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decayedhearts · 2 years

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Why Trey bakes when no one is hungry

This is just my headcanon so if you disagree, that’s fair ✌

On why Trey is not a “good” friend and why he bakes sweets as if that could cure all ailments of this world.

On a surface level Trey seems like the kind of guy you’d wanna be friends with. He is reliable, friendly, mature, calm. He helps Riddle handle the duties of a dorm leader, he bakes for the tea parties, he’s a good student. He gives life and study and health tips (e.g. how to brush your teeth well, how much to sleep, etc.) and he’s overall a good role model for younger students. He might not be your best friend, but he is that big brother type you know will at the very least listen to your problem and give some kind of advice, and not yell at you or make fun of you (beyond some teasing). He can offer words of encouragement and tell you life is hard sometimes but with the right attitude and a little effort you can get through the rough patches. He might even offer his company when you have to study for something, or offer tips and info he has on school traditions, classes, history, teachers - anything his experience and age help with. Trey will tell you if your school uniform is dirty and your manners will get you in trouble.

And he will bake for you. He will bake for everyone and make a little extra to cheer you up. He might even stay up half the night to bake something just to make you feel better. Everything he bakes is pretty and delicious; sweet, fruity, chocolatey - whatever you desire. It’s effort but doable, never inappropriate, it shows that he acknowledges you’re upset and that he cares.

And it is the absolute extent of what Trey is capable of giving.

He’s not stupid. He knows how much Riddle is suffering as well as he knows that his behavior is (was) not okay. After all, he’s seen how Riddle was treated as a child, and is still treated now. He sees that Cater is suffering and that his smiles are as fake as his entire online persona. He sees it so well he could bring both of them down with a few words if he dared to do so: but he never does. And it’s not because he doesn’t care about them or convinced himself “they’ll be fine”. It’s because he can’t handle the consequences. Bringing up these issues would place an enormous burden on him, a responsibility he can’t shoulder. Because you can’t call your best friend out on his massive depression or your other best friend on his raging eating disorder and fucked up relationship with his mom, and then just drop it when it gets too intense, can you? And sharing the pain of someone you care about so much feels like a knife in your own heart, especially when you can’t help them out of it. It’s fucking draining.

So he doesn’t even let it get that far.

This is not a conscious decision. He’s not sitting in his room thinking “I don’t want to be responsible for helping Riddle through his pain, so I will pretend it doesn’t happen”, it’s a subconscious coping mechanism. There is so much responsibility constantly on Trey’s shoulders, which he doesn’t make visible, that he simply lacks the emotional capacity to be the kind of friend Riddle and Cater need. The things we learn about his family imply that he’s always had a lot of eldest son/eldest brother responsibilities from a very young age and that his parents heavily rely on him (e.g. he made Halloween costumes for his younger siblings, and his holidays always mean working at his parents’ shop). The time during his childhood when he played with Riddle may very well have been the last time Trey got to play without this kind of burden on his back as well. (Let’s not forget when Riddle’s mom found out about their playdates, she scolded Trey and his family for hours. There’s no way a 10-year-old would not take away some damage from that.)

And you look at him and you just know he’s never complained about that. He should have been outside playing but he helped his mom prepare an order for the next day. He wanted to relax and finally read a book he got for his birthday months ago but Halloween was coming up and his siblings were upset because dad had no time to make their costumes. (Trey didn’t have a costume after a certain age; there was no time.) He wanted to come back from school and sleep in, but “Trey is home” is the only time his parents get to take a break from their job and from their other children. Trey is home means Trey needs to be his best to be a good son and a good brother, a real help at the shop, and probably a bit of a therapist for all the things that happened between his parents or his parents and his siblings while he was away at school.

And he’s only 18.

He’s a little creepy sometimes, almost as if there’s some other side of him shining through, and that might be exactly what it is. On the one hand there’s a side of him buried beneath that dutiful son persona that has very different ideas of life, but that side has been repressed for so long that he’s become bitter, and bitter caged things tend to turn cruel. On the other hand what creeps you out is his indifference. You don’t notice at first, but once you do, you can’t unsee that his responses lack genuineness. He might say “that’s terrible” but even as he says it his mind rejects this truth, and the result is an utter lack of (re)action where it’s direly needed. Of course he wants Riddle’s suffering to end; of course he wants Cater to be happier. But he can’t be responsible for it; he can’t carry that. He can’t let that suffering take roots in his heart. It takes all the strength he has to appear like someone who has the strength it takes to care enough for his friends to compromise himself for their sake. And that’s how Trey becomes the disappointment that he is. He successfully fools you into thinking he has it all together enough to be a support, but the truth is that he’s petrified by trying to not be a hindrance.

So when Ace calls him out on being a shitty friend for not stopping Riddle and helping him, of course Trey has nothing to say for himself. He knows. And he also doesn’t. He knows he should do more but he can’t truly acknowledge that about himself. He blocks it off because acknowledging it gives him so much anxiety he can’t sleep. He simply can’t handle it; he isn’t okay, he’s not who he wants to be, where he wants to be, or even remotely on a path that leads to a future he dreams of. In fact, he stopped dreaming altogether because there is no point. He doesn’t try to fix what’s wrong with his relationship to his family either, because he’s accepted things as they are and any ambition otherwise hurts. Too much to have it. But it’s not the path of least resistance, it only feels like that. Beneath the surface it takes so much energy to be someone you don’t want to be, to put others’ needs before your own by default (and not even in a palpable visible way! in a terrifying basic way that eats away at your very core but isn’t even acknowledged by your surroundings), to be calm and mature when really you want to feel authentic for once. Trey has no energy left to take on other people’s problems; problems that are so severe and real that he can’t bear to look at them.

So he fucking bakes, because that’s what he can do.

He has no real passion for it, but he’s good at it. Strawberry tarts always make Riddle smile - and it’s so easy to make them. Cater loves taking photos of Trey’s baked goods, and he even enjoys eating them once Trey doodle suits their flavor - a trick he will gladly use for Cater any time he asks. He does help his friends, doesn’t he? He’s there if they need him, theoretically, they just.. never need him, it seems. He does little things to make them smile and remind them that he cares. Surely they understand that? He doesn’t scold them, to not make them feel bad, not beyond the scope of a normal friendship. He’s a safe space - insofar as that he’s unwaveringly static. Riddle can literally fall into pieces in front of him and Trey will not move to save him because he is scared he will crumble too. Cater can lie to his face and Trey will see right through him, maybe even tell him, but will still let him keep doing it and accept that this is how he copes, rather than ask for the reason.

#( headcanon. )#( m: trey. )#( trey: headcanon. )#it's the parents' fault #a good old classic #i am sure nobody saw that coming

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isoldmysoultojonahclemence · 3 years

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Clemence Father

JONAH’S ROUTE JUST CAME OUT ON IKEREV TW AND I’M ON PART 12 AND I RLLY WANNA CAUSE SERIOUS BODILY HARM TO JONAH AND LUKA’S FATHER RN. I TALKED ABOUT HIM BEFORE ON LUKA’S EVER AFTER POST HERE BUT NOW IMMA TALK ABOUT IT AGAIN BC BELIEVE IT OR NOT, HE’S AN EVEN BIGGER ASSHOLE IN JONAH’S ROUTE.

BUT ANYWAYS HERE’S WHAT HAPPENED.

SPOILERS FOR JONAH’S EVER AFTER UNDER THE CUT

(ps the screenshots all have that orange recording button bc i want to look at them without having to go through the entire route again. sorry if they’re kinda annoying!)

Aight, so Jonah proposed to MC (well, he kinda just announced that MC is his fiancee from now on but whatever), and he decided to bring her to the Clemence house for this party to meet the family. Luka was there as well, standing in a corner. MC kinda wanted to join him in the corner as well, but Jonah dragged her off to meet his relatives. But they all seemed to dislike MC because she’s not from a good background.

Then, this dude enters the scene:

[Translation:

A dignified-looking man walked over here, looking at me, who is standing by Jonah, in surprise.]

And then, when Jonah goes to introduce MC as his fiancee, his father cuts him off by saying that he never heard of Jonah having a fiancee before. Like, Jonah was in the middle of a super serious and sincere introduction and his father just interrupted like that in a super cold voice. I was already starting to dislike him at this point, but I didn’t wanna fight him just yet.

Also, here’s something that kinda surprised me:

[Translation:

(His looks seemed to be similar to Luka’s, but his disposition...

(It seemed to be 50 times scarier than Jonah when I first met him...)]

I found it kinda weird how Luka actually took after him in terms of looks more than Jonah did??? Like, my original headcanon was that Luka didn’t actually look very similar to his father, which could be part of why he was ignored so much, but I guess he was ignored even when he looks like his father. Ouch.

Also, whenever the Clemence father makes an appearance, the thing that MC talks about the most is how scary/stern his disposition is. He must be someone really ruthless to warrant that kind of description.

After that, his father goes on to guess that Jonah had made the decision to bring MC without consulting anyone in his family because he knew that his decision would be opposed. I suppose that Jonah’s father does know him quite well, but it actually unsettles me more, because he seems to have no regard for the effect he has on his sons. Like, Jonah literally had to fight to keep his head up under such pressure.

So Jonah goes on to explain why he chose not to tell anyone about it, but his father interrupts him AGAIN with this huge speech about how the Clemence bloodline cannot be mixed with a bloodline of unknown origins. They have kept his tradition for hundreds of years, and that every single heir has accepted this fact and chose to marry someone of high social standing.

Jonah, naturally, was pretty angry, and told his father that he has gone too far. But guess what? This dude ignores him YET AGAIN and tries to convince MC to marry Levie instead of Jonah. Seriously. No wonder Jonah never listens to anyone else if this was the role model he had. I’m really starting to grit my teeth at this point.

Also, something concerning is how Jonah’s father knew that Levie is after MC, since that was classified information. Jonah confronts him about him, but he brushes it off by saying that he was the former Queen of Hearts and he has all the information sources he need. I wonder how powerful he was when he was Queen if he was still so influential in his retirement. And yeah, he totally strikes me as the sort of guy who would order Claudius to assassinate people...

But anyways, Jonah’s father tells him that he’ll pretend as if he heard nothing and walks off, even though Jonah tried to tell him that he wasn’t finished yet. What a guy.

Jonah leaves MC with Luka and goes after his father. Luka takes MC to his room and tells her something really sweet. He tells her that to trust “that guy” (Jonah) and to wait for him, which really showed his reliance on his older brother. Like, even though he rejects Jonah a lot and avoids him, deep down inside he still believes in Jonah.

And after a few parts we get a flashback where Jonah recalls the conversation he had with his father after he goes after him, and this is where my blood starts boiling.

So the Clemence father reminds Jonah, in a pretty harsh way, that when he had rejected marriage alliances in the past, he has always said that he’ll find someone better. He then goes on to call MC “that kind of person” (as in, a person of low birth and social standing), and Jonah gets pretty mad at him for that:

[Translation:

Jonah: Even if you’re my father, I cannot allow you to call her “that kind of person”...!

Clemence Patriarch: Don’t change the topic!

Hearing his father’s roar of fury, Jonah wasn’t scared in the slightest, and instead glared fierily back at him.]

I find it kinda interesting how the game refers to Jonah and Luka’s father as “the Clemence Patriarch” instead of “Clemence Father” or something. That would probably make more sense, because the term “Patriarch” can refer to a grandfather, an uncle, a cousin, etc., not necessarily a father. But I guess this highlights how his identity as a patriarch is prioritized before his identity as a father.

And then this scene happens:

[Translation:

Clemence Patriarch: Whatever you say! There is nothing more to say, get out.

Clemence Patriarch: In order to prevent the failure of the first, we still have a second.

Clemence Patriarch: I will disown you as my son, and make Luka the heir of the family, and then he’ll be the one to marry a high-born noble lady.]

DUDE WTFFFFFFFFFFFFFFFFFFFFFFFFFFFF

IT DOESN’T WORK LIKE THAT??????????? YOU CAN’T JUST DECIDE THAT YOUR SON IS A FAILURE WHEN HE DOES ONE (1) THING AGAINST YOUR WILL AND TOSS HIM OUT AND MAKE YOUR OTHER SON THE HEIR???????????????????

Honestly he makes Jonah and Luka sound so expendable, and that’s really not okay. They’re human beings, his own SONS, not an object to be thrown away when it served its use. Like, if I had any doubts about why Luka left his family before, this scene just explained everything. Who would want this guy as their parent?????

And of course, as the best nii-sama in the world, Jonah caves.

[Translation:

Even though he wanted to follow through with his own ideals, he couldn’t let his important brother, Luka, be sacrificed.

Not only would Luka have to bear the burden as the heir, a burden that he has been bearing for many years,

And he would marry some lady who he has never met before, this absolutely cannot happen!

Jonah: Just this one thing...please don’t do it.

Jonah could only bend to his father’s will.]

JONAHHHHHHHHHHHHHHHHHHH MY POOR BBY LET ME GIVE YOU A HUG (っ˘̩╭╮˘̩)っ

He’s literally in an impossible position right now. If he wants to marry the love of his life, he would have a sacrifice his precious brother, and if he wants to protect his brother, he would have to sacrifice his fiancee. If he wants to keep them both safe, then the only real solution would be to leave the Clemence family.

