#zutara essay

[seheartz]

winding down by the swamp

[mythicalgeek]

If anyone really what's to understand why people ship Zutara and the reason it's still so popular, just wacth these video's and then you'll know why.

[stardust948]

If I see one more person compare Everlark to k*taang I'm gonna start pulling teeth. And it's not gonna be mine.

[halfhoursonearth-writes]

As I write through the timeline of Sozin's Comet in my current fic, I'm having a fresh bout of finale feels. In particular, I've been ruminating on how Aang and Katara's romantic ending unfolds in a way that undermines Katara's character arc. (And this rumination has grown into a wall of text. Truly, who let me on this platform?)

I'm not even thinking about the kiss. I've been stuck on that scene at Zuko's coronation where the shot pans around Aang then Katara, gazing dreamily up at the Avatar. You know the one. The moment when we the viewers are suddenly made to understand that she's admiring Aang anew, romantically.

Prior to this, the last time we see Katara and Aang interact is before the Avatar disappears. More specifically, we see Aang huff off after getting frustrated at Katara for trying to help when she doesn't fully appreciate the moral quandary he's grappling with.

For Katara, who has carried the wounds of her father leaving her behind for war most of her life, it is hard to imagine Aang's departure could fail to stir up feelings of abandonment, even if she doesn't believe he intended to disappear. But, like Zuko says to her as Aang first walks away, the Avatar does need time to figure out his way forward alone.

To find a path to victory that does not compromise his ethical framework is a solo undertaking for the Avatar, one his friends have demonstrated they cannot be part of, not even Katara, who has always been there to lift him up before. That he didn't need to rely on his steadiest supporter for this marks important character growth for Aang; we already have been told that letting go of some level of his earthly attachment to Katara is built into his character journey. And the need to uphold his peoples' legacy is an essential character motivation for Aang. There is something powerful about the notion that, as the last airbender, he must seek out the right approach to this last task on his own.

But what about Katara's essential character motivations? As we're told and shown, she will never turn her back on the people that need her. It's one of her great virtues, and we're given no reason to think otherwise. Helping people who need her is where we see Katara find her greatest fulfillment. For most of ATLA, helping Aang is at the heart of this.

But at the coronation? Aang has just come back after appearing to abandon Katara to be celebrated for a victory he didn't need her help to achieve.

And standing next to Aang is Zuko, who acknowledged that he needed Katara's help to embrace his destiny, and who in turn, granted her the opportunity to embrace hers.

I think it's worth pausing on the fact that the show gives Katara a tremendous arc. She transforms from a child whose life has been upended by war—gifted with a power that she can't harness, and burdened with grief and hurt she can't let go of—into a catalyst for global change, one of the greatest-ever masters of her element, and a person capable of offering world-changing forgiveness where it is earned. When Katara was a child, the Fire Nation came uninvited into the heart of her community and upended her life, and in the finale, she arrives in the heart of the Fire Nation to upend the same order that ravaged her home in the name of peace—an achievement that is made possible by both her hard work (bending mastery) and her compassion (extending empathy, forgiveness and life-saving assistance to Zuko).

In the finale, Katara affirms that by helping the people who need her, she can change the world.

In the finale, Aang affirms that singular conviction to his ideals can guide his way, even if it is a path he must walk alone.

Can these visions of self and purpose be reconciled in a healthy partnership? Certainly. In fact, I can see how Aang letting go of Katara's constant help—and Katara letting go of an Aang-centric identity—supports a healthy future romantic relationship for the two of them, where their dynamic finds a balance it never has during ATLA. But Katara and Aang haven't worked through any of that yet. If they have spoken at all before the coronation—if he has, for instance, apologized for disappearing—it was not deemed essential content for the viewer.

And what marks Katara's epiphany of love? The moment when Aang is celebrated as "the real hero" for what he has achieved in her absence. For this to ring emotionally true, for this to be the moment she knows she loves him, she must subsume her character arc and motivations (which are inherently collaborative) to Aang's individual journey. His story, his desires, they come first. It's his show, after all.

And none of this is news, of course. It's barely boot-scuffs on well-trodden ground. The abandonment of Katara's hero arc is canon; where the hell is her statue? etc.

