that being him genuinely wanting to make things right with Adam and James; he’s the one who makes the first step and initiate the bond).

So what went wrong in new three books? Ehm… everything, to be honest. Instead of developing a character that was already there, she decided to give him a new personality. Actually it can be said about every single one of characters, but Warner just happened to be the biggest victim of them all.

Let’s look at Restore me.

Okay, we have his pov, and I never thought I would say it but… Warner is kinda dumb. He’s supposed to be this military strategy genius, someone who knows how RE works from within and… it turns out that he just as clueless as Juliette. More than this, we never actually see him do ANYTHING except fucking Juliette. And for some reasons he never helps Juliette with her work??? There’s so much paperwork and instead of helping her to sort though it he’s… just not there???

Those stupid long monologues about how she’s capable to do anything mean nothing if he doesn’t actually help (as we can see at the end of restore me, when Juliette gets captured).

That fact that he doesn’t immediately check if Castle’s words are true? And instead of helping Juliette with Haider (telling everything he knows about him and his family, preparing her for the dinner) he fucks her??? This is a dumb bitch shit. And maybe you didn’t noticed but Shatter-me Warner wasn’t a dumb bitch.

After all, there’s a simple reason I never wanted the job of supreme commander myself—

I never wanted the responsibility.

It’s a tremendous amount of work with far less freedom than one might expect; worse, it’s a position that requires a great deal of people skills. The kind of people skills that include both killing and charming a person at a moment’s notice. Two things I detest.

Remember shatter-me Warner who wanted power because power meant that he could have control over his life? Remember shatter-me Warner who wanted to work with Juliette as a team to change the world? Yeah that’s him now.

No personal ambitions allowed when you’re a walking dildo, I guess.

Off the topic, but Mafi really enjoys making Juliette stupid as fuck:

“Oh, yes, of course,” she says, remembering. “I’ve gotten a bunch of letters about that. I didn’t realize it was such a big deal.”

Let's continue.

Hurting Haider would be enough to start a world war.

Warner says and then Juliette threatens Haider, a foreign official on a diplomatic mission, and instead of being even a little bit worried and think about possible consequences, Warner thinks this:

But I can only smile at her. I want to scoop her up and carry her away. Take her somewhere quiet and lose myself in her.

Okay, I guess it’s official, there’s sperm inside of his head instead of brain cells. I can’t find any other explanation for this clownery.

Shatter-me Warner would… Shatter-me Warner won’t be in this situation in the first place.

Someone tries to kill Juliette and Warner does… nothing about it. He never goes to check the body of the assassin himself. He thinks that Nazeera hides something and he still allows her to go around and doesn’t even interrogate her when Juliette says that Nazeera was there at the moment of the attack. He doesn’t find it even a little bit suspicious? That guy who had tremendous trust issues in the original trilogy? Remember him? Yeah, that guy. Shatter-me Warner would lock Nazeera and Haider up and demanded answers. Shatter-me Warner would be angry as fuck, and would try to kill Kenji with his bare hands, because Kenji was stupid enough to leave Juliette alone. Shatter-me Warner wouldn’t stop until he had answers (and the head of a person who wanted to kill Juliette on a plate).

New Warner is too busy feeling sorry for himself to actually do anything about it. And after one chapter it’s completely forgotten, like that fact that someone tried to kill her is not important at all.

And then Castle enters the picture with his stupid and sloppy info-dumping (I guess Mafi never heard of ‘show don’t tell’ rule). And says this:

“She can’t lead this resistance,” he says, squinting at something in the distance. “She’s too young. Too inexperienced. Too angry. You know that, don’t you?”

and if that wasn’t enough he also says this:

“It should’ve been you,” Castle says. “I always secretly hoped—from the day you showed up at Omega Point—that it would’ve been you. That you would join us. And lead us.” He shakes his head. “You were born for this. You would’ve managed it all beautifully.”

AND HE’S STILL ALIVE AFTER?

This is a fucking treason right there. And Warner A-OKAY with this.

Shatter-me Warner would strangle him right there. Or better yet, he would go along with this until he has 100% evidences of Castle’s betrayal and then he would kill him. Or he would kill him simply because Castle was withholding important information and earlier in books he put Juliette in a great danger by sending her to Anderson without telling her the truth (unravel me).

