#HEY WHEN THE MOST HONEST GOD OF S2 IS THE GOD OF CHAOS? HEY? HEY WHAT? FUCKING. HUH? THE ONE WHO INVENTED ECONOMY? THAT BITCH?

[chiangyorange]

hey why s2 got the messiest worstest terrible awful fucked up compelling tangled dirty filthy complex nasty ass family drama ever. mianite was killed by his father using his mother's sword. how fucked up is that. hey do you know how fucked up that is. hey. hey wake up h

#mianite #mianitefa #mianite the character #ianite #dianite #mcyt #my art #i hate extrapollating compelling narratives of a chara bc every one of these clown dont realize how good of a story it actually is. #also s2 ianite was a bitchass coward but yall arent ready for that conversation yet #and before you even START i do not hate her she kept running away from her problems and when she DIED she did the same fucking thing oh my #HEY WHEN THE MOST HONEST GOD OF S2 IS THE GOD OF CHAOS? HEY? HEY WHAT? FUCKING. HUH? THE ONE WHO INVENTED ECONOMY? THAT BITCH? #full believer that alyssa countrybat would NOT fuck w/ s2 ia for obvious reasons but WILL fuck w/ s1 ianite bc at least s1 would tell her #she burnt down her fucking home village. #WHAT DO YOU MEAN S2 IANITE TAUGHT ALYSSA HOW TO SHOOT A BOW AND GENERAL KICKASSERY #i OBJECTIVELY refuse.

[mindibindi]

Beyond disappointed in Ted Lasso. What were they thinking?!

The writing is a complete betrayal and insult to Rebecca’s character and Hannah’s skills as they’re being seriously underused. It’s also insulting Sam’s character.

Hoping someone pulls Rebecca’s head out of her ass tbh. Sam shouldn’t be getting caught in the crossfire of her looking for romance. I know he showed up at her doorstep but she still should’ve turned him away, and not even messaged him in the first place.

Hey, I'm with you, Anon, though we do seem to be in the minority. Sam is definitely not blameless here, he is also in the wrong. But if one of them is more in the wrong, it is Rebecca. I can't speak to whether her head has left her arse as yet because I have quit watching (at least for now). I hear she called it off with Sam in the most recent ep, though not because of any major crisis of conscience or because anyone in her inner circle expressed any reasonable reservations in response to her bad behaviour. And to be honest, I'm not sure we should need to hope and pray that Rebecca's precocious god-daughter, her slimy ex-husband, or the brutal British press will act as a moral compass on this ill-advised relationship. Both Rupert and the press have been set up to some extent as the villains of the piece. And a 14 year old should never have to school her elders on what is and isn't acceptable. Nora's needs have already been neglected by Rebecca for far too long.

If a moral position is to be taken on this, it needs to be taken by the show (because stance matters) and/or by its characters. But the show has for the most part depicted this relationship as ill-advised but ultimately hot, sweet, funny and romantic. As for the characters themselves, Sam has shown at least once that he has some moral backbone but seems to be adorably clueless when it comes to fucking his boss who keeps trying to set boundaries with him. Meanwhile, Rebecca's whole arc in s1 was about learning not to misuse her power for her own selfish ends. In season one, she misused her power within the club in order to exact revenge. In season 2, we have seen her misuse her sexual power, though I still cannot see to what end. I'm a bit at a loss as to what exactly she gets out of this 'relationship' but then I'm a grown woman so I have absolutely no interest in sleeping with a Harry Potter enthusiast barely out of his teens. I couldn't think of anything less sexy and more ick. I was certainly hoping for better character development for her this season.