But still, I'm stuck on Katara watching proudly from the crowd. If that moment doesn't feel quite right—it never has for me—maybe you want more for Katara. I'd put her on the dais, but I'll settle for something subtler.

Just for a moment, after she looks up proudly at Aang, let's nudge her admiring gaze a little to the right. Who does she see? Someone who has come to deserve his honorable destiny because he would cast it aside to save a life—her life, the life of a girl he once betrayed to lay claim to that purported honor. Jumping in front of that lightning, Zuko shows he will choose humans over concepts and that, at any cost, he will be there for the people that need him. That's what will make him a good leader. He and Katara, over long-woven arcs, affirmed this truth together.

She looks on admiringly. She made this possible.

She should be proud. Of both of her friends, but more importantly, of herself.

Is this an argument for Zutara over Kataang in the finale? I don't think so. That's probably a different accidental essay.

This is merely a longwinded observation that Avatar the Last Airbender built powerful, beautiful, arcs. But in the very end, it didn't tend them all the same. And after all this time, it still rankles.

[hiddenworldofmary]

sunday night reading but you’re indecisive

[tiny-katara]

You know what really bothers me about how they try defending Kataang and criticize Zutara, is that they say that Katara would never stay in the fire nation nor would Zuko stay at the south pole. They say it like neither would be given a choice and would be dragged out of their homelands kicking and screaming and their nations are still at war.

How is Kataang any different? The water tribes have even bigger cultural differences with the air nomads than they do with fire nation, right down to the foods they eat and clothes they wear, not to mention Aang and Katara's homes are many miles from each other. Aang is shown to be outright disgusted with the water tribes appetites and fashion sense.

Who said Katara saying in fire nation or Zuko staying in south pole was permanent? Even if that was the case, it would be a choice. One of the main messages ATLA provides is that you can wholeheartedly love any of your homelands but your world and identity doesn't have to revolve around them. You are allowed to expand your horizons.

"It is important to draw wisdom in many different places, if you only get it from one place, it will become rigid and stale, but understanding others, the other nations and other elements, will help you become whole."

"The greatest illusion of the world is the illusion of separation. What appears to be sperate and different is actually one and the same. We are all one people but live as if divided."

damn, anon. you really went off. may i recommend you start your own blog? i'd be reblogging this asap.

but you're completely right. i find it very strange because both zuko and aang as partners would require katara to spend at least some of her life away from the south pole, although i'm sure it's not ideal. katara would definitely miss home, but she has the entire world to explore. i really can't see her staying in the water tribe forever. katara has always been someone who advocates for those who need voices and i just find it really hard to see her staying home and not having a huge impact on the entire world after the war.

there is also some rather beautiful poetic justice in a victim of the fire nation's crimes having the power to change it for the better and provide reparations to her people. i really don't get how that's an issue lol. not to mention the union of two people in love in comparison to all the previous blood and hatred between their nations. it's beautiful to think that people have the capacity to grow and forgive and reunite to that depth.

thanks for the ask, anon, but i am serious! you have a lovely essay here. you should really own that! have your katara arc and speak your mind <3

[bluecinephile]

zuko liked katara since before the crystal catacombs, in this essay i will-

[starlight-bread-blog]

So I was looking at a very nice Zutara edit on insta but in the comment section I found these ✨️gems✨️

Do we really need to go through this again?

Don't comment.

[eosofspades]

i could write an essay on how my feelings for kataang went from disinterested but vaguely appreciative to profound dislike to outright hostility

[lazyspeedy]

looking back, i got to admire the work ethic of my college sophomore year self

[burst-of-iridescent]

bitches will be like “i ship these fictional characters a normal amount!” and then write a 16k dissertation about how perfect they are for each other.

it’s me, i’m bitches.

[blinday]

How The Owl House made Crossroads of Destiny without ruining its main ship

In this essay I will

[feathered-serpents]

Zukka is a ship that I'm ultimately indifferent to but its existence gives me more glee than any other ship. As someone who obnoxiously spent the majority of my pre-teen years going to forum war for Kataang against Zutara, and watching as that war went on strong for years after I'd left my station, the rise of Zukka basically felt like this

"After ten long years the fight shows no sign of stopping. Kataang is once again bringing its ultimate attack of canon-compliance, while Zutara has released another essay on how it better suits the show's themes of balance- wait. What's this? Why it's-it's- IT'S ZUKKA WITH A STEEL CHAIR!!!!"

