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uselessheretic · 1 year

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but also bouncing off of this with ed, racialized masculinity, and rage (and i'm using that term specifically and for a reason) one of the other parts i think is fascinating is the way that rage is dangerous. not to an individual but to the oppressive structures surrounding us.

moc and anger is something that has always been policed and their image in media has to be crafted to fit a specific ideal. i'm taking a look at this through the lens of a biracial african-american, but if you look at the history of how black men are depicted in media you see a stark change occur upon the abolition of slavery. during slavery, the image of enslaved people that was promoted were those of a happy and content group of people. they were infantalized and portrayed as child-like and mentally deficient. you can see gone with the wind as an example of "the happy slave" myth. there's a great teen vogue article you can read if you wanna see more about the myth and how it relates to current pop culture. you can also read more about caricatures and the way they're still normalized currently with mascots of aunt jemima and uncle ben in this op-ed. but like all caricatures, they serve a purpose and fulfill a need of white supremacy. when it came to the happy slave, it was to push the idea that black people were content in slavery, that slavery was a civilizing process that was actually white people helping them, and that the only kind of work black people were capable of is physical labor, that any other kind would make them unhappy.

you can see similarities actually with the way māori men are spoken about and locating their use to physicality. when māori schools (in traditional western sense) were first opened, māori students scored just as well as the european lead schools. white people actually literally forced them to change their curriculum to be labor based completely because anything else was thought of as too complex for their simple minds or some bullshit like that. there's a great paper by brendan hokowhitu "The Death of Koro Paka: “Traditional” Mäori Patriarchy" that goes in depth about the white supremacist fetishization of māori physical labor.

in the same way that māori school curriculums were changed, the happy slave myth was a way for white supremacy to maintain a status quo that naturalized using poc for hard labor while patting themselves on the back for doing them a favor. for a long period of time in america, black rage and anger was erased. it was hidden from white eyes to shield them from having to face the reality of their brutalization. this is why frederick douglass was so revolutionary, btw. he pulled back the curtain on the myth, showing these caricatures as the shadow puppets they were, forcing white people to look at the brutality they were inflicting on real human beings.

the abolition of slavery changed this image. it's like it underwent a PR campaign overnight (which it kinda did) where suddenly pictures of slaves singing with huge grins were replaced with the image of animalistic, out of control, absolutely furious black men. part of this was from a white paranoia projecting their anxiety that black people will come at them for revenge from slavery. but the main reason for this was because of a caveat in abolition that still allowed slavery in the case of incarceration. (the 13th is a documentary on netflix that goes in depth on this!) you can't say that you're enslaving people because they like it and it makes them happy anymore, so what do you do? you change that narrative. it's not to keep them safe, it's to keep you safe especially your women safe. jim crow laws are rolled out, black men in the south are either incarcerated or lynched (the great migration from the south was fleeing white terrorism!) the myth of the angry, violent, savage negro takes form.

the point i'm making related to ed, beyond the history lesson, is related to that idea of white fear of moc's anger. when we talk about the anger of moc, we don't erase it. that's already happened before, and it was used against us. instead we lean into the idea of what makes white people so fucking shook at the idea of an angry moc.

a huge part of this that i think is very relevant to ed is the need for the state to control him. piracy is disruptive as fuck. a huge portion of pirates were ex-navy who left because they no longer wanted to put up with how fucking shitty the navy is to their men (no, it wasn't for radical reasons 😭) piracy also had a large amount of black people fleeing slavery too! one of the reasons black pirates were so scared of capture was because unlike their white counterparts, they wouldn't be hanged, they'd be brought to plantations. if you want to read an interesting article about piracy and race i'd suggest this one! it's untrue to say that piracy was an aracial utopia, but the history of it is complex and fascinating. (fun fact, blackbeard actually gets cited sometimes as one of the pirate ships that were a lot more equitable with race where the famous pirate black ceasar served upon his ship. this does not mean blackbeard wasn't horrifically racist. he still sold slaves and raped black women. do not mistake this for him being an antiracist legend)

pirates were able to operate outside of state control and this was terrifying. at times, they would work with the navy, also a fun fact. hornigold is famous for attacking spanish ships and leaving the british ones alone, meaning england just kinda looked the other way lmao.

but for ed (the character) i think this is what grants blackbeard so much power in a way that just plain old edward teach would never be able to harness. all the way up the chain, blackbeard is feared, and blackbeard is respected. the mere chance that blackbeard would be willing to take an act of grace and concede that power to the king is so lucrative that even an admirals subordinates are willing to go against him for it. to have blackbeard under english control is the greatest propaganda anyone could've offered them.

i think i said this yesterday, but as a powerless child being told that he can't have fine things, that's just how it is, it can feel like your only two options are either anger or despair. ed chose anger, and by doing so, ed chose survival. he can despair over his surroundings or he can get angry, say fuck this, join a pirate ship, and go ham. he can despair over his mother's abuse, or he can get angry. angry that she's treated like this. angry that his father is so cruel. angry that there is nobody who is willing to help them. angry enough to kill your father. not because ed is, at his core, a violent person, but because, at his core, he's a loving one who will kill off a part of himself if it means keeping his mother safe. ("when you kill, you die as well.")

and not just anger, but rage? it's powerful. it's the natural conclusion for having even the slightest awareness of your circumstances as a moc, and it's in the states best interests to quell that as much as possible. not to be like "malcolm x said" but also malcolm x said "Usually when people are sad, they don't do anything. They just cry over their condition. But when they get angry, they bring about a change." and i think there's something to that with ed, where he's trying to change the circumstances of his life to no longer be a nobody. that anger has served him well over the last few decades, his path has scorched a legacy, but it's also burned him out on the way. something stede offers to him alongside retirement is the possibility that he may be able to let that go. doesn't have to hold onto that anger anymore and wield it like a weapon. maybe love can be enough?

and in this case, it doesn't work out for him. there's many reasons why, but a big one is that ed hasn't yet done the introspection necessary to move forward. he struggles with acknowledging his past (he frequently forgets his acts of cruelty) and although he may be ready to let that go, it's not so easy. it clings to him. also why i think izzy's role is so important and not just black and white villainy. what he and izzy had worked. for decades it served them both well. but now it doesn't anymore and ed wants to let that go, but it isn't that easy to sweep it under the rug and pretend it never happened. izzy is his reminder of that, good and bad.

i mentioned malcolm x earlier, and it feels worth it to bring up how much a disservice history does to his legacy where he's painted as angry with no other nuance. they called him the angriest negro in america. there's also a fascinating legacy within the black male community of attempting to claim him for black masculinity at the expense of others, but malcolm x was also a loving husband and father, and a huge proponent for self-love. his love was complex, and it was only after he began to start making connections globally and start advocating for a more nuanced approach of black radical politics that he was assassinated.

ed is angry, and in that anger is power, but it's also exhausting. he wasn't wrong that love and vulnerability is something that will heal him, but he also hadn't yet done the work of examining his own internalized self-hatred, despair, loneliness, and anger. he's not going to have a fairytale ending where stede swoops in and rescues him from the evils of piracy, but will need to dig deeper into his emotional roots and connect with that same complexity of love that figures like malcolm x embodied.

this will probably look different for ed though since there are māori practices specific to that self journey of healing. Te Whare Tapa Whā is a model of health and wellbeing that takes a holistic māori and indigenous approach to health that positions five tenets as necessary for one's health.

i don't feel like i can do it justice summarizing it since it's focused on five culture specific concepts, but here's a neat link!

this is something i try to keep in mind when writing ed and his healing. even if i'm not naming the model specifically, i think it's great to check back in on "is ed getting these five needs?"

i would highly recommend reading more about māori approaches to mental and physical health where the trauma of colonization is something that is brought to the forefront of needing to be addressed to heal. not only that, but how strong a backlash this receives from white groups because acknowledging that pain and history is dangerous to white supremacy.

but ed's relationship to emotion is something i really love about the show. rage and anger threatens the control of the british empire. it wreaks havoc across the seas and makes a mockery of their power. with ed though, when he's able to take control over the navy and for a brief moment becomes the most powerful person on that naval ship, is the act of grace. an action born from his love of another person. it feels so? hopeful and kind. and it wouldn't hit as hard if there weren't those moments of pain. after all, ed's desire for softness becomes all the more meaningful when we know he's use to only being treated roughly. that contrast is what keeps us feeling.

#edward teach #ofmd meta #yes i am salty and including a bunch of sources bc of that lol #long post

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ms-m-astrologer · 1 year

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Transiting Eris in 2023

Timeline

January 1, 2023 - 23°56’ Rx Aries

January 11, 2023, 17:56 UT - transiting Eris stations direct, 23°55’ Aries

July 21, 2023, 23:59 UT - transiting Eris stations retrograde, 25°16’ Aries

January 1, 2024 - 24°10’ Rx Aries

Eris is the slowest-moving planet I keep track of. It entered the sign Aries way back in 1926, and won’t enter Taurus until 2048.

But, as Andre (of YouTube’s “Astrology Alert” channel) points out, it’s a very significant player in Dolt 45’s chart, both natally and by transit. He sums up Eris as “angry women” energy, and I think we all can see how the “Orange Menace” being challenged by Eris, is playing out. (Andre has many amusing epithets for Drumpf….)

Anyway, one thing about Eris is that (by transit) she messes with us for a long time. She started being exactly conjunct my natal Moon in 1997, and didn’t start to pull away until after 2002. (And that’s just exactly conjunct, down to the minute; using a 1° orb it took even longer!)

Another thing about this particular chunk of rock, is that it had a “working title” so to speak: Xena. Who IMO is a far healthier exemplar and role model than the Greek goddess of strife and discord - however, all we know about Eris comes from men, and perhaps we can find safe ways to tap into this energy and figure it out.

(An example: If Eris was Zeus and Hera’s kid, is she then a personification of their unhappy relationship? How would more happily and/or equitably mated parents have affected her? Or, what would be a better response to mismated parents?)

Eris’ transits may mean more to you if she’s prominent in your birth chart, closely aspecting the Sun, Moon, &/or an angle. She may also (as in the case of Dolt 45) interact with other planets to form a t-square, grand cross, grand trine, yod, etc. In Drumpf’s case, his “mere” Mercury-Neptune square turns into a t-square when we add Eris to the birth chart. (Andre calls it the “Access Hollywood t-square” because it was activated when Drumpf’s “grab ‘em by the pussy” quote was publicized.)

#Astrology #Transiting Eris in 2023 #Ms M astrologer

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thegrapeandthefig · 3 years

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Spiritual protection in the Greco-Roman world

This was this week's hot topic, so I'm using the opportunity to make some things clear from a purely hellenic and historical perspective. Needless to say I am tired of seeing modern magical concepts being slapped on ancient beliefs and I am not writing this post unbiased.

Amulets Etymologically, the word amulet probably means "something that can be carried". It's, personally speaking, my favorite type of protection. Technically speaking, an amulet could, therefore, be a lot of different things as long as they serve two main purposes: tutelage (protection) and prophylaxis (preventive).

Let's go through some of the most common types:

Bulla: typically given to male roman children 9 days after birth. It is worn like a locket where other amulets are placed (typically phalluses).

Lunula: a crescent moon pendant worn by little and young roman girls until their mariage.

Fascinum, tintinnabula and other phalli: the symbol of protection par excellence, found in many shapes and forms. The tintinnabula is more potent, as it also has bells, which are considered apotropaic as well. Bells could also be put around children's and animal's neck for a similar protective effect.

The Eye (mati): still widely in use, it appears as soon as the 6th century BC on Greek cups. Sometimes added on the phallus for a double protective effect (also true for wings).

Gorgoneion: Often worn simply as a pendant and easily found a bit everywhere, from house thresholds to carved on bullae.

Hercules' Club: late Antiquity amulets shaped like wooden clubs and most common in Roman Germany between the 2nd and 3rd centuries AD. An examplary speciment bears the inscription "Deo Herculi", thus confirming its link to Hercules hero worship.

Amulet strings: Mostly seen for Athenian children. It is a cord with several amulets attached to it that is worn diagonally (or on the chest) instead of around the neck so the child can't choke on it.

Garter and waist amulet strings: Mostly worn by Greek women. Their function is debated, but it seems that amulets that were worn this way might have had something to do with easing childbirth, menstruation and sexuality in general (eg. to avoid miscarriages or, the opposite, as a contraceptive).

Coiled snake ring/bracelet: Common protection for young Roman women.

Depiction of gods on medaillons and other objects: quite a straightforward way to put yourself under the protection of a deity. Helios and Semele together seem to both have been a popular choice.

Coins: Especially old reused coins, sometimes pierced in the middle but not always. This is especially the case for coins which have the image of a deity or hero (Alexander the Great got very popular for this function). Other notable examples include Fortuna, Nike or Helios. The image on the coin matters more than the coin itself.

This is not even an extensive list, but it's worth noting that when we're talking about the ancients, we're talking about people who have been put under some kind of magical protection since their first days of life. I personally have used 2 types of amulet cited above so far, a silver coiled snake ring which I worn until it broke, which I replaced by a fascinum. This one travels with me, as I keep it with my apartment keys but I have 2 consecrated phalli in my apartment that also serve a purpose: one to Dionysus and one to Priapus. The latter being by definition, a protective deity.

Protection starts at the threshold

I know this can be hard to pull off, but in ideal conditions, you’d want to have a small altar or shrine by the main door of your place. Amulets are meant to follow you around, but protecting your space is just as important. In one of the ridiculous arguments I’ve witnessed this week, someone said, and I paraphrase, that “you could have negative entity living in your house and fucking your life up” when trying to honor the gods, which is “why you should banish". The problem here is banish against what? If the answer here is "negative spirits", then, by hellenic standards, this is a whole other process that:

1) Doesn't happen at the altar 2) Protects the household on the long term instead of a one shot thing

This, alongside other elements of ancient greek theology, is why you don't need to "protect yourself when you approach the gods" and other ridiculous claims I've seen. If you need to protect yourself in such manner, it means you never either 1) developped kharis with a deity to protect you or 2) took care of protecting your place.

The first protection for a typical greek door would be an aniconic pillar dedicated to Apollo Agyieus aka "of the street" because that pillar was outside of the house. This Apollo, protector of entrances is also called Thyraios in later sources:

Apud Graecos Apollo colitur qui Θυραῖος vocatur, eiusque aras ante fores suas celebrant, ipsum exitus et introitus demonstrantes potentem. The Greeks worship Apollo under the name Thyraios and tend his altars in front of their doors, thereby showing that entrances and exits are under his power.

-Macrobius, Saturnalia 1.9.6

It's important to note that the same epithet is attested for Hermes, which makes total sense since he and Hekate are also traditionally linked to the protection of thresholds (represented by hekataia and herms).

Why am I insisting so much on doors? To quote Johnston:

"Divinities who guard the entrances to cities or private dwellings would be expected to avert all sorts of dangers that might threaten those dwelling within, from burglars to mice, but in ancient Greece (like many other places), they were particularly expected to ward off unhappy souls and other demonic creatures, who were believed to congregate at entrances for two reasons. First, because inhabitants vigilantly used protective devices to keep them out, these creatures were imagined to lurk near entrances, patiently awaiting those rare moments of laxity when they might dart back inside."

It's important to note that the protection granted by threshold deities, whether it is Hecate, Hermes or Apollo is that it concerns both the mundane and the spiritual, restless spirits are one thing but it seems to extend to general ills.

Conclusion

I should add, before wrapping this up, that there is an evolution in time with how the Ancients considered their protection to work. As such, between the 8th and 5th centuries BC, amulets weren’t so prevalent. The gods were considered the only ones who had the ability to protect. After the end of the 5th century onwards, there is a gradual shift towards a more “DIY” approach to protection, where human action is considered impactful, thus making the use of atropopaic amulets relevant.

Further reading:

Faraone C., The Transformation of Greek Amulets in Roman Imperial Times, 2018

Habib R. R., Protective Magic in Ancient Greece: Patterns in the Material Culture of Apotropaia from the Archaic to Hellenistic Periods, 2017

Johnston I. S., Restless Dead: Encounters between the Living and the Dead in Ancient Greece, 1999

Kerr M. D., Gods, Ghosts and Newlyweds: exploring the uses of the threshold in Greek and Roman superstition and folklore, 2018

Porto C, V., Material Culture as Amulets: Magical Elements and the Apotropaic in Ancient Roman World in: Philosophy Study, 2020

#hellenic polytheism #hellenic paganism #hellenic religion #hellenic polytheistic #hellenismos #ancient magic #greek magic #hekatedeity #apollodeity #hermesdeity #witchcraft #witchy #i can't believe yall made me write this

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onesunofagun · 3 years

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I shall now yell about Ingo, please stand by:

Ingo’s transformation from the underappreciated backbone of the ranch to an absolute ruff-wearing cantaloupe of a man is also pretty interesting (if you’re the kind of person who absorbs the Zelda series through your skin like a frog to live).

I’ve bolded the key points for skimmers.

Granted, the manga has it that Ingo just gets brainwashed by Twinrova into being a staunch follower of Ganondorf. That’s not canon, but it’s not informing any of this thinking, either way.

In the beginning of OoT we meet Talon by waking him up from a nap, and we learn pretty quickly that he’s lazy and often yelled at by his daughter for slacking off like this. Ingo at the ranch confirms again that Talon doesn’t pull his weight around there, and since Malon’s still a child, it’s pretty obvious that Ingo’s settled with the bulk of the work.

Ingo is grumpy, he’s resentful, and he complains a lot. But he does do the work, and you can find him (presumably) in the process of mucking out the stables.

Let’s examine what he does at the ranch:

Epona really liked that song... Only I could tame that horse... Even Mr. Ingo had a hard time...

Now, Epona is established in game to be a real winner of a horse. She’s fast, she’s smart, she’s got a lovely sorrel coat and white mane that seems to be quite rare or highly prized coloring. The catch is, she is notoriously wild. The only people she tolerates are Malon and Link, due in large part to being soothed by the song Malon’s mother taught her.

Ingo had to really try to crack this horse, which Malon’s observation suggests is unusual.

Epona is very young when we first see her, so it’s never really revealed if she was caught wild, or bred at the ranch with a very headstrong temperament.

Ingo’s clearly the guy that’s breaking them in, though. The most Talon is doing is... sleeping in with the cuccos. We never see any organisation of the cuccos, in terms of egg collection or poultry farming, but nevertheless, Talon has the much less physical jobs even if he was doing them. His focus seems to be cuccos, deliveries to the castle and book keeping between naps (and to be fair it’s probably a little depression related, given the dead wife).