But not this Warner. New Warner is far more concerned with fucking Juliette then helping her or looking for a way out of this situation (because now he has dick instead of a brain).

After my father’s revelation, my thirst for information became suddenly insatiable. I needed to know more—who these people were, where they’d come from, how much we’d known—

WHERE AND WHEN DID WARNER IN PREVIOUS BOOKS DISPLAY THIS?

When I say that Mafi simply forgot her own characters this is what I mean. Warner from original trilogy didn’t give a flying fuck about them. He thought that they were weak and stupid.

I will lose her.

And it will kill me.

He said this shit and after he nearly had a panic attack because he imagined her dating someone else? Oh, come on, how more pathetic can he get?

There are words for this kind of behavior: toxic codependency.

Oh wait wait! I know! This is not Warner! This is Edward Cullen disguised as Warner! The mystery is solved!

Oh, he fucks her again. Apparently it’s the only thing he’s good at. What a character! The layers! The complexity!

And then Lena came into the picture.

Until that moment I was more or less okay with Warner. Yes, I was very confused, but I was ready to give Mafi benefit of the doubt. He lost his father and was dealing with grieve. We all can act out of character in the face of a tragedy or drastic changes.

“Why do you keep pressing this? Who cares if I’ve been with other women? They meant nothing to me—”

And there I felt in my guts, I’m not gonna like what next to come.

Haider was exhibiting suicidal tendencies. Self-harming. And I got really scared. I called Warner because I knew Haider would listen to him.” She shakes her head. “Warner didn’t say a word. He just got on a plane. And he stayed with us for a couple of weeks. I don’t know what he said to Haider,” she says. “I don’t know what he did or how he got him through it, but”—she looks off into the distance, shrugs—“it’s hard to forget something like that.

Oh, so Warner's words about how he never had any real interactions with anyone before Juliette were bullshit. About how he doesn’t understand people were also bullshit. About how Juliette was the first person who was not afraid to speak with him freely were also bullshit. Because all of the sudden he can help someone heavily depressed. Someone with suicide tendencies? Someone who harms himself? And now he has an ex-girlfriend who’s ready to beat the fuck out of him and calls him mean words (she clearly doesn’t fear him)?

Now his entire character in the first trilogy doesn’t make any sense. And his excuses don’t make any sense.

Bravo, Mafi! Bravo! This was the fastest character assassination I’ve ever seen.

She says that Lena was in love with him—really in love with him—but that Warner broke her heart, that he never treated her with any real affection and she’s hated him for it.

Oh, so he’s not only stupid and absolutely useless, he’s a fuckboy. And if there’s one thing I HATE, it’s fuckboys.

There’s a big-big-big difference between someone who has one-night-stands and THIS SHIT:

“You’re upset, I understand. But it’s not my fault you feel this way. I don’t love you. I never have. And I never led you to believe I did.”

“She and I,” he says, “it was—we were nothing. It was a relationship of convenience and basic companionship. It meant nothing to me. Truly,” he says, “you have to know—if I never said anything about her it was only because I never thought about her long enough to even consider mentioning it.”

“It wasn’t like that. It wasn’t two years of anything serious. It wasn’t even two years of continuous communication.” He sighs. “She lives in Europe, love. We saw each other briefly and infrequently. It was purely physical. It wasn’t a real relationship—”

So he despised her but used her for sex? WOW. Cool. He can go and trip over a fucking knife or fall out of the window for all I care.

“Everything in my life was different before I met you,” he says. “I was lost and all alone. I never cared for anyone. I never wanted to get close to anyone. I’ve never—you were the first person to ever—”

And how exactly he was able to help Haider with his self-harm then??? If he didn’t CaRe for anyone before Juliette?

This was the moment when Warner from original trilogy died in agony.

Okay, let’s see real quick what we have in Defy Me:

He thinks about escape but never really does anything to escape;

(anderson is the one who opens his cell;

he stands in front of a guy who murdered his mother and doesn’t even think about her, yeah I can see how important she was for him;

/again, shatter-me Warner would probably demanded answers, but not walking dildo, walking dildo cares only about Juliette. his excuse in ignite me 'i did it all for my mom' doesn't make any sense now, because he actually doesn't give a flying fuck about her/

he gets captures one minute after he “kills” Anderson;

nazeera is the one who gets him out of there;

super soldier taught his whole life how to survive, everyone. useless as fuck)

He doesn’t know anything about jewelry.