As to what the writers were thinking, obviously I was not in the writer's room, but I would guess that they were thinking that any drama is good drama, people are stupid and fan devotion will trump any meaningful critique. In other words, they were thinking exactly how every other television writer thinks, despite the fact that this show posited itself as 'not like other TV shows'. This, to me, is where the blame really lies. Not with the characters or with the actors who are doing their best to sell this ludicrous turn of events. It must be noted, however, that both actors were completely blindsided by this relationship that had supposedly been so cleverly foreshadowed. Newsflash: if the people actually living these stories did not see this coming then you haven't foreshadowed shit. Sure, there were a handful of people that paired Rebecca with Sam but this does not constitute proof either. Fans have free-range to imagine and re-imagine characters. In some cases this may extend to imagining relationships between characters who have barely, if ever, interacted. There may be little to no evidence that these characters have even clocked each other's existence and some fans will still ship it. The existence of a handful of shippers does not legitimise such a problematic and divisive plotline making it onscreen.

But wait!, you might argue, this may not be a case of a popular show seeing just how far they can stretch fan devotion. This may not be a case of fan service to a handful of shippers. After all, the creators mapped out the entire three-season arc of Ted Lasso before they even pitched it to Apple. This was their brilliant plan all along! To which I would say: then maybe they should've rethought their second act based on people's strong reactions to their first. Ted Lasso was touted as the show we all needed in 2020. The writers and creators have all marveled at the chord it struck considering it was conceived prior to the pandemic and all the chaos it wrought. And while there is something to be said for having/sticking to a creative vision, there is also something to be said for being flexible and responsive to your audience and the cultural zeitgeist with which you're engaged. Season 1 of Ted Lasso told its story so gently, without creating distrust, division or unnecessary anxiety. It did not treat its audience like a gaggle of stupid lemmings to be led over a succession of narrative cliffs. THIS is what I mean when I say the show has broken with its brand. And look, this whole dark forest thing would be okay if the narrative arc was as well-crafted as s1. Season 1 gave us meaning, cohesion, comfort, sense in a senseless time. It was an almost perfectly crafted season of television. And I kept the faith for 6 episodes, despite the first half of s2 being pretty damn wobbly. But the follow-up to this stellar debut has been less than extraordinary so yeah, perhaps they should've thought a little harder about what made s1 so special before throwing it all out the window.

But wait!, I hear the faithful say, you don't know how things will pan out yet! Wait until the season is over and everything will make sense! But -- wearily and once again, I say -- we should not need to wait until the end of the season to understand what the hell is happening. By this point (over halfway through the season and show) we should have a v clear idea of the show's themes and the characters' arcs. And tbf, from what I can tell there are some fab things happening in other aspects of the show that I wish I could watch and enjoy. But my biggest fear at this point is that they are going to use Sam to solve Rebecca's childlessness. That, like Rupert (because the parallel cannot be avoided), she will become pregnant with a young fling and the show's attitude to this relationship will ultimately be: oh well, it was a bad idea and didn't work out for them but it was all for the best in the end cos who can be mad about a cute lil baaaayyybbbeeee??!! If they do go down this path then I will definitely be abstaining from the rest of the show. I will simply recall my repeated viewings of s1 with fondness tinged with regret at just how badly they fucked up a good thing.

Ultimately, Anon, I think this may be a case of there simply not being a diverse enough perspective in the writer's room. I am not saying that every single woman or every single person of colour will necessarily object to this relationship. I am simply saying that women and people of colour will be more sensitive to the issues of gender and race that are relevant here but that have not been fully or sensitively acknowledged in the writing of this plotline. Neither am I saying that Rebecca is the first woman to sleep with a man much (much, much, MUCH) younger than herself or indulge in an ill-advised relationship. But the comparison with Rupert both works here and doesn't because Rebecca is not being written like a white woman, she is being written like a white man. Realistically, only a white man can engage in this kind of hugely imbalanced relationship seemingly without any major moral qualms or societal ramifications. Not to put too fine a point on it, but this kind of relationship is reserved for all the Bills and Joes and Brendans and Jasons out there -- not for the Rebeccas and definitely not for the Sams. We are way beyond the point in feminism where we believe that liberation is simply the right for a white woman to behave as badly as a white man. The truth is that whatever wealth, power and privilege Rebecca has, the rules are different for men and women. She will not be treated the same as Rupert if and when this affair is uncovered. She will be treated far more savagely than Rupert ever was and Sam will be treated far more savagely than Bex was. This is not an argument for the equal treatment of these two relationships. It is an argument against how the relationship between Rebecca and Sam has been envisaged, i.e. through the wrong perspective. In writing from a 'neutral' white male pov, the show has invisiblised all the many issues activated by this storyline and revealed a blindspot that was always there.

