Technically the Richmond coaches had two chances to move Jamie to center and then didn’t take it: once when Zava showed up and once when they switched everyone at practice.
Both times they assumed he wouldn’t do it
At the very least we know he was willing to do it the second time (he even asked if they meant to give him the same position), but honestly? The Jamie who came to them worried about the effect of Zava on the team might’ve done it too. He is well on board with being a team player at that point, which he also demonstrated many times in season two. He probably would’ve been hurt by it, but he would’ve agreed to do it
(Then we could’ve had a whole season deconstructing how Jamie conflates scoring with winning with value in a way that really isn’t healthy but I digress)
For the record I don’t think this would have fixed anything. They probably would’ve figured out how effective Jamie is in midfield sooner, but they still would’ve had Zava, and after Zava there would’ve been the tension of whether to keep Jamie where he was or have him step back up to striker, especially since they weren’t doing total football yet. In a lot of ways, having Jamie step up and volunteer for it later really sidesteps a lot of drama
I’m more so lamenting the fact that with Jamie, when it came to ‘be curious not judgmental, they chose to remain judgmental of his past behavior instead of curious about his new ones.
102 notes
·
View notes
Fig's line "I don't think I'm an artist, I think I'm just a good friend" has not left my head at all. Just...
You're Fig Faeth and your horns came in over the summer and you pick up the bard class as a form of adolescent rock 'n' roll rebellion, and it works! It's exactly the outlet you need! You give a guy you just met drumsticks and you start a band and it's good enough that within a year and a half you're touring. You are, in every sense, good at being a bard.
And then, finally, your junior year, you start to take it seriously. Your art goes from an outlet and a form of rebellion to a practice. A discipline. (Can rebellion exist within a discipline?) Your classmates know what they want to do with their work. They all have a thesis statement. And yeah, there's cohesion in the music you make, but you've never had to think about why you make it. You've never sat down and dissected what it is about bass that speaks to you. You've never poured over your lyrics to pick at any deeper meaning. Why should you? You don't play music for a grand design, you do it to... huh, why do you do it?
(Your art is the one form of self-expression that feels as safe as Disguise Self does, because even if you're pouring your heart onto the page and then screaming it in front of thousands of people, it's not like you're really making yourself known. You can sing I'm lonely, I'm scared, I'm furious, and your fans will sing it right back, and there will still be the distance between performer and audience to keep your heart safe.)
Now you're being asked to look inward to explain the artistic choices you're making, and you can't help but recoil at that, because you'd rather do anything than look inward. Meanwhile, your classmates have no problem with it, so you start to wonder if you're a real artist at all. Can your art be authentic if it only exists to bolster a thesis statement? Has your art been unauthentic this whole time because you've never really thought about a thesis statement before? Is that what makes it art, and not just the next track on somebody's teen angst playlist?
You can't think about yourself— acknowledging your own existence makes you want to puke. So if your music is an extension of yourself, (and it is, even if it's just because the spotlight reveals only what you want it to,) you can't think about your music. You can't. You have to. Your grade depends on it.
You're Fig Faeth, and you keep multiclassing because you'd rather be a good friend than a great artist. If introspection is what great art demands, then fuck it. You must not be a bard at all.
63 notes
·
View notes
I was thinking about how the run away with me au Robin and Steve "should we get divorced?" conversation comes about:
Theyre about 23 and Robin comes home in tears after another break up. The reason: Robin had asked her girlfriend of 8 months, Lorraine to move in with her and steve. Lorraine assumes this means steve is moving out and when Robin clarifys that no Steve is staying, he's an important part of her life theyre married for chists sake. Well Lorraine doesnt take that well, says she isnt going to spend her life playing second fiddle to Steve.
This isnt the first time a relationship had ended for either of them because a partner hadnt been able to accept that Steve and Robin were a package deal. Things had been especially rough for them romantically in the first couple years of their marriage. It wasnt until a particularly awful screaming match between Robin, Steve and Steves first real boyfriend, that they were able to admit their relationship was incredibly codependent and unhealthy. Steves boyfriend had been upset when Steve had cancelled on him for the 3rd time in a row because of a Robin Emergency™️ and decided to confront Robin about it while Steve was in class. Things escalated quickly when Steve came home early from class to find them arguing and immediately took Robins side. The argument and Steves relationship ended with a slammed door, a lot of tears and a new rift in Robin and Steves relationship.