(super ooc, i know what Mafi was trying to do here: she tried ‘sherlock holmes doesn’t know that earth revolves around the sun’ thing Arthur Conan Doyle did, but the problem is WARNER IS A FASHIONISTA, or he was).

He wants to get married because…???

He sees a woman who tried to kill Juliette and he’s a-okay with staying at her place, because she said that it was actually a message (???).

Castle is still alive.

Nazeera who knew all this time about Anderson and was working for him is also alive and well.

Oh and he doesn’t care about Anderson being alive and being a real threat to Juliette (fucking her is more important for him, as usual).

His complete disregard for Juliette’s safety only makes me hate him more with every new book.

Imagine me.

First and foremost: don’t call imagine-me Warner shatter-me Warner. Don’t insult shatter-me Warner like that. With shatter-me Warner Anderson would have to try very hard to get to Juliette. It would be ‘Warner made 100 back-up plans, but Anderson knew him too well and created 101 plan and that’s how he managed to win’ kind of situations.

But walking dildo is too busy feeling sorry for himself (as usual), he just sits by her bed FOR TWO FUCKING DAYS, doing absolutely NOTHING to make sure she’ll be safe.

Nooira says that Juliette should be killed and she’s still alive for some reason.

He’s entire persona is that he’s rude to people (but not bbc’s sherlock holmes kind of rude, when he’s unbearable dick but he’s actually smart and really gets shit done, so we can tolerate him). He’s just rude.

He doesn't care about Adam or James's wellbeing (remember Ignite me Warner who really wanted a family? Yeah that's him now).

But he has gruppies now, because he’s hot and everyone in the sanctuary wants to fuck him.

Oh and he proposed to Juliette. HE PROPOSED. THEY ENGAGED! DO YOU HEAR ME??? THEY GONNA BE MARRIED! HE PROPOSED TO HER! AND SHE SAID YES! THEY GONNA MERRY!

Because god fucking forbid we forget about it.

(mafi really thinks that her readers have the mental capacity of a golden fish, huh?)

I lost count how many times walking dildo implies that he's gonna kill himself if Juliette is not with him (disgusting).

Then our walking dildo cures Juliette by the power of petting (it’s not power of love, lads and gents; you want to see love go watch defenders on netflix; mafi already copypasted elektra’s arch from that show into imagine-me Juliette, you can do yourself a favor and see how this trope can be executed without borderline on sexual assault petting scene).

18-old girl marries a fucking sociopath believing he’s actually a good person.

(we all know how shit like this ends, people like that don't change; and this 'he's different with me cuz i'm very special and i'm gonna teach him the right way' it's really harmful message considering that the audience of those books are mostly teenage girls).

Trust me, there's nothing revolutionary in this trope, it's tale as old as time.

Here's the thing, good written character always defined by connection to other people: friend, lovers, enemies, family, foes, acquaintances, even some random strangers. It's the easiest way to establish what kind of person they are.

Walking dildo doesn't have any of that because all of his "character" revolves around Juliette. He's not a person anymore. By the end of Imagine me he doesn't have friends (his relationships with Kenji or Haider non-existent), no family connections (no talks with Adam or James), even enemies or foes or even people that don't like him (because everyone wants to fuck him, because being hot is his only character trait).

His only family and friend is Juliette. And you know what? It's fucking boring, overdone and lazy as fuck. And insulting to the character he once was.

No redemption arch, no character arch at all.

Happy end.

[linkspooky]

Annie Runs Away (Again).

Annie has suddenly decided she’s a pacifist. Annie is leaving on a journey of self discovery. Perfect timing. You take all the time you need. It’s not like the world’s ending or anything. 

Just kidding. Annie’s not actually acting any different than she usually acts. I’ve said this before, but Annie and Armin are characters who continually exhibit regression rather than development. If you remain the same person more or less throughout the story, that’s not suddenly going to change without impetus. You’re always just the same person, even at the end of the world. 

An analysis on Annie and Armin’s failings under the cut. How they parallel Eremika, and why they can’t get close. 