[sneezypeasy]

Why I Deliberately Avoided the "Colonizer" Argument in my Zutara Thesis - and Why I'll Continue to Avoid it Forever

This is a question that occasionally comes up under my Zutara video essay, because somehow in 2 hours worth of content I still didn't manage to address everything (lol.) But this argument specifically is one I made a point of avoiding entirely, and there are some slightly complicated reasons behind that. I figure I'll write them all out here.

From a surface-level perspective, Zuko's whole arc, his raison d'etre, is to be a de-colonizer. Zuko's redemption arc is kinda all about being a de-colonizer, and his redemption arc is probably like the most talked about plot point of ATLA, so from a basic media literacy standpoint, the whole argument is unsound in the first place, and on that basis alone I find it childish to even entertain as an argument worth engaging with, to be honest.

(At least one person in my comments pointed out that if any ship's "political implications" are problematic in some way, it really ought to be Maiko, as Mai herself is never shown or suggested to be a strong candidate for being a de-colonizing co-ruler alongside Zuko. If anything her attitudes towards lording over servants/underlings would make her… a less than suitable choice for this role, but I digress.)

But the reason I avoided rebutting this particular argument in my video goes deeper than that. From what I've observed of fandom discourse, I find that the colonizer argument is usually an attempt to smear the ship as "problematic" - i.e., this ship is an immoral dynamic, which would make it problematic to depict as canon (and by extension, if you ship it regardless, you're probably problematic yourself.)

And here is where I end up taking a stand that differentiates me from the more authoritarian sectors of fandom.

I'm not here to be the fandom morality police. When it comes to lit crit, I'm really just here to talk about good vs. bad writing. (And when I say "good", I mean structurally sound, thematically cohesive, etc; works that are well-written - I don't mean works that are morally virtuous. More on this in a minute.) So the whole colonizer angle isn't something I'm interested in discussing, for the same reason that I actually avoided discussing Katara "mothering" Aang or the "problematic" aspects of the Kataang ship (such as how he kissed her twice without her consent). My whole entire sections on "Kataang bad" or "Maiko bad" in my 2 hour video was specifically, "how are they written in a way that did a disservice to the story", and "how making them false leads would have created valuable meaning". I deliberately avoided making an argument that consisted purely of, "here's how Kataang/Maiko toxic and Zutara wholesome, hence Zutara superiority, the end".

Why am I not willing to be the fandom morality police? Two reasons:

I don't really have a refined take on these subjects anyway. Unless a piece of literature or art happens to touch on a particular issue that resonates with me personally, the moral value of art is something that doesn't usually spark my interest, so I rarely have much to say on it to begin with. On the whole "colonizer ship" subject specifically, other people who have more passion and knowledge than me on the topic can (and have) put their arguments into words far better than I ever could. I'm more than happy to defer to their take(s), because honestly, they can do these subjects justice in a way I can't. Passing the mic over to someone else is the most responsible thing I can do here, lol. But more importantly:

I reject the conflation of literary merit with moral virtue. It is my opinion that a good story well-told is not always, and does not have to be, a story free from moral vices/questionable themes. In my opinion, there are good problematic stories and bad "pure" stories and literally everything in between. To go one step further, I believe that there are ways that a romance can come off "icky", and then there are ways that it might actually be bad for the story, and meming/shitposting aside, the fact that these two things don't always neatly align is not only a truth I recognise about art but also one of those truths that makes art incredibly interesting to me! So on the one hand, I don't think it is either fair or accurate to conflate literary "goodness" with moral "goodness". On a more serious note, I not only find this type of conflation unfair/inaccurate, I also find it potentially dangerous - and this is why I am really critical of this mindset beyond just disagreeing with it factually. What I see is that people who espouse this rhetoric tend to encourage (or even personally engage in) wilful blindness one way or the other, because ultimately, viewing art through these lens ends up boxing all art into either "morally permissible" or "morally impermissible" categories, and shames anyone enjoying art in the "morally impermissible" box. Unfortunately, I see a lot of people responding to this by A) making excuses for art that they guiltily love despite its problematic elements and/or B) denying the value of any art that they are unable to defend as free from moral wickedness.