Come on, Cybird. Y’all made him turn against the Red Army in his original route and now you’re making him turn against his family now??? When will the torture for Jonah and his stans ever end??????????

And here’s a few other lines from the Clemence Patriarch to disgust you:

[Translation:

Clemence Patriach: I am a generous and maganimous person.

Clemence Patriach: As long as the Clemence bloodline is protected, I don’t care if the heir is you or Luka.]

......I literally have nothing else to say.

Istg this dude is the worst parent in the Red Army, and the Red Army is already brimming with awful parenting skills. Lancelot’s father pretty much neglected him and Edgar’s uncle straight-up abused him, but you could still tell that they cared about their sons in their own little twisted ways. Lancelot’s father eqipped him with all the skills he would need to be King, and Claudius took all responsibility for the Bright family business in the end, protecting Edgar. And then we have the Clemence father who’s all like: i MaDE TwO kIDS foR a reASoN anD ThAt iS To HAVE ONE OF THEM REPLACE THE OTHER/USING ONE OF THEM TO THREATEN THE OTHER IF THEY MESS UP. ALSO NEITHER OF THEM MATTERS APPARENTLY BC THEY’RE BOTH JUST TOOLS FOR CARRYING ON THE BLOODLINE.

DUUUUUUUUUUUUUUUUUUUUUUUUDE.

I get that this is only part 12 and he’s probably going to have a redemption scene or at least some whitewashing at the end, but STILL. I really, really, really, really, really don’t like Jonah and Luka’s father.

#ikemen revolution #ikerev #jonah clemence #luka clemence #clemence father #clemence patriarch #ikerev jonah #ikerev luka #i literally hate him so much #i thought claudius won the a+ parenting award #but nah #this guy obliterated him #best nominee no doubt #god i hate him so much

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maxwell-grant · 3 years

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May I please ask what your preferred dynamic between Holmes & Lupin would be? (From what I can tell, the term 'frenemies' might have been invented for these two - if any two characters in fiction WOULD spend all their time trying to one-up each other it's these two, if only their diverse other commitments, challenges & interests left them the free time to do so: I'm also morally certain a sadly-hypothetical Holmes/Lupin team is one of the few things that could bring down Fantomas for Good).

I think "frenemies" is what ultimately works best for these two specifically, because there's a certain untouchability to icons as big as these two that limits the potential stories you can tell with them (although yes, definitely on board with the two having what it takes to bring down Fantomas, although probably not as cleanly and easily as they might expect).

The original Leblanc stories involving this premise are very much centered around one-upmanship, even embracing a theme of national rivalry of England vs France. They acknowledge Holmes's talents but without the awe, with a somewhat aged Holmes with mundane imperfections easily exploited by the daring young thief, someone deserving of his legend but who doesn't quite live up to it. Obviously Lupin's gotta have the upperhand, not just because it's his author writing it, but because the whole point of Lupin's creation was to be the new hotness, the counterpart to both the stuffy old Great Detectives as well as the aristocratic master burglars, and really, what kind of rising superstar would he be if he couldn't put one over the other guy? If he's gonna live up to his claim of being the greatest criminal ever, he's gotta be able to humble the greatest detective at least a little.

The treatment of Watson (Wilson) is tasteless and it's frankly a bit saddening to see that even back then writers were still shitting on Watson far too much, but on the whole I think Leblanc was a lot fairer to Holmes than he could have been (certainly other writers from this time period who added Holmes to their stories were not as fair), he makes it very clear Holmes is not just another Ganimard out of his depth and is very much as close to an equal Lupin's ever had. I think the description used to cap off their final meeting is very much on point:

"You see, monsieur, whatever we may do, we will never be on the same side. You are on one side of the fence; I am on the other. We can exchange greetings, shake hands, converse a moment, but the fence is always there.

You will remain Herlock Sholmes, detective, and I, Arsène Lupin, gentleman-burglar. And Herlock Sholmes will ever obey, more or less spontaneously, with more or less propriety, his instinct as a detective, which is to pursue the burglar and run him down, if possible.

And Arsène Lupin, in obedience to his burglarious instinct, will always be occupied in avoiding the reach of the detective, and making sport of the detective, if he can do it. And, this time, he can do it" - Arsene Lupin vs Herlock Sholmes

The consistent outcome is that Holmes "wins" the material battle while Lupin gets away with the spiritual or karmic victory. The first story, Holmes has Lupin figured out from a glance, robbing him of his greatest asset, and Lupin even tells Holmes under a guise that he has no greater admirer than himself. Holmes choses not to arrest Lupin, and instead solves the mystery as quickly as Lupin would. But he is also, well, inferior. His "commonplace appearence" dissappoints the guests and detectives at the crime scene, he doesn't resemble their expectations, he is gruff, ungracious, arrogant and all-business, an Englishman all the way, and Lupin one-ups him by returning to him his stolen watch, and Holmes is not a good sport about it.

The whole "Herlock Sholmes" name change, although it was out of legal obligation, almost reads like a cheeky courtesy of Leblanc, like he's giving Holmes enough of a courtesy in sparing him the embarassment of being the loser. And the following adventures stay consistent: Sholmes is smart, as smart as Lupin, and he's a gentleman. But he isn't as smart as he thinks he is, and he isn't as much of a gentleman as Lupin. He resorts to unsporting tactics like intimidating Lupin's lover and involving the police in their conflict, and in the end, he's solved the crime, but "sown the seeds of discord" in a family Lupin was protecting, becoming the villain for a change, a role reversion Lupin openly laughs at. Holmes wins the "loot", he wins the material battle, but Lupin has the last laugh, and despite being a self-proclaimed villain, Lupin gets the moral victory.

It's a quite unflattering view of Holmes and one perhaps not suited for a crossover outside of the specific context of Holmes being the old and stuffy intruder in an Arsene Lupin story. Then again, every great hero needs a lesson in humility every now and then.

There's a particularly interesting variant of this dynamic to be found within China's own takes on Sherlock Holmes and Arsene Lupin.

Sherlock Holmes was quite the breakout hit for Chinese audiences at the time of his release, revered as an alternative to Judge Bao and the court-case novels. It's estimated that from 1903 to 1909, detective fiction constituted over almost 50% percent of all Western translated fiction, and with Holmes followed others like Nick Carter and Charlie Chan, and then Arsene Lupin, and soon their own local versions. The most famous and popular of which was Huo Sang, created by Cheng Xiaoqing, who was one of the main translators for Conan Doyle's stories. Cheng Xiaoqing even wrote his own take on Sherlock Holmes vs Arsene Lupin called "The Diamond Necklace", intending on correcting Leblanc's take, although interestingly, he unintentionally recreates the exact outcome by giving Holmes an unsporting attitude, where he "wins" only because Lupin lets him, and Lupin gets away again with the moral high ground. He would fare off much better in correcting Holmes with his own character, Huo Sang.

Huo Sang has a lot of similarities to Holmes, even with his own Watson counterpart, but was also designed to represent a few more traditional Chinese values. He is a science teacher with no addictions who belittles the wealthy class and fights for the poor, and he is praised for humility, one story even making a point to criticize Holmes for arrogance. He is a very Westernized character, with suits and guns and cigarettes galore, but the books were very dictatic and the author marketed them as "disguised textbooks for science", playing up on a newfound social reverence to scientific methods and self-improvement and national rejuvenation.

The stories deal heavily with corruption of the police force and institutions. In the earlier stories he outright calls police detectives useless rice buckets only good for solving petty thefts and preying on those that can't defend themselves, and while they become less sinister in later stories, Huo Sang's relation with law enforcement is much more frayed than Holmes's own. He uses dirty police tactics of his own and sometimes takes the law into his own hands, thinking the law cannot possibly achieve justice on it's own. His biggest loyalty is to his country and he values his reputation above all else. He values justice more than the law, like Holmes. But like Holmes, he still prefers to work inside the law and within Chinese traditions.

"Bao Lang, you scholar, you're too idealistic. Don't you realize how weak the law is in modern society? Privilege and power, favors and money - the law has all these deadly enemies

"We investigate half to slake our thirst for knowledge, half out of duty to serve and uphold justice. In the realm of justice, we are never constrained by the wooden and unfeeling law. For in this society, which is gradually tending to surrender its core to material things, the spirit of the rule of law cannot be put into general practice, and the weak and ordinary people are aggrieved, more often than not unable to enjoy the protection of the law.

Lu Ping, as you'd expect from a counterpart to Lupin, was much different. In fact, right in his very first story, he was already pitted against Huo Sang and outsmarting him, in a story called "Wooden Puppet Play". The character is inspired by an already existing tradition within Chinese literature of the "chivalrous thief", shapeshifting masters of deception and martial arts, and considered admirable and benevolent opposite to the corrupt government officials they outwit.

His stories are more whimsical, energized, more varied, less dedicated to strict science. He whistles while committing crimes, is identifiable by a red tie and wooden puppets he uses to signal his goons on what outfit he's gonna be wearing, and even cracks asides to the reader. In many aspects Lu Ping is influenced by hard-boiled Western detective stories, and naturally, he has a much more contemptious view of the law than Huo Sang

Well then, was he willing, in his capacity as thief, to represent the sanctity of the law and catch the murderer? Yes, he would be quite happy to round up that murderer. But he wasn't at all willing to boost the reputation of the law. He'd always felt that the law was only something like an amulet that certain smart guys had fabricated to get them out of embarassing situations.

Such an amulet migh be good for scaring away idiots, but it oculdn't threaten the violent, crafty and arrogant evil ones. Not only could it not scare them away, a lot of them hid right behind it to work their evil tricks!

Conflicts between these two are not just rooted in one-upsmanship or the patriotic conflict between the two, but instead in two differing approaches to justice, their influence on fellow Chinese writers to step outside tradition, and the respective ways they address issues in society. Additionally, it's not just a conflict between Great Detective vs Gentleman Villain, but the Holmesian Detective and the Hardboiled Detective. And, naturally, when the two met, a pattern reocurred again.

Writing a Lu Ping tale in his usual manner, Sun Liaohong deprives the detective of the advantage he typically enjoys at the hand of Cheng Xiaoqing or any other follower of Conan Doyle - narration by the detective's coadjutor.

It is Huo Sang who slinks around like a thief, alarming hotel service personnel. He becomes rattled, and even so is vain and arrogant. He is a bit too positivist about searching for clues, and he spends a remarkable amount of time just relaxing and waiting for something to happen.

The figure of "wooden puppets" turns wicked when the author uses the term to refer to Huo Sang, Bao Lang, and the police. Satirizing the genre as a play in which the author woodenly manipulates his character. But Lu Ping as puppet is a genius, moving from one identity to another, whereas Huo Sang is a dumbbell - wooden indeed, bourgeois, ridiculed.

A gentleman's agreement occurs only at the end. Huo Sang has the formal victory. He frees Lu Ping in order to get the paining, but the exhibition is held a day late and it now bears Lu Ping's seal.

In wartime, peace talks, diplomacy and gentlemen's agreements are just smoke screens, the stuff of puppetry. Both Huo Sang and Lu Ping surround themselves with lies to reach their final accomodation. Perhaps they are both puppets - Chinese Justice, the Fiction: Law and Literature in Modern China, by Jeffrey C. Kinkley

Both characters were canned in 1949 when the CCP banned detective fiction, and it was replaced with anti-spy literature about how the party police would expose counterrevolutionary conspiracies. They never got to have a rematch, and to my understanding there were a couple of films made afterwards about them, Huo Sang had a very recent one in 2019, but never another meeting.

I guess the takeaway here time and time again is that, credit to Holmes and all, but:

#replies tag #pulp heroes #pulp fiction #sherlock holmes #herlock sholmes #arthur conan doyle #arsene lupin #maurice leblanc #lupinchads can't stop winning

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montrealmadison · 3 years

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drink deeply

or, as they say at samwell, “penitus potes.” shitty gives the toast at jack and bitty’s wedding. for @zimbitsweddingofficial and day two of zimbits wedding week: the wedding itself!

just for fun, a draft version of the beginning of this fic with lardo, ransom, and holster’s “helpful” edits can be found via google doc here. hope y’all enjoy! <3

Good evening, everyone! On behalf of Jack and Eric, thank you all so much for being here tonight, and welcome to what could very well be the most highly anticipated wedding reception of 2019. I mean, this party was planned by the likes of Suzanne Bittle and Alicia Zimmermann. We are in for a treat, folks.

Before we get to all that, I’d also like to extend a particular welcome to those in attendance who are part of the playing, coaching, and/or office staff of the Providence Falconers. Glad you could all make it this evening; I know this past week was a little bit busy for you guys.

[Insert appropriate pause and gesture to the punch bowl, which on closer inspection is actually—oh yeah—the Stanley Cup the Falcs won three days ago. Hold for inevitable applause, general hysteria, and/or hooting/hollering from Tater.]

