Y’know. Anakin was a real asshole in Ahsoka’s hallucination.
Like. She mentions something about what she’ll be able to teach her padawan one day, since all she’s being taught is how to be a soldier, and Anakin’s like “teaching’s not all it’s cracked up to be”
And like. Asshole move. And Ahsoka rightfully calls him out on it. And he goes on the whole “uuuh I was joking. Lighten up.” Literally a complete jackass.
But beyond how he answered the question, it’s a valid complaint Ahsoka is bringing up! Anakin’s teaching her how to live or die. But Ahsoka wants to be taught how to be a jedi.
What happens after the war is over (order 66 never happens) and she now has to navigate a galaxy without a war? The Jedi take teaching very seriously there’s no greater honor than teaching a padawan. And she’s not being accurately taught, so she will not be able to pass anything on to the next generation.
But Anakin brushes it aside because he simply does not respect her or her wishes. Like. He never wanted a padawan, despite teaching being foundational to the Jedi. And he only took ahsoka in because he started to like her and became attached to her. He doesn’t care about jedi legacy, not really. So he brushes her comment off with a joke.
But in the rest of the vision… idk it didn’t feel like we were supposed view Anakin as entirely wrong here. He wasn’t in the right, he was definitely channeling Vader and being an ass, but he was basically the reason Ahsoka survived the fall, right? Bc he was making her choose life? When Ahsoka wins against him it’s sort of like she’s both learned his lesson and moved beyond him. And then for the rest of the season he’s only talked about in positive ways.
And like. That one line ahsoka said was really powerful in relation to the entire point of the show. What does she have to pass onto her own padawan (Sabine) if she wasn’t properly trained herself? That is, perhaps, the only valid plot question asked in the entire show. And it doesn’t get an answer. It’s never even brought up again.
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as yr favorite local jason todd fan sometimes i get so fed up with the apparent inability of most dc comic writers to write a class conscious narrative about him.
and yes, i know that comics are a very ephemeral and constantly evolving and self-conflicting medium.
and yes, i know they’re a profit-driven art medium created in a capitalistic society, so there are very few times where comics are going to be created solely out of the desire to authentically and carefully and deliberately represent a character and take them from one emotional narrative place to another, because dc cares about profit and sometimes playing it safe is what sells.
and yes, i know comics and other forms of art reflect and recreate the society within which they were conceived as ideas, and so the dominant societal ideas about gender and race and class and so on are going to be recreated within comics (and/or will be responded to, if the writer is particularly societally conscious).
but jesus christ. you (the writer/writers) have a working class character who has been homeless, who has lost multiple parents, who has been in close proximity to someone struggling with addiction, who has had to steal to survive, who may have (depending on your reading of several different moments across different comics created by different people) been a victim of csa, who has clearly (subtextually) struggled with his mental health, who was a victim of a violent murder, and who has an entirely distinct and unique perspective on justice that has evolved based on his lived experiences.
and instead of delving into any of that, or examining the myriad of ways that classism in the writers’ room and the editors’ room and the readers’ heads affected jason’s character to make sure you’re writing him responsibly, or giving him a plotline where his views on what justice looks like are challenged by another working class character, or allowing him to demonstrate actual autonomy and agency in deciding what relationships he wants to have with people who he loves but sees as having failed him in different ways, or thinking carefully about what his having chosen an alias that once belonged to his murderer says about his decision-making and motivations, you keep him stuck in a loop of going by the red hood, addressing crime by occupying a position of relative power that perpetuates crime & harm rather than ever getting at the root causes, and seesawing between a) agreeing with his adoptive family entirely about fighting nonlethally in ways that are often inconsistent with his apparent motivations or b) disagreeing and experiencing unnecessarily brutal and violent reactions from his adoptive father as if that kind of violence isn’t the kind of thing he experienced as a child and something bruce himself is trying to prevent jason from perpetuating. because a comic with red hood, quips, high stakes, and familial drama sells.