Now, I'm not saying that media shouldn't be critiqued on its moral virtue. I actually think morally critiquing art has its place, and assuming it's being done in good faith, it absolutely should be done, and probably even more often than it is now.

Because here's the truth: Sometimes, a story can be really good. Sometimes, you can have a genuinely amazing story with well developed characters and powerful themes that resonate deeply with anyone who reads it. Sometimes, a story can be all of these things - and still be problematic.*

(Or, sometimes a story can be all of those things, and still be written by a problematic author.)

That's why I say, when people conflate moral art with good art, they become blind to the possibility that the art they like being potentially immoral (or vice versa). If only "bad art" is immoral, how can the art that tells the story hitting all the right beats and with perfect rhythm and emotional depth, be ever problematic?

(And how can the art I love, be ever problematic?)

This is why I reject the idea that literary merit = moral virtue (or vice versa) - because I do care about holding art accountable. Even the art that is "good art". Actually, especially the art that is "good art". Especially the art that is well loved and respected and appreciated. The failure to distinguish literary critique from moral critique bothers me on a personal level because I think that conflating the two results in the detriment of both - the latter being the most concerning to me, actually.

So while I respect the inherent value of moral criticism, I'm really not a fan of any argument that presents moral criticism as equivalent to literary criticism, and I will call that out when I see it. And from what I've observed, a lot of the "but Zutara is a colonizer ship" tries to do exactly that, which is why I find it a dishonest and frankly harmful media analysis framework to begin with.

But even when it is done in good faith, moral criticism of art is also just something I personally am neither interested nor good at talking about, and I prefer to talk about the things that I am interested and good at talking about.

(And some people are genuinely good at tackling the moral side of things! I mean, I for one really enjoyed Lindsay Ellis's take on Rent contextualising it within the broader political landscape at the time to show how it's not the progressive queer story it might otherwise appear to be. Moral critique has value, and has its place, and there are definitely circumstances where it can lead to societal progress. Just because I'm not personally interested in addressing it doesn't mean nobody else can do it let alone that nobody else should do it, but also, just because it can and should be done, doesn't mean that it's the only "one true way" to approach lit crit by anyone ever. You know, sometimes... two things… can be true… at once?)

Anyway, if anyone reading this far has recognised that this is basically a variant of the proship vs. antiship debate, you're right, it is. And on that note, I'm just going to leave some links here. I've said about as much as I'm willing/able to say on this subject, but in case anyone is interested in delving deeper into the philosophy behind my convictions, including why I believe leftist authoritarian rhetoric is harmful, and why the whole "but it would be problematic in real life" is an anti-ship argument that doesn't always hold up to scrutiny, I highly recommend these posts/threads:

In general this blog is pretty solid; I agree with almost all of their takes - though they focus more specifically on fanfic/fanart than mainstream media, and I think quite a lot of their arguments are at least somewhat appropriate to extrapolate to mainstream media as well.

I also strongly recommend Bob Altemeyer's book "The Authoritarians" which the author, a verified giga chad, actually made free to download as a pdf, here. His work focuses primarily on right-wing authoritarians, but a lot of his research and conclusions are, you guessed it, applicable to left-wing authoritarians also.

And if you're an anti yourself, welp, you won't find support from me here. This is not an anti-ship safe space, sorrynotsorry 👆

In conclusion, honestly any "but Zutara is problematic" argument is one I'm likely to consider unsound to begin with, let alone the "Zutara is a colonizer ship" argument - but even if it wasn't, it's not something I'm interested in discussing, even if I recognise there are contexts where these discussions have value. I resent the idea that just because I have refined opinions on one aspect of a discussion means I must have (and be willing to preach) refined opinions on all aspects of said discussion. (I don't mean to sound reproachful here - actually the vast majority of the comments I get on my video/tumblr are really sweet and respectful, but I do get a handful of silly comments here and there and I'm at the point where I do feel like this is something worth saying.) Anyway, I'm quite happy to defer to other analysts who have the passion and knowledge to give complicated topics the justice they deserve. All I request is that care is taken not to conflate literary criticism with moral criticism to the detriment of both - and I think it's important to acknowledge when that is indeed happening. And respectfully, don't expect me to give my own take on the matter when other people are already willing and able to put their thoughts into words so much better than me. Peace ✌

