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narutakijune · 3 years

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About ATLA Relationship Arcs

So, this is me, finally trying to write some meta after lurking in my little tumblr corner for months! Hi!

Although I’ve tried to tag properly, if you are a Kat*anger and just want to enjoy your favourite couple in peace, this might not be the post for you. I am not trying to bash characters but I do have a lot of critical stuff to say about the writing.

Anyway, you have been warned and here is my story about my personal first Atla experience: I watched the show this year for the first time, and after the end of Book 1 I decided to look up spoilers, because after what happened to Yue, I wanted to make sure that Zuko and Iroh would be ok. So I knew what was going to happen: Kat*ang endgame and absolutely no Zutara at all. Still, by the end of Book 3, I was convinced that I had read wrong - that there would be an epilogue with a different ending or at least that Aang would only get together with Katara post-show- in that Korra series or something - because anything else wouldn’t make sense- right?

….

After I got over my shock and surprise, I went online and found out about that decade-long aggressive passionate ship war and how even the showrunners got involved.

And then I really worried that I might have missed a few points. Apparently ”Aang and Katara were the DNA of the show”, according to the creators themselves, and “Zutara could never have happened”.

Another popular anti-ZK argument I found was: Why do you always go on about Katara and Zuko? Just look at Zuko and Aang! They are the hero/ anti-hero and each other’s foils, their relationship is much more meaningful!”

So I tried to find out what it was that I apparently couldn’t see.

(Another disclaimer: I love analysing stories (like many Zutarians apparently) and this will get long and rambly. If you get bored to tears when people start talking about “narrative structure” you will probably not like this.)

Talking about narrative structure, I do believe that, in order to let your story, your characters and their relationships really shine, a good basic structure is important. There should be a recognizable development and individual parts of the story that build upon each other and lead to consequences and change, until there is a completed arc - because it is all about the journey that takes you to a satisfying ending, right? So that’s what I tried to do, with my personal Kat*ang vs. Zutara take, I tried to look at the structure and development of their relationship arcs.

The argument that threw me off track for a while is that compared to Aang and Zuko, Zuko and Katara’s relationship is not supposed to be that relevant for the plot. After all, Zuko is the foil, the anti-hero, the deuteragonist to Aang, who is the hero protagonist.

This is all true of course. But then why is it that in every finale, Zuko’s main opponent (and later ally) is not Aang but Katara? Why is it that their sun/moon, red/blue, fire/water dichotomy is so obviously highlighted?

I think one reason why Zuko and Katara are paired off so frequently in the story - as opposite elements, as opponents and as allies - is that they BOTH are Aang’s deuteragonists. While Zuko also acts as antagonist and Aang’s foil/mirror, Katara takes over the more traditional deuteragonist role of confidant / best friend/ narrator.

Protagonist Aang is what connects them, although they are on opposite sides: Both need Aang because he represents their hope to save their world. Very simply put, Katara protects him, so he can make the world a safer place again, and Zuko wants to capture him, so he can go home and be safe again. That rivalry between them is already established in the first episode, even before they meet each other: Katara, who hopes that the Avatar will return (as she tells everyone in the intro), and Zuko, who seems to be obsessed with finding him for more sinister reasons.

And just to make sure, I am not talking here about the characters’ feelings and emotions! This is just about the abstract roles they have been assigned within the narrative.

When regarding Zutara’s special connection to Aang and their rivalry with each other, it makes absolute sense to stress their “same but different”ness as well, visually and metaphorically: Red and blue, fire and water, sun and moon, arguably Painted Lady/Blue Spirit, and, when you put into account their story arc, also Oma and Shu.

With this basis, which puts them together and sets them apart simultaneously, their relationship already becomes very dynamic and interesting, even before you consider any romantic potential.

And here’s another thing, Zuko and Katara also have their own story arc within the main plot. Although they don’t have many scenes together before Zuko joins the Gaang, when they do meet there is always a new shift in their relationship and in quite a few cases their interactions are important for the main plot as well. If you just look at their “end fights” at each book’s finale, there is an obvious and consequential build-up, like any decent story arc should have:

Book 1 starts with Zuko as the powered-up enemy and Katara as the weak newbie waterbender. Both are battling over Aang. At the end of Book 1, they are finally established as equally powerful fighters but still fundamentally different (You rise with the moon, I rise with the sun!)

In CoD at the end of Book 2 happens the next step: they realize that they are not different at all! But Aang still doesn’t represent the same for them and they end up on opposing sides of the war again.

In the Book 3 finale, when Zuko has completed his own (anti-) hero's journey and Aang represents the same “hope” for both of them, they do not only join forces: Their “same but different”- traits make them such a uniquely suited match that they are even able to save each other’s lives during their fight with Azula (who in turn happens to be Katara and Zuko’s antagonist/mirror/foil).

And in addition to their own story arc they even get an individual recurring theme, which also appears in every book whenever their relationship status changes: The lost mothers, especially Katara’s mother.

In Book 1, Katara’s necklace (the symbol of Kiya) plays not only a major part in two of Zuko’s capture attempts, it is the reason for their very first one-one one encounter in the story.

Their first friendly connection in COD in Book 2 happens because they start talking about their mothers. And in Book 3, their final reconciliation (sealed with a very cathartic hug) happens after their life-changing trip which is, of course, all about Katara’s mother.

Again, I am not even trying to analyse their characters and motivations within the story - there are many metas that have already done that much better, more detailed and with screenshots. This is just dry structure and tropes and themes. But I think people recognize and connect with a well-structured arc, even subconsciously, which is one of the reasons that makes Zutara such a compelling couple. They complete and contrast each other, their relationship dynamic constantly changes, builds up, falls apart, reconnects. Such a setup is the perfect playground for a lot of creative takes on what-ifs and alternative scenarios and of course, shipping them romantically is extremely tempting - think of all the possibilities! It’s no wonder that the Zutara fandom is still so active decades after the end of the show. And it’s also no wonder that the Zutarians are known for “over-analysing everything”. You can only over-analyse if there is anything that gives you enough food to analyse to begin with. Which brings me to

KAT*ANG

I just go right to the top and take the quote from Br*yke themselves:

Kata*ng was in the DNA of the thing from the start…. [Zutara] was just dark and intriguing.

If you read this quote and then start watching the show, I would (grudgingly) agree that:

Aang and Katara understand and complement each other really well. Aang gives her the chance to have fun and go on adventures and in turn, Katara is his fiercest supporter from the very beginning, something that he really needs after he lost all his people AND has to find out that the world thinks the war is sort of his fault. In turn, the journey to the North Pole is as important to Katara as it is to Aang, because it is her dream to learn waterbending properly. That’s what she literally says when Sokka & Co try to banish Aang: (Sokka: Where do you think you’re going? Katara: To find a waterbender. Aang is taking me to the North Pole.) In that way, they are friends who give and take equally and are equally taken care of. They even have the last Airbender/ last Southern Waterbender status that connects them. The few times they have a fight, Aang does something in the end to redeem himself (perform some heroic feat) and Katara sees that she is right to believe in him.

Aang has this very sweet crush on her and it will be very sweet and wholesome when Katara will return his feelings at the end of their adventure after he has hit puberty. On the other side, there is also some heavy shipbaiting with Zuko: I save you from the pirates. The betrothal necklace. June and her excellent shipping taste. But in the end they are enemies, they barely know each other and, come on, it would be too dark and intriguing! There is no real threat against friends to lovers Kat*ang, the soft heart of the story. It’s very straightforward and there are a lot of simple “the hero saves the day” scenes for Aang but that’s fine! It’s not really my kind of ship but that’s not the point, it works for the story they want to tell.

End of Book 1.

In my - probably harsh- opinion, everything you really need to know about the Kat*ang relationship has been told by this point. If you want to be really mean, already by Book 1, episode 3.

That explains maybe why many (not all! but many) pro-KA arguments sound as if their shippers have not watched Book 2 and 3 at all. The Book 1 synopsis also perfectly sums up Bry*ke’s quote above. But then Book 2 and 3 are still there and I don’t know what happened but it seems as if they somehow decided that the Kat*ang story does not need any new and lasting input. Maybe because they were afraid that too much new development and change would stray too far away from their original Kat*ang vision. But there are still 2 more books and more adventures and Kat*ang somehow has to be kept apart until the finale.

So the tension in their potential romance is based largely on the question whether or not Katara will return Aang’s feelings. In general I don’t have a problem with that will-she-won’t she-technique. It works well in books where the love interest is not a POV or in shows/ movies where the love interest is not one of the main characters. But Katara is not only the female lead but also arguably the narrative voice of the whole story! As a result, this kind of writing makes Katara look as if she doesn’t have any agency in their relationship, which is not surprisingly a very popular anti-KA criticism.

Additionally, since her dream - learning waterbending - has been fulfilled by the end of Book 1, the relationship work becomes a bit one-sided. Of course Aang is the hero and his journey is the heart of the story. But in order to highlight their special connection it would have helped to give Katara another personal agenda, which Aang could have supported in some way. She is still the last Southern Waterbender and he the Last Airbender but this is not really explored in the Kat*ang relationship. And her other personal agenda, her mother, is already reserved for the Zutara arc.

Instead, in Book 2 and 3 the Kat*ang story is somehow all over the place. Of course there is new conflict and a few romantic scenes as well. But obstacles are either introduced too late or just dropped when not needed anymore, conflict is not resolved and their flirty, romantic moments never lead anywhere- and if they do, they lead to more conflict that is not resolved (yes, I am looking at you, EIP Kiss!).

Take for example Katara’s very sudden argument that they cannot be together now because there is a war going on. We hear her saying that for the first time in the very last episode (EIP) before the 4-part finale. That is too late to have any impact! That she has these kinds of thoughts was never even alluded to before. Not once.

Or the pattern Aang runs away/ is flaky - Katara is upset - Aang comes back and does his hero thing - Katara is relieved. In regards to their relationship arc, nothing changes here between Book 1 and the finale, only the stakes for Aang’s heroic performances get higher.

Or Katara being the one who is able to calm Aang down when he cannot control the Avatar state (which, in my personal opinion, is neither romantic nor healthy). This is also connected to the problem with the seventh Chakra, that Aang needs to let go of his attachment for her. I will be angry forever with how they wasted this for a possible relationship development! That Aang has to decide to either do his duty or save his forever girl (because let’s be fair, he did try to let go and only ran when he had the vision of Katara in danger) - that’s a fantastic setup!

But no, it doesn’t have any real consequences for Kat*ang at all. Instead there were only half-baked attempts – Aang does lie about his failed practice with Guru Pathik but the ultimate reason why his chakra is blocked is Azula, not his decision to run. Aang does try to let go of Katara for a little bit but then Azula shoots him. Nothing in Book 3 shows any change in his feelings that could have been a result of his instant let-it-go. If anything, he gets weirdly obsessive - which could have been used as a side effect of his blocked chakra but – again, no, nothing happens.

I suspect the whole thing was just introduced to create temporary drama for poor Aang, but it is never explained why Katara holds him back, what aspect of the attachment is blocking him or what would happen if he did let her go. Maybe they tried to make a statement about how love is more important than Avatar rules – which would have been fine but it’s also never properly explored. Instead, as soon as that plot point becomes inconvenient it’s simply dropped like a random rock™.

Compare all that to the Zutara arc, where both characters’ feelings about each other are always very much in the open, and where every interaction causes lasting effects in their relationship. Yes, it is unfair to compare that to Kat*ang, because up to the end of Book 3, Zuko and Katara almost never meet, while Aang and Katara spend almost every episode together – of course they cannot do meaningful things all the time. But on the other side, with Kat*ang, there would have been a great chance to show a subtle, gradual build-up instead.

It also doesn’t help that the Zutara arc seems hellbent on sabotaging every romantic moment Aang is allowed to enjoy:

There is Kat*angs first maybe-kiss in the dark before the background of the Oma and Shu legend. But it does not lead anywhere. Instead, Zuko and Katara almost reenact the legend itself in the Book 2 finale as two real enemies to almost-friends, including a glowy rocks-backdrop and the right costume colours, just so nobody misses the message.

In Footloose The Headband, Aang and Katara have a really sweet dance together, and everybody can see how they almost intuitively know each other's moves. This could be a great hint on how well they will fight together in the finale. But is it plot-relevant? No, because the final tag team is Katara and Zuko! While Aang gets paired off with random rock™.

Then there is Aang’s riding off to battle- kiss in DotBS, which Katara is not even allowed to enjoy, because keeping her feelings vague is apparently more important than character development at this point. It is the only romantic moment that gets mentioned again, but in a way that sinks the former cute and wholesome ship into the deep ocean, and the reason is - Aang is jealous of Zuko!

If all of this was only done for the sake of shipbaiting, then it really went out of control at some point.

In the end, the showrunners still had their reasons to choose Kat*ang, maybe because that corresponded more to their own vision, and there are still enough people out there who agree with them. Which is absolutely fine! In the end, what matters most is how you personally connect to the characters and nobody needs to defend their personal taste. But the typical anti-ZK claim, that all the Zutarians with their crazy analysis and rambling meta essays are reaching and delusional and that they desperately try to construct something that isn’t there, is not only a very lazy argument but simply not true.

And I’d claim that in spite of the canon choice, Zutara is technically the better written relationship. By far.

#zutara #antikataang #anti kataang #anti-kataang #atla critical #atla writing critical #long post #atla meta

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lordymaru · 3 years

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I'm about to refute this entire essay with the simple explanation being:

The only interaction we've seen of these two is when she's a freaking 8 year old. Your self insert shows no boundaries.

And this is probably the last time I'll make a post about the stupidity behind the way the pair is viewed:

Note: I know there's people out there with a brain who ship these two in a more conventional way. In the end you do you, ship whatever you want, no one can prevent you from doing that, just don't be gross about it.

One of the parts being the Significance of their first encounter:

She’s a poor peasant girl who’s suffered immense trauma, suffering, and loneliness. Her initiative to help Sesshomaru came from her generosity

Exactly, she's alone for her family had been killed before her eyes, the villagers treat her like garbage. When she meets Sess he's wounded and simply in a bad state, both mentally and physically. Both of them are, the difference being he's a demon, a powerful one and for him to have ended in such a bad shape only stabbed at his pride- Rin on the other hand is a child, a human tiny child who is vulnerable and to him she poses no threat. Both of them are weak then.

At this point, it’s observable that despite knowing her story, her scars, and her difficulties, humans do not even empathize, let alone sympathize with Rin. It is the feudal era, after all. She’s a young, disabled orphan and the villagers only see her for what she lacks: a voice, a family, and a place of belonging.

Again with your feudal era shit. I can assure you the world is just as ugly today as it was before you and I existed. Next.

When he asks about her bruises, this is the first time anyone had ever afforded her a second glance.