As much as I loved and still love season 1 of this show, it has definite blindspots when it comes to representations of race and gender. There are at least two moments in s1 that stand out for me as being so obviously written by a man. Not necessarily because of what they do but because of what they don't do: what is missed, absent, unacknowledged. I was willing to overlook such minor failings in a debut season for many reasons. But s2 seems to have exacerbated these minor flaws rather than correcting them. And here I can't help thinking of Tina Fey speaking of the diversification of the writer's room at SNL during her tenure as co-headwriter. This notoriously male-dominated environment only began to shift and produce better work when a greater diversity of minds, voices and persepectives was allowed in the room. In this richer environment, she notes, different jokes played differently. Different sketches made it to air. Different perspectives were represented and different performers were celebrated. I can't help wondering if this plotline would have made it to air if there had been a female writer, a writer of colour or both further up the chain of command to challenge the ideas of the straight white dudes in charge.

One of the reasons I didn't think Ted Lasso was for me was that it centred a straight, white, cis-het, able-bodied man who rose to a position he didn't earn. That is just not a pov I would normally choose for myself, especially now that there is such a rich array of alternative perspectives through which to view the world. But I think the show won a lot of females fans with its first season largely due to its portrayal of Rebecca. She is the first person we meet. She is arguably the protagonist of s1. And while she would have been figured as a villain in previous pieces, the show never took that stance with her (because again, stance matters). Other elements like the depiction of female friendships, all centred around Rebecca, made this show female-friendly viewing. But imo, the major reason this show won over female fans (this one, at least) is because, in this post-MeToo, post-TimesUp era, it stood up and said: domestic violence is not okay, we stand with women and all victims of abuse, we will defend you, we know words can hurt, we know it can happen to anyone, we know all about toxic masculinity, we do not take this lightly and we will support you in your healing. Needless to say, this is how women hope men will act when they speak of their most difficult experiences but it is not how they always do.

The shift away from Rebecca this season has however meant that the white male experience is more centred than it was in s1. Rebecca's journey to recovery, health and happiness has been trivialised and sidelined, reduced to a highly questionable sexcapade. Meanwhile, we get overwrought manpain at every turn. We get Beard wandering around London (no, I haven't seen it and no, I don't need to. We've all been raised on white dudes thinking they're genuises when they have a figurative wank all over our screens). We get NO queer represention at all. And the only other female characters on screen are in care/service roles to men. The father/son, mentoring and toxic masculinity themes are all still there but they're no longer balanced out by ANY other competing perspective. One of the reasons I was okay with Ted failing upwards in s1 was that he used his power and privilege to lift up others. He was the one in service. He used his enormous privilege for good, as anyone with such privilege must. (Admittedly, it could be argued that this is just another version of a white savior narrative).

My point here is that I'm not sure that peeking behind the mask at the sad clown is as revolutionary as some might believe. We love it because it's familiar. But this is a narrative with a long and problematic history. Do I believe in tearing down toxic masculinity in all its forms? You bet. Do I believe that patriarchy traumatises men as well as women and every other minority in existence? I mean...nowhere near as much, but absolutely. Do I believe in men expressing their feelings and going to therapy? Wholeheartedly. But I am also aware that 100 or so years ago, we were in a very similar place with our narratives. Everyone is looking for a recapitulation of modernism and frankly, this might be an indicator of just that. Whenever women and people of colour have demanded rights and recognition, there has always been a resurgence of tales about just how frickin' hard it is to be a white man. Minority genders and non-white people have never in western history been as visible or vocal as they are now. So forgive me (or don't, I don't care) if I critique a show not only for centering fathers, sons, boys and men but for blindly and boldly writing one of its only female characters and one of its only black characters as if their gender and race just do not exist. There are many other power differentials at play in this relationship, including age, experience, wealth and position, but race and gender are the two that patriarchy is most invested in invisiblising. So I don't care how brilliant they think they are, I will not trust the writing of a bunch of white dudes trying to tell me that race and gender are irrelevant.

