The Narrative and Iroh: Try to tell us and show us that Zuko is honorable
Also The Narrative and Iroh:
Proceed to try to convince us and Zuko that usurping the throne whilst being a traitor(no honor to be considered for an agni kai) and taking the advantage of agreeing to fight when you see your opponent looking physically unwell is an honorable act😭
Zuko was doing the right thing and the right thing doesn't mean it's honorable, it means it's Necessary. Is it really that hard to get?
If people want Zuko to be honorable that badly then they should accept it's the honor that the FN ideology adapted they'll find in him by choosing to accept him as very honorable after Iroh declared he is. And that is because FN honor meant crushing your adversary at their lowest to secure your victory. One of the many things I thought his arc had him outgrow.
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Honestly people in the fandom always say Faerghus is the least progressive of the three, but they’ve honestly been the most progressive? People say Edelgard’s way is the best future for Fodlan because of the Crest system, but it’s... really not. Faerghus has been steadily working to dismantle the Crest system for years in Hopes, and in Houses it’s something Dimitri plans to formally work on (and doesn’t get the chance to yet in Houses until after the war because of what happened in the five year timeskip) in the future.
Also, the class system was being fixed as well in this regard, and the whole “outside of Fodlan’s border” thing was being worked on by Lambert and only came to a temporary halt because he was murdered for attempting change (outside of TWS, TWS had help in the form of other Faerghus nobles who didn’t like the change Lambert was attempting). Dimitri would have continued Lambert’s efforts sooner if he could have, but as the prince/not yet king he couldn’t, and then the war happened for five years so even when he came of age he wasn’t able to take the crown yet.
When it comes to hiring people and whatnot, Dimitri has Dedue as his “vassal” as far as Duscur hating background NPCs would call him and what Dedue tries to insist he is. Dimitri is already trying to get people from outside of Faerghus as well as commoners into high positions. He can’t officially do a whole lot as the prince, but in his ending he does fix Faerghus.
In Hopes, he’s actively working on the power system for the two years and they’re succeeding rather quickly, both with the Crest system and the disparity between royalty, nobility and commoners. The only reason Faerghus wasn’t able to do that sooner in Houses is because Dimitri wasn’t the king yet, and when he became king it was during a war so it was a bit less “official”. There was no formal ceremony for it until after the war.
If Edelgard felt the need to use war to get rid of the problem, it means Adrestia wasn’t able to solve that problem internally on its own, and the Alliance wouldn’t have done so either with the roundtable, so when the Alliance becomes part of united Fodlan under Dimitri or Byleth (depending on the route), that fixes the Alliance’s issue with it, but ultimately Faerghus had a better progression of the Crest system and the class system overall.
Also, the whole thing about Rhea not allowing outside influences isn’t true at all. Shamir, Cyril, Petra and Dedue were at the Academy even if for different reasons, but Rhea didn’t have to hire a foreign mercenary or bring in a foreign orphan. She didn’t have to let Dedue in considering he was from Duscur and everyone basically knew loads of people hated Duscur (and she could’ve easily reasoned that it would cause problems and drama with him there, whether she thought his people were responsible or not. Even if she knew 100 percent he wasn’t involved, she could’ve tried to turn him away when Dimitri brought him in, reasoning that it wouldn’t be good to have someone people would be suspicious toward). She didn’t have to let the princess of a foreign land come to the Academy.
That’s important because the Church is closest to Faerghus out of the three lands and has the most power over Faerghus, but it’s Faerghus that’s progressing toward a weaker Crest system the fastest. Rhea definitely is trying to keep Fodlan’s borders relatively closed up from threats, but she doesn’t disallow people from outside of Fodlan to enter it (and she lets people in right where she lives, so she obviously isn’t worried that any of these people are going to try to kill her/anyone from the Church). Fodlan just has more security in place, and Claude is under the impression it’s just too much security if he wants Almyra and Fodlan to be more openly friendly. It’s true that Rhea’s past experiences led her to keeping Fodlan from advancing as much as it could have, but she’s not completely disallowing people from outside of Fodlan to enter it.
