the thing is there's like, a point of oversaturation for everything, and it's why so many things get dropped after a few minutes. and we act like millennials or gen z kids "have short attention spans" but... that's not quite it. it's more like - we did like it. you just ruined it.
capitalism sees product A having moderate success, and then everything has to come out with their "own version" of product A (which is often exactly the same). and they dump extreme amounts of money and environmental waste into each horrible simulacrum they trot out each season.
now it's not just tiktokkers making videos; it's that instagram and even fucking tumblr both think you want live feeds and video-first programming. and it helps them, because videos are easier to sneak native ads into. the books coming out all have to have 78 buzzwords in them for SEO, or otherwise they don't get published. they are making a live-action remake of moana. i haven't googled it, but there's probably another marvel or starwars something coming out, no matter when you're reading this post.
and we are like "hi, this clone of project A completely misses the point of the original. it is soulless and colorless and miserable." and the company nods and says "yes totally. here is a different clone, but special." and we look at clone 2 and we say "nope, this one is still flat and bad, y'all" and they're like "no, totally, we hear you," and then they make another clone but this time it's, like, a joyless prequel. and by the time they've successfully rolled out "clone 89", the market is incredibly oversaturated, and the consumer is blamed because the company isn't turning a profit.
and like - take even something digital like the tumblr "live streaming" function i just mentioned. that has to take up server space and some amount of carbon footprint; just so this brokenass blue hellsite can roll out a feature that literally none of its userbase actually wants. the thing that's the kicker here: even something that doesn't have a physical production plant still impacts the environment.
and it all just feels like it's rolling out of control because like, you watch companies pour hundreds of thousands of dollars into a remake of a remake of something nobody wants anymore and you're like, not able to afford eggs anymore. and you tell the company that really what you want is a good story about survival and they say "okay so you mean a YA white protagonist has some kind of 'spicy' love triangle" and you're like - hey man i think you're misunderstanding the point of storytelling but they've already printed 76 versions of "city of blood and magic" and "queen of diamond rule" and spent literally millions of dollars on the movie "Candy Crush Killer: Coming to Eat You".
it's like being stuck in a room with a clown that keeps telling the same joke over and over but it's worse every time. and that would be fine but he keeps fucking charging you 6.99. and you keep being like "no, i know it made me laugh the first time, but that's because it was different and new" and the clown is just aggressively sitting there saying "well! plenty of people like my jokes! the reason you're bored of this is because maybe there's something wrong with you!"
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i wanna know more about the jerries/jeris
do you want to know the most horrific thing about them?
the lords did nothing to make them the way they are.
yes, the jerry jr was turned into the axeman because of the witchwood, which does what it does because of the lords, but everything leading up to that is just human nature. i see the "girl jeri is nibbly" or "they were influenced by a lord to do the thngs they do" and i need people to understand that that's just. not true. they're just like that. they were taught to be like that by their parents and, more accurately, their church. it's horrifyingly accurate how religion has shaped them into non-functional human beings, who would rather potentially lose their child to the many, many dangers of the literal woods than admit that they had sex outside of marriage.
it's only because it's hatchetfield that jerry jr grew the way he did. there was no lord's intervention in their decision to keep the baby, or to drop out of school to care for him, or to keep him seperated from any other people, or to revolve their lives around the idea that they'd committed a sin and needed to pay by pushing celibacy rather than. i don't know. properly raising their child. it was the way they were taught. the toxic pushing of overexaggerated christian ideals is what molded them. can you imagine being in their place? being a scared teenager and knowing that if you told any of the people you care about most your secret that they would shun you and disown you?
the only people they felt any kind of safe around were each other; of course they're going to be codependent. and even then, they're disgusted by each other for leading them to sin. they're stuck together unwillingly, because without the other, they're alone.
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I just think Tallulah gets to be upset about this. “It’s not Wilbur’s fault” “He’s not a bad dad” “He loves his daughter so much” yes! These are all true! And it’s not his fault! But he’s still not there. And Tallulah has gone through so much and still hasn’t seen him, the one time he was around was the one time she wasn’t, and all she has are letters and “I’m thinking of you always” and things that used to be theirs together, but he’s still not there. She’s waited and she’s been patient and she’s loved him all the same, and he’s still not there. Like yesterday, and the day before, and the day before, from the happy milestones to the traumatic events, he’s still not there.