*P.S. This works for real life too, by the way. There are people out there who are genuinely not only charming and likeable, but also generous, charitable and warm to the vast majority of the people they know. They may also be amazing at their work, and if they have a job that involves saving lives like firefighting or surgery or w.e, they may even be the reason dozens of people are still alive today. They may honestly do a lot of things you'd have to concede are "good" deeds.

They may be all of these things, and still be someone's abuser. 🙃

Two things can be true at once. It's important never to forget that.

[theweeklydiscourse]

It’s a bit of a self-own to express pride that the Zukka shipping base doesn’t produce many essays or meta analysis on the ship. That kind of content and engagement with the text is arguably one of the best things a fandom can do when it comes to shipping. Of course, not everything has to include in-depth analysis because sometimes you just want to ship something based on vibes and a dynamic you like. But…it is kinda odd to see this be touted as some amazing quality to the Zukka crowd (particularly when it’s a not-so-subtle dig at Zutara shippers).

To me, it reads as them trying to prove themselves as “humble” shippers by constantly trying to prove how unseriously they take it. But like…you can take it seriously? I don’t ship Zukka, but I see the appeal and can understand why that dynamic appeals to people, so it puzzles me that a bunch of Zukka shippers pride themselves on this front. Maybe they should consider channeling their energy into writing metas instead of constantly trying to prove that they’re above Zutara shippers lol

[firelxdykatara]

I too ship Zutara and think they should have been canon. Although for me it's important to know how such a rewrite would go down. I tried to think, and I'm lost.

After Mai betrayed Azula for him, will he just go "sorry, not interested"? He isn't obligated to date her because of this, but her redemption hinges on Zuko and I don't see it being satisfying if he ends up rejecting her after this.

I thought the solution would be to rewrite her arc in boiling rock to make her have a moral realization, but then the problem with Maiko is practically solved. Their relationship wasn't salvaged by her redemption because last time they talked, Mai still didn't understand what's wrong with the Fire Nation and only changed because she loved Zuko. So how do you make it both satisfying & logical?

With Kataang the problem is the Chakras. The problem with the original (in my opinion) is that after he opened his chakra, letting go of his attachment to Katara, he's still attached (forcing a kiss on eip). Should TCoD get rewritten so that Azula shoots him before he opens it? Then why wouldn't he just open it later? Maybe the chakra would be locked so he feels as though he doesn't need to overcome his attachment just yet. In that situation, how would his chakra even unlock? The stone thing felt like nonsense, so how would I do it?

So yeah I have no idea how to approach this. How would you? (Thanks)

I've been rotating this ask in the back of my head like a rotisserie chicken for a few days--it's interesting because I don't generally stop to think like, how would I write them out of these relationships, I either ignore the relationships completely (which isn't hard, they were barely footnotes in the cartoon) or play a little bit with jealous exes or something. Thinking about like, In A Perfect World where Bryke wasn't in charge of ATLA post-canon (because if zutara had been canon, you can be sure they would've made us regret it) is interesting, and I do have thoughts on how I'd handle their relationships in a rewrite.

(this got long, so the rest is beneath the cut)

Assuming you mostly want to keep canon intact, I think maiko would be the easiest to work around, given how little relevance their relationship has in canon. The problem with maiko as an endgame ship is that it was not set up that way--if it had been, it would not have begun entirely off-screen and their whole relationship would not have been a study in misery and utter inability to connect emotionally. His relationship with Mai was there to showcase just how much he had changed and how little he fit into the life he had been so sure he wanted more than anything since his banishment. It worked very well to highlight Zuko's growth--how that contrasted to Mai's lack of it and why she could not understand him even at his most open and vulnerable--and did not work nearly so well when she was shoved back with him in the epilogue, after he'd quite literally forgotten her existence (he never mentions her again after Boiling Rock, not even to say a word of mourning, considering he'd have every reason to believe she was killed for defying his sister).