Malon gives us a cow later on, and she’s got the egg for the crowing cucco that wakes up Talon, so I’d like to assume for simplicity’s sake that even as a kid, Malon was up at dawn most days helping Ingo with the cows and milking them. It’s never really implied that she has amazing skill in dealing with horses, just that Epona has a special connection with her specifically. Other than that, Malon is simply kind and respectful of her animals (though I’ve got no idea how she got that cow to Link’s treehouse and that’s worth investigating).

Later on, Ingo is also shown to be a competent rider. Enough that he has absolutely no qualms in challenging Link to races for wagers, and was quite confident of his ability to win.

The takeaway is, Ingo is usually VERY GOOD with both caring for and training horses, if not breeding them for the ranch.

That kind of lends to his grumbling, when he is referring to himself as ‘the Great Ingo’ and comparing himself to Talon, who is a ‘bum’. His claim to greatness may not be undeserved, at least in horse circles, and especially if he’s not getting particular credit for it, his bitterness and frustration (alongside envy, exhaustion, and dreams of recognition) would be quite deeply run.

So it seems that his friend and employer is clearly taking some advantage of him, especially after the death of Malon’s mother.

So now, let’s examine his feelings, and how he changes.

The feelings Ingo has about that are pretty textbook for the sort of thing ‘evil takes hold of and twists’, in the Zeldaverse.

Focussing on the game itself, Malon says this as an adult:

Since Ganondorf came, people in the Castle Town have gone, places have been ruined, and monsters are wandering everywhere. Mr. Ingo is just using the ranch to gain Ganondorf's favor... Everyone seems to be turning evil...

We do see other characters in Hyrule become influenced by the ‘darkness in their hearts’ as byproduct of Ganondorf’s reign.

A prominent example of a character who was visibly dissatisfied with their lot, and then notably changes (while praising Ganondorf for what he’d done), is the Castle Guard who is heavily implied to have become the Poe Dealer. Even if by some slim means it’s not the same person, the Poe Dealer does still express that they could not do the work they do without Ganon as King, and that they now benefit from him being in that position and are grateful to him.

The Kakariko Carpenters seem to have given into their fantasies about living among the Gerudo women, and gone out to the Valley and gotten themselves taken prisoner. Following work near the fortress, the team chooses to act on their selfish desires and go for broke, chasing their dreams. They weren’t previously prepared to act upon these fantasies when Link was young, admittedly much milder in their still very prominent obsession, but seven years later, they’re quite happy to risk it all and piss away the stability of their careers (and nearly their lives) at the first opportunity.

Anyway, the trend is, those across Hyrule who are unhappy with their lot before Ganondorf’s coup tend to be ‘corrupted’ by seven years later, and appear to have given in to a twisted version of whatever they most wanted.

This is noteworthy especially because the language in the game revolves around the Sacred Realm being opened and corrupted, too, by Ganondorf’s unbalanced heart and selfish goals. It is unable to be ‘sealed’ again while Link has the Master Sword. In aLttP, we know there is a mirror like effect to do with the sacred turned dark realm, in which it reflects the hearts of men.

So it is very reasonable to say, that for OoT in particular, much of this evil influence plaguing the land and preying on the darkness an people’s hearts is a result of the corruption of the Sacred Realm. It is an indirect byproduct of Ganondorf’s acquiring of the Triforce, but not necessarily something he himself does to people on purpose, unlike the brainwashing of Nabooru.

Mr. Ingo is just using the ranch to gain Ganondorf's favor... But Dad... He was kicked out of the ranch by Mr. Ingo... If I disobey Mr. Ingo, he will treat the horses so badly...

This explains a lot of the more callous and greedy behaviour that Ingo shows later on, and why it seems to disappear when he is truly humbled by Link.

Link’s win serves as a reminder of Ingo’s stagnating skill with horses, the very thing that made him feel so deserving of praise and recognition in the first place, in that for everything he now has control of at the ranch, he still cannot control that horse. He has become as much of a bum as Talon ever was, relegating Malon to do all the hard work while Ingo struts around uselessly. He’s even lost his touch with the Horses so much, in his arrogance, that now he has taken up mistreating them and using harsh and abusive methods (according to Malon’s concerns).

The humiliation and shame takes hold, his pride shattering with the loss of Epona-- not only as a valuable asset, but also as the horse he could never truly tame.

The dark feelings he was holding onto are let go of, as he regains a sense of humility, and the corruptive influence upon him dissipates. He even seeks out Talon to bury the hatchet and invite him back to the ranch.

Oh, I have to tell you about Mr. Ingo... He was afraid that the Evil King might find out that Epona had been taken away... It really upset him! But one day, all of a sudden, he went back to being a normal, nice person! Now my dad is coming back...I can't believe it, but peace is returning to this ranch!

But what about his obsession with Ganondorf in particular?

When the coup happened, Ingo watched the King of the Gerudo unwittingly play out a sort of grand parallel to what Ingo felt should happen on the ranch. To Ingo’s perception, I think Ganondorf was representing an ideal version of Ingo himself.

A man of the desert, where hard work and grit are as second nature to survive the harsh conditions. A man frustrated with the King of Hyrule’s shit, and forced to swear fealty to him despite being a King himself. A man resplendent with wealth, with fine and flashy clothes and plentiful jewelry.

And perhaps the most important note of all, the Gerudo in OoT?

They’re horse people.

They love horses. Ganondorf’s horse is reputed to be a purebred Black Gerudo Stallion, which is obviously a specialty breed, that is fully armoured and as flashy as he is. When the Gerudo cut the bridge leading to the valley, the only way in and out is to have a skilled horse jump the gap.

They also have a huge horseback archery range, and prowess in the sport is an incredible source of respect amongst the Gerudo, and many of the guards possess bladed polearms suitable for mounted use. From this, it can be assumed that during the recent civil war, Gerudo weapons, war tack and military tactics were probably built around mounted cavalry archers foremost, with a lesser focus on light and heavy cavalry aside (iron knuckle armour springs to mind).

Anyway, Horses are very important to the Gerudo in the era of Ocarina of Time.

So Ganondorf is also unique in the sense that he is the King of a people who value what it is that Ingo does very highly. He, of all people, stands to immediately recognise the knowledge and skill that Ingo possesses in rearing horses.

So this is a man who successfully stages a coup of Hyrule, who clearly inspires Ingo to do much the same of the ranch, and who Ingo also feels is very likely to take his side should he appeal the matter.

And Ganondorf does.

And if that’s not a great compliment to Ingo’s actual skill, I don’t know what is, because Ganondorf is not a man that suffers fools. He’s got a limited patience when it comes to shit that is beneath his notice. Clearly, he recognises that Ingo is indeed the backbone of that ranch-- and the main reason for the quality of its Horses-- and rewards this accordingly.

And for Ingo, being on decent terms with the big scary goth King is a very, very good place to be. But it’s more than that!

What a guy! Not only did he deliver on Ingo’s long due validation, he gave Ingo everything he’d ever dreamed of having to his name, and the authority to kick Talon to the curb. He gets it! Ganondorf, this great eight foot beacon of freshly sought divine power and topaz-encrusted glory, this absolute unit of a man, this great underdog horse-lover after Ingo’s own heart; he really understands how great Ingo is. Ganondorf is paving the way for people like them! Oh, to rub shoulders wiht such greatness when the rest of Hyrule is scorned.

Ingo feels seen. The Great Ganondorf made all that thankless time spent shovelling horse shit while Talon slept mean something. The Gerudo appreciate Ingo’s talents.

And all Ingo has to do is keep turning out really good horses, and promise to present the King with his finest.

So Ingo knows he’s in deep shit when he gets cocky and loses Epona to a wager, who at this point, he’s prepared pretty well and sunk a lot of money into on the idea that she’s going to Ganondorf.

Who he’s probably bragged to about how fast she is.

He lost her to some jerk in tights who’d barely ridden before, too. And then when Ingo tried to cheat him out of the win, the kid jumped the damned fence an in ass-bustingly cool move that really just drove home how excellent and rare Epona was.

One does not promise the King of the Gerudo a fast horse and then fail to deliver, let alone for such a stupid reason.

Honestly, by the end, the man’s just happy to be alive.

Also I’d like to think he and Talon had a much fairer delegation of work and forgave each other, each really learning to appreciate what they have and what’s really important.

how the fuck did the Kokiri leave the forest for this scene anyway, they don’t even have their faries???

#tloz #tloz oot #Ocarina of time #legend of zelda ocarina #nostalgia #ingo #malon #talon #lon lon ranch #hyrule #zelda meta #legend of zelda #gerudo #ganondorf #zelda discussion #zelda theory

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agent-cupcake · 3 years

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You know, you've written a lot of your thoughts/hcs/etc on how various characters would behave as yanderes and so on, but I've never seen you talk about yandere readers before and I feel like that's an interesting subject to consider? Especially for 3H - you have a treasure trove of damaged boys to attract obsessiveness from girls who are convinced they are the ONLY one for them and it's their duty to drive away competition/threats/anyone they want.

Okay it's time to be toxic. I’m not going to go for all the guys, just the ones who immediately came to mind.

Dimitri: I joke quite often that I would be yandere for Dimitri. It all started when I brought up killing the girl he danced with at the White Heron Ball and quite frankly it's only spiraled from there because doesn't the Savior King Dimitri deserve to be adored and worshipped? Doesn't he deserve someone who wants the best for him and only him? Doesn’t it only make sense for him to be with someone who understands his mental issues and is willing to offer him unconditional support and patience? Doesn't he need someone with unwavering loyalty who will do anything no matter what the cost for his sake? It'd be so easy too because he's super dependent, desperate for affection, and clueless so if you just nourish those traits and constantly downplay his discomfort/suspicion of you driving away anybody who you feel is a threat by saying that this is how relationships just are, that it's just because you love him so much, that you're just looking out for him, what's he gonna do? It's not like he'd have any solid basis for knowing how relationships are supposed to be. Besides if he gets too upset you can threaten to leave him just like his mother did, I'm sure that would work to get him back in your arms (where he belongs). Yeah, that’s a little fucked up but it would be so much worse for both of you in the long run if you were apart. Being too aggressive or overt about your obsession would definitely make Dimitri wise up so it'd be better to go with love bombing. This would be good because it really lets you prove your devotion to Dimitri and makes it easier for him to just laugh off and excuse your disturbingly possessive behavior. His friends would be potentially problematic, but they're not always around and Dimitri's private enough that he probably wouldn't volunteer information about you to them. If you told him that it made you very upset and uncomfortable when he was friendly with the girls from his class, he’d most likely stop for your sake. Bonus round, have his babies. What is he going to do, abandon the mother of his children? Dimitri?!? No way. Of course he wouldn’t do anything to risk breaking his family, but neither would you! After all, this is all because you know Dimitri better than anyone which means that only you can love him.

Sylvain: Sylvain being manipulative and cheating on you after you try and prove your love to him through conventional means causing you to snap and kill hurt the girls, throw his lies back in his face, and prove that you're the only girl for him by preying on his emotional trauma with women is really something to consider. Why try to resolve toxic situations with love, compassion, and open communication when you can use blood and abuse to keep him with you? Play the part, be snarky, witty, flirty, be super hot and cold to keep him intrigued, give him the best fuck he's ever had, really show him that you don't care about his Crest, you just want to love possess him. Maybe even do the whole "I don't care who you're with, we both know you belong to me" to really engage him in those super fun mind games. Make everyone else acknowledge that you're the perfect girl for him, get them all to vilify him for continuing to be such a womanizer and breaking your heart. But, like, why stop there? Encourage him to retaliate, to be mad at you. Tease him for being so disgusted and angry at you when all you want, all you've ever wanted, was for your hearts to beat as one and then later act confused because of course you wouldn’t make light of his feelings like that, that’s horrible. All you want, all you’ve ever wanted, was for him to acknowledge that your adoration for him is true. Really break him until he gives you the whole “I’ll let you chain me up so I never even look at another girl” schtick. This might seem awful, but so is he! Reform can be difficult and if he’s going to be happy, he has to be made to understand why his behavior was so bad and the consequences of it. Because it’s not like you’d act like this if you had any other choice, it’s not like you’d continue once the two of you were truly together, of course you wouldn’t treat him so cruelly once he vowed himself to you and only you. And, really, I think it’d be a lot easier once he understood that and you got to prove your love to him through raw, unadulterated affection. Spend every day adding onto the list of why you love your Sylvain.

Claude: Claude being more than aware of the ole' saying "don't stick your dick in crazy" and then doing it anyway because he has a proclivity for the fiery, forbidden, and oh-so temping call of danger would be the perfect set up for a very bad predicament. You’d have to play some mind games to really convince him that he’s the one seeking you out, he’s the one who’s got it bad, he’s the one who wants to have you. In other words, you’d have to give him a challenge. But, you know, if it’s a game, you’d have to play back because you’re doing this for him, because you love him, because you want him to realize that he loves you, too (Uno reverse Claude’s yandere behaviors, basically) so obviously you’d have to eliminate any obstacles and taking out anybody who could be a potential threat. Get him to open up about his dreams, his past, his feelings. As it goes with basically all of these affection-starved men, make him feel loved for who he is. You know, if you were really good, you could probably even get him to give up on everything else for your sake. I mean, I loathe the ending but he does that for Lysithea. Pull a Tangled on Claude and make him believe that you’re his new dream as he mostly certainly is yours.

Felix: Sweet Felix. So oblivious but so difficult. A man who would provide the ultimate and most dangerous yan rival of them all: the thrill of the fight. In a lot of ways, I think he’d be like Dimitri. Mostly just because he’s so dense when it comes to love of any kind. But he’s also not as emotionally desperate or dependent so you wouldn’t really be able to use that against him. The similarities come from Felix’s equal amount of inexperience with romance which opens up a lot of possibilities for you convincing him that certain behaviors are normal. You can even bring up how his cold emotional state (something I believe he’s insecure about) is what forces you to be so overbearing, how badly it hurts you. You don’t necessarily mean to be so cloying but you’re so afraid of losing someone else you love so much (another insecurity of his). After all, there is nobody in the entire world who is like him, Felix Hugo Fraldarius, (three for three with his insecurities) and how irreplaceable and precious he is to you. These examples are kind of “soft” when it comes to using his insecurities against him, but you could go further with them assuming you were sure that it wouldn’t drive him away. Not knowing and having to work on assumption would always be a pretty big reason to control yourself in how you went about manipulating him because Felix is stubborn and prideful and pushing him too far would only hurt the both of you. It’s actually kind of funny because as opposed to the traditional yan mindset, it would be in your best interest to get Felix to form relationship bonds with others (but definitely not any of the girls he’s so popular with) because that would be a bargaining chip when convincing him to stay with you.

Ferdinand von Aegir: Ferdinand is, honestly, so easy for this. Like, I feel as if I don’t even need to talk about the details. You show him some affection and he’s yours. Bury him in love and praise. Tell him that it makes you unhappy when he talks to other girls or prioritizes his work over you and then reward him with boundless warmth and devotion because of course he would bend over backwards to make you happy. He just wants to be needed and treasured, to love and be loved. He’s already got the poetry and the ring and of course he wouldn’t mind getting married right away it’s true love, why would you wait?

Yuri: Yuribird is the forbidden darling. You’d need to be running on 100% love because he’d sniff out and ditch you at even the smallest whiff of deliberate obsession. But you know what he wants? More-so than the other guys, in some ways. He wants to be known and loved for who he is. In the face of genuine affection, he doesn’t stand a chance. Still, you’d have to be measured about this stuff. If you were jealous and got rid of your rivals yourself, Yuri would be disgusted and leave you. And you can’t hide that sort of thing from him, either. You’d have to go all in on the manipulation but only in the most honest way possible, that’s the only way past his defenses. Get him to prioritize your feelings first so he feels guilty talking to people or acting in ways that upset you. Reward him for putting you above everyone else. Constantly remind him that you’re the only one who knows and understands him, who loves him for who he is. Get him so emotionally fucked that even if his big brain logic is telling him that you’re toxic and horrible, he can’t stand the thought of being without you. He’d give up crime, it’s not like he even particularly likes it. Set up the perfect life for him, something domestic and sweet and warm, something he’s never had worries he doesn’t deserve, something that keeps him away from others. The goddess only knows how much he deserves a happy dream for once, and you’re the only one who can understand and provide that for him.

#dimitri alexandre blaiddyd #sylvain jose gautier #yuri leclerc #claude von riegan #felix hugo fraldarius #ferdinand von aegir #fe dimitri #fe sylvain #fe yuri #fe claude #fe felix #fe ferdinand #fire emblem three houses #fe3h #yandere #headcanons #yandere headcanons #quality content only on my blog

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sapphirelycoris · 3 years

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𝑨 𝑩𝒂𝒕𝒕𝒍𝒆 𝑩𝒆𝒕𝒘𝒆𝒆𝒏 𝑨𝒓𝒓𝒐𝒈𝒂𝒏𝒄𝒆 & 𝑨𝒇𝒇𝒆𝒄𝒕𝒊𝒐𝒏𝒔 𝑷𝒂𝒓𝒕: 𝑰

Rating: Teen

Warnings: Suggestive lines, pining (like a lot because Enji's a simp), enemies to lovers style writing, weird 19th century type dialogue but I think it's still readable. Please tell me if I missed any.

Ship: Enji Todoroki x female reader (she/her)

Word count: 2,707

Music: Pride & Prejudice Music & Ambiance

Author's note: I know some of the character's relationships with others are kind of weird but I casted them according to personality. For example, Ryuko reminds me of Charlotte Lucas and Nejire reminds me of her little sister, Maria. I just kind of threw names around haha... A NSFW and continuation soon to come. God, it's been a while since I posted anything on this blog.

Written/created for: @pleasantanathema's Through Ink and Quill | A Classics Collab

Summary: A Pride and Prejudice inspired piece, featuring Enji Todoroki as the male love interest. Loosely following the plot of the actual novel with a few twists on the actual story's dialogue, characters, & events. When you meet Mr. Enji Todoroki, he was the last man in the world you'd ever want to be around. However, as your paths cross more and more, you see that your first impression of him was inaccurate.

"The world works in mysterious ways. He doesn’t know what happened and when it began. Suddenly, Enji cannot stop longing to be in the same room with you. To go one more moment without you seemed like a sin or some unbearable divine punishment for his greatest flaw: pride."