It took a lot of long conversations with Carina and Marjorie, Steve working through his toxic masculinity enough to go see a therapist - He and Robin made a deal that theyd both go talk to someone about, you know almost dieing "do you think me being fucked up by what happened at starcourt makes me weak steve?" "No of course not!" "Well then why would it make you weak?" - and a summer spent apart (Robin taking an internship in rome to study latin) for them to sit down and have a long conversation about boundaries and ground rules for how they would navigate their relationship as well as dating in the future.
Steve and Robin agreed to both take a break from dating while they worked through their respective traumas, and figured out how to navigate their relationship in a healthy way. Things werent easy, the both of them occasionally backsliding into unhealthy behaviors, more than a few nights where one of them spent the night with Carina and Marjorie in order to have space from eachother. But eventually they get their shit figured out and decide to brave the world of dating again. Steve and Robin both have their share of flings and short lived relationships but nothing so far seemed to stick. That is until Robin met Lorraine.
Lorraine was funny, sweet and a little bitchy. They had immediately clicked after being introduced by some mutual friends from school. Robin really thought things with Lorraine were going to work out. Steve and Lorraine had gotten on like a house on fire, she had slipped into Robin and Steves dynamic easily, trading jokes and light hearted jabs, cooking breakfast together on days Lorraine would stay at their apartment. Robin had fallen hard and fast, she thought she had finally found someone who accepted that her and Steve were a package deal. So 8 months in when Lorraines lease was ending Robin (with agreement from steve) asked Lorraine to move in. Things don't go to plan. Robins dreams of a future with lorraine are shattered. She goes home broken hearted.
After Robin has cried herself out, her and steve cuddled together on the couch Steve is the one to broach the topic. Robin immediately bursts back into tears before he calms her back down again saying he doesnt want a divorce but he also doesnt want to hold Robin back, doesnt want to be the reason she cant find happiness. Robin replys by saying if anyone is holding the other back its obviously her, steve gave up everything to protect her afterall. Steve calls bullshit -years of therapy and he can finally say that word without cringing- says he would do it all again in a heartbeat, that she doesn't owe him anything. They stay up all night talking about it, about what the both of them want from their futures. Neither can see a future without the other. they're platonic life partners, one day they'll find their someones who can accept that and if not well, they'll always have eachother.
Of course they do find their someones in the form of a charming if infuriating metal head and a brilliant, sweet, and badass reporter. Through trial and error the four of them figure out how to navigate life together. They all live happy ever after.
Robin and Steve celebrate 30 years of marriage with divorce papers. They'll always love eachother but now they dont need a marriage to keep eachother safe. They dont need a marriage to stay as platonic life partners. They have eachother and they have Eddie and Nancy. They have everything they need.
-
Lmk what you think! I'd love to have someone to scream with about this AU and bounce ideas off of :D
Tagging by request <3 @ramyayaya
271 notes
·
View notes
watching atla in my "first" language really hit different to me.
fiction and storytelling, even for ones that were originally made here, especially for ones that weren't originally made here, all of them were always more natural for me in english.
for atla, when i watched and rewatched, read and reread the series, the comic, the fanfictions all in english, the characters felt like characters more than the representations that they hold. when i turned on the series in korean, out of curiosity, the entire dynamic felt shifted in this intricate way that are both personal yet distant yet i felt like i was yanked up by this unfamiliarity i was supposed to be familiar with. if that makes any sense.
like. the characters were more the representatives and statuses such as the wordings and cultural tones but the parts where the translators failed to catch the tone of the characters themselves but rather they have compartmentlized and integrated into the labels of the statuses, those that we were more familiar with what we were relayed on the history classes. especially the words that dealt with royals. the words that referred to "father", the words that referred to "king". the words that referred to "high priests", "physicians", and "my lord". when in english (at least to me) it felt like the statuses were first and foremost used as tools to add up flavor to the character, in korean (at least to me) it felt like the statuses were first and foremost used to establish the solid grounds and frames what they would play out into in terms of the fictional politicary, and the characters added second to just slightly differentiate the framework between the royals.