I don't think you can fix this by giving Mai some moral realization, because there simply is no room for it. As @araeph says in the essay I linked:

As a character, Mai is very useful to the story during Zuko’s return, because she represents everything that Zuko gains by sticking by his father. A girl who cares about him; the ability to indulge her; the authority he has over others at the palace; we see it all in his interactions with Mai. But this makes Mai a tether to a life he has long outgrown. Her function is not to advance Zuko’s character development, but to obstruct it, which also unfortunately means that Mai gaining a full understanding of Zuko’s trials would be disadvantageous to the story. If she knew everything about him and still wanted him to stay, it would give Zuko more cause than he should have to remain in the Fire Nation, but if she knew and encouraged him to leave and join the Avatar, it would rob Zuko of the triumph of making this decision on his own. In other words, there are good narrative reasons for keeping Mai in the dark; it just doesn’t make their relationship any stronger.

The seeds of a genuine redemption arc (one that includes some sort of moral realization and change to her moral framework) for Mai would have to have been planted far earlier than five episodes from the end of the series, but doing so would have of necessity detracted from Zuko's own character arc and the realizations that he makes despite his attachment to Mai (or more specifically to their relationship, which I feel like he was clinging to more out of a sense of abject loneliness he couldn't shake rather than genuine feelings and emotional connection).

So, in my mind, since we're tackling this with an eye towards getting rid of maiko with the fewest ripples to the overall story anyway, the easiest way to do this would be make one slight change to the end of the Boiling Rock two-parter--have Ty Lee (who had always been the least gung-ho of the trio about bowing to Azula's whims and had to be textually threatened into joining her in the first place) save Zuko's life, and then have Mai (who showed the most genuine affection for Ty Lee anyway) save Ty Lee. I love Zuko more than I fear you always fell flat for me as some epic declaration of love, anyway, since a) Zuko is not around to hear it, and b) unlike Ty Lee, she never showed much fear of Azula to begin with, so it wasn't a very high bar to clear. It was a cool line that was entirely unearned, and I don't think it would be missed, there would be some cute mailee crumbs this way, and a throwaway line of getting them released from the prison after the war ended could wrap up their presence in the story pretty nicely.

Now, kataang is a little trickier, if only because the last leg of Aang's character arc is almost completely derailed by his refusal to let go of his possessive attachment to Katara, to the point where he never naturally reopens his chakras, he has to have the Rock of Destiny hit him in just the right place, and the deus ex lionturtle there to give him a way out of having to make a hard moral choice. (I've maintained for years that if you work the final act of your main character's overall arc in such a way that it could have been solved by one good session with a chiropractor, something got fucked along the way.)

The thing about Aang's chakras is that, narratively, his whole thing with Guru Pathik and leaving his training early to save his friends was basically his version of Luke running away from his training with Yoda on Degobah because of his Force vision, only to find out that his friends were in the process of rescuing themselves and then losing his hand because he hadn't completed the most crucial part of his training. What's missing, therefore, from the last act of Aang's character arc, is the return.

See, in Star Wars, Luke pretty explicitly makes the wrong choice when he chooses to prioritize saving his friends over attaining enlightenment and fully mastering the Force. It was the only choice he could have made, but it was still the wrong one--because, like Aang, his friends did not actually need him to save them, he actually almost makes it harder for them to get away by requiring them to save him because, like Aang, he loses a battle in a very critical way. This was a lesson he desperately needed to learn, and it is clear he has learned it by the time he makes it back to Degobah and witnesses the end of Yoda's life, his own enlightenment having already been reached.

But Aang never goes back to the Guru.

And the text refuses to allow us to sit with the fact that he made the wrong choice in prioritizing his attachment to Katara over his ability to master the Avatar State. He is actually narratively vindicated about it, because the plot bends itself into a pretzel so that he doesn't have to spend any time during the last book trying to reopen his chakras and regain access to the Avatar State, handed both in the final battle with no excess effort on his part, and handed the girl into the bargain. (The girl who never even wanted him, so far as we can tell from all the lack of cues she gave him that she actually returned his feelings.)