The fact that the Church is closest to Faerghus makes it easier for Faerghus to be able to sway the Church if even necessary at any point to let the change gradually kick in.
Also, I’m not saying Claude didn’t or couldn’t help enact change in the Alliance, but that Faerghus had begun progressing its future long before Claude was even living in Fodlan. It just came to a temporary and screeching halt when Lambert was murdered by TWS who also had help from some angry baby nobles that didn’t like the thought of change. In other words, Faerghus was already heading toward that future before the Alliance was too.
tl;dr faerghus is the good shit and they’re all about that change and all the great stuff and they gonna do that shit peacefully and sylvain is a huge part of that and here in this house we love him for it even if it’s bc his dad is a dummy dumb and made both his kids have to suffer bc of the system to make sylvain so intent on changing it like bruh why’d u have to go and do that but don’t get me started on miklan bc i care him and hopes made all my headcanons a reality
also tl;dr faerghus is the good shit and they’re all about that change and i want dimitri to run my country too but then again that might be awkward bc imagine saying u have the hots for the president of ur country like man what a thought
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Ok I did the whole Barbenheimer thing and let me tell you, Barbie wasn't revolutionary or anything, but it did come up ahead. It did what it was supposed to do and, since I managed my expectations before going in, did it in a fun silly way that still left a bunch of possible deeper readings, even if they were sadly left unexplored (and were maybe unintended). Oppenheimer on the other hand left me very angry and disappointed, even if I went there knowing it was an usamerican warfilm so I wasn't expecting much.
I think Barbie and Oppenheimer were equally superficial and obvious with their intended messages presentations, themes and characters, and equally inconsistent with their story threads. But Barbie was about Barbies, was intentionally silly, and had more going for it than the story itself... and Oppenheimer was about one of the real life creators of the atonic bomb, about the ones responsible for the Hiroshima and Nagasaki bombings, and about the subsequent cold war and the mess it left us today in regards to the existence and threat of atomic and H bombs.
I think I can safely say one had the responsibility to be a bit more nuanced and careful than the other, and that just did not happen. And no, i do not think there was any actual anti USA sentiment in Oppenheimer, as someone who lives in a Developing Country (TM)and is used to seeing usamerican propaganda all the time there was barely even a scratch of criticism buried in there; our knowledge of history and our own modern sensibilities and morality did all the heavy lifting in that front without the movie having to risk saying anything. Oh did he feel bad while the bombs were being dropped? Did they villanize a guy who went after him for uhh being better than him at public speaking? Did they say he was against the H bomb and was a pacifist now, actually (without showing it much but who cares, tell not show right)? He was still the hero. Not one Japanese person was shown. Not one civilian protest, not one appearance of the communists they were talking so much about after the scenes in the past, doing anything but talking the whole time. He still ended up with a "I love my country" tirade, there was still a haha nod to fucking Kennedy being the one to be on our hero's side. They still showed more scenes of women naked, drunk, cheating on their husbands and being negligent towards their kids than of them doing literally anything else.
The "nuance" and "anti-usa messages" was just a bunch of misplaced and inconsequential internal conflict that did not feel earned in any way, misogyny and random, boring and inconsistent jury scenes (sorry, "hearing" scenes or whatever they called so there wouldn't have to be consistent rules to follow). And the main character was so damn boring. And they didn't even represent the actual science parts well. And the editing was so weird and the flashing scenes didn't fit and were repetitive. And there was a happy ending for some reason?? It was a whole bunch of nothing with music building momentum that never went anywhere in the background of every scene for 3 hours and I wanted to leave the room for how angry it made me that this subject was treated that way and would probably get praised for it.
