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denimbex1986 · 5 months

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'...“It’s fun playing bad, but actually he’s not,” the actor says, smiling as he reflects on his character, Crowley. “He’s a villain with a heart. The amount of really evil things he does are vanishingly small.”

...As it always has, “Good Omens” dissects the view of good and evil as absolutes, showing viewers that they are not as separate as we were led to believe growing up. Aziraphale and Crowley’s long-standing union is proof of this. The show also urges people to look at what defines our own humanity. For Tennant — who opted to wear a T-shirt emblazoned with the words “Leave trans kids alone you absolute freaks” during a photocall for Season 2 — these themes are more important now than ever before.

“In this society that we’re currently living in, where polarization seems ever more present, fierce and difficult to navigate. Negotiation feels like a dirty word at times,” he says, earnestly. “This is a show about negotiation. Two extremes finding common ground and making their world a better place through it. Making life easier, kinder and better. If that’s the sort of super objective of the show, then I can’t think of anything more timely, relevant or apt for the rather fractious times we’re living in.”

“Good Omens” is back by popular demand for another season. How does it feel?

It’s lovely. Whenever you send something out into the world, you never quite know how it will land. Especially with this, because it was this beloved book that existed, and that creates an extra tension that you might break some dreams. But it really exploded. I guess we were helped by the fact that we had Neil Gaiman with us, so you couldn’t really quibble too much with the decisions that were being made. The reception was, and continues to be, overwhelming.

Now that you’re no longer bound by the original material that people did, perhaps, feel a sense of ownership over, does the new content for Season 2 come with a sense of freedom for you? This is uncharted territory, of sorts.

That’s an interesting point. I didn’t know the book when I got the script. It was only after that I discovered the worlds of passion that this book had incited. Because I came to it that way, perhaps it was easier. I found liberation from that, to an extent. For me, it was always a character that existed in a script. At first, I didn’t have that extra baggage of expectation, but I acquired it in the run-up to Season 1 being released… the sense that suddenly we were carrying a ming vase across a minefield.

In Season 2, we still have Neil and we also have some of the ideas that he and Terry had discussed. During the filming of the first one, Neil would drop little hints about the notions they had for a prospective sequel, the title of which would have been “668: The Neighbour of the Beast,” which is a pretty solid gag to base a book around. Indeed there were elements like Gabriel and the Angels, who don’t feature in the book, that were going to feature in a sequel. They were brought forward into Season 1. So, even in the new episodes, we’re not entirely leaving behind the Terry Pratchett-ness of it all.

It’s great to see yourself and Michael Sheen reunited on screen as these characters. Fans will have also watched you pair up for Season 3 of “Staged.” You’re quite the dynamic duo. What do you think is the magic ingredient that makes the two of you such a good match?

It’s a slightly alchemical thing. We knew each other in passing before, but not well. We were in a film together [“Bright Young Things,” 1993] but we’d never shared a scene. It was a bit of a roll of the dice when we turned up at the read-through for “Good Omens.” I think a lot comes from the writing, as we were both given some pretty juicy material to work with. Those characters are beloved for a reason because there’s something magical about them and the way they complete each other. Also, I think we’re quite similar actors in the way we like to work and how we bounce off each other.

Does the shorthand and trust the two of you have built up now enable you to take more risks on-screen?

Yes, probably. I suppose the more you know someone, the more you trust someone. You don’t have to worry about how an idea might be received and you can help each other out with a more honest opinion than might be the case if you were, you know, dancing around each other’s nervous egos. Enjoying being in someone’s orbit and company is a positive experience. It makes going to work feel pleasant, productive, and creative. The more creative you can be, the better the work is. I don’t think it’s necessarily a given that an off-screen relationship will feed into an on-screen one in a positive or negative way. You can play some very intimate moments with someone you barely know. Acting is a peculiar little contract, in that respect. But it’s disproportionately pleasurable going to work when it’s with a mate.

Fans have long discussed the nature of Crowley and Aziraphale’s relationship. In Season 2, we see several of the characters debate whether the two are an item, prompting them to look at their union and decipher what it is. How would you describe their relationship?

They are utterly co-dependent. There’s no one else having the experience that they are having and they’ve only got each other to empathize with. It’s a very specific set of circumstances they’ve been dealt. In this season, we see them way back at the creation of everything. They’ve known each other a long time and they’ve had to rely on each other more and more. They can’t really exist one without the other and are bound together through eternity. Crowley and Aziraphale definitely come at the relationship with different perspectives, in terms of what they’re willing to admit to the relationship being. I don’t think we can entirely interpret it in human terms, I think that’s fair to say.

Yet fans are trying to do just that. Do you view it as beyond romantic or any other labels, in the sense that it’s an eternal force?

It’s lovely [that fans discuss it] but you think, be careful what you wish for. If you’re willing for a relationship to go in a certain way or for characters to end up in some sort of utopian future, then the story is over. Remember what happened to “Moonlighting,” that’s all I’m saying! [Laughs]

Your father-in-law, Peter Davison, and your son, Ty Tennant, play biblical father-and-son duo Job and Ennon in Episode 2. In a Tumblr Q&A, Neil Gaiman said that he didn’t know who Ty’s family was when he cast him. When did you become aware that Ty had auditioned?

I don’t know how that happened. I do a bunch of self-tapes with Ty, but I don’t think I did this one with him because I was out of town filming “Good Omens.” He certainly wasn’t cast before we started shooting. There were two moments during filming where Neil bowled up to me and said, “Guess, who we’ve cast?” Ty definitely auditioned and, as I understand it, they would tell me, he was the best. I certainly imagine he could only possibly have been the best person for the job. He is really good in it, so I don’t doubt that’s true. And then my father-in-law showed up, as well, which was another delicious treat. In the same episode and the same family! It was pretty weird. I have worked with both of them on other projects, but never altogether.

There’s a “Doctor Who” cameo, of sorts, in Episode 5, when Aziraphale uses a rare annual about the series as a bartering tool. In reality, you’ll be reprising your Time Lord role on screen later this year in three special episodes to mark the 60th anniversary. Did you always feel you’d return to “Doctor Who” at some point?

There’s a precedent for people who have been in the series to return for a multi-doctor show, which is lovely. I did it myself for the 50th anniversary in 2013, and I had a wonderful time with Matt [Smith]. Then, to have John Hurt with us, as well, was a little treat. But I certainly would never have imagined that I’d be back in “Doctor Who” full-time, as it were, and sort of back doing the same job I did all those years ago. It was like being given this delightful, surprise present. Russell T Davies was back as showrunner, Catherine Tate [former on-screen companion] was back, and it was sort of like the last decade and a half hadn’t happened.

Going forward, Ncuti Gatwa will be taking over as the new Doctor. Have you given him any advice while passing the baton?

Oh God, what a force of nature. I’ve caught a little bit of him at work and it’s pretty exciting. I mean, what advice would you give someone? You can see Ncuti has so much talent and energy. He’s so inspired and charismatic. The thing about something like this is: it’s the peripherals, it’s not the job. It’s the other stuff that comes with it, that I didn’t see coming. It’s a show that has so much focus and enthusiasm on it. It’s not like Ncuti hasn’t been in a massive Netflix series [“Sex Education,”] but “Doctor Who” is on a slightly different level. It’s cross-generational, international, and has so much history, that it feels like it belongs to everyone.

To be at the center of the show is wonderful and humbling, but also a bit overwhelming and terrifying. It doesn’t come without some difficulties, such as the immediate loss of anonymity. It takes a bit of getting used to if that’s not been your life up to that point. I was very lucky that when I joined, Billie Piper [who portrayed on-screen companion, Rose] was still there. She’d lived in a glare of publicity since she was 14, so she was a great guide for how to live life under that kind of scrutiny. I owe a degree of sanity to Billie.

Your characters are revered by a few different fandoms. Sci-fi fandoms are especially passionate and loyal. What is it like being on the end of that? I imagine it’s a lot to hold.

Yes, certainly. Having been a fan of “Doctor Who” since I was a tiny kid, you’re aware of how much it means because you’re aware of how much it meant to you. My now father-in-law [who portrayed Doctor Who in the 80s] is someone I used to draw in comic strips when I was a kid. That’s quite peculiar! It’s a difficult balance because on one end, you have to protect your own space, and there aren’t really any lessons in that. That does take a bit of trial and error, to an extent, and it’s something that you’re sometimes having to do quite publicly. But, it is an honor and a privilege, without a doubt. As you’ve said, it means so much to people and you want to be worthy of that. You have to acknowledge that and be careful with it. Some days that’s tough, if you’re not in the mood.

I know you’re returning to the stage later this year to portray Macbeth. You’ve previously voiced the role for BBC Sounds, but how are you feeling about taking on the character in the theater?

I’m really excited about it. It’s been a while since I’ve done Shakespeare. It’s very thrilling but equally — and this analogy probably doesn’t stretch — it’s like when someone prepares for an Olympic event. It does feel like a bit of a mountain and, yeah, you’re daring to set yourself up against some fairly worthy competition from down the years. That’s both the challenge and the horror of doing these types of things. We’ve got a great director, Max Webster, who recently did “Life of Pi.” He’s full of big ideas. It’s going to be exciting, thrilling, and a little bit scary. I’m just going to take a deep breath.

Before we part ways, let’s discuss the future of “Good Omens.” Gaiman has said that he already has ideas for Season 3, should it happen. If you were to do another season, is there anyone in particular you’d love to work with next time around or anything specific you’d like to see happen for Crowley?

Oh, Neil Gaiman knows exactly where he wants to take it. If you’re working with people like Gaiman, I wouldn’t try to tamper with that creative void. Were he to ask my opinion, that would be a different thing, but I can’t imagine he would. He’s known these characters longer than me and what’s interesting is what he does with them. That’s the bit that I’m desperate to know. I do know where Crowley might end up next, but it would be very wrong if I told you.

[At this point, Tennant picks up a pencil and starts writing on a hotel pad of paper.]

I thought you were going to write it down for me then. Perhaps like a clandestine meeting on a bench in St James’ Park, but instead you’d write the information down and slide it across the table…

I should have done! I was drawing a line, which obviously, psychologically, I was thinking, “Say no more. You’re too tempted to reveal a secret!” It was my subconscious going “Shut the fuck up!”

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buckets-and-trees · 5 months

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As one of the Christmas presents, your Alpha promises to fulfill one of your fantasies, or introduce you to a kink you secretly wanted to try. What is it and how he's going about it? Does he surprise you with it? Or did you plan to make a special night of it?

Okay, not an alpha, but...

well...

I couldn't get this idea out of my head...

Fandom: Chris Evans Characters Title: Make Her Glow Characters/Pairings: soft dark!Mafia!Andy Barber x female!reader Word Count: 986

Content Warnings: bondage, established coerced marriage, breeding kink

Logistical Notes: I think technically this is ... going to be a collection now. Sequel to I'm Your Man and a moment from their honeymoon. I just can't resist this Andy (and neither can you, dear reader).

↠ Masterlist | Aspen's Ask Box | Field Guide to the Forest

The domestic elements were incredibly important to Andy. He knew they were vital to building a happy, long-lasting relationship between husband and wife, and he wanted nothing less than that for both of you. Putting up the Christmas tree had been something he’d insisted on doing together, just the two of you, the day after Thanksgiving.

He’d driven the pair of you to the nicest tree lot, walked around holding your hand until he knew the two of you had found a tree you truly liked, then paid to have it delivered to your home after lunch. He had you direct the delivery men to put it exactly where you wanted it. He had helped you string it with lights, then decorate with garland and ornaments. You were still guarded – he had broken down many, but not all, of your walls, but it had been a good day.