This was a huge step forward for Sess, a huuuuuuge one for he showed interest in another living creature, not just any creature but a human. And for her it was probably like Christmas, for no one had showed her any mercy or interest. Ok you get a point. But oh, boy, how I'm about to spit on the next one:

The audience can see Sesshomaru calculate her body language, recognizing that she is mute. Instead of pressing her further or ignoring her outright, he attempts to comfort her (in his own way), making her feel that it is okay if she chooses not to answer him; that her desire to reply to him should only be a desire, not an obligation. I think, on one hand, that was the first moment of something that would resemble compassion that Sesshomaru had ever administered, trying to put himself in her shoes — if someone had asked him to do something that required, for example, his left arm, he probably would have appreciated them saying “you don’t have to do it if you don’t want to” so to provide him agency for something that he actually cannot do. And the same goes for Rin. He recognizes her disability, maybe even resonates with it and decides to empower her with a choice. Choice is important when it comes to the Sesshomaru/Rin dynamic and it’s a word that will come up often.

Ok why are you comparing the loss of his arm to her not being able to talk? Not all disabilities are the same, you moron. Or am I dumb for thinking this way? If so, feel free to call me out on my lack of common sense kr whatever you wanna call it. Sess physically couldn't do shit with his left arm because well- it was gone! That's a physical disability. Rin had "lost" her voice after what she witnessed and so she wouldn't speak anymore. Have you heard of Psychogenic Dysphonia? If not, you can click here and give it a reading or do your own research. The more you know: https://www.sciencedirect.com/science/article/abs/pii/S0892199703000158

So you say he "empowers her with a choice" that is "important when it comes to the Sesshomaru/Rin dynamic" let me get this straight, a choice because why? She's a child? A female? Because you said so yourself, it's the Feudal Era after all and therefore women had no choice in life, no voice, no agency, no nothing. So he was being magnanimous then? You know... This is where you start edging into the gr00ming territory. Can't you see? No? Alright, moving on.

BRUH WHAT THE FUCK?! Are you fucking good? See how you self insert? Bye. Next

The next time Sesshomaru sees Rin, it is suggested that he actively sought her, whether it be by curiosity or concern for well-being

He did... It is not suggested, he actually did asdfhkl. For both curiosity and he probably was worried. He also states he wants to test out his sword, what a perfect chance to do so for Rin is pretty much dead and that's the only way to make his sword work. So she was both being a guinea pig and an itch he wasn't quite sure how to scratch. Next.

Silence Rin.

Rin screams endlessly, annoying Sesshomaru. Firstly, this is the first time we hear him call her by her name. Secondly, Sesshomaru is visibly annoyed by her noises, however, he does not tell her to “shut up” as he normally would with Jaken or even InuYasha. He simply says “enough of that Rin, stop it.” (In Japanese he says, “Silence, Rin. You make too much noise.”) Even analyzing the Japanese dialogue, it is evidently softer than Sesshomaru’s usual ‘kisama’ (貴樣) manner of speech that we see depicted usually. This is the first time he’s had a companion who is not a demon, someone with compassion, and who has had his general best interests at heart with no expectations in return. His softer tone is a logical deduction to make.

Ok... "someone with compassion, and who has had his general best interests at heart with no expectations in return." Bruh... As if he would even consider meeting someone's expectations. Are you sure you're talking about Sess? Another thing is, he always speaks in a calm tone, he rarely yells or loses his composure- he had no reason to be rude to her either, you're excusing his regular behavior simply because she ain't Jaken. Anything else?

Rin doesn't change Sesshomaru overnight, it's a gradual and long process

Well duh!!! Just like you don't lose the pounds you gained from eating in one sit 12 donuts a week ago. Stating the obvious and for what? What's exactly your mf point?

The silence part is important, idk how to tell you there is a power imbalance in their relationship from the moment he tells her to be quiet. He didn't say please, he didn't ask her to, he told her to be quiet. Like a parent would, if I could count the times my mom told me to shush.... That's your first indicator he is not her friend, he is not her equal.

Letting you Be Yourself: The Panther Demon Arc

the first frame the audience sees in the anime sets the scene, painting the Sessshomaru entourage in a serene manner, indicating a level of comfort between group members (episode 75). This is vastly different from our last depiction of Sesshomaru and Rin’s relationship. In episode 44, he was unable to withstand her (albeit annoying) childish antics. But here, it’s observable that Sesshomaru can accept her and her package of unconventional fun. Not only does he tolerate and even more so, accept Rin, but he accepts her influence on his vassal, Jaken and allows them to be free around him.

Is called developing patience. I can assure you that when you're a parent or an older bro/sis and your kid/younger sibling is noisy af you either learn to tolerate that or get used to it for kids are kids abd you have to let them be kids. Next.

She's a child, she's not stupid.

The Abducted Rin: Calling her Name

The respect that Sesshomaru shows Rin is insurmountable. However, the InuYasha franchise is clever to portray the subtlety of Sesshomaru’s respect for her. KV on Twitter points out how highly he regards his companion and never relegates her to anything less than the value that she as a person embodies (@KVndie via Twitter). He consistently humanizes her.

He only sees how important she is to him after her ass dies a second time. What do you mean? He respects her enough to not coddle her, she is independent and taught her to be self sufficient from the very start. That's respect. He consistently humanizes her because... She ... Is ... Human! OMG WHAT A SHOCKER!

As Naraku remarks on his hostage to Sesshomaru, "Naturally, the girl you're looking for is not here…,” he continues, “the girl is in custody outside of the castle..." Naraku never makes an attempt to give her personhood, leaving her unnamed, disposable, and relegating her to a mere "girl." But Sesshomaru doesn’t take any of this. He is a cold-hearted Daiyokai, yet he still makes an effort and upholds his principle to refer to her as Rin — not a replaceable “girl.”

Naraku is a mf genius. It didn't quite click until now he wanted to see if she was important or not to him and to what extent. For he planned his moves that way, making people turn against one another. While he wouldn't have made Rin turn against Sess he set everything up so he would end up wanting to kill Kohaku and in doing so, Inugang would have engaged against Sess.

Sesshomaru’s insistence on using Rin’s name isn’t only highlighted in this isolated incident though. It pays off. It is an ongoing theme in their dynamic throughout the series.

That's her name ... How you want him to call her? Baby?

I could go on and on but... This is a fucking essay. And then I stumble against more bullcrap:

The second point I want to highlight here is Sesshomaru’s reaction to Rin’s fall and her risky expedition. At this point, it’s unquestionable that Rin has a special place in his heart.

Of course she has a special spot in his heart. I won't deny that. What worries me is how you're trying to justify the way she's important to him since she was a child. As if his way of seeing her had changed.

I'm gonna disagree by agreeing with you in a few pointers. Kagome and Kikyo were rivals, they both romantically love the same guy. Kagome being the only one who could save Kikyo chooses to help her, knowing damn well Inuyasha would have suffered if Kikyo had died- further more, if it was in Kagome's hands to do something about it.

Rin on the other hand, I will applaud to her how she grew past her fear of Kagura after being kidnapped by her, she saw her body in the river and said fuck it and did her best to try to pull her from the water. I loved how stubborn and brave she was, even tho Sess had to pull everyone out of the water- she deserves a gold star. You go baby girl!!!

Rin later makes a cheeky comment, noting Kagura’s romantic interest in Sesshomaru. Jaken brushes this off as childish naivety. But for the spectator, this establishes two things: (1) That Rin does not see Kagura as a rival for Lord Sesshomaru’s attention, let alone affection; and (2) that Rin is still a child. Rin is certainly a child, with a youthful and fresh outlook on life that brings out the best in people. But even as a child, her relationship with Sesshomaru is incredibly healthy, clear, and surprisingly communicative.

Why would she? She's not a spoiled brat

Nah? I thought her double D indicated otherwise. OF COURSE SHE'S A MF CHILD.

Why do you keep mentioning is healthy? Do you need reassurance of it? Communicative in what way? Cuz if you wanna talk about communication let's talk about how he didn't even acknowledge her ass when she gave birth. He didn't even say her name, didn't even look at her. Tell me now how they are communicative and healthy?

I could go on, I really but all I'm getting from this load of bullshit I'm forcing myself to read is how you do in fact need to reassure yourself thr ship is god tier and is... How you said it was? Ah, healthy.

Anyways, thanks for reading and if you see any typo ... My apologies, I tried. Also if you have any input or I was out of line in some way, my apologies once more.

#anti sessrin #antisessrin #anti-sessrin

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bleulone · 4 years

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Can we talk about about how Colin looked in ep 1 when he first saw Marina compared to how he looked when he saw Pen in ep 8. Almost the exact same look! Of course his look to Penelope is probably more about his guilt because he brushed her off when she tried to warn him but still..progress! Lol and then when he's getting ready to leave for Greece, he glanced towards Penelope's home. I think they're having Colin's feelings for her grow gradually in the show instead of all of a sudden like in the books.

Hey! Thank you for this insightful ask of yours :) Sorry for the late answer, I took a long time to write this— without further ado, here we go!

Indeed, Polin is first and foremost a story of gazes, those gazes being of many natures. Whether they are love ones, friendly ones, admirative ones or lustful ones, looking imposes itself to be a huge parameter in Penelope and Colin’s love story.

In order to understand that on screen, film-making has at its disposal a very rich and smart langage of its own. Sometimes, comparision helps to underlines the differences between one character’s relationship with person A mirorring person B. I feel like Shondaland and Chris Van Dussen wanted to introduce the audience to the evolution of our Bridgerton men’s perception of Love. For instance, while Anthony views attachement— to Siena— as a way to escape his responsibilities before becoming his villain (...until our queen ma’am Kate Sheffield comes to the picture), Benedict doesn’t comprehend this universal concept and prefers to enjoy the many physical pleasures life can offer. In other words, the older brothers already explored their sexuality here and there, making them the infamous rakes that they are. As for Colin, it’s a complete other thing.

Colin is young. Very young. At 21, he’s just left Eton College and barely knows anything of the world nor women. Like Anthony said in 1x06, Colin hasn’t been taken to brothels which is a very important step in the building of young men’s sentimental and sexual education during that time period. Since he missed this essential step, our sweet/immature boy has no clue about how to deal sagaciously with his feelings and his “foolish” impulses, baring his naivety. At this point of the story, we can easily come to the conclusion that Colin is a virgin who can’t drive XD. He’s just a child overcame by his passions, a hopelessly romantic who rushes things without taking the time to properly court or know his significant other. And his off-screen flirtation with those supposed numerous girls in London isn’t of any help to justify his (oh so little) experience. So when he sees Marina, he’s so struck by her... mainly by her alluring appearance. And he doesn’t seem to let his eyes nor mind go beyond her exquisite beauty.

In this perspective, the whole Colin/Marina storyline can be perceived as a parallelism to the Pen/Colin’s one. In 1x01, he is immediatley smitten with a dancing Miss Thompson, which happens to be ironically the same case with a 17 year-old Pen but with him. We got to see her, a few moments ago, dreamily looking at him from the back of the dancefloor (echoeing the episode where she fell madly in love with him after he fell off his horse at Hyde Park). She’s charmed by his dashing look and his kindness, yet she doesn’t seem to know anything else about him considering the rare conversations they share. Her burning gaze fits the original story from Julia Quinn’s books because in Romancing Mister Bridgerton, the 28 year-old spinster Penelope do realize later on that Colin is more than a good looking man : he’s a human who possesses a temper and flaws.

Either way, both of our boos are portrayed as hopelessly young people in love who childishly idealize the objects of their affection.

In 1x08, it’s the other way around. It’s Colin who sees Pen first, her who appears to wear the yellow dress’ lookalike from the pilot—what an interesting call back ^^. With his mouth slightly agape and his eyes wide open, we can catch sight of the timid spark of a change in his gaze : Colin Bridgerton notices Penelope Featherington. He‘s touched by the realization that she cares about him. It would be rather inappropriate of me to say that Colin is already in love with her. However, in the finale, I do believe that he’s more struck by her high level of deep care for him than her beauty.

We are thus able to spot two big differences in Colin’s relationship with women in this season : when his attraction to Marina was purely physical and rushed, his attraction with Penelope is more emotional and slow. And for now, he comes to cherish his special bond with her, especially after she tried to warn him of the dangerous trap he was about to fall into. Even if he just sees her as his younger sister’s best friend right now, Pen matters in his life. And it’s still a little yet important progress for sure.

Speaking of which, I agree with you that this look of awe as well as realization is mostly mixed up with guilt. Since he didn’t take into account her words, he felt the strong need to apologize. But bear in mind that guilt formulates a considerable part in Colin’s feelings for Pen... and it’s only the very beginning. In the future, he’ll blame himself for not seeing her as the beautiful goddess and siren that she is in the first place. He’ll blame himself for not reciprocating the feelings for her.... Though at the moment, due to his lack of experience with women, Colin is oblivious to Pen’s obvious signs of sorrow when he told her he’s leaving for Greece/Cyprus. Next time, he’ll detect her sadness and won’t let her go, I’m sure of it (if he doesn’t I’ll riot).

Furthermore, I’m so glad you brought up the scene where Colin glances at the Featherington house. I had the same thought as well. When you put this still and the one where Pen is crying while looking at her window side by side, it even seems like they’re looking at each other. In a way, it implicitly confirms Pen’s key role in his final decision... After all, she’s the one who inadvertently inspired him right ?

The act of traveling has always been seen as cathartic since leaving home to discover yourself allows you to heal your broken heart and soul. It’s natural for Colin to do this. To make his first real steps into the world. His choice is quite relatable more than it is essential for his arc in the series. I can’t wait for him to come back all changed, hot ^^ and mature. I think, like you said, they are planning on making him progressively falling in love with her. Colin’s feelings will gradually leave the platonic zone to explore and officially stay in the intimate zone throughout the seasons.

Overall, the Colin/Marina and Colin/Penelope parallel in s1 mostly helps viewers to compare the way Colin evolves from being a stubborn naive boy to a heartbroken young man who’s aware of his crutial need for Experience. His coming of age, just like Pen’s, has just begun. And they will surely lead to our boy changing himself into the true charming rake that he’s meant to be and our girl into a more confident woman. Consequently, I think their story won’t take 10 years but rather at the very least 5 years perhaps to fit the TV timeline. Once Polin will finally be able to discuss, we’ll hopefully get to see more interesting nuances and shades added to the portrait they painted of one another over the years. They’re indispensable to the slow build up of their emotions/attraction as well as the shattering of their childish idealization/perception of each other.

All in all, I’m so loving the fact that season 1 beautifully sets up the importance of the gaze in Polin’s love story. This first installment is like an expository scene of a play. It leaves a trail of clues and pieces of information here and there at the reach every viewers who can pick them up and analyze what can be the main themes which will determine one character’s story arc/romance. With Polin we have : admiration, wit, love and friendship, desillusionment. (I know they are more but it’s all I can think of rn lol).

