#you see a woman overcome with vulnerability and you think you can play her like a stardoll dot com

[ruskayas]

above all things, yelena is strictly malleable & easily influenced by most things/people/events. if you think she is set on herself and strong-willed, or unchangeable by the environment and its influences, your guess would be faulty. her self-image is incredibly distorted and unstable & her paranoia ubiquitous. i cannot stress enough how her condition drives every aspect of her life & how wrong you’d be in assuming how she’s going to act in threads. it is her experience, and she does not need to fit your own patriarchal standards.

[commsroom]

cutter was born in the 20s, and he'd become "arthur keller" by the early 70s, so obviously pryce's story at the beginning of brave new world can't be taken literally - that's not even an old man, much less "older than anyone she had ever met." it's also inarguable she was an adult already working on her... ideas for the human body when cutter sought her out; "i want you to make a doll for me" and "i found people who had some very bold ideas about how to... tune up the human body [...] i funded their work, and provided them with a willing test subject" are pretty definitely referring to the same events. so, it's fairy tale language, but the question is: why? why frame it this way?

one part of it is the "fountain of youth" in connection to immortality, strength, and health. the implication isn't literally that cutter is very old and pryce is very young; it's that she represents this power, and that he wants her to bestow it upon him: "then you and i will fix the world. i will be young and you will be whole." cutter and pryce choose to look eternally 28, while referring to and conducting themselves as if they're very old: it's not just vanity, it's part of their self-mythology. simultaneously young and old, having overcome the natural order.

that mythology of "overcoming" natural limitations is especially significant for pryce: characterizing herself as a "little girl" within her own story is both self-victimizing and self-aggrandizing. pryce does not see herself as disabled so much as temporarily inconvenienced; even the usual limitations of the human body are something she hopes to transcend. "instead of being wretched or afraid, the little girl decided to be clever." she was put at a disadvantage, but overcame it all by herself because she was smarter and better than other people. by extension, anyone who can't do what she did just isn't good enough, even as she's closing doors behind her and making it harder for others like her. and at the same time: it's an underdog story that requires her to have been an underdog. she hasn't been in a very, very long time, but the power she holds over others remains justified in her self-perception by this image of a sick little girl who was hurt by the world. there's an implication of inherent worthiness, and even a sort of expected assumed innocence in characterizing it that way. the first thing people notice about pryce is her eyes, and... sure, maybe it's the technology, but if cutter can catch bullets without any visible signs, it seems likely to me that, like her age, this is at least in part an aesthetic choice. it intimidates people. she's turned this point of hurt and vulnerability into a power play, and remains attached to it.

and that's the other part of the mythologizing that's going on: presumably, pryce was not the only person who worked on all of this. cutter funded others. but the story retroactively simplifies it, in a childish fairy tale way, and paints an image of them as exceptional, uniquely capable and so uniquely deserving, people.

i think there's something interesting to consider here about pryce in contrast to hera: that pryce is a woman who self-justifies her cruelty via a mythologized girlhood, while hera is a woman who was never a girl, who was never considered innocent or even allowed the same recognition of the ways she's been a victim. pryce resents humanity and all it represents, resents her body and its limitations, feels that being human has only caused her suffering, but still clearly believes that she has more of a claim to humanity than hera does by nature of her biology and upbringing. pryce's "bootstraps" attitude re: disability and her own self-victimization are the crucial things here, but i think that is also particularly interesting if you read hera as a trans woman.

(incidentally, this is part of why i have a particular love for hera designs where she's just a regular woman, more angular, and maybe even older looking - a natural 30-something in contrast to an unnaturally maintained 28 - than pryce. they're both women who have chosen how they want to look, and it highlights something.)

[genericpuff]

Honestly it’s getting tiring seeing the sobbing chronically of the cast ; Hera , Demeter, Persephone and probably more . Like it’s giving big baby cry cry energy instead of idk something proactive. Not sure if It’s just me getting that from the latest chapters???

I have two schools of thought on this.

On the one hand, I can fully understand wanting to show the vulnerability of these characters, to not send a message that emotions are bad and that people should just "toughen up". This is trying to be a "feminist" piece of work after all, and much of feminism preaches vulnerability and empathy and allowing oneself to get back in touch with their own emotions, rather than shutting themselves away from them which is often perpetuated by the societal expectations and norms of toxic masculinity.

Persephone crying as she confronts Apollo - the man who she now understands assaulted her - is understandable and real. A reasonable reaction to an emotional situation that many people can empathize with.

Hera crying as she reveals the true extent of the damage Kronos caused her is understandable and real. He's quite literally been stalking her in the recesses of her mind and it's reaching a breaking point.

But on the other hand, there's a difference between wanting to show a character showing their emotions and then learning to overcome the challenges they've presented with - whether they do it independently or learn to trust in others to help them - thus growing in the process and coming out stronger on the other side vs. using a character purely for torture porn. As much as we preach concepts like "normalize crying" in a very simplified way for the sake of being easily understood, such simplifications often result in a lack of nuance.

An entirely other subject to use as a comparison point to explain this nuance - it's like the difference between having a character who's become so jaded and disconnected from the concept of empathy that even murder becomes just a menial task to them vs. murderhobos. Murderhobos are not interesting or complex or empathetic or relatable, they're just written (and in the case of where the term comes from - Dungeons & Dragons - played) for the sole purpose of having an edgy uncaring character who thinks they're free from consequences while they fuck up the lives of everyone around them in a completely irredeemable way (and is often protected from such consequences due to plot armor, unless it's in D&D, in which case you'll likely be politely asked to either change your character for the sake of the campaign or leave.)

There's nothing to gain or learn from murderhobos. They only exist for the satisfaction of an ego complex - "I don't care what you want or how it affects the people around me, I want to kill people without consequences because that's as creative as my imagination can get in my own personal fantasy."

There's nothing to gain or grow from anymore when we get another scene of Hera bleeding mascara as she cries over her situation with Kronos while still refusing to actually tell anyone what's going on with Kronos, despite the fact that we had an entire fucking therapy speak episode where she realized she needed help. So it feels like it's purely there just to play on the trope of "sad woman is saaaad, won't anyone help herrrr?" which is really starting to learn into learned helplessness.

This is especially apparent with Persephone, who, upon causing a massive problem for everyone, has taken it upon herself to shut herself away while her loved ones deal with the problem. If she needs the time to cry and process what's going on, that's fine. But while that's happening, we know mortals are dying and that she's turning the situation into a learned helplessness pity party of "I'm a monsterrr and no one likes meeee :((((" while having zero self-awareness that yeah, she did cause this problem, and her locking herself away in her literal mansion isn't exactly going to help the situation.

I've already used Tamberlane as an example of approaching the subject of learned helplessness and how it's fundamentally different from simply being vulnerable and having emotions, but I'm gonna share it again here because it's really relevant and Persephone needs someone to give her this same wake-up call.

Considering Demeter was the one to approach her at the end of the last episode, I'm hoping she'll be the one to broach the topic with her, but judging by how Rachel's treated it so far with every character reassuring her with empty platitudes that accomplish nothing but comforting Persephone over something she caused like "Noooo you're not a monster, you're the best queen ever and you're trying her best!!" (and the fact that Rachel has spent so much time turning Demeter into public enemy #1 that her readers still can't fucking give her any shred of empathy even after finding out she lost a child, fucking yikes) I'm not holding my breath that this week's episode is gonna actually have that same level of emotional maturity or growth. This is the second time in the entire comic we've seen Persephone suffer the consequences of her actions out of many that have been harmful, some accidental, others very intentional (which Rachel has even supported her doing in a very unironic sense, it's safe to say Rachel really truly does believe that Persephone is entitled to abuse people). And judging by how things went the first time, it's hard to have the benefit of the doubt and assume Persephone is gonna actually take accountability and learn and grow from this. She didn't the last time and her character has only devolved since.

Sure, feeling like you've fucked up to such a monumental degree that you'll never be able to show your face in public again is something that's real and relatable and worth crying over... but crying is an emotional response, not the actual solution. It is a PART of expressing and processing emotions, but ultimately those emotions are not actions, just REactions. Crying is okay, crying is a normal response to grief and sadness, but if you don't actually take steps forward and continue to wallow in the sadness, blame everyone else around you for it, and simultaneously rely on everyone else to carry the burden of your own actions for you, then that's when it exits the realm of healthy emotional processing and broaches the unhealthy realm of learned helplessness and emotional manipulation.

If anything, her entire monologue in the last FP episode was more about Rachel being upset over criticism of her comic and her self-insert that, like Persephone's deal with Erebus and the "plague" that followed, she earned over not addressing the issues in her work sooner and instead choosing to double down - both through Persephone's abusive behavior within the narrative and Rachel's passive aggressive meta-commentary on that abuse being okay because "she's earned the right to lash out".

The only people in this entire comic who have "earned the right to lash out" are the women that Rachel has villainized along the way in the pursuit of giving her self-insert everything without effort or sacrifice. And even then those people would still have to rightfully answer for their wrongs and grow from them - because there is no right to abuse, there is no right to harming others, especially not if the "others" you're harming are people who were victims in their own right that you turned into imaginary enemies so you could have someone to punch down at in the absence of a spine to stand up for yourself against the real perpetrators. And in doing so, Persephone herself has become a perpetrator, who sheds crocodile tears that no one is buying because the writing is on the fucking wall.

[allycat75]

What is bothering me about "Red One".

Terrible movies are about as common as the lies our former president spews from his cracked and diseased face, so why is this one so different? I think when you start looking at something, you start seeing things you can't unsee. Kind of like when Brad Pitt decides to make a movie about the two women who helped bring down Harvey Weinstein, even though Mr. Pitt not only knew for years what he did after confronting him in the early 90s for harassing his girlfriend, ran straight toward him to produce his movies even though his wife at the time was traumatized and requested he not do it. But that is a rant for another day.

Overall, this movie just doesn't seem warm and Christmas-y. I almost feel forced to participate and enjoy it.

The Rock is a flim flam man, as many are in Hollywood, but the fissures are starting to show in his "nice guy" image. He is vulnerable to his fragile male ego and can't admit a failure, which only makes it worse. He created a real life villian of himself with the whole Black Atom/DC controversy that is so convoluted, the only thing I know is that if a woman had attempted these hijinks she'd be branded a hysterical, compulsive liar who should not insert herself in matters that don't concern her.

The marketing for this movie has already started with a lie- that it has tested "through the roof". Just the irony of being dishonst about a Christmas movie- maybe because they know this is already a big steaming lump of coal.

Here, the Rock's describes this gem of a movie:

Or I can just watch any of those movies individually and get sick of Dwayne Johnson playing the same character over and over in every movie, and enjoy Harry Potter and It's a Wonderful Life on their own. Truthfully, is that meant to sound good? (He also referred to it as a "joy bomb", and like most things he says I can only believe about half of it).

You know what also doesn't sound warm and Chrismas-y? This:

The film has been described as "a globe-trotting, four-quadrant action-adventure comedy, imagining a whole new universe to explore within the holiday genre." If you're wondering, "four-quadrant" refers to the four major demographics Hollywood is always looking to win over — males, females, people under 25, and people over 25. And Amazon evidently feels "Red One" will appeal to all four quadrants.

Yeah, let me take my four-quadrant family on opening weekend! So welcoming.

Also, both leads are over paid and need a hit as they have had some major, I mean major, debacles to overcome. And it is not great being known as profit poison at a time when there is much more scrutiny of the bottom line. I can sense the desperation of this cash grab oozing off of them.

Interestingly, only a few years ago CE was named one of the best bang for your buck actors. Now he can barely get work and no longer has an audience (he alienated his fans and the general public either doesn't know him, doesn't care, or thinks he is hella creepy). But he has said he wants to quit and smoke pot all day, so maybe Hollywood will call his bluff this time. Besides, I doubt they were able to get the best performance out of him, considering his life was beginning its implosion while filming, even if he might not have known the full extent of the eventual destruction at the time. The mindset he displayed wasn't conducive to authenticity and Christmas-y-ness.

Ok, I know we all want original content, but maybe I should have been more specific and added that it needs to be sincere, too. I hear nothing sincere when someone tries to describe "Red One". It doesn't help that this is home grown from 7 Bucks, Dwayne Johnson's production company. They probably looked at the material in an echo chamber and lost perspective. And as we have seen, The Rock isn't know for his humble acceptance of criticism. The following official description sounds like a nerd wanting to show up all the popular kids who made fun of him in high school ("See, I wrote a Hollywood script that is now a movie. Bet you wish you went to the prom with we now, Courtney!"):

Red One is a fire-breathing Christmas action movie that completely reinvents the holiday genre. […] Red One is a really fun original action film for both Johnson and Evans, and it’s a world building piece of IP which lends itself to potential sequels set around different holidays

Boy someone thinks highly of themselves! Already on the make to ruin other holidays. I saw somewhere they claimed this could be a franchise comparable to the "Lord of the Rings". Whoa, Nelly. Pump the breaks on that male privlege. You are embarrassing yourself!

It's this need for empire building, I believe, is what will crush "Red One". This forced joy, what many of us feel at this time of year, has takes away the true spirit and fun of the holiday season.

Well, we know CE can ruin Valentine's Day, Halloween and Thanksgiving. Looks like he is well on his way to doing the same for Christmas.