But by far the most valuable thing from putting up the tree together had been the lights. He saw sheer, unadulterated delight shine through your eyes the first time they lit up. It was the passion he’d seen on your face so frequently during the first weeks he knew you – it’s what made him know he had to have you, and he loved seeing it again.

Each night, you had very easily let him hold you on the couch, all the other lights off, and sit together in the glow from the white lights of the tree. He had pulled so much more out of you each of those nights – memories, wants, dreams, worries.

He always knew you would work.

He knew you knew the two of your would work.

The soft glow of those lights had made you impossibly softer and warmer to him, and he fucking loved it.

But he hadn’t exploited that knowledge until tonight.

Having finally sent all the house guests home, you were turning off all the lights, and about to collapse onto the couch, but he intercepted you a step away from your destination, and tugged you gently upstairs. You knew not to fight him.

He knows you don’t want to fight him; you’re only holding onto small pieces of resisting him because he’s slowly been disarming every last piece of you, making you more and more vulnerable to becoming completely swept away by him.

He closes the bedroom door and then leads you to the bed. He slowly unzips your simple but beautiful party dress from behind, and you shrug it down your shoulders. He presses a kiss between your shoulder blades, and you can’t suppress a shiver. Then he unclasps your bra, and you let that fall to the floor, too. He slides a finger into the waistband of your lacey underwear on either side of your hips and pulls them gently down. You step out of them without direction.

He spanks you, just once, but it elicits the short, gasping moan he loves to draw from you.

“Up on the bed now,” he instructs.

“Yes, Andy,” your voice is soft, and you crawl up obediently.

“On your back in the middle of the mattress.”

As you move into place, you watch him, and he reaches for a box he left under the bed a few hours earlier.

Andy places the box on the bedside table, and first pulls out a thick, forest green satin ribbon.

He climbs up on the bed next to you. “Hold up your hands, wrists together for me.”

Despite everything else up to this point, he’s never physically bound you before.

Although he can see the evidence of your breathing speed up with the rise and fall of your chest, he’s incredibly pleased that you do exactly as he says, surrendering without a fuss. He wraps the ribbon around your wrists and forearms, then strokes your cheek. “Such a good girl for me.”

He moves back to the box, pulls out one end of the string, plugs it into the socket, and you gasp as a full string of white lights comes to life. Andy smiles and turns off the rest of the lights in the room.

Ten minutes later when he’s wrapped the lights around your arms – right over where the ribbons were first placed because he did want to protect your precious skin from being uncomfortable – and then bound you up to the headboard, where he strung the rest of the lights back and forth between the bedposts, and emerges naked from the large master closet, he fully appreciates the warm glow of the lights just as you have the lights from the tree. He more than gets it now.

Joining you once more on the bed, he runs his hands up your thighs, then guides them open and kneels between them.

“You’re so pretty like this, wife.”

You’re wet for him. Waiting for him.

“You want one more Christmas gift?” he asks, his eyes moving up your body to meet your eyes.

You let out a small, whimpered, “Yes,” and he smiles again. “Please,” you add.

“And I think it’s time we start really working on one more gift for me,” he says. He moves one hand to your hip and places the other solidly over your womb. “I’m done waiting to see you growing with my child, and it’s too perfect that you’re ovulating.”

Your eyes widen and your mouth opens just a little.

He smirks. “You think I really wouldn’t know something like that? Well, if you’re going to act dumb, I’ll just oblige and fuck you dumb. But, goddamn, you should know how perfect and beautiful you look for me just like this. Glowing under these lights? Perfection."

He leans down to kiss you. His lips move against yours, easily, he licks into your mouth, and you moan. He doesn't relent until you're breathless, and arching up beneath him.

"Now let’s make it so you glow for another reason.”

↠ Masterlist | Aspen's Ask Box | Field Guide to the Forest

I make no apologies for this.

#andy barber #chris evans characters #andy barber fanfiction #andy barber x female reader #andy barber x you #aspen asks #aspen wrote something #I'm your man collection #eva is such a menace #eva #navy and roo's sleepover

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barcaatthemoon · 26 days

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home for christmas || claudia pina x reader ||

you bring claudia home with you to norway for christmas.

claudia would never admit it, but you could tell from the grip she had on her hand that she was. the two of you had spent a season and a half in spain together, and this holiday break, you were excited to finally be going back home for christmas. the vacations spent partying at various resorts were nice, but you wanted something a little quieter and more wholesome.

"tu bien?" your spanish had never been good, and so, for the most part you refused to use it. now, though, you knew that claudia needed what little you had. she glanced over at you, obviously a little thrown off by the spanish. claudia's norweigan was nonexistent, so you had gotten your family to agree to english for the weekend you'd be staying with them.

"just nervous," claudia answered. her english was getting much better thanks to now fully living with you. your ability to speak spanish was atrocious, despite being able to keep up with what most people were saying. there were always exceptions, especially whenever someone threw in the a catalonian phrase. aitana and alexia were the worst about it, ona only really doing it to get on your nerves.

"you'll be fine, my parents will love you more than me by the end of the weekend," you told her. claudia doubted it, but she liked knowing that she had your vote of confidence. it didn't matter that claudia felt like she'd mess things up if she knew that she had your vote of confidence.

"right. i am a good girlfriend to you. we love each other very much, and even if they don't like me, they'll see that," claudia reasoned. you were glad to see her thinking rationally. it was amazing sometimes how sound of mind your girlfriend could be whenever she was away from the rest of her chaotic friend group.

…

meeting your parents had gone over extremely well for claudia. she knew that she was nothing like your exes, and that seemed to work well in her favor. your parents approved of the relationship a lot more than they had of your ones in the past. your father had openly told claudia this, and she had been almost insufferable for the rest of the night.

"are you sure that you don't want to stay a couple more days here? i mean, your parents did make up that room for us. it seems a bit like a waste," claudia said. you pinched the bridge of your nose as you got in the car with her. she shifted uncomfortably in the passenger's seat, thrown from her element since you weren't letting her drive you around.

"claudia, i love my parents, but i'd like to, at some point, have some privacy. they were well behaved because you were around, but once they get comfortable, it's all over," you warned her. claudia frowned a little, but understood.

family was very important to the both of you, and claudia had genuinely just wanted to spend some more time with yours. you were all for family time, but a lot of the things you wanted to do on this trip were just for you and claudia. you knew that she had been to a few ski resorts, but she hadn't gotten a good, proper, christmas experience in your books.

the drive to your little rental isn't too far from your parents' place. it's already decorated for christmas, and while it is nice, it feels less like home than where you had just come from. it's very organized, like how claudia had decorated her apartment as a compromise to you the year before.

"this is nice," claudia said as she walked around the little living room. the small house was nice, reminding you of the one you had went to look at in spain. your contract was up soon, and you were hoping to resign with barcelona. claudia was staying, promising you that she had absolutely no intentions of going anywhere else, and that she'd love for the two of you to get a place together whenever you resigned.

"i have a present for you," you said as you wrapped your arms around claudia's waist. she leaned into your embrace, allowing for you to kiss the side of her face several times. reluctantly, you pulled away to get the bag with the coat that you had asked your father to pick up whenever all of you had gone out to the big market.

"it's not christmas yet." claudia looked a little skeptical at the gift bag. you knew exactly what she wanted to be in the bag, and it definitely wasn't it. however, you weren't going to let your girlfriend run around looking like a tourist, nor would you let her stand there freezing because she wasn't properly bundled up.

"well, this is just to make our day trips easier on you," you told her. claudia cracked a small smile at the way you just constantly thought of her like that. you were definitely the caretaker in the relationship, always trying to make sure that claudia was safe, comfortable, and happy. "it looks thin, but i promise that it will keep you warm."

"you got me a coat in blaugrana?" claudia gripped the coat tightly in her hands as she held it up in front of her. you may have ordered the coat early, long before claudia had actually agreed to come with you. claudia smiled as she looked over the coat to take in the little details. you had gotten her number on the side, a little touch that you knew meant the world to her.

"it was supposed to come before we got here, but you have it now," you said nervously. you were twiddling your thumbs behind your back when claudia launched herself into your arms. you caught her, smiling and laughing as she tackled you back onto the couch. the two of you rolled onto the floor, lips connected in a deep kiss.

"i love it."

…

claudia couldn't believe that for the first time, she could go outside without being cold. the two of you had been out at the christmas market for nearly an hour already. you wanted to buy some things, but there were things to do first. claudia smiled as the two of you walked around, not complaining once as you continuously got distracted by different booths.

"thank god there's no line," you sighed in relief as you saw the rink. claudia's eyes followed yours, a slightly nervous look on her face as you tugged her toward the ice rink. "come on, we should take advantage of this, it won't be this empty for long."

"are you sure it's a good idea? i can't skate, and if i get injured, the others would probably kill you," claudia said.

"don't worry, i'll be right here the whole time holding your hand. i won't let you fall," you promised her. claudia hated that her trust in you dissolved any of the protests that had been building up inside of her.

once you both had your skates on, claudia took your hand and led you onto the ice. you moved slowly, allowing claudia to get a feel for it. she didn't really ever get too comfortable, so you only had her do a couple of laps. she took her skates back and sat on the side, content to watch you do your thing.

it was a little known fact, but you hadn't started out playing soccer. that had always been a bit of a side thing, even as you had gotten your youth team callups for your country. your first love had been figure skating, but there had always been someone better than you. it had destroyed you to always feel like you were second best, and so, your parents had steered you towards soccer, which had boosted your confidence as you grew into your teenage years.

being on the ice again after so long felt freeing. you danced along to the music, unaware of the way claudia watched you. she hadn't gotten to see you so unapologetically invested in something ever. you were completely lost in yourself, and claudia felt like she was falling even further in love with you. it should have scared her, but she had been feeling this way throughout the entire trip.

it was nearly an hour later whenever you finally got off of the ice. you'd be feeling it later, but for the time being, you were still buzzing. claudia seemed a little bit more clingy than normal as the two of you did a bit of shopping, but you didn't mind it. you loved it whenever claudia would hold onto your hand and lean into your side, randomly pressing little kisses to your cheek or jaw.

"wait! we have to get hot chocolate!" claudia chuckled as she watched you run off towards another booth. the two of you had spent most of your day out and about in town, and now both of you were more than ready to go home. claudia knew that you hated being out of the house for so long like this, so she was a bit surprised when you ended up being the one to make constant stops on the way out.

"why did you only get one cup?" claudia asked as you returned. you opened up the little mouth spot on the top and took a sip of it.

"because we're sharing it," you told her. claudia took the offered drink, eyes widening a bit in surprise. this wasn't her first time having hot chocolate, but this tasted different. "i used to get it every single year from the same booth because it's simply the best i've ever had."

"i want my own," claudia told you.

"tomorrow, we'll come back, i promise." you pressed a kiss to the top of her head as you dragged her towards the car. the two of you made your way out, not stopping anywhere else. you took a couple more drinks from the hot chocolate before you just gave the rest to claudia, who sipped on it happily from the passenger's seat.

"any more plans for the day?" claudia asked you.

"the christmas programs start soon, so we'll probably watch those and drink some wine. i'll warm up the leftovers my mom gave us for dinner, and then i say that we call it a night," you told her. claudia liked the sound of that, humming in approval as she shifted in her seat slightly. "all of this running around has made me very cuddle deprived, so you'll have to fix that."

"are you deprived of anything else?" claudia asked as she placed her hand on your thigh. the two of you shared a knowing look, one that claudia assumed meant she'd be getting lucky as soon as the two of you got back to the rental. however, much to her dismay, you did make her sit through all of the christmas specials that played that night before you even let her have more than a couple of very quick kisses.