𝑉𝑎𝑛𝑖𝑡𝑦 𝑎𝑛𝑑 𝑝𝑟𝑖𝑑𝑒 𝑎𝑟𝑒 𝑑𝑖𝑓𝑓𝑒𝑟𝑒𝑛𝑡 𝑡𝘩𝑖𝑛𝑔𝑠, 𝑡𝘩𝑜𝑢𝑔𝘩 𝑡𝘩𝑒 𝑤𝑜𝑟𝑑𝑠 𝑎𝑟𝑒 𝑜𝑓𝑡𝑒𝑛 𝑢𝑠𝑒𝑑 𝑠𝑦𝑛𝑜𝑛𝑦𝑚𝑜𝑢𝑠𝑙𝑦. 𝐴 𝑝𝑒𝑟𝑠𝑜𝑛 𝑚𝑎𝑦 𝑏𝑒 𝑝𝑟𝑜𝑢𝑑 𝑤𝑖𝑡𝘩𝑜𝑢𝑡 𝑏𝑒𝑖𝑛𝑔 𝑣𝑎𝑖𝑛. 𝑃𝑟𝑖𝑑𝑒 𝑟𝑒𝑙𝑎𝑡𝑒𝑠 𝑚𝑜𝑟𝑒 𝑡𝑜 𝑜𝑢𝑟 𝑜𝑝𝑖𝑛𝑖𝑜𝑛 𝑜𝑓 𝑜𝑢𝑟𝑠𝑒𝑙𝑣𝑒𝑠; 𝑣𝑎𝑛𝑖𝑡𝑦, 𝑡𝑜 𝑤𝘩𝑎𝑡 𝑤𝑒 𝑤𝑜𝑢𝑙𝑑 𝘩𝑎𝑣𝑒 𝑜𝑡𝘩𝑒𝑟𝑠 𝑡𝘩𝑖𝑛𝑘 𝑜𝑓 𝑢𝑠. -𝐽𝑎𝑛𝑒 𝐴𝑢𝑠𝑡𝑒𝑛

The world works in mysterious ways. He doesn’t know what happened and when it began. Suddenly, Enji cannot stop longing to be in the same room with you. He dreamed about the sight of your eyes, glancing at him with mild contempt. You occupied his thoughts, both innocent and indecent… He was going to go mad if you didn’t share the same affections that he did. He didn’t want you. Not at all. He needed you by his side. To go one more moment without you seemed like a sin or some unbearable divine punishment for his greatest flaw: pride.

When he blatantly insulted you at the first gathering he attended and saw you laugh about it with Ryuko, for once, he felt uneasy. The same woman he had slighted was now the one who controlled him. He noticed the way you looked embarrassed at your family’s antics. It disgusted him that he was obsessing over someone with that kind of background.

It certainly shocked Enji when you stood him up at Sir Yorio’s gathering. How dare you! For him to stoop down and offer to dance with you, only for you to reject him, was truly offensive. A woman far below his social status, refusing to stand up with him. The nerve.

Every single snarky quip that left your lips swam around in his mind. Your sharp tongue was attractive. The moment he saw you with mud on your dress, walking from your home to Toshinori’s country estate, he was taken aback. For some reason, he couldn’t get rid of that image. The sun hit your face perfectly, creating an enchanting glow that accompanied your delightful countenance.

“Ms. (L/N).” Your name rolled off his lips so naturally.

The regrettable moment you had to leave Toshinori’s estate, he helped you into the carriage which would take you home. Something transpired, far beyond his comprehension. Your hand fit so perfectly in his, he couldn’t help but want it to stay there forever. The missing piece to a puzzling man such as himself finally found its way to its rightful spot. It seemed you wished for the same thing. His grip was secure, he felt safe, and you were trapped, staring into the most beautiful cerulean eyes. At the same time, Enji could drown in your eyes forever. The confused look you gave him was endearing when he refused to let go.

His actions also startled him. Why was he so stuck on you? He flexed his hand, imagining that yours never left as he watched the carriage shrink, moving further from the manor and into the distance. When was the next time he would be allowed to see you? What was it going to take to cure this infatuation?

≿━━━━༺❀༻━━━━≾

The next time he saw you, was under more unfortunate circumstances. He was riding downtown with Toshinori when he spotted your little party. Unlike his friend, Enji looked unhappy when he saw who you were talking with. You briefly exchanged eye contact with him before he had a clear look of disdain displayed on his face.

Keigo’s eyes followed yours. He tipped his hat, but Enji made no attempt to return the friendly gesture. He hurried away on his horse without saying a word. The encounter was certainly unusual. Keigo looked discomforted by the interaction. You wondered what could have transpired between the two men that caused such tension.

That night, at your aunt’s home, you sat down and heard what Keigo had to say about his reunion with Enji. He told his side of the story. He painted Enji as the villain in his narrative. Seeing as how you already found the man so disagreeable, you couldn’t help but believe Keigo’s words. He was much more forthcoming than his old friend; he didn’t seem capable of telling a lie. This new story caused you to see Enji in a new light, only deepening your dislike for the man.

≿━━━━༺❀༻━━━━≾

Toshinori was a man of his word and held the ball that he promised your sisters. Enji was less unenthusiastic than he usually was. Knowing that he’d get to see you there was the night’s one redeeming feature. He was excited at the thought of getting to lay his eyes on you once more, and it sickened him.

Many of the officers were attending the ball. While linking arms with Toshinori and walking around the ballroom, you searched for Keigo among the redcoats the officers wore. Instead of finding him, you found a pair of familiar blue eyes that looked at you with well-hidden passion and yearning. Enji wanted to tear you away from Toshinori’s arms and have you all to himself. He had many selfish desires, and he usually got what he wanted, but you were the exception.

Women fawned over him, trying to get a taste of his money. Even Rei tried being overly friendly with him. He cared little for them; he wasn’t looking to fall in love. He was not in search of a wife. Enji was quite content with the life he had. Everything he wanted was in his grasp. But you? You were so close yet so far. There was an uncomfortable amount of emotional space between you and he wanted to close it. Being in the same room wasn’t enough anymore. He wanted to touch you, feel your skin, claim those alluring lips for himself. He wanted to see your whole being without any pesky fabric in the way. If only he could rip that dress off of your body after forcefully pulling you into a vacant bedroom.

He made his way over to you, but an officer blocked his view. He informed you that Keigo would not be in attendance. Part of it was because of an assignment he had to do, but he also wanted to avoid a certain man… Your younger sisters drug the officer away, leaving you alone in the middle of a crowded room.

Fortunately, you spotted Ryuko, who was standing alone in the corner. You went to inform her of everything that had happened lately. An unwelcome guest interrupted you.

“Ryuko, may I introduce you to my cousin, Mr. Tobita?” While remaining civil, you introduced them to each other. He took your hand and led you to dance. As it turns out, the man can’t dance. He went the wrong way, bumping into another lady. It was embarrassing, to say the least.

Enji watched in amusement as he saw you struggle to keep a smile. You made eye contact with him again, almost sending him a look of desperation. Dancing with him would be better than your current situation. He simply smirked and waltzed around the room, observing everyone.

While you were busy venting to Ryuko, the very man you were talking about came up to you. The two of you exchanged glances and bowed. “If you are not otherwise engaged, would you do me the honor of dancing the next with me?” Enji��s odd invitation made your eyes widen slightly.

There was no way out of it. You tried coming up with an excuse, but nothing came to mind. He smiled slyly as you fumbled over your words. “I- well I hadn’t... yes. Thank you…” With no escape, you were trapped. He walked off, and you lingered behind for a minute.

“You’d be a fool if you didn’t take him up on his offer. It’s a great compliment that he singled you out.” Ryuko commented.

“The last time he singled me out was to slander me. Hateful man…” you hissed before going to follow him.

As the music started to play, you studied Enji’s face. It was the first time you’d ever really taken the time to analyze all of his features. You hated to admit it, but he was handsome. Unusually handsome.

Finally, your hand had made its way back into his. Even if it was only for a brief moment, that feeling would stick with him until the end of the night. The two of you danced around with your words, conversing back and forth when the time was appropriate. You simply couldn’t bear the silence.

Couples pranced around the dance floor elegantly, stepping where they needed to. You two moved in sync, never letting your eyes wander. There was a burning passion for the man that you couldn’t get rid of. Whether it was burning hatred, lust, or love, you couldn’t tell. Hostility and tension seemed to be all that came out of your encounters with him. The sexual tension was the one thing that kept you from completely despising Enji and you hated it.

In an attempt to rile him up, you remarked on Keigo and the last time Enji saw you. “The last time I was in town, I was forming a new acquaintance.” A sly grin spread across your face as the words came out.

“Mr. Takami’s friendly personality is what allows him to make friends so easily. Though his ability to keep them is debatable.”

“How unfortunate he must be, to lose your friendship, a loss I am sure he will regret for the rest of his life.” You mocked in an airy and hushed tone. Before Enji could snap back, Mr. Toyomitsu came over to hint at a marriage between your sister and Toshinori. The two of you glanced at the smiling pair before dancing again. “Didn’t you say that you rarely ever forgave? That your hatred, once set in stone, was set indefinitely? Surely a man such as yourself is careful when breeding such hatred.”

“Of course I am.” Enji scoffed.

“And I presume you do not let prejudice blind you?”

“No. What is the purpose of these questions, if I may ask?” He grumbled, disliking your inquiries.

“Simply a means to figure out your constitution.” You laughed, “Trying to get a good idea of your character.”

“And your findings?”

“None. I have heard of you on different accounts by different people with different views of you. You shall remain a mystery until I comprehend you.”

With the dance ending, Enji remained silent. Once the music faded, he supported your hand as you lightly held it over his. “I request that you do not attempt to perceive my character right now. It would do us no favors if you judged wrong.” He claimed as you left the dance floor.

“I may not get another opportunity, so I might as well try while I have the chance.”

Enji placed himself right next to you and leaned to whisper in your ear. He lowered his voice, making sure only you could hear. “I would by no means suspend any pleasure of yours.” His finger brushed against your arm as he walked away. All the heat in your body rushed to that spot. You wanted his warmth against your skin, you didn’t want him to go.

And yet, you were standing alone in the corner of a crowded room, fixated on the man who you swore to never like.

≿━━━━༺❀༻━━━━≾

Much had happened over a short amount of time. You had rejected Mr. Tobita’s marriage proposal and got an earful from your mother. Keigo got engaged to a rich young lady, and Ryuko had gotten engaged to Mr. Tobita. Enji and Toshinori’s party had left his estate, and your sister was disheartened. Everyone had such high expectations for her and Toshinori, only for him to up and leave.

Now, you were on your own adventure. You, Sir Yorio, and Nejire were going to visit her and Mr. Tobita. They lived in a small house on Lady Chiyo’s property. Greenery grew on the stone, adding to the natural feel of the house. It was a quaint little grey structure with a clear blue sky in the background.

As soon as the carriage stopped, Ryuko and her husband rushed out the door to greet you. They showed you to your rooms while Mr. Tobita kept on about Lady Chiyo’s house and how grand it was. It seemed he was more in love with Chiyo than his own wife.

“Are you happy here?” You asked Ryuko as you watched the other three walk around the garden.

“I am quite content with my situation. I barely see him during the day. He sits in his book room, walks to Lady Chiyo’s every day, and-”

“And you prefer to sit in your own wing of the house.” You finished. Whether it was what she was going to say or not, you stated your mind. Ryuko smiled wistfully, “Yes.”

≿━━━━༺❀༻━━━━≾

While you and Ryuko were walking through the woods, along with Nejire, Mr. Tobita came running after you. He was clearly out of breath but told you his news, anyway. Enji and his cousin, Kugo, had arrived. He urged you to make your way back to the house, since they wanted to visit with them.

“Pleasure to finally meet you Ms. (L/N).” Kugo smiled.

“Oh? ‘Finally’, sir?”

“My cousin speaks of you often.” He informed.

“Ah…” You sighed, looking over at Enji who met your gaze, only hungrier.

Enji’s eyes never left you, though. There was a protective aura emitting from him. Just in case Kugo spoke or acted out of line, he was ready to come to your aid at any moment. He rested his knuckles against his mouth. Instead of addressing anyone else in the room, he was intently watching and listening to your conversation.

“Pray tell, why is Mr. Todoroki staring at me?” You asked Kugo, having enough of being watched over like you were some kind of prey, “Have I done or said something he finds offensive?”

The man stood up from the sofa and meandered over to the table you were seated at. He had no control of his own actions. It was quite an impulsive move, and now he didn’t know what to say. “How is your family?” He choked out.

“Well.” You replied, “My sister has been in town for quite some time. Have you happened to see her?”

“No.” Enji lied, “Unfortunately not.”

“As you can tell, Mr. Todoroki and I are not very close.”

“Really? I find that hard to believe.” Kugo exclaimed.

“Truly? I believe in first impressions, however, Mr. Todoroki’s good opinion, once lost, is lost forever.” Your words caused him to turn around, and he saw your smiling face, making a joke of him.

≿━━━━༺❀༻━━━━≾

The grounds of Lady Chiyo’s property were breathtaking. When the weather allowed, you took advantage of the sprawling greenery and went out for as many walks as you could. Without a cloud in the sky, an endless sea of blue, and shining sun, you wasted no time in getting outside. It was much more productive and enjoyable than sitting in the house.

A beautiful little trail, hidden by the estate’s magnificent trees, was the path you found yourself walking along. You looked up to admire how tall the trees had grown. They stood proud and provided you with shade. The birds sang a lovely little tune, supplying you with a unique sound that rivaled that of the best musicians.

Enji came trotting through the path from the side. He halted his horse once he saw you. No painting could do you justice, even one made by the best painter in the world could compare to your beauty in person. The sight of you admiring the picture in front of you made his heart pound. Though you said nothing, he believed that you, taking the time to simply look at him, was the greatest compliment he would ever receive.

And for those few precious minutes, he drank in your appearance. He was hopelessly in love with you. Being in your presence was the best part of his day. He found himself looking forward to seeing you. He always prayed for you to cross paths with him. Even if he simply caught a glimpse of you, suddenly it brightened his entire day.

Unfortunately, he had other things to do. Enji spurred his horse forward and trotted away. Your presence in his life was much bigger than he expected when he first met you. And somehow… he didn’t mind it. He hated yet loved the feeling of being in love.

#endeavor x reader #bnha endeavour #endeavor #todoroki enji #enji todoroki x reader #todoroki endeavor #enji x reader #enji x you #19th century #shitty writing but it's something #I kind of hate this but I hate everything I write #my hero academia enji #endeavor x y/n #I am disgusted at myself for being so late to submit this for the collab #Pleasantanathema forgive me.#What's up with the shitty title #not proof read forgive the shitty grammar and punctuation

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turtle-paced · 4 years

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GoT Re-Watch: Fine-Toothed Comb Edition

This post is also availablle on my wordpress.

Hello and welcome to forsaken lands. The episodes of GoT that broke fans. And considering that GoT fans made it past in-universe heartbreaks like Ned Stark’s death and the Red Wedding, and major disappointments in the writers such as ‘Breaker of Chains’ and ‘Unbowed, Unbent, Unbroken’, that is saying a lot.

It’s kinda fitting that the home stretch starts with a funeral, really. Good way to farewell our hopes. We’re not getting closure anywhere else in this series.

8.04 – The Last of the Starks

(2:15) When the credits said “with Iain Glen,” this is what they meant. With Iain Glen lying on a pile of sticks for two minutes.

(2:46) We do not get to hear what Dany whispers into Jorah’s dead ears, but I’m pretty certain the implication is that Dany, in her grief, is thinking on the lines of “BURN THEM ALL!”

(3:00) Because Sansa weeping over Theon’s body is…somehow less worrying? Somehow shot without the implied promises of fiery vengeance? What we’re looking at right now I think is far more ableist than sexist. The difference between Dany’s grief being portrayed as worrying and Sansa’s grief being portrayed as, you know, grief, is Dany’s family history of mental illness. Don’t get me wrong, there’ll be a heaping helping of sexism in here too, a lot of it in how Dany’s status as a female leader is linked narratively to her emotional state (“hysterical women” and all that) and written into the plot in the first damn place, but right now what attracts ominously unspoken whispering on Dany’s part and “purer” emotion on Sansa’s is connected to the parties we knowhave family members who have suffered from mental illness.

Man, imagine if they’d actually adapted the books, where Sansa’s father suffers what looks an awful lot like PTSD. Which doesn’t stop with just end-of-episode flashbacks, but affects his ongoing decision-making processes.

(3:36) Meanwhile, over in the toxic masculinity department, note who isn’t being so disgracefully emotional! The men, and the women who “aren’t like other girls.”

The show had good material to work with here. They could have shown men breaking down, portrayed as a completely reasonable reaction to the incredibly traumatic events of the previous episode. They could also have shown men struggling with the stoic performance that toxic masculinity requires, only to break down later, or question their own lack of response. You know, like several characters do in the books.

(4:31) Incidentally, it amuses me that though the words of Jon’s speech are addressing the survivors, he’s delivering the speech to the dead (and also the camera).

(6:50) Uh-oh. Dany couldn’t contain her tears as she lit a friend’s funeral pyre. Bad signs! Red flags! Red like fire.

I’m just going to dig out a relevant passage from The Curse of Chalion (spoilers for that book follow). For context, the crown princess Iselle (daughter of a woman widely regarded as mad, for further comparison’s sake) and the chancellor, Dy Jironal, are locked in a struggle over who gets power when the king dies. Iselle’s BFF recounts a relevant public event:

“Iselle is Ista’s daughter. She cannot speak of [the titular curse], lest men say she is mad, too. And use it as an excuse to seize…everything. Dy Jironal thought of it. At [the late crown prince’s] interment, he never missed a chance to pass some little comment on Iselle to any lord or provincar in earshot. If she wept, wasn’t it too extravagant; if she laughed, how odd that she should do so at her brother’s funeral; if she spoke, he whispered that she was frenetic, if she fell silent, wasn’t she grown strangely gloomy? And you could just watch men began to see what he told them they were seeing, whether it was there or not. Toward the end of his visit there, he even said such things in her hearing, to see if he could frighten and enrage her, and then accuse her of becoming an unbalanced virago.”

If Dany cries she’s unbalanced. If she hides her emotion she’s unempathetic. If she gets angry, she’s insane. The difference isn’t in the reaction (as already noted, we’ve got other characters openly grieving and other characters hiding their emotions), but in how, whether, and when the reaction is portrayed to the audience. In The Curse of Chalion there is a named antagonist doing that spin; here, the camera, the viewer’s PoV access to the story, is pulling exactly the same trick as it checks in with Dany’s emotional state to highlight the “out-of-place” emotions. Even the frequency of these check-ins affects the portrayal – as the viewer is treated to each and every fluctuation in Dany’s mood, her emotional state appears less constant than those of characters where we don’t get a reaction shot every time a traumatic thought crosses her mind/she schools her reaction/something mildly irritates her.

This phenomenon is not isolated to this scene. It’s been happening all season. It’s going to keep happening.