This has about 7 more months to play out and maybe I am wrong, but right now it just leaves a bad taste in my mouth, like egg nog left out from last Christmas. So, I think the two leads better get their measurements in now for the suits they will be wearing at the 2025 Razzie Awards. Here are some ideas for their rapist-supporting stylist:

PS- And, by the way, what the fuck is with the name- "Red One"? Sounds like a horror film about an itchy rash that will destroy the world. The Rock is the only one that can save us, but decides there is too much division right now and isn't going to support the President, played by a sad, hollow Chris Evans.

[sundayschurchbench]

Yui doesn't care (Ep. 221)

We live in a time when a lot of people think plot twists are things that come out of nowhere, weren't foreshadowed or hinted at, because it's the cheapness we've been served by a lot of media for years now.

They feel cheated when a story properly builds and foreshadows, rewarding its audience with that delicious "aha" moment when their theories are finally confirmed.

Many people think you're not supposed to see plot twists coming. That's false. Good writers will clue you in early on so when that juicy, explosive moment finally arrives, you're rewarded for piecing it all. It's beautiful and wonderful; this was exactly that kind of episode for me.

For a very (very) long time I have said that Yui doesn't love Kousuke. Many in the fandom insisted she did—that her actions were based on twisted love. I never bought it.

She is also not just a “scorned woman” out to get revenge on her trash, unfaithful husband.

Yui is more than that; she always has been.

The moment when I knew she didn't care for Kousuke was when she invited Shin Ae (who was still a minor at that time) to his apartment on his birthday. She had planned to put Shin Ae in a revealing dress, but when that didn't work out, Yui put her in one of Kousuke’s shirts.

This wasn’t some harmless prank either. It’s how she set up Shin Ae to look—hair messy and without bottoms—that really chilled the spine. Shin Ae looked like she had just gotten out of bed after a romp and got into her lover’s shirt. That was the visual she went for.

Yui did this for her own amusement. Quimchee often says, “She’s bored” and I think people dismiss this too easily.

Yui wanted to unsettle her son for the thrill of it.

Because seeing Kousuke bothered was amusing.

Because playing with a young, vulnerable girl was amusing.

And she could get away with it. She can always get away with it. She’s lived so long doing all these terrible things and has gotten away with it every time.

Regardless of any deeper, ulterior plans she has, Yui moves while trying to maximize her amusement.

She loves playing with people.

She loves using them as personal entertainment tools.

She has spent her married life trying to break Rand’s cold facade because she wanted to see him in red. This is why Rand has tried maintaining such an indifferent attitude. If he’s unable to overcome her then at least he didn’t want to give her the satisfaction of seeing him respond to her many aggressions and instances of undermining his authority (especially as a parent to Kousuke.)

All her actions throughout have shown us she doesn’t care about Kousuke. Not as a mother or even as a person. He is a tool, a toy, and a powerful blackmail piece.

This thing is her most precious, priceless pawn.

Kousuke is the key to her having power back entirely into her hands and not needing Rand. She has done everything in her power to make sure he is hers. She has purposefully isolated and manipulated him so that the only person he has to turn to is her. She makes him doubt the sincerity of every relationship to prove only she is real when she is the fakest of them all.

[I am not absolving Rand of anything, but to claim that Yui hasn't had anything to do with his deteriorated relationship to Kousuke is a huge disservice to the story and the complex layers in all their dynamics.]

Consider how even Shin Ae has been presented to him as someone who comes around for money. She went to his apartment for money, she went to the formal for money. Whatever positive opinion Kousuke can form about Shin Ae, she tries to underscore that in the end, she came into his life because of money and will stay because of money.

She even makes him doubt Hansuke, the only relative and person openly caring and worrying for him. The only one who might genuinely stand by his side through everything.

This isn’t a mother’s twisted love.

This is far worse.

And so, finally, after years of seeing so many people defend Yui in this fandom—claiming she has done everything out of love—I can say you are wrong.

You have always been wrong.

The signs were there.

You've just chosen to ignore them.

This has nothing to do with Rand's affair. Having an affair does not make a person—a mother—not love her own son.

The way she has manipulated Kousuke was there before Rand even had an affair. This has always been Yui's goal with her offspring.

[And it might be the reason why Rand was never with her again or willing to "have more kids"—putting aside the whole theory of him not being Kousuke's biological father.]

This chapter shows us that Yui is not afraid of drugging or murdering to get her way. She's not afraid of exposing perhaps the truth that he isn't Rand's son (if that turns out being true) so long as she gets to keep control of her priceless pawn.

If Rand were to show Kousuke love now, if he were to stretch out that hand in spite of Yui's threats and her only recourse was killing him or revealing he's not the father, then she will do it.

She has said it with her own mouth.

She is not on Kousuke’s side. If Rand is gone, he will have no one—because she’s not on his side, actually.

This is what Yui wants.

She wants to surround him with people loyal to her, obedient to her, and serving her interests. If not, she will cut them out. She will not allow anyone to steer Kousuke away from her agenda and she has laid the threat very plainly, once more.

This is not the first time she's given Rand an ultimatum.

The difference now is their age, perhaps their power levels being a lot more matched, and the kids being essentially adults so Rand is willing to risk more.

[We could also argue that Yui wanted Shin Ae as Kousuke's assistant because Jayce has always been Rand's man, but that's a whole other post for a different time.]

Yui has never cared.

And she’s not beyond tossing Kousuke when he’s no longer useful to whatever she needs.

The people who think "I want what's best for him" is genuine have really missed all the clues laid for us before this decisive moment.

She's always taken pleasure from Kousuke's discomfort. Back at his birthday, in those flashbacks at the park when Kousuke comes back from meeting Nol and Nessa, and even through Meg's harassment.

That she would be amused by Rand, Nol, or Shin Ae's misery wasn't surprising, but what gave her away was when she was tickled by her own son's suffering.

And now nobody can argue otherwise because episode 221 exists.

[ellesliterarycorner]

What My Followers Want to See More of in Female Characters

My favorite thing in my WIP is all the badass female characters I have. I love writing about the bonds, friendships, relationships, and rivalries between them. It makes my little heart so happy! And, I will be the first person to admit that I hadn’t even thought of some of the things you guys suggested on our little instagram poll, but I cannot wait to add some of them to my story! Even though we’ve made so many leaps and bounds with the way female characters are portrayed, I still think we’ve got a long way to go, and if you guys include half of the stuff you suggested in your stories, then I think we’re gonna be okay. Once again, I didn’t change anything that you guys wrote, so there are gonna be some repeats on the list, but this time just because the list was getting so long, I did take out a few things if I saw that several other people had suggested it!

“Nerdy” or sporty girl who gets a love interest without a makeover or changing herself 

super girly femme characters shown as a complex person

making her own decisions, if good or bad

a strong female character without a tragic backstory 

gender non conformity!! 

Being openly children and not changing her mind about it

chubby and flaws and not having a crush with every cute boy they see 

girlie girls who are still really powerful 

self reliance but still having emotion, not being ice cold but not needing a a man 

lesbians who’s entire character arc isn’t about them being a lesbian 

having body insecurities eg wanting to be flat-chested

women in politics and women that have classic “man” as well as “woman” characteristics 

independence 

be less oblivious lol and more like real people who pick up hints 

not dead caring moms.

comic relief female characters

not minding about liking “girly” things/ having a bunch of friends who are boys but there is no romance between them 

being a mother doesn’t mean giving up ur dreams and settling for less,

having mcs that actually make smart decisions 

a bad ass character that loves kids and wants to have them in the future

not taking abuse cause they think it’s love 

ball gowns and pretty stuff for themselves and not for a mission or anything 

more bold female characters since many females are shown as shy 

having a big appetite 

female characters who can be cool without having to wield swords 

willingness to do domestic work with a cheerful heart 

women whose strength is their intelligence 

women who are not afraid to be feminine or strong 

strong mother figures 

girls that are the lead in their relationship over the boy 

more actual girly interests 

the women you least expect to sing the best 

strong women who like feminine stuff 

being happy without a romantic relationship 

black females being protected or vulnerable for once 

ending up single 

hanging out with male friends with no romantic subtext 

females who aren’t super pretty

ultra femininity (pink, dresses, glitter, makeup) that isn’t seen as bad/evil/weak 

allow them to look up to/admire male peers rather than feel inferior or as if they have something to prove 

traditional “femininity” isn’t regarded as weak! Can cook/sew/clean and it’s normal : )

Female characters who are funny and make quips 

soft, kind women, who are still powerful. I don’t like the mean strong girl stereotype : (

Not forced strong women. Just relatable and human ones. We all have strengths and weaknesses 

less insecurities. Yes, we all have those, but it’s becoming stereotypical, mostly in YA 

I want them to be strong without being upright bossy 

strong women who also embrace their feminine side 

a girl with menstruation

ego actions- I feel like only male characters can throw ego actions while fem characters are classified selfish 

nonbinary female characters 

has a twin 

sarcasm and general impoliteness without making them the bady guy 

them being warriors or soldiers and that’s normal, nobody questions it 

villains and manipulating 

autistic female characters 

being single throughout the story. Some people like being single, thank you very much 

not being the perfect pretty little thing. Having an interesting personality and thoughts, dreams outside of relationships and being a badass 

a morally grey female character like y r those only men 

girls and women in healthy relationships with personalities aside from their S/O

girls who can be strong and confident while still being emotionally vulnerable 

also, girls who own huge “aggressive” dog breeds

groups of girls doing really impulsive things together like all guy friend groups do 

strong, but not jerks about it and not looking down on things like sewing/cooking/etc 

shyness that doesn’t need to be “fixed” or overcome 

well written romances- straight and gay (ie not ones that objectify one partner or the other) 

“strong female characters” who are gentle and caring! Tough doesn’t mean heatless! 

women who care more about the plot than their inconvenient love life 

girls who empower other girls and don’t play into internalized misogyny 

i’d love to see women putting forward their ideas and having their voices heard more : )

Strong in their own way, not just hands on fighting stuff. Like mentally strong 

less who are arrogant and rude to the male protagonists who they fall in love with anyway 

More LGBTQ+ women! 

Oh and more female protagonists who stay single 

being average looking, not a hot model and being okay with it 

Not falling for “bad boys” 

saving herself or another character from a dangerous situation 

not wanting marriage or children and people being okay with it 

not obsessed with  looks 

being good at math and sciences 

not being sexualized constantly (or at all) 

being just friends with straight male characters 

being like other girls 

having a life outside of romance 

to not need a man, but also not to be a stereotypical “bad girl, I don’t need man” authors need to find a medium between the two 

drinking, swearing, anything deemed “masculine” 

confident women who embrace both their femininity and masculinity

empowering other women

somebody with variety of interests and skills that are shown to be important to her badass female characters who are genuinely kind/even loving 

strong women who don’t discredit the model of the ideal woman of the time in historical fiction 

older women protagonists! I’d love to read about middle aged female heroes

females that aren’t afraid to be themselves 

strength without being a “baddie” or at the expense of others 

emotional sensitivity that isn’t linked to mental illness, men, or a weakness in character 

a chaotic neutral female protagonist 

physically strong/skilled female characters that remain feminine and aren’t femme fatales 

female characters that don’t particularly fit into a trope as that’s not really realistic

[parismystere]

like, the issue with marinette's character (aside from the fact that she seems to attract an uncomfortable amount of people who project so hard on her they want everyone to worship her) is that she's not allowed any actual vulnerability or weakness, because she's written by men who are determined to create a Strong Woman™️ character. all of her flaws are meant to be seen as endearing/relatable to the audience, or are promptly discarded to make marinette a prodigy at everything she does. we never see her train to become the guardian or anything like that. she goes from being bullied for years to becoming class president to being everyone's favorite person in weeks? all of her losses happen in the fucking season finale episode, and always end up being gains for her in the long run. it's just impossible to sympathize with a character if everything about her is meant to be perfect and cute. and as much as fandom wants to beat the drum about her suffering, astruc literally said that she had a breakdown for ONE episode (gang of secrets) and then immediately overcomes it.

as much as i hate the way adrien is treated in canon, i'm happy that he's allowed to be weak and sad and lonely and confused. i think it's fucking shitty that THE abused kid character always plays second fiddle, but what can you do.

anyway, marinette would never get akumatized bc the showrunners actually see it as a display of weakness, and marinette is apparently too optimistic and superior to us mortals to succumb to an akumatization lol. such bullshit.

[somewhatgreatexpectations]

In the Middle (Wanda Maximoff/ Reader)

Hello!

Double Lizzie! The beginnings of chaos start here. Enjoy! :)

Summary: Y/n and Wanda take a step forward, but is Leigh taking steps back? Featuring a glimpse into the past.

A comfortable silence had settled in the air at Wanda’s apartment as you both sat side by side, enjoying the peace that came whenever you were together. Being together brought you both comfort even if no words were spoken. You turned your head when Wanda suddenly began speaking so she knew she had your full attention.

She always did.

“You know, I spent so many years angry at the world. Angry that it took my parents, my brother.” Her gaze fell to her lap. “For a long time, it seemed like my life was destined for tragedy and I blamed the world for it.”

Your heart fell. She deserved so much more than what the world gave her. “Do you still feel like that?” You asked quietly, knowing that she had every right to.

“No… It’s like I forgave the world when I met you.” Wanda admitted quietly, her eyes vulnerable when they lifted to meet your gaze. Your heart stopped.