#claudia pina imagine #claudia pina x reader #woso fanfics #woso x reader #woso imagine

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feyd-meowtha · 2 months

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taps the mic. hilly what are your thoughts on the nature of feydpaul asking for a friend (the friend is me)

No strong feelings really... Pretty impartial ¯\_(ツ)_/¯

Unless we're talking about the fact that they're narrative foils, they're star-crossed lovers. They're polar opposites, they're the same person. They were born to either kill one another or give birth to the most important child who ever lived. Neither of them has ever had a real friend their own age and they didn't even know enough about normal childhoods to mourn not having them. I almost never think about the complex elements of gender present in the fated relationship in a boy with the powers of a female witch, who was supposed to be born a girl, and another boy with pouty lips whose favourite weapon is poison (famously a feminine choice) and wears flares and leotards and lives under the thumb of a powerful, abusive older man.

I especially almost never ponder the fact that one of them tried to kill the other in the most Freudian imaginable possible way - cunty secret poison hip knife - because that simply has no strange and interesting implications which I could theorise about for hours over a bottle of japanese whiskey. The symbolism of penetration and killing thing Vs as bringer of new life, especially in the insanely penetration obsessed world of Dune. (Knives and breeding programmes and worms, whole topic in itself for sure)

It also means nothing to me when I think of they ways in which they were so uniquely isolated. Both having members of their families killed and being thrust into positions where ambition and power seem like the only way to keep themselves alive and sane and safe. It means nothing to me when I consider that no-one in Feyd's life ever genuinely loved him, probably not up until his death, not even Frank Herbert who never even bothered to bring him up again after the first book. I never think about the ways both of their families decay and crumble after they're gone, their children either suffering bizarre fates or disappearing. How even their legacies are bloody and stained.

Never before have life and death and fate and trauma and power and hope and destruction (both of the self and the other) been so entwined in characters with less interaction, and as you can see .... I really have no opinions on it one way or another.

Plato said this about them and it makes me feel really normal, actually.

(thank you for asking - as you can see, they make me deeply unwell and I haven't had a full nights sleep since the second movie came out. Living the dream wouldn't change a thing <3)

#long post #dune #feyd rautha #paul atreides #austin butler #dune part 2 #dune part two #timothée chalamet #dune meta #house harkonnen #house atreides #feydpaul

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sspookyspoonss · 10 months

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So, a point of Oppenheimer is the moral stance Oppenheimer has on the bomb and how it shifts. It centres around the debate of if scientists should stop to consider the practical consequences of potential discoveries. Oppenheimer’s opinion shifts throughout the film.

Importantly, we are told early on in the film that in physics, theory is all well and good, but practically proving it is more important/impressive. This idea mirrors the moral debate of science’s place in the world. Oppenheimer’s relationship with the theoretical and practical elements of physics developed almost alongside his moral stance.

He begins with the stance of ‘we should pursue science for science-sake, the moral impacts of discoveries are not ours but the people who abuse it.’ This is seen by him, although still having his issues, still wanting the bomb dropped and not signing the petition. This aligns with his whole thing he has at the start of the film, in his younger years, unable to grasp the practical elements of physics, deeply invested, perhaps even intrenched, in the theoretical.

Then the bomb (both metaphorically and literally) drops.

He realises the consequences of the bomb dropping. He has visions of it and feels like the blood is on his hands as creator of the bomb. It mirrors his movement into the more practical element of the creation of the nuclear bomb. He now sees the practical consequences of his actions. He begins to consider his moral stance.

He then gets involved in the politics of nuclear energy. I think this is the big moment he realises what he is told at the start of the film, it’s all well and good in theory, but practicality is more important.

He now sees firsthand the practical consequences, via politics, science has on people lives and on the world at large. In physics, theory is all well and good, but what trumps it is practically proving it. Oppenheimer realises it applies to science’s place in the world, it’s all well and good the theory of scientific discovery being in a vacuum so should be developed no matter what, but in reality, like anything, other factors look in on science, we must consider its practical consequences, so caution must be exercised. Thus he opposes the hydrogen bomb.

TLDR: The theoretical-practical debate in physics as presented in the film directly mirrors Oppenheimer’s changing relationship with science and his shifting morals on nuclear weapons.

#oppenheimer #oppenheimer 2023 #cristopher nolan #cillian murphy #robert downey jr #emily blunt #matt damon #cinema #films #film #film analysis #analysis #overanalysis #barbenheimer #oppenbarbie

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comradekatara · 2 months

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Ok we should talk more about sokka and aang because these two dumbasses are adorable together! Underrated relationship

The gag with Katara and blind Toph in season 3 is still the funniest scene in the series lol

yeah their friendship very cute. i like how when they're left to their own devices their respective adhd tendencies combine, that feels very true to my relationships with my friends who also have adhd lol. it's also just really adorable how through aang's sheer lovability, sokka learns to loosen up a little and appreciate life (somewhat, sometimes) in a more relaxed, content way. aang is a really good and highly valuable influence on everyone around him, especially as he counteracts the logic of war and its necessity for violence, which is an ideology sokka not only heavily subscribes to, but to which he attaches his very personhood. aang reminds sokka that he is still a child (he reminds katara of this too, but it happens in the literal pilot, whereas sokka's journey to literally enjoying himself ever is far more gradual and grueling). aang reminds sokka that he is human.

that said, i do think that people tend to be reductive when talking about the value of their relationship. not to single you out specifically, but i do kind of take umbrage with the notion (perhaps unintentional) that all their dynamic is good for is being adorable and funny. calling them "dumbasses" because they can be silly and goofy sometimes, or scatterbrained and absent-minded. i genuinely think that aang and sokka constitute one of the most interesting foils in the entire show. normally when we talk about character foils, we talk about characters who are positioned in opposition to each other, but aang and sokka are fascinating because they're allies (and friends) who nonetheless approach the same problem with the same intentions and the same goals but from completely different angles.

in many ways, sokka is aang's most distinct opposite. but first, to address their similarities: they're both victims of a genocidal imperialist project that has burdened them with a responsibility to their people that they are too young and barely equipped to handle; they are both expected to shoulder this burden easily by those around them due to their nature as "gifted" child prodigies with distinctly unique skillset and an unprecedented ability to absorb and apply new information that they learn at a genuinely abnormal rate (remember that aang is not just the avatar, but an incredibly prodigious avatar at that; he mastered all four elements within less than a year by the age of twelve, whereas most avatars take at least another four years to master their elements); they are both the "leaders" of their small guerrilla militia of child soldiers, and they take turns giving each other guidance and trusting and following the other's lead; they both consider katara the central figure in their lives and love her with an almost obsessive devotion; they both repress their grief and other unpalatable emotions through humor and constant distraction, and sometimes even depersonalize entirely when they feel that their goal is more important than retaining their humanity (sokka does this more frequently, but when aang does it, it's more blatant); and of course, they both harbor massive guilt complexes for the devastating tragedies (largely beyond their control) that have shaped their lives, and are constantly replaying those moments of "failure" as that of acute shame to motivate themselves as they strive to rectify and "atone" for their past errors.

so, as you can see, reducing their friendship to "adorable dumbasses" is already not very interesting. to me, the best aang and sokka scenes aren't the ones wherein they are playing and goofing around together. those scenes are sweet and charming, of course, but the best aang and sokka scenes are the ones wherein sokka is positioned as the logical consequence of aang's grief. wherein present-day sokka becomes the worst case scenario for a hypothetical future aang. in many ways, their friendship is incredibly bittersweet, because it is also punctuated by moments wherein sokka threatens aang's entire value system and quote-unquote "innocence" through attempting to mold him into a Man Of War the way he does those hapless toddlers in his village. for all that sokka is remarkably open-minded and receptive to new ideas, he cannot see past the limits of the world he was born into and the mechanisms and assumptions of violence he was forced to internalize and embody. aang is, of course, totally unique in his ability to not only envision a world beyond the war (i would argue that katara has the ability to do this as well), but also to have actually experienced it. and so it is truly a testament to aang's resilience that he is almost entirely impervious to sokka's ruthless, militaristic logic, even as sokka constantly attempts to enforce it.

i have a much longer post in my drafts about how aang and sokka are positioned in "the serpent's pass" (one of their best episodes in terms of their dynamic, also just a highly underrated episode in general), so i'm not gonna get too much into it here, but katara's relationship to aang as paralleled with suki's relationship to sokka is really fascinating in this episode for the ways in which it also positions katara's grief over witnessing aang's attempt to detach himself from his grief to focus on his goals and aang slipping into "sokkahood," and the absolutely devastating implications of what that must mean for katara. i think there's a strong case, in general, for the reading of katara attempting to replace her lost childhood (with sokka) through aang as he represents a vehicle for her overly idealized nostalgia (much like how zuko projects onto aang and views him as a vehicle to return to that site of his overly idealized childhood), and thus, quite literally, replacing sokka with aang. to katara, aang possesses what sokka has since lost, or perhaps something he never got the chance to have in the first place. and that isn't to say that katara views aang as a brother, but rather that katara longs for companionship in any form, and what is aang if not the ideal companion? so aang's grief and rage scares her not only because it pains her to see someone she loves so deeply in so much pain, but also because it reflects her own pain back at her, as someone who has lost so much, including family members (also including kanna and hakoda) who are, ostensibly (at least physically), still alive.

one of the most fascinating scenes between sokka and aang in the entire show is when sokka straight up attacks aang for burning katara in "the deserter." katara is very clearly affected by this beyond simply the physical pain; being burned by the weapon that killed her mother is explicitly triggering for her, and she retreats into herself and sobs like a child (she is a child, but you know what i mean. an even younger child). and sokka in turn is triggered by katara being triggered, because his entire existence revolves around his oath to protect her, and she was just hurt by the one person to whom she stakes all her hope and pride and joy and affection above all. aang obviously understands the gravity of this accident immediately; it of course wasn't intentional, but he nonetheless takes full accountability and apologizes sincerely. but sokka only calms down somewhat once he knows for certain that katara is okay. and instead of going to find katara as she sobs, he spends all his focus on yelling at aang, throwing him to the ground, more furious than we have ever seen him. and in a way, it's clear that he's also furious at himself, for having let his guard down around and trusted aang, and for his failure to perform his primary duty, protecting his sister. the fulcrum of aang and sokka's relationship is, necessarily, katara. she is the force that brings them together, and the person who is most important to either of them, but she also person who connects them in her mind, and so our perceptions of them as the audience are primarily informed by her perception of them as the narrator.

moreover, sokka's advocacy for killing zuko (in "the siege of the north") and ozai (in "sozin's comet") constitute two more fascinating scenes with aang, for the way in which sokka does not even find the act of killing something to flinch at, let alone an absolute betrayal of core principles and values the way aang does. killing is simply not something sokka feels guilty about, despite the fact that he seems to carry guilt over simply existing a lot of the time. and that juxtaposition, between aang and sokka playing together, of sokka learning how to have fun and entertain his little friend, versus sokka chastising aang for refusing to commit murder, is what makes their relationship so compelling. when people reduce their dynamic to its most comedic and innocent mode, they are reducing their roles as they embody two opposing relationships to violence, and how that reflects their ideological positions as someone who has subscribed to imperialist logic insofar as his values have been shaped by war, as opposed to someone who knows through his own experiences to refute that logic by any means necessary. when we talk about aang helping sokka to regain his humanity, it is crucial to understand specifically how sokka lost his humanity in the first place, but also why aang specifically is so crucial in counterbalancing his logic in a way no one else alive actually can.

ultimately, if sokka represents the voluntary auto-dehumanization of the colonized subject, then aang represents the potential of preservation and even reclamation of humanity and the imaginative potential of a world[view] beyond those colonial limits. their ideological conflict is not simply one of what it means to be human within a colonized paradigm, but what it means to exist at all.

