The truth is that choice is a fairytale. You play the cards you're dealt, and the wise or the strong make the most of it.
Sean Oswald, Uncontrollable (Class Shift #1)
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hotd's commentary on patriarchy is so much more interesting when you allow yourself to acknowledge the differences in privilege and power between the various women we see. aemma, alicent, laena, rhaenys, rhaenyra- they all have varying levels of privilege that come to them either indirectly or directly. rhaenyra is, ofc, undisputedly at the top. and this doesn't sideline or villainize rhaenyra in any way, because no amount of privilege will change the fact that she is not a man. like otto said: she could be jaehaerys reborn, could be as wise and powerful and mighty as any human being could be, and at the end of the day society would still see her as a woman. as the most powerful woman, sure, but as a woman. and i think that's just a much more salient point- that no amount of power within a system will allow you to breach the confines of that system. no matter how much influence these woman gain within the system of patriarchy, they're never able to be free of it.
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One of the things that it's always interesting to see in a gothic noble is what the villain, or the antagonist represents in the narrative as a whole.
The Gothic is a romantic literary response to the historical, sociological, and political contexts of the the late eighteenth and early nineteenth century. It's a look through the ruin, the passionate, the bigoted, the decaying, and the irrational rationality.
It's an explanation as to why it's crucial to the narrative of why Dracula is a count, why Jonathan is an inexperienced worker, and why there is so much emphasis on the locals.
"Because your peasant is at heart a coward and a fool! Those flames only appear on one night; and on that night no man of this land will, if he can help it, stir without his doors. And, dear sir, even if he did he would not know what to do. Why, even the peasant that you tell me of who marked the place of the flame would not know where to look in daylight even for his own work. Even you would not, I dare be sworn, be able to find these places again?"
How much contempt, and underlining hatred can one fit in a single paragraph that bordelines on a monologue? Dracula truly holds true resentment towards the locals of Transylvania for daring to try, and defend themselves against him.
He doesn't call them locals, citizens, not even commoners, but peasants. A word that not only signals the kind of social hierarchy that Dracula benefits the most (notice how he also included Jonathan in the social class at the end), but also why he is shown so angry despite Jonathan asking a simple question.
The locals of Transylvania had commited the worst crime in the eyes of the Count, the peasants dared to revolt against their "master" in order to keep themselves alive instead of baring their necks for the slaughter. Even with all of the fear that Dracula has sowed in the heart of the locals, to the point that they obey all of his orders, it's still not enough for him. That fear it's not enough for Dracula because it lacks the concrete submission of his old days as an actual noble class.
The locals of Transylvania fear him for his power and his wealth, but they lack the class mentality that would truly put them under Dracula, and that is eating the Count alive. He calls them fools while they fill their streets with protection wards and put rosaries around their necks, he calls them cowards while we have read how everyone around Jonathan risked the Count's wrath to protect him.
We Transylvanian nobles love not to think that our bones may lie amongst the common dead.
The Count hates the old innkeepers, the coachman, and the passengers for daring to rebel against him, even if he is still the unliving cause of their suffering.
Hell, it's heavily implied that all of that is still not enough to fully stop Dracula, and yet he is still so angry. There is nothing that the aristocratic nobility hates more than the mere vision of how the people they deem beneath them act together to stop their abuse.
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Watching Bungou Stray Dogs and seeing the wild shit that happens in Yokohama every single day made me realise that it's the Gotham of the BSD verse. Imagine being late to work cos a dragon attacked your city or missing your train cos a building got blown up by a Victorian looking dude who's apparently mafia or your fucking math teacher being declared a terrorist on national television along with the craziest and most attractive group of people you've ever seen, one of whom you're certain is the farmboy who you swear you've seen carry an entire cow over his head once.
So yeah, Gotham = Yokohama
Just less Goth and more Homo.
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One thing I love about Fig's school arc is that it counters a lot of the utopic teen ideas about how high school and being a teenager "should" work.
Teachers trust your abilities enough to let you do whatever you want? Swaps classes mid-way through the semester in JUNIOR YEAR, pretty much ensuring that she won't be able to get the full benefits of any of the classes she is taking/has taken.
Parents/Guardians that don't prioritize or even really care about academics? If no one cares she has very little reason to actually try, let alone learn good study habits or try to plan for the future.
Get to pursue your passion and live your dream life as a rockstar? That's a full-time job hun, people build their entire lives around something you're trying to squeeze between night classes and solving mysteries. I hope you aren't feeling too tired, you need to write that album we already paid you for.
Idk, I just think it's fun to see all the ways having no rules or supervision can be just as detrimental to a child as having too many.
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I need a whole fic where the Cerritos is mistaken for the Enterprise by some type of alien with very high intelligence but very poor visual recognition, for whatever reason.
And Freeman either can't or is too scared to convince them that they're not the Enterprise, so she starts desperately assigning everyone to various roles. Boimler gets assigned as Data, and since he and Mariner are the only people on the ship who play string instruments, the captain orders them to put together some sort of "symphony" because the aliens have heard that that's a thing on the Enterprise.
And it's just Mariner and Boimler frustratedly trying to figure out how to combine her electric guitar skills and his traditional violin skills into something suitably "symphonic" (i.e. thematically trying to combine her more lax/modern way of doing things with his more strict/traditional way).
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