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Omg! I saw you briefly mentioned Tomorrow in an ask and I just finished the show. I have so many thoughts about it and not sure if they’re all good but I would love to hear your opinion about the overall show (especially the distinct costume design of each character and the set design!!). For a show that navigated some heavy material — it was full of such bright color and fun fashion decisions! Unsure if you talk about shows but I thought to ask because you always provide such interesting and thoughtful critiques.
THE COSTUME DESIGN IN TOMORROW!!!!!! it's soooooooooooo good it was one of the things that kept me watching bc yes there some glaringly obvious problems with the script. the production/set design are excellent too, especially for jumadeung. literally framing it as a company is a.....choice, but visually framing it with art deco style architecture a la the chrysler building is a smart way to keep it feeling outside time, because our brains still interpret art deco as a relatively modern style because of its scarcity and association with wealth, but in reality art deco is approaching it's centennial in just a couple of years.
ok i'm gonna talk about some major plot beats so spoiler warning for anyone who hasn't finished the show or cares about that kind of thing.
tbh i actually think the best costume design was in the scenes with all the team leaders because they were so quick and so infrequent but each of them had such a clear signature that tbh i spent like five minutes stopping and starting that first intro scene where we see everyone just to try and pick up all the little details.
other than that though, they do such a good job with koo ryeon, joong-gil and ryung-gu and interpreting how very old/essentially immortal characters would interpret clothing and what they would be comfortable in. jun-woong is fine, but the show itself kind of acknowledges by the back half that really he's the vehicle for the rest of their stories, so imo his design choices are all intentionally wallflower-y. but koo ryeon, joong-gil, and ryung-gu all share some key character traits: they're all extremely loyal, dedicated, defensive, AND they all lived their formative lives pre the invention of the zipper and stretch fabric. i know this sounds like a very weird point to make, but trust me on this one, i'll get to it. and all three of these characters embody all of these traits in their clothing. many of the creature comforts that we associate with fashion are very very modern, think within the last 100-150 years. zippers? the 1910s. spandex/lycra/synthetic stretch fabrics? 1958. hell, even the concept of sportswear and leisure clothing only started cropping up in the mid 1800s. for a lot of cultures and for long periods of history, clothing consisted of a lot of layers and a fair amount of internal structure, by virtue of fabric being a solid weave. for a significant portion of their lives, all three of these characters were wearing anywhere between two and probably five layers at all times, with koo ryeon and joong-gil for about 250yrs longer and also with much more intricacy due to their higher class. clothing plays a very big part into how someone presents themselves to the world, and it can be a protective measure. this might be a bit difficult for some to understand for some, especially in our modern 'comfort first' fashion culture, but the structure and weight of a lot of layers and the rituals around getting dressed a specific way can be both a defensive mechanism and also a physical comfort. you see it with older generations and their likelihood of wearing older styles/styles that were 'on trend' in their youth; think grannies who still get their hair permed and put on lipstick every time they leave the house, or someone like my grandfather, who never stopped wearing the same style of highwaisted slacks and dress shirts from the early 60s. and i think it's a very fair trait to extrapolate to characters who 1) have had particularly traumatic lives, 2) have spent a very long time wearing the same thing, and 3) have a textually noted extended/different understanding of time.
let's start with joong-gil, who exclusively wears a three piece suit post-becoming a reaper. this means he's wearing at least three well structured layers, and i'd be willing to bet that he'd be the type to wear a singlet/underlayer as well, which brings that total up to four. he's also frequently shown wearing an additional jacket (five layers) and gloves, another further barrier. given the fact that jumadeung appears to have 'westernized' aesthetically when korea was freed from japanese colonial rule***, three piece suits were still standard business attire. and he's very strict about his own dress code, he's either in white shirt and three piece or a black shirt and three piece. obviously this is also a physical manifestation of his discipline and dedication of the 'rules', as we can see that when he deviates from that uniform it is as a specific character point for him. the most notable instances of this are in the last episode, where he's wearing a turtleneck (but still a waistcoat) when jun-woong goes to try and reason with him, and then again later in the episode when joong-gil is taking his punishment in his shirtsleeves. and then for a third time at the very end of the episode, where his black three piece has been exchanged for a grey one, signalling his softening and the merging of his two selves (his pre-reaper self that wore mostly lighter colours, and his post-reaper self that wore mostly black).