Before your mind could process what you were doing, you gently took her face in your hands and pressed your lips to hers. Warmth spread throughout your body on contact as you became completely overcome with feelings for the beautiful woman sitting before you. You couldn't fight it anymore.

Until you realized what you had just done.

Fearfully you pulled back, watching the way Wanda was frozen in place. “Wanda, I am so sor-” Before you finish your apology Wanda came to life as she leaned forward and connected your lips in a deep kiss. Her hands slid up your shoulders until they were rested on each side of your neck, moving as close as physically possible.

The rest of the world fell away as you lost yourself in the kiss. All that mattered was Wanda. All you would ever know again was Wanda’s lips and the sweet scent of sandalwood invading each of your senses until you were sure you didn’t even know your own name anymore.

You felt at home.

Wanda eventually pulled away, a soft laugh falling from her lips when you chased after her lips. You couldn’t help it, you were addicted after the first taste. “Y/n.” Her giggle was muffled against your lips. “I need to breathe.”

You tenderly cupped her face in your hands, your lips never leaving hers. “Breathing is overrated.” You mumbled unable to stop the smile that formed automatically at the sound of her laughter. “Okay, okay.” You pulled away when your matching smiles made it impossible to continue.

Wanda bit her lip as she watched you, her eyes glimmering happily under the dim lights of the room. “I was wondering when you’d finally do that.”

“I was waiting longer than you know.” You admitted softly, reaching over to tuck a loose strand of hair behind her ear.

A knowing smile spread over Wanda’s lips. “I think I have an idea.”

Your eyebrow quirked in amusement. “Is that so?”

She nodded slightly, the look in her eyes making your heart flutter. The teasing smile on her lips fighting to break through. “It is.”

When she looked at you like that you couldn't help but feel like you were you were meant to be. I’m falling for her so fast. You thought dazedly to yourself, losing yourself in her eyes.

Her cheeks tinted pink. “Why are you looking at me like that?”

“I’m just happy.” You admitted with a smile. “Things are better with you... Including me. I’m better with you.”

Wanda’s smile was blinding as she took your face in her hands and tenderly pressed her lips against your once again. Your lips falling easily into the rhythm, as if it was where they were where they were destined to be all along.

______________________

“Leigh… Please… Don’t marry him. I love you.” Your voice shook with each word you spoke, and your vision swam with unshed tears. “And I know you love me.”

Leigh’s lip quivered when she finally met your gaze. “Why are you doing this? Please, don’t do this.” She pleaded.

Shakily, you made your way forward until she was within touching distance. You took her hands in yours and breathed out an unsteady breath of relief when she didn’t pull away. “You needed to know. I love you.” You lightly squeezed her hands. “Please, Leigh, chose me. Run away with me. I know you feel it too.”

Tears flowed steadily down Leigh’s cheeks. “You’re my best friend.”

“Don’t.” You whispered. “We’re more than that and you know it. Friends don’t know the way you taste.”

Leigh’s eyes shut as her face crumpled in pain. For a moment the only sound that filled the room was your shaky breathing. “I do love you.” She finally whispered, and your heart soared because for a moment you were sure you could finally be together.

“You love me?” You rested your forehead against hers, your heartbeat faltering at the way your breath mingled. She nodded, but her eyes remained closed. With unsteady hands, you placed one of her hands lightly over your racing heart. “Does it feel this way to you?”

Her head fell slightly as you gently wiped away the streaks of mascara that had left a trail down her cheek. “Y/n...”

It was over. You knew it in the way she said your name.

“The day we met, I knew I would love you. Even as a child, I knew. I knew I was putting my heart in your hands and giving you the power to crush it. I knew I would leave it with you no matter how many times you did.” You admitted, needing her to know.

With trembling hands you tilted Leigh’s head up to meet your eyes. Your palm slid against her cheek to lightly caress her jaw.

The way she naturally leaned into your touch broke your heart even more.

Her breathing became labored. “Why? Why not just avoid the hurt?”

The tears in your eyes teetered precariously on your eyelids as they threatened to fall with each word you spoke. “Love is a gamble and I knew there was always a chance that I’d get hurt. That I’d have to watch it all crumble underneath me. That we’d always end up like this… But I had to try.”

When her eyes lifted to meet yours again, your heart fell. It was done. A part of you knew it would never be you. “I’m sorry, Y/n.” She said faintly, her voice breaking.

With a deep breath you dropped your hand from her and wiped away your stray tears, forcing a weak smile on your face in the process. “You don’t have to apologize, Leigh. I don’t blame you for any of it. You never took anything that I didn’t give you willingly.”

"I never wanted to hurt you."

A silence settled between you both as you stayed in limbo. Knowing that the moment either of you moved everything would change.

As much as it killed you, you knew it had to be you.

Gently, you placed a soft kiss to her cheek as you unsteadily stepped away from her. “I’ll be okay. I just want you to be happy.” Your chest clenched with the knowledge that her happiness could never be because of you. You took her hand one final time in comfort. “It breaks my heart that this is what we have to become to each other... It breaks my heart to say goodbye.”

The admission caused Leigh’s breath to hitch as her tears began to fall more rapidly. Her grip on your hand tightened. “You don’t have to say goodbye. You’re my best friend. You can still be that.” Her eyes were wide, pleading. Pleading you not to go.

You took one final look at her. Of how beautiful she looked in her white dress. Not even the tear stains that marred her cheeks could take away from her beauty.

With a deep breath, you began taking slow steps backwards, your connected hands between you being the only thing anchoring you to the room. “I’m sorry.” You whispered as you finally dropped her hand and walked out the door.

You sat up in bed with a gasp, furiously rubbing your temple as if you could physically erase the memory that had infiltrated your dream. The sunlight seeping into the room grounded you as you tore your mind away from the moment that you hadn’t thought of in almost a year.

The blaring of your phone in the late morning air reminded you why you were woken up in the first place. A quick glance at the time let you know you should have been awake regardless.

With an annoyed groan you grabbed your phone and looked at the screen just in time to see Leigh’s name disappear. It had been a week now since her birthday and you were ashamed to admit that you had been avoiding her various calls and texts. You had sent her one message to let her know you needed space.

You needed time alone to tend to the wounds that her words had left you with. Well… almost alone.

Wanda was the exception.

Despite whatever you were feeling you couldn’t help but seek her out. To seek out the daylight that she seemed to bring into your life. She was warmth even under the shroud of mystery. Your mind was so lost in thoughts of the Sokovian woman that you almost missed the chime of your phone that indicated you had a new message.

A voice message from Leigh. That’s new, you thought to yourself as your finger hovered over the message, not sure if you wanted to hear it. In the end your curiosity won over as the message began to play over the speaker.

“Y/n. When you said you needed space you didn’t tell me you were never going to speak to me ever again. It sucks that we were in each other’s lives again and now you’ve dropped off the face of the earth. I think it sucks.” A humorless laugh floated over the line. You shook your head at her frustrated tone. “And you know what? You said you’d be here. If I need you, you said you’d be here and now you’re ignoring my existence. So, why don’t you just think about that next time you decide to ignore all of my messages.”

With a groan you tossed your phone to the side and flopped back on your bed. All you had wanted was an ounce of remorse, maybe not for what she said but for the way she said it at least. You’d call her back.

Just not right now.

___________

The chart in your hands distracted you as the pressures of your life began to overwhelm you. In hopes of avoiding conversation for the time being, you rushed into your office for a moment of reprieve. When you had finally reached the safety of the office you dropped your head on your desk with a tired sigh.

It had been a long week

A soft knock on the door caught your attention a few minutes later. You couldn’t be bothered to lift your head. “I know, I know. I’m going. I just needed to collect myself after my last patient. It was… heartbreaking.” Your voice was muffled by the desk pressing against your face, but you didn’t care.

“Do you want to talk about it?” You knew that voice and it wasn’t your colleague. A groan fell from your lips before you could stop yourself. “Y/n.”

Briefly you considered slamming your head on the desk to avoid the disaster that this conversation was sure to be. “Now is really not a good time, Leigh.” You grumbled into the desk, clenching your eyes shut.

Leigh stepped further into the office as she closed the door behind herself. You begrudgingly lifted your head to meet her eyes. A tentative smile adorned her lips when you did. “The nurse outside said you have time in between patients.”

You pushed a hand through your hair in frustration, making a mental note to have a talk with said nurse later. “I have to prepare.”

Leigh ignored your words. “You’ve been ignoring my calls and texts.” She said flatly.

It was clear she wasn’t going to let this go. You bit back a groan. “Yeah, well, you made it pretty clear you didn’t want anything to do with me.”

“I-I took the week to myself to think.” She tucked a piece of hair behind her ears.

You sighed, rubbing at your temple. “That’s great, Leigh. I’m happy for you. Now if you don’t mind…” You gestured to the door. “I’m really busy right now. Thanks for stopping by.”

There was silence that followed your words which could only mean one thing. Disaster.

When you looked up again, Leigh’s eyes were watery, and her lips were set in a line. She was angry. “We’re in the exact same place we were two years ago when you disappeared from my life. This can’t keep happening!” She marched forward, so she was towering over you. “You can’t just be my friend one minute and a complete stranger the next! You can’t be there and do all these thoughtful things just to disappear again.”

Not wanting to deal with the conversation you picked up your clipboard and moved to leave. Leigh blocked your path. “Leigh, let me go.”

She shook her head in response. “No. I’m so sick of this! Why can’t you just be my friend?”

In disbelief you threw the clipboard on the floor. “Are you serious? I tried to be!” Leigh jumped in surprise. “You make it so hard! One minute you’re kissing me and sleeping with me and the next you’re pushing me away and screaming in my face that I’m pathetic!”

Leigh’s eyes were wide in surprise, usually you wouldn’t bring up the nights you shared together. Like an unspoken agreement. You sighed and picked up the clipboard again, turning away from her as you attempted to collect yourself. “Y/n. I’m sorry.” You could hear her take a deep breath. “I didn’t mean what I said.”

You kept your back to her. “Why say it then?”

“I don’t know! I lash out and I don’t know why.” Leigh moved so she was standing directly in front of you. “I’m just- I’m angry. All the time. But I feel a little less angry when you’re around.”

Even with her guard up, you could see the glimpses of vulnerability that shined through with her words. You sighed, knowing you were about to step back into the hurricane. “I understand, Leigh. It’s fine. We’re fine. I’m fine. I’m used to it.”

Leigh looked at you as if she'd just been hit. “Used to it?”

“Your words. I can manage. So, let’s just forget about it.” You said with a sigh.

Her brows furrowed as she watched you. “Yeah… okay... Wait, no-”

Before she could finish, your pager went off indicating you had to leave. “I have to go now, but friends?”

As soon as you saw Leigh begin to nod you ran out. “Yeah, friends…” She mumbled as she stared out the door you had just run out of.

______________________

As soon as your shift ended you took and shower and changed out of your scrubs. Eager to see Wanda again even if your conversation with Leigh was still lingering heavily in your mind. Thankfully her apartment was just a short drive away and you were knocking on her door before you knew it.

“Hi.” She greeted with a smile that you easily returned, feeling the weight lift from your shoulders ever so slightly at the sight of her. “I was beginning to wonder when you’d be arriving.”

Leaning in you placed a soft kiss on her lips, relishing in the way her cheeks flushed. “Sorry, it was a hectic day at work.” She pushed the door open further and ushered you inside, pulling you into a deeper kiss as soon as the door was shut.

After a few minutes Wanda pulled away, shaking her head in amusement at the way you dazedly stared back at her. “Why was work hectic today?”

You hummed in response not quite hearing her words even though your eyes had never strayed from her lips.

Wanda laughed at your response, snapping her fingers in front of your face. “Y/n.”

“Right!” You smiled at her innocently as you followed her into the kitchen. “Just some difficult cases with my patients.” You answered, purposely leaving out what happened with Leigh.

Explaining what happened with Leigh just meant you would have to go into the history you shared with her. The thought alone terrified you. It terrified you to think about how Wanda may react to the information. You didn’t want to lose her because of your past.

Instead you decided to avoid all together telling her despite countless opportunities.

Wanda began stirring something on the stove as you washed your hands. “Do you want to talk about it?” She asked. The concern in her eyes made guilt bubble in your chest.

A heavy sigh escaped your lips. “I just wish there was more that I could do for them sometimes.” You explained as you dried your hands and moved to stand behind her, leaning your head against her shoulder.

She placed down the utensil in her hand and turned so she could rest her hands on your hips. “Hey, what matters is that you don’t give up. You keep trying when others wouldn’t.” Wanda reassured you as she lifted a hand to lightly caress your cheek. You leaned into the touch.

Just tell her. You thought to yourself, trying to work up the courage.

The hand on your cheek tensed slightly and you could see Wanda’s brow furrow. “Is there something else you want to talk about?”

You tilted your head in confusion. “No, why?”

Wanda turned back to the stove. “Just making sure.” She pointed to the carrots on the counter. “Do you mind chopping those for me?”

Playfully you saluted her and turned to the carrots. “Aye-aye, captain.” She laughed, and you couldn’t help but smile back at her, getting distracted for just a moment as you watched her cook.

Everything really is better with her. You observed to yourself before turning back to the carrots, not catching the way she smiled to herself at the stove.

“Wanda, this is amazing!” You praised as you took another bite of the dinner she had made. “Honestly, is there anything you can’t do?”