#lilith-91 #asks #aang&sokka #analysis #aang #sokka #katara #under a readmore again bc i ended up writing a bajillion paragraphs (again)#also sorry for getting kind of existential with it #again obligatory disclaimer that i recognize that this is a nickelodeon y-7 cartoon #that said. i do think aang and sokka are really deep characters. like truly #and i want to honor that properly #(when i finish that serpents pass essay its over for u hoes...)#anyway. i love them so much. they are so much more than adorable dumbasses.#although yeah they are that too

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spiritualitygeek · 5 months

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PAC | Your 2024 In A Nutshell

Disclaimer:

This pac is for entertainment purpose only. I am not liable for any actions or decisions taken or made based on the information presented in the reading. The interpretations and insights are subjective and open to individual perception. Please use your own judgment and intuition when applying the messages to your life or situation. Thank you!

Pile 1

Cards: 6oP rx, QoW, 2oC

With the Six of Pentacles in reverse here, I'm seeing your financial situation hitting rocky roads in 2024. You need to reassess your generosity or be cautious with resources. Refrain from spending or investing thoughtlessly. And most importantly, do not lend money. To anyone be it family or close friends.

Moreover, with the Queen of Wands I see you embodying a strong, charismatic energy, hinting at your ability to take charge and make bold decisions. This is particularly great if you're looking to move out or start a new venture. Or maybe start a new course? Degree? College?

I'm seeing you getting out of your comfort zone and taking charge for doing things that you've been scared till now. Most of y'all might be introvert or would turn 18 this year?

The Two of Cups here indicate deep connection, possibly in relationships or partnerships. Again, I'm seeing you start something new where you'd meet new people and collaborate with them. If you're a student, you'd enrol in college or if you're looking to start new business or anything for that matter. But in my humble opinion, you're gonna find your soulmate this year. It can be a best friend or lover? But you'd surely click with this person like nobody else.

To sum up, in 2024, you may encounter financial fluctuations, urging you to find a balance between giving and receiving. And so, it's highly advisable to approach any challenges with confidence and passion, embracing your leadership qualities. You may as well end up making meaningful connections which are going to last a lifetime. Be it professional or personal.

Stay attuned to your financial choices, ensuring fairness and caution. Embrace the Queen of Wands' boldness to overcome obstacles. Nurture connections, fostering collaborations that bring joy and fulfillment. Remember, balance and confident decisions will be your allies in shaping a rewarding 2024.

Pile 2

Cards: KoW, 6oS, 7oS

In 2024, you're likely to embrace the leadership qualities of the King of Wands, making your way through any situation with confidence. The Six of Swords points to a journey, both physical and metaphorical, indicating positive movement and growth.

However, be cautious of potential challenges or deceptive elements as the Seven of Swords are telling me there are people who are going to backstab you or feel jealous of your growth. When you're growing, and acing it all with confidence and grace, it's natural to attract envy of anyone. Be extra wise and careful with people you keep close. Not everyone has your best interest at heart.

In a nutshell, your year is likely to be a balance of bold decision-making, adaptability during transitions, and a discerning eye to avoid pitfalls. I must say, 2024 is gonna be your year pile 2. Fasten your seatbelts and get ready for the ride. You're gonna enjoy this one.

Although, it's advisable to trust your instincts always, in the face of your problems and in your connections. Sometimes it's important to keep your guards up against certain people. Regardless, you indeed have what it takes to overcome obstacles and lead yourself towards positive change.

Pile 3

Cards: KoS, 5oP, QoS

In 2024, you're advised by the King of Swords to approach challenges with logic and clear thinking. The year ahead requires you to use reasoning over emotions. Because situations would require it with the five of pentacles here. There may be temporary setbacks, a lot of rocky roads throughout the year, but nothing that can't be managed. You may feel often than once that it's too much. You can't bear it. Or that things never go as you wish. Well, they won't. If I'd be honest. This is why you need to stick to reasoning over emotions, to address financial or emotional concerns better. Just because things aren't going the way you want them, doesn't mean they're going to hit a dead end. There's always a door that leads to a better outcome than what you imagined or wished for. Just stop resisting the best by insisting for good. Because that'd lead you to settle for worse.

The Queen of Swords is here for you to guide you with her decisive and perceptive qualities to cut through any confusion and make informed choices. Take this message to your heart and make your mind right now. You won't give up. You won't complain. You will keep pushing! Because things will get better. And you will get the best if you stop resisting what universe has in bags for you.

Overall, be patient and practical in 2024. The year may not be your best year, but it'll indeed be a stepping stone to the best years ahead. Have faith! Don't be a quitter. Be a fighter.

You can overcome any obstacles with a combination of intellectual clarity and emotional resilience. Utilize your analytical skills, address challenges systematically, and make decisions with a discerning mind. Maintaining a sharp focus and clear communication with yourself will be essential in navigating the year successfully.

Thank you all for taking the time to read my pac. I hope the insights resonated with you and provided some guidance. If you found this helpful, I'd be grateful if you consider following me for more spiritual content and future tarot readings. Wishing you all love, light, and positivity on your journey! ✨

- With love, Snow ❄️

Enjoyed the reading? Tip me here~

#spirituality #tarot #tarotblr #tarotonline #pac reading #pac #pac tarot #pick a card #pick a picture #pick a pile

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pinkeoni · 11 months

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WillEl Narrative Mirroring: Presenting Themes of Sexuality

If we consider powers as a means to present themes of sexuality, then looking at Will & El and how they mirror each other in narrative can reveal different angles on this topic and how the two sides of the coin come together to create a balanced whole.

Very very lengthy discussion of sex, sexuality, sexual assault, and child sexual abuse below the cut.

Will and El being different genders is important to their narrative mirroring, because they are displaying the difference between expectations in regards to male and female sexuality. Let's start with El and what her story says about female sexuality.

Layering the subtext behind supernatural elements is both practical and ethical, and I honestly applaud the Duffs for choosing to go this route rather than making it more explicit from the start, and instead sewing in details along the way. It helps keep the story digestible, allowing for a story like this to be shared to a wider audience while also not forcing their incredibly young actors to portray potentially very traumatizing circumstances.

I'm not the first nor will I be the last person to talk about all of the csa coding regarding El, Brenner, and the lab, especially here on tumblr. I was actually sent an anon awhile back linking a blog post back from 2016 that analyzed this exact thing.

"Eleven's interactions with 'Papa' are laden with coercive, coded language, intentionally leading viewers to make sexual abuse connections beneath the surface of the experiments we are shown. Eleven, vulnerable in a thin hospital gown, is told to "go deeper" and to ignore the men watching her perform. She is told the monster wants her, to go farther, "not to turn away from it." This language is intentionally loaded."

Girls are often forced into their sexuality at a young age, usually for the gratification of men

Young El, in hardly a hospital gown, is being forced to utilize her powers for the sake of Papa Brenner and other men in the lab. The sexuality/power connection is being established very early on.

And even once El has escaped the clutches of the lab and seems to find safety—

And before I have fingers pointed at me, no I am not trying to vilify Mike for this moment nor any of the boys for wanting to use El's powers to find Will. It's more complicated than that. The boys were young, their friend was missing and in danger, and they were excited by the prospect of a real life superhero being able to save their friend. I'll also get into how Mike is a victim of this forced heteronormative relationship much later in the post.

But still, even without meaning to, the boys are reinforcing the role that El is expected to fulfill, which is to use her powers and sexuality in service to the men in her life

Something impressive about that blogpost I linked earlier is the rightful calling out of how gross miIeven is way back in 2016, when the two were considered America's cutest couple by the general public.

"Crucially, in the climax, after Eleven's body is once again used for others, Mike promises her a home, and Eleven shows a glimpse of light, is almost comforted. She'll have a family, she'll have safety. Promise? No, Mike says. She'll have their mother, but while she's wearing his sister's dress he explains she won't be a sister, that he wants Eleven to meet his desire for a girlfriend. How could he possibly understand that more boundaries and a boyfriend is the opposite of what she needs?"

Girls oftentimes do not see many options outside of their sexuality

Starting in season 2 El has two modes of thinking: girlfriend or superhero. Her line of thinking isn't helped much by Hopper, who keeps her isolated from outside world. And like the boys, this is a complicated situation. Hopper is keeping El inside for the sake of her safety, lest the government catch her and lock her up again, and either use her or kill her. Still, this isn't good for her personal development.

Whereas Brenner was the sexually abusive dad who forced his daughter into adult roles at a young age, Hopper is playing the role of the overprotective dad who doesn't want to see his little girl grow up, something that continues in season 3. In his eyes, he is keeping El protected from the men of the outside world who are likely to want to take advantage of her, and keeping her locked in is his way of preventing that. But doing so is damaging to El's psyche in ways he may not realize.

So El is kept locked inside with some of her few windows to the outside world being spying on the boy who wanted her to be his girlfriend, and spending the entire day on the couch watching romantic soaps. Her options regarding freedom are skewed.

When El gets her first taste of freedom and leaves the cabin, she's in girlfriend mode. We know this when we see her go to Mike and she misreads and becomes jealous of his interaction with Max. Now I won't deny that El and Mike do have genuine care for each other, but here she ditches a boy that she hasn't seen in almost a year because he seems to have found another girl to fill that girlfriend role.

Having been hung up on in the void and replaced, El changes trajectory: superhero.

I do want to point out and emphasize the importance of El going to see Terry before this moment. El is not a robot that is programmed for sex and powers. She is very much human, and we see her desires for family and the life she could have lived, which is her motivation to seek both Mama and Kali.

Kali, another woman with powers who had been mistreated like her, offers El an alternative— use her powers against the men that have hurt her. When El sees that Kali is seeking her power as a means to use them, El leaves to save her friends and family.

I once again want to reiterate again El's humanity and her heart. El isn't returning to Hawkins simply as a means to become Mike's girlfriend and to become a superhero. She is doing so because she wants to save the people that she loves. Still, El's resolve for the season isn't super ideal given her overall arc. She is effectively fulfilling the roles that have been charted for her since the beginning. She learns that she can be a superhero and a girlfriend! Yay!

With danger out of sight, El seems to be spending her time doing the only other thing she thinks she can do, kissing Mike in her room. An activity which is described by Hopper and the rest of the party as being "unhealthy" and "bullshit."

So what is the solution? Completely remove her sexuality as Hopper aims to do?

We now come to my favorite friendship in the whole show, as well as the most important character in El's arc—

Max doesn't suppress El's sexuality or enforce it onto her, but rather is the first person who allows El to explore what she wants, offering her assistance but allowing El to lead the way. Brenner, Kali, Hopper, and Mike have all wanted to shape El into what they wanted her to be. For Brenner, a weapon. Kali, an avenger. Hopper, the perfect daughter. Mike, the perfect girlfriend. Max wants El to be whatever El wants to be. (God I love the elmax friendship so much)

Like I said before, Max does not aim to strip away El's sexuality like Hopper does. Hell, I wouldn't even say that she wanted to keep El from Mike. Hell, Max was even asking El if Mike was a good kisser after El had dumped him. Max is the one who offers to give El her moms Cosmo magazines. She isn't keeping El in the dark about sex and sexuality, but offering her a road map and actual information in order for El to come to her own conclusion about what she wants from it. El can look at pictures of Ralph Macchio and use her powers to spy but also enjoy shopping, listening to Madonna and reading comics.