unsurprisingly, koo ryeon is also a very defensive dresser. all the same observations from joong-gil apply here, but with koo ryeon instead of her being a dedicated rule-follower, her dedication manifests as rule-breaking in order to achieve her goals; as you can see she wears a lot of colours in counter to joong-gil's monochrome. but i think the most interesting of her visual 'rule-breaking' is that she doesn't particularly follow the convenions of 'feminine' coded dressing. this is most noticable in when the rm team goes on 'assignment' in different workplaces, where ryeon will wear nearly identical suits to jun-woong and ryung-gu (interestingly, it's pointedly not her wearing men's clothes, she's always wearing a 'female' version even if the cuts are virtually identical. you can tell bc the button closures are opposite). she also dresses very 'modestly', she doesn't show any skin at all and more notably, she doesn't wear anything form fitting. she favours boxy and bulky shapes with a predominance for longer lines and wider shapes on her lower body. now there's two reasons to speculate for this: the first is the same as for joong-gil, that she's very used to layers and a specific silhouette, especially considering that the shape of female hanbok is not even close to being form-fitting and has heavy skirting. and the second is that her trauma is directly tied to people's perception of her femininity. literally the reason ryeon died is because she was stigmatized for 'using her femininity to get out of an adverse situation' even though we are explicitly shown that that is emphatically not the case. thus her rejection of more western feminine silhouettes is directly related to how she wants there to be no question that the reason she is so accomplished at her job is purely because of her skills, and not for any other reason.
and ryung-gu! more similar to koo ryeon in style than joong-gil, but again they all share that propensity for numerous heavy and obscurative layers that echoes a more traditional style of dress. because ryung-gu is younger (literal age wise but also i'm pretty sure he died younger as well) there's a little more flexibility in his materials and cuts, and because he's of a lower class than koo ryeon and joong-gil, he tends towards less formal shapes too. although i would not describe koo ryeon as a 'formal' dresser, she wears a lot of blazers and two piece suits, as well as heavy wools and fabrics that are generally associated with business and formalwear. ryung-gu however, almost exclusively picks his shapes from garments that have a working class or blue collar origin; lots of jeans, informal but still structured jackets like bombers and denim jackets, and a fair amount of casual sportswear, practical wear, and synthetic fabrics. and although ryung-gu is framed as being rebellious like koo ryeon, unlike ryeon his rebellion always comes as an active response to something that upsets his internal or external systems. as a child he is dutifully and lovingly reverent of his mother, she's the centre of his world, and even as a reaper he isn't shown to have any real issues with authority. sure he clocks out right at eight hours, but that's not being rebellious, that's just following the rules to a technicality. it's only when his mother is taken from his life and he loses that external structure that he actively 'becomes rebellious', and even then i think rebellion is the wrong word; it's actually just self destructive behaviour that is 'morally' grey according to the wider societal system. when his story arc finally concludes and he has his mother back in his life (sort of), he visually sheds some of his more 'rebelliously' attributes by cutting and redying his hair to the 'standard masculine' haircut and showing up to work in a suit and/or less flamboyant patterns and garments. but he does still keep the same number of layers and shapes as he did before.
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***when japan surrendered in 1945 it ceded all its territories to the us, so really korea was actually just colonized again. you can see in the korean war vet episode that in flashbacks joong-gil is wearing a western style suit as a reaper, which would have been between 1950-53, but in the comfort women episode he's still wearing hanbok, which would have been at the earliest 1930ish. also it would makes sense logistically as jumadeung is supposed to mirror the 'real' world. i also think this is where the framing of it as a 'company' comes from as well.
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