1. But That’s None of My Business

Let’s bring out my handy dandy Want / Need chart again. 

Want

: something your character desires, because they believe it’ll improve their happiness.

Need

: the lesson they need to learn to overcome their inner struggle and achieve true happiness.

Annie has run away again and again throughout her entire arc. 

Annie’s a survivalist. Her own life comes before anybody else’s. When the chips are down, Annie will always choose to run away and protect herself. When things get hard her response is essentially to find some way to escape, and insist that the ongoing conflcit has nothing to do with her therefore there’s no reason for her to be personally invested. 

The entire tunnel scene is symbolic for this. All Annie had to do was make a choice to confront what she had done. She had to choose to walk into a situation that would be unsafe and even potentially compromise her. 

There was a chance, but Annie can’t even walk into a situation where she’s potentially unsafe. She can’t handle any confrontation. Annie, who is capable fo turning into the female titan, and easily can beat up men twice her size, and yet ultimately that physical strength means nothing because Annie is a self serving coward. 

We know the reason why Annie is like this. It is a pretty good reason. Her father told her that the most important thing above all else was her own survival. Annie was raised like a child soldier, to her all she has is her strength, and her promise to reunite with her father. If one fails, if she’s not strong enough to fight her way out of a situation she falls back to the other and runs. That’s why Annie as a person is both strong, and incredibly weak, she can’t even stand the slightest confrontation. 

Annie says she doesn’t care about being a good person, but she also gets tripped up and coerced by Armin’s words that he’ll think less of her. Annie says she will kill anyone on this island to survive, but she fails just because she spared Armin. Annie is wavering back and forth. She’s contradicting herself constantly, and that’s because Annie doesn’t want to think about who she is or what she wants. Her entire identity is found in running away, and running back to her father, and Annie never tries to be a person outside of that. 

What do you call soemone who blindly follows what their parents told them to do, and is unable to make decisions of their own outside of listening to their parents? 

A child.

The words of Annie’s father have kept her alive until this point, that’s true. However, treating the whole world as her enemy, as something to run away from, has stopped her from connecting to another person and giving her what she needs to grow up. You don’t grow and learn by doing the same thing over and over again. The same ideas that let her survive are now holding her back. 

What Annie thinks she wants is to be left all alone. She gets exactly that when she’s crystallized, and it only makes her worse. She is protected from everyone, nobody is able to harm her, she doesn’t have to interact with anyone and she becomes completely helpless. 

Annie’s path forward relies on confronting the people she’s been avoiding. However, Annie has only ever known avoidance. 

What Annie thinks, is that she doesn’t have to care about other people. However, she contradicts herself because Annie clearly does care. If she didn’t care she wouldn’t have spared Armin. If she didn’t care she wouldn’t let Armin’s condemnation of her actions get to her. It’s not that Annie is a good or bad person, it’s that Annie doesn’t even want to think about if her actions are right or wrong, she doens’t want to have any kind of confrontation at all so she runs away. 

Annie’s arc has always come about by her realization that there are other people who exist besides her in the world, and who have other wants and needs outside of her. If Annie was truly capable of living alone she would have just stayed in the crystal after all this time, but she obviously hated that. 

The only way Annie can move forward is if she gets closer to other people, but she can’t do that if she’s running away from them. I’ve said this again and again, the micro informs the macro. Characters decisions on a micro-level  have greater consequences in story. Annie is not able to rise to the occasion, because of her personal weaknesses, namely that she can’t be close to other people.

Once again we have Annie insisting that she just doesn’t have anything to do with this. Annie is someone who is perfectly capable of fighting, and strong in some ways but weak in others. Any time she has to confront something, she always chooses to avoid instead and runs away. It’s not because she can’t do anything, but it’s because she doesn’t want to have to face the conflict. 

Annie will always try to run away and be by herself because that’s what she thinks she wants, when what she needs to do is grow up and learn to be her own person outside of her father’s words for her. Like. She even says she wants to die peacefully. As if she’s accepted death rather than trying to struggle to live. Which is why she even physically runs away from Armin, the one person whose closest to her. 

Armin is the one person who has consistently challenged her to be a good person. As long as she’s far away from Armin, Annie doesn’t even need to think about whether her actions are good or bad. However, being quiet and being at peace is just what Annie thinks what she wants because if that was really the end result of her arc she could have just stayed in the crystal forever. 