it doesn’t matter if it keeps jason trapped, torn between an unanswered moral and philosophical question, a collection of identities that no longer fit him, and a family that accepts him circumstantially. it doesn’t matter if jason’s characterization is so utterly inconsistent that the only way to mesh it together is to piece different aspects of different titles and plotlines together like a jigsaw. it doesn’t matter if you do a disservice to his character, because in the end you don’t want to transform him or even understand him deeply enough to identify what makes him compelling and focus on that.
and i love jason!!!!! i love him. and i think about the stories we could have, if quality and art and doing justice to the character were prioritized as much as selling a title and having a dark and brooding batfam member besides bruce just to be the black sheep character are prioritized. and i just get a little sad.
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The Church
Original story
Ao3 version
("Kitty" stories can be found here and here).
As the night came to be, the Wittebane boys were already in their beds, anticipating some shut-eye.
Rest was something that was very crucial, especially for the younger one of the two.
"Goodnight, Philip," Caleb spoke in a gentle whisper to his little brother as he smiled and closed his eyes.
Philip smiles at Caleb, resting his head back on his pillow. "Goodnight, Caleb!" he beams before tightly shutting his lids.
Feeling so snug beneath his soft blanket, Philip sighed a relaxed sigh.
"Goodnight, Kitty," he whispers warmly to his companion.
As small hands go to stroke the light and familiar fur of his friend, Philip's blue eyes soon shot open in realization.
Kitty wasn't there!
Philip lifts up his blanket, hoping to find Kitty hiding, but he doesn't.
"Kitty?" he quietly calls out, hoping to receive a response, but is met with complete silence.
As worry starts to set in, Philip jumps out of bed and kneels on the floor, poking his head under his bed.
No sight of Kitty.
Taking his search to the closet, Philip starts calling out for his friend as if he were a lost puppy.
"Here Kitty, Kitty, Kitty..."
Then suddenly, out of nowhere, the memory of where he had left Kitty quickly struck him - at church!
Despite Caleb's opposition to the idea, Philip took Kitty to see his first church service and mistakenly left him in the pew that he and Caleb were seated at.
A look of sadness and guilt started to spread on the brunette's face.
How could he forsake his friend in such a way?
Kitty, he felt, was probably freezing and feeling all alone right now.
Philip had to get him back, but he couldn't go to the church on his own, especially at this hour of night.
He needed someone to come along with him.
He needed Caleb.
Approaching the elder's bedside, Philip uses a hand to give his brother's shoulder a slight shake.
"Caleb? Caleb, wake up. Caleb? Caleb. Caleb?"
Caleb's heavy eyelids are slowly opened by the constant shaking and calling of his name. "Huh?"
He lets out a yawn as he glances to his left and sees his sibling standing there. "Pip?"
Clearly tired, Caleb asks in a groggy tone, "What is it?" before sitting up and rubbing his eyes.
"Kitty," Philip quietly answers before continuing. "I left him at church by accident. We have to go get him back, Caleb."
Turning his head to the wooden wall clock, Caleb starts to squint at it, releasing a groan when he spots the time.
"Pip, it's currently very late. We'll just have to pick up Kitty in the morning."
"But Caleb, I can't sleep without him, and he can't sleep without me," Philip would try his best to persuade.
"I'm sure you'll both be fine for one night," Caleb would calmly state.
"But Caleb-!"
"Goodnight, Philip," Caleb states with sterness, laying back down. "Get some rest, okay?"
Philip proceeds to shake him again.
"But what about Kitty?" he asked.
Caleb turns away. "Go to bed," he orders.
"But Caleb!"
The blonde said not a word back.
"Caleb?"
Still nothing.
"CALEB!"
Loud snores soon erupt from Caleb as Philip forms a frown.
He wasn't one bit convinced.
Even he knew that no one could suddenly fall asleep that fast.
"Stop pretending!" Philip pouts, stomping his foot. "Caleb! Caleb! Come on! Come ooon!"
The false snoring only continues, causing Philip to throw the biggest temper tantrum of all time.
"Come ooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooooo..."
