#the whole show feels like a BOOK

[thelaurenshippen]

911 really is such a good reminder of the particularly kind of joy that is weekly, seasons-long shows with many episodes per season. every character gets a moment to shine even in a truncated season. the satisfaction of seeing characters grapple with stuff that happened YEARS ago. having multi-episode arcs and one-off arcs that are equally enjoyable. beach episodes (metaphorical). I know we're all saying this all the time but why can't more tv be like this

[aroaceleovaldez]

Nico and Percy's dynamic through the series is eternally funny to me, because it's just. like.

Percy's having a constant mental struggle between his fatal flaw of loyalty with a promise he made to Bianca to protect Nico, versus his Big 3 kid desire to maim other Big 3 kids / Poseidon descendant urge to totally maim Nico specifically. He hates Nico so so much. He thinks Nico's annoying and weird at best, and creepy/sketchy when he's older. The only positive thoughts Percy has towards Nico are "He's Bianca's brother and Bianca was my friend and I owe her/He's Hazel's brother and Hazel is my friend and would kill me if I was mean to him," "He's a powerful asset and useful ally (if questionable)," and "He's kinda pathetic and I feel maybe a little bad about it." Percy has multiple occasions throughout the series where he strongly considers - and on one occasionally actually goes through with - throttling Nico.

Meanwhile, Nico is following around Percy like a lost puppy. He explicitly can never bring himself to even dislike anything about Percy no matter how hard he tries. He has a whole bit in BoO where he's mentally going "UGH he's so stupid BUT IT'S ENDEARING HOW DARE HE." He's totally smitten. He's making deals with his dad for Percy. He's making convoluted plans to help Percy stand a chance against Kronos. During the entirety of BoTL it's like he's playing tsundere - "I'm helping NOT PERCY SPECIFICALLY with this quest! Me helping Percy would be SILLY because I DEFINITELY HATE HIM." Then he proceeds to show up to Percy's birthday party to basically ask him on a weird date and spend the entire next book scrambling around trying to help him or protect him or impress him. And Percy could not give less of a shit.

Just. That dynamic is so funny to me. Percy is the founder of the Nico Protection Club in that he's the one they're all protecting Nico from and meanwhile Nico is throwing himself at Percy to the point where the literal god of gay love calls him out on it.

[markantonys]

While I still don't think the show has done enough to show why the world despises and fears male channelers (since it really should've been embedded into the world building, so far we only know that the Aes Sedai hate and fear them) and it does kinda lessen the impact of the narrative that none of the EF5 had at least an initial gut reaction to Rand being able to channel. I do wonder how they're gonna handle that topic moving forward, cause it kinda has to be addressed now that Rand is actively channeling. I could see it being expanded more deeply as Rand's madness progresses/tie it into his arc.

the show has made it ABUNDANTLY clear that Male Channelers Are Considered Bad News By All. it IS embedded into the worldbuilding. was the king saying that logain's gone mad and trying to kill him not enough for you? was the people of tar valon jeering and throwing fruit at him not enough for you? was rand and mat saying "hey if i'm a male channeler please kill me" not enough for you? was rand's terror the second he realized selene saw him channel not enough for you? was selene's act of how a normal person would react to finding out her boyfriend can channel not enough for you? was his heartbroken yet unsurprised reaction to her rejection not enough for you? was the whole backstory of a male channeler causing the apocalypse not enough for you? do you think that show-onlys are completely incapable of putting all these pieces together along with aes sedai treatment of male channelers and coming to the conclusion that male channelers are probably not very popular with most people and it's going to be very tough for rand that he is one?

literally what else should they have done that would make sense within the very small world and very early story of the first 2 seasons/3 books that they didn't already do? shown emond's fielders sitting around the dinner table talking about how much they hate and fear male channelers when none of them has ever met one and thus it's not relevant to their lives? wasted time doing a whole sidequest for rand in s2 where his abilities are discovered by some Average Citizens and they react badly? shit all over show!mat's characterization and given him a negative reaction to rand in s2 that would not make sense for his current show headspace, just for the sake of furthering rand's randpain? i'm sick of the rand stans who act like rand is the only character who matters and mat's characterization should be sacrificed just so we can go "oh poor rand uwu even his own best friend is mean to him". portraying mat in 2x06 as the sort of person who bullies and kicks his best friend while he's down would've been beneficial because......? what is so wrong with the show making the ef5 feel like mutually loyal friends instead of "rand is the best and most loyal friend in the world but the rest are little shits who abandon him as soon as the going gets tough"? seeing as in the books, mat continues to be an extremely loyal friend to rand throughout the series but most readers are too stupid to see through his unreliable narration and realize he doesn't mean it when he says that rand channeling is like him eating babies, i'm not surprised the show decided to simplify things in order to convey the true heart of mat's character (loyal and caring friend to rand) in a more obvious manner.