(7:50) I do not get the mood of this scene. Tonally, it feels more awkward/ordinary than full of grief, with none of the wild “glad to be alive” mood until a named character prompts it later on. The background characters often do not appear to exist independently of the main characters. It’s just these little things that chip away at suspension of disbelief. In this case, a general feeling like this fictional world is populated by named characters and department store mannequins only, not people.

(9:24) “So who’s lord of Storm’s End now?” Funny question. Strange that nobody’s asked that in the last few seasons. While we’re at it, who’s the Lady of Casterly Rock?

(10:42) Nor do I get Tyrion’s tone as he observes that Gendry’s going to be loyal to Dany due to this appointment. I mean…yes? That was the point? As Cersei shows us in AFFC, appointments for surface level loyalty don’t cut the mustard, but at the same time, Tyrion’s not being cynical and sardonic about Gendry’s competence.

(11:29) Davos here has a heart-to-heart about his complicated feelings towards a woman who engineered the death of a child he loved very much. To Tyrion. Who engineered the death of a child Davos also presumably loved very much. Davos’ interactions with Tyrion regularly go beyond a man who’s bottling up the death of his child for the sake of a political goal he genuinely believes will better the lives of more than just him, and into the realms of real emotional intimacy and friendship. I swear the writers forgot about this.

(13:12) Just from a writing standpoint, that line, “I don’t really want anymore,” really gets my goat. Oh, Bran just doesn’t have any motivations anymore, no biggie. Now the only thing that I the viewer want for this character is for him to start wanting things again.

(13:24) “Mostly I live in the past.” Yes truly this is an excellent trait for a temporal ruler.

(14:31) Here we have the unintentional call-back to season one, wherein information that the characters in-universe find distressing is revealed via the now-rather-clumsy mechanism of a drinking game. Book!Brienne’s status as an only child is a little sensitive for her.

(15:07) Tormund’s praise of Jon here is also pretty clumsy writing. It’s hard to praise Jon’s actions in that climactic battle because, well, he rode on a dragon and fried wights for about thirty seconds, and that’s it.

It’s also hard to see praise for Jon without corresponding praise for Dany as anything but sexism, because Dany was also riding on a dragon and frying lots of wights, and they’re her dragons. Played as in-universe sexism, this could have been a good source of material too, highlighting how Jon’s gender results in him getting more praise for equal (or lesser) work. Left unexamined it becomes part of a sexist narrative, an example of how Jon’s gender results in him getting more praise for equal (or lesser) work.

(15:21) No, don’t mention that Jon got killed and brought back! Don’t! It just raises the question of why!

(15:40) Notice how we keep getting the Dany reaction shot? Yeah. Isn’t the fact that Dany has emotional reactions weird?

The dialogue makes this worse. “What kind of person rides on a fucking dragon? A madman or a king!” Did…did they not realise the depths to this comment? The context? I mean, clearly, this is another hint that Dany’s going ~crazy~. On account of how she cannot be a king. The context of Dany’s gender. The gendered language used here. The minimisation of Dany’s accomplishments. How did the writers think this would come across, if not some fairly blatant sexism?

(16:04) This is the third Dany check-in regarding her unhappiness at a fairly miserable party. This one is extra special because the very observant and knowledgeable Varys is apparently thinking, “hang on, she’s not happy, and it’s a party! This couldn’t possibly have anything to do with listening to her boyfriend praised to the skies for things she did first and/or in parallel, immediately after losing a close friend and fighting in a very scary battle. She must be going crazy.”

Also there is spooky music and the shot choice emphasises that Dany isn’t hanging out with anyone at this party. This is far more worrying than Bran not emotionally engaging with anyone at this party thus far or Sansa not hanging out with anyone at this party thus far or Varys not hanging out with anyone at this party thus far, or Sandor drinking heavily at this party while snapping at people who come near him thus far or Arya not even attending this party. Double standard? What double standard?

(16:51) Tyrion’s marriage prior to Sansa is here brought up as a joke. There’s a joke in here all right. I call it ‘continuity’.

(17:14) Oh, my, how shocking, Brienne’s a virgin. In this world where noblewomen having premarital sex is frowned upon, Brienne not having premarital sex is unthinkable and something that the rules of drinking games say she should be embarrassed by. Wtf?

(18:36) I’m as sick of the “Pod has a magic cock” joke as the next person but frankly, they didn’t beat us over the head with detailed stories or lurid jokes about Pod’s sexual prowess, and someone should have a nice time here in season eight.

(19:56) Oh boy. Reunion between Sansa and Sandor, when these two haven’t interacted for six seasons, and what interaction they had was seriously watered down. Thematically watered down, that is. In the books, Sansa did something Sandor believed was impossible – held on to her idealism and kindness throughout horrible experiences. He was the one who learned more from their interactions. Sandor was not serving as an author avatar, but rather being depicted as a man lashing out with cynicism and nihilism as a defence mechanism.

The show didn’t appreciate that back in season two and it’s sure not going to start now. We’re about to hear some real awful stuff.

(20:10) “Heard you were broken in. Heard you were broken in rough.” 1) Why should we like this character? He’s an asshole! Not just gruff, an asshole. 2) Why is everyone an asshole to Sansa about her rape? Of all the things to be an asshole about. We got it long ago. This world is dark and gritty.

(20:15) Note that Sansa executing someone by setting dogs on them is not depicted as a worrying sign of her mental stability or lack thereof, nor as a lack of empathy, but as justice.

(20:52) “Without Littlefinger and Ramsay and the rest, I would have stayed a little bird all my life.” Okay! Wow! What a line!

What the writers think they’re saying: Sansa has overcome adversity and become a stronger person for it.

What the context of the entire series adds to this message: Sansa needed to be raped in order to become stronger. “Becoming stronger” here meaning “someone who relishes retributive violence,” as if there is no other form of strength, and as if the capacity for retributive violence is necessarily a sign of strength. The person she was before, who comforted others in their time of need and stuck her neck out to help, was stupid, naive, and weak. There is something deeply wrong with retaining qualities such as idealism. Sansa had to shed those qualities. Rape was the way to do it.

So, in short, gross.

(21:30) This is…definitely some archery safety.

(21:42) We got that? Arya is celebrating by standing out in the cold, rejecting social activity, and continuing to practice with deadly weapons (nearly killing a friend as she does, good work!). But there’s nothing to worry about in terms of Arya’s psyche here. The difference is the family history of mental illness.

(22:54) Begin the ship-sinking! Anchors a-smash! This is one of two relationships this episode which work out well until nah. For reasons. Ultimately, I don’t think the writers had a clear vision of what Arya was and what Arya wanted, instead defining the character by what she was not. She’s not a lady. Okay. What does that mean? Does that observation bring us any closer to learning what Arya does want from her life?

Aside from Not Gendry, anyhow. Man. Hope nobody was invested in that ship, because that was quite the abrupt sinking.

(24:56) Now the show remembers that Jaime has trouble with things like laces when he’s only got one hand.

(26:07) Hope nobody’s invested in this ship either! More on Jaime/Brienne soon. Let’s just keep the pattern in mind for the moment. Long-teased relationship culminates only to fall apart almost immediately because reasons.

(27:22) While we’re on the general theme of romance. The deterioration of Jon and Dany’s relationship is dragged over a longer period than the other sunk ships this season, but the reasons for that relationship failure aren’t well explicated. In large part because Jon never has the opportunity to really go into the identity crisis that the parentage reveal resulted in (note that the info that he was seriously shaken about the idea that he was sleeping with his aunt came from the showrunners, not the text). Jon’s silence throughout episode two was a good idea, in the context of building up to an eventual resolution. Only the writers kinda forgot that such a huge reveal might need a resolution.

(28:24) Continuing the thread that what tips Dany over the edge is rejection. Yes! We are really doing this! She is a woman scorned! Goodbye seasons of discussion about whether the ends justify the means. Goodbye seasons of dealing with various setbacks, developing opinions of her own, and earning respect. We’re reducing it all down to “nobody likes Dany, she feels entitled to their love, and now she is angry.”

Incidentally, why haven’t people softened towards Dany? Who was, after all, riding on a dragon just like Jon, and saving a lot of lives? We’ll get to that in a few scenes.

(28:39) Again, the fact that Dany gets angry and emotional about the prospect of losing her claim in Westeros is part of the depiction of a general downward trend in sanity and upward tendency to assume her power as an inherent moral good.

The problem here is that a) Dany’s not wrong that Jon poses a political threat to her, whether either of them like it or not, and b) this character’s arc shows some good sound reasons for wanting power – to protect her own agency, at the very least, to say nothing of her broader politics. If Dany was forced to concede the throne, her ability to decide what she does with her own life is sharply reduced. Her ability to achieve what she wants to do in the world (things like ending slavery and oppression) is sharply reduced.

In short, this is a scene and a situation where getting angry and upset is an entirely reasonable reaction. At best, this doesn’t work to depict a character with declining mental stability. At worst (and I believe worst), the very fact that a woman has emotions is being turned into part of a narrative where her emotions render her unsuitable to do things such as provide a reliable perspective or wield any form of power.

(29:27) I’m actually sympathetic to Jon’s desire to be open about his parentage with his sisters. Again, there’s still good material here! Jon’s reasonable personal desire to not keep secrets relating to their family from his sisters vs Dany’s also reasonable political concern that the more people who know, the less controllable the information is, the more dangerous it is. That’s a real conflict! I’d like to watch more along those lines!

(30:15) The narrative of Dany’s “hysteria” is advanced by focusing disproportionately on her emotional reaction the dilemma, without an equal and counterbalancing focus on Jon’s side of the problem. Through this conversation, Jon’s offered simple rebuttals to more complex statements from Dany. I owe my siblings the truth. Sansa won’t plot against us. The truth will not destroy us. You are my queen and nothing will change that. What’s missing here is any sort of explanation as to why Jon believes these things. The lack of explanation leaves Jon’s character underdeveloped and shifts disproportionate focus to Dany’s reasoning and motivations.

(31:09) So just to put a percentage on it, in flying north to aid Jon and save the north, Dany sacrificed a full 50% of her troops. Half the northerners were killed too, but I don’t think it’s a very controversial argument that without Dany’s aid, 100% of the northerners would have been killed. Also 100% of the non-combatants.

(31:27) Meanwhile, it’s made clear that as a result of Dany’s assistance, she’s taken a serious hit to her ability to take the Iron Throne. Note the mention of the Greyjoy fleet.

(31:37) “When the people find out what we have done for them – “ “Cersei will make sure they don’t believe it.” So…working out a propaganda strategy isn’t worth it? The woman who catapulted barrels of broken chains into Meereen to prove to its slave population that she was the real deal, something she did not do in the books, is out of ideas to counter the narrative? Dany kinda forgot that she successfully conquered three cities already. Not for the first time.

This is a fault with the writing. The writers are jamming square character pegs into round plot holes. These scenes pay lip service to the problems the characters come across, and dismiss those problems either out of hand, or as completely insurmountable and not worth bothering with.

(31:56) “Thankfully, Cersei is losing allies by the day.” Footage not found. Footage to the contraryfound, as Varys plonks down quite a few more new tokens on Cersei’s side of the map table. There’s no good reason for it, but there we are.

(32:24) Give the smallfolk the opportunity, and they will cast Cersei aside? There are a few problems with this.

1. It’s exactly what Tyrion proposed last season. How’s the strategy working out? A reevaluation may be called for here.

2. As someone who lived through food riots in a city under siege, Tyrion should be well aware of the human costs of starvation in a medieval urban area. This is not the mythical “humane option.”

3. This still doesn’t address the fact that Cersei is demonstrably willing to blow up whoever’s in her way, and a slow siege gives her more opportunity and motivation to burn down her own holdings just to deny them to Dany.

4. Why the fuck haven’t the smallfolk rebelled already, given that Cersei blew up the Vatican? If they are not going to rebel over that, what are they going to rebel over?

(32:52) Speaking of lip service! Sansa’s concerns here that the armies are exhausted would (and should!) be a valid and important objection to the wisdom of Dany’s plans. But we never see any evidence later that the troops are over-tired. Or underfed. Sansa’s insights don’t mean anything. And this is poor writing for her.

(33:02) Sansa’s proposed solution is an indefinite break. She came to the meetings without the details about how long a break might be appropriate. Keep in mind who’s been the most vocal about saying ‘we don’t have enough food.’ I think on context it’s fairly reasonable for Dany to suspect this is Sansa trying to get out of assisting at King’s Landing (and we’ll see shortly afterwards that she really does want to get out of assisting at King’s Landing). Likewise, the rebuttal that regrouping gives time for Cersei to dig in is another fairly reasonable argument.

But from Sansa’s comments, apparently this is Dany not caring about the wellbeing of her own troops.

(34:59) Now we get into it! Why are the Stark sisters so dead set against Dany, despite the assistance she’s provided?

(35:34) And the answer is xenophobia! “She’s not one of us.” Arya and Sansa do not trust Dany because “she’s not one of us.” No amount of assistance or heroism can overcome this fundamental barrier. It is bigotry. Not to mention it’s also pretty much identical to the Lannister ethos of “fuck everyone who isn’t us.”

Again, how did the showrunners think this would come across, when the Starks proposed treating Dany with “screw you got mine”? How did they think it would look for the Starks to accept the benefits of Dany’s assistance only to try and back out and treat her with rudeness and hostility when she wanted their help in return? How did they think it would look to have the reason for this rudeness and hostility be “she’s not one of us”? The Starks here look like absolute assholes. Worse, this reaction can be extrapolated to the North at large.

(35:41) Complete with some poor adaptation of Arya, who doesn’t need allies and apparently doesn’t care for friends either.

(36:21) So Jon decides to reveal everything to his siblings. This devastating family secret which should have to force every Stark to reevaluate what they knew about Ned and what they thought about Ned’s treatment of their mother and brother. This is a doozy of a secret. Let’s see some reactions.

(37:15) – a cut? What the fuck? We cut away from that? Why! Why would you do this! Why would any writer in their right mind and possessed of their dramatic sensibilities cut away from the moment two of our major PoV characters discover their father’s greatest secret, in the context of renegotiating high level political relationships?

(38:09) Bronn’s presence here is insult to injury. Not only did we cut away from what by rights should have been one hell of a reveal, we cut to a scene with a character who’s just here for the fanservice. It has been a very long time since Bronn was plot-relevant or theme-relevant. His presence here, in fact, just highlights the plotholes of his involvement in previous seasons. I mean why, for the love of all that is well-written, would this character continue to play along with the jackasses who’ve promised huge payoffs and never delivered?

…aaaaaaaand now that I write it, I see it. We are all Bronn here. Right up until he gets his fucking payoff, and we the audience do not.

(40:40) Ah yes, more homophobia which is somehow not problematic when a funny character says it.

(41:26) So now that that scene is over, what did it do? The answer is “very little.” It provides an explanation of how Bronn’s Lord of Highgarden at the end of the series, when Highgarden’s resources are no longer relevant to the plot. It does not matter who’s running Highgarden. But if you cut Bronn’s subplot from this season altogether, it doesn’t actually affect shit. Hell, it opens up plotholes. Bronn’s going to vanish for the next few episodes. Cersei’s going to proceed as though she never hired anyone to off Jaime and Tyrion, and Jaime and Tyrion are going to proceed as though Cersei never hired anyone to kill them. Also as if they never decided to give away Highgarden, something I’m sure Dany would be thrillled about.

If any of the characters involved thought about the implications, that is, instead of barrelling along with the plot because Script Says So.

(42:21) So Sandor and Arya go on one last road trip for old times’ sake. Can’t have this story finish with anything but revenge.

(42:33) Now, okay, I might draw some conclusions about the quality of adaptation from the showrunners’ decision to make Arya effectively not Arya, but they can make that decision and within the show’s own canon we’ll have to live with it.

But Arya here walks out on her family, completely blank-faced, no goodbyes, no indication of any sort of grief (even a shot where Arya looks back longingly at Winterfell), on a suicide mission to take revenge on Cersei. It’s all very well to rely on Arya’s longstanding desire to kill Cersei. That’s fair. Now that desire should be competing with things like “longstanding desire to reunite with her family.” And the show skips out on depicting any internal conflict there. Instead, we approach Arya’s decision to leave through Sandor’s PoV, the reverse of the book’s choices. More about how the story weights the revenge narrative next episode.

Oh, and Sandor is also completely static as a character. Completely fucking static. Our time has been well spent watching this character not develop.

(43:37) “Why her?” Oh my god. Again? It really does seem like Sansa’s got nothing else going on in her characterisation this season but hating Dany. (This is not quite accurate. There are at least three scenes this season where Sansa is not directly or indirectly engaged in undermining or expressing her strong dislike of Daenerys.) I cannot stress enough, this is both poor depiction of Dany, and poor characterisation of Sansa!

Also, the choice to open the scene with Sansa staring at the dragons, followed by the line “why her?” frames Sansa’s subsequent choices in said scene as being motivated by her dislike of Dany. Think of that opening shot and opening line as a heading for the scene.

(44:55) We establish for sure here that Tyrion is afraid of Dany. The basis for this is Dany’s behaviour after the Loot Train Battle and Dany’s impatience to be getting on with taking King’s Landing. Note that Tyrion, while afraid of his abusive father, was not afraid of him because he pulled stunts like the Red Wedding. And while show!Tyrion hated Joffrey, unlike his book version he does not appear to have been afraid of Joffrey. So what makes Dany different?

If anyone can come up with a reason other than deeply ingrained narrative sexism…

(45:06) “The men in my family don’t do well in the capital,” Sansa says.

(45:58) It’s been [checks] eight minutes and forty-three seconds of screen time since Sansa learned the truth. A truth she swore not to reveal to anyone else. Here she makes the decision to tell someone else. Firstly, this plays real bad for Sansa herself, who broke a promise in a hot second in a scene that’s about How Much She Hates That Daenerys Woman. Secondly, this plays real bad for Jon, who trusted Sansa to do no such thing.

It’s been forty-two seconds since Sansa said she didn’t want Jon to go to King’s Landing, with the implication she believes he’ll be in danger if he does. This does not track with a motivation to protect him. It does, however, track with a motivation of wanting anyone but Dany in power.

I really don’t think the writers were trying to make the Starks look like assholes, which is why their success is so astounding.

Hey, you notice that they cut before we can see Tyrion’s reaction to this news, too?

(46:28) “I’m taking the Free Folk home. We’ve had enough of the south.” It sure is nice that this political faction doesn’t have to deal with things like the long-term material and cultural consequences of internal unification, being subject to essentially foreign authority of variable friendliness, mass migration, dispossession, things like that. Nope. Right back over the mostly-intact Wall. Nothing’s going to change for them. Just a warm southron vacay.