When El is pushing her powers to find Billy, something that El choses to do of her own volition, it's the girls in her life (Nancy and Max) who advocate for her to lead the way while Mike is the one who wants to control her. And yes, once again the situation is complicated, Mike isn't doing this to be an asshole but out of concern for her safety, but needless to say he isn't beating the controlling boyfriend allegations. And this displays another facet of female sexuality—

Men often feel insecure when women exhibit ownership over their sexuality

Mike, who previously advocated for El to use her powers if it meant helping someone, is now actively pushing against it when it's El in the driver's seat and not him. And maybe Mike was right and El was pushing herself too far. And maybe he was concerned out of guilt for pushing her the first time, but would it also be too out of left field to say that Mike equates his part of his self worth on how much El needs him?

So maybe now I’ll talk about Mike

Mike really isn’t trying to be this malicious, manipulative guy who is using El for sex. Really, he’s not. Mike instead is a young boy who is going through some rather tough internal struggles of his own, and unfortunately brings El into it with him.

Mike is enforcing the heteronormative relationship onto himself just as much as he is doing it to El

I personally read Mike as gay and that plays into this analysis. Mike found a girl that he cared a lot for and everyone around him assumed that he must have feelings for her, so he played the role of the straight boyfriend. When I see Mike making out with El in her bedroom, I see a gay boy constantly trying to become attracted to his own girlfriend. Maybe if he keeps kissing her, maybe it’ll do something for him.

Keep in mind that Mike believes that that’s what El wants him to be, he’s not forcing onto her something that he doesn’t think she doesn’t want. He may have kissed her first, but then El was the one who tried to kissed him at the Byers house. Mike is mistaking El’s own confused feelings for genuine ones.

Being El’s boyfriend was Mike’s way of giving El what she needed, a way to be useful while simultaneously giving him a way to be normal. But what happens when his true feelings are starting to become harder to ignore?

Remember that Mike wasn’t writing “Love, Mike” when he believed that El was doing okay on her own in Lenora and making new friends. It almost makes me wonder if Mike would have said “I love you” to El if she had told Mike she was in distress.

But then again, we do see El in distress in front of Mike and yet Mike still can’t bring himself to say it. It isn’t until El is quite literally on her deathbed that Mike finally works up the courage.

In season four we have El regressing into her superhero or girlfriend mindset, with a third option added— monster.

A pinkeoni analysis that mentions El’s superhero/monster dichotomy???? SHOCKER!!

When girls are not seen as sexually desirable, they oftentimes feel monstrous as a result

El doesn’t have her powers anymore, and Mike no longer sees her as worthy of being a girlfriend, which means that she must a monster. This is a thought that is reaffirmed through El’s treatment from her classmates, and later El’s intrusive memories regarding the massacre. The only way El knows to escape this monster label is to regain her powers using NINA. This is what El knows, how to become a superhero. This is how she becomes desirable again.

I think that Max’s distance from El is a good contributing factor. Not the only one, but a main one for sure. El no longer has that guiding force, and there isn’t a girl in Lenora that understands her disposition and seems willing to take her under her wing. Sure she has her new mom Joyce, who is usually on the phone. Or her new brother Jonathan, who is usually stoned. And her new brother Will, whom we see try an give El support only for her to shut him down with “friends don’t lie.”

So El goes through NINA, gets her powers back, learns she isn’t the monster after all, oh and her boyfriend can say “I love you” now. And yet, as El realizes at the end, it’s not enough.

I promise this post is also about Will too

Now is the part of the post where we shift gears and finally talk about Will. El has more screen time than him, so there’s more to cover. I also felt like discussing her first laid some important groundwork in regards to how Will mirrors her narrative.

El showcased a lot of facets regarding female sexuality. Will covers aspects of male sexuality, but specifically gay male sexuality, which is an important distinction.

What does Hawkins feel about gay men?

Yeah, it’s not looking good.

Gay men are oftentimes perceived as predatory and dangerous

Will’s sexuality is practically an open secret. Will goes missing, and the town’s first thought is that he was taken by another gay man. Troy doesn’t say it directly, but the implication behind his words is that Will was raped and then killed, thus feeling the need to clarify that the man behind it was “another queer.” Gay men rape little boys and throw them into quarries, or so the town thinks.

The eighties is also such an important set piece for this narrative because the entire show takes place right in the midst of the Reagan Administration and the AIDS epidemic. A young gay boy dies and its suspected that another gay man killed him. The government is eager to sweep under the rug what actually did it. The anniversary of Will's kidnapping is Reagan's 1984 reelection date to the day.

Heterosexual men are treated differently on the basis of their sexuality

Well, duh. But I did want to highlight the differences between gay Will and his evil-straight-name-twin, Billy.

Billy wears his sexuality proud and openly. Based on Max's dialogue in season 3 we know that he has sex with girls often. In his introduction we are immediately shown girls ogling him. He arrives in town and is instantly liked and regarded. He catches the eyes of the hot moms in town and he's liked by the other guys.

Oh, and he's racist, violent, abusive, and overall a total sack of shit.

We see Billy's sudden rise to popularity in the same season that we see Will's incessant bullying and him being branded "Zombie Boy" by what seems to be the entire town. Even Billy who's been in town for like a day is already calling him "the freak." Will is sweet, kind, friendly, wouldn't hurt a fly, but he's the weird homo whereas Billy is the cool straight guy with the nice butt.

Gay men's sexualities are often suppressed

So now we get to the part that exhibits the WillEl mirroring, as well as some “Will has powers” theoretics. I guess your willingness as a reader to continue forward may depend on your feelings toward Will with powers. I may lose some of you, or maybe I may even swing some skeptics with my explanation. As I say in most of my posts: bare with me.

If El's sexuality and powers are being forced upon her, then Will's sexuality and powers are being forcefully snuffed out.

Let's take a look at Lonnie Byers, in many ways similar to Papa Brenner and in many ways his antithesis. Both abusive fathers with silver hair, Brenner is the obsessive parent who wants his fingers all over his daughter while Lonnie is the distant parent who wants nothing to do with his gay son. Joyce's dialogue "Lonnie said he was queer. Called him a fag." indicates that his homophobia probably has something to do with his distancing. Lonnie's verbal abuse of Will was likely a method of trying to snuff out his queerness. And when that didn't work, he left.

(and if you wanna get theoretical you could say that he had connections to the lab, knew about Will's powers and was trying to get rid of them, but that's just speculative)

A big part of season one is the fact that the entire time, Will was in his own house. He was spending his time running and hiding from the monster that was in his own home, the one that wanted to kill him. And the only time he ever expressed himself, the only time he ever used his powers—

—was when his loving and supportive mother encouraged him.

But also keep in mind that almost every time Will tries to speak with his mother through the lights, express more of himself and use more of his powers, it usually attracts the presence of the monster. Will continues his cycle of running and hiding until it doesn't work anymore, and we get what is perhaps the most overt sexual assault imagery in the show that even little fifteen year old Robin Pinkeoni picked up on in 2016.

Season one ends with Will experiencing sexual violence, and in season two we see how this trauma is encroaching on his everyday life, as well as being stalked by the same man that took him and shoved a vine down his throat for the sake of reproduction. He follows Will to the arcade. He follows him while he's trick-or-treating with friends. He finds Will at home. Eventually, he finds Will after hours at school where he's able to reenter his body in the second most overt sexual assault imagery in the show.

Where El's sexuality was suppressed in season 2, Will's sexuality was being forced upon

Will is feeling the effects of this assault for the rest of the season. He's finding it hard to sleep, and constantly feels the presence of the man who attacked him, everywhere.

Vecna is possessing Will because he wants to use him as a vessel to control help control his army, and for whatever other powers Will may have. If El never closed the gate, if Vecna had completely taken over Will's body as he originally planned, what would he have done from that point on? Would he have just discarded Will's body, or was there something special about him that he needed?

Will begins to believe that everything people say about gay men is true about him

Keep in mind that at this point Will's only experience and exposure to gay sex is being assaulted twice, all while his father and the whole town is bullying him and telling him that gay men are predators. Will isn't a predator. He isn't dangerous and we know this about him. And yet Will uses the freak label in a negative way.

So it's no surprise given the internal and external that Will is suppressing his sexuality even further.

In season 3 El begins her journey of self-discovery and likes what she finds. Will knows exactly who he is

and he hates it.

Will fucking hates himself bro. He knows he gay. And he accepts it. But he also accepts all of the labels and restrictions that it comes with. I am gay. My sexual desires are dangerous. I can never express and experience love and sex the way I want to.

And maybe there is a glimmer inside of him that sees that what he is is a wonderful thing, that maybe he does deserve better than all the abuse he's endured just for being who was.

And maybe these feelings were easier to pack away when he was younger. Maybe it was easier to say "I'm not gonna fall in love" when you're fourteen, but as you get older and grow into your teenage years...

...maybe your desires are getting harder to ignore.

What happens when you don't die innocent, and you grow up instead?

So we bring it around to season 5

El is a superhero and a girlfriend again. But it's not enough. Something is missing and she isn't fulfilled. Max is missing, and El is going to have to face and overcome her biggest challenge yet, which is completing her journey of self-discovery that started in season 3. She's going to have to put aside the expectations that many have for her and decide what she wants.

Will Byers is back in town. How has the climate surrounding gay men changed since then?

Oh! It's worse now!

Remember, the town believes that the same sodomizing Satanists are the ones behind the recent murders and earthquake. It's gonna be really bad for Will when he gets back.

So now Will is tasked with a challenge that is harder here in Hawkins than it might have been in Southern California. Maybe Will can't change the minds of these religious townsfolk but maybe he can somehow find a way to shift his own way of thinking. Embrace who he is, embrace his powers, and realize that he deserves more than the hand he's been dealt.

So that was... a lot

Analysis mostly over. Here are some of my concluding thoughts.

I know that this is probably one of my longest posts ever. I know that a lot of it feels like reiterating plot points, but that really felt like the best way for me to articulate all of my thoughts on this. A lot of it needs to be backed up with evidence from the show.

Also, sometimes when I sit down to make a new analysis, sometimes I don't make it because I think I have all of the answers, but I make it as a way to try and find answers. To talk through some of my long and complicated thoughts and open the floor to discussion. Even with the length of this post, there is waaaaaaaaay more that can be discussed regarding this topic (some that has already been discussed).

To wrap everything up, I wanna share this screenshot from Reddit, which low-key inspired this entire thing. For context, this was in response to a question asking if people expected to see a Will coming-out scene in season 5.

So, hopefully with this long ass post, I've proven that maybe the show is about the complex effects of one's sexuality in the 80's, actually.

#WOOF #probably my longest post to date #if you read to the end... i love you forever #wrote this up in kinda one go #maybe its obvious maybe its not #el hopper #stranger things #stranger things analysis #will byers #will byers has powers #byler #tw sa #tw csa #tw child abuse #mike wheeler #lonnie byers #martin brenner #this'll either do numbers or flop hope its the former

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thissying · 7 months

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Christian Horner about Max in Formule1 magazine, October 2023 issue You've worked with several top drivers. How does Verstappen compare to the 'greats' in your opinion? As a team we've had a great and successful period with Sebastian, an exceptionally good driver. Of course there have been more extraordinary drivers. Since I saw guys like Ayrton Senna when I was a little boy, I haven't seen anyone like Max. Michael Schumacher did similar things at the time, but what Max is showing is truly phenomenal. Did you recognise his talent from day one, like adviser Helmut Marko? Max continues to amaze us. He's only 25 years old, but by now a veteran. He uses that experience, it gives him an advantage. He uses his head more, but he's still got that pure speed and skills that he had when he came here as a 16 year old boy. He's merged all those elements in a brilliant way. Besides that he's just a nice guy and fantastic to work with. Fame and fortune hasn't changed him at all: he's the same Max Verstappen. He's just a more adult version of himself.