#ted lasso #rebecca welton #sam obisanya #ask #yeah this one got out of hand

[coalitiongirl]

ive been watching your scenes to rewatch and ive been crying at literally all of them. out of curoisity, what are your favourite ouat scenes? either sq or general? also side note, i love your latest fic, such an interesting premise. i get so scared every time someone says an order and emmas forced to comply, that scene with the trolls had me on edge. and the fact that cora must suspect something about emma now - im so scared but excited ahah :D have a nice day :)

OH I super dropped the ball on those omg, i have so many others!! but i haven’t been able to rewatch in a long time, it hard 😩

of course i LOVE almost every swan queen scene!! it’s hard for me to pick favorites because nearly every one pings something else inside me omfg. I don’t think there’s a single sq scene I couldn’t write an essay about WHOOPS. so lemme try to answer this with just some of my favorite non-sq scenes 😅

Emma in True North: hoo boy, this is probably in my scenes to rewatch but that scene on the road, MAN. there’s so much careful buildup with emma’s abandonment issues and how much she sees herself in nick and ava. and they have a chance she never does and dammit, she fights for them!! she fights for two kids just like her and they get their moment and jmo turns that realization into agony with sheer artistry in emma’s FACE in their final moment. god.

Regina in We Are Both: this was the episode that sold me on Regina! tbh i’d marathoned s1 as soon as they announced mulan was going to be in s2 so i hadn’t been focusing much on thinking before that?? and then suddenly there’s Regina, in all her rich and layered stories, and i fell hARD. the whole narrative of the episode- Regina resisting parental abuse until she becomes what she’s always feared to be free!! and that translating into her saying ‘no, this isn’t going to continue to the next generation. even if i lose the only thing that matters to me.’ do u ever stan!!! I DONT KNOW HOW TO LOVE VERY WELL. END ME.

Emma in Firebird: listen. never follow ur idols to ur next fandom or you’ll suddenly realize they actually hate women and then get ‘’’muted’’’ for ‘’’yelling at her too much’’’ but jane espenson did a GOOD with the flashbacks in this one (present day still literal and figurative hell tho!!). The concept of Emma’s jacket as armor isn’t an original one, but the execution was honestly stellar. Emma forging this connection with an older hardened woman who can’t let go of the past either!! emma destroyed and remade into the lady we met on her twenty-eighth birthday. GOD. SHE FINDS HER DAUGHTER. and i gotta say, the vulnerable-tearful-young thing jmo was doing w emma in s5 didn’t work for me in terms of what present day was trying to convey, but it’s a perfect fit for that flashback, i WEPT.

Regina in Quite A Common Fairy: Lana OWNS the cave scene with Tink, god. The depth and breadth of emoTION. The episode and the narrative itself builds it up from episode one! because this regina on the road to redemption but finally giving us a glimpse into the emotional and mental state she was in as the young queen- she has all this rage and she’s SUSTAINED by it, it’s her only real truth and constant and she’s terrified of what might happen if she lets it go for even an instant and chooses hope instead. (Lana’s voice when Regina says she’s afraid that without rage she might just ‘—float away’ is something that has stayed with me for a long, long time.) REGINA PULLING OUT HER HEART TO MAKE A POINT. far from the last time she will, but how affecting!! god!!

Emma and Snow in S1: There are a few moments i’m thinking of (and i’m literally writing this on the treadmill so pls forgive the lack of episode names) and all of them are so stellar, god. The moment when Snow finds Emma living out of her car early on. Snow and Emma sitting at the table at the loft holding hands. Emma lying down next to a crying Snow. Snow yelling at Emma for being so selfish when she tries running off with Henry?? EMMA SHOWING UP AT MARY MARGARET’S DOOR SEARCHING FOR A ~PERSON~ AND MARY MARGARET SILENTLY LETTING HER IN. Snow and Emma work best in S1 in the silences and the fights, where they’re allowed to just care and be family, and I treasure each of those moments as much as they do.