(high chance that i may be rather heavily biased in this since i did only watch (made to watch) most movies and animations in english since i was at a very young age, and that habit turned into a purposeful one as i grew older, so i have a very limited range of feel of how "scripts in korean" could vary in terms of The Feel. when i watch a fiction in korean that i have already digested through thoroughly in english, the foremost automatic reflex is "wait that's not right" and more than often my brain tunes the rest out as if it was a fight or flight situation. i always thought the translations were poor, a lot of them may actually are, but even when they might be decent.)
in korean i suddenly felt the weight shifting onto the race of the characters, as if they had suddenly turned "asian" in terms that i felt (or thought i felt) more "familiar" with, in a way that reasonated way too personally- not on the "me" level but on the "national" level. especially the ones- the titles of the statuses- around the imperialism words.
(to be blunt, it felt weird and uncanny in this very specific way that the real life history drilled into you(me) to memorize (and failed to) was suddenly yanking you by the collar and making itself known the fabricated imperialism and the actual imperialism that had happened in the personal-not personal-national way at the same time shoved in your face and the titles of not only said imperialism but also the status pyramid in general which you now barely acknowledged reeked out of the mere words that the characters used.
for example, resulting in the brain functioning from
"this person is azula"
to
"this person is an imperialist(political) princess(raw) loyal(in patriarchy) to the(her) fatherlord(as in the actual term used by the children of the high king, who was referred and (made) reverred as the "father" of the nation via confucianism (patriarchy + family, organizations == family at its core == therefore any organization especially enforced by the nation == loyalty to the king(lord) == loyalty to your father >>> individuality))"
and suddenly you(i) feel the characters like formatted boxes and yes the characters are still there but the tone is just not there anymore, and this may be just me after only watching the last 3 episodes in this language, but i felt like aang became(as in framed into a mere box of) a {kid}, sokka became a {kid}, toph became a {sister}, katara and suki became {companions}, zuko became a {guy}, azula became an {enemy the crazy}, and ozai became an {enemy the fatherlord}. and nothing else. no lingering spices of the characters. the weight of all the statuses and namesakes clouding over (all) the flavor.)
(though the added weight is kind of interesting when considering the characters derived from the feel of both languages i guess)
-
below is a rambling thought of how i think this would've turned out if atla was published in here, perhaps, in the form of kdrama which seems to be the most popular medium on broadcast tv lately, especially if it was pushed for nationwide publishment.
this may be biased since this post is coming from me only, so you may ignore the rest of this post if you don't want to read a wall of condemnation of what i personally (therefore not an exact official fact) think of kdramas (regarding sexism) + how the characters would've turned out if atla was one. i won't fight you if you decide to fight me or engage in Formatted Discourse because i'm a cowardly little shit who throws up a wall of rant when braindump is required and runs away irresponsibly
-
i'm not someone who had watched that many kdramas, but kdramas are the thing that turns up everywhere whenever the tv on the house is on (on the few times it is actually on) and this is from my viewpoint from all the glimpses i got from the kdramas. kdramas, which seem to love so much the gender roles and how the plot "tears them apart" when ironically, the established grounds themselves are made to very heavily, both blatantly and subtly rotate around the gender stereotypes and the set of the power positions- man on high position, woman on the hardworking helping side at best. and there's always some type of "romance" going on. the arrogant male tries to get the girl, but the girl eventually makes him learn his place.
oh and let's not forget the age gaps. i am not saying that age gap relationships are inherently bad but the notion of the "age gap where the man is much older than the woman" in itself seems to be a very popular trope in kdrama in the majority. especially especially those of which the background is set in the past like the chosun dynasty where the patriarchy was domineering its highest, when the man was always older and of higher-status than the "court receiving" woman with no exceptions, where the man always protect the woman in the end when it came down to drama-typically life-threatening on either side. i get that the "man status" is one of the things that the drama made as "that's just how history is" but (for me) it always felt like the setting deliberately focuses on the gender split and runs with it while having the effect of romanticizing and glossing over the entirety of it. man always "helping out" the woman via his status that the woman is inherently made impossible to reach, the label never quite really being approached in contrast to the advances that men always had.