If we’re already emotional messes just with the mere power of them looking at each other, imagine when they’ll actually talk and share real conversations. It’s going to be a long way to canon but luv me some good fluffy angsty steamy slow burn :) ✨ I hope this long of mine answers your ask ahah, even if I talked about many things other than just Polin’s looks. Also, sorry if you spot some grammatical mistakes, English is not my first language.

#bleulone answers #anon #ask #meta and gush #polin #polin meta #colin x penelope #colin bridgerton #penelope featherington #julia quinn #romancing mister bridgerton #bridgerton #shondaland #chris van dusen

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herinsectreflection · 4 years

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Faith, Buffy, Dreams, and Secret Kisses

This is one of my favourite scenes in the series. Partially because it’s just my personal jam - I admit that I am Fuffy trash, and I have a real love for dream sequences. Buffy had great dream sequences, but this is where they take a step up. It’s a precursor to Restless in this regard and others. It feels weighty and meaningful, but also a little off and incongruent with itself, in that way that only dreams are. Lines are exchanged that don’t quite follow as direct responses to each other, clashing in interesting ways. It’s packed with foreshadowing, metaphor, and other juicy things. And beyond that, it’s a conclusion to Buffy’s entire arc this season about dealing with her shadow self, and it leads to what I think is the single most romantic moment in the series. I want to talk about this scene and unpack some of what I think it’s saying.

First of all, let’s talk about the setting. We’re in Faith’s apartment, bought for her by the Mayor. Essentially, the villain’s lair, where the two Big Bads plotted their evil plans against our hero. But it’s also a set where we saw most of the bonding and semi-familial love between Faith and the Mayor. A place of both evil and love. And for Buffy, a place of trauma. This is where she makes the decision and takes the action to kill another human. I don’t think she was unjustified in doing so, but it’s still an immensely traumatic act for her, and I think she loses a little part of herself when she does it. The location is very much a reflection of Faith, and Buffy’s relationship to her. I don’t think Buffy loves Faith romantically at this point, but I think she cares about her, and remains concerned about her, and I think it’s fair to call that a kind of love. Faith is also evil, a figure of betrayal but also temptation to the “dark side”. And she is also a figure of trauma, clear deep-seated trauma that she fails to resolve, and just gets worse over the course of the season. Buffy is essentially inside her own relationship to Faith, inside a stadium of sin, trauma, love, and shattered glass. Faith looks out of the broken window that they fought through, and we are reminded that their relationship too is broken, unrepaired, littered with the detritus of conflict. There’s no going back from this - even in dreams that window remains broken, and their relationship will always have this damage.

The props too are an interesting choice. TPN’s video on Graduation Day pointed out the painting of a giant snake with a man’s head on the wall. More conflicting feelings here - the Mayor is Faith’s closest connection to humanity and love right now, and also the reason for her betrayal of Buffy. Her redemption and damnation. We also see boxes of various things piled up - including the crossbow that Faith stole in Bad Girls. The image of packing up a room into boxes makes me think of moving away as a student. We must remember that Buffy is graduating today, on the verge of packing her life away and taking it somewhere else, and this reminds us of that.

The first thing of real substance we see is the cat, which jumps up on Faith’s bed. This is one of the aspects of this dream in direct conversation with Restless, where a cat symbolises the Slayer - a specifically feminine, solitary predator that stalks the night. In Restless, we cut to Miss Kitty stalking the camera from shots of the First slayer stalking Willow. Here though, the intercut images are between the cat and Faith, lying bruised and helpless in a hospital. The cat (and the Slayer) is, as far as Buffy is concerned, not a danger but a creature in need of help.

Buffy: "Who's going to look after him?" Faith: "It's a she. And aren't these things supposed to take care of themselves?"

They’re very clearly talking about their respective approaches to slaying, and to life in general. Buffy tries to encourage ties to humanity, telling Faith back in Revelations that she is on Faith’s side. Faith retorts that she alone is on her side, and she repeats that sentiment here. But Buffy is obviously proved right - Faith is lying almost dead because she rejected all help and care.

Buffy: "A higher power guiding us?" Faith: "I'm pretty sure that's not what I meant."

If the cat is the Slayer in this conversation, then the “higher power guiding us” could refer to the Watchers. It makes sense that Buffy delivers this line with a little wry smile, given that she’s just resigned herself from the Council. This allows a little bit of ambiguity in their debate - Buffy has taken on a little bit of Faith’s advice in emancipating herself and so making herself as the Slayer more self-reliant. The show agrees that that too is the right move. A little independence is good and healthy. What Faith means when she talks about “taking care of herself” is not self-reliance or independence, but emotional hardness and self-marooning to avoid hurt. This is something that Buffy will continue to struggle with for the rest of the series. Faith is kind of right when she states that the Slayer is alone and must take care of herself, and it’s up to Buffy to find a healthy way of dealing with that.

"Oh yeah. Miles to go - Little Miss Muffet counting down from 7-3-0.”

The scene shifts a little, and we get some foreshadowing for Dawn (Little Miss Muffet), and for Buffy’s death (730 days from now). This is done with the the lighting too, as Faith faces the camera, and the light of the dawn hits her face, in a shot extremely similar to the end of The Gift.

Interestingly, Faith is repeatedly used in this way. In This Year’s Girl, Faith talks about “little sis coming” as she and Buffy make the bed in her first dream. In Restless, that scene gets a callback (”Faith and I just made that bed”), in a scene that ends with the most anvilicious foreshadowing (”Be back before dawn”), as well as a callback to the 7-3-0 line (”Oh, that clock’s all wrong”). In Graduation Day, Faith refers to Buffy as being “dressed up in big sister’s clothes”, however to me Faith has always felt more as being the “little sister” in this relationship. She looks up to Buffy yet is also deeply jealous of her. She wants to be Buffy, to have her friends, her life, the love of her mother. She’s kind of a precursor to Dawn in this respect, so it makes sense that she’s a prophet for her coming.

Slayers having prophetic dreams is well-established, so it makes sense that a dream shared by two slayers would allow them to prophesise a little further ahead in time. Faith hints at this, remarking "Sorry, it's my head. A lot of new stuff.". You have to wonder what other “new stuff” Faith is becoming aware of. Perhaps a new perspective on everything Buffy’s been saying all season. Sharing a mind temporarily is often helpful in seeing another’s point of view. Faith does seem unusually thoughtful as she looks out of the broken window and remarks "They are never going to fix this, are they?".

This is perhaps my favourite line in the scene. It’s a slight mislead, as it comes right as we get a flash of the cat-as-Faith in the foreground. So we assume it’s a reference to her own injuries, which she is expected to never recover from.

But the Faith that’s talking isn’t looking at her own body. She’s looking at the broken window. The symbol for her broken relationship with Buffy. She has become us, the audience, looking at Buffy and Faith and saying “boy, those crazy kids really are never going to work it out, are they?”. It’s true for Faith, it’s true for Faith&Buffy, and it’s true for Buffy herself. When that knife entered Faith’s gut, all three were irrevocably changed forever. You can never put back the life you had before after it’s broken like that. All you can do is take what you can work with, and try to make something new.

Buffy: "What about you?" Faith: "Scar tissue. It fades. It all fades." Buffy confirms that the previous line was not about Faith specifically by asking “what about you”, in a lovely expression of concern. After everything, Buffy does still care about Faith. Faith’s reply of “scar tissue” is an obvious reference to the literal wound she is now carrying (emphasised by the shot of the knife that Buffy sees afterwards), but it’s interesting that she gestures to her face when she says this. It feels like a reference to her entire self. If we accept Faith as Buffy’s shadow self, then “scar tissue” is an accurate description of her. As Buffy herself says, Faith is who she could be if her life was worse (or, perhaps, who she would be if she allowed the tragedies of her life to rule her). She is the part of Buffy’s unconscious self that is revealed after receiving violence. She is the physical proof of trauma. The self that remains after pain.

Buffy: “Is this your mind or mine?” Again, hitting that note of symbiosis; emphasising how inextricably tied these two characters are. The lines between their psyches are blurred to the point of no longer existing. This is such an intimate moment, almost sexual, with Buffy and Faith unable to tell where their own mind ends and another begins. Imagine the intimacy of that - entering another’s mental space and allowing them into yours, so wholly that they become one and the same. It becomes a mutual recognition of unity and shared pain, and an affirmation of the eternal divisions between them.

I love the ambiguity of the “human weakness” line too. One way we are invited to read it is that Faith is doing a heel-face turn, and intentionally giving Buffy the means to defeat the Mayor. But we’re not allowed anything that easy, to wash away Faith’s sins with a quick redemption before the climax. Faith has miles to go before she can achieve that. It’s just as likely that Faith is talking about herself, and the human weakness that led her down a dark path, or that Buffy is talking about Faith through the Faith in her head, or Buffy is just working it out on her own, etc, etc. This is the information that saves the world, and I like that it remains an unknown. A permanent “maybe”, just as Buffy and Faith’s relationship is.

Buffy: "How are you going to fit all this stuff?" Faith: "Not gonna. It's yours." Buffy: "I can't use all of this!" Faith: "Just take what you need. You're ready?"

As the scene reaches its climax, we see the most obvious recitation of the season’s themes. S3 is about Buffy coming into conflict with her own shadow self, and here the show tells us how she does that - by taking what she needs. I mentioned earlier that we saw the crossbow from Bad Girls, from the “want/take/have” scene. Here, Faith is telling her the same thing, but in a more healthy way. She cannot just hedonistically consume everything like a crazed id-monster, but she also cannot deny herself things that she needs.

Most importantly, the “stuff” they are referring to is Faith’s, but as Faith says, it’s also Buffy’s. Everything that Faith is, Buffy is too, because she is her shadow self. Buffy must recognise this, accept it, and incorporate the shadow self into her own identity. She cannot be consumed by the shadow self and simply become Faith, allowing her shadow to consume her conscious personality (”how are you going to fit all this stuff?”). Instead she must recognise her dark mirror, and take the healthy parts, and integrate them into herself as an individual (”take what you need”).

It is at this point of healing and merging between Buffy’s self and shadow self that Faith reaches out, almost touches her in an action that feels so tender, and Buffy becomes conscious. She literally becomes her conscious self by making peace with her dream (unconscious self). She stands up, and walks over to Faith’s bed. This is the moment that their relationship all season has been leading to. She leans over, and places a kiss on her forehead.

This kiss is everything. It’s an act of thanks, as Buffy realises Faith may have given her what she needs to save the day (at the cost of Faith’s one familial figure). It is an act of service, as Buffy literally gives Faith the kiss she asked for when they started to fight in Graduation Day. It could also be an act of forgiveness. We know from I Only Have Eyes For You that forgiveness, Buffy learns, is done not because somebody deserves it, but because they need it. Faith at this point probably does not deserve it, does not want forgiveness (she wants to be punished), nor can she recognise it in her current state, but Buffy gives it anyway, adding another layer of heartbreak. It is given not for any purpose, but for its own sake.

Above all though, this is an act of recognition. We must consider the previous forehead-kiss that these two shared, back in Enemies, and Faith’s words directly before: “What are you gonna do, B, kill me? You become me. You're not ready for that, yet.” And in Graduation Day, just after Buffy stabs her: “You did it. You killed me.” And her words in the dream, just a few seconds ago: “You're ready?"

Now I don’t think that Buffy stabbing Faith to save Angel is morally equivalent to Faith voluntarily killing people to help an evil guy become a big snake. I don’t think the show wants us to think that either. But the line is firmly blurred. Angel says in Consequences that the act of taking a life will change Faith irrevocably, and Faith agrees. She sees herself as tainted from that point on, and if Buffy took her life, she would be tainted too. And though it’s understandable and morally defensible, there’s no doubt that a part of Buffy - her innocence - dies on that balcony when she sticks that knife in. That act is forever. The choice to do violence is permanent.

So when Faith says “you killed me”, she is saying “you have become me”. She identifies a common nature in them. And when Buffy kisses her, returning it in the exact same way as when Faith first said those words, she is saying “I know”. She recognises and responds to Faith’s mirror by holding up one of her own. She matches similarity with similarity. She is finally “ready” to assimilate her shadow self, and does it by telling her shadow self that she sees her, and that she was right.

The beautiful part of all this is that it is silent. Faith would’ve been aware of their unification in the dreamscape, since it was happening in both of their heads, but she has no way of knowing about this. I wonder if Buffy would ever tell her. I doubt it. This is the core of the Faith/Buffy tragedy. This is why I find this relationship so compelling. Buffy performs this act of recognition and devotion entirely in secret. It is a stolen kiss and a private confession. A whisper made to a sleeping lover. A letter written, sealed, stamped, and set on fire. It is an act of love and tenderness made entirely for its own sake, without witness or reward.

This is the single most romantic moment of the show for me. In this show that in many ways about how when nothing you do matters, all that matters is what you do, what could be more romantic than this gentle kiss that changes nothing against this aching hole of violence and betrayal between them, but exists anyway, just because Buffy felt it needed to be done. It’s a silent moment that nobody but Buffy and us are privy to. Neither Faith nor the rest of the world will ever know it happened, but I know I for one will never forget.

#btvs #buffy summers #faith lehane #graduation day #fuffy #s3 #meta

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ravenhealer5 · 3 years

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How did you know that Jean and Mikasa would be together before 139? I'm a JK fan and never noticed that Isayama was planning to leave them together haha, I feel kind of silly

Well well...

For me, figuring out JeanKasa endgame was the last step of figuring out Mikasa’s character arc. Like the final puzzle piece that in itself might not be super important but it finishes the picture. It was a very long process and I honestly don’t think I can remember it all but I’ll try. I’m putting a cut because it’ll be long and by that I mean LONG.

Funnily enough, few years back when I was discussing AOT with a friend he suddenly said Mikasa and Jean will end up together. I was very surprised because I had never considered it. But more importantly, I didn't want to consider it because I still had a bit of hope left for EreMika. In fact I got into a fight with him, not serious fight but a fight. The thing is EreMika is the central relationship of AOT (not necessarily in a romantic sense) and as its rival ship JeanKasa always remains in its shadows. So for me to see JeanKasa, first I had to give up on EreMika and accept that the narrative was not painting Mikasa’s over-attachment to Eren in a positive light. Which I wasn’t able to do until the table scene in 112.

Eren and Mikasa’s relationship has had questionable elements since the very beginning of the story, but they were easier to ignore back then. Also, there’s always a chance that things will change. Shounen romance often involves girl in love and guy who doesn’t seem to care but they still end up together (my other favourite ship lowkey falls under this trope). So I was like maybe? But post Marley arc the narrative was making it more and more difficult to overlook the problems in EM anymore. So it was around that time I finally accepted EM wasn’t happening and Eren was most likely dying and figured out Mikasa was gonna live on and have her own family in the end. So the question was with whom? And the only option presented by canon was Jean. So I considered it for the first time. But I wasn’t very convinced.