2. EreMika Parallels

Armin and Annie mean a lot to each other. Armin is Annie’s connection to her own humanity. Annie saved Armin once and because of that her life has been forever changed since that moment. Armin is the person who looks up to Annie, and sees the best in her and even challenges her to be a better person than she was previously. Armin sees Annie better than Annie even sees herself. Does this sound familiar? it’s like a parallel. It’s intentional. 

Mikasa has always seen the good in Eren. She’s seen the kind little boy who wrapped a scarf around her on a cold day, and gave her the strength to fight. Eren is always stopped and hesitates when confronted with the memory of the scarf because Mikasa represents his connection to other people. It’s his memories of  Mikasa who always opposes him when Eren insists he’s a terrible person that’s going to destroy the world. 

Mikasa sees the good in Eren. However, their relationship is a complex one. Mikasa has, time and time again, enabled the bad in Eren because she has difficulty looking at the whole picture. 

Mikasa has enabled Eren’s bad tendencies. This is because Mikasa is so codependent on Eren, and so paralyzed by the idea of losing him she’s too afraid to confront him. Annie and Mikasa are both characters who despite their tremendous strength, they can’t seem to whether the simplest interpersonal confrontation. 

Mikasa and Eren have both at some point in the story saved each other. Eren saved Mikasa from the kidnappers. Mikasa told Eren that he was accepted and loved at his lowest point when confronted with the Dinah Titan again, and he promised to wrap the scarf around Mikasa again.

However, they also both have the tendency to ruin each other because Mikasa enables Eren’s worst qualities. She could push Eren to be better, but she’s too fixated on the idea of Eren rather than confronting who Eren really is as a person that she’s unable to do anything to stop Eren until it’s far too late. 

Armin and Annie are too people who could just like Eren and Mikasa, challenge each other to be better people. Eren’s flaw is his independence, Mikasa’s flaw is his codependence. It’s gender reversed in Aruannie, Armin’s flaw is his codependence and Annie’s flaw is her independence. 

The problem with Annie and Armin is ultimately they both tend to be very cowardly people. When they interact they have the potential to make each other braver, or they can run away from each other. 

Let me elaborate quickly on Armin. If Annie’s tendency is to always do what she wants, then Armins’ tendency is to always try to do what other people want. That’s not as selfless as it sounds though because, Armin wants to put all of his decisions on other people. 

Think about the conflict with Connie. If Armin had just told Connie no, or asserted himself as a leader, he could have just avoided Connie kidnapping Falco all together. 

Armin doesn’t want to make choices though. Armin will do anything to put the choice on other people. He physically put the choice on Connie, by just throwing himself into a suicide and forcing Connie to decide to save him. 

Armin believes that he himself is insufficient. There’s a theory going around that Armin is the main character of the story, but even if that is true: Armin does not want to be the main character. Armin will do anything to avoid being the main character of his own life. Part of the reason Armin puts Eren on such a pedestal is because if he treats Eren like the main character, then Armin himself is spared from making a decision. 

Annie doesn’t want to think about other people. Armin spends so much time thinking about other people that his own will gets lost time and time again. Eren continually putting responsibility on others and relying on others around him when everyone needs him to take responsibility and step up is his own version of running away. 

If part of the reason that things got this bad, was the total failure of leadership. Everyone acting powerless. Floch even says humanity needs a devil to lead it immediately after he creates the situation that kills Hange, and puts Armin in charge once more. 

If Annie’s first instinct is to always run away to protect her own life. Armin’s first instinct is to always throw himself away in some kind of suicide plan. However, this creates far more dififculties than it actually solves. Reiner even yells this at him, how would it help for Armin to throw his life away in a sacrifice at this moment to buy time if he was there best chance against Eren.

Floch believes that humanity needs a demon to lead them. This is an idea that’s been built up since the death of Erwin. It’s not Eren who is the demon however, it’s Armin. 

However, just as Annie consistently runs away when she’s cornererd. Whenever Armin has to act responsible for other people he always reacts by saying he couldn’t possibly live up to Erwin’s legacy. But that’s just the same behavior. That’s just running away. Annie values herself too highly over other people. Armin sees himself as expendable and much lower priority therefore refuses to step up to any responsibility placed on his shoulders, or make decisions he can put off onto other people. It’s different motivations but the same behavior, consistently running away from each other.