For those of you who don’t know me, I’ve been trying to decide whether I should introduce myself by my first name, which will inevitably get me mocked by my friends until the end of time, or by my nickname, which will definitely scandalize anyone who has not spent a significant amount of time around twenty-year-old guys who play hockey. However, as I look around the room, I’m realizing that most of you probably either raised, spent significant time around, or were once a twenty-year-old guy who played hockey. To the rest of you, I am profoundly sorry.

So, hi! I’m Shitty, and I’m Jack’s best man.

read more below or on ao3

Being someone’s best man, as I’ve realized over the last few months, should really come with a playbook or an instruction manual or something, because it’s a task unlike any other you’ll ever take on. In addition to being a friend, you have to be a confidant, an expert at bachelor-party debauchery (I think my college resume definitely prepared me for this part) and someone who’s not afraid to step in to make last-minute decisions so the grooms don’t have to. You also have to do all of these things without getting fired from your job or stepping on anyone’s toes, up to and including: the couple getting married, the other people in the wedding party, the grooms’ parents, the wedding planner, and most importantly, Moomaw, whose word is law around here.

(Seriously. She made the pie tonight, people. Bow down to her.)

But as much as the role can feel a little bit like you’re being thrown in at the deep end, it also definitely comes with its perks. Tonight, I have both the honor and the challenge of somehow summarizing how much I love Jack and Eric in a speech that is heartfelt and witty yet also brief so that we can get to the aforementioned pie as quickly as possible. If you’re still following me here, that is a tall order—but here goes nothing!

I met Jack Zimmermann on our first day of freshman year at Samwell, during the bright, hot summer of 2011. I was participating in the time-honored tradition of moving into a dorm on the third floor of a building with no elevator and no air conditioning in the middle of August. It builds character, or so the good folks in Samwell administration probably tell themselves. Anyway, athletes got to move in early for preseason, so I was expecting to be one of the only guys on the floor for at least a couple days. I was just carrying the last box into my room when the door next to mine opened and—well, you can probably guess who walked out.

Now, I grew up in Boston, which means I also grew up around hockey culture. I’d heard the news that Jack was coming to Samwell, so I knew who he was when he stepped into the hall in that same vague way that you kind of-sort of recognize celebrities hustling down the street or through the airport with their sunglasses on. And he gave me that same vibe—“I know you know who I am, and I’d very much like not to be bothered about it.”

Here is something that will not shock you if you know us: Jack was the first friend I made in college. Here is something that might shock you if you know us: That definitely doesn’t mean we were friends at first. By his own admission, Jack wasn’t at Samwell to make friends at all. He told me, much later, that he was only planning to go to play hockey, get his life back on track, and keep his head down as much as possible.

So in retrospect, maybe it was an unlucky thing for Jack that he ran into the one person who wasn’t going to let him do that.

Because no matter who you are or where you’re from, freshman year of college breeds a unique kind of terror I’ve never felt anywhere else. There’s a lot of pressure to completely remake yourself, to become the person you maybe never could have been in your hometown. By coming to Samwell, I wanted to be a different kind of kid than the one that Andover had raised. Jack wanted to be a different kind of kid than the one he’d spent twenty years telling himself he had to be. As much as neither of us wanted to admit it, we both wanted similar things out of our college experience, and we needed a support system to do that. And so, however begrudging the two of us were about it at first, we started to bond more and more.

It wasn’t always easy. For one thing, my idea of a good time was a lot louder than Jack’s—who enjoyed such scintillating pursuits as “watching golf” and “going to bed at a reasonable hour”, neither of which were quite in my vocabulary at the ripe old age of eighteen. Also, if it’s before six in the morning, he has a hard time remembering to speak English, which used to make for a lot of stilted conversations between the two of us as we walked to early morning practice. (On a completely unrelated note, the first and probably only thing I ever learned in Québécois is how to swear.)

I don’t remember the exact tipping point at which Jack and I really became friends; I think it was more of a quiet acknowledgment that we liked having each other around, that we balanced each other out in ways that neither of us initially knew we needed. What I do know is that, slowly but surely, I started to get glimpses of the Jack that exists off the ice. And so began one of the most extraordinary journeys of my life, because the only thing crazier than knowing Jack Zimmermann is actually knowing Jack.

Here are some things that I’ve learned in the process: He’s on his third pair of neon yellow running shoes, which he buys specifically because the color makes him happy. Before either of us tried Eric’s pies, the only thing that could make him cheat on a meal plan was a sleeve of Double Stuf Oreos. (Don’t ask him how to eat them correctly unless you’re interested in a twenty-minute speech on exactly how they have to be pulled apart.) And he loves Captain America, although it is the opinion of this best man that America’s ass has nothing on his hockey butt. Have you seen that thing? It has Internet fans in at least two different countries.

But I digress.

In our sophomore year we lived next to each other again, by choice instead of by chance, in what I can only describe as the pinnacle of American college living: the Samwell Men’s Hockey Haus. We used to pull the comforter off of one of our beds and climb out onto the roof and clear off the snow so we could share the blanket, look up at the stars, and listen to the bass thumping through the wall of the house next door. On nights when other things felt confusing, this one part of my life was clear. There’s something about sitting out under the open sky that just makes it easier to talk to a guy, you know?

Some nights the conversations we had were funny. Some nights they were serious. Some nights we said nothing at all, just sat secure in the knowledge that someone cared enough to exist alongside us for a little while. There was always an unspoken agreement between us on nights like these: I got your back. For me, Jack’s friendship became a rock, a refuge. It’s something that I came to depend on that year and still do to this day.

As for the content of those late-night conversations—well, some things do have to stay between friends. I’m sure Jack will agree, especially because he has so graciously allowed me to get up here and lovingly roast him just a little bit.

So let’s skip ahead again, to yet another August, the start of our junior year, and the arrival on the scene of one Eric Bittle. This kid burst into our ranks like a ray of Southern sunshine and turned pretty much everything upside down in the process. In the first five minutes of being in the Haus, he somehow made us a pie? Folks, I'm not kidding, it was the best thing I’ve ever eaten. We were a bunch of guys who didn’t know what we were missing until we had it, and let me tell you, it was one hell of a semester after that. In pretty short order we had curtains on the windows and baked goods on the counters, and Samwell Men’s Hockey started to become not only a team but a family.

That was off the ice, at least. On it, things were a little more complicated. As our dear friend and former goalie John Johnson said to me, Jack and Eric hadn’t gone through their character development yet—whatever that means.

Take our third or fourth practice with the full team that year, for example. It had gone… uh. Poorly, would be a word. Later that night I heard some rustling on the roof outside, and God knows I was willing to do just about anything but my homework—so I stuck my head out the window and there was Jack, watching the stars. I asked him if he wanted a buddy, and he said alright, so I slid out and sat down next to him.

That was pretty usual for us at this point. What wasn’t usual was the topic of conversation. The first thing Jack said to me was, “Bittle’s gonna get eaten alive when our schedule starts.” (Remember, people, they’re married now!) The second was, “I want to help.”

Here’s another thing about Jack: Underneath the veneer is a guy who just cares so intensely it’d shock you if you knew nothing else about him. It shocked me a little that day. I think it even shocked him to admit it, to the point where I had to say, “Jack, it’s not a criminal offense to care about other people. Even if it feels like you’re doing it for yourself.”

So he helped. He offered an olive branch, and Bits took him up on it. I’d hear the two of them get up in the morning, hours before the rest of us had to be at Faber, for checking practice. None of the rest of us ever knew exactly what went down, but one thing was for sure—Eric put in a ton of work to overcome some of the fears that had followed him to college. He got better, and Jack relaxed. The two of them really started working as a team, and things started looking up from there.

The day that they told us they were dating was pretty amazing. Eric is so full of light no matter how bleak a situation may look, but that day he was literally almost glowing. And I’ve seen Jack in moments after victory and loss, at his best and at his worst. But I’ve never seen a Jack who was so happy, possessed of such confidence in a decision he’d made, as I saw him that day at brunch. And that’s when I knew this relationship was really special.

From there, many of you know the story. You watched it play out on ESPN and social media and the front pages of every single gossip magazine on the supermarket shelves. But if you’re sitting here with us tonight, you also watched it play out between Jack and Eric themselves. You’ve watched them handle expectations as a united front. You’ve watched their unfailing dedication to each other while they navigate the pressure of being some pretty big firsts. You know that, behind the scenes, these are two incredibly genuine people who bring out the best in each other and are dedicated to doing that every single day.

In the last four years, I’ve watched Eric become self-possessed and confident because he was given the space to do so. In the last six years, I’ve watched Jack grow from a kid with a chip on his shoulder and something to prove to a guy who finally believes that he deserves all the good things the world has given him and then some. If you take nothing else away from this speech, I want you to know this: I’m incredibly proud to call myself a friend to both of them.

Jack, Bits, you’re always gonna be my brothers, my best friends, and two of the finest damn men I’ve ever had the pleasure to know. I wish you both a long and happy marriage. Take care of each other, be good to each other, and never forget where you started—as a team.

So please join me in raising your glasses, everyone, and as they say at Samwell—penitus potes to Jack and Eric!

#shitty knight #jack zimmermann #eric bittle #zimbitswedding #omgcp #check please #this idea jumped into my head and refused to leave #shitty & jack & bitty friendship my beloved #my writing

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river-bottom-nightmare · 3 years

Text

Nightwing 79 Review

i said i would and i will. i did like this issue! not as striking and attention grabbing as 78, but i think this issue was meant to be a foundation one, laying out the groundwork for the future. overall, pretty good. also there wasn't enough bitewing. as promised, overly extensive metaphors and me reading too much into things under the cut

i know i've talked about this cover before, but this particular thing is oddly important to me, so i'll talk about it again

this is me, once again screaming about how artists put nightwing in traditionally feminine poses and how every time i see it i just get whiplash. i mean, true, the main reason why is because nightwing is a so often sexualized character, and putting him in these poses just increases the objectification, which is a goal that dc producers have. but there are very few popular male characters that do this. the only one i can think of off the top of my head is deadpool, but that was so obviously a critique and a way to make fun of the media industry. when they draw dick like this, they’re being serious. they’re putting him in appealing poses meant to show him off, and that’s something that’s traditionally only been done to women.

it's a very direct and very loud breaking of traditional gender roles in media, especially for a character as high-profile and historic as dick grayson. colour also plays a factor in this. the entire background is pink. i was absolutely shocked when i first saw it, when the teaser came out, because i cannot think of any comic book covers of male comic heroes this high-profile where pink is even just prevalent in the cover, let alone the majority of the cover. the pink does look beautiful: it offsets and highlights the black and blue of dick's suit gorgeously, but does it with more finesse than orange or red. but the fact that the stylistic choice was made to accent and draw this cover with aesthetic and beauty in mind, completely ignoring traditional hard-set gender rules in art, was a conscious choice and one i wholeheartedly support.

just another example of the sexualization i was talking about. i remember seeing harley quinn in this exact pose in suicide squad.

so far, taylor's been pretty dead-set on bringing alfred to the forefront of importance in this series. he wants people to know how much he loves alfred's character, and how much the butler meant to dick growing up. he was dick's father too. but what i adore is how taylor managed to stress alfred's importance in a way that didn't insult or belittle bruce.

this is one of the best bruce and dick interactions i've seen, and it's done in one simple interaction. in this, bruce is tough and harsh. he knocked dick down hard, but then he reached a hand down and helped pull dick back up. let me analyze their dialogue for a minute

on your feet: this is bruce telling dick to get up. he's trained dick, he knows what the younger boy is capable of, he knows his limits, and he knows what dick can do. this is bruce telling dick i know you're strong enough to get up, so get up and prove me right

are you just going to knock me down again?: surface-level, it looks like dick's complaining. he doesn't like bruce's rough training, and he's tired of bruce knocking him down. but look at his face in this. he's smiling up at bruce, knowledgeable and a little hopeful. he knows that bruce is doing this to help dick better himself, he's completely on board with the rough training, because they both know the rewards are incredible. also, he's teasing. he's bantering with bruce. there's an ease in that joking statement, one that belies affection and intimacy. they've only known each other for a little bit, but they're already slipping into a close familial relationship.

it depends on how fast you learn: this is bruce bantering back. this is bruce not being a stoic, unfeeling asshole. instead, he's shown with the dry humor that a good batman writer knows is a staple of the character. he's teasing dick, telling him he'll basically whoop his ass if dick doesn't learn fast enough. it's incentive for dick to train harder, while also being lighthearted enough to tell dick that believes in dick and doesn't want him to push himself too hard.

gosh i love the titans. also it looks like wally's staring at dick's ass.

this was cute. a prod at dick's silly and playful sense of humor, while not dumbing him down for the sake of a laugh. instead, he's joking about food, which is stuff everyone jokes about. this is the kind of stuff that'll actually make me laugh, instead of just making me vaguely uncomfortable.

bludhaven's almost always portrayed as a cesspool of a city. and to be honest, it really is. but this panel gives the city a meaningful history, while also giving us a reason for why dick moved there.

it talks of a time when people still thought they could beat the monsters. that if they fought hard enough, they could win the fight. it was a tentative hope that you could always overcome hardship.

