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#netflix is a coward
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WE WERE ROBBED OF GERASKIER BROMANCE ISTG
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AND NETFLIX RUINED IT AOWIDJKSJDKS
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WE DESERVED BETTER IN THIS ESSAY I WILL–
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What do you think drew you into watching The Hollow?
A Tumblr post actually first introduced me to it before Season 2 came out. I really liked the art-style so I somewhat spoiled myself on the major plot-points, then watched the 1st Season and became OBSESSED. I went in on Season 2 blind though.
The thing I obviously love about The Hollow the most is the characters. I don't know why, they just...scratch an itch for me? The concept itself is pretty cool, as well, and I wish a 3rd Season could have released so we could have explored what Season 2 left us with.
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thatdelusionalnerd · 5 months
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fuck off you’re telling me we won’t ever get to see these beautiful people together again?
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Literally fuck off Netflix you deserve to burn to the ground
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prickly-paprikash · 5 months
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Something cool about Blue Eye Samurai is how sex is juxtaposed with the end-goals.
I really love how our three protagonists are all obsessed. And that obsession defines them, torments them, and are subsequently reborn through their obsessions.
Mizu, of course, is obsessed with the concept of revenge. It's not even about getting even or getting justice as some might use to justify the bloody road taken—it is simply about seeking satisfaction for Mizu. She cuts a bloody swathe across Japan because of what the Four White Devils did to her mother and herself. She does not concern herself with the ramifications of her wrath but merely charges forward, leaving behind a trail of viscera and gore behind her.
Like I said before, her vengeance and obsession with satisfaction is not painted by the show as wrong. It is how she allows it to affect others along the path. It's why the episode with Madame Kaji is so enlightening; Mizu should not tackle this quest as a vengeful revenant; an onryō. She has let the world define her as a monstrosity and so she embraced it, when Swordfather and Madame Kaji knew what the correct path was to satiate her need for vengeance. Treat her sword as the Artisan's tool it truly is. Treat her body the way an Artist would treat their canvas.
Madame Kaji and Swordfather are both outcasts, for being a woman and a blind man. Yet they found strength in their exclusion, becoming single-minded in their fields of art. Because sex is art and swordsmithing is art. It's what makes Mizu's body writing scene so fucking good.
Artistic vision becomes stagnant when one pulls from only one source. They become rigid and unbending when Mizu, like her namesake, must be fluid. She has shown fluidity in her use of her gender and her morals, but cannot apply that same flexibility towards her goal. Throughout season one, she was becoming an uninspired artist, merely painting the world in hues of scarlet. In a world that forces Women to be either Wives or Whores, Mizu chose to be a Warrior—but a warrior fights for a cause, whether it be just or otherwise. A soldier fights in an army. Mizu is neither of these things. She is an Artist first and foremost, and her medium is Death. Sex, something Mizu was at first hesitant before her failed marriage, and something she actively avoided afterwards, is what gives her a new perspective. Like an Illustrator studying life to better draw their intended worlds, taking inspiration from wherever one can find it.
Taigen and Akemi are also equally affected by the artistry of sex, as befitting of Mizu's fellow protagonists.
Akemi is quite obviously Mizu's narrative foil. Mizu chases after revenge like a bloodhound whereas Akemi longs for freedom like a bird in a cage. Both are fierce women who are unsatisfied with their lot in life, with their sex and gender being used against them in their lives. Literally, the episode "The Tale of the Ronin and the Bride" is a fucking triple entendre:
Mizu is the Ronin as well as the Bride.
The play showcases the tale of the Ronin and the Bride.
It is also Mizu as the Ronin and Akemi as the Bride.
And when Mizu finds her center as she melts down her blade and engages in body writing, this scene of enlightenment is juxtaposed with Akemi laying with her new husband Takayoshi. Both, in this moment, are taking control of their lives through sex. They are both taking control of their futures through the ways Madame Kaji taught them. Mizu and Akemi are both rebels against this oppressive society, and are both talented artists with their body. Whether that be sex, politicking, or ass-kicking.
Taigen, like the two women before, finds freedom through it but in a more subtle manner.
Where Mizu and Akemi are narrative foils, both using sex as a form of art and escape, Taigen finds liberation through his awakening.
Like the closeted bisexual man he is, he begins his journey of self-realization when he first encounters Mizu at the Dojo.
Every single battle these two have is purposefully rife with sexual tension. All his life, Taigen has been taught that a man must live with honor. That he must take control of his life and his identity, or he will have failed and that he is better off dead than to live with such shame.
Taigen is just as much a victim of the Patriarchal society around him. Mizu rails against it violently. Akemi seeks to run away from it all. And Taigen, with the privilege given to him by his manhood, chooses to become a perpetrator, enabling the vicious wheel of society to keep moving forward.
His obsession with honor leads him to hunting down and even protecting Mizu. Mizu is no doubt the better warrior, but even she knows she owes so much to Taigen. The blockhead not only did everything to protect her in the valley, but also sealed his lips shut even under the duress of torture. His obsession with honor becomes an obsession with Mizu.
His regrets over tormenting her over her looks and ethnicity as a child. His shame in having lost so decisively in his own dojo. Taigen was a man born with nothing and climbed up to the top with every advantage he could muster, and suddenly it's all ripped away by this one vengeful spirit passing by.
Taigen learns to surrender control around Mizu. He begins to discover his own sexuality and purpose around Mizu, redefining what honor really means to him now that he, as a man, has a budding attraction towards the man who beat him.
Mizu's Vengeance. Akemi's Freedom. Taigen's Honor. In all three, Sex becomes a catalyst in redefining what each of these concepts truly mean to them all. It's not just sex of course, but it is undeniable how the writers keep juxtaposing sexual acts and thoughts with massive character moments.