Then, I think it was in chapter 125 or 126, where Armin and Mikasa have the argument and she goes to help Jean. It was not a romantic implication but they were being set together as characters which caught my attention. Also, interaction between romantically paired characters doesn’t have to be strictly romantic. But my problem was I wasn’t sure Jean still has romantic feelings for Mikasa. I knew he loves her and cares for her, but the romantic feeling plotline hadn’t been brought up explicitly in a long time, so there was a chance it had been abandoned? Therefore, I had my doubts. Then, chapter 127 came out and that was where I was finally convinced. I think when it comes to ships, your personal biases can affect your reading. Shippers tend to see things that are not there and ignore things that are clearly there. I was able to see JeanMika only after giving up on EM (and I wasn’t even that much into EM, so I can very well understand why hardcore shippers were so surprised to see JK). And for me it was easier because both Mikasa and Jean are my favourites. Anyway, the reason 127 convinced me.

Firstly it answered my question regarding Jan’s feelings. Which was introduced very early in the story and never played any role. But Yams was telling us that it was still relevant to the story. That most likely meant its role was yet to come. If you put an element in a story, it must serve a purpose, otherwise don’t put it there. At least ideally you shouldn’t.

Another interesting thing. I had always thought Mikasa was gonna have kids of her own. Her backstory begins with her mother passing down her family’s tattoo to her and asking her to pass it down to her children. And we have little Mikasa asking her parents how babies are made. Seemed like a pretty obvious implication. This topic is brought up again later when Kiyomi is introduced. Also in Marley when Eren kills children, Mikasa condemns him for that. In fact that was where I pretty much knew that Eren and Mikasa are not having kids together, aka a traditional ‘happy ending’ for them is out of the window. I just wasn’t ready to accept it yet. Now coming back to Jean’s dream. I didn’t notice the scar btw, still I could clearly see she looks very much like Mikasa. And she is holding a baby. Jean is outside, looking at them through the window which makes sense since it’s his dream. But the idea presented was once again, Mikasa as a mother. Which caught my attention. That’s when I went back and re-read the manga from the beginning and actively compared Eren and Jean’s characters and their respective relationships with Mikasa.

Their first meeting drew my attention this time. No other canon couple’s first meeting has been highlighted like that, YumiHisu, AruAni, Falbi, none (you could say NiccoSasha but NiccoSasha hardly feels like a couple). Only EreMika and JeanKasa. And unlike EM where the setting is a bit disturbing and has a tragic undertone to it, JK’s is rather normal and more importantly, it’s set as a romantic scene.

Another interesting element for me was Mikasa’s scar. It drew my attention for two reasons. Firstly because Yams made Jean the first person to address it. Could have used anyone, Armin was right there, but he chose Jean to bring it up and confront Eren. So the pattern felt like Eren gives her the scar (not intentionally) and Jean is the one questioning that. Tbh Mikasa getting the scar was one of the earliest red flags for me and the reason I tried to keep my attachment to EM to a minimum. You see, I have ships who have actively tried to kill each other but the thing is none of them actually managed to put a scratch on the other. They almost did, but something or someone always came between and stopped them. Almosts can be very important in a story, they tell you a lot. The fact that Yams let Eren cross the almost and actually hurt Mikasa and he put a permanent scar literally on her face, did not make things look very promising for EM. Secondly, it felt like a parallel between Mikasa’s feelings for Eren and Jean’s feelings for Mikasa. We have Mikasa blindly trying to cover up for Eren and Jean who despite liking Mikasa, is calling her out on her nonsense. He is being rational, she is not. To me at least it felt intentional. Like being up to date with the story, I knew the narrative was actively highlighting the problems in EM’s relationship and I could see how JM, the rival ship, was free from said problems. So figuring out JK will happen was basically figuring out why EM won’t happen and as its ‘better’ alternative as presented by the narrative, JM was the option.

Another prominent moment I remember is in Marley where Jean shoots a thunderspear at Falco. And he misses it. The way I interpreted it, he tried to do his duty but in his mind he wasn’t prepared to kill a kid. Another almost. He almost does it but in the end he doesn’t. Which paralleled imo Mikasa’s disapproval of killing kids and contrasted Eren’s killing of children.

You see, the difference in JK and EM is like the difference in Jean and Eren. The former is presented by the narrative as a ‘better’ version of the latter. But the thing is Jean is a side character while Eren is the MC, JK is a sideship while EM is the main ship. So Jean and JK will always be shadowed by Eren and EM. Comparisons are easier to notice when it happens between equals and since that’s not the case here, unless you’re very attentive there’s a good chance you’ll miss it. I mean I did for most of the story. But the contrast was there from the very beginning.

Jean has been set as a foil to Eren’s character since he was introduced. When the story begins, we have Jean who is very self centred and doesn’t care about the world. And we have Eren challenging that ideology. We love Eren there and idk about others, but I disliked Jean at the beginning lol. From there, at 127 we have the roles reversed. Jean has had a positive development and is now putting the world before his own selfish desires while Eren has had a negative development and has become a monster by his own definition of a monster. And their bonds with Mikasa have also gone through a similar pattern. By the final arc therefore we have a very confused Mikasa, who has lost her faith in Eren. He feels like a different person altogether. And on the other hand we have Jean, who has become one of her closest friends and someone she can put her faith in. Especially since even Armin is very confused about Eren and Jean kind of stands out as the only one who is able to think clearly. In the time her bond with Eren fell apart, her bond with Jean (or say Sasha or Connie) built up. Bit by bit over time. That’s how human bonds are supposed to form. While with Eren, he was a complete stranger who saved her life and wrapped the scarf on her and suddenly out of trauma response she held onto him with everything she had. In a moment, he went from being a nobody to being her entire world. That’s not how human relationships are supposed to develop. Eren and Mikasa’s bond has been faulty since day one. If I get into these details it’ll become long so I won’t because it’s not relevant to this ask. All I’m trying to say is once again, JM does not have the problems of EM. It’s not just JM, Mikasa’s every bond except the one with Eren is free from said problems. So you could ask why am I singling out JM? Simply because we’re talking romantic pairings and canonically JM is where the romantic potential has been placed.

The nature of EM and JM imo are very well captured in their first meetings. EM’s is tragic yet beautiful, both beauty and cruelty are present together and there’s too much of both. It almost creates a conflict. It’s exactly how Eren and Mikasa’s relationship is. Too tumultuous, a lot of pushing and pulling going on at the same time. While JM’s meeting is a rather normal one with romantic implication. So is their bond. Just two people getting to know each other and becoming friends, and one of them being romantically interested in the other. It doesn’t have the extreme highs of EM but also doesn’t have its extreme lows. It’s as if JM remains stable somewhere between the extreme fluctuations of EM.

Mikasa and Jean’s characters are also very compatible with similar dreams and motivations etc. To quote my own post, Jean is everything Mikasa wants, except he’s not Eren. And Eren is nothing Mikasa wants. In fact, more than Eren, Jean is closer to the person Mikasa thinks Eren is. Which can all be just a coincident in a real world setting, but in a story where everything is set up by a writer, they most likely won’t be. So, I was pretty much convinced that JeanKasa was happening.

Anything I can mention post 127 comes from that belief. You see, once the idea is in your head, a lot of things can look like a clue but if the idea doesn’t exist in your head, you’ll totally not see it as anything important. The one important scene post 127 for me was 136 when it was Jean who finally succeeded in making Mikasa agree to kill Eren. It also drew my attention when she was showing concern for Jean and Reiner as they were going for Eren. But to me, more than Jean, her concern for Reiner was a greater focus since Reiner had been an enemy she had fought against in the past, when Eren was her ally. Jean had always been on her side. Around 137 is when I became a shipper so from that point everything I thought should be taken with a grain of salt. I personally liked the way she was holding him after he came from literally blowing Eren’s head off and in 138 I felt like Yams drew them next to each other in many panels. I mean he was putting them next to each other the whole rumbling arc but chapter 138 had too many panels imo. None of these is very solid proof of anything. Like in original 139, people were making JK endgame theories based on their hairstyles which now looks valid but at that time it was nothing more than a theory. There was nothing solid to either support or refute it.

The thing is I never felt that the romantic aspect was a big part of Jean and Mikasa’s bond. It felt more like a future element sneaked in there to give us readers a hint. Even now when they’re endgame, in the timeline of the story their relationship still reads to me as just friends and comrades. Jean had clearly given up on Mikasa. To me his dream in 127 is just a moment of weakness. It’s like an impossible dream. We all have those dreams we know 99% chance is won’t come true but sometimes it’s fun to dream about the 1%. So I saw it happening, but only in a timeskip, as it did. And it felt rather natural to me. Given Mikasa’s character, it made sense for her to find love again. Her character theme is about going on, and keep finding beauty even after you face cruelty. So if she gives up on her dream of a family just because Eren is gone, to me it felt like a contradiction to said theme. She must not stop. She’s broken but she must pick up the pieces and continue her journey. What she thought she could only have with Eren, her having it with someone other than Eren seemed like a perfect conclusion for her. Her biggest fear, the fear that paralysed her for years, coming true and yet, it’s not the end of the world like she had thought it would be. Now I didn’t think Armin had to have a family, or Reiner. Because it’s not part of their character arcs. But a family and peaceful life are Mikasa’s biggest motivation and also Jean’s so thematically it felt like a perfect closure to both of their arcs. Of course Jean isn’t as important a character so the deciding factor in my case was Mikasa. In fact I thought the guy in the infamous ‘last panel’ was Jean with his and Mikasa’s baby. I even drew Jean with a baby like that panel but thankfully I never posted it so at least I didn’t embarrass myself lol.

#my asks #jeankasa #now that was LONG

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princess-of-the-worlds · 3 years

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peonies and red roses

for @certifiedceraunophile and her comments on this post that drove me feral

***

Klaus walked down the London street and stopped before a store when the Google Maps app on his phone announced that he’d reached his destination. He glanced up at the shop front, his brow creasing, then reached into the pocket of his leather jacket. He pulled out a tattered piece of parchment scrawled with an address in lilting script. He checked Google Maps again.

No, it definitely looked like the Bennett witch had given him the correct address.

He gazed back up at the shop. The only way to describe the shop was… majestic — the shop front was completely made of glass, the windows bisected by wood and metal that curved up into an arc. The display windows pushed out to the sidewalk, full of verdant plants and soft pastel flowers and small flowering trees, looking very much like a mini-paradise amongst the concrete and stone of London; the glass door was set further into the building and was covered in more curving patterns. As far back as Klaus could see, the rest of the shop was similarly full of plants and greenery, forming its own internal garden, the back wall painted with a scene of a wild forest. His keen artist’s eye could pick out the skill and the care used to paint each branch, each spiky leaf.

Most magical creatures Klaus had met tended to live in run-down or abandoned buildings full of dust and rats and covered in graffiti. This shop was obviously run by a fae, but Klaus still had left to determine whether he could find what he was looking for here.

The shop bell tinkled delicately as he pushed the door aside and stepped in. Immediately, he was hit with wild magic — lush and curious, coiling around his leg like a delicate vine, dancing across his skin like sparks of electricity. It didn’t feel dangerous, rather gentle, its presence wrapping around Klaus like a blanket. He sensed that the magic belonged to the shop and its mere existence on this London street rather than any specific individual.

“Hello?” called a smooth, unexpectedly American voice, and the owner of the voice turned a corner and appeared before Klaus a moment later.

They were stunning, lithe and draped in a dress of green silk, organza, and tulle embroidered with colorful flowers and with sheer sleeves that fell to their wrist. The dress’s bustier was cut low, emphasizing a stretch of smooth delectable skin and the slightest curve of cleavage. Their sun-silk hair was braided up with flowers that matched the ones on their dress woven in throughout, revealing the sharp point of their ears. The only other indicator of their fae nature was a pair of ocean-colored eyes that were slanted like a cat’s and blinked at Klaus.

“Can I help you?” the fae asked, stepping closer. They were trailed by a small grey cat who mewed softly, its tail waving slowly.

“Yes,” said Klaus stiffly, caught off-guard by this beautiful creature. “I need to use the portal to the fae kingdom.”

Those ocean eyes narrowed at him. “Yeah, that’s not how this works,” they said, and Klaus felt the shop’s magic snap across his skin, not painful but forceful. “If you enter a shop and someone asks you if they can help you, you’re supposed to be polite.” Their soft-looking lips spread into an amused smile. “Possibly even do the owner the courtesy of introducing yourself. For example, my name is Caroline.”

“Klaus,” he rasped in reply. “Klaus Mikaelson.”

Tossing her head back, Caroline laughed, and the sound was high and musical like a flute. “What brings the Original Hybrid to my humble florist shop?”

“I told you,” Klaus groused. “I need to use your portal to enter the fae kingdom. There’s a faction of rogue magical creatures intent on wiping out all humans. I need to secure your royal family’s help to stop them.”

“Wow,” Caroline snarked, “I thought vampires were supposed to be selfish and blood-thirsty. That sounds almost altruistic of you.”

Klaus gritted his teeth, ignoring Caroline’s cutting remark. “Will you let me use the portal?”

Caroline hummed, and her cat scooted closer, twining itself around her legs and purring. “A please and thank you wouldn’t hurt.”

A sudden flare of burning anger washed over him, and he hissed, his fangs dropping. He knew his face had transformed, his eyes surrounded by a mess of sprawling veins, but unlike most magical creatures, Caroline didn’t cower at a glimpse of his inner monster. She didn’t even flinch.

“Rude,” she said, floating a wrist through the air as she turned to examine small pink flowers on a neighboring tree. “All I did was ask you to use some manners.”

“I don’t think you understand what’s at stake,” Klaus snapped. “Oh, no,” replied Caroline sunnily, “I think I do.” She paused for emphasis. “Magical creatures intent on killing all of humanity. That would be bad because… well, duh, genocide and mass-murder. The world would fall into a disarray. An outright magical war.” She grimaced. “Would be exceedingly bad for you vampires. You’d all starve.”

“Yes, thank you for stating the obvious,” Klaus told her, his words coming out as a dangerous hiss. “So… the portal — where is it?”

“Hmm, I’m still not sure if I trust you,” she said. “You being the Original Hybrid and all.

He snarled and lunged forward, hands outstretched to wrap around her delicate throat — fae couldn’t die, but he could still cause her an immense amount of pain — but then found himself frozen several feet away from her, his legs rooted to the ground as if made of stone.

“Oops, sorry, not going to let you turn me into a snack,” Caroline said, fiercely, her fingers sparking golden. Then she flicked her fingers, and he flew back, vines wrapping around his legs and up his body. They yanked him backwards, pulling him out of the store, and Caroline waved at him. “Come back when you’re ready to be polite, Mr. Mikaelson.”

Klaus hissed as the vines dumped him on the pavement outside, a surprised pedestrian toppling over. As soon as the vines retreated inside, he lunged to his feet in a blur of speed and rushed toward the shop front, intent on shattering through the windows, but he ground to a sudden halt inches away.