This is something they both do, and they can either confront this behavior in one another or they can run away from it. 

If Armin had challenged her to stay and fight Annie probably would have stayed. he didn’t so she didn’t. Armin calls himself a bad person who has killed comrades, but he doens’t really want to make the decisions that Erwin made and so he avoids that. 

In order to get closer, Annie and Armin would both have to confront themselves and admit things about themselves they don’t really want to think about. Which is why Annie runs away, and Armin lets her. Annie could challenge Armin to be better and call him out, but Armin doesn’t really want that fight right now. It’s something they would have to work on in order to be closer. How can you expect two people to be close, if they are continually running away from each other?

AruAnnie, and EreMika are two completementary sets of people with similiar flaws that could help each other or ruin each other, and right now we’re seeing the regression and not the development. 

[itspatsy]

Okay, after much thought, here’s my attempt to explain how I’m generally okay with Trish’s trajectory this season in theory, but why I feel the writers slipped up in execution. 

Addiction is a monster. It takes over your life, every facet of it, mind, body, and soul, and tears it to shreds. It controls you. It consumes you, fully. It leaves you lying to everyone around you, rationalizing, making excuses and justifications. It destroys your relationships. It makes you use, manipulate, and discard people, whether they be total strangers or your closest loved ones, because nothing is more important than getting your fix. It forces you to do things you never thought you would do, awful, immoral, degrading things. It twists you into someone you can’t even recognize. I get that. I get that this is what Trish’s storyline was about. And I get that none of the other characters were really in a position to help her deal with any of it, and how that shows the importance of having a support system to help you through a mental illness like this. 

And it wasn’t a character assassination, because all the pieces were there. The barely contained rage and taste for violence, the self-protectiveness and need to be in control, the fear of vulnerability, the reckless self-destruction and lack of impulse control, the low self-esteem and feelings of worthlessness, the undeveloped sense of self, the egocentrism and self-righteousness, the self-defensiveness and difficulty admitting wrongs, the envy of what others have, the obsessiveness, the apathy and trouble understanding others’ feelings, the overwhelming ambition to contribute something meaningful to the world, the desperate need to be someone that matters, really matters, to people. And there were shades of unhealthiness in her relationship with Jessica: codependency, envy, high expectations, the idealization, trying to live vicariously through her, pushing her into things that weren’t always best for her. 

Those were all aspects of Trish, some more negative or harmful than others, and most of them very much a response to severe trauma and abuse. I’ve talked a lot about those aspects of her character in the past. They were part of her in s1, but tempered to manageable levels, because she was in a reasonably stable place in her life and was making an active effort to improve herself and to get better. But then her best friend and only support system disappeared for 6 months, she was almost murdered multiple times despite all her self-defense training, she broke 10 years of being clean with Simpson’s pill to protect Jessica, and her abusive mom found a way to slither back into her life by hanging information about Jessica over her head. That stability and any sense of safety and control she’d been able to develop was gone, all of her resistance was lowered to critical levels, and it opened her up to this relapse, which then ate away at the most positive parts of her personality and amplified the worst ones x1000. I get that.

One quick look through this blog will show that I was not one of those fans that ever thought Trish was some pure precious cinnamon role and moral paragon. I knew that under her put-together facade, she was a walking disaster that was as traumatized and damaged and desperate and conflicted as Jessica. And I did want the show to explore that damage and how trauma presents itself in many different ways. I wanted it to be clear to viewers Trish is actually not okay and is still struggling with her past. I wanted her issues with addiction to be examined. I wanted then to move towards Hellcat. I even wanted her and Malcolm to interact more and develop their own dynamic. So I should be happy, right? They technically did what I wanted. Shit, like 90% of the songs on my Trish playlist just became significantly more relevant. But no, I’m not really feeling happy about it, because I got the wishing on a monkey’s paw version. 