dick's little "i like that it's still standing" shows how he still believes that, despite what the rest of the world thinks. despite everything that he's been through, dick is still tentatively an optimist, and believes he can fight the monsters of the world and win. it's a beautiful testament to his character, and i'm like that they added his signature element of hope back in. it used to be what he symbolized as robin, and despite his growth and character arc from robin to nightwing, this is one aspect of robin that i'm glad nightwing still has.

remember when i said "things that make me vaguely uncomfortable??" yeahhhh,,,,,,,,,,,,,,

Shooketh Dick: A Sequel

(the expressions in this series are just,,,,on point)

this was an incredibly sweet and kindhearted thing for dick to do, but i found it kind of,,,,,,,,desperate? maybe that's just me, but let me explain.

dick's suddenly a billionaire, and he has entirely too much money that he knows what to do with. it's also alfred's money, what the man left to him, so dick forever links it with alfred. in addition to that, he's back and bludhaven and looking at it with "fresh" eyes. (at least, from a different point of view since he got shot in the head. then mind controlled.) he's desperate to do something with the money and he's desperate to help the people around him that so obviously needs up, so he comes up with an on-the-fly solution that's a little impractical and a little crazy, but it still helps and still does some good.

to me, dick seems a little lost. he hasn't completely found his balance yet, and he's trying to do things that will. he tries charity, because that's what bruce did and it's what he knows, even though he admitted that he always thought bruce could have done more as bruce wayne than batman.

they have a family group chat guys yall were right.

also, do i think that dick would ever actually get his wallet stolen?? no way in hell, he’d notice someone getting ready to pickpocket him a mile away. but i suppose it’s important to the Plot.

okay this is getting interesting. first blockbuster, now maroni (+ the weird heart stealer guy). i can officially say that i am intruiged

this particular artistic quirk is shown a lot in this issue, and from this art team in general, but i feel like this panel is one of the best examples of it. it was stunning enough to take up a full page, and it’s well deserved.

the way they show dick moving is absolutely brilliant. as a reader, i like seeing these smaller versions of dick getting clearer and in more detail as they come closer to the screen. not only do they show depth in the picture beyond what a simple 3 dimensional piece of art does, it also shows the passage of time.

in addition, it showcases dick’s skill. dick spots these mobsters running after a group of petty thieves. he then, and follow me here, leaps off the roof of one building feet first, springboards backwards off the side of the adjacent building with his feet, gracefully continues his backflip, rights himself, shoots a line with perfect timing: just in time to soften his landing but not slow him down, execute said landing on top of a moving bus, keep running on the moving bus without missing a beat, shoot his grapple, use the grapple to swing, use the swing to build up momentum, then use the momentum to deliver a powerful blow to the mobsters. and he did all that fast enough to catch up with the mobsters, even though he was a ROOFTOP OVER.

d a m n s o n

this panel, the very first in the issue, is also another example of that art style, but a little more distinctive. i love the way they showed dick’s different costumes through the ages, along with him simply growing up. it’s a little heartbreaking, but a lot uplifting to see how far he’s come. thank god he got rid of the red. now all we need is the fingerstripes, and we’ll be golden

discowing my beloved. also i can’t clearly see discowing’s hair but it definitely looks like it’s pulled back. it looks like he put it in a ponytail. guys. guys. dick had a ponytail omg.

he’s having a Hero Moment

are you talking about the city, dick, or are you talking about you? the kgbeast, the court, the joker. dick fell to each one of them, no matter how hard he fought. he won in the end, eventually and with his family’s help. but i think he’s feeling a little low, a little defeated right now. it’s almost like he needs a win, he needs to feel victorious, he needs to feel like he helped someone (hence the food and the hotel room), just because he needs to remember what it feels like.

these lines were supposed to resonate with you, and goddamn they did.

i looked at it from two ways. first, it’s the girl asking, begging nightwing not to hurt them. bludhaven doesn’t know dick the way gotham does, they’re still a little frightened of him. this child was brave enough to step in front of all of the other hurt and homeless kids and ask, to a strange man in a mask, if he was going to hurt them like the other men had. it’s heartbreaking, but commendable, and an echo of the city itself that dick’s decided to protect. they’re bloody and broken and terrified, but still gritty and brave enough to stare what they fear in the eye and ask it not to hurt them.

second, it’s dick seeing the question reflected in himself. recently, he got shot in the head and lost all his memories. while i think that the way ric reacted was a perfectly valid and human response to the situation, i think dick still regrets how callously and rudely he treated his family. then, he was manipulated by the court of owls, then he was brainwashed with a magic crystal by the joker. dick does have a guilt complex. it’s not a big as bruce’s, but it’s there. and right now, with this girl begging her not to hurt them, dick is probably thinking about all the times he hurt people, in control of his own actions or not, bc he “didn’t have a heart.”

little ambitious don’t you think, dick?

also just look at the sunset colours loOK at the they could not make this any more obvious oh my godddddddddddddddddddddddd

in conclusion, i need more of her

#dick grayson #nightwing #nightwing 79 #nightwing 79 spoilers #dc #dick grayson meta #nightwing meta #nightwing 79 meta #dc meta #river thinks too hard

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mostly-mundane-atla · 4 years

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I enjoy learning from your blog sm—ty for all you share. Especially since I’ve found there’s very few sources. Sry if you’ve talked about this before, but if you’re still open to answering questions I was wondering what the culture surrounding lgbt+ identities? You talked a bit about gender roles and co-husbands, but is homophobia still prevalent? (Would it be less so in-universe versus a modern au?) Also, if you’re willing to share any terminology (whether two-spirit is used?) used?

Alright, here's where things get a little tricky.

It's hard to really talk about queerness in other cultures because the idea that sexuality and attraction is an inherent part of your identity is not in any way universal. This is where you get a lot of people claiming certain historians and anthropologists are homophobic (and that's not to say some of them aren't but people tend to make really harsh assumptions without reading into what's actually being said) for saying that x or y doesn't mean this person was gay as we understand it. In a lot of cultures, the people you persue personal relationships with isn't a part of who you are, just something you do. So a man who prefered the companionship of other men, say in medieval England, would likely still marry a woman and have children to help him with work as he ages and take care of him when he's old. Does that mean he couldn't have a loving relationship with his wife, just because she wasn't a man and he wasn't attracted to her? No. Is it wrong if he wouldn't consider this not being himself, because he grew up in a world where attraction and sexuality is what you do rather than who you are? I can't really answer that.

And so you take this idea that romantic relationships are something you do rather than an ingrained part of your identity, and you add to that this concept practically unheard of nowadays that romance really isn't important. That doesn't mean that people never had romantic feelings or acted on them, just that this idea of courtly love, that being in love makes you a better person and thus is inherently righteous, was never a part of the culture. You got together with someone because you weren't related and they were someone you didn't mind surviving and having kids with, not strictly because you were in love with them. And then, unlike medieval England, sex was not something to be considered shameful or sinful, and definitely didn't have to be exclusive between spouses.

There was a bit off accidental accuracy in Kya saying that sort of thing isn't talked about in the comics. You wouldn't hear stories about a romantic love between two men or two women, but you also wouldn't really hear about romantic love between a woman and a man; not unless that was your parents' or grandparents' experience and they shared that with you. The important loves are considered to be between family members. You'll notice in Inuit stories a lot that if a girl is kidnapped and force into a marriage, it's her brother who rescues her, not her sweetheart.

I'm sure there would be some prejudiced people, because let's face it, you can't please them all. But I think the main reason you wouldn't see many gay couples as we understand them to be would have more to do with needing children without access to artificial insemination, as well as very different and comparatively irreverent attitudes toward sex and romance. (In fact, I'm reminded of a story this elder woman shared when my class went to learn a bit about Native cultures back in elementary school. She and her friend left their village and started living among white people. They were still learning English and these two white men, friends themselves, were friendly with them and helped them out, not just that first day, but over the course of, I wanna say some months? Anyway, one of them proposed to the lady telling us this story and the other to her friend. The men had fallen in love and already considered themselves in romantic relationships with these women. The women got a good laugh out of this because they hadn't realized that being so personal and familiar and generally happy to be around someone could be interpreted as romantic interest. Their response to these guys was basically "sure, why not" because romantic feelings or no, they genuinely enjoyed their company.)

If we wanna talk gender, the cultural understanding there is a little different there too. Sipiniq is Inuktittut for "baby that changed its sex at birth" which, as far as I understand, has been used for both intersex and trans people. I can't find anything on the way they specifically were seen by the community, let alone regional specifics but to speak on gender as a whole the cultures are interesting for a few reasons. Inupiat names and third person pronouns aren't gendered. You are named after a person to carry on their soul, and this person is not guaranteed to be your gender. So if you're afab, no one is calling you "she" as opposed to "he" because that's not how the language works and a few people might actually call you "grandpa" or "uncle" because that's who you were named after and that's whose soul is kept in your body. You might be seen as having the body of a man or woman, and the limitations that come with it, but that which makes you yourself is not a gendered thing. King Islanders even had a Messenger Feast tradition where women would dress as men and men would dress as women. They had masks for it and everything.

Queerness is such a nebulous thing and so often we approach it with such a limited understanding, insisting ours is the only right way to treat it. Sometimes the answer to "well were they gay/trans?" can only be "it's complicated" and we all have to be more okay with that. Not every culture has the same concept of or places the same importance on sexuality, romance, or gender.

#eskimo on main #response #that elder's story is legit in case anyone doubts it #it sounds like a 1950s musical movie but it actually happened

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seattlesea · 4 years

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bad representation in the riordanverse

Racism:

-Gave Hazel and Piper gold and ‘kaleidoscope’/brown-blue-green changing eyes and pretty much went ‘Let’s add some characters of color but they cANT HAVE BROWN EYES THAT’S NOT PRETTY ENOUGH’ as if whitewashing isn’t more than just the skin.

-East Asian characters: Riordan pretty much went 'Here are my East Asian characters- one of them looks like a fat baby on steroids and is super undeveloped, his mother is strict and cold, and all the others are just described as 'Asian' because different countries in Asia don't exist and there's obviously no difference between Japanese, Chinese, and Korean'. His portrayal of East Asian characters went like this: Frank: Chinese, chubby, hates himself, underdeveloped, described to look like a 'Chinese Canadian baby man' and a 'panda' as if that's not stereotyping, and only learned to love himself when he looked hotter. Drew: Asian, villainized, rude, shallow, vain, and selfish. Ethan: Asian, rude, evil, a traitor, and deceased. Grandma Zhang- rude, strict, cold, traditional, and deceased.

-Hazel: Has gold eyes. Has 'cinnamon brown' hair even though dark brown or black hair would be way more inclusive and realistic. Had a mother portrayed as a rude and selfish witch who sacrificed, used, and trafficked her own child. Was the only character called or described as a witch while African-Americans were usually accused of witchcraft just for their skin color. Was the only character who was cursed. Had a mother who literally practiced voodoo. The only African-American character in the series before ToA who isn't dead (but she also died). Was paired with a sixteen year old guy even though African women are constantly forced with older men and that's blatantly racist stereotyping.

-Piper: Had 'chocolate brown' and then 'mahogany' hair? Has kaleidoscope eyes. Put a feather in her hair (which is stereotyping)- and it was an eagle feather, which is also wrong because eagles are extremely sacred to First Nation tribes and only spiritual leaders or warriors can wear it or it has to be gifted by an Elder of the tribe, and Riordan basically went 'Feathers are very important and it's racist to make a character wear one at inappropriate times but I'm going to make my character wear one as a cute accessory to make her look cool, pretty, and headstrong and to add to her 'Aesthetic'’ even though Cherokees didn’t wear feathers (which proves he did the bare minimum of research). Constantly oversexualized (56% of First Nation women are sexually harassed and Riordan had the audacity to put Piper in an 'embarrassingly low v-neck' and to have her constantly drooled over by a WHITE MALE and have her sexualized by her 1000+ mother without her knowledge or consent). It's said that her father was from a reservation in Oklahoma...but there are no reservations in Oklahoma, only cultural centers (which also proves that he did the bare minimum of research). She's the only First Nations character and she's the only character (besides Nancy Bobofit) depicted as a kleptomaniac (First Nations people are constantly called thieves by racist assholes). “The week before, he’d turned down several million dollars to play Tonto in a remake of The Lone Ranger. Piper was still trying to figure out why. He’d played all kinds of roles—a Latino teacher in a tough L.A. school, a dashing Israeli spy in an action-adventure blockbuster, even a Syrian terrorist in a James Bond movie. And, of course, he would always be known as the King of Sparta. But if the part was Native American—it didn’t matter what kind of role it was—Dad turned it down.” (The Lost Hero, page 165). So her father is fine with playing an extremely racist and stereotypical Middle Eastern role but not a First Nations role. Uses a cornucopia as a weapon (how she got it- cutting it off a half-bull- is disrespectful to her culture as hurting an animal is banned and she used a cornucopia- a symbol of Thanksgiving- as a weapon). Cut her hair, which is basically taboo in First Nations culture.