A leader within Red Bull Racing. Absolutely. Everyone looks at him, he's the leader in the garage, in the team. Because of how he drives, because of the results he gets. Everyone walks just a bit faster for him, goes just a bit farther. Because everyone knows there's usually a reward in the end. In that way, he's a great motivation for everyone. No, verbally he's not loud or exaggeratedly present in the garage. I mean: he's not giving a speech every five minutes or something. But when he says something, people listen. Max is just one of the guys, everyone appreciates that he isn't a diva. The British and the Dutch share a good sense of humour; there's a lot of laughter in the garage. Because you have to enjoy your work. And Max does, he fits perfectly in the team. Does that make working with him easier?Max is one of the most straightforward drivers I've worked with. No bullshit, or anything. You know where you stand with him. He's a professional, comes in and does his job. He gives a hundred percent and expects the same from others. […] What specific things does you appreciate in Max Verstappen as a person? With his family and Raymond (Vermeulen, his manager) he's got a close-knit group of people around him. And the team as well, I think. I think he feels safe and at ease in that environment. He's the same boy he was when he joined us. Whether it's at our home for a barbecue or at Silverstone: he always enjoys playing with the kids. Max is genuinely a really nice guy for whom family is the most important thing, too. Demanding, difficult to work with? Totally not, Max is actually very predictable. You know exactly what you've get with him. Max doesn't do politics, just does what he says. And he expects the same from the people he works with. He's direct and clear, that's how he was raised. He's always on time. I've worked with drivers who kept to their own time-table… Not Max, he knows why he's here and he always delivers craftsmanship. Do you often have discussions with him? To be honest, no. And if there is a point of discussion we talk openly about it. I don't believe in the conflict model. If there's something you need to get off your chest or have an issue, you sit down together, talk about it and try to resolve it. Is your relationship with Verstappen different from his with Marko? Helmut is a bit like Max's grandfather, the older wiser man. Their relationship is bit more personal, I'd say. They get on well, are both straightforward. Max is just less traditional in his thinking. Helmut is Red Bull's adviser, responsible for the talent program and obviously very proud of Max's achievements. My relationship with him is a bit more operational in nature: how the whole team functions, how Max functions with in the team.

#idk you guys. i think he likes him #🥰#f1 #christian horner #max verstappen #a 'read more' yes or no? idk

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celluloidbroomcloset · 4 months

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Since this was being discussed, I think it worthwhile to take a quick look at Calico Jack's character and the way in which he represents a facet of the toxic masculinity and internalized homophobia of piracy.

I've written before about Izzy's internalized homophobia and investment in the masculine hierarchy that despises men like Stede and Lucius, both of whom reject gender conformity and more naturally embrace the feminine aspects of their personalities. That Jack is Izzy's immediate choice to get Ed away from Stede speaks both volumes about Izzy and his assumptions about Ed, and about Jack himself.

When we first meet Jack, his entire persona is of a frat boy, an old friend of Ed's who wants to shoot, drink, fight, and fuck. In their first introduction, he refers to Stede as "the big gal"— a comment on Stede's perceived effeminacy, and highlighting Jack's inherent misogyny. Ed immediately laughs, dismissing it as a joke, though Stede is accustomed to being treated this way by other men like Jack (similar to Nigel's jokes about his "plumpness" and effeminacy). Already, Jack is indeed being typed as homophobic, with a contempt for "lesser," more effeminate men whom he can control and dominate.

The major indication of Jack's homosexuality is his statement about his dalliances with Ed, which he frames in the context of directly asking Stede if he and Ed are "buggering each other or what." It's the show's first explicit verbal reference to sex between men, but here it is framed as an act that men do to each other, disconnected from love, attraction, or even desire, because "anything goes at sea." The anything goes comment is what further highlights the undercurrents of Jack's homophobia—that sex between men is simply what happens at sea, often on ships with no women present. Once more, it is disconnected from any elements of desire or love, and while there's no indication that Jack would consider sex with anyone in romantic terms, he certainly doesn't consider sex with men to be romantic.

Izzy clearly understands homosexuality as an acceptable, normal part of piracy, but his initial horror at Stede and Ed having sex is rooted in the hierarchy of men, who penetrates whom (Stede, an effeminate man, penetrating Ed, a hypermasculine one, is unacceptable and has to be rectified via murder), and the relationship between sexuality and violence. Jack's role is an offshoot of this—he explicitly addresses homosexuality and Stede and Ed's relationship, but it remains formed in terms of what they are physically doing to each other, ignoring any facets of emotional or romantic connection. He further highlights Ed's own arrested development in his understanding of sexuality as violent games between men, with the insistence on playing whippies mirroring Ed's desire for Stede to stab him. Sexual contact is always violent, and it is always about who does what to whom. The only place for men like Stede is in being subdued, or in not participating at all.

Jack's homophobia is not rooted in the act of gay sex, but the meaning behind it, and the importance of who does what to whom. As I've mentioned here, sexual roles are about places in the masculine hierarchy, and sex itself is about power, not love or attraction. He dominates Ed in the whippies game, and he attempts to dominate Stede via a discussion of sex. The wedge which he tries to drive between Stede and Ed is based in his having had "dalliances" with Ed, with the implication that he is the more masculine man and therefore has a right to penetrate Ed.

Stede, once again, rejects the masculine hierarchy. He doesn't form his relationship to Ed on the basis of power dynamics, and openly states that he respects Ed's past as being Ed's business. Whether Ed has had sex with Jack is, to Stede, immaterial; just as he does not see stabbing as a sexual act, he does not see Ed's past with Jack as having bearing on their present. It is Ed's shame that makes the relationship with Jack important later on, not Stede's.

So Jack's internalized homophobia is a reflection of piracy's attitudes towards gay sex in general, and Ed's own shame about his desires and feelings. Jack was intended to bring Ed back into the fold of piracy, rejecting the more fluid gender and sexuality of Stede and the Revenge in favor of hypermasculinity and rigid sexual roles. The plan backfires, however, as Ed successfully embraces his softer feelings for a gentle man with no interest in exerting power over him.

#ofmd #our flag means death #stede bonnet #calico jack #edward teach #gif #ofmd meta

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laughingwith-bluelips · 10 months

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I finally got why I love so much the "dragons are gone" ending in the books while I hate it in the movies:

The books set the dragons free.

The movies simply sent them away.

That's basically the idea but I had a vision yesterday at 3am so I will be getting into detail below the cut.

The books have a very strong message about slavery. Some would say that it is a concept that is only important within the context of the last five or four books, but the ones that have been paying attention to the saga as a whole knows that there are things happening in the background. You know, stuff like

People eating dragons

People stealing dragons from their families so

The dragons can serve the vikings

And they're expected to obey because

People threaten to turn them into bags.

That's mostly the first book.

Dragons are constantly showed as unsatisfied with the status quo trough out the books, some more annoyed with the vikings than others. We have complete monologues from different dragons before the war is even a possibility. Sincerely, when it happens, it feels natural.

The idea of freeing the dragons is not one that comes up in the last book, not even close. The first time it is considered an option is in book 9 (I think), and, by the time being, we've already stablish lots of concepts as slavery within human beings, the dangers of a war, how this could lead to the end of all and freeing the dragons is the only option.

It is fatalist to say the least, but it's not going out of nowhere. There is a lot of worldbuilding (more on that later), but it is also the right thing to do. By the time Hiccup is presenting the option, Cowell has made us root for the dragons to be free and wild and do whatever they want, even if what they want is to hide under sea for thousands of years. Or if they don't want, or if the want to but just not in that moment, they can do it.

Oh, yes, because they leave GRADUALLY.

It is a sad ending, but still manages to get as satisfactory because, yet again, we know this happens and the books remind us this will happen eventually every time they can. “There were dragons when I was a boy” is literally the first phrase in the saga.

And then we got the movies.

The movies never followed the books. Like, not very much. The writers decided that they wanted to tell a story of a broken relationship between a father and a son while using dragons, the heroic and prophetic aspects of the books were getting on the way of that and they scrapped the idea. So, no, you can't tell me the movies actually follow the books.

However, if you're very technical, you know the Hiccup we see in the movies resembles Hiccup I, the one that stopped the war between vikings and dragons in the books, stablishing an equal relation between the two races. And this idea of the movies being a prequel can work for the second and specially the first movie, disregarding the fact that there are no prophetic or magical elements at all.

But THW exist and... Exist.

Suddenly the writers and producers decide that they want to follow the books and want to get rid of the dragons, something that is completely against the message of the other two movies.

(I am just talking about the movies, the shows-books relationship is very different and I will someday make a post ranting about it)

The movies do NOT talk about the dangers of dragons being with vikings or how the vikings mistreat the dragons or how bad is slavery or anything like that. The second movie does, yes, but the second movie also sends a message about how people benefit of being with dragons. They have their dragons and they're strong because of that friendship. Being at war with one another only brings loss and suffering for both bands while being together promises an actual future. A bright future that no one imagined before the first movie and that now they cling to.

Dragons and vikings are friends and together cand do basically anything.

That's a very strong message, you know?

And you know what? The third movie decided that such a strong and important message about friendship should leave the franchise completely.

“Free the dragons” it's a concept that doesn't fit with the movies. They're not slaved, they're not away from wildness and, most importantly, they CHOOSE to be with the vikings in the first place. They are already equals, they can do what they want and, you know, they are with the vikings because they want to.

But no, let's do a movie about letting friends go as if it could actually fit in the saga.

(I know it could actually fit but the execution was terrible).

As I said before, the movies resembles Hiccup I befriending dragons and we know how it ends. And someone who has never read the books will go and say "well, it was bound to end that way, why are you mad?” I tell you the difference right now: there's 1000 years of difference between the befriending and the parting in the book, 1000 years in wich we witness the deterioration of said friendship (from being friends and equals to being slaves). That's no what happens in the movies. The films give us 6 years and the only deterioration is within Toothless' character and how they made him a horny dog.

The dragons shouldn't have leave. This was a whim from the writers that thought that ending both stories the same way would be cool. It isn't. At all.

Long story short, it doesn't fit thematically. The movies and the books have different themes with different concepts and different characterizations of the dragons. While the books got story building and present the theme's since the beginning, the movies get it out of no where ignoring the themes in previous works.

Anyways, go read the books they're jewels and the ending isn't as shitty as thw make it look

#httyd #how to train your dragon #httyd 2 #httyd the hidden world #httyd book #httyd books #im angry about the ending #probably because I'm watching rtte and i llve the relationship wuth the dragons #and the characters themselves #freeing the dragons is an actual theme in rtte but not in the movies #that's sad #also i don't think the shows follow better the books but #they actually use themes from them #english is not my first language #sorry if i wrote anything wrong #i love the films #i know it sounds as if i hate them but i don't #they're basically my favourite movies of all time

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venerawrites · 29 days

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Hi!! (: Could you maybe do some headcanons for what Gaara, Itachi, and Kakashi's type/ideal partner would be? In terms of personality, traits, looks, or anything else (: Also feel free to only do one of the above or add any other characters you'd want! Thank you!!

author's note: I love this request so much, I've been waiting for someone to ask me about Naruto characters' types, so I can rant about it. Thank you so much for sending this idea! :) <3

➤ Gaara

Occupation - Gaara's ideal partner would either be a civilian or someone who is involved in state politics (for example, a member of the Council). Knowing how dangerous the life of a shinobi is and how many enemies he has out there, I don't believe he would ever fall for a ninja.

Looks - while I don't think Gaara particularly cares for looks and appearances, his s/o has to be more or less presentable (especially if they are to be seen next to the Kazekage). I've always imagined him with a s/o, whose style resembles the style of the ancients- clothes made of white linen, gold jewellery (especially jewelled collars and bracelets), and different hair accessories, symbols of their status in the village. I also definitely see his s/o wearing makeup as both a way to protect their skin from the harsh climate and a way to compliment their look.