and i guarantee you that no show-only is going "oh, it's only aes sedai who have a problem with male channelers, everyone else thinks they're cool". that's not happening. show-onlys are not stupid, and they understand that male channelers are considered bad news by all; or maybe they haven't thought much yet about how male channelers are viewed by the average public, but in future seasons once we see rand getting shit from the average public, they are not going to be surprised or confused or go "but i thought it was only aes sedai who had a problem with them and everyone else thinks they're cool?", they're going to go "oh, well we've seen how much aes sedai hate them, so it makes sense that everyone else does too". stop. think for 2 seconds about "have i actually seen a large number* of show-onlys misunderstanding X and/or do i think it's plausible that a large number of show-onlys would be likely to misunderstand X, or do show-onlys have enough context clues to figure out X for themselves or to be unsurprised when X is expanded on and made more explicit in future seasons and i'm working myself up into a state over a non-issue?"

*there are always going to be a handful of people incapable of critical thinking who willfully misunderstand what the show is showing us, just like there are readers like that with the books, hence unless a LARGE number of general-population show-onlys are misunderstanding X, as opposed to just 20 idiots on twitter, i do not consider it a failure by the show in portraying X.

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[aroaessidhe]

2023 reads

The Spider And Her Demons

YA Australian urban fantasy/horror

about a Malaysian-Chinese girl who’s half spider-demon, just trying to keep her head down and survive high school

when she accidentally kills and eats a man in front of the most popular girl at school, they strike up a strange friendship and she starts to learn more about herself and the supernatural world

aroacespec/sapphic ish

[pass3ra]

cressida's storyline was genuinely shameful tbhhh it's like they started rewriting it in the first half of the season then completely forgot about the changes they'd made to make it fit the book plot and it just ends up making everyone else look bad😐 every character in the second half got a "penelope did nothing wrong" lobotomy so we ended up with eloise completely ignoring cressida being sold off to an horrible man (when she made every effort to support her in the first half of the season) and for some reason resenting her for pretending to be lady whistledown? Then they somehow frame her ignoring colin's offensively bad pleas as it being her turning away from redemption when all she's trying to do is escape being trapped in the country with her likely abusive aunt... and it ends with her meeting her horrible fate and it still being framed as tragic only to immediately juxtapose it with the bridgerton family winning the idgaf war while gleefully seeing off francesca and her future dead husband. The bridgertons were the villains of the season frfr

[leham-n-daavocado]

Just finished the third season of Bridgerton (it was an incredibly frustrating watch)...People have said that Penelope is named as such because of her nickname Pen and her being a writer... but has anyone thought of the reference to the Odyssey and Penelope being the wife of Odysseus? You know, she had to be loyal for 20 years while Odysseus gallivanted across the globe and was distracted/cheating on her Circe? I feel like it goes with the whole Polin narrative too. She's the one who had to wait for him to get a clue. And if you've read the Penguin version of the Odyssey, you know everyone is like omg! Odysseus, so amazing, the sacker of cities etc. Which parallels Colin's "glow up". Totally think it's more of a literary reference since the two of them are writers...

[bonefall]

And not all DC fans are mad! I was happy when Leafpool beat Starfire, and I was pleased with Bumble winning too. (Epilepsy dad here, who is a comics fan, and has 4 kids who love reading the warrior cat books and have the Minifig warriors become superheroes In the Gotham city I hot as a kid) im digressing here: What keeps the warrior cats fandom strong is how you all form up around the cats that were mistreated by the writers, how you bring them into your homes and hearts and make better features for them. My Amuma always used to say if enough people believed in something, then maybe their will can change the world.

Always good to see you around!