Regina and Zelena in the Kansas: There’s a lot of effort put into this dynamic right near what seemed like the end, playing with how exactly Zelena perceives her happy ending to go- and then Regina strikes it all down by being different, by changing, by being someone Zelena hadn’t believed either of them capable of. And then Regina goes to Zelena’s cell and offers her!! sisterhood!! my god. i instantly fell in love with the dynamic in that moment and i’m forever pressed that the ‘it’s nice to have family in town’ line was cut. because you can tell that regina craves family and craves unmaking this second monster of her mother’s and zelena was going to TAKE that second chance and hey! this seems the perfect time to go off-message and

Belle in Family Business and Heroes and Villains: imma be honest, i like belle just fine in the early seasons but i have zero interest in rumbelle, which means a lot of fast-forwarding through her scenes. But these two scenes were ENCHANTING. Mirror Belle preying on Belle with the truth that she’s afraid to face! Emilie does such a fantastic job conveying so much cruelty in that scene, I was gaping and enthralled and hoping shattered sight was going to work exactly like that (and tbh props to ginny for doing a hella creepy snow at the start of Shattered Sight). And that town line scene!!! What a stunning, evocative scene. Belle reclaiming agency and taking action in such a 100% cold-blooded but necessary way!! that’s my ravenclaw babe!!!

Mulan and Aurora: I was young, and I Believed, and I Believed for a very long time. I am appalled at my naïveté too, don’t worry.

Regina in Enter the Dragon: LOOK it’s not about the leather but it’s a lil about the leather!!! I really appreciate both Regina in the past and present in this one and also how gay it is, and I’m most charmed by lil evil pep talking nugget Regina who just wants you to be the very best villain you can be! It’s such an artful melding of the exuberance of young!Regina and the delight in chaos of eq!Regina and i, for one, am a fan.

Emma (and Henry) in The Stranger/An Apple Red as Blood: my gOD. Okay I think one of the first times I cried while watching this show was in Emma’s desperate, hysterical denial to August about the curse. She’s so clearly hit rock bottom and she’s TERRIFIED of believing and it’s breaking her. SHE DIDNT ASK TO BE RESPONSIBLE FOR EVERYONES HAPPINESS. SHE DOESNT WANT IT. THAT IS CRAP!!!! i love her!! i love emma swan!!! i do!!!!! and then moving into the end of the next episode when she tells henry she’s leaving and just!! ‘henry! life isn’t a story!’ man this show had some incredible early work. sigh. emma kneeling in front of henry begging him to listen! my god.

Regina in the Cricket Game: so i’m leaving out all my fave sq moments which severely limits the number of regina and emma scenes i can talk about here but the flashbacks in this one SURE ARE SOMETHING. regina has hit rock bottom in this set and you feel it in every moment, in her REGRET THAT I HAVE NOT CAUSED MORE PAIN and frickin stABBING snow and that dark scene with the candle oh god. this is a regina who doesn’t think about looking back anymore but who doesn’t think about looking forward, either, and she’s terrifying. it reminds me a lot of the scene later this season in Welcome to Storybrooke where she takes out snow’s heart and ‘see? i can have everything’ but there are tears sliding down her face. regina in enraged despair is something to behold!!

Henry (and Emma and Regina) in Operation Mongoose: Henry doesn’t often get lengthy times to shine that aren’t about other characters, but he was literally a YA hero in the author’s universe! man! what a kid! and his scenes with bandit Regina are some of my all-time favorites, as is that heartstopping moment when he reaches the top of that tower and flings the door open and Emma KNOWS him. reader, i wept. i wept hard. talk about your earned moments!!!

Emma as Dark Swan: posture! clothing! positioning! voice work! dark swan was a revelation i’m still rightfully bitter about, because she was EVERYTHING in those early episodes. the way she caressed snow’s face in first episode of 5a. the faux-innocent with the calculating eyes on the ship with whats-his-name. every interaction with henry where she was trying to be a PERSON. the way she moved! the way she felt more reptilian than human! i wanted to know everything about her!! (then i did and quit the show lol) honestly some of jmo’s best acting to date, i’m forever in awe.