(46:57) Jon just fucking exiles his direwolf. Worst pet owner. Also themes, direwolves, etc.

(48:13) So Gilly’s pregnant. And Sam’s vows to take no wife and father no children have not been mentioned for an awfully long time. The showrunners masterfully resolved the central conflict of Sam’s season two, three, and four dilemmas in this relationship by ignoring it entirely.

(50:05) Here Tyrion tells Varys the big secret. In spite of the fact that he should bloody well realise that spreading the information about could destabilise Dany’s campaign for the throne and eventual rule. Good job, man. Good job. (There is also no reason to believe that Sansa knew that Tyrion would pass the information on to Varys.)

Plus additional depiction of Robert’s Rebellion as being because Robert couldn’t get over being rejected, rather than Aerys being a dangerous tyrant.

(50:41) “People are drawn to him,” Varys says of Jon, in a series where yes, we’ve seen people acclaiming Jon their leader, and precious little reason why they would do such a thing. ‘Failing upwards’ does seem to be the term. Note, however, that what Varys says equally applies to Daenerys. People drawn to her. War hero. But that doesn’t matter because Dany is a woman.

(51:08) Is marrying your aunt common in the North? Do we have time to go back to the history and lore material? And there is still no good reason this wasn’t brought up in season seven!

(51:23) Varys is very worried about Dany’s sanity. Based on…the fact she was impatient with Tyrion’s demonstrated-to-be-failing plan, the fact she didn’t enjoy the one party after one of her close friends died violently in her arms, and possibly secondhand reports of the Loot Train Battle.

This is incredibly hard to buy. I mean really. For seven seasons, Dany was a reasonable, rational individual whose cruelty was a) occasional, b) a reaction to the actions of others, and c) not out of line with what we saw from other characters, giving the impression that her behaviour as a ruler was not beyond her society’s tolerances. What made her stand out was the fact that she was freeing slaves and talking about “breaking the wheel.” That was outside her society’s tolerances. The instances of Dany’s cruelty, in the context of the series as a whole, do not appear enough to support a conclusion that mentally she’s on a downward slide.

Concern over how Dany’s handling her grief over Jorah might be more reasonable, but again, there’s no reason to think this is anything but grief and trauma. Which isn’t great, obviously, but nobody’s going “oh, she’s sad and going through a rough time,” they’re saying she’s going crazy. Just leapt right to the worst possible conclusion.

Meanwhile, on the meta level, let’s keep in mind that the narrative is using the fact that Dany wasaffected by grief and trauma as proof that she is demonstrably irrational and not fit to lead. This is textbook hysterical woman trope. Textbook.

(52:08) So for context, the dragons are approaching King’s Landing. From their height, they should have a good view of the bay.

(52:17) And yet Rhaegal gets sniped! Goodbye dragon #2! Well, given how he treated Ghost, perhaps it’s a good thing that Jon didn’t get another pet.

(52:42) Euron’s invisible fleet strikes again. Sure, we see them sailing out from behind a cliff, but the dragons had some serious height advantage, and there are a bunch of ships. Guess Dany kinda forgot about the Iron Fleet!

No, really. That’s the explanation the showrunners gave.

Even though in the moment it seems that Dany also forgot that she isn’t limited to seeing what the camera points at, and/or forgot to use her eyes. If the cliffs were high enough to hide the fleet, they should also have been too high for Euron to aim over. Not that his first two shots weren’t implausibly good either.

(53:18) And Dany does not fly around the fleet and flank them…why?

(54:02) So Euron’s invisible, memory-fogging fleet, which the showrunners have relied on way too heavily for diabolus ex machina, starts laying into Dany’s fleet. Because the showrunners seriously expected Dany to forget about the Iron Fleet. Dany has also forgotten she’s flying on a fire-breathing dragon. Don’t worry, she’ll remember when the plot says she’ll commit a bunch of war crimes.

(54:35) Again straining the limits of plausibility, Tyrion survives despite being knocked on the head by a falling mast. While in the water. In the middle of a battle. That’s one way to avoid depicting a battle that should not have happened.

(55:12) Missandei is established to be missing here.

(55:27) Cersei loses allies by the day. The smallfolk will surely turn on her. In this shot, people are pouring in through Cersei’s gates and seeking her protection. Not a riot in sight. Again, there’s no good reason why, but there we go!

(56:01) They’re not dropping Cersei’s pregnancy. This still raises questions as to how long it’s been, and she’s still not showing.

(56:30) “Keep the gates open. If she wants to take the castle, she’ll have to murder thousands of innocent people first.” That sounds to me like an argument for why Dany should be rather quick securing the capital – to prevent Cersei taking and using hostages! Note that this argument applies from season seven!

(56:44) It turns out that Missandei was captured. Yes. Euron not only managed to sneak invisibly up to Dany’s forces after they all forgot about his existence, kill a dragon with some seriously implausible sniping, escape unburned when Dany forgot to set Euron on fire, and trash her fleet utterly, he also bravely sailed in, discovered that Missandei was a hostage of significant emotional value to Dany, and captured her and her alone. What plot problems can Euron not solve.

More seriously, this is some shoddy treatment of one of the show’s only significant characters of colour. It’s going to get worse. Before we got to see Missandei’s face, we got a long shot of the chains she was put in (and a snide comment about it too).

(57:13) Varys says that storming the city is a mistake. I’m yet to hear workable alternatives. Dany’s advisors have been wrong about Cersei’s political and military strength every step of the way. Why should Dany listen to them, at this point?

However, Dany’s rejection of her advisors’ (proven-poor) advice is depicted as being born of emotion rather than reason. See above re: hysterical women. We’ve got this dichotomy between emotional women and reasonable men. This is all the more noticeable in the context of Cersei’s rule. We’ve got two queens fighting for a throne at the moment, and both are apparently willing to kill any number of people for it. Currently the narrative’s saying that our sympathies should be with the reasonable men trying to rein in these unreasonable women.

(58:34) Tyrion advocates talking to Cersei. Again. This is a bad rerun of 7.07, and 7.07 wasn’t much good to start with. What reason does Tyrion have to believe that anything Cersei says can be relied on? None. He has, instead, every reason to believe that Cersei will lie if she needs to and reject every effort for a peaceful solution. He has every reason to believe this because she already has. And also hired someone to kill him. Which he found out just a few scenes ago.

I realise that Dany’s the one on the Hitler end of the Nazi analogies in episode six, but watch out for Neville Chamberlain here. Peace in our fucking time.

(59:15) “I’ve served tyrants all my life. They all talked about destiny.” Really? Did they? I can’t recall either Tywin or Joffrey or Robert talking much about destiny. Weird throwback to book!Varys, there.

(59:44) We see here that Varys measures fitness to rule in how often the ruler agrees with him. As soon as Dany turns down his advice, even though it was of dubious merit, he starts looking for a replacement. This is, again, the sort of thing that makes Dany’s supposed paranoia not look very irrational.

(1:00:04) “Have you considered the best ruler might be someone who doesn’t want to rule?” Why, yes! That question was considered extensively in the novels, in the person of Robert Baratheon! Back in the day, Robert was a fantasy hero. He had almost everything going for him. Almost every personal quality you could want in a king. But he didn’t want the throne. And nobody could make him do the job once he was on the throne. His disinterest and inertia had profound consequences on both his personal health and the running of the country.

Robert Baratheon is GRRM’s argument against that line.

(1:00:21) While there is plenty of sexism in the narrative, I don’t think Varys is incorrect to observe that in the patriarchal setting depicted, Jon’s gender will make him a more appealing monarch candidate.

(1:00:46) Varys: Jon would make a good king of Westeros.

Also Varys: We can’t marry Jon to Dany, her personality would overwhelm his!

Tyrion’s solution addresses the problem of Jon’s claim. Varys rejects that solution because it doesn’t address the problem of Dany. He does not want Dany to be the driving force ruling the kingdom. Also, apparently marriages where the woman is a Type A personality and the man’s a Type B personality are bad. Presumably the reverse is not true.

(1:03:44) Maybe three or four scenes this season where show!Sansa isn’t focused on hating Dany? Of course, my comments about Sansa being “toughened up” by having her come to enjoy violence against her enemies still apply.

(1:05:14) Now this reads like a fuck you to everyone who was at all invested in Jaime/Brienne as a ship. Brienne lays out the basic position – Jaime is a good man, he can’t save Cersei, and he doesn’t need to die with her. Sums up a good chunk of audience hopes, too. A lot of what drives the dramatic tension of Jaime’s scenes is the audience desire to see him actually follow through on his better impulses, including giving up on his toxic relationship with his sister. Not only is the audience not unreasonable for wanting this, the audience’s desire for this has been actively encouraged by the narrative for several seasons.

(1:05:39) In response, Jaime says, “nah, not a good man, just as bad as my sister, I’ll be leaving now, see ya!” As if scenes justifying Jaime’s actions-for-love never existed (just because I don’t think “I did it for love” is a good excuse doesn’t mean the show has thus far not treated it as a good excuse), Jaime lists a bunch of crimes, concludes he’s awful, and heads out. In hindsight, this is clearly Jaime rejecting any sort of different path. At the time there were theories going round that Jaime was heading off to the battle for some sort of personal resolution…but no.

So, you know, fuck the viewers for thinking someone could grow and change, I guess. A special fuck you to anyone who shipped Jaime/Brienne. They can go cry with the Arya/Gendry shippers. This is not just bad writing, it’s asshole writing. It gave the audience something to want, gave the audience what it wanted, yanked it away, and called the audience idiots for ever wanting it in the first place.

And it’s not even the worst example of asshole writing in the series. As we know.

(1:07:26) So here’s our setup. Dany, her advisors, a small group of Unsullied, and Drogon, are all hanging out on the clear stretch of ground in front of King’s Landing. Cersei’s up there and there are a whole bunch of ballistae pointed in their general direction, as well as a whole bunch of archers on the walls.

(1:09:13) Tyrion and Qyburn state the positions of their respective monarchs. (In the context of the series, especially with both Dany and Cersei being “mad” queens, it gives me the irrits that Dany and Cersei aren’t doing the talking – no, that’s for the men. See above regarding reasonable men reining in unreasonable women.) Note that these positions each demand the unconditional surrender of the other. I don’t think this is going to be resolved. I think this is well past the point where talking does much good.

This is one of the problems I have with the “reasonable” positions proposed by the men around Dany – they fail to recognise that they aren’t working against a reasonable opponent. These men aren’t reasonable in the sense that they considered the available evidence, alternative courses of action, and weighed up their options. The alternative proposed, and initially taken up by Dany, did not work. We saw it not work for most of season seven, and it continues to not work now. The “reasonable” option here doesn’t have anything to do with the situation established by the show. It’s “reasonable” in that it’s less outright violent in the short term, without accounting for long-term consequences or, you know, major strategic objectives. It treats negotiation and non-violence as inherently the most reasonable course of action, and therefore the best.

Again, this makes for a poor contrast with the books, where Dany’s storyline has talked about just these things. There are situations where people cannot solve their problems by talking. There are peaces that should not and cannot be made. Sometimes violence is necessary. The questions are when? and why?

(1:11:49) Note that when someone does actually bother speaking to one of the monarchs here directly, Tyrion doesn’t go for reason. He does not outline military consequences as he did for Qyburn. He goes for the emotional appeal.

It’s also worth noting: fucking again? This worked so well last time.

(1:12:07) Wait, so Jaime’s hateful for murdering his cousin and attempting to murder a child, but Cersei blows up the fucking Westerosi Vatican and she’s “not a monster”? Either the show’s being inconsistent here, or Tyrion is one of a) the greatest actors Westeros has ever seen or b) fooling himself. She hired someone to kill him out of personal spite! Tyrion found this out like half an hour of screen time ago!

I’m deeply suspicious of the show’s attempts to make Cersei somewhat sympathetic at this late stage. It looks a lot to me as if this is intended to make the demonisation of Dany easier. Cersei does not do much this season. She didn’t do much last season. Continuing on from what I just said about reasonable uses of violence, we’re not actually seeing much violence these past two seasons from Cersei which would make Dany’s own use of violence reasonable and appropriate. (No, they still can’t resolve their issues by talking, Cersei’s broken deals with them before.) Cersei’s tyranny is kept out of sight and out of mind for the audience, including most if not all references to that time she blew up the Sept of Baelor, so Dany appears inherently less justified in her actions.

The only thing Cersei does this season, which she’s about to do, is in direct service of “setting Dany off” mentally.

(1:12:57) Also, Cersei’s pregnancy being used to humanise her? Yikes. In context of ongoing comparison over “who’s the worst monster?” to Dany, who is infertile? Mega yikes. These characters should not be judged by what’s going on in their uteruses.

(1:13:45) Finally! A queen speaks! After six minutes of “negotiations”.

(1:14:14) “Dracarys”? Well, that’s ambiguous. Scans an awful lot like Missandei’s saying “yeah, burn the city!”

(1:14:44) So this is awful. The show has two recurring characters of colour. It just killed one. A freed slave, killed in chains, with nasty comments made about this fact, to motivate a white character whose arc has already had fair accusations of white savourism levelled against it. Not good. Not good at all.

(1:15:20) Incidentally, I can’t help but notice that Cersei stopped at killing Missandei. She’s kinda forgotten about her archers and ballistae and that she doesn’t care for norms such as truce.

(1:15:40) Dany walks away with an actual expression on her face. Her inability to school her features after witnessing the murder of a friend is how we know, for sure, that she’s losing it. If she’s calm, she’s emotionally dead. If she’s sad, she’s hysterical. If she’s angry, she’s about to kill hundreds of thousands of people…

#anti got #fine toothed comb edition #cw: violence #cw: rape mention #season eight #in which i call a lot of people assholes

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infpisme · 4 years

Text

Why INFPs May Stay in Bad Relationships (and How to Get Out)

In life, heartbreak is inevitable, at least at some point. What is preventable, though, is staying in a relationship that doesn’t resonate with you and doesn’t make you truly happy.

I’ve had my fair share of relationships and modern dating. It’s tough. It’s fun. It can be beautiful — but it can also hurt very deeply, especially for people who feel as much as INFPs do.

As an INFP who has stayed in a few toxic relationships for too long, here are some lessons I’ve learned the hard way.

We See the Best in People (Sometimes an Imaginary Best)

I once read a quote that said: “Never fall in love with someone’s potential, because you could be falling in love with someone they’ll never be.” For INFPs and others like us, this is a huge danger zone.

INFPs are idealists. We see future possibilities rather than present realities. When we meet someone — and we feel a connection — it can be immensely difficult for us to take them at face value. We think about them in great detail, potentially filling in gaps of character knowledge with what we would like them to be, and daydreaming about what we could do together in the near (and even distant) future.

We can become so immersed in who we think this person is, and who we want them to be, that we may ignore incongruities in this person’s character. I think this stems from the fact that we believe all people are inherently good — I still believe this, even after two toxic relationships. However, some people’s intentions are not so honest.

I have an unfortunate, perhaps cliched habit of going for bad boys. Maybe it’s part of being the “healer” personality, but I am your typical “fixer.” It’s sweet in theory, but it’s detrimental to my own wellbeing.

I have been guilty of staying in relationships that are not right for me because I saw the imaginary best in a person — clinging to our best moments and ignoring huge, waving red flags. For example: lying, poor communication, drug abuse, narcissism, even infidelity.

We May Accept Others to the Point That We Neglect Our Own Needs (Then Blow Up)

This leads swimmingly to my next lesson. Many INFPs believe in the concept of “live and let live.” This can make us great, understanding partners, but what happens when the person we’re with doesn’t treat us how we want and need to be treated?

We hate conflict, so that’s usually a painful no-go. Then there’s swallowing our emotions and trudging along while not feeling truly happy. I’m sure we’ve all done this at some point, regardless of our Myers-Briggs personality type. My best friend — an ESFJ — used to say that I was “a passive acceptor of torment” about my relationship with my ex-boyfriend. He did things that — when I look back — simply made me sad: messaging other women, lying, poor communication.

These things made me feel hurt and uncomfortable. But, rather than own the fact that they made me uneasy, I instead tried to push my feelings to the side, thinking I was overreacting or being needy.

I was so accepting of who he was as a person that I excused behavior that didn’t sit right with me, and stayed in a relationship that made me sad for far too long. I overanalyzed and ruminated, trying to understand his side, and let his behavior be okay with me.

But then, every little incident would feel like a tiny increase on the thermometer, until suddenly I reached my boiling point and blew up. Of course, he thought I was acting “crazy,” completely unaware of all the slights along the way that had led to this point.

If You’re in a Relationship That Makes You Uneasy, Don’t Ignore That Feeling

Both traits tie together in a way: We see what we want to see, and we accept and try to empathize with what hurts us. This is why I’ve stayed in bad relationships, despite anxiety and unhappiness.

What I have started doing is listening more to my gut. INFPs have very strong belief systems that we use to navigate the world. However, when love comes into play, our internal compasses may go askew, and we might even stop listening to our instincts.

In past bad relationships, I felt completely, totally anxious. There were highs of immense fun, but my baseline was unsettled. I felt drained, I overthought a lot, and I wasn’t happy. But I ignored those feelings and continued to hope for the best.

Some things I used to say to myself:

“It’s just the way they are. I need to relax.” (I never felt relaxed.)

“It’s just me — I’m sensitive and asking for too much.” (Why did I put my needs in the backseat?)

“I should not have said that, now they are mad at me.” (But they weren’t making me happy in the first place!)

The things I said to myself simply caused more pain. They stopped me from saying how I felt to my significant other — a person who wasn’t a good match for me regardless — and kept me in the bad relationship when I should have ended it.

Moving Forward: Create the Life You Want to Live

At the end of the day, INFPs are dreamers. We have colorful visions and idealistic dreams of the life we want to live. We’re at our happiest when our imagination is powering us forward and enriching our real lives.

When I finally left my ex, it’s because I had been working on using my dreams and imagination to supercharge my life. I started focusing on myself and boosting my self-confidence. As I did this, the idealistic halo I had unintentionally placed on my ex’s head fell off, and I realized the way he was treating me and his opposing values weren’t what I wanted.

If you’re an INFP who thinks you might be in a bad relationship, it’s time to take action. First, I would recommend trying to view your partner without the rose-tinted spectacles we INFPs so readily wear. This can be tricky, I know, but it’s important to take stock of the realities of your situation (and not pen your hopes of what could be).

Some things to consider:

Does my partner make me feel safe and comfortable to be myself?

Do I trust them?

Do my partner’s actions truly match their words?

If you answered no to one or more of the above questions, then you might be in a situation where your idealism (which you must remember is a wonderful gift, but one that must be channeled and nurtured) is blocking your view of reality. Look into yourself and ask, “Am I really in love with this person — as they are, right now? Am I happy with how they treat me, or am I holding onto the idea of what could be?”