A quick personal note: Trish means a lot to me, and her relationship with Jessica means a lot to me, and that’s something I can’t really put into words. My initial reaction to the season was just… an overwhelming sadness. And I don’t feel as bad now, but I keep bouncing between “sure, it does make sense” to “this is so awful, oh god, why would they do this???” Sometimes I feel this inspiration to write thousands of words of meta, but then it just as easily turns and suddenly I can’t stand thinking about it because it makes me nauseous. For the last year, I’ve thought about Trish every day in at least some capacity. I thought about her as I went to bed, when I drove, when I went for walks, when I had any short moment of time to myself. I’m not here to talk about whether using fictional characters like that is a particularly healthy coping mechanism, because that’s not the point right now. The point is, it was a pleasant distraction for me that helped me cope with other life things, but now it’s something that causes me pain and anxiety, and I’m stuck feeling like I have to detach from the thing that was helping me detach if I ever want to feel better. 

I’ve been trying to pinpoint what it is about all of this that’s making me feel that way. Why do I feel like someone literally died? I don’t think my problem is with the characterization in and of itself because I knew those things were sitting under the surface, and it’s not with telling this story of trauma and addiction and putting the full ugly reality of it on display. It definitely isn’t a problem with the acting: Rachael Taylor was amazing and knocked it out of the park. So what’s the problem? Why isn’t this sitting okay with me? I’m generally pretty rational, but I think most of my issues here are very perception and emotion based rather than anything obviously intellectual, and it’s hard to verbalize. I’ll try my best. And I don’t know, maybe my feelings will change if I watch again, but right now, the idea of that still hurts too much. 

So. The writers deconstructed Trish, which is fascinating in theory, but I just feel like they did it without… kindness? It felt like pure merciless brutality. Even mean-spirited sometimes. They debased every part of her life and her accomplishments, cheapened them, and put her in publicly humiliating situations at every opportunity. They left her without a shred of dignity, without her heart, without one positive relationship. And, no, addiction isn’t at all kind, it is cruel and demeaning and heartless, but I didn’t feel a sense of compassion from the writers themselves in how they handled her and her trauma and mental illness. That so many viewers are reacting so negatively to Trish doesn’t strike me as purely a failure to understand the impact of addiction, but that there was a failure on the writers’ part to show it in an empathetic, understanding way. Even I, someone that loves Trish so much and spends a lot of time in her head, feel like I have to do extra legwork. 

It felt as though they were prioritizing and emphasizing her motivations in a way that was intended to put her in the absolute worst light possible. Her most selfish motivations (”unholy” ambition, jealousy, wanting to be the special one) were on full display and consistently pointed out by other characters, but they often underplayed her more sympathetic, obviously trauma based motivations or the motivations that were sincerely about helping other people. She talked the talked about doing good, but there was no point where it was shown in action. It was almost always a manipulative ploy to help herself or get her fix. I know Trish does sincerely care about people, wants to make sure they never have to feel as small and helpless and voiceless as she’s been made to feel, and I think probably the writers do think of that as one of her many conflicting motivations, but they didn’t show it, they only told it and then contradicted it. It also definitely didn’t help that it felt like they were villainizing ambition, and as a result, villainizing her for daring to have it. I don’t think I need to explain why the implication that women having ambition will lead them down a road of power-hungry obsession and selfish callousness is… not great. 

And I feel like they just didn’t carry over what should have been obvious threads that would’ve helped make more sense of this downward spiral. What I said above about how her behavior here connects to the events of s1? That’s all headcanoning from me. The show didn’t actually draw those lines. It wasn’t clear that she was still reacting to having her vulnerability shoved so brutality back in her face by Simpson and Kilgrave. That she’d opened herself up to relapse after taking Simpson’s pill. That Kilgrave fractured her relationship with Jessica and the cracks still hadn’t been patched up. Or even that letting her mom near her again was reviving old traumas and pressures and expectations and unhealthy coping mechanisms. I think the whole thing moved too quickly, and they decided to give us the Darkest Timeline Trish without fully adding up the elements and explaining when and how we crossed the veil and dipped into that timeline. When I was plotting out an AU where she never met Jessica, s2 Trish is actually what I pictured. But that’s kind of the key point: it was a Trish that never had anyone’s love and support. That wasn’t true here. And I think at least pulling threads from s1 would’ve added more depth to it, instead of making it seem like she was only being driven by some desperation for MORE MORE MORE. 