-Samirah: Had an arranged marriage (at age twelve, and she believed that she was groomed to be married to a rich and respectable family and nothing else). Ripped off her hijab in front of tons of male characters. The only Muslim character. The only Muslim character and she's the only character who married her cousin (you're supposed to break stereotypes, not enforce them).

Thomas Jefferson Jr: Said that he was thankful to the British for not siding with the South during the American Civil War even though they needed the South's cotton (but they didn't side with the North either). AKA a black man and son of a freed slave was thankful to Britain for not openly oppressing him? And at the same time he was named after a racist slave-owner.

Reyna: She's brown and her entire story revolves around her being independent, strong, alone, and self-sufficient but also desperately needing love and support but then Riordan says that she can't get her heart healed AKA she went through an abusive home, killed her father, left her sister, felt alone her whole life, worked a two-person job alone for months, and had to put on a brave face for others throughout all this then was literally told 'Shut up no one wants to hear about your struggles, just suck it up and deal with it’ and have you seen all the shit brown girls have to go through and keep silent about it?

Extra: -Latino, Puerto Rican, African-American, Chinese-Canadian, East Asian, First Nations, etc. characters and the two most powerful, best, and most skilled characters and who the stories mostly revolve around are two white guys AKA white supremacy.

-"Harriet Tubman, daughter of Hermes, used many mortals on her Underground Railroad for just this reason" and that World War II was caused by a child of Zeus and a child of Hades fighting very blatantly erases the shit those people went through and Riordan just went 'Let's use these racist movements as little easter eggs in my story'.

-Thanatos, who was chained and enslaved, is described with dark skin.

-Riordan writing the characters went a little something like this: Drew: You get common Eastern Asian features like dark hair and eyes because you're arrogant, selfish, conceited, and rude, and because you're an antagonist and you're going to be used to make one of my protagonists- who has unique traits- look good so you're going to have the basic, 'boring' physical traits so the readers know who's the more superior of the two of you. Leo: You get common Latino features like curly dark hair, dark eyes, and light brown skin cause you're the weird, hyperactive unattractive one who's very flirty but constantly gets rejected and you're the only main character without a love interest and the only way you can get a girlfriend is when she's forced to fall in love with you through a curse. Frank: You get common Chinese features like dark hair and eyes cause you're the fat unattractive loser who catches the eye of the African character who already has unique and 'special' traits so you don't have to be super attractive. Reyna: You get common Puerto Rican traits like dark skin, hair, and eyes cause you're the stoic, lonely, intimidating, and cold one who wants all the guys (two white guys for that matter) but none of them want you and they both have girlfriends with traits like blonde hair and gray and kaleidoscope eyes so the readers know who are the more interesting couples. Piper and Hazel: You two get eurocentric features because you're the main characters I have to set apart from everyone else- including other females whom I'm going to make one of you rivals with- so the readers know who's more superior so I'm giving you unique eye colors that literally cannot be found in humans so I'm going to try to validate it by saying that it's from something mildly associated with your godly parent even though neither of them have those traits. Riordan basically said that the common features are bad and boring and that unique and special features- aka features not found in those ethnicities- are good and cool. Also- if gods don’t have DNA how can their traits be passed down to their demigod children checkmate Riordan.

-Cecil Markowitz is the only Jewish character in PJO and the first thing used to describe him is "That kid, always thinking about the potential payout".

-Lavinia said that she was going to bring her date to her bat mitzvah even though you don't bring dates to bat mitzvahs or bar mitzvahs and she said that it was 'awkward' to tell her rabbi that someone was going to be her date even though you don't explain your guestlist to your rabbi, and they're most likely not even going to be at the party.

-Only three Latino and Puerto Rican characters (Leo, Reyna, and Hylla) and all three came from abusive households.

-Leo said 'Mamacita' as if that's not stereotyping.

-Made Nico ‘pale’ even though he had olive skin and gave him black hair and dark eyes despite Italians usually having light hair and eyes just to add to his ‘Goth Boy Aesthetic’.

-Hazel described Pluto to look like Adolf Hitler.

-Carter Kane said that Elvis took African-American music and made it sound like rock 'n roll and described it as cool- like no it’s cultural appropriation.

-Leo was abused and Riordan thought that it'd be funny to make all the other characters line up to punch him and then try to make it look funny.

-Gave almost every single POC character a white name and sometimes gave them white first names and POC surnames, and Reyna and Bianca are the only POC characters with names from their culture/native language and one of them is dead and reborn as someone else and the other’s full name wasn’t revealed until the fourth book in her series and she hates using it.

-Made two POC characters with names from their culture- Samirah and Olujime- go by white nicknames (Sam and Jamie) to make it ‘easier to read’ despite having white characters with the same amount of syllables in their names (like Annabeth) that didn’t go by nicknames.

-Never actually described the characters of color with physical traits from their ethnicities (Reyna, Hylla, and Leo with big eyes, thick eyebrows, brown hair, wide noses, full lips, etc., Piper with almost-oriental eyes, shovel teeth, high cheekbones, black hair, etc., Nico with light or brown hair and eyes, olive skin, a narrow nose, etc., Hazel with a wide nose and lips, dark brown eyes, black or dark brown hair, big eyes, thick eyebrows, etc.).

Anti-LGBTQ+:

-Nico was forcibly outed by Cupid and Riordan and the fandom didn't care and the only thing they thought was 'Aww, he has a crush on Percy! So cute!' AKA romanticizing a forced outing.

-Riordan said that he didn't want to make Reyna lesbian or bisexual because he thought it'd be stereotypical making her LGBTQ+ because she didn't want men anymore even though she could've been bisexual all along but Riordan casually dismissed the idea of that saying "Having a girl end up with a woman after dating men is a bad stereotype" and basically said that real bi girls don’t exist.

-The Hunters of Artemis were made so Artemis/Diana could protect those girls from men and their behavior towards women but Riordan dismissed lesbian relationships- even though nothing about that was said in real Greek mythology- meaning that he thinks that women need protection from other women just as much as they need protection from men.

-Alex Fierro is the only gender-fluid or transgender character and she/he’s seen as rude, snarky, and sharp and Magnus could magically tell when Alex changed gender.

-Riordan said that he wouldn’t make Reyna a lesbian because of stereotypes despite the reader asking if Reyna was going to get a girlfriend, not come out as lesbian AKA Riordan thinks ‘Girls liking girls’ is automatically ‘lesbian’ and completely dismissed bi, pan, poly, omni, etc. girls.

-Used a self-insert to make fun of wlw readers who saw themself in Reyna and thought she could be a cool character to relate to.

-Enforced LGBTQ+ stereotypes like the cold-hearted Asexual, the flamboyant bi/pan, the snarky gender-fluid, the emo gay, the laid-back and rebellious lesbian who dyed her hair pink and chews a lot of bubblegum, etc.

-Has one-hundred fifty-five characters total minus gods/goddesses, Titans, giants, nymphs, dryads, satyrs, monsters, etc. and only has fifteen confirmed LGBTQ+ characters (do the math, that’s exactly one out of ten regarding OCs).

-Only one character that isn’t cishet.

-Saves most the LGBTQ+ for the side characters or only confirms characters LGBTQ+ once they’ve become a minor character despite being a main character before.

-Only stated that Reyna was Asexual outside of his books and on Twitter as if that’s not exactly what J.K Rowling is doing.

-Used the LGBTQ+ community to make Piper seem like the ‘special snowflake’ and to set her apart from her siblings to make it seem like she’s better than all of them and used Hera/Juno and Aphrodite/Venus as excuses for his homophobic mindset that believes that straight is the default cause “Suddenly, much of what she and I had talked about started to make sense. Not being defined by Aphrodite’s expectations. Or Hera’s ideas of what a perfect couple looked like. Piper finding her own way, not the one people expected of her” in synonymous words is 'The expectations for love and the idea of a perfect couple are a heterosexual relationship, and anyone who 'finds their own way instead of the ones people expect' are different'. ‘Different’ and ‘default’ are antonyms AKA if he thinks that LGBTQ+ people are ‘different’, he thinks that straight is the ‘default’. Remember- an author writes their own personal beliefs.

-Josephine is the only black LGBTQ+ character.

-Reyna is said to be Asexual despite feeling sexual attraction towards Percy cause no one likes someone five minutes after knowing them and it’s anything but sexual attraction.

-Magnus and Alex are the only LGBTQ+ relationship whose growth and development is actually shown in the story (while there was also Apollo and Commodus, Piper and Shel, Will and Nico, Apollo and Hyacinthus, Emmie and Jo, Lavinia and Poison Oak, etc.).

-Riordan never canonically said the name of any sexuality and is clearly uncomfortable with the LGBTQ+ community shown by his little to no writing regarding physical affection and deep emotions in his LGBTQ+ relationships.

-Only added in LGBTQ+ relationships for publicity- Percy Jackson and the Olympians release dates: 2005-2009. 2005-2009: LGBTQ+ support was nearly at an all-time low. No LGBTQ+ characters, relationships, or references in the books. The Lost Hero-The Mark of Athena release dates: 2010-2012. 2010-2012: LGBTQ+ support was still very low. Still no LGBTQ+ characters, relationships, or references in the books. The House of Hades release date: late 2013. Mid-2013: the giant spike for LGBTQ+ support and allies. One confirmed LGBTQ+ character. The Sword of Summer release date: late 2015. 2015: LGBTQ+ support was good and gay marriage was legalized. A few LGBTQ+ references but no confirmed characters. The Hammer of Thor and The Ship of the Dead release dates: 2016-2017. 2016-2017: LGBTQ+ support was quite high. Two confirmed LGBTQ+ characters and the first canon LGBTQ+ relationship and kiss. The Trials of Apollo release dates: 2016-2020. 2016-2020: LGBTQ+ support was very high. More LGBTQ+ characters confirmed in one book than all the other series combined. Kind of obvious he was just following the public opinion.

-Legit said ‘Reyna can’t like girls cause she has had crushes on guys before’.

Ableism:

-It was heavily implied in The Battle of the Labyrinth that Rachel Dare had schizophrenia/psychosis but it's never brought up again.

-Grover's fake feet made it look like he was disabled from the Mist and it was said that he was bullied because of it but it was never brought up again.

-It was said that Tyson looked like he had down syndrome from the Mist covering his one eye but it was never brought up again.

-It was stated that every character but Frank has ADHD and dyslexia but never actually showed any symptoms after Percy Jackson and the Olympians and characters like Piper and Leo were even able to read English writing throughout The Lost Hero and the only symptom of ADHD Riordan showed through his characters was ‘a lot of fidgeting’ as if that’s not a blatant stereotype.

Pedophilia:

-Luke, a twenty-two/twenty-three year old had a crush on Annabeth, a sixteen year old. That's a six-seven year age gap.

-The only two girls put into relationships with much older men are black (Hazel and Sadie).

-Hazel, a thirteen year old, got together with a sixteen year old guy. Hazel's crush on Frank is normal- a girl having a crush on an older guy, but Frank's crush on Hazel is disgusting- an older guy looking down at a child and thinking about making out with her.

Misogyny:

-Aphrodite's kids are seen as useless, weak, snobby, shallow, vain, and selfish just because they’re feminine.

-Riordan portrayed Aphrodite’s kids as feminine despite Aphrodite being the goddess of love and beauty, not femininity, as if romance and beauty are reserved for women only.

-Piper is the only 'tomboy' child of Aphrodite and she's portrayed as tougher, stronger, and better than her feminine siblings (and it's portrayed that way multiple times throughout the story like other characters telling Piper she’s "-tough for a child of Aphrodite").

-Piper immediately stereotyped and disliked every single feminine character like Drew and the rest of the Aphrodite cabin just because they liked makeup and skirts as if that’s not shallow criticism.

-Feminine characters like Drew, Isabel, Khione, and Medea are used or even created solely as antagonists to make Piper- the tomboy- look better.

-Calypso is the only feminine character and she sucks at everything.

-Riordan’s take on female characters: Drew: a vain, rude, selfish, snobby, and bitchy mean girl. Silena: a shallow traitor. Reyna: a cold-hearted robot. Piper: internalized misogyny that was never brought up again. Calypso: an island whore. Athena: a rude, aggressive bitch with no emotions. Aphrodite: shallow, vain, conceited, and self-centered. Hera: completely evil with no backstory added into it. Marie: an evil witch who selfishly used and sacrificed her daughter.

-The Hunters of Artemis were blessed by Artemis to protect them from men but Riordan made it only about the men in their lives (again) and portrayed the whole 'losing men' thing like it was a burden and that they're 'giving men up' even though they join the Hunters to leave men. He distorted the original meaning of the Hunters- protecting women- by making it about the Hunters hating and being forced to leave men even though they're asking to have no men in their lives, cause that's the point of it.

-The Amazons and Hunters of Artemis despise men and literally attack them if they so much as speak as if sexism is reserved for women only.

-Portrayed femininity as weakness (and masculinity as strength, it’s even in the word- tomBOY).

-Constantly pit women against women for the sake of romance and love triangles instead of normalizing women getting along despite liking the same people and let the female’s relationships get controlled and influenced by the men in their lives.