This vitriol has been super disappointing, y'know? I feel like I have to keep stressing that DC fans are valid, their frustrations with the comics are well-founded, and Bumble's opponents should also be acknowledged as victims of misogyny

And then we don't get that grace back! Doesn't matter that Warriors is a best-selling kids' series with REALLY harmful messages in it read by millions across the globe. Bumble's "just a cat" and we're "reading too much into it." As if that's not the same shit that gets said about misogyny in media broadly; "They're not real, comics are just for fun, you're reading too much into it"

Now people are like "Oh it was a mistake for WARRIOR CATS to be in this poll" because they're mad our "just a cat" is winning. Like it's not a tournament and that's the whole point. We've got people trying to say that Bumble can't even have misogyny happen to her because the human writers superficially made her a cat, as if she's not a fantasy character like every other fantasy character she's been up against.

But, ugh. I won't let it stop me, y'know? StarClan gives its hardest battles to its strongest warriors ✨✨I will never shut up about the "justa cats," this fandom rocks exactly because of the fact we're so passionate about these issues and how to address and fix them, Bumblesweep FOREVER!

[veeva-i0i]

Shadowhunters has such weird differences from the books. For one, the story behind Valentine and the Circle was so much more interesting in the books. How he helped put people like Hodge and Luke, and how he betrayed the bond he and Luke had.

But the biggest shock to me was how they portrayed the institute. It wasn't supposed to be that modern with all the tech and shit, but more importantly, it wasn't supposed to be that densely populated. In the first book, it was literally just Hodge, Alec, Izzy, and Jace living there, because Robert, Maryse, and Max were in Idris. The teens were the only shadowhunters there who could actually leave, so they had to step up and go on the missions. Which left Hodge in the perfect position to canoodle against the Clave and help Valentine out. It was such a perfect setup for Hodge being on Valentine's side all along, and the show took that away.

[ampresandian]

My (unofficial) PJO season 2 episode 5 script part 4/4 (part 1 | part 2 | part 3)

The last part! Thank you for reading I just couldn't get the vision for this episode out of my mind and had to write it down.

Images of script and copied text (bc I'm lazy and don't want to write out alt text) under the cut, just in case I didn't tag enough spoiler warning or people aren't interested <3

Annabeth Tries to Swim Home

CUT TO: INT. DARK VICTORIAN HOUSE – NIGHT. 

Continuation of first scene/flashback. CYCLOPS is grinning at YOUNG ANNABETH menacingly. Behind him, the fire rages, and LUKE, THALIA, and GROVER are tied up in the corner. Annabeth’s attention is taken up by the large monster speaking to her. 

CYCLOPS: (in her father’s voice) Annabeth. How nice of you to join us. Now, Annie, don’t you worry. 

Annabeth draws her knife. As he speaks, the Cyclops approaches her. 

CYCLOPS (CONT): I love you, Annabeth. You can stay here with me. Don’t worry. You can stay forever. 

He reaches out for her. Annabeth stabs him in the foot, keeping hold of her knife as he reaches forward and grabs the door in shock. She runs around him towards her friends. 

The Cyclops rips the door of its hinges and throws it across the room with a roar. 

Annabeth reaches the older kids. 

THALIA: Annabeth! Thank the gods you’re okay.

YOUNG ANNABETH: (determined) Hold still.

Annabeth cuts the ropes around Thalia’s arms and legs. Thalia takes up her sword and stands defensively in front of the others. 

THALIA: Cut them free, Annabeth. I’ll hold him off. 

Annabeth turns to Luke and Grover as the Cyclops roars behind her. She saws at their ropes as Thalia goads and fights the monster. 

THALIA (CONT): Come on, ugly! Can’t you take me?

She slices at him with her sword. Now free, Luke can barely stand, Grover supporting him. They all turn to watch Thalia defending them against the monster. 

Suddenly, the Cyclops roars, and Thalia’s sword can be seen buried in his eye. As he rears back, she pulls it out, turning to her friends. 

THALIA (CONT): Come on. We have to go.

Annabeth leads the way through the house, back the way she came through the servants kitchen into the orangery. They escape through a side door, standing in the storm. 

Sirens and howls can be heard, the sounds of the monsters they have been running from closer than before. 

THUNDER rumbles as they look around desperately in the dark. Grover sniffs. 

GROVER: Come on. This way.