so back to the subject. if atla was to be created first in here, similar to a kdrama, therefore having more parts to be glossed over by the media producer, the executives, the broadcast approvers, and their enforcements for "mass media taste" on top of the traces of patriarchy seeped everywhere that never really went away.
azula would have more limitations of what she could do, such as not really having full control of her ship or her army, somehow being distanced in some way she knows but cannot grasp, having a second in command that does all the actual command-in-power- even if the show lets her do all the fighting- due to the inhibitions as a female that she never had in the series. most importantly, scenes of her would no longer have that iconic "fear aura" she always had and controlled, entirely by herself, while still wearing the label of evil. her preciseness and manipulation closely nurtured and delicately yet forcefully groomed by her father, the entirety of her complex character, would be watered down to an overbearing snotty control freak who can't really do anything. and when she duels zuko, she would be fighting for the power she never was really given. zuko's win would be cloaked a heavy shade of patriarchal win.
katara would be framed as a righteous lecturing damsel in distress. she would show skill, she would be taking down dozens, but her selfless passion and enthusiasm would be made thwarted to "catch" the attention of stereotypical prying males. she would be pinned down by a manhandle and there would be a dramatic, perhaps romanticized, male rescue. she would be fighting more stereotypical men targetting her than doing her actual part of saving the goddamn world. in the series, the one "blatantly patriarchal" society she had to face in the northern water tribe overturned in quick succession due to a usage of a plot ticket of acknowledgement of personal loss of a high master due to the patriarchal norm as well as an acknowledgement of katara's skill and resilence. i can't even start to imagine how it would've turned out if atla were to be produced in here.
toph would be framed a "loudmouthed little brat", as a guy who captured her in a metal box had said it. she would be strong, she would be vigilant, but she would be ignored, she would be babied more, and she would be made to either simply shrug them off, or be condescended as if she was nothing but a child when she does show her anger. her rightful anger would be treated as nothing but a simple child's fit. either that or her gender would have been replaced entirely, as she was made in the ember island play scene, but with more region-typical stereotypes laced along the way.
all of them would be made to wear some lipstick and makeup.
all of them would be made to wear tightly fitted clothing on their higher torso, in some way.
all of them would be regularly commented of their appearances in some way.
all of them would abruptly find themselves in the face of blatant sexism as if it was an obvious topic in a conversation.
i would continue to scrutinize over how suki, aang, sokka, hakoda, and ozai would have been, but i'm not sure i honestly could, at least in terms of accuracy, with my current state of experience and knowledge on kdramas and korean media culture as well as the limited time i have. (and i really don't want to compartmentalize my time further watching tv dramas for "culture studying" sake)
-
so uh. thanks for reading? i guess. if you did. through the entire wall of ramble text. which i doubt. congratulations. i wouldn't read it too
27 notes
·
View notes
Day 21 - Discuss Gwen. Opinions? Favorite moment? Least favorite moment? Any unpopular opinions? Any fun headcanons?
gwen!!! i love gwen. i think she’s fascinating. she’s normal - she’s fucked up. she’s empathetic - she detaches from the people closest to her. she loves rhys - she loves jack. she knew torchwood was toxic - she joined anyway. she’s just a really fleshed out, grounded character, akin to some of the doctor who companions imo, but because it’s torchwood she gets to be a little more of a straight up asshole - i love it. i think she’s a brilliant character. and she’s also adorable and funny and badass and gorgeous and sweet and lovely and a little bit deranged. i adore her.
my fav gwen moment would have to be when she retconned rhys in combat 😭 HEAR ME OUT. that’s the moment i was like ‘oh holy shit she’s fucked up’ and that made me feel compelled by her... she’s since become my second fav character and i think if that scene didn’t exist she wouldn’t have reached that point for me. esp because it established her as a certain type of fucked up, you know? her cheating on rhys wasn’t nice, but it was interesting. i think her struggles with emotional faithfulness and how easily she was pushed into sexual infidelity from stress and isolation make her interesting. her and owen are psychological marvels to me, in the best way fshdfkjds they’re both really fascinating characters with really interesting and, bafflingly, well-done trauma responses. listen, i like rhys a lot, and i pity him, but my main issue with that plot is less that she did it in the first place and more that that plotline was never given closure. i don't rlly have much interest in condemning cheating as it exists in fiction, it's just a plot device to me so it doesn't register as particularly immoral when done by characters (as in, it doesnt make ME hate them; i know some people think it's a Grave Sin) - but i do think rhys did deserve better than never being offered transparency in that regard. but i don’t blame gwen herself for that, so much as i blame the writers.