She knows that it’s not his fault, but it doesn’t change the fact that he’s absent. That in and of itself just adds to the sorrow, because she knows why he’s gone, and she’s been told time and time again it doesn’t mean he doesn’t care, she knows this - it doesn’t mean it doesn’t sting, that it doesn’t hurt, that she doesn’t yearn for her father to be there more than anything in the world, and he’s just not there.
So yes, she gets to be upset, and be caustic, and stomp her feet and write bitter messages, and be angry and vitriolic, because she’s a little girl missing her father, who feels things with her whole heart and soul - and that means she gets to feel the ugly parts of it, too.
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saw someone say they're we're happy Alicent's and Otto's deaths forced them "realize what they had done" and like...
Otto's one thing, I get the animosity. but Alicent? your getting hot and bothered over her realizing she failed, she failed to save her children, she failed to protect them, to them alive? that she tried so hard, so fucking hard, making every hard decision, trying to get between her children and the fate they were damned to by Viserys and Rhaenyra? that she damned her kids, who were already damned to die to begin with, and had to suffer the guilt of them dying to her own hand? that she's going to drive herself mad with grief over her children, her grandchildren?
like... it's not satisfying (especially for show Alicent) watching a woman go so mad with grief it literally kills her because she fought with everything she had to save her children only for them to die anyway. ever since her father's exile, when Rhaenyra's lies took Viserys's favor, when Viserys ignored the Rhaenyra's sons bastardhood at the risk of the whole house, or when Luke took Aemond's eye and Viserys demanded good will; she knew her children's lives were forfeit. then Daemon killed Vaemond and her children's coffins were built, catching cobweb's all the while. she knew and she fought it desperately, taking risk after risk, living in fear until her moment came, she could out Aegon on the thrown, she could protect her kids, maybe, just fucking maybe they'd be safe... only for it to lead to a war that would kill her entire family.
her death, slow and tragic as it was, is heartbreaking. she didn't deserve it, she deserved to feel safe, to feel as though she could allow her past friend take the thrown without her children being at risk to feel as though she and her children weren't being circled by wolves and picked at by vulture's. she didn't deserve to live alone and die alone. she didn't deserve to have her hands coated in her children's blood.
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make your choice
Digory didn’t think much on making choices. The whole world would be over when his mother died anyhow.
Of course, this didn’t keep him from being curious or adventurous. It was exciting to meet new people, exciting to go exploring and to speculate about whatever mischief his Uncle Andrew was up to. Being a lively young boy was perhaps the best distraction from being a boy about to lose his mother.
Going after Polly was so obviously right that it might as well not have been a choice at all. What else could he do? It was easy to be righteous in the face of an evil old magician who said things like "Ours is a high and lonely destiny."
Yet once they were there in that rich, in-between place, with all the worlds there were splayed out before them— ((Make your choice, adventurous stranger)) Well. What sort of lively young boy would he be if he turned back now?
Digory could feel the bell’s magic ((strike the bell and bide the danger)) beginning to work on him. There was no use in resisting. He felt tendrils of magic sinking deep beneath his skin, laying claim to any free will he’d ever had. He said as much to Polly, but she wasn’t listening.
Polly said ((or wonder till it drives you mad)) that he looked exactly like his uncle when he said that.
Jadis’s whole world had ended. Everyone had died, and she’d just gone to sleep. She might have stayed sleeping forever if he hadn’t woken her. Sitting outside his mother’s sickroom, Digory wondered ((what would have followed if you had)) if that was really so shocking. Hadn’t he been preparing for just such an end? Were Charn and Mabel Kirke so different?
Narnia was not an end. It was a beginning.
And face to face with the Lion, Digory was forced to admit that the bell had not been magic. Nothing had caused him to strike it. Make your choice, the writing had said. Digory had chosen.