Jolting up, Caleb immediately sends his brother a glare. "Philip, stop it!" he demanded.
Philip stops. "Never!" he shouts in rebellion before continuing.
Caleb sighed. "Really now, you can't keep that up forever."
"Yes I can! Oooooooo..."
"Well, you certainly aren't going to change my mind."
Caleb used his pillow to mute the noise, assuming that Philip would eventually exhaust himself.
...
Later on, the elder emits a sigh, this one much more exhausted than his previous ones.
It's been over an hour, and Philip was still going strong with his noisemaking, showing no sighs of stopping until he got what he wanted.
Seems he really could keep that up forever.
Burying his face in his pillow, Caleb groans in defeat.
"Okay, fine! We'll go, we'll go."
"Yay!" Philip cheered before continuing.
"Philip... you can stop now."
"I wish I could, but I'm stuck, Caleb. Ooooooooooon. Oh wait, no I'm not! Last one to the front door is a rotten egg! Ready, GO!" Philip bolts out of the bedroom.
Getting up, Caleb groans a second time, stretching his arms.
Heading over to the mirror, he pulls out a hair tie and proceeds to tie his hair up.
'The faster I get this done, the faster I can go back to bed,' he told himself.
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Something that does genuinely concern me is the possibility of the Duffer’s being a major conflict of interest when it comes to supporting the strike out in the open. They’re not just writers but also producers and the show runners. Arguably they have the tightest relationship of any production to Netflix, and so just knowing that they’ve always been very much intertwined, are they going to be willing to voice their support for the strike, beyond just being WGA members who likely voted in support of the strike? Like even the cast, complete silence. I know that it can be hard for a lot of reasons, but the complete silence, besides that one writer who posted about it, has me side eying the situation as it’s unfolding.
For the last few Friday’s, they’ve been active posting about stuff, and so are they going to keep that going by posting today, hopefully something to agknowledge the strike, or are they going to just act like nothing is going on and carry on with Easter egg like content? Or worse, are they not going to post at all and so we won’t even know what to think?
It’s just so weird bc they’ve known about this strike for months now. They’ve known about it when they’ve been stringing fans along with little things over the last month. And now, silence, at a time when silence is not the best choice, especially when they are the hugest show in television rn. The duffers coming out and saying something about putting pressure on Netflix would actually have the capacity to get something to happen, and yet they don’t… and it makes me think they’re a conflict of interest bc unlike their writers, they get paid A LOT!
And when it comes to filming starting, I’m concerned that just because they have the first few scripts written and finalized, the Duffers are just gonna say fuck the strike go through with it and start the production for those earlier episodes, either without any writers present bc they’re on strike and so no rewrites, meaning we’re risking the quality not being as good as it would be with them. Or worse, the Duffers are gonna go cross picket lines and scab, and rewrite the scenes themselves essentially going against the strike and their own writers to side with the studios that want it done…
Like I want Stranger Things filmed as soon as possible, I really do. But I also am a little bit unsettled by s5 being soured just knowing they chose a route that sided with corporations and not the writers getting paid mf crap while they are in Netflix’s pockets.
Even though I’m skeptical, I’m still hopeful that they’ll say something, maybe the st writers Twitter will make a statement for all the writers, including the duffers to show their support. But just considering how quiet it’s been, I do wonder how they view the situation.
Do they think it will be over at any moment, without their interference and so they’re just waiting for that? Are they genuinely being advised to say nothing, including the cast and so that’s going to be the case until this is over (if it’s even over any time soon).
Like wtfff is going on in their brains I need to know what they’re thinking about all of this.
Bc them being silent all throughout or even worse doing the exact opposite of supporting the strike by literally starting filming anyways against all of their writers best interests, would be the worst possible course of action. The final season won’t be remembered for all the love and dedication put into it, it’ll be remembered for the greed. And that pisses me off bc the writers don’t deserve that! This is their baby and they’re literally out here risking it all to have a live-able wage, only to be undermined at the risk of everything. It fucking sucks.
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