I can’t tell you to leave a relationship — it isn’t my place. But I do want you to be aware of your idealism, and make sure it doesn’t pull the wool over your eyes. Self-esteem and confidence also play a huge role. Listen to your inner dreams and pursue them in actuality. This can go a long way to keep INFPs grounded in reality.

Once you can see your partner without an idealistic halo, you’ll know within yourself what the best next step should be — be it a conversation, some inner work on self-esteem, or perhaps even ending the relationship for good.

Remember, relationships should feel like blessings, not curses. The bottom line is, in a healthy relationship, your baseline feeling shouldn’t be stress. Of course, no relationship is perfect, but stress should not be the predominant emotion.

Why be with a partner who brings out the worst in you? Who makes you feel like your intuition is off kilter? Who makes you feel like you are asking for too much, when all you want is to give and receive love?

INFP, you deserve the love you so freely give to others.

Source: Olivia Berkley, IntrovertDear

#olivia berkley #infp #introvertdear #infp quotes #infp thoughts #infp personality #infp advice #infp problems #infp things #infp traits

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laventadorn · 4 years

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Part 1/2 I was wondering if you had any ideas/headcanons wrt Eileen/Tobias? JK doesn't really go into how they met, but given the little info he gives us its pretty clear the type of marriage they had. But, I was wondering why Tobias acted the way he did. Not that he needs a reason, but I love backstories. Do u have one for the Snapes? Personally, I sawa bit of parallel with how Seamus described how his muggle dad didn't know his mom was a which until after the wedding. I can sort of see...

I wrote one for my first HP fic, in fact! Heavily influenced by Jane Austen lmao

I would change some aspects of this now, but this was the version I dug up from my Ancient Writings:

(readmore, y u no work)

Eileen’s parents’ marriage was arranged, as many pure-blood marriages are. The Princes were a very old, distinguished line, but impoverished, while her mother’s family was relatively new, in a pure-blood sense, but wealthy. Her parents set up the marriage with Mr. Prince, who was rather older than their daughter, but she agreed to it. However, within a short time she was unhappy, since her husband, raised to frugality, was rather miserly and she was spendthrift; and being younger, she wanted to do a great many things that it was not in his temperament to agree to. When Eileen was about five or six, her mother ran away, abandoning her child and her marriage, eloping to Europe with a lover. Her husband was so humiliated and enraged that he forbade anyone in the household to speak her name ever again. He destroyed all evidence of her existence in the house—the possessions she had left behind, the paintings they’d had commissioned, even renouncing her personal house-elf. Even when he learned, three years later, that she’d died in conditions of poverty and hardship, it didn’t soften him toward her; instead, he only believed she had got what she deserved.

When Eileen was seven, he remarried, this time to a widow, one of the Blacks, who had endured a childless marriage of some fifteen years until her husband was killed rather stupidly trying to learn how to ride a dragon. She had no wealth, but Mr. Prince still had his wife’s fortune, and Mrs. Black’s impeccable bloodline meant more to him in any case. She and Mr. Prince were rather meant for each other, however: both were nip-farthings, both joyless and cruel, and both rigidly traditional. They believed in duty, propriety, and unstinting obedience from their children.

Mrs. Black, now Mrs. Prince, thought worse of the former Mrs. Prince than even her husband did. To her, a woman’s infidelity was the worst of vile sins, and she pitied her new husband for having married such a filthy whore. She was sorry that the former Mrs. Prince had left behind a little girl, since naturally the daughter of such a whore would turn out just like her.

But Mrs. Prince was determined to do her duty by Eileen. She raised her to be a proper pure-blood wife—dutiful, obedient, graceful and silent. She beat into her the importance of propriety, telling Eileen how vital it was that she give no one any cause to say how like her mother she was, however much she would surely have the same sort of base, wicked urges as that slut. She also impressed upon Eileen the necessity of marrying into a pure-blood family of stature, since her mother was a fine example of the rubbish that rose to the surface of bad blood.

Within a few short years, the new Mrs. Prince had rewarded her second husband with twin sons. These boys had the benefit firstly of being boys, always a plus in pure-blood families, as well as the added bonus of not having a piece of trash for a mother. The practice of favoring the sons over the daughters was standard in pure-blood families, but the sins of Eileen’s mother worsened her lot. Nothing Eileen ever did was right enough or good enough or proper enough in the eyes of her family; and at school she had no friends, since the pure-blood daughters of Slytherin were fully aware of her mother’s story and had been forbidden from associating with her. Eileen was not pretty, and her home life was too miserable to make her good enough company to compensate for her other defects. Her father pretended she did not exist, her brothers teased and tormented her, and her stepmother ruled her whole life with a fist of iron.

Eileen retreated into her schoolwork, into books and knowledge. In second year she did make one friend, a Ravenclaw named Constance Marlowe. Constance was a very tranquil person. Her mother was Muggle-born, and she would tell Eileen about her Muggle grandparents. Eileen had never met Muggles. Her father and stepfather loathed them, but they loathed Eileen, too, and loved her brothers and the pure-blood families who treated Eileen as if their cruelty was simply preempting every nasty thing they suspected she would ever do.

Then in fifth year, while visiting the sea shore on summer holiday, Constance drowned. Eileen went to her funeral, to which many of Constance’s Muggle relatives had come. They looked like regular people, although they dressed funny. After that, Eileen hated the ocean, but realized that Muggles were capable of human thought and speech, which her family had always led her to believe they weren’t.

When school ended, she returned to live at her father’s house, since pure-blood women of her family’s stature did not get jobs; they got married. But with Eileen’s reputation, her looks, and her father’s desire to spend as little money on her dowry as possible, she received no offers. Her blood was not even decent enough, balanced as it was by her mother’s betrayal. So for more than ten years, Eileen lived in her father’s home, a companion to her stepmother, an object of mockery to her brothers and the children they went on to have.

By the time she was thirty, everyone, even she, was certain she would never marry. Her stepmother even came to relax her restrictions, since she had kept Eileen wrapped so tightly out of a duty to maidenly propriety. A thin, unattractive thirty-year-old witch was not likely to be prey to any lascivious attentions or whims. Uncaring now of the reputation she had so viciously guarded, Mrs. Prince let Eileen out of the house for longer periods of time … although she might not have, had she known Eileen was visiting Muggle haunts.

On one of these jaunts, when she was about thirty-one, Eileen met Tobias. She had gone, in fact, to the seaside town where Constance drowned, perhaps out of a morbid desire to torture herself. He was there, too, trying to get away from his life for a bit, since he’d just gotten divorced.

He had married young when his girlfriend got pregnant unexpectedly. He’d done his duty by her, quitting school and going to work at the mill, but a few months before the day he met Eileen, his wife had sat him down and said she’d fallen in love with some other bloke, but she wanted to do right by Tobias because he’d always done right by her. She and he weren’t in love, hadn’t been since the very early days, even if they’d rubbed along together easily enough, and he said as long as he could keep seeing his girl, they’d be all right. So they divorced amicably, and she married the other bloke, who was a bit older and balding and sort of fat, but a jolly sort, which Tobias had to admit he was not. Lorraine’s new husband looked a bit like Santa Claus to Tobias, and he knew his daughter would like her step-father, if she didn’t already. And although as a young man he’d agreed to the marriage of necessity and had never really been bitter about it, happy enough with his wife and daughter for company, he had wanted more from his life than he’d wound up with at thirty-five: divorced, uneducated, in a dreary, pointless job.

As she was talking with him, Eileen realized she wanted more than anything to get away from her family. She realized how purely she hated them, as if the hatred ran through her blood. She decided to scandalize them utterly: packed up her marriage chest and ran away, to live with Tobias without marrying him, hoping to drive her father and step-mother both to an apoplectic fit, but at least one or the other if she could manage it.

So she and Tobias simply lived together for a while, until Eileen got pregnant. She had been guarding against this, but the magical world had an old wives’ tale that wizarding babies wanted to be born so badly that sometimes, you couldn’t stop them. When she told Tobias, he wanted to get married, and although she didn’t really, she didn’t want her child to suffer the ignominy of being the bastard of a whore. So they were married, very quietly, only Tobias’ ex-wife in attendance with her family. Not wanting to give birth to a daughter that would live the life she’d had, Eileen mixed a very Dark potion to ensure the birth of a son.

So Severus was born. She put an ad in the Daily Prophet, hoping her family would see it, in case it would give them an aneurism.

Before Severus was born, but when she was close to due, Tobias asked her if the baby would have magic. Eileen said, “It is likely, but he may not.”

“What happens if he doesn’t?” Tobias asked.

Eileen shrugged. “Then he doesn’t.” She wanted her son to be a wizard, but she was no longer in the magical world; a Squib child would not matter to her now. She had brothers; she was not even the end of the line.

It was impossible to tell if babies had magic, so for several years after Severus’ birth it was a moot issue. Eileen continued to work spells, because Tobias said he didn’t mind, he actually thought it was pretty interesting. And then one day when Severus was about four or five, he worked magic, and out of nowhere Tobias blew up at the pair of them. Eileen was so shocked she actually flinched away, because although she knew Tobias had a temper, he’d never turned it on her. Severus burst into tears. And then Eileen pulled herself together and reacted, rage and hatred boiling up out of her through her wand, and she turned it on her husband, the way she’d always wanted to do to her brothers, her father, her step-mother, the children at school, and she blasted him across the room and into the bookshelf.

Severus screamed. Eileen stood frozen, looking at Tobias’ unconscious body slumped under an array of books. She blasted them off him and found he was bleeding from cuts all over his front. She hastily flooed them all to St. Mungo’s, where he was swiftly patched up. Although the Healers gave her funny looks, they did nothing to her because she was a witch and he was only a Muggle, and there weren’t legal protections in those days for the Muggle spouses of wizards and witches.

Tobias wasn’t the same after that. Eileen didn’t know whether it was the shock of her turning her magic on him, or Severus’ own magic manifesting, or even the trip to St. Mungo’s, because his face as he looked around the hospital as they left had been haunted. After that, he began to drink more. Although he’d always had a few on the weekends and even more on holidays, he was soon never seen without a drink in his hand or the scent of alcohol on his breath. He wouldn’t tell Eileen what was wrong, and it was impossible to get anything from the mind of a drunk person; even trying it made one disoriented.

She expected him to leave them; expected to wake up one morning and find him gone, but for some reason he never did. They settled into a life where Tobias would go for days avoiding her and Severus, hardly speaking to them when sober, muttering when inebriated, with occasional outbursts of temper that Eileen would sometimes curtail, but at others simply weather out. As a young child Severus was at first frightened, then hurt, and once he grew older, resentful.

Once, when Severus was about seven, she did wake up in the middle of the night and find Tobias in Severus’ room, watching him sleep. Tobias was just drunk enough to be honest. He looked up at her with haunted eyes and said, “Do you hate that I can’t do it?”

“Do what?” she asked, bewildered.

“What you can do. What he can do. Do you hate me because I can’t?”

Eileen just stared at him. “Is that why you act like this?” He didn’t say anything, just looked back at Severus. “No, I don’t hate you. That would be like hating the sky because it’s blue.”

When he spoke, she almost didn’t hear him. “Sometimes I hate you, though. Both of you.”

It took Eileen much longer than it should have to understand what Tobias was really telling her: that he hated them for being able to do something he never would. He hated them for having the power of magic when he was only a Muggle. That look on his face in St. Mungo’s had been shock at an entire world he’d never guessed existed; and now that he knew of it, he also knew he would only ever be on the outside looking in.

But she had not understood this in time. She resented his drinking; he resented her powers; they resented each other’s resentment. And at the heart of it, they came to hate the other for a second chance that had turned to ash, just as the first chance had.

Eventually Eileen realized that the same barrier that stood between her and Tobias had blocked him off from Severus, and she simply quit trying to bridge it. She drew Severus into the circle of her magic, eschewing any acknowledgment of the non-magical world he was half a part of. She had always meant Tobias to show him that part, and now Tobias would not. She taught Severus about his magical bloodline, the House of their family’s allegiance, the world he would enter once he was old enough, the powers he would wield. Although she punished him if he looked in her books without her permission, she taught him hexes and curses and spells that would get him respected among his Slytherin peers, that would receive him the notice of families he would need to impress in order to gain entrance into the society that should have been his—both of theirs, had her life gone much differently. She raised him more as she had been raised, in a manner typical for pure-blood daughters: with strictness and not much indulgence, because she’d loathed the men her brothers had become, alternately indulged and ruthlessly punished as they had been, as the beloved sons of two cruel, cold-hearted people.

In teaching Severus about the world she had left, sending him off into the future he ought to have, Eileen realized she had never been happy in the world of magic. She had known the truth of that, lived it all her life, but never articulated it to herself. But she was not happy in the Muggle world, either; she did not understand it, couldn’t navigate it. It was too vast and unfamiliar for her even to know where to start. As she prepared Severus for Hogwarts, Eileen realized the only time she had been anything close to happy was in that seaside town when she had met Tobias, and she had believed, for a handful of days, that the future would be different from the past.

But it hadn’t been. Now Tobias was gone, and only Severus was left. And even though she had tried her hardest to make it otherwise, she realized that Severus was just as out-of-place as she had ever been; she, the daughter of a whore, the pure-blood wife of a Muggle with a wizard for a son. Severus was the child of two people whose lives had been wasted for them by others; sent as hardly more than a baby into the world of pure-blood politics with such a tiny arsenal of anything they would see as promise, in love with a naïve Muggle-born Gryffindor. If Severus wanted the Muggle-born, he would cut all his chances of entering good society; and if he got the Muggle-born, he would find himself in the midst of people who regarded his magic with jealousy and suspicion.

That was the true curse of the half-blood, she thought. You were always trapped between worlds that didn’t know how to claim you.

*Snape doesn’t have those uncles anymore cuz they died off somehow, and he doesn’t have contact with his dad’s first family. He doesn’t strike me as someone who has a large extended family he pals around with, although I’m sure they exist. I have 1 jillion cousins I know absolutely nothing about, not even their names.

#laventadorn's adventures in writing stuff

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thefloatingstone · 5 years

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Y'know what? Give us the long answer. Have fun with it. Go wild.

The full title of the show is “Revolutionary Girl Utena”. It has 39 episodes and was released in 1997. The series director, Kunihiko Ikuhara, previously worked on the anime version of Sailor Moon, and was the main force behind turning Sailor Uranus and Sailor Neptune from simple team partners into a romantic lesbian couple, turning Sailor Uranus from an androgynous person who changed gender at will into a masculine lesbian, and Sailor Neptune from a borderline “background character” into a character in her own right, motivated by her romance with Sailor Uranus.

Revolutionary Girl Utena was originally an idea to have a Sailor Uranus and Sailor Neptune spin-off show until somebody told Ikuhara that the story he wanted to tell wouldn’t make sense with those characters. Instead, he decided to make the Utena anime. The anime IS based on a manga which had not yet concluded at the time of the anime’s creation, but the anime deviates from its source material in the extremes.

SO! Revolutionary Girl Utena!!

I am going to answer “What is it about?” with 2 answers because both are true but just giving you the plot summary doesn’t actually tell you shit about what the show is….about.

Answer 1:

We open with what appears to be a fairy tale. Long ago, there was a young princess whose parents had recently died and she was very sad. One day, a beautiful prince smelling of roses came to her, and told her “Beautiful princess who holds up alone in such sadness, never lose that nobility even when you are grown”. He then gives her a ring with a rose crest on it and promises they’ll meet again. The fairy story ends with “That’s all well and good, but so impressed was she by him that she decided to become a prince too. But was that really such a good idea?”

The story follows 14 year old Tenjou Utena. She attends the prestigious Ohtori Academy with her best friend, the rather unremarkable Wakaba. (Basically think the “Magical Girl Trope” of Sailor Moon and her “best friend” character Naru. Utena is doing the trope on purpose). Utena says she enrolled in the school because it has the same rose crest as its symbol as the ring she has, which was given to her by “a prince” long ago, and she hopes to meet him again one day.

Utena is admired by practically every person in school, both girls AND boys. The boys admire her as a very talented athlete, specializing in basketball and playing on the boy’s team, and the girls admire her because she’s a girl who comes to school wearing the boys’ uniform (even though it doesn’t resemble any of the boys’ uniforms), refers to herself with the male “Boku” rather than the feminine “Watashi” and for her self confidence and energetic and positive personality, as well as her disregard for authority figures (like the teacher who confronts her for wearing “inappropriate” clothing, pointing out that the student rule book only says students have to wear the inform. Not that they have to wear the specific gendered uniform)

The story follows Utena, as she accidentally, while trying to defend her best friend Wakaba, getting involved in a “game” which involves the 4 members of the school’s student council, Juri, Saionji, Miki and the council president, Touga. The game involves a mysterious dueling arena in the middle of the forest which can only be accessed by people who have a rose crest ring, that looks exactly like Utena’s childhood ring. There, they duel in sword fights as an upside down figment of a castle looms over them. The winner of a duel becomes “engaged” to the female student, “Anthy Himemiya” who is called “The Rose Bride”. The Rose Bride gives her current fiance the power to use “The Sword of Dios” which she pulls from her chest, and the duelists believe that the one who is engaged to the rose bride can eventually enter the castle in the sky, wherein lies the power to revolutionise the world. Each member of the Student council believes this to be something completely different, each one of them thinking it will change their current situation in the real world into one they wish. One believes the castle contains the ability to create “True Friendship”, another “The ability to create miracles” another “A return to purity” etc etc.

Utena, who wins the duel in the first episode and ends up accidentally engaged to Anthy, has no interest in the castle or the rose bride or any of this dueling stuff. But she sees Anthy as a girl in distress, played around with and handed back and forth between people to use, and so Utena decides to, effectively, become Anthy’s “Prince Charming” to rescue the fair maiden in distress. Anthy is a very demure, introverted, and ultimately strange girl. She and Utena share a dorm together as is apparently Utena’s right as her “fiance”, and Utena starts building a friendship with Anthy, as well as learning what all these duels actually are, what is inside the castle, what IS the “power to revolutionise the world” and how she can save Anthy from this twisted game.

So…. that’s what the STORY of Utena is about…. but that has nothing to do with what Utena’s about…

Answer 2:

Utena is, at its core, about MANY strong themes, but to pick one out to talk about first, it’s about the human psyche. And I know that sounds like pretentious garbage but hear me out;

Utena is about how human beings will trap themselves in their own destructive behaviours, constantly going round and round and round about something they can’t change in their life and their desire to change the OUTSIDE world to fulfill something that has gone wrong on the INSIDE of them. Every character believes the world to be a certain way, and what they believe the world is like means they can never achieve happiness or what they truly want, but none of the characters realise the ONLY way for them to be happy, TRULY happy, is in fact to let go of the desires and hang ups and psychological barriers that are keeping them trapped in unhappiness.