That Still Small Voice: look, this is an episode about a cricket and it remains one of my favorite quality ouat episodes. Archie sells it best as an adult influenced by his past without quite knowing it, and Archie and Henry make for a really engaging dynamic in here. There is nothing about Archie’s professional behavior that doesn’t make me want to scream but this remains a very, very good episode.

Emma in Sympathy for the De Vil/Lily: okay this is cheating a little because so much of this is also Regina but!! Emma individually shines in this narrative and throughout 4b. From the moment she finds out about what her parents had done, you can watch it slowly draining a part of her?? yes her eyes got redder but there was also this kind of apathy about EVERYTHING. And tbh the Cruella episode is pretty awesome on its own (I love the slow revelation that Cru is the villain, what a stellar execution of a fave trope) but WHEN EMMA KILLS HER. In the exact moment that Cruella says ‘heroes don’t kill’. that’s what pushes emma over the edge!! and then emma ready to kill again the next episode because she feels like she’s sliding into an abyss, i couldn’t BREATHE. emma is incredible when the narrative lets her be angry, and i wanted So Much More. Speaking of which, Emma getting angrier and angrier and almost losing it in The Snow Queen was more of that anger!! i am HUNGRY for it.

Regina and Snow in The Evil Queen: This episode is messy af but damn did my heart skip a beat when a hooded hero saves Regina and tears off her hood and it’s SNOW. This episode does so much of what makes Snow/Regina so fascinating and frustrating, both in the present and the past. Their interactions in the woods moved me! changed me! and Regina had already crossed the point of no return but oh man, oh man, the way they’d almost gotten somewhere for a minute there.

Regina and Henry in Save Henry: A classic, a work of art, and I’ve said so much about it in the past that I’m exhausted just thinking about expressing it all again now. But what a STORY of an evil queen who falls in love with a little boy. What a narrative!! The promo pictures from this episode came out when I was sitting in the hospital for a checkup while I was expecting my daughter, and I was tearing up and the nurses thought it was about the ultrasound. I’M NOT PROUD. This is a love story!!! And it culminates again in A Curious Thing, by the way, which put another ten years on my life, an Epic !

Emma and Henry in New York City Serenade: boy was this a journey, but I was absolutely spellbound omg. This was a love song to a fantasy but it’s a fantasy that never unmakes Emma– she’s afraid of commitment and happiness and everything permanent in her life that isn’t Henry, but she’s still going to take that leap despite herself. It’s a wonderful character study that captures Emma’s essence in a new world, with a new past.

Snow in The Miller’s Daughter: Snow is at her best when the show isn’t painting her with rose-colored glasses and we get to see her darker side, and I don’t think she ever gets quite as dark in the first three seasons as she is when she’s standing there, smiling earnestly at Regina as she tells her that the key to Cora loving Regina is in the poisoned heart she holds. My god. It’s so incredibly cold-blooded and vile, and it’s absolutely the kind of manipulative pragmatism that suits Snow best. I am enthralled and horrified.

Neal and Emma and Henry and Gold in Manhattan: This is one of those really cool scenes where even though I don’t particularly care for half the characters within it, everyone acted the hell out of it and it’s so GOOD. There’s so much tension and you’re holding your breath through the squabbling, and then Henry shows up and you KNOW. You know what’s going to happen and you’re terrified for Emma and it’s so visceral, right up until the instant when Neal demands Henry’s age and Henry shouts ELEVEN and my god, my god. What a reveal. What a scene.

There are more!! so many scenes and moments i’ve loved over the years. Emma and young!Lily! Snowing in Snow Falls! Anna of Arendale!! Snow and Emma in Lost Girl!! Ruby in Red Handed! The David/Emma dragon fight in A Land Without Magic! Regina tearing out that heart in The Doctor and meeting Daniel again?? Regina and her father in hell. all of Hat Trick. i think twenty is a good place to stop, but hoo boy, when this show was good, it was GOOD. alas.

#ouat #Anonymous