The shop had disappeared, replaced by an empty shop front. Klaus swore. He stuffed a hand into his pocket and pulled out the piece of parchment but nearly dropped it when it sparked golden and started burning. He really did drop it then, the flames licking closer to his hand.

“Bloody fae magic,” he murmured. Caroline had moved the shop somehow, and now Klaus would have to find it again and talk the stubborn fae into letting him access the portal.

As he began to walk down the street again, he smirked. He was looking forward to this challenge.

#klaroline #klaus mikaelson #caroline forbes #the vampire diaries #the originals #klaroline drabble

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loregoddess · 2 years

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Roland Glenbrook for the character asks?

oh, prince of suffering...

First impression: He and Frederica were the two I was most interested in going into the game blind. Starting the game, I loved his character design and overall I thought he was interesting, especially since he was the second prince and not the crown prince, although his being second but a main character also clued me in that his family was probably going to be dead city by the story's halfway point.

Impression now: Hoo boy, this kid has a lot of baggage to unpack. Initially I was really thrown off by his Ch17 pitch, same as basically everyone who played the game I feel like, but I wanted to protect him anyhow which played in part to my choosing Frederica's endroute over Benedict's. Despite the shock of the Ch17 pitch, now that I've combed through a lot of the narrative text, I really appreciate the complexity of his character, and the fact that his being this 20 year old kid who gets saddled with *vaguely gestures* all that feels very believable bc like, being in your early 20s is like a second teen phase, it can be really hard. I still love his character a whole lot, even if I know that Ch17 pitch chilled him to a lot of others, and I think that his writing overall is really interesting. Glass canon though, dude cannot take a hit even if he can dish out damage.

Favorite moment: Actually, seeing his character growth in his personal fight against Gustadolf in the golden route was just, so, so rewarding. Like this is the turning point, I feel like, where Roland really comes into his own strength that he needs to be a good ruler. Just, Roland's entire part of the Ch18 golden route is really good. That said I also enjoy suffering in fiction, and I loved his battle with Serenoa at the start of Benedict's endroute, it gives so much insight to Roland's mind and heart (and also gave me major MGS vibes which I am certain was entirely unintentional). And the end scene of the epilogue for that route, where Roland’s in the abandoned village tending to the sick was just chilling to watch, since it really set up what the future of that timeline might look like. That said, really my favorite thing is to see characters grow positively, and like hopeful stuff, and so his entire arc in the golden route was probably my personal favorite for him, since I really liked seeing him finally grow into the role of king that he really is strong enough to fill even if he doesn’t realize it for the entire story.

Idea for a story: His character stories left a lot to be desired for me, so like, building off the “what if there were more character stories” from my Corentin post, I’d want to explore Roland’s relationships with some of the other characters. Cordelia is an obvious one since she gets so little relevance in the story past a certain point, and Hughette, but I also think it would be really interesting to have Roland interact with characters like Ezana or Medina who could paint a different picture of Hyzante (or even Geela for that matter), or to have him interact with more characters from Aesfrost like Flanagan. Having him talk with Archibald or Groma would be really interesting too, since they have many more years of life experience to offer him advice or just like, a different perspective. Of course, having him get a proper conversation with Avlora would be fascinating as well.

Unpopular opinion: Uh, I dunno. I guess retrospectively his Ch17 pitch makes sense given everything going on in his life and isn’t out of character per se, even if I still personally hate the pitch.

Favorite relationship: Obviously I find his dynamic with Serenoa to be really interesting, since it tends to be the crux of a lot of his personal story arcs, but I’m also really interested in the dynamic between him and Hughette. Not in a shippy way really just, it’s interesting to see how lord-bodyguard relationships get handled by different writers, and Roland and Hughette’s relationship is somehow a lot looser than I would expect, but that could be bc the writing focuses more on Hughette’s motives for remaining his guard than on Roland’s perspective to her being his guard. Also, I only got a handful of “blink and you miss them” lines to support this, but I am very interested in how his interactions with Svarog develop after the Ch18 golden route battle.

Favorite headcanon: Hmm, I dunno there’s a few I’m fond of. I guess one I haven’t shared is that he does eventually learn hawk-riding from Hughette, but is initially kinda terrified of heights. He keeps at it though (trying to hide his unease from Hughette who figures it our pretty quickly anyhow), and eventually comes to really love hawk-riding and mostly gets over that fear as well. Also I spent my usual amount of time wondering what his mom was like, and came to the conclusion that Roland and Cordelia both resemble the late queen more than Frani, who takes after their father in appearance.

#lostchasingsilver #ask game #Roland's actually super interesting to me as a character which is great bc being one of the main characters means he actually gets like #a proper series of arcs and lots of writing and screentime to analyze #really wish he wasn't so glassy so I could have used his excellent movement stat for something other than running away from enemies #I still don't have an ask tag

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omegawolverine · 4 years

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Plesse tell me about queerness in the get down!!

okay okay queerness in the get down let's fuckn goooo

disclaimer: I havent watched this show in full for like 5 months at least, probably gonna get something wrong and/or forget some more important bits. also this wasnt proof read I just word vomited

tws: period typical homophobia, abuse mention, f slur use, bury your gays trope, overdose mention, mention of a creepy possible age gap (the age gap hasnt been confirmed so that's why its possible), cops

going from least to most prominent queer characters, let's start with mylene cruz!

so, from the beginning of this show she has an established romantic relationship with ezekiel (although the status of their actual relationship changes frequently throughout the show) and though this was a relationship she was hesitant to pursue, it is clear that she does have romantic feelings for him and if not for them both having growing careers in very different music genres (zeke specifically working in a genre that she repeatedly labels as bad because she thinks they're ruining records + that it isnt real music because they're using someone elses piece and rapping over it, that's not really important here tho lol) they probably wouldve had a much healthier, smooth sailing romance. that being said theres a few things that happen in the show that, while not explicitly clear, or even really good coding at that—to the point where you wont catch if you really arent looking for it (and trust me, I always look for coding, hers was just so little that it flew over my head until I saw someone else mention it)—are still cool to think about!

so, for starters, I wanna mention the toy box performance, which was performed by mylene and regina, who are best friends. that's all cool and shit, and you dont really think much about it...until you hear about the fact that the show runners purposely colored a lot of the scenes in that performance with the bi colors. like. the writers after the show ended basically said "oh yeah there was plans to make her coding more explicit, but our shit got cancelled soooo" and then dropped the fact that she was gonna be bi (or at least implies bi) in the series, which puts a new twist on a few things.

now, besides the bi coloring in the background of the toy box performance (which was mostly on scenes with her and regina, which involved a lot of uh,, lowkey lewd dancing. with each other. in very revealing outfits. wooooo), there's her music! I dont tend to read too much into this one bc, like I said before, her coding is fucking light and the writers themselves said they didnt really get to do much with it, but I think some stuff with her music is interesting. specifically how her, yolanda and regina's song set me free blew up because dizzee, resident (lowkey enby coded) bicon, got their song played in a queer club. also that the song was majorly important to dizzee and started playing literally right as he kissed a boy for the first time and realized "oh shit I like boys that's bonkers". also that the song can be taken in a gay way since literally the entire thing is about becoming your true self, fully and unapologetically, which is what both dizzee and mylene's entire character arcs are about. dizzee (and a lot of other queer people, apparently), heard this song about being set free and it resonated with them so much that they got that shit most of its popularity.

speaking of dizzee and mylene, they parallel each other a lot in the way that their arcs are about them realizing who they are, coming into themselves and no longer just letting people treat them like shit in a sense (dizzee starting to tell people essentially that they can call him weird all they want, they can make fun of how he acts, what he likes, how he dresses, etc. but he likes how he is and quite literally saying "it's okay to be an alien" as he has consistently compared himself to one throughout the show vs mylene learning that if she wants to be a disco singer she needs to put her foot down, not let anyone, not even the love of her life, not even her abusive father, stop her from achieving her dreams, etc. and continuing to pursue her career with or without their support). one more little parallel that I think is interesting is during I think s2 towards the end of the show is when dizzee and thor are shown together having fun with each other, painting all over the building and each other and are basically just being happy and in love together and then they have these clips of them being interspersed with clips of mylene at a party where she is starting to realize that if she wants to get anywhere she needs to be her own main priority and that she needs to put her career and her dream, which is what makes her the happiest, above all else if she wants to succeed. idk I just think how the show made these two into a weird parallel, accidental or not, is neat. maybe not an explicitly queer parallel, but I think at least how her music and whatnot helped dizzee, the main queer character in this show, blossom, is important.

moving on we got shaolin fantastic also known as "oh no your internalized homophobia is showing-"

so, heres a quick list of...interesting shao facts:

Consistently referred to as fag/faggot (shaolin fanfaggot is my personal favorite); he gets really defensive about this despite nobody actually thinking he's queer, it's just people being assholes to be assholes, and he is the only character consistently referred to using a slur, especially a homophobic one, especially for a "straight" character. dizzee, a canonically queer character, is called a fag less than shaolin is even though dizzee actively goes to gay clubs, has a not so secret dude he "hangs out with" and wont let anyone properly meet, paints his nails, wears less than straight clothes even by the 70s standards and is just all around the definition of fucking queer (and I mean like in the weird way, not the gay way). in fact theres only like once I can remember him being called a fag and it had nothing to do with him actually being gay it was literally just like thrown out there the same way you would call someone a bitch.

Has only shown sexual interest in women, yet refuses to have deeper relationships with women in general (possibly because of trauma but who knows) but takes his relationships with his "brothers", specifically zeke, very seriously

Tells zeke and zeke ONLY his real name when zeke was planning to stop being his friend bc shao more or less got boo boo, a like 14 year old black kid, arrested for selling hard drugs; he was clearly scared and trying to do anything to keep zeke around, literally chasing him down the street and hounding him until he got zeke to stop and argue with him

Kept threatening to beat up zeke in the end but couldn't actually bring himself to do so, instead saying that zeke is "fucking lucky" before walking away

Let's zeke get away with things that nobody else can, in general just has a weird soft spot for ezekiel that he shows with nobody else

when shao found dizzee with thor in a vaguely compromising situation (like they were just shirtless covered in paint sleeping next to each other but shao had also seen everything they painted on the walls ((which some of it was sus)), it was clear they had painted on each others bodies and dizzee had been routinely disappearing with this guy for weeks now yet not producing nearly as much art, at least, as far as we audience members know) he didnt judge him but instead, waited for him to get cleaned up and then told him something along the lines of "theres a reason why im so secretive blah blah blah [not everyone needs to know everything about me]", which, in context, kinda implies that he might be a lil. a lil homiesexual. jus a lil.

whenever even the possibility of zeke leaving him comes up he absolutely loses it. he has literally cost ezekiel life changing opportunities because he thought zeke would just up and leave him for them. this could be abandonment issues bc he's a severely traumatized character, and that probably does contribute to it, but it also is just not a reaction he has to any of their other friends just randomly dipping in and out of his life soooooo

generally speaking, this mfer has got either bisexual with a big hard on for zeke coding or homosexual with terrible internalized homophobia and still a hard on for zeke coding. either fucking way, that nigga gay. he gay as hell. gay as fuck man. there wasn't really much to analyze here tbh bc the coding is just so fucking obvious if you look for it or you are/have been a gay person who's dealt with at least a little bit of internalized homophobia.

also, just a sidenote, idk how fucking old shao, but I'm praying hes like at max 19 bc I'm pretty sure zeke is a minor in this show and shao definetly is not so the whole him being heavily implied to have a crush on ezekiel thing is kinda. oof. not oof if zeke is like 17 but any younger than that? OOF.

edit: apparently the characters are only supposed to be a year apart in age but i had no clue about that before writing this post and since shaos age was never actually stated in the show i naturally assumed he was an adult since his actor Looks Like An Adult. this is definetly on me to a certain extent, but i also never saw anything about this when trying to find our their ages so 🤷‍♀️ maybe i just didnt look deep enough, sorry!

now moving on to the main event...marcus dizzee kipling :]

so, first things first, let's talk enby coding bc him being bisexual was already confirmed!

um, to start off, I just wanna say I dont think this enby coding was intentional or even really coding, it's just moreso me being a dizzee kin on main and knowing as a transmasc enby he has very transmasc enby vibes. for example:

cool, gender neutral nickname that everyone calls him

paints nails various different colors

the whole wardrobe is just a transmasc enby heaven...fishnet shirts, jean overalls, jackets and cuffed pants galore, the big colorful pins, etc

gender neutral hairstyle (when I had my fro it was very sexy and made it easy to transition between hyper masc and vaguely fem, which is pog)

comparing himself to/representing himself consistently with an alien character (though this is meant to represent his sexuality, it could also double as a gender thing too, not neccesarily bc of the whole nonbinary alien trope but bc an enby who likes aliens might heavily identify or compare themselves to whatever their idea of an alien is, whether that just be a genderless entity or a motherfucker with fly style and no need to be perceived as anything other Wacky As Hell)

moving on from there, let's talk about how his queerness is presented to us and how, while it may be a really good piece of representation, especially coming from netflix, it still lacks in A Lot of places.

so, let's start with good things!

i personally really like the get down's queer rep with dizzee bc it's (for the most part) nonsexualized and very very soft, about dizzee figuring himself out and realizing there is a place where he fits in, and about two teenagers in the 70s falling in love over their shared passion for street art. it also features an interracial couple where both boys challenge stereotypes both about queer men and men of color, which is epic poggers and very sexy. this piece of rep specifically is very important to me bc I am a queer black person and even tho interracial relationships are mostly normalized now, I've still had people give me shit for primarily dating white people in a town that is...primarily white lol

mm anyways, I can also appreciate how in the get down, dizzee being represented by rumi the alien is not a thing specifically related to gender (as it often is) and instead is about his sexuality and just in general weirdness and how it has led to him being alienated amongst his peers, poc or otherwise. him seeing himself as an alien is not about just his queerness, which is important, it is about him being a queer black man who talks different, acts different, dresses different and is "soft"—he isnt a walking black male stereotype and he wouldnt have been seen as masculine back in the 70s by any stretch of the imagination. this can be relatable to a wide spectrum of queer poc, from queer black men currently who still have to deal with this shit or to people like myself who are afab neurodivergent mixed race enbies that have always been signaled out as weird and alienated for it. dizzee is god rep bc while he has a small part in this show, his parts are very impactful, hard hitting and show queer poc of all ages that they arent alone and that it's okay to "weird", you just need to embrace it because somebody will love you for you, as thor did for dizzee.

that being said theres um. some minor problemas here,,,

namely:

dizzee and thors first kiss

the lack of development this pairing got

the way dizzee was confirmed bisexual off screen, he never said the words himself, just showed interest in both genders

the way dizzee and thor were never even confirmed boyfriends or just fwb so most of the fandom just calls them boyfriends bc Why Not

dizzee was implied fucking DEAD??? AT THE END OF THE SERIES?????? AND THOR WAS IMPLIED ARRESTED?????????????