Personality - the ideal partner for Gaara has to be someone who is calm, gentle, and cares for the people, just as much as him. They definitely have to be patient (being in a relationship with him would definitely require a lot of patience!) and understanding person, who is able to accept him for who he is and what he has done in the past. Now, if his s/o is involved in politics of some sort, I definitely imagine them as someone who is calculating and cunning as well. While Gaara has years of experience as a Kazekage, I don't think he is a political strategist, so his partner would usually be the one influencing the other members of the Council or important figures from other villages, in order to further Suna's best interests.

➤ Itachi

Occupation - healer or a civilian, who lives a life completely dissociated with that of a ninja. Preferably someone who lives far away from the Land of Fire, in a remote village or by themselves, and also had never heard of him or his clan before.

Looks - I think Itachi would fall for someone who is very soft and innocent looking - someone who more or less remind him of his mother. As someone whose main occupation is to gather herbs or do some type of craft, I imagine his s/o preferring more simple clothing, in which they can move freely and comfortably. They would probably have tons of amulets/jewellery on them, the majority of which are heirlooms left by their family. Their style is what I would describe as "bohemian" with an emphasis on organic elements and nature.

Personality - I think Itachi's ideal partner is someone who can serve as some form of escape for him - a free-spirited and optimistic individual, who can offer a different view of the world. They have to be caring, sweet, and respectful, especially when it comes to Itachi's personal space. I think he would appreciate having someone, who won't poke their nose in his business too much and press him to open up to them before he is ready. Still, his s/o has to be someone confident, loyal and also very honest. He would benefit from someone, who would tell him openly what they think and would be his pillar of support in moments when he dwells in self-doubt and regret over the past.

➤ Kakashi

Occupation - there is a 99% for Kakashi to fall for a fellow shinobi or at least someone who had worked a shinobi at some point in their life. His work is pretty much his life, so I definitely see him with someone who can understand how demanding this job is, as well as how it can affect people's lives.

Looks - as long as their s/o does NOT resemble Rin or an Uchiha, he doesn't care. If his s/o is a ninja, they would probably wear the same shinobi attire as him most of the time. If they are not a ninja anymore, I imagine Kakashi with someone who still puts some effort in their appearance, but they don't overdo it. Not a "must", but I do imagine him with someone with either shoulder-length or long hair, so he can run his fingers through their locks as a gesture of love or while falling asleep.

Personality - his s/o has to be someone who is strong-willed, honest, and has a deep sense of community and caring about the people close to them. I imagine Kakashi being with someone who can easily take the role of a "parent" or "the wise adult" (as he has to do quite often) and who doesn't shy away from their responsibilities. His s/o has to be someone who he can share his burdens with and who would stay by his side through good and bad. I imagine Kakashi being with someone with a strong personality, who can sometimes act before they think, yet they always have others' best interests in mind. They would often have strong opinions of stuff and while this can lead with occasional clashes with Kakashi, he would appreciate their honesty and their willingness to argue for what they think it's right.

cc artwork: Sin Jong Hun

#sabaku no gaara #gaara x reader #gaara headcanons #itachi uchiha #itachi x reader #itachi headcanons #kakashi hatake #kakashi x reader #kakashi headcanons #naruto imagines #naruto headcanons

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linkspooky · 3 months

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"And we don't have the luxury of thinking of ourselves. We just got to save people. So start by saving me, Itadori!" This actually shows Megumi has somewhat of an agency as a sorcerer. Ater all he vowed to get stronger after Yuji's apparnet death. He doesn't think of giving up being a sorcerer to be a kid. Now, Megumi's rejecting Yuji's help, the very same thing Yuji did to him. Plus, refusing to even try to 'wake up' means the death of other characters (Gojo, Higurum probably more others soon) will be for nothing... because Megumi's being selfish by giving up in the eleventh hour. That's why the fans are all mad at him."

Hello, friend I thought I'd use your post as a jumping off point to continue our discussion. I'm not necessarily trying to argue with you, just further explain my point and why Gege made the story choices that he did.

So one of the reasons I chose Killua as my comparison to Megumi, besides the obvious inspiration Mgumi takes from Killua's arc, is that despite the fact that Killua has many of the same character flaws and setbacks as Megumi he's much more well-received in western fandom spaces.

Killua also has a pretty straightforward arc, he still has character flaws, he idolizes Gon way too much and that makes him incapable of calling out Gon's flaws, or getting Gon to listen to him in his worst moment during the Neferpitou fight where Gon gives up everything to destroy Pitou pointlessly. However, even in those moments where Killua is failing Killua is still portrayed incredibly sympathetically. The audience reaction when Killua is failing is vastly different to when Megumi fails. When Killua is at his lowest point in chapter 241, there's no "get back up loser" it's "awe Killua."

That's because again Killua's arc is so clearly telegraphed. When Killua is at his lowest point, you in the audience understand that he is there and why he can't get up instead of yelling at him in frustration. At his lowest point he's still presented as being selfless towards Gon and chiding himself for not being of use to Gon, he's not giving up because he's too weak to keep going like Megumi is.

Killua on the whole is a lot more likable than Megumi too, but I think this stems from the fact that the narrative of Hunter x Hunter paints him in a better light, he has a mostly positive character arc where he learns to stand on his own two feet and forms a healthy relationship with both Gon and his sister - whereas Megumi has a negative / corruption arc which goes in the opposite direction of Killua's.

However, I would argue because Megumi is painted as more selfish, and allowed to be more unlikable that he is better written in Killua because there's an element of ambiguity that's not there in Killua's arc.

Megumi reaches his lowest point where he can't move similiar to Killua, but instead of spending his last moments thinking about how much he wanted to be of use to Gon, instead he's begging for death and drowning in his own self-pity not even looking up to see Yuji right there in front of him trying to save him.

You're right that he comes off as selfish, and a lot less likable to the audience and rightfully so. I feel like we're supposed to be frustrated at Megumi here for not seeing how much effort everyone is putting into saving him.

However, sometimes characters are unlikable on purpose!

Sometimes character writing and what a characters actions means for their story and themes is more important than whether or not the audience finds that character likable. Sometimes a writer might even have the character make an unpopular choice that the audience will disagree with, in order to make the audience angry and frustrated with them on purpose. After all, you yourself are saying you're worried about all of your other favorite characters getting harmed now that Megumi doesn't want to be saved - that creates tension in the scene. The scene is more complicated now and there's more at risk, because now things aren't as easy as Yuji reaching out and saving Megumi.

Gege is also using a tactic called delayed gratification here. Delayed or deferred gratification is the resistance to the temptation of immediate pleasure in the hope of obtaining a valuable and long-lasting reward in the long term.

Instant gratification would be Yuji's first attempt at reaching out to Megumi working, Megumi reaching out his hand, Sukuna being defeated, Megumi and Yuji hugging and everyone going home happy.

Of course, then the story would be over as well.

By delaying gratification and not giving the audience what they want right away, the effect when Megumi is finally saved, or in my opinion, what should happen when he decides to save himself will be even greater.

As I was trying to illustrate above Megumi's arc is in my opinion better than Killua's, because it doesn't follow a handy dandy roadmap on where Gege is going to go with his character. Things aren't as clear cut and there's an element of ambiguity. Ambiguity in this context meaning what the author wants, Megumi's thoughts and his wants / trauma, and where Megumi's arc is going are not as clear cut.

Gege cited Nasu's writing as a major inspiration on his because they skip explanations and instead let the audience try to explain things and put the pieces together for themselves.

I think when writing gets really good, we reach a point where "What's written is just as important as what's not written." That doesn't really make a lot of sense so let me explain it. Good writing does not spell out everything for the audience, but instead relies on audience inference to fill in the blanks, because then the reader becomes an active participant in writing the story and has to draw their own conlclusions instead of remaining a passive reader.

Megumi never thinks out loud that he didn't want to be a sorcerer and that he wanted to be a kid like Killua did, but there are things in story that implies Megumi thinks that way. The way he thinks he can never live up to Gojo's level or reach Gojo's heights. The way he doesn't even seem to want to. The way that personal connections like his connection to Yuji and Tsumiki is way more important to him then his duty as a sorcerer.

The way that Megumi doesn't ever seem to believe that he's as capable as being strong of as Gojo, and doesn't even seem to want to try either. This passive resistance Megumi shows to becoming what Gojo wants him to be, is basically the only way he ever grasps for agency.

Megumi is kind of like a really lazy smart kid, who never turns in his homework but manages to pass classes anyway because he's good at taking tests. He's so naturally talented that unlike characters like Yuji who are newcomers who have to give it their all - Megumi can just coast on being born with an extremely strong technique and not having to put the effort in for most of the story.

Megumi's choice to coast though is like I said - passive resistance. Megumi never says out loud that he doesn't want to be a sorcerer, but we can analyze from his behavior, his constant habit of half-assing things that maybe there's a reason he can't put his all into being a sorcerer. I mean someone on reddit put this entire collage together on how unmotivated Megumi is to put the work in to develop his talents.

The question is why in the manga where everyone is trying to be stronger, does Megumi keep half-assing things and not put his full effort in, why doesn't he seem to enjoy getting stronger the way say, Maki, and Yuji does. The answer isn't directly given to us, but all the way back in the third chapter Yaga says that sorcerers can't use other people as their reasons for being a sorcerer. It's an incredibly deadly and terrible job and if you don't know your own reason for why you want to be a sorcerer, you won't perform as well and you'll begin to doubt yourself.

Yet, here's Megumi doing that exact same thing that Yaga warned about. Megumi didn't become a sorcerer because he wanted to or for his own reasons. He was groomed into being a sorcerer by Gojo, his options were 1) starve, 2) go to the zen'in and be a sorcerer anyway and your sister will most likely be abused 3) be a sorcerer under Gojo but Gojo will leave your sister alone.

Megumi convinced himself that he wanted to become a sorcerer for Tsumiki's sake, that he was sacrificing himself so Tsumiki could at least continue to live a normal life but he's not even able to protect Tsumiki. When she becomes cursed, he's robbed of his entire reason for becoming a sorcerer under Gojo in the first place, but he has to just keep going on the vain hope that Tsumiki will wake up one day. Perhaps that's the reason that Megumi immediately grew so close to Yuji too, because Yuji reminded him of Tsumiki, but while he failed to save Tsumiki Yuji was still around and someone he could actively want to save.

Megumi doesn't want to be a sorcerer, but he has to be one and so in order to convince himself that he wants to do his job he tells himself he's doing it for the sake of Yuji, or Tsumiki. If he thinks that his sacrifice is somehow helping the people he loves either directly or indirectly then he can keep going.

That small amount of selfishness is the only agency he's able to reclaim for himself, that he's not sacrificing himself for the greater good or trying to save everyone like Yuji is, he's only trying to save a small group of people so he doesn't have to exert himself too much.

However, even that is basically just lipservice to being selfish, because in the end Megumi doesn't really benefit from his own actions. He does everything he does for other people. Even if it's for his own selfish reasons - to give him a motivation to keep going in this really shitty job of being a sorcerer he was forced into, even if he's using other people as an excuse to keep doing his job he's still not really a selfish person. He's not allowed to be selfish because he's not allowed to think for himself or make decisions for himself b/c he's been so thoroughly undermined by Gojo's grooming of him.

This is the paradox that is Megumi Fushiguro. He is presented to us as a very selfish character, especially in contrast to the all-loving hero Yuji, he's much more childish, prone to angst and failure and yet Megumi isn't really that selfish. Because true selfishness requires agency and the decision to decide for one's self and Megumi doesn't have that.

Sometimes, characters will make selfish and unlikable decisions in order to serve a greater story purpose even if the audience doesn't approve of them.