and then aside from that, i have several fav gwen-being-cute moments, because she’s like a fluffy little creature to me fhsdkj there’s something about eve’s tooth gap i think and the way they do her hair, and those big ol’ eyes…. i want to keep her in my pocket. i love the handful of times her and owen goof off, i love her crying pizza scene, i love the scenes where she’s being playful with rhys, i love her reactions when she's talking to emma about sex in out of time (eve’s comedic acting is so funny too btw like some of the faces gwen makes at shit kills me. shes just so tangible she looks and feels like a real person you’d be friends w like thts gwen my friend gwen)... i love the way she bonds with female characters, idk why that was something that really stood out to me like she way she bonds with other women, i love it. with jonah’s mom and with beth... in an era where women were pitted against each other a lot (we see it happen w her n tosh in, like, countrycide a little), it's nice they subverted that. i love when women take care of each other. nice little thing to include in tw of all shows.
my least favorite gwen moment… i can’t really think of one of the top of my head? OH i know. the way she treats andy in adrift bothered me a bit. i think the concept of ‘torchwood’s changed you, you’re crueler now’ is brilliant, but it’s a little more personal between them, and she's unnecessarily a bit condescending w him, so it rubbed me a little wrong. but torchwood in s1 were meant to be cocky so ig maybe that could've rubbed off on her too... but the show doesn't suggest that so eh.
i don’t think i have any unpopular opinions, other than i think she’s a great character + she’s very likeable and compelling, and i think gwen bashers are misogynistic morons ❤️ oh also! i think she’s just as bisexual as the other three, she’s just not as tapped into her attraction to women. gwen to me is a “when i was a kid i used to stare at my best friend and think about how pretty she was… but that’s normal right i mean thats just loving your friend right. feeling warm when you brush her hair at a slumber party is normal right” type of wlw fsdkjfd. i think she emotionally latches onto women (like i said we see this happen in the show) but she’s just gone through life assuming she’s straight so she never clocked herself as having the capacity for that emotional attachment to be something romantic instead. not unlike pre-gbg tosh.
fun headcanons… her and owen are besties. this is canon as far as im concerned but i’d like it to be even More. they just sort of have a surprisingly easy rapport, like they enjoy each other's company (somewhat surprisingly, given their contrasting personalities) and are weirdly in sync esp in s2, but they also poke and prod at each other. they have a shiv & roman from succession relationship to me - “hey slut” “hey f-g” HFSDKJFHDKJ do you see. do u see my vision. (not the sibling shit obviously just That Vibe.) i love writing them bantering back n forth, it's tons of fun. also lowkey projecting shit from the actors onto them - eve used to just straight up wrestle burn and that feels like a gwen owen activity i think she should pick him up and slam dunk him into the ground. theyre boygirlbesties to me i think they should go shopping together and try shit on and insult each other. i think they should go to more movies n sit in the back n whisper back n forth. i also think gwen and tosh should be closer as well im sending them on a spa trip. girl’s night! oh speaking of girl’s night ive also had this fic in development for a while about owen playing with gender (i think he needs that i think it’d heal him) + it has two separate scenes where gwen puts makeup on him cuz i think they should recreate that lesbian makeup image. thats their relationship to me. i also think she should peg him platonically. do u kinda see the vibe im going for here. speaking of pegging… shit that needs to be introduced into her relationship w rhys. female characters who i’d fix by buying them a strap-on. also she needs to have gay sex it’s crucial. ok ill shut up now. idk if i have any other non-cursed hcs HKSDF sorry im evil xD ill show myself out. gwen cooper they could never make me hate you i love you mwah!!!!!!!!!!!!!!!!!
4 notes
·
View notes