now, these might have been things that wouldve been fine had the show been given it's full run but it wasnt which is why we are now left with probelms.

so, from the top, let's go over these: dizzee and thor's first (and only "on screen") kiss was one that was shown in a montage of other queer people making over and doing other vaguely romantic/sexual things, one of those things being a whole ass naked titty being mouthed at, but the actual kiss...was just not shown? like they really did just say "yes they kissed <3 you know this from the context clues of it being in a montage with kissing, hickey giving and titty sucking <3 but no we will not show it <3" LIKE HELLO? I SAW A NAKED BOOBIE BUT NOT TWO MEN KISS??? HUH????????

also, dizzee and thor were both fucking high as hell during this bit like this isnt a terrible thing but it's also like sometimes you do shit when you're high that you wouldnt do sober and they just never kissed again on screen so like?? like idk that's not that bad but it does kinda irk me since they deadass got no other on screen intimacy after that unless you including painting on eacher other or sleeping next to each other on a shitty mattress but not touching at all during it bc they were both at opposite ends of the mattress like half way off it

so yeah, that was trash. then we got lack of development, which kinda goes with the "dizzee being a bisexual but he never says it in canon" thing cause like...okay dizzee was already sort of a side character from the get go like he wasnt the mc by any means, but he became way more of a background character as things continued until we basically only saw him for performances or when he was with thor, yet they got no fucking development as a pairing other than "dizzee realize he gay, he like thor, he and thor spend time together and ig probably do some gay stuff but we dont really know bc we only ever see them do graffiti together now" like?? tf am I supposed to do with that shit. answer. quickly. and then theres dizzee not being confirmed bisexual, which is just a running problem with shows literally doing everything to say a character is bi except for having the character just...say they're bi? which would be so easy? like a good way dizzee and thor couldve had some development is by thor teaching dizzee things about the queer community that he didnt even know existed, thor couldve helped him understand what being bi meant and helped him label himself and whatnot but instead we got an off screen confirmation that the writers had bisexual in mind when writing him. which is garbagé.

the whole thor and dizzee never having a confirmed relationship status is also a development problem cause like literally nobody knows if they were just friends who made out, maybe fucked, who knows, or if they were dating bc dizzee does give a love confession but a love confession doesn't mean there is a relationship, especially since thor didn't say he was in love either (as far as I remember, I could be wrong, plus whether or not that really happened or was apart of dizzee literally overdosing during a performance is unclear so 🤪)

and now for the biggest issue...bury your gays trope.

during the season 2 finale, dizzee and thor are chased by cops after they are found doing graffiti, one of the cops is able to catch thor while the other chases dizzee into a train tunnel and there is a train seen headed straight for him before the show cuts to black on a train horn. the show writers claim that if they had gotten another season, dizzee wouldve been alive but since they didnt and since that's essentially super fan trivia knowledge, most people dont fucking know that and instead had to watch a black queer teenager chose death over being fucking arrested by a white cop. on top of that, thor didnt see any of that shit because he was caught and the cop started hauling him off while dizzee was still being chased so thor literally has no clue where his friend/possible boyfriend fucking is or that he's likely dead in a goddamn tunnel all alone, unless you count the fucking pig that chased him in there who wouldve died too. this shows rep was so fucking good as far as most shows go on not having major fucking problems, on not being toxic and over sexualized, etc, etc. and then they just. killed a black queer teenager for no fucking reason. like it was literally the last episode ever, it would add nothing to the plot, it would just devastate fans and devastate it fucking did. I dont cry easy but seeing a character I identified with, who I had hyperfixated on, die because he'd rather that than be arrested is terrible. it fucking sucked.

so yeah. that's my all too extensive thoughts/analysis on the get down's queerness. theres definitely stuff I missed, or misinterpreted, or looked too much into, etc, etc., but this was a fun thing to spend time writing sooo yeah!! thanks for the ask anon, sorry this was just a big rambley info dump, but hopefully you get some enjoyment out of it since it took like 3 hours at least 😭😭 feel free to ask clarifying questions lol

#shit self #asks #the get down #mylene cruz #shaolin fantastic #dizzee kipling #long post #analysis #info dump #idk if anon has seen tgd or is just being nice so i tried givinh background to things #kinz #bangerz #discourse

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tilbageidanmark · 3 years

Photo

Movies I watched this week - 39

I spent over 50 (!) hours on the sofa this week, (enjoying myself 85% of the time)...

Sløborn, an ominous Danish-German TV pandemic series, very much like Soderbergh’s ‘Contagion’ and in ‘Black Mirror’ style. Normal life of a small island community between Denmark and Germany breaks down and completely collapses when it is hit by a lethal bird flue like virus.

It was extremely prescient, as it was shot in 2019, before Covid! Conceived as Si-fi, it looks today like TV, because the series was able to capture everything that happened around the world after January 2020 in accurate details.

With Roland Møller (of ‘Riders of Justice’). 7+/10

✴️

My introduction to “The grandmother of The French New Wave”, Agnès Varda (Hard to believe that I never saw her films before!):

✳️✳️✳️ “Inspiration, Creation and Sharing...” Varda by Agnès, my first Varda is her last 2019 auto-biography, in which, at 90, she shared footage and stories from her life and work. The first sample clip (of meeting her Uncle Yanco in Sausalito) won me over, and the rest convinced me to catch up on everything I’ve missed through the years. What a wonderful artist!

✳️✳️✳️ Cléo from 5 to 7. A feminine film about female identity - a new favorite! A beautiful singer must wait 2 hours for the results of her cancer tests. With a magnifique mid-film scene (at 0;38) of the heartbreaking chanson 'Sans Toi', marking the beginning of her quiet transformation.

✳️✳️✳️ Vagabond, a story of a lonely, young woman, an unapologetic drifter, unglamorous, aimless, independent, desperately lost. Dark and nonjudgmental exploration of the refusal to conform to anything. 8+/10.

✳️✳️✳️ (For Sammy - Per our conversation). The Gleaners and I, "The eighth best documentary film of all time”, per ‘Sight & Sound poll. Derived from the famous painting by Millet. Simply wonderful!

✳️✳️✳️ One Hundred And One Nights, 100 year old Michel Piccoli “Monsieur Simon Cinema”, hires a young girl to reminisce with about the history of cinema. An unsuccessful Meta-film that nevertheless is a love letter for cinephiles. Populated by 3 dozens of Who’s Who of French (and World) stars, playacting in this symbolic, Fellinisque fable that draws upon the classics. Mastroianni, Depardieu, Belmondo, Alain Delon, Catherine Deneuve, Jeanne Moreau, Anouk Aimée, Fanny Ardant, Gina Lollobrigida, Jane Birkin, etc, etc..

(Photo Above).

✳️✳️✳️ The Young Girls of Rochefort, the wonderful, colorful, sentimental musical by Varda’s husband Jacques Demy, with the most beautiful woman in the world and her sister. Romantic eye candy set to music by Michel Legrand. A year later Deneuve would do Belle de Jour, and Françoise Dorléac would die in a car accident, 8+/10

✳️✳️✳️ Even better, The Young Girls Turn 25, Varda’s 1993 behind the scenes documentary and return to small town Rocheford, to show how it changed the town and left an impression. 9/10

“...The memory of happiness is perhaps also happiness...”

✴️

The other Jacques Demy modern opera The Umbrellas of Cherbourg knocked me over all over again. Catherine Deneuve’s angelic beauty in this film made me cry for the duration like a baby. And not only at the train station when they say goodbye forever.

10/10

✴️

Night moves, a tense thriller by Kelly Reichardt, about three radical environmentalists who blow up an Oregon dam. Slow and tense, and like her ‘First Cow’, watching it filled me with constant, low-level anxiety. The off-screen sabotage is placed at the exact mid-point of the movie: The first half is the preparation for it, and the second half shows the aftermath of the act. 7+/10

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2 unexpected Small Town gems by Miguel Arteta:

✳️✳️✳️ The good Girl, an odd and surprising mismatched romance between 30 year old Jennifer Aniston and Jake Gyllenhaal (22) as employees of a Texas big-box store that is always empty. Her voice-over reminded me of True Romance’s Alabama Whitman. 7/10

✳️✳️✳️ Ed Helms, a sheltered insurance salesman from the backwaters of Wisconsin, goes to an convention in the big city of Cedar Rapids, Iowa. The nearly conventional story arc has some genuinely heartfelt funny moments. With Maeby Fünke, as Bree the prostitute and Sigourney Weaver as the ex-teacher he balls. Also a surprising drug party, where he smoke crack cocaine and loves it. 5+/10

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Same theme of people prostituting their own ‘morals’, the notoriously-prudish 1993 Indecent Proposal didn’t age too well. “Billionaire”-porn that asks the question ‘How much would you pay for one night with Robert Redford?’ Gratuitous semi-naked Demi Moore included.

Related: “Stop hitting the button!”

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Wildland (Kød & blod = Flesh and blood), an uncomfortable and claustrophobic Danish gangster thriller about a 17 year old girl who moves in with the criminal family of Sidse Babett Knudsen, her estranged aunt. 6+/10

“For some people, things go wrong before they even begin”

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Jim Jarmusch‘s Broken Flowers, a touching road film with Bill Murray, as an old ‘Don Juan’ who receive a pink, unsigned letter from an old lover, letting him know that he has a 20 year old son he never knew about.

Loveliest film of the week.

✴️

The 2 films directed by Tom Ford:

✳️✳️✳️ A single Man, a sad and lonely gay professor, closeted in 1962 Los Angeles, is preparing to kill himself with a gun, after his boyfriend / love of his life had died in a car accident. Mute and haunting aesthetics in the fashion designer’s debut film, based on a Christopher Isherwood novel.

The ‘Stormy Weather’ dance scene between Charley and George. 8/10

✳️✳️✳️ Nocturnal Animals: Amy Adams is an unhappy owner of a fancy art gallery who receives a disturbing book manuscript written by her ex-husband, which symbolizes their relationship 20 years prior. Rarefied visuals and distinctive style.

Starts with an astonishing scene of obese old ladies dancing naked at Amy’s gala event. Michael Shannon rules as a dying Texas detective! 6+/10.

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Jean Vigo’s 1933 classic Zero for Conduct was so blatantly anarchistic, it was immediately banned in France until after WW2. In silent film style, it tells about a group of mischievous kids who rebel against the authorities of their old-fashioned boarding school. Part-inspiration for Truffaut's 400 Blows.

✴️

Anatomy of a murder, Otto Preminger’s 1960 courtroom drama, with opening credits by Saul Bass. Crisp black & white cinematography, and with rape victim Lee Remick playing it as an outgoing loose girl of ambiguous morals, a modern floozy. 7/10.

✴️

Blush, a wondrous, spectacularly-animated, wordless short by Joe Mateo. What starts as a riff on ‘The Little Prince’, ends up like the opening montage from ‘Up’. The obvious realization that this is a personal metaphor makes the story even deeper.

I watched it twice back to back. 10/10

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If You're Not in the Obit, Eat Breakfast - 95 year old Carl Reiner asks a bunch of charming nonagenarian friends how they manage to live so well for so long. Their answers may (not) shock you...

Spry Dick Van Dyke (92) and half-his-age wife end the film with a lovely rendition of “Young at heart”

✴️

Hi-school-level adaptation of Thomas Piketty's book Capital in the 21st Century. A breezy discussion of how slave economy and colonialist military repression 300 years ago turn into extreme capitalism of inequality & tax-avoidance today. America is now similar economically to what England was in the early 1800s. A tiny percentage of society controls almost all its wealth. (Full text of the book here).

✴️

Ride the eagle, a flat new indie about a guy whose estranged hippy mother leaves him her cabin at the lake when she dies, but only if he complete a certain list of tasks. Could be so much better, but the actor playing the guy was just so terrible. Unlike JK Simmons who had a small role. Best detail, when he discovers that all the cabinets in the house are full with pot.

✴️

Old, my first, (and possibly last), M. Night Shyamalan. The seductive premise of a secluded beach at a fancy tropical resort that ages everybody who comes there, turns into an unconvincing Twilight Zone bore.

...”(Gurgling sounds)”...

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First watch: I never saw (any) Planet of the apes before, and in spite of my misgivings, gave it a go. 100% anthropomorphic, it couldn’t visualize a universe different from the American mindset of that period. Preachy and very Rod Sterling-like. "It's a madhouse in here”. Pass!

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The latest Veritasium YouTube video about bowling current technology. Always interesting.

- - - - -

Throw-back to the art project:

Planet of the Apes Adora.

- - - - -

(My complete movie list is here)

#movies

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mediaevalmusereads · 3 years

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The Alienist. By Caleb Carr. New York: Random House, 1994.

Rating: 4/5 stars

Genre: historical fiction, mystery, suspense

Part of a Series? Yes, The Kreizler Series #1

Summary: The year is 1896. The city is New York. Newspaper reporter John Schuyler Moore is summoned by his friend Dr. Laszlo Kreizler—a psychologist, or “alienist”—to view the horribly mutilated body of an adolescent boy abandoned on the unfinished Williamsburg Bridge. From there the two embark on a revolutionary effort in criminology: creating a psychological profile of the perpetrator based on the details of his crimes. Their dangerous quest takes them into the tortured past and twisted mind of a murderer who will kill again before their hunt is over.

***Full review under the cut.***

Content Warnings: ableism, homophobia/transphobia, racism (including slurs), sexism, rape, abuse, child abuse and sexual assault, child prostitution, animal cruelty, blood, gore, violence

Overview: This book has been on my TBR list for a while, so I figured I’d finally get around to reading it. I wasn’t sure what I was expecting, but I was actually surprised by how much I enjoyed the reading experience. Carr writes in a way that pretty closely imitates 19th century detective fiction, and while such a style might not be for everyone, I thought it went a long way in creating atmosphere. My criticisms have mostly to do with pace and the creative decisions that probably didn’t have to be made (such as depictions of child sexual assault, use of slurs, etc), but even with those faults, I have to give Carr’s craft and research a lot of credit, so this book gets 4 stars from me.

Writing: As I mentioned above, this book mimics detective fiction of the 19th century. If you’ve read any of Arthur Conan Doyle’s Sherlock Holmes stories, you might get the idea: first person, characters displaying almost whimsical behavior, stuffed with contextual details that may or may not be relevant. At first, I thought the reading experience was going to be a slog, but once I realized what Carr was trying to do, I readjusted my expectations and found the prose to be quite engaging. If you like 19th century literature, you might appreciate what Carr does, but if you find older lit to be a challenge, this book might not be the thriller you’re hoping for.

That being said, I do think there were some areas where Carr could have picked up the pace or even cut some of the contextual details. It’s obvious that Carr did a lot of research before writing this book, and it’s understandable that he would want to show off some of that research, but there were times where I felt like it was a little much.