I’ve spoiled everything. There’s no chance of getting anything for mother now.
The enormous Lion asked him, "Son of Adam, are you ready to undo the wrong that you have done?" and Digory sputtered his maybes.
"I asked, are you ready?" the Lion said again.
At that very moment, an ultimatum flashed through Digory’s mind. If I salvage your beginning, will you prevent my end? If make amends, will you save my mother? He thought of refusing, of holding his choice hostage until his future was secure. Could the Lion be bargained with? Could Digory twist his arm, as he'd twisted Polly's?
But what Digory said was, "Yes."
Jadis conjured such lovely visions of the future. His mother's face would lose its gray sheen and she would say, Why, I'm beginning to feel stronger. There would be no more morphia, no more of the terrible drawn look about her when she slept. She would rise from her sickbed, vibrant and whole ((Come in by the gold gates or not at all)) rise and walk to the door and fling it open and then Digory would go running into her arms.
He gasped as though he'd been mortally wounded. Perhaps he had been in a way. After all, had the gate not said ((take my fruit for others or forbear))?
Jadis ((for those who steal and those who climb my wall)) called Digory the Lion's slave. Years later, he would think back over all that those words implied. The Witch seemed to think that Digory had no will, if he was willing to subordinate himself to Aslan.
But was it not Aslan who made Digory realize his own culpability ((shall find their heart's desire and find despair)), and in the same breath gave him a way to repair it? Had not Aslan given his will back to him?
And at the foot of the tree, Aslan gave Digory his future back as well.
He was old, but now he is young again, watching as the stars fall headlong across the black of the world-that-was. The world is ending at last, but Digory does not fear such things any longer.
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I think people overestimate how feminist team black is. If someone brings up how Baela should be the heir to Driftmark, it's always "she would've been Queen if not for the Greens!", ignoring that 1, she would be Queen consort, not a Queen in her own right, and 2 she has a legitimate claim in her own right to Driftmark. Team Black's goal is to crown Rhaenyra, but Rhaenyra becoming Queen isn't a win for feminism because it does nothing to dismantle the rest of the patriarchal system that exists in Westeros. From what we've gotten so far, it reads that Rhaenyra wants to be the exception and not the rule. Rhaenyra has made a lot of bad political decisions, which means she can't acknowledge Baela's claim because it would weaken her own claim (blatantly admitting her eldest sons are illegitimate would not end well for her to say the least). So she betrothes Jace and Luke to Baela and Rhaena to kind of atone for that, like as a consolation prize Baela will be Queen and Rhaena will be lady of Driftmark, neither of them would hold either title in their own right. It's good matches because the kids like each other and will treat each other well, but it's not a feminist win or a feministic liberation. It's usurpation, usurpation that takes place because Rhaenyra has to do damage control after having illegitimate children and after a serious of bad political decisions (both hers and her fathers, Viserys is the arbiter of this entire mess). To me, Rhaenyra is very reminiscent of Mary Queen of Scots, I can see a lot of elements drawn from Mary's history in Rhaenyra's story and character, down to their sons eventually taking the crown they failed to claim/keep.
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I think it's so interesting to think about the unique social implications of things on the islands. Like, the animal hats & how they originally existed for the practical purpose of protection & they kept wearing them even after that wasn't a factor anymore. & how the hats we see in the present day (when Finn & co visit the islands) don't really resemble animal hats, do they? & maybe that's just to make the significant human characters (who do still wear animal hats) seem more distinct but you best believe I'm going to make it into something bigger. Oh I'm so bad at putting my thoughts into words but it's something how the hats evolved into a new meaning. & when robo susan rips friedas hat off its like a very violating moment. Something something hats, the lack thereof, vulnerability. I don't know. Sorry. I was going somewhere with this but I don't know how to explain it. You get it though. Hats are interesting.
I like to think that (when everyone got sick and lots of them died and the rest moved to a new island) there was a bunch of small shifts & the animal -> abstract hats was one of them. And Frieda still wearing her dog hat shows her still holding onto the past in some way. There we go, that's something. This isn't a total nothing post after all
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