And I don’t know, maybe it’s all just in my head, but I perceived a kind of near softening of Dorothy (not completely, obviously) that almost felt designed to pull even more sympathy away from Trish. It just felt like they were pulling back on her. There were a few points where it seemed they were trying to veer her closer to lovable asshole territory and trying to gloss over things we know she did from s1. I think viewers do need reminders sometimes, especially if you’ve been off the air for over two years, and it doesn’t help to have things completely vital to a character’s identity and formation mentioned offhandedly in a quick conversation. That Dorothy literally pimped her daughter out was sort of brushed over and the repercussions of her role in it weren’t examined. Even their body language shifted compared to the defensiveness of s1. Trish just let Dorothy into her personal space, let her casually touch her, like it didn’t mean anything, like there wasn’t years of physical abuse. And then to put Dorothy in a position to be the voice of reason was just… wow. To leave viewers with the ability to say, “damn, Trish is a selfish prick, and Dorothy is just telling it like it is,” it felt gross. 

By the end, the execution of all this felt more like a grueling punishment of the character than a complex, human story told with careful thoughtfulness and compassion. It felt villainizing. It felt like darkness for the sake of darkness. And listen, I love angst. I love complicated, difficult characters sometimes doing the wrong things. I love characters failing and falling and learning and building themselves back up. But I’m just so tired of hopelessly grimdark stories. I’m tired of shows destroying their light in a quest to compete for the title of sickest, saddest world. 

And yes, this show was already harsh in its first season, and it didn’t back away from cruel reality, but it wasn’t hopeless. It had its heart. And that beating, bleeding heart was the relationship between Jessica and Trish. But they chose to rip that heart out. And that’s the thing that bothers me the most. They took away the most positive thing in these women’s lives, and the most positive thing in the show and something the fandom loved, and for what purpose exactly? In s1, they gave us these broken, codependent women that could be messy and wrong, that could cause each other pain, but still shared a love that was powerful and supportive and uplifting. That’s an infinitely more valuable and meaningful thing to put on the screen than another common, cliched story about petty jealousy tearing women apart. 

And I’m aware it wasn’t as simple as a petty need to be the special-est person in the room driving Trish, that this envy stems from her knowing if she’d had Jessica’s power she’d have been able to protect herself from the things that still leave her feeling empty and small, how it continues to feed into her feelings of worthlessness and lack of control, that she’s been conditioned to believe nothing is good enough and she needs to be better and more than herself and have more than what she has if anyone is ever going to love her, but I also spend a lot of time in Trish’s head, thinking about her motivations and traumas. I doubt most viewers are going to take the time to dig deeper. And I don’t know, I can’t entirely blame the fandom for failing to afford Trish the same sympathy and understanding they’re willing to offer Jessica and her fuck ups when it feels like the show itself didn’t seem to want to give it to Trish or didn’t try to paint the fullest picture of where she was coming from. So the takeaway for a lot of people is going to be that the writers took this special, well-loved relationship and ripped it apart by making one of them a jealous, resentful, toxic creep. I can’t blame anyone for feeling upset or betrayed.

I can tell myself there was a point to all of this. I can tell myself they’ll pull Trish back from the edge, that she slipped, lost the plot, but that recovery is on the way, and she will make an honest effort to get better and be better and work to become her best self, which is the thing that makes a true hero. I can tell myself they’ll repair her relationship with Jessica, and the two of them will come out of this with a stronger, more healthy dynamic because they’ll finally openly address the ugly things that were festering. I can tell myself that, but I can’t trust it. 

I trusted the writers once already. I trusted them to treat Trish with compassion and kindness, even as they broke her down and took her to dark places. I trusted them to show a difficult, complicated but still ultimately affirming and unconditional love between her and Jessica. But they broke my trust. How can I have faith about what they’ll do next season? How can I believe they’ll lift Trish back up and mend things with Jessica instead of taking her down a path of outright villainy? Honestly, making her a villain seems about as likely as anything else at this point. So I can’t trust them, and because this show doesn’t follow a typical schedule, I also won’t even get to know what direction they’ll take for at least another two years. And it’s just not a good feeling to have to sit with. It sucks when you invest so much of yourself into something, and then the things that meant the most to you about it get pulled out from under you, and you can’t even trust that it’ll actually get better.