I also think there are a lot of things in this book that will offend modern sensibilities. I recall at least one use of the N-word (which is spoken by a racist minor character) as well as remarks that make it clear that characters think same-sex intimacy is “deviant” or abhorrent. I can understand why Carr put them in his book; if we’re trying to evoke an atmosphere and make the story feel like it’s set in the 19th century, it’s not realistic to expect everyone to be accepting of gay sex or treat POC with respect. But also, I think it’s on Carr to bear the responsibility of creating plot points and characters that have those attitudes in the first place. The character who uses the N-word could have easily not done so, and characters could have been more clear that their revulsion was at child prostitution rather than same-sex relationships.

Still, I was able to follow the plot with no problem and the sentences flowed in a way that made the reading experience feel quick (no 10-line sentences, thank god). So while there may be some things I would have liked to see adjusted to fit my own tastes, I think Carr did a wonderful job of making me feel like I was reading an older work.

Plot: The plot of this book follows a group of investigators as they try to use psychology to catch a serial killer. As far as being an “original” or unique thriller, this book doesn’t necessarily deliver a plot we haven’t seen before; but what made it so interesting (at least to me) was that it was less interested in the thrill of catching the killer and more interested in thinking through the “whys.” Why did the killer do X? Why did he do Y and Z when he could have done A or B? In this sense, the suspense doesn’t come from the action or the “chase,” but from the building of ideas and a foggy picture becoming more and more clear.

If I can fault Carr for anything, it’s that I think he crafted his mystery around some subjects that are... touchy (for lack of a better word). Most of the murder victims are children - specifically child prostitutes - and a lot of the killer’s motivations are rooted in some combination of racism and exposure to abuse. If you’re looking for a book which handles these issues with sensitivity, I think you’ll be disappointed. But I have to give Carr some credit for not overly sensationalizing these things; for example, while he did include characters who were racist towards Native Americans, he also included characters who were sympathetic and who insisted on not judging tribes for their defensive violence. Not everything is perfect, and there were some moments that made me uncomfortable, but I felt like Carr painted a complex picture of 19th century America, so I was able to keep going.

Characters: The plot of this book is told from the perspective of John Schuyler Moore - a newspaper reporter who teams up with his friend, eminent psychologist Dr. Laszlo Kreizler, to catch a serial killer. As a protagonist, Moore isn’t overly compelling - he’s more like a neutral, blank slate that the reader can project themselves onto. He serves much of the same function as Watson in the Sherlock Holmes stories: to be a witness to other characters’ brilliance while occasionally making some helpful insights. Still, I didn’t outright hate Moore - he was kind and loyal, and I admired how he went out of his way to try to help people.

Kreizler, the psychologist (or “alienist” as they were called in those days), is somewhat of a Sherlockian character in that he’s eccentric, confident, and had abilities that stun the people around him. For the most part, Kreizler was fun to follow. I think the only times I got truly frustrated with him were when he would allude to some knowledge and then leave Moore in the dark - like “aha! This thing is obvious!” “What thing?” “No time to explain! I’ll tell you at dinner!” Those moments were a little irritating.

Sarah, the most prominent female character, was more complex than I expected her to be. She has clear career aspirations and doesn’t let anyone hold her back, and I liked that she was presented as this kick-ass woman who still felt human. She struggles when faced with the horrors of the murder, but she doesn’t let the horror put her off of her task. She’s confident and never seems to have a moment of self-doubt (which is refreshing). She notices interpersonal things without being boxed in as “the woman who notices emotions.” Granted, Sarah does serve some token function - she’s brought on in order to provide a “female perspective,” which was a little frustrating, but she held her own so well that my annoyance melted away.

Marcus and Lucius, the two brothers who work for the police department, are also quite charming characters. I loved how they brought technical expertise to the group by being knowledgeable about anatomy, fingerprints, photography, and the like, and I especially enjoyed the way they bickered with one another. Their presence immediately made scenes feel lighter, and they brought something of a family aspect to the whole band.

Supporting characters were well-crafted in that no two felt quite the same. Teddy Roosevelt (yes, that one) was cheerful and warm while still demanding absolute cooperation and loyalty from his men. Cyrus and Stevie - two of Kreizler’s employees - were charming, though I wish Cyrus had gotten to do more than just kind of silently stand by awaiting orders. Mary - Kreizler’s maid - was a lovely character, and I appreciated the positive disability representation we got with her, though I do not like how her character arc ended and how it related to the main plot. The crime bosses were intimidating without feeling too much like stock characters, the thugs did their job. I don’t think there was a character that was poorly written, just characters who served purposes that may or may not have been needed.

As for the murderer... we don’t get to see him very much, but I felt like I got to know him because so much of the book was focused on mapping out his life and psychology. It worked much better than books where the antagonist is looming off to the side, acting as a vaguely threatening force but not really a character, and one that doesn’t even show up until the last quarter of the book. When the killer finally does appear on page, I felt like he had been involved in the story, even without being physically present, so I was able to accept him as an active force on the narrative, not just a surprise twist at the end.

TL;DR: The Alienist is a well-crafted mystery that uses atmosphere and psychology to create an engaging mystery. While some readers may struggle with the period-like prose or the more disturbing aspects of the story, Carr creates a compelling narrative by focusing on understanding and knowledge over spectacle and action, and by using well-developed characters.

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wecantseeyou · 3 years

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a word on color - how line of duty series 6 uses wardrobe color to frame narrative (pt 2)

Author’s note: this is part 2 for this essay on wardrobe color. For part one, read it here. This post covers episodes 2 and 3, which is the close of Act 1 of this series’ arc and the opening of Act 2. Here I discuss… things? Idk. Again, fair warning, I’m American and this is in no way, shape, or form edited and I won’t apologize for it.

ALSO: I’m feeling a bit like I’m losing my mind, and maybe this is just a COVID filming situation, but I think some of the scenes in series 6 are shown to us out of order. Now that I’m tracking every outfit, it’s surprising how frequently Kate and Jo wear the same outfits in scenes together when time (usually days) is meant to have passed in the interim. This is most clear in episode 3. Maybe I’m onto something, maybe I’m over-reading. Who knows!

Anyways, any words on wardrobe below the cut!

EPISODE 2

We open this episode with the team at AC-12, with Hastings, Steve, and gem of series 6 Chloe briefing the team on the inquiry into Operation Lighthouse, the investigation into the murder of Gail Vella. Steve is wearing his standard uniform of a navy three-piece suit, white shirt, and reddish-purple tie (more on this later). (note: the American in me wants to note the nods to nationalism and representing the ‘system’ in this color combination, but I’m actually not sure if that symbolism holds true for the UK). This scene establishes Steve’s position as Jo’s narrative foil - he is the crusader working to root out her corruption. His blue suit is his armor in the battle against bent coppers (unfortunately, not the Battle of Hastings).

Next, we return to MIT with another briefing. This time, Lomax is briefing Jo and Kate on the CHIS’s whereabouts before his murder. Jo implores him to find a witness in order to get a positive ID on ‘Ross Turner’ - is he really Terry Boyle, or Carl Banks?

We see Jo in a black turtleneck under a grey suit, and Kate is in a light brown suit jacket with green undertones over a navy turtleneck. Again, Jo’s outfit is hinting at her corruption while Kate’s is both hinting at her philosophical allegiance with AC-12 and her relationship with Jo in the color of her jacket. During this scene, we see Farida watch Kate and Jo share a look before she stands abruptly and heads into Buckells’ office. Once Lomax leaves, Kate tries to discuss the possibility of a leak leading to Alistair Oldroyd’s murder, which Jo says is an obvious line of inquiry before sharing that she believes sometimes the fewer police that know, the better.

Right after this scene, Jo learns from Buckells that Farida has requested a transfer, citing personal reasons right to the face of her personal reasons. Thought Jo was wearing black without participating in some bent shenanigans? Think again! She convinces Buckells that Jatri was a difficult person to work with and would be best elsewhere, offering to write her a recommendation for the transfer. It’s important to note that yes, Jo is getting rid of Jatri in order to remove an obstacle to her work for the OCG (which she later does to the extreme), but she also makes this choice because she genuinely cares for Farida and is attempting to get distance in order to protect her. Sure, she flips on that in a matter of days, but she does make an attempt.

In part, it’s actually Farida’s subsequent actions stalking Jo outside of her home that show Jo that her ex remains a threat to her ability to manipulate the Vella case in secrecy. You can see in the scene that Jo isn’t on her guard - she’s in her casual clothes outside of work, donning a blue sweatshirt over a grey turtleneck, all under a grey coat. In her personal space, the tone of Jo’s wardrobe is entirely cool, because despite her actions, she is at her heart someone who wants to find justice. Seeing Farida though? That makes her deeply nervous.

We then see Steve and #1 DC Chloe Bishop meeting with Gail Vella’s producer, who shares that Gail had been working on a story about police corruption for a podcast. Steve is wearing his backup uniform, a grey suit with a light blue shirt and red tie. Again, he is seeking out the truth in pursuit of justice. Here we find out the motive for Gail’s murder - she was about to expose the Central Police for what they were. Again, this is Steve acting as Jo’s foil - while she worked on behalf of the OCG to obfuscate the motives for Gail’s murder, Steve wants to seek the truth. Reporting back to Hastings, the gaffer makes Steve a DI in response to Steve hoping to use Kate as an informant on the Hill.

Enter: a right shit hole. Steve organizes a surreptitious meeting with Kate in a graffitied underground walkway (note: y’all we don’t have many of these on the east coast, is this a regular thing in the UK??). Steve is wearing the same outfit as before, but with a navy coat. This navy coat is very similar to a navy trench coat we see Kate wear on multiple occasions, including later in this very episode. This shows both his pursuit of justice, motivating his reveal to Kate about the investigation into Davidson’s team, and also their shared allegiance and connection with one another. Kate, meanwhile, shows up in a green coat. As noted before, green can be used to demonstrate the space Kate occupies between AC-12 and Jo. It is a cool tone, showing her dedication to anti-corruption, but a cool tone that exists because of the influence of a warm tone.

Steve asks Kate to again act as an informant, which she says she’ll think about, and tells her that an official inquiry into Operation Lighthouse has begun. Interestingly, Kate is actually upset that Steve shares this information with her because it puts her in a difficult position between her allegiance to Jo and her belief in rooting out corruption. She expresses this displeasure, all the way through her parting words when she insults Steve’s choice in meeting location.

Kate’s rather dramatic stomp off transitions immediately to the murder scene of Carl Banks.

Quick car interlude here! Now, I cannot for the life of me tell you the make of car that Jo drives because it doesn’t exist in the US, but I would be remiss not to note the very dark, almost red tone of the paint color. Meanwhile, Kate drives a bright blue Audi, and Steve drives a slate grey Volvo (hello Mr. Cullen). The color choices between these characters literally persist through their vehicles, which is a level of attention to detail very few shows can hope to reach.

Back to Carl Banks’ slashed up body - Lomax, per usual, gives Kate and Jo the low down on the crime scene. We then meet Farida’s replacement - PC Ryan ‘the bent bastard’ Pilkington, who conveniently finds the murder weapon. Kate, dressed in the navy coat I previously noted as a parallel to Steve’s, has a moment of recognition, but can’t place him directly. Jo, in her classic grey coat, acts cool as a cucumber at his introduction. Kate is wearing that navy coat to show her critical eye - it’s awfully convenient that they found the murder weapon so close to the body, and her spidey-senses are set off by Pilkington’s presence.

Back at MIT, Lomax continues to be the only detective at MIT to do any work, and gives Kate and Jo the low down on the forensics at the scene. Ryan quickly interrupts, and Kate asks how she knows him, but he brushes her off. The outfits for the next few scenes are very, very interesting. Kate, for one of the only times in the whole season, is wearing a black suit with a white shirt buttoned all the way to the throat. Jo looks fantastic in a dark blue suit over an orangish brown turtleneck. I’ll break down the symbolism in a moment, because our boy Arnott has gotten approval for a raid on Operation Lighthouse.

And boy does he storm into this raid in full AC-12 style! Navy overcoat, blue suit, light blue shirt, purple tie, moral high horse. But wait, Jo is there to stop the raid in its tracks after getting permission from the Deputy Chief Constable to withhold Operation Lighthouse files for fear of leaks. Steve stands there momentarily aghast, egg on his face, while Kate looks on with resolve on her face. Now, Steve’s outfit here is clear - the cool tones of his suit represent his desire to find the corruption in the Vella murder case. On its face, Jo’s outfit is also pretty clear - the warm tones of her sweater align with the way she stonewalls the AC-12 investigation.

However, it’s Kate’s outfit that I think is the most revealing. Even when the colors are neutral, Kate is almost always dressed in color and is rarely depicted in strict black and white outfits. This is a certain visual irony, as in past seasons we have seen that Kate has the most obviously black and white sense of morality. The show does make it a point to have Kate in a clear black and white outfit here, and her shirt is notably buttoned all the way to the top. This actually highlights the space Kate finds herself in that is not black and white - she is stuck between her desire to help Steve and her loyalty to Jo. This position makes her uncomfortable, and also strips her of any visual allegiance to both Steve and Jo.

But Kate has made a decision - she chose to warn Jo about the investigation, which gives Jo time to prepare. Unbeknownst to Kate at the time (we assume), this actually allows Jo some time to put others in the frame for her interference in the Vella investigation. Steve calls Kate and is rightfully furious, but she tries to implore him to think of her position, where, as the former anti-corruption officer in the unit, she has to prove her loyalty to Jo and the MIT.

Steve, not at all understanding of Kate’s position, reports this to Hastings who goes straight to the Deputy Chief Constable and gets permission for AC-12 to raid MIT again. He’s obviously not the focus of this analysis but Ted really has some iconic lines in the scene with the DCC and then after with Steve, and I love our vaguely corrupt gaffer (if he’s the fourth man, I’ll fly to the UK to confront Jed myself).

Armed with new permission from the DCC fashion icon Chloe again raids AC-12, and serves Jo with a Reg-15, which in LoD-speak is a formal request to report to AC-12 for questioning. Cue some lovely eye contact between Kate and Jo.

Speaking of lovely eye contact, here we get the first interaction between Kate and Jo where they’re outside of work. Kate and Jo debrief the AC-12 raid and Jo's Reg-15 notice while at dinner with some wine. The men at the table next to them offer to buy them another round of drinks, but Jo flashes her badge and shuts them down. She then ruefully apologizes to Kate for ruining her chances, to which Kate replies that they weren't her type and they share a smile and lots of eye contact. (Note: two of my exes have said that to me about men in the past, so the accuracy in this flirtation is remarkable.) They’re dressed in the same clothes as they were at the office, with a notable exception - Kate’s shirt is unbuttoned. Sure, is this her just relaxing after a long, stressful work day? Yes, of course. But it is also notable that this relaxation happens with Jo specifically, and she’s the one comforting Jo about the Reg-15.