And I think this could have been solved with a few scattered scenes. Let Katara actually have some agency in her own romantic relationship (or lack thereof), insofar as noticing Aang's advances and clueing the audience in to how she actually feels. Let Aang struggle with the fact that he can't reach the Avatar State, that his mastery of the elements is in limbo because he can't access his full power, rather than ignoring all of this until the end of the show. If we're trying to keep the shape of the last season roughly the same, let Katara confront Aang about the invasion kiss.

This would have been the perfect time to establish that Katara actually does feel some type of way about Aang prior to the epilogue, and it could have saved us from the exceedingly cringey EIP kiss that Aang never apologized for. How it comes across now, of course, is that Katara basically pretends it never even happened, to the point where she doesn't even know what Aang is talking about during EIP until he reminds her--the death knell for any shot their relationship had at looking requited, because I can tell you, as someone who's been a teenage girl, if someone I had conflicted but burgeoning romantic feelings for had kissed me, I would not have completely forgotten about it only a few weeks later--and we never get any indication as to what she actually felt about the kiss (which was not mutual, despite what Aang's dialogue in the EIP scene implies) except for the fact that she looked away and frowned afterwards. (A change mandated by Bryke, who wanted to leave her feelings completely ambiguous; the original storyboards had her smiling to herself.)

So, with an eye towards wrapping up Aang's puppy love crush and establishing Katara's distinct lack of romantic feelings for him, have her talk to him about the kiss. A good frame of reference for this would be Meng's conversation with Aang in "The Fortuneteller", where she finally realizes that he doesn't like her in the same way she likes him. Katara and Aang's conversation about the invasion kiss could be a callback to this, with Aang having some important realizations--that just because Katara doesn't share his feelings doesn't mean she loves him any less, and just because he can't have her the way he wanted doesn't mean he has to love her any less, that she doesn't belong to him but that's ok, because she's still his family and they'll always have each other's backs. Which could have functioned well in helping him take another step towards unblocking his chakras. Going back to the Guru directly may not have worked, since by this point in the story we're hurtling towards the final confrontation and Sozin's Comet, but let Aang reflect on what the Guru told him with new understanding granted him by his experiences throughout the first half of the season.

To keep the stakes high and up the suspense, obviously, he shouldn't have fully unlocked his chakras and the AS before the final fight, but the seeds could be planted--little moments like a talk with Katara about the invasion kiss, maybe a little more empathy and understanding from him about why Katara needs closure in TSR, etc--and then, during the final fight, rather than hand him all the answers on a silver platter, have him almost lose. He still can't go full Avatar, he's out of time, he still doesn't know exactly what to do about Ozai given his own pacifism and desire to preserve that part of his culture--he tries to fight but he's pretty quickly overpowered. Idk how I would've animated this, and maybe it wouldn't have looked as cool for the final fight, but the true climax of the finale was the Zuko and Azula agni kai anyway, so it hardly matters--I'm picturing him doing the rock-shield thing and going into a brief meditative state, where he finally achieves the enlightenment necessary to unlock the AS on his own, no rock of chiropracty necessary. And at this point, I'd give Ozai a Disney Death, since leaving him alive causes more problems than it solves and it's not necessary for Aang to kill him for him to die--they're fighting on a mountain ffs--but if you don't want to change that part then him figuring out energy bending as part of becoming a fully realized Avatar would at least feel more earned than the lionturtle just handing it to him. (And that could've been foreshadowed better by seeding the idea for it earlier in the season.)

After all of that, particularly if you up the emotions during the agni kai and have Zuko and Katara kiss there (or something less explicitly romantic but still tender, like a brief forehead touch), it'd feel pretty natural to have a just friends ending for Aang and Katara. Maybe a brief, slightly awkward but ultimately amiable conversation if Zuko and Katara had a ~thing at their final fight, and then the final shot of the series could be the gaang all together, maybe zutara holding hands or Katara resting her head on his shoulder or something, but since they already kissed there wouldn't feel like a need to end the whole show on romance, something which I've always felt missed the point of the series.

And then, y'know, after that, the world's your oyster! This is how I'd do it if I were trying to keep the bulk of the final season intact. Of course, breaking it all down to its component pieces and rebuilding from the ground up is also an option, but that'd probably be a longer post lol.