They walk away from the house. The Cyclops roars again from within. 

CUT TO:  EXT. POLYPHEMUS’ ISLAND – DAY.

SHEEP hooves/underbellies walk across the screen as POLYPHEMUS calls them. Under one of them hangs PERCY. 

ANNABETH: (invisible) Just don’t let go! 

Polyphemus drags aside the boulder sealing the cave. He addresses each sheep as they pass. 

POLYPHEMUS: (patting each sheep) Hasenpfeffer! Einstein! Widget! Widget? Heavier, huh? 

WIDGET stops in front of him, Percy clinging to her wool. 

POLYPHEMUS (CONT): Soon you will be big enough to eat! Go on, Widget!

WIDGET enters the cave, followed by the rest of the flock. 

ANNABETH: (invisible, from outside) Hey, ugly!

POLYPHEMUS: (looking around wildly) Who said that?

ANNABETH: Nobody! 

POLYPHEMUS: Nobody! I remember you!

ANNABETH: You’re too stupid to remember. But Nobody remembers you!

Polyphemus throws a boulder, aiming for the invisible Annabeth. 

ANNABETH (CONT): Your aim hasn’t improved!

POLYPHEMUS: Come here! Let me kill you!

ANNABETH: You can’t kill Nobody! And you’ll have to come find me!

Polyphemus yells, running down the hill to find Annabeth. Percy drops off Widget, glancing back outside at the island and the Cyclops before moving further into the cave. 

CONT: INT. POLYPHEMUS’ CAVE – DAY.

Percy moves through cavernous hallways, turning a corner into a dead-end room of sheep memorabilia. He backs out, going back the other way and turning right instead of left. 

He turns corners through a set of “rooms,” something that might be a bedroom, a room full of bones, and another room full of sheep memorabilia. He turns a corner and trips, catching himself against the cave walls with his hands. 

Righting himself, Percy looks around, breathing heavily. He looks back and forth, choosing a hallway and running into another room, full of wool and smelling of sheep. He covers his nose as he looks around the room, faced with three separate doorways. 

Percy makes a choice, going through the left opening. Down the hallway, he finds a room with a spinning wheel and loom. GROVER and CLARISSE are inside, trying to undo Clarisse’s ropes. 

CLARISSE: It’s no good. You’ve been working at it for hours!

They spot Percy. 

CLARISSE (CONT): You’re supposed to be blown up!

PERCY: Yeah, good to see you too--

GROVER: (hugging Percy) You came!

PERCY: Yeah, of course, dude. Now, Clarisse, hold still. 

Percy takes Riptide out of his pocket and cuts Clarisse’s ropes. 

CLARISSE: (rubbing her wrist) Where’s Annabeth?

PERCY: You’re welcome. She’s outside. 

CLARISSE: Great, come on.

PERCY: Wait. Was... It was just you in your lifeboat?

CLARISSE: Yeah. Everybody else... I didn’t even know you guys made it.

Percy looks down at his sword. 

PERCY: Okay. 

GROVER: Come on, guys. We need to go help Annabeth. 

They move back through the cave, Grover guiding them. As they come back into the first room Percy ran through, they hear a loud crash.

Annabeth screams. 

POLYPHEMUS: I got Nobody!

Percy, Grover, and Clarisse move to the doorway, peeking through to the main room. Polyphemus is standing at the doorway, holding his arm up. He shakes his fist, and ANNABETH’S CAP flutters to the ground, revealing Annabeth, hanging upside down from his hand. 

FADE OUT. THE END

[i-dreamed-i-had-a-son]

“because he never accepts that it's never been about righteousness--it's about repentance.” except javert killing himself IS repentance.

well, it’s like 12 different things, because bro had gone days without sleeping and very little food and water and he already had low self-worth and kept asking the amis to kill him and just assumed he was going to die AND THEN valjean upended his understanding of the world and morality. he was really going through it & there are a lot of overlapping reasons for why he jumps into the seine.

but javert is like Number One Most Responsible guy in the whole story. taking responsibility is his Thing (forever bitter the musical doesn’t include the punish me monsieur le maire scene). how else, in his derailment, could he atone for his conceived misdeeds other than by handing in his resignation to god? in the brick he had already left a note urging his superiors to treat convicts at toulon better, which is another step in his repentance (and another crime the musical commits by not including it). jumping into the seine was another step.

honestly a lot of ppl who like the book think the musical was dead wrong to exclude him from the big heaven group sing, because it COMPLETELY undermines the themes of forgiveness and compassion threaded throughout les mis. like the musical was simply wrong lol.