-The men always outpower the women in powers and skills. Riordan’s portrayal of powers and characters- Percy: You’re going to have epic water powers and can even create your own personal hurricanes and even though you’ve only been canonically training for eight months total you’re going to be the best swordfighter despite multiple characters having years more training than you. Jason: You’re going to be able to fly, control lightning, create storms, and electric shock people into another dimension. Leo: You’re going to be able to create and control fire and blow shit up with just a screwdriver. Frank: You’re going to be able to shape-shift into any animal you want, even a whole dragon. Nico: You’re going to be able to control darkness and shadows, literally teleport, and raise a whole army of undead soldiers. Reyna: Powers? Nah, your only ability is to lend strength to others as if that benefits you at all. Annabeth: Powers? Nah. Piper: You’re going to be able to manipulate and seduce people and are literally going to use your body and attractiveness as a weapon and your power is literally called charmspeak. Hazel: You have more powers than all the other characters combined that can literally destroy anyone in less than a second but you’re never going to use them or even remember that you have them cause screw the female character being more powerful than the males.

-The men always accomplish the most incredible feats and if the females ever do accomplish something great (Reyna healing the riff and defeating Orion while the Hunters and Amazons couldn’t combined, Annabeth going through Tartarus, Hazel learning to control the Mist, etc.) they are never praised or rewarded or all the credit goes to the men.

-Ares/Mars in real Greek/Roman mythology was the feminist patron of the Amazons who loved his daughter very much and killed a rapist but was portrayed as the dumb, cruel asshole who loved nothing but bloodshed and tried to kill a twelve year-old kid who was trying to help him while Poseidon/Neptune in real Greek/Roman mythology was a greedy, short-tempered, and arrogant asshole who raped almost as much women than Zeus/Jupiter but was portrayed as the kind, caring, and gentle father figure.

Fatophobia:

-Frank is the only chubby character and he hates himself because of it, was constantly fat-shamed, and only learned to love himself after he got rippling abs, muscles, and looked hotter (because fat = ugly in Riordan’s mind, even though it's not).

-Clovis was depicted with a pot-belly and Drew described him as 'repulsive'.

-Dionysus/Bacchus is also depicted with a pot-belly and he's portrayed as a useless, rude, lazy, and drunken asshole.

Lookism:

Basically how Riordan wrote his characters- Percy, Annabeth, Jason, Reyna, Hazel, Piper, and most minor protagonists: You’re all going to be super attractive, have at least one character or more pining for you, have your looks constantly commented on, and some of you will even use your looks as a weapon cause that’s not obvious sexualization cause you’re all the main characters and protagonists that readers need to know are the protagonists. Nico, Leo, and Frank: You three are originally portrayed as unattractive but at some points are described as cute and two of you are insecure about your looks cause you’re scrawny and chubby and one of you hates yourself cause of your body and only learn to love yourself once you magically gain abs cause more muscle obviously equals more attractiveness. Luke, Silena, Chris, and Ethan: You four are going to be super attractive because you��re traitors but all of you make up for your actions and decide to help the demigods and become protagonists again. Octavian, Bryce, Michael, Titans, giants, etc.: You all are the antagonists so you have to be super ugly with multiple physical imperfections cause you’re not allowed to be attractive since you are against the protagonists and I have to set you guys apart and show the readers who’s the better and more superior character.

-Frank hated himself cause he was chubby and only loved himself once he got skinnier and gained muscle through magic but even then was called ‘cute like a panda’.

-Leo was described as scrawny and unattractive and was insecure about being short but even then was called ‘cute in a scrawny way’.

-Piper had facial imperfections and even a pimple on her nose but once she got claimed all of those disappeared and they stayed gone even after the blessing washed off despite all the magic being gone and only then was Piper’s looks commented on multiple times.

-Lester/Apollo hated his appearance cause he had a little flab and acne and his physical imperfections were used as comedy by making fun of it as if insecure readers don’t exist.

-Percy and Annabeth had one canon physical imperfection- a gray streak in their hair- and that magically washed away.

-None of the other characters were described with any physical imperfections like pimples/zits/acne, body hair (despite none of the characters having the care or time to wax or shave), bushy/frizzy or messy hair or eyebrows, big or small hands or noses, blackheads, super thick or thin eyebrows, blemishes, birthmarks, scars, stretch marks, braces, lazy eyes, yellow or chipped teeth, eye bags, glasses, moles, dimples, love handles, flab/fat, visible veins, freckles, etc. unless it added to their ‘aesthetic’ despite none of those being bad and saves it only for the antagonists as if ‘physical imperfections’ = ‘evil’.

Bias:

-Riordan portrayed the Romans as cold, cruel, ruthless, strict, and overall horrible despite them being the more inclusive camp regarding family and godly parents, have multiple families and rules that ensure their camper’s safety, and hold the nicest characters in the series while the Greeks are portrayed as fun, wild, reckless, silly, and cool despite holding the most prejudiced and rude characters, outcasting and ostracizing characters of certain godly parents just for their parentage, stereotype almost every single cabin, and make some campers without siblings live, sleep, and eat alone.

-Every Greek traitor (Luke, Silena, Ethan, and Chris) were portrayed as powerful, kind, attractive, and awesome and each made up for their actions but each Roman ‘traitor’ (Octavian, Bryce, and Michael, and only one of them are actually a traitor) were portrayed as unattractive, cruel, ambitious, ruthless, and extremely weak and never actually did anything useful.

-The Greeks were part of the Union and the Romans were part of the Confederacy (adding on to Riordan adding racist movements as fun little easter eggs in his stories).

-Four out of seven of the main Seven are Greek.

-There are at least 70+ Greek characters and less than thirty named Romans.

-The Battle of San Francisco Bay was used for the sole purpose to weaken the Romans and make the Greeks seem stronger than them and while the Greeks went through two whole wars, their camp laid almost completely untouched but the moment the Romans are introduced, half their population is wiped?

Romanticization:

-Romanticized Annabeth judo-flipping Percy AKA romanticized physical abuse/harassment (emotions, angriness, feelings of love and affection, ‘they went through a lot together’, etc. do not excuse hitting someone) despite Annabeth knowing where Percy’s Achilles Heel was and not knowing he lost it and flipping him on his back anyways (if Percy didn’t lose the Achilles Heel, Annabeth would’ve killed him).

-Romanticized Leo killing himself to see Calypso again and to take her off her island AKA a romanticized suicide.

-Romanticized Calypso yelling at and insulting Leo and Annabeth insulting and canonically lowering Percy’s self-esteem AKA romanticized verbal abuse/bullying.

-Romanticized Will trying to help Nico through his loneliness and depression as if that can’t be portrayed as someone just wanting to help another person AKA romanticized mental illness.

-Romanticized every character kissing another character without asking first and without their consent AKA romanticized sexual harassment.

-Romanticized Piper taking advantage over Jason’s amnesia and mental state and jumping onto him despite knowing there might be a girl he couldn’t remember AKA romanticized manipulation.

-Romanticized Piper and Annabeth’s possessive, overly-jealous, and controlling behavior over Jason and Percy (even before they were canonically dating).

-Romanticized Nico being forced to confess his crush on Percy AKA romanticized a forced outing.

Rick Riordan:

-Refused to apologize for his actions even after being called out by people from the groups he was writing inaccurately and stereotyping (Muslim, Jewish, African, First Nation, lesbian, gay, Puerto Rican, etc.) and tried to make himself look like the victim.

-Claimed he was being ‘bullied’ by readers half his age who were just pointing out his books’ racist flaws.

-Showed time and time again that he is not willing to listen to the voices of minorities.

-Clearly didn’t do his research on ethnicities, sexualities, religions, etc. shown by how he got the simplest things wrong.

-Tried to say that he- a straight white man- was right when people of the actual groups he was writing about (gay, First Nation tribes, etc.) were wrong.

-Used excuses like having a ‘headstrong’ and ‘stubborn’ character who wants to ‘show their culture in their own way’ for his stereotypes. No, Riordan, you want to show the culture that way, not Piper. She’s a fictional character, you’re real. Dumbass.

-Literally said ‘Sorry I put feathers in Piper’s hair, I can’t change what I wrote in the past and I didn’t know that sensitive readers existed’ then continued to write feathers in Piper’s hair in the future books.

The Fandom:

Note: Not to all of the fandom, obviously

-Draws Piper with light skin, light hair, and kaleidoscope eyes with feathers, hippie bands, and beads (yes, it's canon, but you're allowed to change it if it's blatantly racist, and the bead and hippie band thing was created by the fandom and that's also stereotyping).

-Almost always draw Reyna, Hylla, and Leo with light skin and Caucasian traits (props to the few artists who drew them with the right skin tones).

-Draws Hazel with gold eyes, ‘cinnamon’/light brown hair, and an adult body.

-Sexualizes female characters by drawing them in sexy and revealing clothes and giving them all the same exact sexy, slim, and perfect hour-glass shaped bodies.

-Almost never include physical imperfections, muscle, scars, stretch marks, etc. in drawings.

-Fancasts white actors for characters of color and puts actors/faceclaims of white people or people of different ethnicities in the moodboards or aesthetics for characters of color.

-Participates in cultural appropriation by wearing feathers when cosplaying Piper and wearing a hijab when cosplaying Samirah.

-Supports Riordan, tries to defend him, and condones his clearly racist and bigoted actions just cause they ‘like the books’ (if you are straight, white, and/or cishet, I definitely don’t want to see you trying to defend a fifty-five year-old multi-millionaire who is clearly racist, sexist, homophobic, and transphobic).

-Romanticize physical abuse, verbal abuse, mental illnesses and panic/anxiety attacks, etc.

-Ship pedophilic, manipulative, abusive, and wrong relationships.

-Barely allow others to have their own opinions (looking at you Perachel haters) without yelling at, insulting, cursing out, and/or even threatening them for liking or disliking different things than them including ships, characters, books, plots/faults, and Riordan himself.

-Straightwashes characters like shipping Nico with female characters or setting him up with a female character in fanfics.

-Whitewashes characters like drawing Hazel and Piper with eurocentric features, Reyna, Hylla, and Leo with white skin and Caucasian traits, Nico with white/pale skin, etc.

-Try to excuse and explain abusive, manipulative, possessive, and overall very wrong and toxic behavior.

-Fail to recognize and/or admit the toxic, racist, homophobic, sexist, transphobic, wrong, abusive, etc. faults in the books, ships, and characters just cause they like them.

The Percy Jackson franchise does not add good representation. You can still like the series as long as you don’t condone Riordan’s racist and toxic writing and actions and don’t try to ignore the horrible and stereotypical faults just cause you don’t want to admit that your favorite or childhood story is horrible.

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tiarnanabhfainni · 3 years

Text

i wrote another fic about generational trauma and the winchesters, this time featuring deadbeat mom extraordinaire mary née campbell, displacement, emigration, the american wake and just really missing your mom.

gonna quickly tag a few mutuals who might be interested but also you can find the fic under the cut

@uhuraha @myaimistrue @nonsensegnomes

American Wake

On a mild summer’s day in 1950, a wedding took place in Normal, Illinois. Dressed in a simple white dress that she had inherited from her mother, Millie Walsh looked up at the man who was to be her husband in daze of transcendent happiness. She had good reason to be besotted. His name was Henry Winchester and he was a dashing young academic of the supernatural with a fascinating air of mystery that surrounded him. They had met the previous year when he had come to her home in New York on a fact-finding mission. Millie fell in love after only two minutes of conversation.

With such a buoyant adoration to carry her through, Millie was perfectly happy to relocate to a state far from her family and friends to build a new life with charming debonair Henry. She knew about the supernatural elements of his life. How could she not? But it was a trade she was perfectly willing to make for the opportunity to create a family with him.

And she paid dearly for that decision. Millie lost a husband and was left to raise her four year old son alone.

It was all entirely avoidable of course. The Winchester name was not her inheritance by birth. No Cupid had ever marked her name for Henry. It was by no means a match made in heaven. If not for love, Millie could have lived a life completely divorced from the less-than-natural.

After her husband’s disappearance her heart hardened and she abandoned the Winchester name and any association with the supernatural. Packing her bags for Kansas, she returned instead to the ways of her own people. For Millie’s family had a long history of leaving their pasts behind them.

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Millie’s maternal line can be traced back to a small town in Limerick, Ireland now known by the name of Patrickswell. The farm where her grandmother was reared would likely have been a fair few miles from the town itself but it’s difficult to be precise about these things since many of the records of the era were destroyed in an explosion during the Civil War of the 1920’s.

Bridget Ó Laochdha lived in a hard place surrounded by tough people. There was no work in the surrounding towns and villages and her family was forced to eke out a living on rented land. Most of the local community spoke little to no English and spent most of their day-to-day lives conversing and working through the medium of the Irish language.

The Ó Laochdha family was no exception to this rule. Bridget - as the sole member of the family with more than a rudimentary grasp on the foreign tongue - had been translating for her father at the market for most of her young life.

The rugged countryside that surrounded them was austere and beautiful but there was darkness around every corner. Violence engulfed the region as the Land War raged around them. The threat of eviction was a constant sword of Damocles over their heads and the precarity of the political situation left a permanent mark on Bridget’s development.