Utena is a 39 episode show talking in extensive detail “This is why you’re so fucked up”. And it pulls NO punches. Dealing with subjects like abuse, incest, rape, manipulation, sexual awakening, homosexuality, unrequited feelings, projecting your wants and desires onto other people, the list goes on.

The OTHER major theme of Utena is, and again I am not being pretentious here, this is what the show is about, the oppression of not only women, but of toxic beliefs surrounding what women’s roles in life “should” be, and how society as a whole uses this oppression and, frankly, abuse, to further people’s own desires and wants, and how society and those most toxic parts of it, try and break and bend women’s empowerment into something “more desirable” with complete disregard for how women in question actually FEEL about this supposed “place” they should be filling. It draws strong parallels between personal, one on one abuse, and a larger problem with women’s treatment of society as a whole.

And the OTHER other major theme of Utena, is sexuality as a whole. Not just Utena’s but literally every single character. The show is about sexual awakening (which is why the main characters are 14 but look older) and all the psychological hang-ups that comes with it, and how it shapes your opinion of the world and, in turn, how the world tries its best to shape YOU into something it WANTS you to be, rather than what you are. Female sexuality, Lesbian sexuality, Bisexuality, Sexual repulsion, Sex used as a weapon to control others, Sex as a metaphor for adulthood. Utena is an entire thesis on human sexuality, the form it takes in different individuals, the freedom it offers, as well as how predators use sexual attraction in terrible terrible ways to control others through manipulation, adoration, or domination.

The show is about trauma, both personal as well as on a societal level. it’s about abuse. It’s about what abuse turns people into. It’s about shutting off who you really are so tightly that NOBODY is able to pull it out. It’s about how being naive and “pure” is incredibly damaging, both to yourself and those you care about. It’s about confronting reality. It’s about confronting the adult world. It’s about breaking cycles. Both the ones we keep ourselves in which are self destructive, as well as the ones caused by abuse.

The OTHER thing Utena is about is “Speaking all of its plot, character motivations, themes, and story in metaphor so thick you need to be a psychology student to figure out half of this shit”

The first time I watched the show, I didn’t understand the ending AT ALL. And it took scouring the MANY essays written by people smarter than me on https://ohtori.nu/analysis/introduction.html for me to not only fully grasp what the ending was trying to say, but also literally 60% of the show which went completely over my head because I was 22 and a lot of the more adult themes was something I just didn’t pick up on, or fell into a complete trap with, thinking the same as the overly naive Utena, rather than understanding the reality of the situations and story.

My favourite scene to use as an example is in episode 5, where Miki runs into his twin sister Kozue in the school’s music room.

Miki had just finished telling Utena how he and his sister Kozue use to play the piano together, but something happened and Kozue refuses to play the piano with him any more. He and Kozue use to be very close in many ways, but these days Kozue has greatly distanced herself from him, and is very obviously slutting around the school, something Miki is disgusted in. It makes him want to distance himself from her all the more while also enraging him on a personal level. He has discovered, however, that Anthy (the Rose Bride) is very talented at playing the piano, and he hears in her playing something he feels he’s lost with his sister. Something calm and innocent which is no longer there between him and his twin. And he falls in love with Anthy.

He runs into Kozue as he goes to play the piano. He bumps into her unexpectedly. Her shirt is unbuttoned, her necktie undone, and she visibly adjusts her skirt. Inside the music room we see Touga, notorious school playboy, leaning idly against the windowsill, his own shirt unbuttoned.

Miki enters the room because he was intending to play the piano. Then THIS conversation happens;

This is one of the more obvious ones. But in case it wasn’t clear;

Neither of them are talking about playing the piano.

So take what I just told you about this situation… Read that info again…. THEN look at what they’re saying to each other… THEN look at how the show has chosen to place its camera angles.

Miki and his sister Kozue use to be very close, but have grown distant due to some event (which Miki says involves playing the piano. But that’s what Miki says). Miki yearns for when he and his sister use to be very close. a… “More innocent and pure” time… His sister has apparently completely embraced her sexuality, whereas Miki obviously sees her openly being slutty as extremely enraging and something he finds repulsive. He sees Anthy has in her the “purity and innocence” he lost with his sister. He falls in love with Anthy.

He runs into Kozue. She gives him…. THAT look. Up close and personal. When Miki speaks to her first, the camera ZOOMS back. Far away. a Great distance. Kozue asks him “Are you here to get me to play again?” She says, pointedly adjusting her skirt as she does so. She’s framed as towering over him. “I don’t have any more hope for you.” Miki dismisses her, as her presence looms over him.

They use to “play” together before they became distant. Kozue teases him about how he must miss playing with her. He scoffs. He’s no longer interested in her. They’re not talking about pianos.

Every single scene, exchange of dialogue, ever camera angle, every pose, every micro expression, every character’s body language, every bizarre visual or item that seems out of place in every shot… EVERYTHING in this show is a metaphor, or a hint, or a double meaning, or talking about something completely different than what they’re talking about.

Every second of this show is like this. If you wanna watch it… you’re gonna have to pay attention. Idly just letting it play while you take in the pretty visuals, and you’re not gonna understand one moment of what’s really being said, or shown.

And finally, everything that Utena is about, is in its intro’s lyrics. In fact the intro’s visuals all actually give away the entire story. But you know what? I can TELL you that because it is so heavy in symbolism and double meaning that even if I tell you that STRAIGHT OUT… you’re not gonna be able to understand what the hell it means until you reach the final episode.

Lets live with good grace and style.(just a long long time)Even if the two of us are ever torn apart…(let go of me)Take my revolution

In a sunlit schoolyard (garden), We took each other by the handDrawing close for comfort, we both swore:Never again would we ever fall in love.(Every time)

In that photograph of us, standing cheek-to-cheek,A touch of loneliness fills our smiling faces. (Revolution)

Even though we dream, even though we cry, even though we hurt ourselves, Reality keeps on approaching frantically,

I want to find my place, the worth of my existenceThe person I’ve been until nowAnd find the strength to throw it all away. Strip down to nothing at all.Become like rose petals blowing free

Even if the two of us are ever torn apartI swear to you, I will change the world.

youtube

#C-Puff answers #Utena #SKU #long post #video #anime #90s #Anonymous #tumblr why the hell did you format it like this???

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tillidontneedfantasy · 4 years

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‘Romance’ - Camila Cabello REVIEW: Shamelessly In Love

“You know it's been a long time coming,” Camila Cabello sings on the Grammy-nominated smash “Señorita” (which is the most-streamed song of 2019) featuring Shawn Mendes, their follow-up collaboration to “I Know What You Did Last Summer” from 2015. When she sings this line, it’s unclear who the ‘you’ is: Mendes or the audience. Shortly following the release of the track on June 21st, 2019, Cabello and Mendes were seen multiple times out together, displaying affection publicly that would suggest that they are not just friends...because, as she explains, “friends don’t know the way you taste.”

At the release of these stream of photos, many were quick to decide that this must be a stunt as a promotional ploy for the collaboration; but anyone even slightly invested in either one of the pop stars’ lives and music knew that it was, in fact, a long time coming. To any skeptics left, the timeline outlined (yet scattered) throughout Cabello’s second solo studio effort, Romance, should suffice as ample evidence that it’s the real deal, not that she needs to prove it, anyway.

Speaking of that timeline, the main takeaway from Romance’s story is this: men are idiots who don’t realize what they have until they can’t have it anymore. Unrequited love finally turned in favor just too little too late...until it’s not. As two sides of the same coin, “Should’ve Said It” and “Feel It Twice” showcase the two different internal reactions we women go through when someone we wanted for so long doesn’t want us until we’ve moved on with someone else: spite and sorrow. On one hand, she’s dismissive, and on the other, she’s remorseful. In the end, though, this tale has a happy ending, as she seizes the opportunity to finally be with the person she wanted “two years ago” despite the risk. The result? A full, shameless immersion into a world of unapologetic romance.

STRONGEST TRACK(S): “Bad Kind of Butterflies,” “Living Proof”

Although unlike anything else Cabello has released thus far in her solo career, “Bad Kind of Butterflies” is a compelling and straightforward confessional to her partner that despite her love for him she wants another. “What do I lose if I don't choose and keep it to myself?” she ponders, before ultimately landing upon a decision: “Warning me it’s a mistake, I just know I gotta make it.” Camila deserves some credit here; few people possess this kind of bravery. Many times, people in this situation do keep it to themselves, and then either end up unhappy, live in regret, or make mistakes instead of making an honest choice that will hurt fewer people in the long run. The beautifully haunting production that builds as the song progresses literally gives you the type of bad butterflies she’s describing, as if you’re the one moments away from your possible doom, or maybe an exciting new beginning, or both. Making a choice to follow your heart might trigger an upheaval of your previously planned life-course, but it is never a mistake. Luckily for Cabello, it seemed to work out.

On “Living Proof,” the last pre-release and latest single, Camila indulges in the cliche of linking worship and sex; however, instead of playing as overdone and tired, it just works, mainly due to Cabello’s outstanding vocal arrangement throughout, especially the harmonies in the last chorus. The track is sonically soft and sweet, so hypnotizingly complemented by Cabello’s flawless execution of such a high register; aside from Ariana Grande, no other pop artist can make it seem so effortless. Although the omission of a choir for the bridge and/or outro might be seen by some as a wise choice to balance the cliches, I kind of wish she did it anyway, and her inclusion of one during her wonderful performance on the Ellen Degeneres Show makes a strong case for it too.

WEAKEST TRACK: “This Love”

Perhaps the waltz-like nature of "This Love” is supposed to mirror the dance that Cabello and the subject of this song are playing at, but it fails to do so. When hearing the instrumentals for this track, you are expecting a loving, romantic song. Instead, the listener hears yet again about the games being played by this man and the back and forth between them. The lyrics feel incongruent with the music, and though the track is not bad, it might leave the listener unsatisfied.

THE IN-BETWEENS

There are plenty of other tracks to satiate the desire for pure romance, as promised. “Easy” and “Used To This” are two gorgeous tracks that perfectly encapsulate what it’s like to allow yourself to be loved when for so long you were unsure if it would ever happen the way you envisioned, making it very easy (no pun intended) to feel happy for Cabello (and Mendes), even so much so that you might find their love endearing enough to temporarily forget that Instagram video (you know the one) (sorry for making you remember it again). Cabello successfully experiments on the sultry “My Oh My” featuring DaBaby, which for some reason is a digital exclusive, and the dramatic and honest “Cry For Me,” which bluntly publicizes a sort of selfishness that most humans have felt but would deny, and gets better with each listen. Other tracks, however, such as “Liar” and “Feel It Twice” tire out quickly.

BEST PROSPECTIVE SINGLE: “Should’ve Said It”

Cabello sounds most authentic and commanding when she infuses her Latina roots with her pop inclinations. “Should’ve Said It” is effective, unique, and showcases all of Camila’s strengths in a catchy package to which many girls around the globe can easily relate. As Cabello chastises her muse for not knowing what he had until it was gone, you can’t help but vehemently agree while tapping your feet. Can’t you feel it turning into a power anthem already?

***

Even in her Fifth Harmony days, Cabello exhibited an unprecedented stage presence. Her first solo album, Camila, proved her star and staying power. There are many ways in which she has leveled up since, as displayed throughout Romance: her vocal range and control are much stronger and cleaner, she has trialed new musical styles that surprisingly suit her, and the production on almost every song is intriguing enough to make you want to listen again. However, the album feels lyrically lackluster; maybe this is because Camila proved to be a great lyricist with her debut, and the quality of writing on this album seems to match its predecessor rather than exceed it. That is not to say that great lyricism implies Shakespearean prose; sometimes, simplicity works just as successfully, if not even more so, as it allows for accessibility. The closing track of Romance, “First Man,” is an example of Cabello’s moving utilization of such simplicity. On an album that can feel repetitive at times considering its subject matter, an ode to the love Cabello shares with her father comes a bit out of left field, a refreshing final pull at the heartstrings. Mentions of jackets for cold weather and making it home safe remind us all that love- whether it is romantic, platonic, or familial- is loudest through the little things. Camila is clearly full of love, and if she continues to build on her ability to tap into it and express it honestly, the sky will be her limit. Grade: 3.5/5

DISCLAIMER - REVIEWER’S BIAS: I never cared for Fifth Harmony much when they were together, so Camila was not really on my radar until she was suddenly on everyone’s with her hit “Havana.” I remember watching her perform it on some awards show and being absolutely blown away by her stage presence. I knew she would be opening for Taylor Swift’s reputation Stadium Tour, and since I of course was attending I decided to listen to Camila shortly after its release, and I was surprised at how much I liked it! Although I enjoy this album very much, I was expecting a bit more from Romance; none of the songs have felt as special as “Consequences” or “Something’s Gotta Give” or “Havana” from her debut, and although I don’t think an artist should ever try to replicate past success or follow formulas that they think might get them there, I feel like that extra punch I was expecting from this album is missing. I still think she did a great job though- I was completely blown away by her vocals and the production, and I am excited to see where her career takes her.

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mrs-scm-wife · 5 years

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Who is your favorite god based on personality??

I have to choose one???? But ;-; I love them all? So much? Ah, okay, I’ll try.

Leon: He literally always makes it clear he has eyes only for you. He may be arrogant and sometimes downright mean to others, but for you he lets those walls come down and becomes a puddle of love. Leon is so sweet and caring of you, especially after some “night-ins” and treats you like his queen. He even follows your “goldfish” ways, despite having the power to teleport. Also, he is like a little cub for Karno, and I find that hilarious. The normal dominant Lion is now a small cub. I adore all of this about him, including how he is willing to change his way of thinking for you and puts his complete and utter trust in your hands. ALSO, Leon changes drastically in his own route. He goes from this arrogant, self-centered bastard, to someone understanding (maybe), and caring.

Karno: I joke about Karno all the time being boring and plain, but it doesn’t mean I love him any less. He has this soft dominance aura around him that everyone complies with. Karno loves humans so much and he would do anything to save them. He sounds like that kind of dude who would go to busy, public places and sit and watch others. I don’t think I’d be romantically in love with him, but I would consider him a close friend. Friend-zoned. To me, Karno is that mom friend. He always watches your back, knows many things you probably don’t, and takes care of you even when you don’t know it. Plus, he has this leadership side to him that I really like. In any substory with a group, he is most likely the group leader who helps get things done and stays on top of everyone.

Teorus: Where do I begin?! This dude is childish as heck?! But, that’s the charm in him. He is like a little boy with a crush on a girl in kindergarten. Teorus will get all pouty and sulky when you hang with other boys and then all happy when you talk to him. Teorus has determination when it comes to you, his motivation. Several times I have witnessed him trying to handmake or cook for you even if he doesn’t know the terms of cooking and ends up making Scorpio throw up and Hue pass out from trying his “food.” He’s so adorable, ugh. I can’t help but love his oblivious thinking when it comes to consequences too. This man literally stops time for you just so you can stay in bed with him. It’s cute, but we are sure he will get in trouble for that. Teorus just always wants to please you.

Huedhaut: AHHHH! Dude, we ALL know why we love this man?!?!?! HE IS THE DEFINITION OF SARCASM. A man who is able to tease me with CLEVER and snarky comments is always a bonus point. He is incredibly wise, I mean how else did he get that title, and knows how to deal with people like Leon. Huedhaut is the quiet type in all honesty. He doesn’t talk too much, but he gives you his honest opinions and helps you through whatever your delima is. Slight spoiler ahead, but it’s very vague. Huedhaut would literally do anything for you. He wants to protect you in every possible way. He’s that protective of you. Feeling jealous of her? Noted. Private gallery walk with memories of only you two. Huedhaut just wants you to know how much you mean to him.

Tauxolouve: Boi, he is definitely a refined man. We don’t see much of him sadly, but from what we do see we know he’s definitely a family man. He is so sweet to others and takes teasing quite easily. Yes, he does play around with goddesses a lot, but when he meets you, that all stops. He is thoughtful of how you might see things versus how he sees them as, but never pushes you out of your comfort zone. Lou is pretty carefree when it comes to other things, but he’s serious with you. To be honest, I think he has a very mysterious personality. It seems to me he doesn’t tell you many things. You figure it out on your own. Compared to most of the other gods, he’s mature in his own way since he doesn’t get get flustered by small things, like Scorpio,... but that doesn’t mean he loves you any less.

Aigonorus: This god totally has a laidback, chill, seemingly uncaring personality. He does whatever he wants whenever he wants and doesn’t care for the consequences. However, when it comes to you, he is loving, caring, and eager to make you happy. Although sometimes his lazy nature gets in the way of his job, he always has enough energy to be with you... sometimes. Aigo isn’t rude to you like the other gods are sometimes. In fact, he only wants you to be his pillow, haha, but there’s always more to him than you think. For example, he has a freaking goat. He loves his animals so much, and I love animals, so you can imagine how much connection I have with him. Aigonorus will always love you even if your mind is clouded with dark thoughts of the future. He wants you to be at ease.

Zyglavis: Uptight. That’s his main personality. He is so strict about everything he does. It’s obvious he’s a rule follower and hates breaking the rules for any reason. He has immense respect for the king, no matter how much he plays with him, and argues with the Leon on his attitude toward the king. Zyglavis has top notch manners and will teach you how to act properly. Even if he may seem intimidating and scary, you knew he’s sweet pudding in the inside. When it comes to you, he is willing to break some laws for you to show you how much he loves you and to save you. Did I also mention he has a soft spot for children? Well, he does and it’s the cutest thing you will ever witness. He cares deeply for humans and the heavens. Why else would he work so hard for both of them? Zyglavis is loyal to humans, the King, and you.

Scorpio: One word: tsundere. All of us know it, including Leon. He is harsh, brash, and hurtful with his words and attitude toward others. He is brave when it comes to the King as well. He doesn’t back down from him, ever. Zyglavis is probably the only one that Scorpio publicly shows he respects. Scorpio has little patience with anyone or thing, and he even has a dark side to him that makes him synthesize with children’s pain. He is relentless when he punishes because of this. On the contrast, for you, he is sweet and loving. You are his number one now. Scorpio is still innocent to PDA though, I don’t think that will ever change. But, don’t be fooled, he can still bite when he needs to. I feel like Scorpio can actually be sensitive sometimes because your words and actions can cut him deeply if you say the wrong thing.

