I can't stop thinking about Isaac Henderson in Heartstopper, and the inherent isolation of being an aroace person in a romance story. Because, at the end of the day, that's what Heartstopper is - it's about the romance between Nick and Charlie. Even when the narrative has expanded outwards to focus on other characters, their plotlines are primarily about romance: Elle and Tao, Darcy and Tara… It's true that Isaac has a loving friend group and the show doesn't devalue platonic love in the way that many romance stories do. But nevertheless, as an aroace person, Isaac is at odds with the genre of the story in which he lives. The tropes that shows like this are built around don't work for him.
Something that really hammers this home is how the scene when Isaac and James kiss mirrors Charlie and Nick's first kiss. In both scenes, two boys are sitting on the floor away from the main action of a party, one admits to having a crush, the other nervously wants to know whether it's them, and then they kiss. In his version of that scene with James, Isaac is experiencing a moment that - for another character - could be a beautiful moment in a romantic storyline.
For viewers who weren't aware of Alice Oseman's promise of an aroace storyline for Isaac, his interactions with James in the early episodes of Season 2 could easily have been interpreted as the beginning of a romantic love story. The rest of the main Heartstopper group have certainly been viewing his friendship with James through that lens, as shown by the way they tease him about it. But those plot beats of a romantic story don't work for Isaac. Trying to fit into the romance genre pushes Isaac in a direction that feels wrong for him. He is the one person in his primary friend group who can't make himself at home in a romance story.
I don't mean this as a criticism of the show. There is a lot of value to love stories like Heartstopper and there is a lot of value to having aspec representation in a show like Heartstopper. But I think this is the reason why Isaac's plotline felt particularly heartwrenching for me. Sometimes being aroace does feel like being out of step with the genre of story everyone else around you is living. Sometimes it feels like trying to find a place for yourself in a narrative that wasn't built for you. Sometimes it feels like trying to prove to yourself (and the world) that you can still have moments that feel like swirling leaves.
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am i gonna be normal about glass onion? no i’m not
you don’t understand, benoit blanc movies are THE whodunit of our generation, the new original mystery movies that are not an adaptation! and i want them to have a very happy and long life!
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Alright new Jason Todd headcanons in a dpxdc setting:
Danny is a "liminal" ghost, rather than a "half" ghost. He's alive and dead at the same time. (He's like Jesus Christ (in the church denomination I grew up in), fully ghost and fully human.) Danny, in human form, can go through a ghost shield, because he IS a living human.
Jason, however, is a reanimated corpse. He isn't a ghost, wouldn't have a ghost core, etc, he has a normal human system that runs ON ectoplasm. Jason CANNOT go through a ghost shield, because he is always an ectoplasmic entity. Danny can go through the Fenton Ghost Catcher and be split into a ghost and a human; if Jason went through the ghost catcher, he would straight up die.
(For my purposes I'm gonna say that Jason became an ectoplasmic entity upon his resurrection, but wasn't very stable. Dunking in the Lazarus pit stabilized his system but also poisoned his ectoplasm.)
I do think that Jason could learn certain ghost abilities if he learned to harness his ectoplasm, especially if they detoxed him off the Lazarus waters. He's probably already enhancing his stealth and strength in ways he hasn't really noticed. I think he's held back by the amount of physical matter he's lugging around, so maybe he couldn't fly, but I'm imagining temporary invisibility, or intagibility of like, a limb at a time. Maybe he can't walk through walls, but in a fight he can dodge by instinctively making the targeted part of his body intangible.
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I am motivated by one thing and one thing only in video games and that is romance. If I cannot woo the most (in any combination of the following) uptight, mysterious, theatrical, and/or tragic fictional love interest in the game, then what is the point of me playing? If I cannot shower them with affection and love and give them all the soft things they deserve, then what is the point???
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Something about Dani and Jamie, Bill and Frank, love stories cultivated in the heart of horror. Something about finding queer love, gay love, human and fallible and worth cupping hands around and protecting even in the darkest of times. Something about stumbling into your person when you least expect them, when your mind is fixed firmly on pain and survival, and letting their light open you up. Something about choosing to wake up every day and cherish this person, even when it’s hard, even when they’re being broken down right before your eyes. Something about saying “I am marrying you, not in the eyes of others, but in our hearts where it matters—legality be damned”.
Something about gay love being worth all the strawberries, all the moonflowers, all the persistence and the endings chosen on your own terms. Something about that hits me where it counts.