Bridget loved her family, of course she did. She loved the language she spoke with them and the easy rhythm of her life. But she knew that there was a brighter future out there somewhere on the other side of an ocean. Somewhere she wouldn’t hear constant news of Whiteboys, Invincibles and their clashes with the police. Somewhere that was safer, where she might get a job and support her family from afar. All she needed was the means to get there.

------------------------------------

Mary idolises her dad when she’s young as children are prone to do. Her family are heroes who straddle the line between the known and the unknown and keep the world safe from the evil lurking in the shadows.

As a teenager, she joins the family business and she’s a natural. She excels particularly at getting information out of young witnesses. She sits amongst small groups of girls, nodding along to conversations about music, miniskirts and make-up and nudging the topic of discussion slowly around to the subject of her father’s latest hunt. Mary’s good with the guys too, she finds that a well-placed laugh or look can get her most of what she needs.

But intel is not the only area where she excels. Mary’s a sharpshooter and she’s not afraid to get her hands dirty. Hand her a shovel and she can dig a grave just as fast as the boys. She even knows the best technique for washing blood off her hands.

She’s on a path to be one of the best in the business. And she hates it.

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Although many people left Ireland to try their luck in the United States in those days, it was still a difficult path to tread. Tickets to get to New York were expensive and hard to come by. Buying a ticket at the harbour was as likely to get you scammed as to get you a place on the boat.

Bridget was fortunate in that her local parish priest was looking to sponsor a few young hopefuls on the trip across the Atlantic and offered her a place. That decision might have been the hardest any in her family had ever had to make. To leave behind everything she knew and understood for the small chance that her life could be better. She made that choice nonetheless.

The tradition of The American Wake was one that dated back to the famine years in Ireland to mourn the departure of a loved one to that far off place across the ocean. There would be no real way to send letters home consistently and economic conditions meant that the emigrants would likely never be able to return home. What do you do when you are setting up to grieve someone who is still alive? You hold a funeral.

On Bridget’s last day in Limerick she cried until her tear ducts ran dry. She sat in the centre of the room and listened to the keening women wail around her. Her father could not speak his sadness but he stood beside her and rested his hand on her shoulder, bowing his head in silent prayer. Her mother held her face in her hands and whispered one last goodbye.

Yet amidst all of the tears and the heartache, a sense of relief made its way into Bridget’s bones and settled in her spine. There was death and loss but a future there too. A brand new life in a brand new land. And while they’d never say it, her family was relieved too, she could see it in their eyes. This was one less mouth to feed, one less person to clothe. The money she will send home in remittances would lighten her father’s load by a considerable degree.

As she boarded the boat in Cobh, she stared at the ticket clutched tightly in her hand and thought not of what it had taken from her but of the life it stood to grant her.

---------------------------------

When Mary meets John for that second date outside his mother’s house, she knows that this is it. That he is her ticket out.

She clutches his body in her lap and cries and she doesn’t know what to do. With death and destruction all around her, Mary makes the only choice she can.

Deanna’s body still lies abandoned on the kitchen tiles. But isn't it better, in a way, that she never had to face her daughter leaving her behind?

------------------------------------

The first impression America made on Bridget was not a positive one. No sooner than she arrived at Ellis Island, did they take the last vestiges of her home away from her. Bridget Leahy took her first step onto foreign soil without even her name to console her.

Her first job in New York was that of a kitchen worker in a large airy home in the employ of a family belonging to the upper echelons of East Coast society. Her hours were long and her fingers near scrubbed to the bone. Since her food and board were covered, every penny that she earned was sent home to Patrickswell.

While her English had served her well in local markets of Limerick, she found that they were quite inadequate here among native speakers. She sat around the table in the servants’ quarters with the others who worked in the home and listened as conversations happened all around her. They all spoke so fast and the topic of conversation switched so quickly that she couldn't quite keep track. Bridget simply did not have the vocabulary to contribute and so she stopped speaking entirely.

The longing for home was like a physical wound lodged just under her ribs and sometimes she wondered how she continued to breathe through the pain.

The only times that she could recognise herself was on her rare evenings off when she made her way down to the local Irish dance hall. There she could allow young men from Inchicore, Kilrush and Listowel to spin her around a room to the music of home and forget where she was for just a few hours.

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It is impossible to overemphasise how little the role of a housewife suits Mary Winchester. The sundresses feel awkward on her form and the kitchen still feels like a foreign land.

The other mothers in the neighbourhood all seem to speak the same language as they switch tracks fluently between complaining good-naturedly about their husbands and swapping recipe cards. Mary has never felt more out of place.

She doesn’t know where she fits or how to contribute. The loss of her mother is like a crater in her chest and she doesn’t know where to lay down all of the grief she holds in her hands. She thinks she would be better at holding her children without it.

When it all gets too much, she sheds the skin of Mary Winchester and leaves her small family behind to retrace the Campbell path. She might not be able to get her family back but she can pretend to be home for just a small while when on a hunt.

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In a small catholic church on an intersection, Bridget Leahy married Mick Walsh of Tyrone in a small, private ceremony. As a married woman, she left the world of employment behind and started the task of homemaking in their small Manhattan apartment. She did her best to keep the rooms aired out and clean but the grime of the city was ever present.

When she looked out of the window and saw grey dusty streets she couldn't help but compare the view to green fields and the fresh air of the Limerick countryside. Her husband worked in construction, building monuments of steel to the sky that looked towards an American future while she remained stuck in an Irish past.

When Bridget’s pregnancy first became obvious to the couple, they were delighted. This was their chance to build something of their own on American soil. A family.

When her waters broke, the women of the neighbourhood rushed into her room to oversee the birth and refused to let her husband in so he could hold her hand.

In another life maybe Bridget stayed at home and married a local boy in Patrickswell. Maybe she gave birth at home next to her parents’ fireplace with all of the women of her family around her and her mother stroking her hair.

Maybe she was destined to die in childbirth no matter where she was but at least at home the last voice in her ears would have been in a tongue that was her own.

-------------------------------

Just like Millie Winchester née Walsh before her, Mary Winchester let the supernatural into her home in a desperate grab for the life that she wanted to build.

And just like her mother-in-law before her, a demon crashed through the walls and destroyed every semblance of a family that she had found.

#spn #mary winchester #i can make up backstories for all the grandmothers in spn just you watch #ill do something for the milligans next (not really)#anyway seriously to my mutuals no pressure if you don't like it #it posessed me to write it but i couldn't tell you if it was good or not #also i had to pare my writing down for the dean one bc i know next to nothing about coal mining in kansas #and i was trying to mask that #while i know just enough to be annoying here #emmigrationnatural

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poodlejoonas · 3 years

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Inspired by my BC Fan Week dad!Joonas short: the rest of the guys as uncles

@the-killer-queenie just sent me a darling DM with her own ideas of it and now I want to add more: the other members as uncles (and Joonas as a dad). And if you’re cool with it, I included your original DM that inspired it at the end.

Also, perfect timing because there was a discussion of BC dad/uncle headcanons in the Violent Pop server while I was cleaning, so this one’s also for you guys 🥂

Under the read-more for length:

Joonas:

His first reaction when he found out he was going to be a dad was pure fear. He doubted that he would ever be a good one and that he would end up ruining his daughter’s life. While the anxieties lingered (and still do, even with her here), he learned to grow into the idea. He became super protective of his girlfriend, calling every chance he got while he was either in the Netherlands or on tour to make sure that she was comfortable. She got annoyed super fast by how fussy he was, but she understood that he was excited and anxious and only wanted the best for them. He was the one to suggest the name Sohvi and started calling her by it long before she was even born.

Despite finding out about the pregnancy in April, they waited until almost the end of June to make the news public. It was a big all-in-one announcement: a small gender reveal at home with a cake and a letterboard with her birthday and initials (name was kept secret until she arrived). This all conveniently happened before the tour so the crowd went into the show knowing about her. As much as he would have loved to invite his girlfriend to more summer tour shows, he wanted to make sure she wasn’t overexposed to the heat and stress of being in a large crowd. When she does come to one of the shows in Helsinki, he sets her up with an air conditioned room backstage. Every time they were sitting next to each other, he would instinctively hold her belly. Whenever he was at home, he would sing to them so Sohvi could hear his voice. Eventually, she would kick when he started singing, almost like she knew he was there.

Joonas would be a fantastic girl dad! The night before every tour, he lets her paint his nails any color she wants, and he refuses to take it off no matter how messy it is or how chipped it gets. It becomes like a tradition for them, mostly so she can get used to the idea of him being gone for long periods of time. When she can come to local shows, she does the make-up for him and the rest of the guys (the ones who wear it, at least). They play an acoustic version of one of their songs (something like My Heart is a Hurricane) for whenever she can join them on stage; it’s a small break for the ones who aren’t playing and a chance for her to see them perform without noise-cancelling headphones.

He takes super adorable pictures of and with her, and whenever he posts something of her and her mom together, he calls them “his girls.” He would also certainly have her name and her birthday (November 15) in Roman numerals tattooed over his heart. Every year around Christmas time, they take a family weekend vacation to Rovaniemi to visit Santa’s village. In all, he would surprise a lot of people - and himself - by fitting into the role so well and so quickly. He’s not a perfect dad, but he tries his best.

The “responsible” uncles:

Tommi:

Tommi would almost certainly be her favorite uncle. He’s just such a massive teddy bear in general that she loves whenever she can get a hug from him. When they go out as a group, especially to festivals, he carries her around on his shoulders so she can feel tall and see the other bands perform better. I get vibes from him that he’s the best cook out of the group, so whenever he’s on babysitting duty, he makes her the best meals. He likes to wrestle and playfully rough house with her to make her laugh. It’s not uncommon for her to fall asleep while he’s holding her because he’s that comfy to rest on. After the Bass Incident, he became the top candidate for being her godfather.

Olli:

You know, until last week, I thought that Olli would be the best choice for being her godfather, but after the lost bass fiasco I don’t think he can be trusted with a child lol. But he’s still one of the responsible uncles regardless! When she’s super young, sometimes she gets him and her dad confused with each other because their hair and instruments look so similar (see also: this vine). He’s the one who likes to take her out to the park and then get ice cream with her afterwards. He also has zero shame about letting her put a tiara on him and invite him to her tea party, and he plays along with it too. When he’s on babysitting duty, he reads her stories and sometimes narrates them with different voices.

Aleksi:

He’s the chill responsible uncle. He works so often that he rarely ever gets time to hang out with her outside of the studio like the others do, but they spend the most time together while he works. He holds her while he works at his laptop and lets her watch the cool colors and coding scroll across the screen. He’s the first one to volunteer to hold her if Joonas has to go in the other room to record his parts, and typically the first one to volunteer to take care of her last-minute. When she gets a little older, between song editing sessions, he’ll open a fresh file and let her “record” her own songs. Of course, they almost never leave his laptop, but it’s the thought that counts.

The “irresponsible” uncles:

Niko:

Okay, so Niko is one of the “irresponsible” ones but almost certainly a little better than Joel at the job. What puts him in this category is that he swears like a sailor even when she’s in the room because he forgets that kids are sponges and absorb everything they see and hear. He also has no problem throwing some chicken nuggets in the oven and calling it a day, so he needs to be reminded that she has to eat more than that. But he’s still a loving uncle, he just needs someone to help him babysit lol. He lets her play with his hair when they’re hanging out together, and when she gets older, he teaches her how to play the piano. She loves when he sings to her and she’ll request certain songs from him. He’s also the uncle who encourages her to just talk and talk (building up her communication skills) by pretending that they’re gossiping together (“oh really? what did he do next? tell me more!”)

This post is totally Niko, by the way:

Joel:

Joel... love this boy, but he’s without a doubt the least responsible of the uncles. It’s mostly because he can spend maybe an hour and a half maximum with her before he hits a wall of exhaustion and is ready to send her back to her parents. When he’s with others who can help him take care of her, he can hang out with her a little bit longer. He also has no idea how to actually hang out with a child in a kid-friend context. Admittedly, he was the least excited to find out that she was coming because he thought that meant Joonas was going to leave the band. He needed tons of confirmation before he warmed up to the idea of becoming an uncle. But that doesn’t make him a totally bad uncle. He treats her like a member of his own family as well and he’s great at making her laugh. He’s also the first to jump to her or Joonas’ defense on Instagram if tabloids (or someone like That Bitch Archie Cruz) make defamatory comments about them.

The original HC:

#blind channel #joonas porko #joel hokka #niko moilanen #olli matela #tommi lalli #aleksi kaunisvesi #dad!joonas #i'm so glad i'm not the only one with these ideas racking my brain #now i gotta plan the others that have been requested #thanks for enabling me y'all!

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lark-in-ink · 3 years

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Ugh ok you know I understand that. Talking To Dragons was the first of the books published (enchanted forest chronichles by patricia c wrede) and thus Dealing with/Searching for/Calling on Dragons were technically prequels. So Cimorene marrying King Mendanbar was a foregone conclusion from the start. It was unavoidable. And in a watsonian perspective. I have nothing against the man. if I was Cimorene’s friend in real life I’d be all like “hey, glad u found someone to marry who meets your parents’ expectations thus somewhat mending the rend betwixt you but who you also genuinely both like and love” but.