This is helpful context! I am still finishing the brick, although I have fully read the abridged version, and that detail about the letter wasn't included, so I didn't know that occurred! (And thank you for the message--this is a long response but I'd love to hear more of your thoughts!)

I agree that Javert is certainly deeply distraught and remorseful; like you mentioned, his worldview is literally falling apart, and his actions reflect his mental state. But his death isn't really repentance--in the sense that it's not what God would have wanted. To me it reads like a Judas situation: a desperate realization of a huge mistake, and doing the only thing you think can make it right, namely, ending it all. That's the just punishment for someone so wrong, isn't it?

But true repentance, meaning the repentance that the Lord desires, is about changing your ways, not "paying a price." Had Javert really understood the beauty of Valjean's mercy (an image of Christ's, just as the bishop's undeserved mercy was to Valjean himself), rather than killing himself, he would have lived to also become "an honest man"--in heart. One who could forgive and understand forgiveness, for himself as well as others. One who could recognize that he is not The Law, that he can fall, but that he can also be "brought to the light." One who could accept that men like Valjean, and men like himself, CAN change, and be changed.

It's tragic to me because so much of "Stars," and his character in the book as well as the musical, is about wanting to be righteous, to rise above his birth and the sinfulness he associates it with. It's about wanting to please the Lord by his actions. But in his end, he shows he never understood what God really wanted from him, and that's where my original phrase comes in: not righteousness, but repentance. To live, and face the man you were, knowing it's no longer the man you are. That it's never been about what you've done or can do, but about what's been done for you. That's the Gospel that he could never fully accept.

To use another example you mentioned, that misunderstanding drives why he asks the Mayor (Valjean) to punish him--in his worldview, mercy is unjust, or at the very least, unfair. Evil must be punished; "those who fall like Lucifer fell" receive "the sword." But "as it is written," God "desires mercy, not sacrifice" (Matthew 9:13). God would have wanted Javert to live, and Javert couldn't see that, and that's why it's devastating to me. In his misunderstanding of the heart of God, he misses what would have set him free from the chains of sin he's always been trying to escape.

That's why he's contrasted with Valjean, who (though he carries guilt about his past till the end of his life) is eventually able to face it and confess what he had done to those he loves. He knew there was mercy to be found, if only it was asked for. Javert was too blinded by pride and shame to realize it, and so, while broken, he never was able to truly repent.

For that, you must go on.

[moghedien]

i want the show to have Rand tell Lanfear that he knows she turned evil because Lews Therin broke her off and for her to just immediately start ranting about tenure and about how you make ONE little mistake and create ONE little bore and suddenly everyone is mad at you all the time and you can't get a third name and you're an embarrassment to have around

[liquidstar]

a friend who'd wait :)

[cocktopic]

i will be honest i do not think orv should have an anime/live action adaptation at all i think it defeats the whole purpose of it.

[over-a-rainbow]

Honest question. Did you enjoy the Percy Jackson show, why or why not?

It just feels like all I see now is how it sucked, and everyone didn’t enjoy it.

Were expectations to high? Do writers need to change? Are we not allowing it to grow before we go in guns blazing? Or is it something more than that all together?

[sing-you-fools]

Here's what I want. A book club. But not just any "we meet once a month and discuss the books, but it's really mostly about the wine hahahahahahAHAHAHahaHAHAHAHAHAHAHAHAHAHAHAAAAAAAAAAA!" sort of club.

I want a book club for Book Fans. A Book Fandom club. I want a book club where we will read a book together and collectively go insane about it. We will lose our minds obsessing over the details. Comb through to find every drop of foreshadowing, symbolism, references, little jokes. We will make fanart and write fanfic. We will decide who is a Blorbo and who is a Babygirl and we will ship them - or we will send our clubmates death threats because they ship them.

We will not simply read the books. We will C O N S U M E T H E M E D I A .

And then, after we've thoroughly picked it apart, we will say: Alright, that was fun. What next? I think it was your turn to pick, right?