A bashful smile spread across Wanda’s lips as she pushed the food around her plate. “I can’t take all the credit. It was a recipe my mother taught me in Sokovia.”

You reached out and took her hand from across the table. Smiling slightly when Wanda’s eyes met yours. “She would be so proud of you.”

Wanda wordlessly lifted your hand to her lips and pressed an affectionate kiss to your knuckles as your conversation settled into much lighter topics.

When you had both finished dinner, Wanda took your plates to the sink. Not before threatening to kick you out of the apartment if you attempted to help her clean. You simply raised your hands in defeat and shook your head at her pleased smile.

Only moments after she had walked away, a phone buzzed on the table. Wanda’s. Before you could stop yourself, you glanced over. Your brow furrowed in confusion at the message that flashed across the screen before it went dark again.

Steve

I need you. Meet me

tomorrow morning.

Usual place.

Before you could think about it much more, Wanda made her way back over to the table. “Do you want to watch a movie?” She asked as she picked up her phone.

You nodded slightly as you analyzed her expression. “Sure. Is everything okay?” You attempted to ask nonchalantly when you noticed her type a quick reply.

Wanda hummed. “Everything is fine. It was just Jules asking me a question.”

A pit settled in your stomach with the knowledge that she had just lied to you. Why was she lying to you?

Part 4! Been loving all the commentary! This part was a journey to write, but now you all have some important insight into y/n's history with Leigh, was it really one-sided? Plus, Wanda and Y/n have ventured into even more romantic territory but they both still have secrets. Alsooo the voice message loosely follows actual dialogue from "Sorry for Your Loss".

Team Leigh vs. Team Wanda, go!

Thoughts and comments always welcome! :)

(p.s. I listened to "Dandelions" By Ruth B. for the first Wanda scene and it made it so cute for me idk, just thought I'd share.)

Tag list:

@khiaraaa-in-spacee // @causeitswhatjesuswouldfreakingdo // @halobaby // @madamevirgo // @aimezvousbrahms // @trikruismybitch // @marvels-writings // @izalesbean // @imdreamingblo // @i-choose-you-cyndaquil // @helloalycia // @scarlets-maximoff // @cantcontroltheirfear // @women-am-i-right // @funnysoldier // @myfavoriteficss // @imapotatao // @imagine-reblog // @blackxwidowsxwife // @purplemeetsblue //@cristin-rjd

[variousqueerthings]

Daniel LaRusso: A Queer Feminine Fairytale Analysis Part Two of Three

Part 1

Part 3

6. Sexual Awakenings part 1: Love, Obsession, & Size Differences

[Insert that post talking about the creators making sure that Daniel’s antagonists were much bigger than him so that the audience would sympathise, spawning 10000 size kink fics]

I’m sure this won’t awaken anything in Daniel

Corporate wants you to find the difference between these two pictures

The hallmark of feminine fairytales tends to be growing into womanhood, with all those symbolic sexual under/overtones, searching for a prince, encountering monsters (or evil stepmothers), on the surface tending to be quite passive/reactive, but actually being about young girls and women getting out of their environment and choosing to tussle with those deep, dark desires – monsters. They’ve got to function within the limitations of power that they have – escaping an abusive situation through marriage, chasing forbidden desires under the guise of duress, asking questions about sexuality through things like symbolic plucking (flowers) or consumption (fruit) or pricking (needles), etc.

Daniel isn’t striking out to find his fortune or win a girl or a kingdom Like A Man, he’s not a threat to Silver, who – like Jareth in Labyrinth – is in control for almost the whole of the narrative, he’s not actually able to do much more than react until he makes the decision to stop training, and even then he’s immediately ganged up on and assaulted, needing to be saved by Miyagi while he stands and watches, bloodied and bruised. 

Daniel’s journey in the third movie is to be forced into an impossible situation, seduced by Silver, and then prove that whatever violence Silver did to him isn’t enough to destroy him. It is incredibly similar to Sarah’s in Labyrinth, who by the end declares: “you have no power over me,” and that’s her winning moment. Not strength, not wits, not a direct fight, (although Daniel does fight Barnes and gets beat up again – only winning in in the end by taking him by surprise, unlike in TKK1 or TKK2 where you could argue that he proves himself to be a capable physical opponent to Johnny and Chozen), but by declaring that whatever power was held over her is now void.

Daniel’s narrative isn’t satisfying in the same way, because the dynamic of Silver and Daniel only accidentally emulates this - it’s not an intention on the side of the film-makers.

When Miyagi tells Daniel that he has strong roots, when he tells him not to lose to fear and Daniel wins over Barnes (in an almost fairytale-esque set of events), on paper he’s defeated whatever hold Terry Silver has over him. In the film itself though, Daniel never defeats Silver (which will likely be confirmed once he returns in Season Four). Daniel cannot simply say “you have no power over me,” and see Silver shattered into glass shards. 

The film is a contradiction: It wants to be a masculine sports film, but it exists in the same realm as Goblin Kings seducing young girls with the promise of: “Just fear me, love me, do as I say, and I will be your slave.” Unlike Sarah, Daniel doesn’t claim the power that’s been promised to him on his own terms. His subtextually sexual awakening is so corrupted that all he can do is pretend it never happened.

Still, Daniel proves in the film that his strength is not in his fists. It’s in his praying to the bonsai tree that’s healed despite a violent boy brutally tearing it in two.

These looks on Daniel and Silver though?

So why does Silver become obsessed with him? What’s up with all those red outfits (that he doesn’t wear in Cobra Kai)? What does the temptation reveal about Daniel? How does it recontextualise TKK1 and TKK2? Is Daniel bisexual? (yes).

Ah, beach-Daniel, in your red hoodie and your cut-off jorts. Iconic hot-girl summer vibes. 

If you didn’t want me over-analysing this, you shouldn’t have put him in so many red outfits and then have this man leering at him like he wants to eat him alive.

Surface-level it’s not hard to read into a Dude Story: Masculine power fantasies are about strength in a very direct way. Fighting, control, suaveness – and if you’re not the most traditionally masculine of guys, asserting dominance through being a good lover or intelligent or overcoming that unmanliness in some way through beating the bully or convincing the hot girl to go out with you, levelling up in coolness. Being A Man. It’s not too dissimilar from Daniel’s arc in the first movie, if you watch it without taking later events into account, although Daniel is never interested in proving himself as a man, and more in making Miyagi proud. Still, he does win and gain respect, and arguably “get the girl,” although Ali’s interest in him was never dependent on the fight.

7. Sexual Awakenings Part 2: Sexual Assault, Liberation, and Queerness

Feminine power fantasies are often about sex. Metaphorically. More accurately it’s “owning sexuality.” Even more accurately: “Freedom.” They also inhabit a fluid space in which empowerment through monstrous desires and non-consent can happen at the same time. And on top of that, many of these “fantasies” are actually being written by men, so whose fantasy is it really? A lot of them are based in oral traditions so presumably they were originally from the mouths of women, even if modern iterations (starting with Grimm’s collections) are filtered through cis men’s perspectives.

All of that being acknowledged: In Angela Carter’s “The Company Of Wolves,” Red Riding Hood unambiguously sleeps with the wolf. Belle discovers her freedom from expectations and unsuitable suitors (and in some versions, evil stepsisters) by falling in love with a Beast (the original novel was written by a woman, the 18th century Gabrielle-Suzanne Barbot de Villeneuve). Jareth informs Sarah of his obsessive devotion to her in Labyrinth. To lean into horror for a moment – Buffy is stalked and eventually has relationships with both Angel and Spike, Lucy in Coppola’s Dracula (which I have mixed feelings about) is raped by the werewolf and Mina is stalked by Dracula, The Creature Of The Black Lagoon kidnaps Kay (the lead’s girlfriend) – subverted in both The Shape Of Water in which Eliza forms a consensual relationship with the amphibious sea-god and in the short-lived horror series Swamp Thing, in which the connection is purposefully framed as seductive…

and in The Karate Kid Part Three Daniel LaRusso punches a board until his hands bleed because an attractive, older man tells him to and in this moment he gives in to what he (thinks he) wants.

Not all of those examples are equal. Some are consensual, some are hinted as abusive and/or stalkery, all of them have large age gaps, and a few are outright non-consensual.

But they’re all fantasies.

They’re all power-fantasies.

Except for Daniel, because he’s a man and the idea that being obsessed (lusted) over by an older man who keeps you in his thrall, specifically because you tickle his fancy for whatever reason, because you’re beautiful, breakable, different – could in any way be considered empowering is a difficult concept to wrap your head around. It doesn’t contain that “but I’m a good girl, I’d never go off the path and pluck flowers if a bad wolf told me to, honest,” societal context or the social context of rape culture. It’s closest comparison is closeted (perhaps even unknown until that point) queer identity.

There have recently been some comparisons of Daniel LaRusso to Bruce Bechdel in Funhome (and everyone who says that Ralph Macchio ought to play him in the upcoming movie: you’re right and I’m just not going to enjoy it as much without him). I’ve written a post about Sam being the heir to his legacy and trauma, specifically as a queercoded man. It’s not dissimilar to the plot of Funhome in a lot of ways.

The other interesting source that’s been going around in connection with Daniel is the essay “The Rape of James Bond,” which discusses the use of sexual assault as a plot device for women and not for men: “About one in every 33 men [in the US] is raped. … [your statistically average, real life man] … doesn’t have a horde of enemies explicitly dedicated to destroying him. He doesn’t routinely get abducted, and tied up. Facing a megalomaniac psychopath gloating over causing him pain […] is not the average man’s average day at the office.” That last bit is just a descriptor of Terry Silver, (although I take issue at the blasé use of psychopath).

The two part youtube essay  Sexual Assault of Men Played for Laughs posits that there is nothing more de-masculinising than the threat of sexual assault and therefore any narrative that features this “rightfully” must mock any man who has been a victim or who fears being a victim of sexual assault. It is feminising. There is nothing more humiliating – and therefore unheroic – than a man dealing with sexual assault.

So what do we feel when we see an attractive young man being put into a vulnerable position by an older man? A trope associated with female characters, a trope that is considered unpalatable for men (see reactions that happened when the hint of sexual assault was introduced in Skyfall).

Was it the fact that he was being threatened, or the fact that James’ next line is: “what makes you think this is my first time?”

Some thoughts added by @mimsyaf​ are around the idea of safety in how a lot of cis women might relate to this narrative through Daniel’s eyes. He’s not a woman, he has – societally – more power than a girl or woman would have, which makes this a different watch to, say, if Danielle were to go through the same narrative. Daniel doesn’t carry that baggage of rape culture, or of the male gaze that you might find in a similar scenario of Buffy the Vampire Slayer or Christine in Phantom of the Opera (and once more the age differences between these characters and the men who love/lust over them are substantial), which makes the narrative “safer” to engage with.

I agree with that, although as a transmasc person I also come at it differently. I specifically like to headcanon Daniel as a trans guy and find his fraught interactions with masculinity through his own non-toxic lens relatable, as well as the way other boys and men react to it – also I think Terry Silver is hot. I know there are people who write Terry Silver with female OCs, which is also a form of empowerment.

On the flipside putting Daniel in this space runs a risk of fetishising him as a queer youth who is either Innocent and Pure, or a bisexual stereotype that deserves to be assaulted for not being a real man. After all, Real Straight Men don’t run the risk of sexual assault.

 Alas, the road to empowerment never did run smooth. 

The comparisons between the way Daniel is treated by the text and how female characters are often treated in texts are undoubtedly there. Through Ralph Macchio and TIG’s casting and the direction and acting, but also within the text itself. 

It might not be with the same purpose as Neo’s symbolically trans journey, but it puts the whole narrative that Daniel’s going through from TKK1 under a different light than if there had only been one movie that ended on a triumphant sports win and a girlfriend.

Johnny’s masculinity and the use of tears as liberation, now that’s a whole other analysis….

[thinkingisadangerouspastime]

(pt 1) i really enjoy all your atla analyses & you've done a great job breaking down the usual arguments re how eip shows that kataang shouldn't have happened. i'm curious about your take on one specific argument that i just saw today, in an analysis of the show by a zker that was otherwise quite good and respectful (i know you've already talked about eip a lot, so no problem if you don't feel like rehashing). the premise: aang didn't just pressure katara in eip, he threatened her.

(pt 2) they point to when katara joins aang & asks if he’s alright: “aang: no, i’m not! i hate this play! katara: i know it’s upsetting, but it sounds like you’re overreacting. aang: overreacting? if i hadn’t blocked my chakra, i’d probably be in the avatar state right now!” the suggestion is he’s threatening her when he says ‘i’d probably be in the avatar state right now’ to describe his anger. i think this take exaggerates and oversimplifies it, but interested in your thoughts on it.

Hello my friend!! It is true I am Old inside and don’t like rehashing dhdlksjslks BUT your comments on my posts are always incredibly kind and insightful so I am more than willing to do a bit of rehashing for you 🥰 Besides! I’ve seen this general take before a few times and it’s always irked me for the exact reason you point out - it simultaneously exaggerates and oversimplifies the situation (and honestly that’s an impressive duality since it’s seemingly contradictory, so hats off to them lmaooo) - and now is as good a time as any to address it. So, for starters, let’s go ahead and get the excerpt they love to focus on so much:

Cut to Aang standing alone on a balcony. Katara enters and walks up to him.

Katara: Are you all right?