Dui: Well... he kind of has two? Dui has a sweet side where he adores absolutely everything you do and is curious about everything you talk about. He can listen to you for hours and never gets bored. Occasionally, he will be pulled into Ikky’s pranks, but he always protects you from them. He can get shy sometimes when you take charge, but he has no shame for PDA. In fact, the gods all think of you as that sickeningly sweet couple. On the other hand, his other personality is more rough, dominant, and confident. Shadow Dui is still caring about you though. He loves you just as much, but he has a harder time being vulnerable around you. He prefers to act tough and even throw in some naughty hints. His attitude is more forceful for the most part, but he looks out for Dui at the same time. Both make sure to care for you though.

Ichthys: This troublemaker is full of pranks. He enjoys seeing others fall for his genius plans and is carefree as ever. I’d say his motto is “YOLO.” It fits him well because he doesn’t think twice before he makes these. He is pretty fearless, in a sense, because he knows what Scorpio and Zyglavis will do to him if he gets caught. When he is with you, he is incredibly adventurous. His creativity is the next level because he can create a whole new world with only a snap of his fingers. Just beware that he can go from a man child to your man in an instant. Ichthys can get real mature when it comes to nighttime fun. Another thing is that he can come off as a peacemaker when he really needs to. He hates leaving people unhappy. Ikky thrives on making people happy by his pranks or adventures he drags them into.

Krioff: I love this man so much. He is so innocent when it comes to women or anything, to be honest. His aloof demeanor is charming to me. He tries to understand what the gods are saying, but his mind isn’t built like theirs. He’s definitely a quiet type with a rough touch. Krioff for sure is an inner softy. He may have a difficult time showing his feelings, but he makes sure to give you what you want. His background really helps you understand his personality a lot more. He’s shameless in some cases though, like making out with you on a worshipping ground. Krioff also cares about his family, despite the obstacles that have raised. He wants to always keep you safe no matter what and even risks his life for you multiple times. He is a hard worker when it comes to making peace with other gods as well.

Partheno: Oh gosh, the beauty god. His personality is twisted, and I like that. He is unpredictable to say the least. Most of his thoughts are in the gutter which makes him such a perv at times. However, he is deeper than that and only you can see how he really is. Partheno is not stuck up like some of the other gods are, and he doesn’t feel the need to act superior either. He was the last character to be released before the creators ended the title, basically, so I hope they show more of his different sides soon. Partheno is always thinking of you. I think he talks about you more than the other gods actually. He is pretty hopeful too and he trusts you a lot? Like, I almost cried in season one because of that ONE CG. You are literally his world. I’m sure the other gods would turn out okay if you didn’t choose him, but not Parthy! He depends on you.

......So, in conclusion, I’m still clueless as to who is my favorite, personality wise.

#star crossed myth #scm #huedhaut #scorpio #zyglavis #ichthys #leon #partheno #teorus #aigonorus #karno #krioff #tauxolouve #dui #scm spoilers #ask

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mikauzoran · 4 years

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Lukadrien: Études: Fifty Kisses: Fourteenth Kiss

Études: Fifty Lukadrien Kisses: Fourteenth Kiss

(Prompt Fourteen: A kiss so desperate that the two wind around each other, refusing to let go until they are finished.)

When Adrien came barreling through the door of the safe house, Gabriel preemptively took back the cup of tea he had just handed to Luka a second before.

Gabriel was just in time. No sooner had he snatched the hot liquid away than Adrien crashed into Luka, knocking him back on the couch, surrounding Luka in his embrace like a coral expelling its guts to cover and digest its prey. If Gabriel hadn’t known better, judging by the ferocity and desperation of Adrien’s kiss alone, Gabriel would have sworn that Adrien was a starving cannibal determined to consume Luka, tongue and esophagus first.

Gabriel sighed loudly to be heard over the smack of lips and breathless gasps. “Adrien, he’s fine. Like I told you on the phone, the gun wasn’t loaded. He was never in any real danger.”

Adrien did not appear to hear, too wrapped up was he in his beloved.

“The young woman has been arrested,” Gabriel continued, knowing full well that his son was unaware of his presence in the room and would remain so until he had finished kissing the man that he loved. “and I have instructed our legal team to prosecute her to the full extent of the law. Hopefully that will set an example for other fanatical admirers upset by the news of your…uh…bisexuality.”

Gabriel looked back over his shoulder to find that the kiss had simmered down, morphing into a slow series of light, tender smooches, as if Adrien were kissing a scrapped knee, magically making it all better.

Gabriel refused to admit that the scene was heartwarming. He was obligated to object to his son’s choice in a partner solely on principle so that the candidate did not relax and mistakenly think that they had a free pass, regardless of whether Gabriel actually liked or disliked them. Gabriel did not intend to ease up on his signature reproving stare until there were grandchildren. At that point, he felt he could consider his son’s happiness secure regardless.

Finally, Adrien’s lips parted from Luka’s in a grief-stricken breath. “I’m sorry. I’m so sorry, Luka. This is all my fault.”

“Perfect Fifth, you can’t control what your crazy fans do,” Luka chided, giving Adrien’s jaw a nuzzle.

“If I had known that going public with our relationship would cause something like this…” Adrien slumped forward, resting his head on Luka’s shoulder, still sitting on Luka’s lap, straddling his beloved, wrapping around Luka like a boa constrictor.

“Adrien, it wasn’t a big deal,” Luka tried to assure.

Adrien scoffed, lifting his head to glare at his boyfriend. “Some lunatic pointed a gun at you, convinced that killing you was necessary to save me from the evil spell you’d cast upon me. How is that not a big deal?!”

Luka shrugged, looking off to the side. “The gun wasn’t loaded. Obviously, my would-be-assassin was incompetent, and even then, some of your other crazy fans, dedicated to protecting your happiness, jumped the attacker. I was just startled. By the time I really realized what was happening, the attacker was already pinned to the ground and security was getting involved and Gabriel was there, so…”

Adrien rolled his eyes. “What if the gun had been loaded? What if my fan club hadn’t been there to dive on the attacker?”

“Your self-proclaimed ‘Guard’ of young women supporting your happiness with Luka is actually quite ubiquitous,” Gabriel informed helpfully. “They show up at all events…regardless of whether the events are officially announced to the public. They’re quite passionate about their support for you, Adrien. I believe that they’re just happy you didn’t choose a woman over any one of them. In that respect, this relationship has been much easier on PR than a heterosexual one would have been.”

Adrien sighed. “Still. Luka, being with me is putting you in danger.”

Luka rolled his eyes, but Adrien caught Luka by the chin and made him meet Adrien’s gaze.

“Seriously, Orpheus. We need to break up.”

“W-What?” Luka breathed incredulously, his entire face going numb in horror.

“What?! No!” Gabriel snorted. “I forbid it.”

Adrien looked up to frown quizzically at his father. “…But—”

“—No,” Gabriel repeated with authority. “You’re not breaking up with him unless he does something reprehensible like cheating on you that we can use to garner public sympathy. Adrien, do you know what a public relations nightmare this has been? Unless something drastic happens, you are marrying him. The PR department has already put countless hours into laying the groundwork. I’ve designed a same-sex wedding line. You have no other option.”

“But—” Adrien tried again.

“—No,” Gabriel snapped. “You should have thought of this before very publicly declaring how in love you were with this boy. Now, the staff has cleaned up the shrapnel to the best of their ability, and they’ve done a fantastic job. The public overwhelmingly supports you two, and I’m not going to let you ruin everyone’s hard work over this incident, especially when you are so obviously crazy about him. Don’t be a child, giving up when things are hard. Grow up and commit, Adrien, because, in my mind and in the mind of the public, you are already married. There is no other recourse.”

Adrien winced, looking back to Luka, gently stroking Luka’s cheek. “Orpheus, I am so sorry. I didn’t think—”

“—P5, I am one hundred percent okay with this,” Luka chuckled. “The thought that you’re already shackled to me by outside forces and that I don’t have to do anything to keep you that way is reassuring.”

“Keep in mind that if you make my son unhappy, I will manufacture a scandal and burn you to the ground,” Gabriel reminded.

Luka waved Gabriel off unconcernedly.

Adrien sighed, dropping his head to rest on Luka’s shoulder so that he could more easily nuzzle Luka’s neck. “I guess you’re stuck with me.”

“Stuck with you?” Luka scoffed, pulling Adrien in closer. “I won the lottery and got the grand prize.”

Adrien tightened his hold on his boyfriend. “…What are we going to do? What if this happens again? Luka, I can’t lose you.”

“You won’t,” Luka promised, kissing the top of Adrien’s head.

“I’ve already started the process of interviewing bodyguards,” Gabriel informed. “You two will spend the night here, and the candidate should arrive to collect you tomorrow morning.”

Adrien’s ears perked up. “Really?”

Gabriel rolled his eyes. “Of course. Adrien, the reason we have a security team is to deal with situations like this.”

“Thank you, Father.” Adrien grinned brightly as he offered his heartfelt thanks.

“Thank you, Gabriel,” Luka added with a tentative smile of his own. “We appreciate everything you’ve done to look out for us.”

“I’m sure,” Gabriel replied coldly, turning his back on the couple. Unseen, he smiled into the rapidly cooling teacup still in his hand, drinking to the small victory.

#Adrien Agreste/Luka Couffaine #Miraculous Ladybug #Miraculous Ladybug Fanfiction #lukadrien #Adrien Agreste #Luka Couffaine #Kissing #Writing Prompt #Mikau's Writings #Études: Fifty Lukadrien Kisses

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uk-news-talking-politics · 4 years

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Peak uncertainty: This is what covid might do to our politics

By Chaminda Jayanetti

Just because something should happen, doesn't mean it will.

Many articles speculating on how Britain will look different after coronavirus mistake what the writer thinks should happen with what probably will, trusting in the logic of the moment when politics often obeys anything but.

Others focus on the party political fallout, which is the most unpredictable aspect of all. Coronavirus may determine the next election - or it may play no role in it at all.

But to really get an idea of how Britain could look on the other side, we need to get away from the big picture discussion and dig deep into policy areas.

Who cares?

The centrality of the NHS is now guaranteed no matter who is in charge. The Tories had already pledged increased funding, and the need for spare capacity in the event of pandemics may force a rethink of service redesigns and efficiency measures that aimed to minimise 'waste'.

Bigger questions surround the adult care system. No-one can now ignore the funding cuts and staff shortages that have left the care sector so depleted. If elderly and disabled people find themselves dying untreated in care homes in large numbers, this might - and should - become a point of national shame over the coming weeks.

The Tories' direction of travel is towards a social insurance system, whereby people pay in to a fund during their working lives that gives them access to care provision when they need it. But those who are retired or have lifelong care needs won't be able to pay into an insurance scheme before receiving care. These immediate care needs will need direct public funding, not long-term insurance.

Labour under Jeremy Corbyn took a different tack: universal free personal care for the over-65s, with an ambition to extend this to all working age adults. This is simpler and more inclusive than our current means tested mess, but it doesn't come cheap: Labour's manifesto estimated the cost as £11bn a year by 2023/24.

Keir Starmer will be under pressure from some to stick with their existing policy, and from others to engage with social insurance proposals. Keeping Labour MPs united behind whatever strategy he adopts won't be easy.

But it's plausible the Tories will also be pulled in another direction - towards voluntarism. The party's social and fiscal conservatives - uneasy bedfellows in recent years - could use the increased community cooperation seen amid the pandemic as evidence that volunteers and family members can take on more of the care burden, while still improving pay and conditions for care staff.

Expect to see rhetoric that the pandemic has 'unleashed' Britain's 'community spirit', which should be 'channelled' after the crisis by relying on family and neighbours to 'look in' on people in need - the soft-soap version of women doing unpaid care work in lieu of public services. The current trend in care provision is towards making use of what 'assets' people already have, including friends and family - an approach that can be used for good or ill. The temptation for the government to lean on unpaid volunteers instead of the taxpayer is not hard to imagine.

The care system was the biggest public service challenge facing the government before coronavirus. Now that's been magnified tenfold. It could become one of the big battlegrounds of post-pandemic politics, between competing visions of society based on universalism, managed markets, and voluntarism.

Bob Crow was right

Before his death in 2014, Bob Crow was one of the most demonised figures in Britain. His readiness to threaten to shut down rail networks as head of the RMT union made him a bête noire for commuters, causing considerable disruption.

Crow was a rarity in post-Thatcher Britain - a union leader who was ready to use strike action as a sword, not just a shield. Whereas most unions only went on strike in defence of existing jobs, pay and conditions, Crow levered the criticality of the role of his members to transform their economic position.

He was accused of holding passengers and politicians to ransom, but his argument was a simple one: the disruption caused by his members going on strike showed how important their role was, and they should be paid more - much more - to reflect this.

It has taken the worst pandemic in more than a century for many people to realise this point. Pay does not necessarily reflect the importance of a worker's role - in fact, very often it does nothing of the sort. Pay reflects many factors: supply and demand of labour, required skills and levels of education, the strength or weakness of collective bargaining, the resources of the employer, and the profit-making productivity of the role. The social necessity of the role comes below pretty much all of them.

There may well be a post-pandemic cross-party consensus for a higher minimum wage and more protection from exploitation - action on zero hours contracts, for example - to protect low-paid workers from poverty.

But Crow didn't want his members to be low paid at all. He wanted to transform their economic station. We keep hearing about essential workers in cleaning, portering, social care and customer service. Will this be rewarded with more middle class pay and conditions?

There are reasons to be doubtful. There will likely be broad acceptance of the importance of care workers, who are a very visible part of the fight against coronavirus. But that does not mean politicians will be ready to fork out for transformative pay rises. Will Starmer accept billions of pounds of extra spending on top of the £11bn Labour has already earmarked for social care, let alone the Tories?

And where is the industrial, political or public pressure going to come from to secure such pay rises for the often migrant workers in portering and cleaning? We don't want to accept it, but many workers on middle incomes would sneer at the idea of porters and cleaners being paid the same as them.

The safety net

The benefit system has taken a battering over the last decade. Now the economic shutdown is driving more than a million people to seek refuge in the rubble left behind.

The government has responded by performing emergency repairs - raising benefit payments and scrapping job search requirements in a desperate attempt to stop the newly unemployed middle classes struggling in the way the unemployed poor were expected to.

Things could play out from here in a number of ways. If Universal Credit functions to a level the government can live with, they will declare the system a success, leaving Starmer in a politically difficult position. Will he keep Labour's pledge to axe what will have become an established system, or switch to reforming it, thus angering his left flank. Labour may try and build a minimum income guarantee using the framework of this system. Or they may 'abolish' Universal Credit by tweaking it and changing its name.

If Universal Credit simply topples over - unable to process claims properly, or pay out the right sums of money - the government might be forced to give up its costly and chaotic flagship scheme.

What then? Labour would push for a more generous system with far fewer conditions and sanctions. The Tories would be truly hamstrung, having in this scenario wasted a decade on a failed system.

Public opinion would not necessarily favour a more generous, less judgemental approach. The declared end of the pandemic, and the gradual return to some kind of economic normality, would likely bring back demands that the unemployed get back to work, and that they be cattle-prodded into doing so. Laid off workers do not carry the same image as health and care workers in this pandemic - and doubtless right wing ideologues will start shouting about the deficit the first chance they get.

But if the economic recovery is insipid, with little job creation, enduring high unemployment, and a stop-start lockdown as the virus returns, both parties could be drawn to more universal systems - a minimum income guarantee set at a liveable level, or even a Universal Basic Income.

The government toyed with introducing UBI last month, but it would face wide opposition from Tory MPs unhappy at its cost. Claire Ainsley, who is expected to be unveiled as Starmer's policy chief, is also a sceptic. It is expensive, blunt and largely untested. But if jobs don't reappear as the pandemic passes, the 'on yer bike' mentality that has underpinned the benefit system for decades will itself be left redundant.

A costly affair

Britain is running up huge deficits as sectors of the economy grind to a halt. How will all this be paid for? Starmer is calling for higher taxes on the rich, but that alone is unlikely to be sufficient, especially if corporate profits remain depressed for years. Everyone is going to have to pay more.

Could the Tories go in for funding cuts? Perhaps - but likely not at the scale we've seen. The big targets after 2010 were local government and welfare. The former can't be cut further without it collapsing. The Tories may winnow away at the latter. Foreign aid could take a hit. But the party would have to tear up its electoral strategy of higher spending on schools, hospitals and police to recreate full-blown Osbornomics.

Labour, and possibly even the Tories, may look to wealth taxes to help bring down the deficit. Taxing people's wealth would be a major shift in Britain's approach, and could finally tackle one of the key sources of economic inequality.

But there's a problem. The richest hold most of their wealth as financial assets, meaning they can easily move it to offshore tax havens. Fixed assets, like houses, tend to benefit the middle classes. Taxing property wealth could hit Tory homeowners while barely affecting hedge fund billionaires. Targeting the latter would require a Tory government to clamp down hard on tax havens.

Conservative MPs are likely to be split on middle class tax rises and spending cuts. If the Tories go after tax havens and impose a progressive wealth tax, it would be one of the most dramatic changes the pandemic brings about. The curtailment of the free movement of capital would be a paradigm-shifting development, and an extraordinary one for a Conservative government.

What does need to happen is for governments to spend on preventative services - such as social care - in the knowledge that this will cut required spending down the line. Only when that happens will Britain's fiscal politics finally grow up.

But on a variety of fronts, the British are going to have to decide what it is we are willing to pay for. If we want functioning public services and low deficits, we'll have to pay more tax. If we want properly paid frontline public servants, we'll have to pay more tax still. If we want to end poverty pay, we may have to pay more for goods. If we want to protect the high street, or British producers, we may have to pay more in digital sales taxes or import tariffs.

Cakeism has run out of road.

The known unknowns

If Britain does head down the path of higher taxes, more generous benefits and greater public provision, our politics and economy will start to look more European - either universalist northern European, or rather more patriarchal southern European.

But the irony is, we'll be firmly outside Europe. Nothing that is happening right now will be fostering a European identity among voters. And if the government decides to take radical action on the economy, that could mean Britain fundamentally diverges from EU rules, keeping us on a separate path into the future.

All this is predicated on coronavirus being conclusively 'defeated', and a one-off in its mortality, geographical spread and disruption. Those are the prerequisites for things eventually returning to some recognisable norm.

If, however, pandemics of this scale become even semi-regular, shutting down national economies for months at a time, everything changes. Rents become unpayable, debts unaffordable, jobs untenable, the economy itself unsustainable. When Rupert Harrison, George Osborne's former adviser, is openly suggesting debt forgiveness, we are in very new territory.

Most people will want life to get back to normal as soon as possible. But if normal never comes, anything goes. And even the most radical ideas we've discussed would be on the moderate end of what could happen then.

#coronavirus

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