It changes how Mizu chases after her Vengeance. It recontextualizes how Akemi can be Free. It showcases the absurdity of the Honor forced upon Taigen.
It's so fucking refreshing seeing Sex not used as fanservice or shoe-horned in just to further a stale, poorly written cis-heterosexual romance; but used as a plot point that cannot be ignored. An impetus that fuels the narrative.
Moving forward, I'm curious as to how sex will be used.
The next few ideas aren't as sound or organized because I'm neither Asexual nor Genderfluid, so please if anyone reads this who understands it better, feel free to point it out.
I think it'd be cool if Mizu met the inverse of Madame Kaji. A person who is apathetic to sex. Sure, Swordfather has shades of this, but I'm tired of the person with disabilities also being on the Asexual spectrum. And I'm not saying that Ace or Graysexual people with disabilities don't exist! But they always tend to be written as having some form of disability (Varys from ASOIAF) or a Robot.
Just as artists need a variety of sources to pull inspiration from, I hope in the next seasons we get to see different perspectives on sex and gender. In London, it feels like Mizu finding the other half of herself, and with that having a better way of tackling her own identity. Whether it be gender, sex, combat, etc.
Basically what this inane rambling amounts to is that Blue Eye Samurai tackles sex and violence and revenge and obsession in ways that most media has yet to truly do. So that was pretty cool.
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ryan-waddell11 · 1 year
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he just wanted to eat his honey combs
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lucidasidera · 3 months
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No, yeah, I’m fine. Totally.
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rhisardthewizard · 1 year
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Okay, so what Netflix needs to do, if it wants any hope of salvaging the mess they made with The Witcher, is they need to give Joey Batey absolute creative control of Jaskier's music.
Loose that man's full power on your show, Netflix, and nobody's even gonna be looking at Geralt's face.
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with jim henson trending on tumblr I urge everyone to watch the dark crystal (2019) it was produced by the jim henson company and netflix and one of the producers is jims daughter. if you like epic fantasy and miss practical effects and shows where it’s clear so much soul and hard work was poured into it? watch the dark crystal. It’s really good and it never got the love it deserved
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percysjakcson · 1 year
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#GIVE US SIX OF CROWS
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aurorasnnsadprose · 1 year
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he would always seek to make it summer for her……. like…… are u kidding me…….
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boldlygoing-nowhere · 8 months
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Sandman memes pt 2
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buckleywheel3r · 2 years
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Natalia and Maya are so normal about ronance too like what even are those interviews
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burst-of-iridescent · 3 months
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getting my tea to sit down and reread ur zutara dissertation 🤌 YES IM STILL MAD 20YRS(?) LATER 🧍‍♀️🧍‍♀️🧍‍♀️🧍‍♀️
this is so real of you anon bc trust me i’m gonna be in my grave still pissed that we were robbed of the greatest ship in cartoon history like we could’ve had it ALL goddamn it!!
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prickly-paprikash · 5 months
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I'll be referring to Mizu by her canon identity (she/her) since that is what the series creators choose to call her.
My favorite thing about Blue Eye Samurai is that the plot does punish Mizu for her single-mindedness and wrath against the Four White Devils. Ringo is horrified by her act of allowing Akemi to be forcefully brought to the Shogun because, in her eyes, Akemi would be safer there—but it can also be stated that she did this because her path to revenge cannot be bogged down by things such as friendship or affection.
It does not necessarily mean that the plot wishes to punish her for her vengeance itself.
Blue Eye Samurai, I believe, isn't going down the route of Vagabond or Vinland Saga (two special stories close to my heart) where the protagonists there learn the value of forgiveness and letting go of their hatred. Here, Mizu is even explicitly called an Artisan, her works are of Death. Swordfather calls himself an artist of Blades, whereas he refers to Mizu as an Artist of the Sword, both single-minded in their endeavors.
Anger must fuel her, but it cannot blind her. Like an artist, her strokes must be purposeful. Her hand steady and controlled. Her canvas cannot be tainted with the blood and wounds of the innocents. Not Ringo's. Not Akemi's. Not Taigen's.
Don't get me wrong, I love narratives that explicitly put down the thought of vengeance. That these stories dissuade the thought of "An Eye for an Eye" and pushes their protagonists down a path of wisdom and peace.
But anger and vengeance and *satisfaction* are also very human things to feel and pursue. The Princess Bride showcases a tale of vengeance without causing collateral damage. I believe Mizu is learning to move away from her identity as a mere instrument of punishment; a spirit of revenge. Instead she chooses to become an Artist.
It's why she takes up body writing at the series finale. Art must be pulled from different perspectives and sources. One cannot be stagnant in their field. Just like how an Archaeologist will have some mastery over Anthropology to better understand the past, an artisan needs to know other expressions of art.
I think that's beautiful. Not dissuading vengeance, but refining it. Directing it. Guiding her bloodlust into masterful strokes of her blade.
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romanovftedelgard · 1 year
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Thing *signing*: Alright, let’s hear about the kiss. Was it like… was it a soft brush against your lips? Or was it like a, you know, “I gotta have you now” kinda thing?
Wednesday: Well at first it was really intense, you know. And then we just sort of sunk into it.
Thing: Okay, so was she holding you, or were her hands on your back?
Wednesday: No actually first they were… they started on my waist. And then they slid up, and then they were in my hair.
Thing: Oooh!!
Meanwhile…
Enid: And then I kissed Wednesday.
Yoko: Tongue?
Enid: Yeah.
Yoko: Cool.
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