Aang: [Angered.] No, I’m not! I hate this play! [Yanks his hat off and throws it on the ground.]

Katara: I know it’s upsetting, but it sounds like you’re overreacting.

Aang: Overreacting? If I hadn’t blocked my chakra, I’d probably be in the Avatar State right now!

Here’s the thing about so-called analyses of this excerpt: in a manner extremely convenient to the poster, they never seek to contextualize this moment. (I mean, to do so would deplatform their entire “argument” - perhaps that’s why they avoid performing a full analysis?) So let’s avoid that pitfall from the start.

Firstly, below are some links to related posts; I’m going to do my best to summarize the most relevant parts, but for anyone who desires greater detail, I gotchu 😤

This post explains why EIP (the play, lol) is imperialist propaganda and is intended to belittle the entire Gaang.

This post explains how Aang never acted “entitled” to Katara’s affections, particularly in regard to EIP.

This post breaks down the infamous EIP kiss like Snopes Fact Checker, covering common misconceptions, important perspectives to consider, etc.

Alright. With that out the way, it’s time for some context.

Aang and Katara have this conversation on the balcony after watching 95% of “The Boy in the Iceberg,” a play chock-full of Fire Nation propaganda that demeans the entire Gaang in order to prop up the Fire Nation as superior (hence why the play ends with Ozai’s victory). Here is my general breakdown of Aang and Katara’s treatment in particular from a previous post:

- katara, an indigenous woman, is highly sexualized and portrayed as overly dramatic and tearful, because the fire nation objectifies women not of their own people and views them as less intelligent and less emotionally stable

- aang, the avatar, the sole survivor of the fire nation’s genocide of the air nomads who is incredibly in-touch with his spirituality and femininity, is portrayed as an overly-airy and immature woman. the fire nation portrays him with a female actor to demean him (like, that’s classic imperialistic propagandist tactics) and furthermore writing his character as a childish airhead reinforces the fire nation sentiment that the air nomads were weak, foolish people who did not deserve to exist in their world

In other words, these kids have just watched almost an entire play that preys upon their insecurities and depicts them using racist and sexist stereotypes about their respective nations. It is completely understandable that tensions might run a little high and that their interactions would not be as balanced as usual (Katara and Aang have a great track record of communicating well with each other, as it happens!).

So we have to keep that in mind when examining the aforementioned excerpt. But there are other factors to consider, too! Namely: they are kids. Children. Teens. Aang is 12, Katara is 14.

If we want to be scientific, a person’s brain doesn’t finish developing until they are 25, lmao, and the preteen/teen years are when the prefrontal cortex that controls “rationality,” “judgement,” “forethought,” etc. is still developing. This doesn’t mean Aang and Katara are irrational and make poor decisions 24/7 (obviously not), but it does mean that in an intense, highly emotional situation, like after watching a play that intentionally demeans them and depicts them as inferior, they are more likely to overreact, more likely to be emotional, and more likely to make mistakes. Like, I’m serious, lol. “Teens process information with the amygdala.” That’s part of the brain that helps control emotions! It’s why teens sometimes struggle to articulate what we’re thinking, especially in situations that require instinct/impulse and quick decisions, because we’re really feeling whenever we make those choices. Acting more on emotion. Our brains simply haven’t finished developing the decision-making parts, lmao.

In sum: Aang and Katara are both kids, not adults, and should be interpreted as such. This doesn’t negate their intelligence, because they are both incredibly smart and Aang is arguably the wisest of the Gaang, but they are human. Young humans. They have emotions, and we should not be so cruel as to assume they’d never act on them.

So taking that all together, we can now acknowledge the high stress Aang and Katara are under, understand why they might be upset (*cough* imperialist propaganda is hurtful *cough*), and examine how their youth might play into their emotional reactions. And funny thing - all analyses that come to the conclusion of Aang “threatening” Katara here do not usually bother with this context. I can’t imagine why!

And you know what, let’s add one more piece of context: Sokka states that Aang left the theater “like, ten minutes ago,” which is what cues Katara to go look for him on the balcony. The reason I mention this line is because to me, it suggests Aang knew he was more worked up than usual! He chose to separate himself from his friends so he could process his frustration! He did not take his anger at the play out on them; instead, he purposefully took time and space to be alone.

With that in mind, I don’t understand at all how Aang’s Avatar state quote could be interpreted as a threat? Canonly, Aang is someone who was aware enough of his frustration to separate himself from the others - yet the logical next step is him threatening Katara as a result? He knew his intense emotions were because of the play (which he says himself), so the logical conclusion is that he then pinned the fault on Katara? What?? Sorry, that interpretation has no textual basis, lmao. But I digress!

Aang tells Katara, “If I hadn’t blocked my chakra, I’d probably be in the Avatar State right now!” As you said, this is the line people point to in an attempt to justify their (baseless) conclusion that Aang is “threatening” Katara. So let’s bring in the two key pieces of context: imperialist propaganda and age. Given that Aang is 12, and given that Aang has just watched almost a full play that demeans him and everything his people stood for (and let’s not forget it also mocks his and Katara’s love for each other)…

His reaction is understandable. An exaggeration and needlessly dramatic, but understandable. He feels vulnerable and insecure and Aang is human. He is human and flawed and he overreacts here and I love that A:TLA shows how even our heroes, even people who are truly good at heart and in soul, can get overly upset (especially given the aforementioned circumstances!). Would Aang actually be in the Avatar state at that moment, had it been possible? Of course not! He’s young and he’s hurt and as such he says something dramatic to convey his anxieties and frustrations. The line is not meant to be taken literally, and seeing people do so despite all the factors that should be taken into consideration when analyzing it… Cue a long, tired sigh from me and so many other A:TLA fans.

And to be honest? I cannot fathom how people watch this episode and come to the conclusion that Aang is “threatening” Katara. To me, this episode - besides being a recap episode - is one that humanizes our cast even further. Aang snaps at Katara, kisses her when he shouldn’t (which the story appropriately treats as wrong). Katara pushes down her true feelings and retreats into herself, afraid to start a relationship with the boy she loves because she’s already lost him once before and can’t bear to do so again. Zuko further confronts the hurt he’s enacted upon others, especially upon Iroh. Toph practices being vulnerable and accepting vulnerability from others by conversing with Zuko. Sokka witnesses how others have erased his contributions and labelled him as nothing more than the token nonbender in the group. Even Suki learns that she is not the only person who holds a place in Sokka’s heart and that she can never replace what he has lost.

To watch this episode where our heroes must come to terms with how the Fire Nation deems them inherently inferior, with how they have more fights to overcome in the future with the Fire Nation than a single war, and to come to the conclusion that… that what, Aang is abusive? A monster? Irredeemable? That he would threaten his best friend, someone he loves in every way?

Wow. That says more than enough about the viewer, doesn’t it?

[ambrosiaaddiction]

Not Meant To Be

Word Count: 2,107

Pairing(s): Anthony Bridgerton x reader, Simon Basset x reader

Summary: The Bridgerton family and the Duke have been invited to a picnic that was planned by yours truly. Tensions begin to grow, and things don’t go quite as you hoped they would.

TW: none

Part 2/6

⋘ ──── ∗ ⋅◈⋅ ∗ ──── ⋙

Today’s weather of sunshine and blue skies called for a picnic. I gave clear instructions to Cook that he should prepare a delicious meal and treats, including Simon’s favorite of gooseberry pie. I would never forget something so important about him because it always came in handy.

I then go to find our butler, Charles, and say, “Please send invitations to the Bridgertons and the Duke of Hastings, Charles. There will be a picnic at the park, and do tell them that it will be late at 1pm.” He bows in response, and repeated my words before he left to complete his tasks.

With a nod of satisfaction, I left the main floor then up the stairwell to change my attire. What I was currently wearing fell short of today’s planned event, and I needed to win Simon back. Once inside my bedroom, I closed the door and quickly strode to the wardrobe to see my options.

My thoughts roamed to the man who promised that we would spend the rest of our lives together, which made my blood boil with rage. Men these days were either too dense or too arrogant or had little backbone. Simon was a mixture of having a huge ego and vulnerable when he opens up to the people that know his true personality.

None of this was my fault whatsoever. I left for only a mere three months to study abroad in France, then I return to the ‘wonderful’ news of his engagement to a girl named Daphne Bridgerton. A trip to London hadn’t been something I expected for myself, but I came to the city for him and no other reason.

In truth, Simon technically was still my fiancé, although I knew there was an explanation for everything that took place while I was absent. As a matter of fact, he brushed off the situation like it was a speck of dust that ruined his perfect image to the desperate mamas and equally egotistical lords.

“Good heavens, I’m going to get wrinkles if I keep thinking about the “what-ifs” and not do anything to change them.” I huff in exasperation at my own foolishness, a bit disappointed in myself for having such thoughts when the damage had yet to be done.

After endless decision-making, I chose to wear a yellow dress with a simple pink floral design from the sleeves to the hem of its skirt, and I twirl in front of the mirror with a bright smile. It wasn’t a ball gown, but this would surely make Simon realize that he wants me more than anyone in all of Grovensor Square. It just had to.

I had to admit, the dress itself was too revealing for a lady of my status. Well, at least it would be just myself, Simon, and the Bridgertons alone for a picnic. A reminder to cover my legs repeated itself over and over in my mind, yet I had a feeling that I would catch the attention of everyone’s eyes anyway.

The clock rang the second its big small hand reached 12pm, which meant there was an hour left for preparations and riding to the park. “Marianne! Please call for the carriage, and tell chef to hurry!” I shouted into the air, and I heard Marianne reply from down the hall. Perhaps I was rushing for punctuality-sake, but a host or hostess must never arrive later than their guests.

It was a good thing that mama had long left for tea at Lady Farland’s estate, and papa was probably gambling at the gentlemen’s club again. I certainly wouldn’t be surprised if he came home with news that he either won lost of money or lost a majority of what he gambled. No one could tell me that the picnic was meant to open Simon’s eyes and see just me in them rather than that so-called “flawless” Bridgerton girl.

Nonetheless, I had to get going before they gossiped of my tardiness if I wasn’t already at the location. Time seemed to blur from when I scurried down the stairs to gather everything I needed to when I got into the carriage and made it safely to the park. The next thing I knew, I was trying my best not to laugh at a discreetly explicit joke Benedict had shared amongst ourselves.

Anthony looked like he was going to strangle his brother or maybe he was going to give him a pat on the shoulder? I couldn’t tell because I was too preoccupied with devouring my favorite sandwich while I brushed my shoulder against Simon’s. Of course this got his attention, and he whispered into my ear, “Now is not the time nor place to play, y/n. Behave yourself.”

His warning provoked something inside of me, but there were too many people who would witness the indecency behind my innocent act. “My apologies, your Grace. I’ll be a good girl for you.” I whispered in reply, then continued to enjoy my delicious sandwich as though I did nothing wrong in the first place.

I knew what I was doing to him, and he liked it. He knew what would happen if I went further, and I was fanning the flames with fervor. “Is Daphne aware of our relationship? Sorry, I meant, what it was supposed to become? You know, such as getting married? Living together and in the country?”

Simon’s jaw clenched just like when he used to have me underneath him, calling his name and coming undone by his touch as I squeezed tighter around him. Those nights were by far the best I had ever experienced, and he treated me with such tenderness after we were spent.

“Don’t you remember the great times we had, love? Everything fell apart when I came to London and found you dancing with the red-headed girl in the moonlight.” I scowled under my breath, then I slowly calmed myself down before I could ruin this lovely picnic with a beautiful family and my old lover.

I needed a moment alone, so I stood up and sheepishly excused myself from the blanket before walking away. It was almost as though the night I found myself standing at the lake was repeating itself again, but this time, I knew where I was going and no tears would shed. No, this time was different than last. Instead of crying because I couldn’t control some situations, I chose to think about I would take back Simon for myself.

Seeing Simon chuckle and comment on every little thing Daphne said created small cracks on my heart. I couldn’t think of when he used to do that with me, and I close my eyes to forget all of the recently bad memories. Heavy footsteps approached from behind, but I was too distracted by the wrong Simon had done to me.

“Y/n, are you alright? You left so suddenly, and everyone is worried about you.” Anthony softly called out to me, his hand resting on my shoulder to turn me around and see the miserable state I was in. “I’ll be better, my lord. There’s no need to waste your worry on me.” I mustered a fake smile to dissipate his concern for me, but apparently he had dealt with heartbroken maidens before.

The Viscount gently pulled me into his arms, and rocked our bodies back and forth. I was speechless for I had no idea what he was doing, and yet I didn’t want him to stop. It felt pleasant to be comforted by a warm embrace that held a promise of always being there when it was most needed in times of anguish.

“You are a strong woman, y/n. You don’t need to act as though nothing can break through your walls. You’re still human, and that’s okay. Believe me, I know what it’s like to feel helpless.” He tucked a strand of hair behind my ear, and smiled when I pulled away to stare at him with wide eyes. I always knew what kind of man he was, but the side of him that I admired truly was a rare sight to behold.

What felt like an eternity of comfortable silence was interrupted by Eloise who came searching for her brother and I after he had been gone for too long. “Mama won’t stop spouting nonsense that you’ve gotten lost, brother. We had to stop her from creating a search party.” She snickered at the fresh memory, and it stopped when she realized that Anthony was hugging me unusually close to his chest.