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I've recently been watching these very interesting Star Wars video essays on YouTube (yeah I know, a rare breed) and it brings up these comments Lucas has made about how he views Star Wars as almost like a silent film in terms of how important the visuals are to him in comparison to the dialogue. But this essay also points out how important Lucas finds all of the "rhyming" moments in his trilogies and the way he utilizes them to remind you of something else for emotional or thematic reasons. And there's so many of them, both in visuals and in dialogue, and it's interesting to consider how important this is to him, the repetition for a purpose as well as the storytelling through visuals above everything else and then to look at Star Wars since the Prequels came out and realize how little has really been able to match up to those ideals since then.
The ONLY thing that's come out since the Prequels that I think really hits these two things the same way is, in fact, Andor. One of the things I noticed about the way people discussed Andor as it was airing in a way I haven't really seen for any of the other shows or films was the visual SYMBOLOGY. So many times I saw people noticing the Imperial cog everywhere, from the aerial shot of Narkina 5 as the prisoners escape to the architecture of Mon Mothma's house. There were people picking up on the use of items in Luthen's shop that are familiar from other things to give this idea that Luthen is from another time, he's attempting to preserve this world he lost, that if you're not looking closely enough you won't notice what he's really saying or doing with this shop. The color choices for the different locations and people got analyzed because the people involved spoke about how they intentionally utilized color to SEND A MESSAGE about the characters and the world. We know that the people who made the costumes and sets really worked hard to treat Star Wars almost like a period drama and study the history of the franchise as if it were a real place so that the things they came up with felt like they belonged in this world everyone knows so well even if it's completely new. And of course there were all of the myriad references to things from Rogue One, the constant repetition of "climb", the sunset on the beach, etc.
Nearly EVERY SHOT in this show was created with so much intention behind it in order to say something meaningful about the characters, the world, this specific story they're in, and the overall saga of Star Wars itself. It's insane how much greater impact this show was able to achieve through the incredibly careful usage of visual symbols and thematic repetitions, much like Lucas did before them. It feels like they didn't just study the history of the galaxy far far away, but they studied the history of STAR WARS and what Lucas was trying to do and say with this story. They peeled back his onion a bit more and were able to create something that really has that same visual feel even when it's not created for a child audience. It also is experimenting with its narrative style through its structure and through Cassian's character being allowed to be somewhat more reactive than proactive, and while that didn't work for everyone, it does feel like it's following in Lucas's footsteps of experimentation through Star Wars. Push the boundaries of what Star Wars is and can be and what you can say with it.
But this only works because they peeled the onion back enough to TRULY understand all of the messages Lucas was sending with it. They got the heart of Star Wars and despite its lack of space wizards, despite the lack of most major characters in the Saga, this was a show that honestly got the message more than just about anything else Star Wars has put out since the Prequels. The choices between selflessness and selfishness, the themes about how you always HAVE to make a choice even when it feels like you don't have any (sometimes ESPECIALLY when it feels like you don't have any), and how important it is to make sure to choose the path of compassion above everything else. The themes of connection to others, the symbiotic circle and the impact even the smallest person can have on world around them, it's RIGHT THERE and it's CENTRAL to Andor's storyline.
So yes, it experiments a little with narrative structure, but it's possibly the most Star Wars thing to exist Revenge of the Sith because it honestly truly GETS what Star Wars was about, both in its themes and in its filmmaking. A lot of people said that Andor didn't feel like Star Wars to them, usually because of the lack of space wizards and the fact that it's not a story aimed at children. But to me, Andor is EXACTLY what Star Wars is and has always been. They're stretching the boundaries of what Star Wars can be, but it's saying the exact same things Star Wars has always said, it's just saying it slightly differently. This doesn't feel like fanfiction to me, not really. Unlike things like the Mandoverse or the books, Andor isn't just taking some of the toys out of the sandbox and going to play with them somewhere else. Andor is IN that sandbox. It's building a slightly different sandcastle, but it's still within the sandbox, using the same sand that Lucas did.
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I said this once, and I'll say this again, while Tamlin and Rhysand are both abusive but on different wavelengths, I am still frustrated that Feyre did not say anything to Tamlin about her PTSD and still got mad at Tamlin for not knowing.
Tamlin does not have the power to read minds (as well as he was dealing with his own trauma), but do you know who has the power to read minds? Rhysand. This is why I am less impressed that Rhysand knows how to cater to Feyre vs. Tamlin. He has not one, not two, but three bonds they can communicate through. Rhysand, for a while, saw every detail of Feyre's life, read every thought that coursed through her empty head, and could hear every thought--he better know what she was feeling. This is not impressive, this is expected.
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