BUT.

Thematically. From the themes of the book. Cimorene just ~happening~ to find an appropriately aristocratic husband (just a cool magic one who isn’t a pompous asshole) after she took such risks to get away from all that SUCKS MAGIC DONKEY SHIT. Nearly thirty years from my first reading later and I’m STILL mad at that even though king mendanbar is objectively a total hottie and I’d do him. Here is a list of better people for Cimorene to have wound up with, thematically, than King Mendanbar:

Morwen. Obviously. (I forget how old she was so if necessary in this alternate version she can be younger if necessary to not make the age gap creepy but I recall the vibe being reasonable there).

Princess Alianora

Kazul

I dunno like. Some wizard’s son? Who was all like “hey this is bad actually, I do not want to despoil the magical environment and make dragons sneeze. I’m gonna make a clean break with my family and learn to be a witch instead” (Not in a transgender way just in a learning different magical techniques without regard to traditional gender roles)

...fuck it, same but actually in a transgender way.

I forget if being a witch was gendered in those books or if it was just that wizards specifically were patriarchal. or what. I remember about gender shit in those books was that dragons got to choose theirs and I was SO fucking jealous. They’d grow in 2 or 3 horns depending which they picked.

Seriously though, Kazul?

Nobody at all because like. Yes some people are aroace and even if you are not. You might still wind up happy just having a life where you’re managing the royal library and chilling with your witch friends and dragon friends kwim??? She SAID she doesn’t want to get married at all. maybe she’s not just objecting to the asshole knights and princes and actually does not want to get married.

OK I realize that the Kazul thing might just be me being a monsterfucker but. Please.

Some random guy. Any guy who is neither a knight nor a prince or king or duke or whatever. (And who treats Cimorene right obvs.) Maybe a nice scribe, or an assistant chefyou know, who can groove with her interests. Like I know it awfully looks a lot like I’m pulling for Cimorene to be in lesbians but that’s just because the only acceptable men I recall from the books are the knight whats-his-name who marries Princess Alianora and uh. King Mendanbar. Who as we have established is cool if we were talking about real life but we’re talking fiction and we’re talking Themes. by the Themes it’s ok if she marries a guy as long as he is absolutely an unnacceptable match for a princess. Though the ex-wizard would be better because they’d have matching baggage.

Though if we’re talking Themes then Cimorene being a lesbian is just making the subtext text. I don’t know. Maybe I’m projecting? Am I projecting?

I’m not even a lesbian!!! I wanted to be a dragon. Preferably one that could shed and re-grow horns at will. Or has like five of them because fuck you that’s why.

Cimorene should wind up in a polycule with Morwen and a dragon with five horns fight me

the dragon with five horns also fucks king mendanbar. And Kazul

in conclusion, I should not be this drunk on 1 (one) glass of wine. Thank you for your attention to this matter.

#GO TO BED LARK YOU'RE DRUNKW

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letterboxd · 3 years

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Work Horse.

Taking on a rare leading role in his decades-spanning career, national treasure Tim Blake Nelson speaks with Mitchell Beaupre about demystifying heroes, reinventing genres and something called a quiche Western.

“This film is unapologetic about all the tropes that it’s deploying in service of telling the story... You’ve got a satchel full of cash. You’ve got gunslinging, physical violence, and feeding somebody to the pigs.” —Tim Blake Nelson

Described by Letterboxd members as “a national treasure” who “makes everything better”, Tim Blake Nelson is a journeyman actor who has tapped into practically every side of the industry since making his feature debut in Nora Ephron’s This Is My Life back in 1992. Whether you are a Marvel fanatic, a history buff or a parent trying to get through the day, the actor’s distinctive presence is a charming sight that’s always welcome on the screen.

Tim Blake Nelson is one of those rare actors who unites all filmgoers, a man genuinely impossible not to love, which certainly seems to be the case for Hollywood. Checking off working relationships with directors ranging from Terrence Malick and Ang Lee to Hal Hartley and Guillermo Del Toro, Nelson has covered the boards, even crossing over into directing and writing, both in films and on the stage.

Yet, despite being a renowned talent who can take a smaller supporting role in a massive Steven Spielberg blockbuster starring Tom Cruise and carry the film, Nelson-as-leading-man sightings have been few and far between. In fact, it’s quite a struggle to find a film with Nelson in a leading role, as even playing the titular role for directors who understand his greatness still results in him only appearing in the opening section of an anthology feature.

At last, the leading role Nelson fans were in need of has arrived in the form of Old Henry, a new Western from writer/director Potsy Ponciroli. Nelson plays the eponymous Henry, a widowed farmer with a mysterious past who makes a meager living with his son (Gavin Lewis), doing his best to leave his old life behind and hide away from the world. Things get complicated when Henry stumbles upon a satchel of cash and a wounded stranger (Scott Haze), bringing them both into his home. Soon, a dangerous posse led by an intimidating Stephen Dorff comes calling, setting the stage for an old-fashioned throwdown in this twisty Western siege thriller.

Premiering at the Venice Film Festival, Old Henry has been warmly received on Letterboxd. “Old Henry feels like the culmination of Tim Blake Nelson’s twenty-plus-year career, but from another dimension, where he’s highly regarded as a leading man”, writes Noah, speaking not only to the strength of Nelson’s performance, but also to the fact that this leading role shouldn’t be such a rarity. Todd awards Nelson the prize for “Best Facial Hair in a 2021 film”, before applauding the actor for pouring “every emotion in his body to play Henry”.

Letterboxd’s East Coast editor Mitchell Beaupre saddled up for a chat with Nelson about the intentional hokiness of the Westerns that made him fall in love with filmmaking, how the Coen brothers put other directors on notice, and the fatherly joy of keeping it all in the family.

I’ve seen a lot of interviews with you discussing your career as an actor, a writer, and a director. You always speak with such reverence for the art. Where does that passion come from for you? What made you want to pursue this field? Tim Blake Nelson: It’s funny, doing these interviews for Old Henry has been reminding me of my introduction to filmmaking as an art. I’ve realized that I had never quite located it, but it really started with the Sergio Leone Westerns, which I would see on television when I was growing up in Oklahoma in the ’70s. Before that, going to the cinema was always invariably a treat, no matter what the film, but I would just be following the story and the dialogue.

The Sergio Leone movies were the first ones that exposed subjectivity in telling stories on film to me. That was where I became aware of the difference between a closeup and an extreme closeup, or how you could build tension through a combination of the angle on a character with the editorial rhythm, with the lens size, with the music in addition to the dialogue and the story.

How old were you when this shift in your understanding of cinema was happening? I think it was across the ages of ten and eighteen, where I suddenly realized that this was an auteur here, Leone. There was a guy behind all these movies I was seeing—and in Oklahoma, you could see a Sergio Leone movie every weekend. This was a man making deliberate and intelligent decisions in everything that I was seeing.

I started noticing that a character was in a duster that goes all the way down to his boots, even though that’s not necessarily accurate to the Old West. That’s something else. Also, why is he wearing it in the desert? Would that have been very practical? And look at that cigar Clint Eastwood is smoking. It’s not smooth, it looks like it was a piece of tree root. Then later I learned it’s a particular kind of Italian cigar, but somehow it was defining this genre of Western. I marveled at that, and found it unbelievably thrilling to discover. I loved the stories and the dialogue and the intentional hokiness of it all. All of it was conspiring to teach me to venerate this form.

Sergio Leone, his daughters, and Clint Eastwood on the set of ‘The Good, the Bad and the Ugly’ (1966).

The connection there is interesting between the Leone Westerns to where Old Henry is at now. You’ve talked before about how the Western genre is one that is reinvented over and over throughout the years— Oh, you do your homework!

I try my best! What would you say defines the current era of Westerns that we’re seeing, and how the genre is being reinvented? Well, Joel and Ethan [Coen] did a lot of mischief, in a good way, with The Ballad of Buster Scruggs. Genres are always about genres, in addition to their story. So, I would say that Buster Scruggs is the quintessential postmodern Western, if you look at it as one movie instead of as an anthology, because it celebrates the history of the form. The magic of that movie is that it engages you in each story while also being a meditation on death. That’s what connects each one of those tales, and then it’s also a meditation on storytelling to boot. In the final chapter, you have a character talking about why we love stories, and he’s telling it to a bunch of people who you’ll learn are all dead.

The stories are a way of delaying the inevitable mortality. I mean, look at that. It’s such an accomplishment. With that movie, I think Joel and Ethan put filmmakers on notice that Westerns had better always be also about Westerns, because whether you like it or not, they are. I think they probably came to understand that when they were making True Grit, although knowing the two of them they probably understood it already.

Do you feel there’s a direct correlation between a movie like Buster Scruggs and Old Henry, in this era of postmodern, revisionist Westerns? How it impacts a movie like Old Henry is that you have Potsy embracing the Western-ness of the movie. This film is unapologetic about all the tropes that it’s deploying in service of telling the story. You’ve got the cantankerous old man hiding a past, who’s a maverick who wants to keep the law and the bad guys off his property. He wants to be left alone. You’ve got a satchel full of cash. You’ve got gunslinging, physical violence, and feeding somebody to the pigs. Yet, it’s all accomplished without irony in a very straightforward way that is utterly confident, and in love with the genre.

I think ultimately that’s why the movie works, because it’s very front-footed. It’s not hiding from you. It’s not deceiving you and trying to tell you it’s something that it isn’t. It’s a good, straightforward Western.

Tim Blake Nelson as the titular singer in ‘The Ballad of Buster Scruggs’ (2018).

That’s a bit different from those Leone Westerns, with all of their anachronisms. I remember when the movie Silverado came out when I was growing up, and people were calling it a “quiche Western”, which was funny. That was what they would call it in Oklahoma because it had a bunch of movie stars in it, who weren’t known for being in Westerns. It was the Sergio Leone crowd calling it that. I went and saw it, wondering, “Well, if it’s a quiche Western, then why is everybody talking about it?” I saw it, and I loved it. Those folks putting it down like that were wrong. It’s actually a straightforward, hard-boiled, hardcore unapologetic Western. You don’t like some of the movie stars in it, but get over it. The reason that movie works is because it’s straight-ahead and well-told, and I think that movie holds up.

Old Henry is the same kind of animal. It’s more in the tradition of Sergio Leone—or, actually, I would say more in the tradition of Unforgiven. That was a big influence on Potsy.

Unforgiven was marvelous in the way it demystified that old black hat/white hat mentality of Westerns, opening up a more multi-dimensional understanding. You’re no stranger to that. A series like Watchmen takes that approach with superheroes, who in a sense hold the position now that Western heroes used to hold culturally. Do you find there’s more of a demand these days to challenge those archetypes who used to be put on pedestals—be they superheroes, cowboys, police—and provide a deeper analysis? Absolutely, yes. At the same time, I think the demystified Western hero goes back to John Wayne in The Searchers. I think it really started with that character, one of the greatest characters ever in a Western. There’s One-Eyed Jacks, with Marlon Brando, which was made just after The Searchers, and again embracing this concept of an extremely complicated man. I don’t think you get the Sergio Leone movies without that.

I always think of McCabe & Mrs. Miller as a Western that was doing something totally different than anything I had seen before. That’s another one, with that final image with the character smoking opium, going into oblivion after the demise of Warren Beatty’s very flawed character, after you’ve watched what it has taken to really build that town. You have a director, Robert Altman, making the deliberate choice to shoot in order so that they can build the town while they’re shooting the movie, and you really get the cost of it. I think there’s a lot of history to get to a place where a movie like Unforgiven can happen. Then Clint comes along and, as he often does, moves it forward even more.

Gavin Lewis as Henry’s son Wyatt in ‘Old Henry’.

That’s a film that tackles legacy, as does Old Henry, which at its core is ultimately about the relationship between a father and his son. You got to work on this film with your own son, coincidentally named Henry, who was part of the art department. What is that experience like, getting to share your passion with your son on a project together? Well, I think something that is true for the character of Henry and for myself, and perhaps all of us, is that we all want our kids to have better lives than ours. I want that to be true in every respect. Mostly, I want them to be more fulfilled than I have been. My kids look at me when I say that and say, “Thanks a lot Dad for raising that bar”, because they see that I have a pretty good life. Which I do, but I still think they can be more fulfilled than I am, and I want that for them. One of the great privileges of this movie was to watch my son—who was the on-set decorator—work his ass off.

Those are the words of an incredibly proud father. He’s a work horse, and he’s learning about filmmaking, and I think on his current trajectory he will go beyond where I’ve gone as a filmmaker, directing more movies than I’ve been able to direct. Do a better job at it, too. He’s also a singer-songwriter, and I think he can have a venerable career doing that if he wants, but he wants to make movies too, and I hope that’s going to happen for him. It was a thrill to watch him do the work, the twelve- and fourteen-hour days, and after every take resetting and making sure everything was right. It felt like an accomplishment to see him take on that responsibility and do the real work every day.