I caught on and quickly pushed myself away, then I fixed my dress before thanking her. “Thank you for taking the responsibility, Eloise. You’ve found us alright, and I believe we best return to your family.” Anthony cleared his throat, a big embarrassed that the particular sister of his had seen something she would never let go.

“Yes, Miss Denbow is right. Let’s return before mother actually gathers a search party for three people.” He leads the way, and I smile awkwardly at Eloise as I walk past her. I then let out a breath I didn’t know I had been holding in since she found Anthony and I, but I hoped that she wouldn’t mention it when we got back to the picnic.

Once there, Lady Bridgerton literally shed tears of joy as soon as she saw my face and brought me into a hug. What was with the Bridgertons and hugging? I could see Simon lean over to Anthony, his mouth forming the words, “Thank you for bringing her back safely.” Anthony nodded in reply, then sat down in between Colin and Benedict before he grabbed his glass of wine to take quite a long sip.

Well, it was back to where I started. I didn’t want to ask questions and make matters worse, but I knew that the current engagement wasn’t going to last for long. According to Lady Whistledown, Queen Charlotte was not convinced of the proclaimed love that everyone said Simon and Daphne shared.

I had to say it. Otherwise, I would lose the love of my life to a woman who gained Her Majesty’s favor, and I would be lonely until the day I die. “The Duke and I were once lovers, but now he’s going to marry Miss Bridgerton.” Complete and utter silence. I take in a deep breath before I continue.

“I had traveled to France for three months, and the Duke asked me to come see him here, in London. I truly thought that he was going to marry me, but I was proven wrong and a fool. He’s pretending as though we didn’t have a beautiful relationship before he chose to help her and she him.”

Lady Bridgerton was the first to break, and she began to stumble over her words while overcoming the insurmountable shock that I gave to everyone. Eloise tried what she could to stop herself from laughing, Benedict smacked her arm while he was struggling to do the same.

Colin couldn’t find the right words, and Anthony spat out his wine. Except for the two youngest children who were playing in a flower field, we adults all sat together with no help to describe what our mixed emotions were. “What is the matter with you, y/n? Did you even think this through before you babbled on about the past? If I had known that you were so childish, I would’ve left you a long time ago.”

Simon glared cold daggers in my direction, and I felt like I couldn’t breathe. The man who I loved was now a stranger with a much better woman than I, so there was nothing I could do now to take him back. “You’re right, Simon. I’m such a child, and I don’t know any better than to tell the truth when living a lie is all the more tempting.”

I gave my deepest apologies to Lady Bridgerton, promising her that I would make up for my demeanor with tea and a visit to the spa one day. I then said my farewells to the Bridgertons, but I didn’t spare the slightest of glances to Simon who looked like he was going to let out a fury of anger.

It served him right for playing with my heart, and if he was so play a part not meant for him that would end in heartbreak, then so be it. I knew someone who could help me make him regret losing me, and they were a professional when it came to such lengths.

Just you wait, Simon Basset. Just you wait.

[mimisempai]

You are worth so much more than the sum of your mistakes

Summary:

Mobius shows Loki that he is much more than his failures.

Last fic before the episode 03. The next one after it. But don't worry, come what may, our boys will be happy.

https://archiveofourown.org/works/32121712

1802 words - Rating G

"Loki?" Mobius walked into his office where Loki was sitting flipping through files.

They were leaving in a few hours for Alabama in 2050.

"Yes?"

"Would you mind accompanying me to the projection room? I want to show you something."

Loki stood up and nodded.

"Let's go."

They entered the room where Loki had been viewing parts of his past and future life when he arrived at the TVA

Everything that made him a villain.

He stopped when he saw the projector on the table in the middle of the room.

"If this is to make me cruelly realize who I am, so I can keep me on a short leash before the mission, it's not worth it."

Loki turned around ready to leave the room.

"Loki, no!"

Mobius held him back by the sleeve, Loki struggled blinded by the feeling of disappointment that washed over him.

Mobius wrapped his arms around him from behind and said in his ear;

"Loki, I promise you that it is not about that. This time it's my turn to ask you to please trust me."

Loki stopped struggling and let Mobius pull him into the room and he made him sit in front of the screen.

Mobius stood behind him with his hands on his shoulders and gently asked Loki, "Do you remember what you said you were, in this very room last time?"

Loki bowed his head and whispered, "A villain."

Mobius continued, "And do you remember what I replied?"

"That this was not how you saw it."

Mobius pressed his shoulders and answered, "That's right. And I want to show you why I said that. I'm going to show you two excerpts from your past life and one from your future life.Is it okay to watch them?"

Loki just nodded.

Mobius pressed the power button and resumed his place behind Loki with his hands on his shoulders.

"I can stop anytime you want, you just have to say so."

Loki nodded again.

He saw himself and his brother in their ceremonial clothes just before Thor's enthronement.

Thor was taking his helmet presented to him by a servant.

Loki looked at him and said with a half smile, "Oh... nice feathers. "

Thor laughed wryly before replying, "You don't really want to start this again do you?

Loki protested, "I was sincere. "

"You are incapable of sincerity. "

"Am I?"

" Yes "

Loki looked at his brother with affection and replied very seriously, "I've looked forward to this day as long as you have, my brother, my friend. Sometimes I'm envious, but never doubt that I love you. "

Thor put his hand on his shoulder and said softly, "Thank you."

Loki could hardly swallow the lump that had formed in his throat.

They may have clashed often, they may have been on bad terms when Loki ran away, but Thor was the person he missed the most since he was here.

Mobius paused and stood in front of him, kneeling down to be at his level.

He simply placed his hand on Loki's arm and asked, "Do you think someone who shows such brotherly love is a villain?"

Then he stood up, not waiting for an answer and pressed play again.

The scene was happening in Odin's room.

Odin was staring thoughtfully out the window and then turned away. Frigga sat in a vanity and tried different earrings before the mirror.

Odin asked her, "Do you think he's ready?"

"He thinks he is. He has his father's confidence." answered Frigga gently.

Odin retorted,"He'll need his father's wisdom."

Friga laughed and answered impertinently, "And his humility?"

Then Frigga added, "Thor won't be alone. Loki will be at his side to give him counsel. Have faith in your sons."

Loki could not remember ever having witnessed such a scene between his mother and father. He had never imagined his parents discussing Thor and him in this way, it was strange in a way. He had felt like he was witnessing a private scene. But to hear his mother talk about him in this way was beyond comprehension.

Mobius simply said to him before the footage continued, "Do you think a villain would inspire such faith in him from his mother, who is not even of his blood, do you think a mother would put her trust in one brother to support the other if deep down she thought he was a villain?"

The question hung in the air as the video resumed.

When Loki saw the scene beginning to unfold before his eyes, he protested and wanted to stand up, "Mobius, I've seen it before, I know this is the scene where I die!"

Mobius put his hands on Loki's shoulders again and said, "Look at it again this time, please. I really think you need to see it to the end."

Loki was talking to Thanos, "If I might, interject… If you’re going to Earth, you might want a guide. I do have a bit of experience in that arena."

Thanos glared at him and replied "If you consider failure experience…"

Loki, losing none of his cockiness, answered, "I consider experience, experience. Almighty Thanos. I, Loki, Prince of Asgard… Odinson… The rightful King of Jotunheim, God of Mischief, do hereby pledge to you, my undying fidelity."

Thor squinted and noticed a dagger in Loki’s hand. Loki attempted to stab Thanos, but failed.

“Undying. You should choose your words more carefully."

Thanos tightened his hold around Loki’s neck.

Loki made eye contact with Thor before Thanos increased his force on his neck.

He struggled to articulate, "You… will never be… a god."

Thanos snapped Loki’s neck, killing him then added, "No resurrection this time." before disappearing.

Loki closed his eyes, unable to stop a tear from rolling down his cheek.

Mobius leaned over and said softly in his ear, "Loki, watch, I know it's hard, but please watch."

Thor was crying, "No… Loki…"

He was then released from his binds and crawled over to Loki’s body. He laid his head down on Loki’s chest, shedding tears.

Mobius knelt before Loki and took his hands, "Loki, after this, after many twists and turns, Thanos has lost and you played a part in his loss. Your death played a part. But more than that, after all you've been through, all the times you've faced each other, do you think Thor would have cried for you like that, if you were a villain? Loki, you are worth so much more than you think you are destined to be."

Mobius wiped away Loki's tear stain with his thumb and let his hand linger on the god's cheek.

Loki asked him in a slightly hoarse voice, "But why show me this, why would you want to convince me of the opposite of what you wanted me to recognize first."

"Oh no Loki, I never wanted you to think you were a villain, I wanted you to see that you were not the one you insist on parading to the world."

Loki protested, "But you told me I was born to cause pain and suffering and death. That's how it is, that's how it was, that's how it will be. All so that others can achieve their best versions of themselves. "

"Yes, I told you that not because I think that's what you are, I was just showing you that that's what you were limiting yourself to because you yourself think you're only capable of that. Because you want to rule so badly, that you don't see that you are made for bigger things. You asked me to trust you yesterday. I did because Loki I have faith in you and since you've been here you keep proving it. In your own way. Because you are undoubtedly the god of mischief. Unique. Not. A. Villain."

Mobius took his chin and placed a kiss on his forehead before standing up.

"I'll leave you alone for a bit, let you take some time to think about this, I'll come get you before the mission briefing." he headed for the door.

"Mobius?"

"Yes." Mobius came back to him as Loki stood up.

"I don't know why, but I really, really want to believe you."

Seeing a man as powerful as Loki, showing so much fragility and hope at the same time, Mobius thought he had never found him as magnificent as he was at that moment. He felt blessed that Loki had exposed such vulnerability to him.

"It's not an easy road, Loki, but it's worth it.It's not easy being a man, but that's why it's so wonderful when you manage to overcome the obstacles. Don't forget that you are not or no longer alone, I will be there every step of the way.  You just have to find the right direction."

Loki nodded and chuckled, "I don't know what deities decided to put you on my path, but I'm glad that it’s you."

He felt blessed that Loki would show such vulnerability.

"It's not an easy road, Loki, but it's worth it.It's not easy being a man, but that's why it's so wonderful when you manage to overcome the obstacles. Don't forget that you are not or no longer alone, I will be there every step of the way.  You just have to find the right direction."

Loki nodded and chuckled, "I don't know what deities decided to put you on my path, but I'm glad that it's you."

For once since the beginning of their strange relationship, Loki took the initiative and kissed Mobius lightly before stepping back."Go, I'll stay here for a while, a god of mischief can't show up with swollen and red eyes, there are limits to the lack of decorum."  He finished by winking at him.

Mobius chuckled before leaving.

Once the door closed, he whispered, "Me too Loki, I'm glad fate connected us."

____

"Loki! Wait!"

Loki was standing in front of the portal through which the woman had just disappeared and deep down he knew he was going to have to follow her.

Not because of all the bullshit he had spouted at her just before.

Not because of his personal interests, well not only because of his personal interests. He was Loki after all.

But because of the man who was running towards him shouting.

Mobius.

Because Mobius had seen in him more than a glorious purpose.

Because even if it was for his personal interests, Mobius had needed him.

Because Mobius had made him see that he could be a better version of himself.

Because Loki was starting to believe it.

So as he turned to Mobius who was running towards him he put everything he could into his eyes.

Believe in me!

Then, reluctantly, he turned away and went through the portal.

_________

The whole serie here : The story of Loki and Mobius

[jonsa101]

Yes, There’s Only 14 Episodes in Season 3 But Sharpwin is On Track and Progressing How They’re Supposed To.

There has been so much talk about this season’s writing and the lack of Sharpwin scenes that I thought I would just address everything in this post.

First, the writing this season is NOT BAD! In my honest opinion I actually think this season has some of the best writing in the series. Compared to season two, the writing is head and shoulders above what we got last year. More than ever before we are diving into these characters stories, seeing friendships form, getting a better look into their home life and seeing secondary characters shine! This is a good thing! These were the things that were so desperately needed in season 2 but we didn’t see this play out. I’ve said this before in my infamous season 2 rant and I’ll say it again, a show can’t solely depend on a ship! It has to have great storytelling and good character development for all of it’s main characters. This is what New Amsterdam failed to do in season two and they’re now making it up for it in season 3. The only area I would say the storyline suffered was the Cassian, Helen and Max “love triangle.” There was definitely more intent with that plot before the pandemic. Cassian was not only supposed to be a catalyst for Jealous Max and Sharpwin but he was also supposed to come in and challenge the way Max did things. Cassian’s whole thing was self care first=great patient care which was the complete opposite of Max and the two of them were supposed to clash. Obviously this completely changed due to the pandemic. You can’t have a storyline about a doctor prioritizing himself first for “better patient care”in the midst of thousands of doctors globally throwing themselves on the frontlines and even loosing their lives to COVID-19. It would have been a terrible look to have that storyline so they clearly scrapped it! What we saw was probably them trying to salvage whatever was left from the original plot while they still had Daniel Dae Kim in the limited amount of episodes for season 3.