Later, as the two are walking to their cars, they’re again wearing their outer layers, a navy coat for Kate and grey coat for Jo. Again, they’re both wearing cool tones, with the expectation of the glimpse of Jo’s sweater, which is a hint of her hidden corruption. They thank each other for a nice time. They do the awkward goodbye-but-no-one-wants-to-leave thing, which did in fact send me straight back to a few awkward nights after the bat. Then Kate invites Jo out for the weekend, which she's initially tentative about. They hug, which inspires Jo to tell Kate she's free since she just got out of a long term relationship, and she'd love to see her at the weekend.

Unfortunately, sapphic trysts must give way to Jo’s interview with AC-12. For the first time, we see her dressed in an all blue outfit, a dark blue suit over a lighter blue shirt, buttoned all the way to the top, which hints at her discomfort. Steve (along with Chloe in a blue shirt), is dressed yet again in his away game kit, a grey suit with a white shirt and red tie. Now, I won’t go into the details of everything because there’s still a decent amount to cover, but the long and short of it is that Jo denies all corruption, she lies about Buckells, Farida, the armed robbery, basically everything. They're about to arrest her when she says they should search Farida, Lomax, and Buckells as well if they’re investigating her, since they had access to the same information. All the while she knows they’ll find the burner phones at Farida’s and paints her as a scorned lover looking for revenge. Farida wouldn’t walk away cleanly, which makes Jo feel like she needs to more permanently remove her from the situation while protecting herself. She also sets up Buckells, having already planted evidence on him and manipulating the wrong surveillance authority on Carl Banks’ flat.

Because of this, Farida is arrested and Steve serves Buckells with a search warrant.

At first, this seems like the first time Jo has been dressed with the ‘justice’ color scheme while acting in an evidently corrupt way. It could also be read as AC-12 having ‘trapped’ her, also shown through the framing of the shot above. But as is often with this show, not all is as it appears. More on her outfit later.

We close the episode back with Jo in the all blue outfit. She is released from custody, and Ryan Pilkington, who asks her if she heard about Farida’s arrest. Here, Jo offers a rather chilling response. “That’s what happens to a rat.” Upon first watch, there’s perhaps no better sign of a bent cop. But we later learn that Ryan was sent by the OCG to keep an eye on Jo after AC-12 began snooping around the Vella investigation. What appears at first to be Jo confirming that leaks from the MIT will not be tolerated. The revelation about Ryan’s role as intimidation changes this interaction entirely. It’s not confirmation from Jo, it’s a threat from Ryan - ‘did you hear what happened to Farida? That’s what will happen to you.’ and he doesn’t move the car until she confirms that she’s heard him and understood.

The final scene takes Jo to an abandoned lot, where she meets a man who gives her a new burner phone. She picks it up, gets back in her car, and has a complete breakdown.

Now, the outfit. It’s interesting that Jo is dressed in the same color scheme as the group that ostensibly opposes her, especially as we see her lie through her teeth and manipulate the law and truth to her advantage repeatedly throughout her interview. It isn’t until we see the scenes with Pilkington and Jo crying in her car that we see her actions and her true personhood do not align. While the audience is not yet aware Jo has been manipulated not just throughout her career, but starting in her teen years, the creative team is telling us the plain truth: the visuals associated Jo with AC-12 exist because she is ultimately good.

EPISODE 3

Note: Y’all, at this point I stopped tracking Steve super closely because I think they only gave Martin two suits this season?? And honestly I’m only vaguely tracking on the Steph Corbett stuff. The long and short of it is that he’s wearing cool tones all the time because he’s the symbol of AC-12, etc, etc.

Episode 3 opens with Lomax learning about a witness to the altercation between Alistair Oldroyd and ‘Ross Turner,’ where the man identifying as Ross Turner boasted of killing Gail Vella. He quickly gathers Jo and Kate to tell them the news. Kate is wearing a simple grey sweater, while Jo is wearing a grey suit with a blue sweater and blue shirt.

We then immediately see Jo and Kate watching Lomax’s interview with this witness. She identifies the man going by Ross Turner as a man matching the description of Terry Boyle. This piques Kate’s interest, and Jo tells her to get a positive ID on Terry while they get him in for another interview. These outfits don’t necessarily relate directly to the scenes they’re worn in, but set the stage for both women’s actions throughout the rest of the episode. That’s not to say the outfits don’t relate at all, of course, but they repeat similar themes that I’ve already discussed.

Cue another interview of Terry Boyle, this time with Kate and Jo. Kate is wearing a green mockneck sweater, and Jo is wearing a navy suit with an orangish brown sweater, an outfit we’ve seen her in before. As Jo and Kate interview Terry, he grows increasingly agitated, not dissimilar to his first interview, which Jo notes to his representation. Kate keeps pushing him, trying to get a clear answer, but Jo repeatedly tries to get her to back off before eventually stopping the interview right as Terry talks about the man who ‘did it.’ The two women then get into a disagreement as Jo tears into Kate for potentially intimidating a vulnerable witness, while Kate thinks they could’ve pushed him harder. This is the first time we see the two of them disagree, which puts them at odds.

The clothing here serves dual narrative purposes. The first, with the contrasting brown and green of Jo and Kate’s clothing, we see a visual representation of their disagreement. The second purpose is actually a red herring. Kate’s green sweater does its standard job of showing both her allegiance to Jo (yellow) and her pursuit of justice (blue). Jo’s outfit, on the other hand, again ties her actions to the OCG. She stops the interview right as Terry is about to divulge more information, knowing that this will give away the real killer. We think this is because of her work with the OCG, but that’s not true at all.

After the disagreement between the two women, we see Jo watching a recording of the Terry Boyle interview, wearing a grey turtleneck. In contrast to her behavior in the interview and afterward with Kate, Jo actually seems oddly pleased by Terry’s clear statement of the other man having killed Gail Vella. Because that’s the thing about Jo, she knows how to play the game. She played the part of the perfectly manipulative bent cop by ending the interview when it seemed like some vital information was about to leak. This small moment that the show decided to include tells us everything we need to know because Jo wants the truth to come out, she just doesn’t want anyone else to know. Terry said just enough in that interview to raise alarm bells, but her actions look like someone trying to prevent that information from being revealed. That’s why Jo is wearing a grey sweater here, not the orangish brown from the interview - the cool tone shows her true desire for the truth.

I also believe this is why Kate was in the interview instead of Lomax, who we’ve seen in most past interviews. Lomax is far more laid back and passive than Kate, who mostly listens until she sees a line of questioning that she can crack open further. Jo knows her team, and she knows Kate. Getting told off by her boss when she thinks she’s on to something is not enough to dissuade Kate. Jo trusts that about Kate, and uses it to her advantage. It ties back to something we don’t learn until episode 6 - Jo sought Kate out as her new DI specifically because of Kate’s anti-corruption background. This is that reasoning in action. A former AC-12 might just be the person needed to find justice despite Jo’s personal interference.

After this, we see DI Kate “loves a car chase” Fleming tailing the escort taking Terry home, which includes Ryan Pilkington and another PC, Lisa Patel. She immediately notes that they have gone off the planned route, and lo and behold, the bent bastard drives the patrol car directly into a reservoir, drowning Lisa and attempting to drown Terry. Kate is quick to the scene and immediately gets involved, preventing Ryan from carrying out the murder of Terry. She rushes out of her (blue) car wearing a blue coat and blue scarf - she is justice incarnate.

Lomax and Jo quickly arrive at the scene, and Jo shows concern for Kate. Jo is in the same suit and sweater combination she was wearing during the Boyle interview with the addition of a grey jacket, while Kate is wrapped in a blue blanket. Jo, stuck between the OCG and justice; Kate, wrapped in a symbol of truth. Jo specifically notes that it’s lucky Kate was passing by, to which Kate agrees, not correcting her. I’ll admit, at first I didn’t really understand what Jo is playing at here. Anyone can tell that Kate wasn’t just passing by - the reservoir was well off the main road. What is she talking about?

Well, your honor, she’s leading the witness. She’s telling Kate what she wants to hear before the DI has a chance to speak the truth. Plausible deniability. We also see Jo spend an awful lot of time watching Kate as she traverses the scene, and the framing is set up to make it seem like Jo is wary of Kate. Reality, however, is a little different. This is actually the moment that tells Jo she needs to create distance between herself and Kate, not because she’s worried that Kate will look too closely at her, but because her actions nearly got an innocent man killed and she doesn’t want Kate to be at risk.

Later, we see Kate visit AC-12 in a grey sweatshirt and jeans, willing to work with the navy-clad Steve to find the leak at MIT because of the attempted murder of Terry Boyle. We then immediately see the two former partners doing research on Pilkington’s background - he has clearly caught Kate’s attention. The two trained investigators are clearly paralleled in color, both dressed in cool tones as they work to seek out justice.

Back at MIT, Jo watches Kate arrive at work from a window, wearing a red shirt under a navy suit. It’s clearly meant to be a menacing cue, especially with the red shirt, but later scenes show that all may not be as it appears. Meanwhile, Kate continues her pursuit of Pilkington by interviewing him about the crash. He seems to have all the answers, and remains polite throughout, but it’s clear that Kate doesn’t trust him. She’s wearing the same orange and blue striped turtleneck from the first episode under a navy suit. Throughout their conversation, Jo is watching from her office, again, something that appears on its face to be menacing, but may not be.

Kate’s outfit is much the same as the first time she wore it - her combined associations with Jo and AC-12 as she works to catch Ryan. Jo is wearing the same outfit as she did while watching Kate through the window, a subtle red herring from the production team. More on Jo’s seemingly big bad evil behaviour later.

After Kate’s conversation with Ryan, our resident anti-corruption officer comes storming into AC-12 headed straight to Jo’s office, where she sits wearing a grey suit, orange sweater, and white shirt. Steve is wearing his blue suit, with a light blue shirt and green tie. He shows up at MIT to ask Jo about a possible burglary in the Vella case. She doesn't know anything but tells him to ask the team, and he asks her if she hid or removed any files, which she denies. He also asks if she knows if anyone who would benefit from Farida not testifying. Cue guilty look and further denial. She tells him "You should investigate," and he confirms he’s planning to. Throughout this scene, Kate is looking on wearing a green shirt.

Jo’s outfit is obvious - she’s lying through her teeth to Steve and feels guilty for what she did to Farida. Steve has his classic AC-12 action suit on, with the change of a green tie, visually tying him to Kate, wearing a green top. Kate’s outfit obviously ties her to Steve, but as with other instances of Kate wearing green, it also shows her connection to Jo.

But wait, dear viewer, it’s been so long since our last Lomax low-down! Have no fear, because Kate and Chris are discussing the witness at the pub, and seems dissatisfied with his lack of attention to detail when he admits that he hasn’t done his due diligence to vet her. Kate is wearing a more casual blue zip-up jumper with a white t-shirt, again on her pursuit of justice. Jo watches from her office wearing a green turtleneck and grey suit.

For those counting at home, this is the fourth very obvious shot of Jo watching Kate so far this episode. And that makes sense, because this color change in Jo actually shows how her thoughts and actions are in conflict. She continues to interfere with the investigation, but she doesn’t want to be. She’s nervous about the consequences for those around her, Kate in particular.

It seems only right that this leads to date night part 2, where we get more insight into Jo while Kate grows more confused. They’re at the same restaurant as before, but they’re sitting on opposite sides of the table. Kate is wearing a light grey sweater, and Jo is wearing a grey suit, grey sweater and light blue shirt. The way their wardrobe coloring is coordinated in this moment is done for two reasons: to show that these characters have a connection, and to show that Jo’s actions in this scene are something she believes to be right.

Jo notes that it's nice to get out of the station and that it's easier to talk there. About Terry. Talk about Terry Boyle they do, and AC-12's interest in interviewing him. Kate asks about the rumors between Jo and Farida, and Jo denies it all, including her sexuality in all. When she leaves to go to the restroom, Kate has a look of confusion on her face. At first glance, this seems to be Jo separating herself from Farida for fear of discovery, but her clothes give us a hint at her real motivation. Jo is trying to discourage Kate from their burgeoning relationship by implying that she wouldn’t be interested. This clearly makes Jo uncomfortable, but it’s the first clear step she takes to distance herself from Kate once she realizes how her association with the other woman puts Kate in danger. This is also a self-preservation tactic - if she and Kate aren’t as close, it might not hurt as much if the OCG get to her.

This is also the last time we see the two of them out of work together until the fateful lorry park.

Back at work, however, the bent bastard is getting a commendation from Buckells for his heroic actions, which disgusts Kate in her grey turtleneck. She goes to leave the room but stops when she meets Jo, wearing a navy suit and red shirt. Kate uses the opportunity to fish for information about Pilkington, and is met with a surprise: Jo didn’t put Ryan on the team, Buckells did. Kate in her grey is still seeking answers about Ryan, while Jo in her red is trying to shift attention away from her bent activities (though she was honest about not looking to put Ryan on the team - she was lucky enough to have that thrust upon her).

Jo then takes this chance to swing by Farida’s apartment, and finds out that AC-12 is doing another search of the property, which clearly makes her afraid of what they’ll discover, aka her DNA all over the house.

After visiting Farida’s, we see an utterly distraught and scared Jo return to her apartment, the blue haven.

Despite Jo’s fears after visiting Farida’s, her prayers are somewhat answered in the form of one DI Kate Fleming. Both are wearing the same outfits from Jo’s cross-office staredown of Kate’s meeting with Lomax, and Kate is bearing the fruits of that conversation. She didn’t trust the witness’ statement, and had Chris do some further digging, only to discover the witness and Buckells had a previous connection. Jo, being given a hail mary, uses this to her advantage and makes Buckells her scapegoat, but not before telling Kate the absolute truth: “I needed someone on my team I could trust completely. Someone with no chance of being bent. Who better than an anti-corruption officer?” We learn later that this is exactly why Jo hired Kate in the first place, but in reality she was trusting Kate to stop her, not Buckells.

The two arrest Buckells and take him to AC-12, and we get an interesting shot of Kate leaving in the elevator, a blue cityscape behind her with the noticeable view of yellow construction scaffolding standing out against the cool colors, visually telling the audience about her bent actions.

Jo then returns to her all blue apartment in the grey suit and green turtleneck, sending a message to an unknown user at the OCG saying it's "All under control now." The green turtleneck highlights both Jo’s feelings of being trapped with the high neckline, and her occupation of the space between justice and corruption. Like with Kate before, she’s wearing a cool color, where her heart lies, and its infection by a warm color, the iron fist of the OCG on her throat.

We close this episode with Jo staring off into the middle distance, a look somewhere between relief and desperation on her face.

#line of duty #jo davidson #kate fleming #steve arnott #lod spoilers #line of duty spoilers

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