Apart from that, I think the writers are doing a fantastic job in terms of character development this season. Arguably I would say that Iggy probably has the best storyline so far and that’s incredible for his character. Tyler Labine is acting his ass off and Iggy’s scenes with Lauren, Vijay and Martin were top tier!!! We are finally getting a Max and Reynolds bromance that was teased in season one but literally know where to be found in season two! It’s great seeing them bond on screen and I hope we get more moments with these two. We’re also seeing Reynold’s “life plan” blow up in his face and we finally have some closure with Bloom. They kept us in limbo for so long! We didn’t know if him and Bloom were truly over but now we finally know. Also, it seems like he and Evie are officially done as well and he might have a new love interest on the horizon. For Lauren, she’s clearly seems to be having a coming out story which is something I didn’t see coming at all. I’m really curious how they’re going to play this out for her and can’t wait to see it unfold. Last but not least, for Max and Helen they are both going through massive character development phases which leads me to my second point.

I love a good Max and Helen scene as much as the next person. To me they’re the ultimate ship and I want to see them thrive and flourish but just because we don’t see Max and Helen interact doesn’t mean that the show isn’t properly developing or investing in their relationship!!!!!!!!The relationship between Max and Helen is so nuanced that their relationship doesn’t hang in the balance because they don’t have more witty, flirtatious, or emotional dialogue. Don’t get me wrong, I adore those moments. Those scenes between them make us the passionate sharwpin shippers we are. At the same time though, we have to truly take a look at why the state of their relationship is where its at now and why from a narrative perspective their current interactions make sense. In order to do this, we have to take a look at where Max and Helen left off last year.

At the end of season 2, Max made a move on Helen and almost kissed her in her office. After this moment occurred he never addressed it and at the time he was still dating Alice. There’s no doubt in my mind that this was the catalyst for why Helen started dating Cassian in the first place. She had practically laid her feelings out there and told Max he was the reason she gave up half of her department. After this revelation and the massive, intimate moment he initiated in her office, he didn’t even have the decency to address it. He swept it under the rug and wanted to keep the same relationship that he had with her like nothing ever happened. Even though Helen was aware about Alice, we now know from season 3 that Helen felt a type away that Max never “officially” told Helen that he was dating her. This is IMPORTANT!!! Max and Helen did not end on a high note in season 2. In fact, the very last scenes we see of season 2 is Helen blowing off Max to go on a date with Cassian and Max breaking off things with Alice. I know this wasn’t intentional due to the season being cut short but it definitely contributes to where they are now. 

Fast forward a year later, and not only do we still have a massive almost kissed elephant in the room between Max and Helen but also the trauma of being on the frontlines of a pandemic and going through the biggest social justice movement the world has seen. This is something I’ve said many times over but I’m not sure the fandom recognizes how much these events have permanently altered these characters and changed the dynamics of this show. COVID-19 changed everything. The Black Live Matter Movement for the first time grabbed the attention of the world and changed everything too! Max and Helen are in the process of trying to heal and rebuild their lives the best they can as individuals after such a tumultuous year. At the same time, they are acutely aware of the feelings they have for each other and the UST between them and are carrying the weight of that as well. Naturally guys, the combination of all this is going to change most dynamics in a relationship. Things are awkward and distant  because Max and Helen are awkward and distant!! They have a lot of shit that they’re going through as individuals and subconsciously as a “couple.” They are clearly not in a healthy place to be as vulnerable as they once were to each other. And how can they be when their feelings have literally been eating at them for over year?! It’s hard to ignore that and try to force yourself to go back to the way things were. Especially when their feelings have “technically”  been out in the open since the end of season 2. They both know what it is! They were steps away from unleashing years of built up sexual tension between them and they went on with their lives like it never even happened. Max walking in on her and Cassian kissing in HER OFFICE and subsequently having that convo with Helen was not for shits and giggles. It triggered the BEAST of his feelings that he had fought so hard to suppress. There is no doubt in my mind that when he saw them in her office kissing, he was having some serious dejavu to their almost kissing affair last year. He‘s in love with her and she’s in love with him but this what happens when you continuously try and run away from those feelings and let it fester instead of trying to deal with it head on. The dynamic  were seeing between them now is a result of their unresolved issues and it absolutely plays into Sharpwin’s story. It doesn’t take away from it. It makes sense for where they are NOW! 

If we look at season three holistically, you’ll realize that a momentum for something significant happening for Sharpwin has been set through the acting and writing. I got to give it to Ryan Eggold. He has that fire and desire, Mr. Darcy type level acting down to a tee so far. It is so satisfying seeing Max so overcome with his feelings that you can tangibly see it in his body language and hear it in his voice. We have seen Max taken aback by Helen before but we have NEVER seen him like this. I keep on saying it but this is different guys. Something has shifted and it seems like Max is on the verge of exploding. His feeling are burning hot right underneath the surface and it’s a beautiful thing to behold. Last night’s episode was ripe with this type of content and Ryan was in his acting bag! It wasn’t an overtly “Sharpwin” episode but the writing and the acting is so clever and methodical, it will have you thinking otherwise. At the beginning of season 3 Max told Helen that he wants to build something better for Luna and something better for her. Was last night not a beautiful reflection of that? One question asking Max if he has ever loved a black woman put him in the shoes of his patient’s husband and had Max advocating for his wife like he would advocate for Helen if it was her! If that’s not fucking romantic I don’t know what it is and if the alarm bells aren’t going off that there is something deeper at play here with a huge payoff around the corner I don’t know what to tell you! Another moment that sticks out to me like a sore thumb is when Helen was telling Cassian that her brother died. I wrote about this in a previous meta of mind but Helen at her most vulnerable telling Cassian that she feels like she’s running out of time is SO SIGNIFICANT guys!!! It’s not only tell us that she fears that she’s missing out on the windows of opportunities for the wants and needs in her life but it literally sets the pacing of how quickly Sharpwin is going to progress. It is the beautiful freudian slip that tells us exactly where things are headed for these two. To me this is equivalent to Max telling Helen “I love my doctor” and “what if I want you?” in season 1. This episode had no interaction between Max and Helen but it was a MASSIVE Sharpwin indicator through and through! These are just a couple of examples but even their respective journeys in parenting is so Sharpwin driven. So in all I’m not mad in the direction the show has taken to showcase their relationship this season because Sharpwin is deeply interwoven in the storyline this year even if it’s not overtly obvious through emotional dialogue/ interactions. 

Also, one thing you have to realize is this, season three is wrapping up a lot of loose ends from season 2 and when it comes to Max and Helen these two points will be/ have to be addressed in the next six episodes.

The Almost Kiss

Whether or Not They Want To Be Together

The showrunners know without a shadow of doubt that the resolution for these two points is owed! If Sharpwin is talking about their almost kiss, there is no way that they aren’t talking about what they mean to each other and what their future looks like together. Both solutions literally go hand in hand and I promise you they are not delaying the resolution for that till season 4. It’s not happening fam. We will see this play out within the next six episodes. So in hindsight, more Sharpwin interaction are on the horizon. 

When I was making predictions about this season I wasn’t aware that this season would only be 14 episodes. I’m sad that season 3 is so short but that still doesn’t change my mind for where I think the story is going. Call me crazy but I’m sticking to my guns. There is something about how Ryan is portraying Max that is signaling something huge. Also I just trust the context clues that i believe the show is giving. I trust it! Anyway y’all! If you have any sharpwin question just DM here or message me on Twitter! my username is @oyindaodewale. 

Love you guys! ❤️

[ofherlionheart]

hi :3

I was wondering do you think a Rapunzel au would work with either zukka or mailee??

oh wait!! enchanted mailee au and a tangled zukka au, thoughts?

I can kinda see it but I'm not particularly good at characterization

oh my god i love this question because yes!! the answer to "would X au work for Y couple?" is almost always yes!!

i think the joy of an AU/crossover like this is that you get to decide what to pull from each source. no one's gonna tell you you have to include this part from one source and this part from the other source in order for it to be a "proper" au. no!! fuck that shit!! cherry-pick the shit you wanna steal and have fun with it!

e.g. the hsm2 au i did—if i was trying to be some crossover purist, the dramatic staff talent show showdown should have been the climax and also about katara and yue reuniting after yue dumped katara by the pool yada yada yada, BUT that didn't make sense for what i wanted of the story. i didn't want katara and yue breaking up, and i was more interested in s and z's arc, so i made the talent show more of a blip on sokka's radar and spent more time after the show, in the treehouse, in the dugout, at the diner.

so yes to any of the above—enchanted mailee, enchanted zukka, tangled zukka, tangled mailee, whatever you want to play with can work! remember: at the end of the day, you're the writer, and you should be writing for you. what will make the story fun for you?

(and, if my thoughts are of any interest to you, since you've got me going, now …)

the Q i kind of asked myself when writing the hsm2 au was what's at the core of hsm2's narrative? the answer: chlorine. lmao jk but also, like, what it means to be a teenager in the summer having your first summer job but also getting to know a new side of a classmate who in the first installment of the trilogy was shown as little more than a henchman to his piece-of-work sister.

so what's at the core of the stories you mentioned? ngl i know too many variations on rapunzel to try to condense that, so imma ignore that one. but for the others, pick any lil nugget:

tangled: a person forced to live in seclusion "for their own safety" is broken out by someone else. a person with unique powers is manipulated by a parent (who isn't actually their parent). a brash and roguish bandit acts the way they do b/c they're actually a very sensitive and vulnerable person. a person learns to see their entire life from a brand new, illuminated perspective. love isn't when someone covets a particular trait you have, but when they admire you for your being. can love that's stifling and possessive still be called love? does true love always mean freedom? can love overcome hostile architecture?

enchanted: widowed single parent has been corporate for too long and needs the whimsy of another world to see brightness again. absolute himbo with a square jaw promises you more adventure in his world than your 9-5 desk job does in this world. sometimes the dramatic makeover reveal IS worse (coughcough purple dress amy adams coughcough). there's strength in persevering in seeing the good and bright in all things. sometimes a woman only has 2 braincells and that can be the sexiest thing in the world. if the freeloader that your daughter dragged into your life suddenly eats a raw fish, don't question it.

from there, i think about character's canon arcs, and what could possibly map onto these themes. zuko's arc matches up well with the whole rapunzel seeing her world anew thing. ty lee's character matches well with the incredible strength from brightness and optimism thing.

and then, sometimes, i like to challenge myself a step further and invert the obvious. like, if zuko's the obvious rapunzel, what would it look like if sokka was rapunzel? how did he get there? was sokka blessed by the moon and, idk, general zhao caught whiff of his powers and stole sokka way from hakoda and kya? if zuko is eugene, which version of zuko is he — angry ponytail believes in ozai zuko, blue spirit teenage and state rebellion zuko, or enlightened s3 zuko who's technically fire lord but iroh's letting him have an actual young adulthood?

isn't is fucking magical, all the diff directions in which an AU can spin out?

[hotchley]

where he's been

I did it!

I wrote the happy ending/second part, in which he makes the deliberate choice to show her and there is healing and there is joy and there is love <3

Everyone say thank you to the anon on tumblr that asked me about this when I did the WIP game, because without them we wouldn't have gotten here...

But we did! I finished a multi-chapter thing!

Trigger Warnings: scars, intrusive thoughts, trauma, references to the events of the Foyet and Doyle arcs, mild sexual content, surgery, medical things (Route 66 references mostly)

read on ao3!

previously: part one

Part Two: He Shows

The first time Aaron shows Emily his scars, she smiles.

He shows her deliberately. Because he wants to. Because he loves her, and he loves himself. Because he trusts her. He wants to be vulnerable with her in a way he could only ever be with Haley. He wants to do this, for her, and for himself. He knows they are not beautiful, that she may flinch at the sight of his humanity as everyone seems to do, but he needs her to see them. Properly. In a way that is right.

His body feels more like his with every day that passes now. He will never forget the pain his fathers emotions brought, or how he felt completely paralysed and pinned in place by George Foyet and his knife. His mind may never recover. But he's been making progress, and despite the emergency surgery, his body is recovering and he's proud of it. He's proud of himself.

And he's proud of Emily too. When she was in Paris, and he was too consumed by grief to do much more than look through the files they had on Doyle, he would feel a sense of pride in her, and all she had overcome. In all she had accomplished. In all she had survived, and continued to survive. But most of all, he was proud that she never let Doyle win.

Even when he tried to scar her body forever as a punishment for everything she had done, even though she had been right, she had always been right, she didn't let him win. She wore that scar with the same pride everyone on the team did. Because those scars made them human. They reminded him they weren't untouchable, but they were stronger than anyone gave them credit for.

It took a while for her to get there. There were still days where she would scrub the area till the skin went red, as though enough force would remove it. There were days where she would think of how far plastic surgery had come, and wonder- if she was given the chance- whether she would keep the marks. But there are other days, where she doesn't even hesitate before wearing shorts. Before wearing something with a lower neckline.

It's different for Aaron. Not for any real reason, he's just a different person. The scars that cover his torso, the scars that match the killer of his first love, of the first woman to teach him that when the poets said love hurt, they did not mean like the pain that came with smashed glass or belt marks, they meant a pleasant hurt, were almost impossible for him to accept.

The ones on his back became easier with time. Because they healed, and they faded to silver lines. He can still feel it, and can still tell when someone has touched him there. He no longer flinches, as the touches placed there are warm and gentle. Neutral. And he was a child, who deserved to be safe. A child, who shouldn't have known how to fight.

The ones left by Foyet were harder to come to terms with. He cannot feel there properly. The few times Emily has touched him- over his shirt, only ever over his shirt- he has either winced at a phantom twinge of pain or stared at her blankly because the area was numb.

He used to feel like he should've fought back. Properly. His gun was on the table, he could've grabbed it. He knows he could've because he dreams of that night more times than he doesn't. Being exhausted wasn't an excuse. Elle told him it was, but he remembers how she was- so unforgiving of herself. He wouldn't extend himself the courtesy she hadn't.

Foyet’s scars were just different. He hated having the same marks as a killer. He hated how, every time he walked into his apartment, he would remember. Vividly. The moments from his childhood still haunted him, but some of them were starting to blur together. But the feeling of the knife plunging in- he would always remember each and every single one.

The stitches tore during his thirty-four days off. He had sent everyone away, not wanting them to see just how much he needed them, because he needed to convince himself they still believed in his invincibility. The irony of his situation, especially as Derek held his hand from the bed to the wheelchair, was not lost on him. But then he regained his independence.

Then the damage done almost became irreversible. Collapsing in the conference room had been terrifying for everyone, but waking up had been the hardest thing he'd ever made himself do. During one of his brief moments of consciousness, he realised it was the damage Foyet had done when he scarred him that had led him to the abyss he'd visited once, and only once before.

When he finally gained the courage to look in the mirror, he broke. The scars were never going to heal properly, he'd realised that right before the pain became overwhelming. Foyet's hadn't. No matter how careful he may have been the second time round, the scars were never going to fade. They were still red, just less angry.

Seeing them after the surgery, in the same apartment, with the same mirror, sent him back in time. They were too red. They were too deep, too much and he couldn't look at himself, couldn't go through the pain of realising just how strong one man's hold on him was. Not for a second time.

Emily found him like that. She didn't walk in, knowing he would never recover if she did. But when he emerged thirty minutes later, wearing Haley's college hoodie that had always fit him perfectly, she took his hand. She kissed his forehead, and played with his hair as they watched one of Jack's cartoons. A part of her felt guilty for not saying something, but he felt more grateful for that than she would ever know.

They had sat on the couch until they fell asleep then. They were sitting on the couch when she touched the biggest scar, causing him to wince and run out, leading to her seeing them for the first time.

Because sometimes, the world is cyclical, they're sitting on the couch when he shows her.

This time, Jack is at a sleepover. There had been a gala, and he had looked so happy as he accepted his reward. Shocked beyond belief when Strauss announced her retirement. But so incredibly happy when she named him her successor, especially when he realised there was no reason he had to become a paper-pusher. There was no reason for him to change.

He looks so perfect, cheeks glowing and genuine smile overpowering everything else about him that she can't help but kiss him the moment they get in the car. If they seemed like love-struck teenagers to everyone that drove past then so be it. He looked handsome in his suit, but happiness suited him even more and she wouldn't let anyone dampen it.

So they're sitting on the couch, and his hands are running up and down her arms like he still can't quite believe she wants him. Her dress matches his tie- of course it does, because Aaron pouted and stared at her till she told him the colour- and she looks so beautiful that all he wants to do is watch her. She doesn't even have to do anything, so long as he can admire her.

Just like before, she touches his torso. Before he looks down, she pulls her hand away like he burnt it. A silent apology starts to pass her lips, but he kisses it away before it gets the chance to escape. Tonight, there will be no apologies. There will be no sadness.

Only them and the love they fought so hard for.

"Aaron," she says. "What's going on?"

He cannot tell her, his heart suddenly racing. He knows that he's ready to do this. He knows he wants to. He knows that there will be no shame or judgement if he suddenly stops halfway through. He knows all of that, but the traitorous, self-sabotaging part of his brain wants nothing more than to throw her out.

Before she sees his humanity. Before she gets too close and gets hurt. Before she decides that he is too damaged, and too messy, and too ruined for her to love.

But there is a piece of his brain that is stronger than that. A piece that knows she has seen his humanity every moment since she met him, all those years ago. That knows she has already gotten too close, but with her eyes wide open to all the danger that could come. She loves him. She loves him knowingly and deliberately.

He isn't ruined. He never has been. And yes, he is messy, but everyone is. She knows him. Perhaps better than he does. So she won't leave. Not this time.

He's not said anything for a while, and she's starting to worry. Then he takes her hand, as he has done a thousand times before, and the weight of it grounds her. She trusts him. Whatever he is going to do, he will do because they both want it.

"Close your eyes. Please? I'm not going to touch you, but I can't- if I say it, I'll back out," he whispers.

She realises suddenly, randomly, that the lights are still on. "Okay," she whispers, and complies. Talking feels too loud.

"You can open them now," he says, a few minutes later.

She does. And for a moment, she has no idea what's happening.

And then she sees. Properly. He's taken his shirt off, and his scars are completely visible to her. All of them. She's never loved him more. For trusting her enough to show her who he is. For loving her enough to be so vulnerable without fear. For being so brave that she no longer feels afraid of anything.

"My darling," she says, because Aaron feels too casual. But she has no words.

He takes her hand again, and presses it against his chest. She can feel his heart racing underneath it.

"This belongs to you. Whatever is left of it, however long it may beat for, it all belongs to you. Because I love you. And I trust you. So break it if you must, but carry the pieces with you because they are yours, now and forever."

Emily can't help the tears that start pooling in her eyes. She understands where this is coming from. He thought that this would be the thing that made her hesitate. One day, he will realise that this is the thing that convinced her that it was right. She had known for a while that she was going to spend whatever portion of her life that he wanted her for with him, but now she was so sure that the thought didn't fill her with dread.

There are no words in a language she speaks to tell him how much this means to her. So she settles for the ones that will do. "It won't be the pieces that I carry. It will be the whole thing. For as long as you will allow me to. I love you, Aaron Hotchner. I love you, I love you, I love you." She smiles as she says the words, not once moving away from him.

He smiles, as he always does, before he kisses her. He smiles through the kiss.

It is perfect. It is beautiful. Standing there, with him so vulnerable and her so irreversibly in love, it is hard to believe that the place they are creating their happy ending, is the same space where he was once stabbed in. The place where she set off that chain of events not so long ago.

They go to sleep, in the same bed, wrapped in each others' warmth. It feels perfect. The photo of Haley they keep on the dresser seems to glow even brighter, like she too is so proud of who they have become.

The first time Aaron shows Emily his scars, she smiles.

And Aaron does too. Because now he's shown her. Properly. And he saw her face, full of love and admiration and pride in how far he has come. She's seen them. But it was his decision. And that, more than anything, heals the final piece of his soul that Foyet destroyed.

[tinkertayler]

Farscape's “Look at the Princess" Trilogy is...

...weird. It's a fairy tale and a spy thriller wrapped up in a love story and sealed with a kiss (literally). It foregrounds John and Aeryn's romance more than ever before. While plenty of other things happen - Scorpius shows up; there's political drama; a secret agent babe bones John in a lake (because, why not?); and Chiana and D'Argo have a lot of sex (because... why not?) - at its core, the "Princess" arc is a deconstruction of John and Aeryn's romantic relationship. Specifically, it examines Aeryn's fear of commitment, John's desire for it, and the conflict this creates between them. It's an arc that - like Farscape as a series overall - has many components, but they all revolve around the blazing sun of John and Aeryn's True Love.

Am I speaking out of turn? I DON'T THINK SO.

I must concede that I am an unabashed romantic with a proclivity for viewing every story through a romantic lens. I am a predictable, lovesick bitch on main - you can count on me to hyper-fixate on romance, always. However, while I definitely approach everything from that bias, I am also just, like... watching this show unfold, and I swear: it's not just me. Farscape knows what kind of story it's telling. Farscape knows it's a love story in space. Farscape lives at the intersection of genre fiction and romantic drama, which just so happens to be my FAVORITE PLACE IN THE UNIVERSE. John and Aeryn are central to the story and essential to its success, and Farscape is self-aware enough to recognize this and embrace it.

Each part of the "Princess" trilogy contains a critical romantic moment: their first kiss in part 1, their dramatic goodbye in part 2, and their final kiss in part 3. I wanna talk about each of these moments, because, again, I'm a lovesick bitch on main. So, let's talk.

PART 1

The episode opens with Aeryn and John in John's module. She's trying to teach him a new flight maneuver, but it's a hopeless endeavor because they are sitting too close and flirting too much. John quickly gets distracted by the scent of perfume in Aeryn's hair, and it gets STEAMY. The sexual tension is HOT, it's molten, it's BURNING A HOLE IN THE HULL. Get a room, you two. (Sidenote: I am kind of furious we weren't allowed to see the conversation between Aeryn and Zhaan that led to Zhaan giving her that perfume. I bet it was adorable.)

Sadly, their intimate moment is swiftly derailed by Aeryn's fear of just how close they are becoming. She's in love, and it's making her vulnerable and messing with her head. She wears perfume to attract him, but when he finds it attractive, she insists "IT'S NOT FOR YOU TO LIKE" and "PERSONAL INDULGENCES CAN FRACTURE A SMALL CREW" and "I WILL NOT BE A SLAVE TO YOUR HORMONES". She wants him to get close, but when he does, the feelings become too intense and scary for her and she runs away, leaving him stranded. Oh, Aeryn. You're a MESS.

Unlike Aeryn, John has no fear of vulnerability or commitment. He wants both, all the time. He's a romantic, and has been waiting for her to figure out her feelings and meet him where he is since mid-s1. And while he's been very patient and understanding for a long time, at this point he has been through some major psychological trauma and is frequently struggling to maintain his sanity, let alone his patience.

This arc forces Aeryn to confront the possible consequences of her emotional distance and unwillingness to commit to a relationship. She stands on the sidelines and watches as John kisses other ladies, holds his future children, and gets married to another woman. She wrestles with big questions: if she keeps pushing him away, will he give up and move on? Will she be alone, and is that what she really wants? Is she willing - able - to be totally vulnerable with him?

PART 2

After his failed escape attempt and near-death experience in space, John feels battered and broken. He asks Aeryn what to do when there's no fight left. She tells him to “run away”. Searching her eyes, gently touching her hair, he asks "...with you?" (the hair touch is such a quiet callback to the first scene and I am DEVASTATED, DON'T). Her eyes scream "YES, WITH ME" but she is terrified of her feelings and of expressing them, so she stays guarded and says "with all of us, together". It is at this point that John pulls away from her and, after she insists he can't just quit, he tells her "I'm not quitting, I just can't go on".

On the surface, they're talking about the situation John is physically trapped in on the planet. Beneath that, they're talking about the situation he is emotionally trapped in - their relationship. L A Y E R S. In both cases, he's ready to accept defeat because he feels he's out of options and hope. On the planet, he can either resign himself to Scorpius' brain dissection (and subsequent insanity), or settle for a forced marriage to the Princess (and spend 80 years as a statue). With Aeryn, he can either continue playing what feels like an eternal game of cat-and-mouse, or stop pursuing her altogether. Undesirable choices abound. Ultimately, he's tired. Tired of the chase and the evasion. He wants to settle down. If he's to run away, he at least needs someone to run away with him, rather than run away from him.

It deserves to be noted that while they're talking, they are approximately 3 inches from each other's faces, staring straight into each other's souls. They are obviously in love and obviously both aware of it. But they are also, as previously noted, both in emotionally fragile states.

John is kind of a mess: he's still dealing with psychological fallout from s1, he keeps getting used as a pawn by aliens in their galactic games, and on top of it all, the girl he loves won't commit to a relationship. He is arguably less patient and understanding post-brain damage than he was before it, and is frustrated by Aeryn's inability to be open with him. He's losing his grip and desperately searching for stability, but is not finding it anywhere.

As for Aeryn, she's also kind of a mess: she's still trying to overcome her Just Say No to Feelings Peacekeeper upbringing and come to terms with the fact that she's falling in love. She is compelled to resist and avoid the emotions that consume her; she doesn't know how to process them.

Their apparent willingness to give up on each other - something they have never done before - is only a consideration in either of their minds because they are each overwhelmed, for their own reasons, and are not thinking or acting rationally as a result.

PART 3

Fast forward to the end. John narrowly escapes 80 years of life as a bronze statue AND a brain dissection courtesy of Scorpius. Aeryn, having had time to mull everything over, finally musters the courage to admit her feelings... sort of. In her own way.

When Aeryn presents John with the vial, he knows, she knows, we ALL know what it means - she's considering her, and their, future. She wants to know if their DNA is Compatible with a capital C the way his and Princess Katralla's DNA was Compatible. Bringing the vial to John is Aeryn’s way of admitting, against her better judgement and despite her fears, that she loves him. She wants to be with him. She wants his attention. The perfume in her hair was for him to like, after all.

Aeryn's newfound vulnerability is what makes their final kiss so different from their first (and from any they’ve shared up to this point, really). She told him back in part 1 she wants to talk less, and she meant it. It’s still hard for her to vocalize her feelings; not a single word is exchanged here. She doesn't make a grand romantic declaration, but she does reveal her true feelings. She commits. Silently.

In the end, they both start to move past their personal hang-ups. If they are to have a future together, Aeryn recognizes she needs to be more emotionally vulnerable, and John recognizes he needs to give Aeryn space and time. The kiss confirms their genetic compatibility, but almost more importantly it confirms that Aeryn is just as invested in their relationship as John is, even if she's not yet able to verbalize how she feels. If there was any doubt after their angst-filled goodbye, the kiss makes it clear: Aeryn isn't quitting, and she hopes John won't quit, either. She doesn't want to run away from him, but she's willing to run away with him.