Megumi's character is better written than say Killua's, or even other characters in Jujutsu Kaisen because as a complex abuse victim he struggles internally with his issues, and growing past them instead of immediately getting back up on his feet to do the right thing. It's really easy to sympathize with Killua not wanting to be a murderer, because that's easy to understand. When Killua goes he wants to make friends not be an assassin the audience is immediately on his side. When Megumi doesn't want to be a sorcerer, a job that everyone else in the manga including characters like Yuji and Maki are fine with being and don't question whether or not they want to be sorcerers or get stronger then he looks selfish and weak-willed in comparison.

Megumi's internal struggles to form his own identity and grasp at agency are probably the most complex and best written character work because it's not immediately gratifying. Megumi's arc is not a straightforward arc, things have to get worse for him before they get better.

It's like in season 3 of avatar with Zuko. Zuko looked ready to change sides with team avatar at the end of season 2, but he regresses and sides with Azula instead when he thinks he's getting everything he wanted on a silver plate. It might seem more frustrating to not get what the audience wants, Zuko joining team avatar right away, but by delaying that immediate gratification the payoff for when Zuko does join team avatar is greater. Sometimes it's better to be less straightforward, because then characters feel like people with internal struggles and not pieces you are moving down a pre-determined path.

Let me compare Megumi to a character in story who's arc is pretty universally beloved, but I will argue is less complex than his. You could say for Megumi, well Maki's sister died and not only did she get over it she used that death to climb to even greater heights and she's now one of the most powerful characters in the manga.

This seems to be what readers want for Megumi, for him to get over Tsumiki's death and then live up to the potential that he's been foreshadowed to have. If the audience had their way, the same way that Maki was destined to become the next Toji, Megumi would step up right away after Tsumiki's death, become the next Gojo and become as powerful as Maki.

However, here's my question do we as readers really feel Maki's mourning for Mai? I mean if you were a fan of Mai you probably feel sad at her death because she was a character that you liked, but does the narrative ever take the space to have Maki struggle to come to terms with the loss of Mai?

No, because Maki pretty much immediately gets a power up afterwards. We don't really feel Maki's loss for Mai, because we get that immediate gratifaction. Maki never lays on the ground and wallows, she never gives up, in fact we get some pretty immediate catharsis too because Maki goes on to murder all of Mai's killers.

Mai's death doesn't seem like the tragic event that it is, because it's not played as a tragedy, but as Maki coming into her own power. There's nothing wrong with this I suppose, but it's less emotionally complex because we take no time for Maki to internally deal with the loss of Mai, to feel that loss. Tsumiki is way less of a character than Mai, but her death is an unequivocal tragedy because nothing good comes out of it, Megumi doesn't get to avenge Tsumiki's death, it's only a tragedy, it's only suffering.

If you're satisfied with Maki's arc that's fine, but like I said it's a lot like Killua's in that it's very clearly signposted where we are going. It's narratively convenient. Like, when Maki is at her lowest point, a sumo guy shows up out of nowhere to give the exact words to encourage her and lead her character to the conclusions she's supposed to draw.

Megumi and Maki are both victims of abuse but Megumi's allowed to be a lot more unlikable, he's allowed to stumble, to do things the audience wouldn't approve of. He's not shown to be more virtuous than his abusers, to rise up and get revenge against his abusers, he doesn't immediately free himself through the power of his hard work and determination alone.

In fact compared to Maki Megumi's kind of just a loser.

Yet, sometimes the road less traveled is the better one. Megumi doesn't follow the paint by numbers abused child overcomes their abuser and finds their own strength / freedom / agency arc and because of that he doesn't come off as a character with a character arc, but rather a child struggling to grow up properly in a world where he has no positive adult figures to help grow and nurture him. Just like a child Megumi has no idea how to be an adult, and unlike Maki there's no path to adulthood clearly laid out for him.

In fact when he does try to take steps or reclaim his agency for himself, someone usually appears either Gojo or Sukuna to rob him away of his agency and further sabotage him. Megumi's arc has a pretty clear pattern of one step forward, two steps back. Megumi bonds with Yuji, Yuji dies. Megumi promises to get stronger for Yuji after his death, Yujhi turns out to be alive and also he finds out that his decision to save Yuji after Yuji ate the finger led to fingers all around the world awakening more people dying. Megumi decides to keep this fact from Yuji to spare his feelings creating a wall between him and Yuji.

Megumi creates his domain for the first time, but then in Shibuya he's put into a corner by his father stabbing him and takes two steps back using Mahoraga as a suicide move again another curse user. When he does that too, he thinks about how he'll never be as strong as Gojo wants to be five seconds before calling Mahoraga.

Megumi comes out of the culling games with a plan to save Tsumiki, manages to defeat one sorcerer using his domain expansion and pushing his limits again like he did in the death painting arc, only for Tsumiki to turn out to be possessed and Sukuna to take his body.

One step forward, two steps back.

However, the complexity from Megumi's character comes from this fact, the fact he doesn't just walk down the path the audience wants him to, he doesn't simply do what Gojo laid out for him to make him the next Satoru Gojo. He doesn't find meaning or reason in being a sorcerer, he doesn't get stronger as a sorcerer because he doesn't want to be there.

There's no convenience there, no one pops up with an inspirational speech the moment that Megumi needs it to keep going instead it's the opposite the narrative keeps robbing Megumi of his agency agian and again, pulling the rug out from under him when it looks like he's gotten the strength to stand out on his own two feet and Megumi has to keep going. The narrative rewards Maki and gives her what she wants her arc is basically over, whereas it punishes and denies Megumi at every turn. Maki's arc isn't bad but it is basically already over and it's a lot simpler and more straightforward than Megumi's.

Megumi is also called on to do a lot more than Maki is, because Megumi's issues can't really be solved with a power-up. This quote "let fate toy with you before you die like a fool" is probably one of the most important quotes when speaking about Megumi, because Megumi really is the fool in the fool's journey.

The Fool's Journey is a metaphor for the journey through life. Each major arcana card stands for a stage on that journey - an experience that a person must incorporate to realize his wholeness. These 22 descriptions are based on the keywords for each major arcana card. The keywords are highlighted in the text. A card's number is in parentheses.

The Fool's Journey is different from the Hero's Journey, because the Hero's Journey is the standard narrative for how a character rises up to become a hero, whereas the fool's journey is how a person goes from being an innocent but empty child a fool, a zero, into being a whole, and well rounded person. In Tarot the Fool (0) is basically a newborn, with no identity, no opinions, an empty vessel.

We begin with the Fool (0), a card of beginnings. The Fool stands for each of us as we begin our journey of life. He is a fool because only a simple soul has the innocent faith to undertake such a journey with all its hazards and pain. At the start of his trip, the Fool is a newborn - fresh, open and spontaneous. The figure on Card 0 has his arms flung wide, and his head held high. He is ready to embrace whatever comes his way, but he is also oblivious to the cliff edge he is about to cross. The Fool is unaware of the hardships he will face as he ventures out to learn the lessons of the world. The Fool stands somewhat outside the rest of the major arcana. Zero is an unusual number. It rests in the exact middle of the number system - poised between the positive and negative. At birth, the Fool is set in the middle of his own individual universe. He is strangely empty (as is zero), but imbued with a desire to go forth and learn. This undertaking would seem to be folly, but is it?

Megumi is the most underdeveloped and childish character in the series. He is as people have constantly referred to him, immature and selfish. He doesn't see things for the greater good, because he's ego-centric like a child and can only see what's around him.

What Megumi needs to do is to become a whole person, to develop an entire identity on his own, that's not dependent on Yuji or Tsumiki. He needs to be able to stand on his own two feet.

Now, how does Megumi go about doing that while he's also asked to be a sorcerer, people who aren't allowed to be selfish, who are asked to be identity-less cogs who exorcise curses for the greater good.

Megumi's arc is a lot harder, and a lot more difficult because it's not resolved by him getting a power up. That wouldn't fix his central issue because the problem isn't that Megumi's weak, it's that he's weak willed and doesn't think for himself.

Megumi can't become the next Gojo or the next Toji, he has to become himself.

Yet, Megumi and the audience at large don't know exactly what that means yet. That ambiguity, will Megumi be able to save himself, how exactly will Megumi save himself if he's not taking the hands that Yuji offers him. How exactly will he find the will to live with Tsumiki gone, and with no reason besides himself to keep on moving? It's that ambiguity that makes his arc more compelling.

Also, if Megumi were to resolve his arc by just getting a power up that kind of just means that Gojo was right all along. Like I hate to borrow from Homestuck of all things but this quote heavily applies to megumi and the way he was raised by Gojo.

So in the context the character Dave was raised from childhood by his brother to go through some super ultra ninja training, where he was basically forced to spare with his brother with swords every single day and put through the ringer with training, and that training didn't make him stronger it just made him afraid to fight. Dave can't see himself as strong or as a hero, because he's number one constantly feeling inferior to his brother who has like destroyed his entire childhood and number two because he didn't have a childhood he has no solid basis to build his sense fo self around. There's no strong foundation for Dave because he was robbed of the childhood years that help us form our identity. He never formed an identity, the only thing he could do was try to passively resist what his brother wanted him to be. That's not really forming an identity though, that's saying "I don't want to be that." Dave in his arc is continually reluctant to be a hero, and to go through the steps of a straightforward hbero's journey, because he doesn't want to be like a hero, because his brother was a cool brave heroic hero and his brother abused him.

Dave's character shines in his reluctancy to be a hero, because if he just sucked up all of that abuse and then decided to be a hero anyway then wouldn't that just prove that his brother was right? That his brother was right to put him through all that abuse because look it made him stronger in the end.

Gojo took Megumi's childhood away from him with the intention of turning him into a stronger sorcerer, but it had the opposite effect. It didn't make him stronger or into another Gojo Satoru, it made him not want to become a sorcerer, it made him weak willed and made him cowardly and made him want to run away from danger and made him unable to believe himself to be strong enough to win.

Even Maki's arc doesn't ever suggest her abusers were right. If anything it's the opposite, Maki wanted to be a sorcerer, she would have willingly become one but her family sabotaged her at every chance and denied her the opportunity to become one - only to show that Maki was right all along that she had more potential than anyone else in the family and her family should have given her that chance. That if from the beginning the Zen'in accepted and raised Maki then the tragedy at the end of her arc could have been averted. The child who is not embraced by the village will burn it down to feel it's warmth... etc, etc.

So Maki's arc may be way more straightforward than Megumi's, but her arc doesn't suggest that her abusers were right to put her through what they did. However, Megumi just being told to suck up all his abuse and get stronger would be doing just that, because it would mean Gojo was right all along to do what he did, Gojo stealing Megumi's childhood would be right because look how much stronger it makes him.

However, Gojo's actions didn't make Megumi stronger, it made him the opposite, it made him never want to fight, or see blood, or be near danger. It made him passive and cowardly and selfish rather than active and brave and selfless.

Sometimes a writer may have a character make an unpopular choice in service of the story and themes.

You're not wrong friend for pointing out that Megumi comes off like a hypocrite for giving up, when he called Yuji selfish for giving up on his own before the beginning of the culling games. If anything it's worse, because Megumi has chosen to give up at the moment when everyone is basically making a group effort and risking their lives to help him instead of going for the more tactically solid strategy of killing Megumi alongsde Sukuna. Megumi is not respecting the feelings of those who wish to save him, nor is he thinking about how much the others are risking their lives just for the chance to save him.

However, this intentional parallel of Megumi being able to reach Yuji at his lowest point when he wants to give up, and Yuji not being able to reach Megumi illustrates the difference between their characters.

Yuji became a sorcerer by choice. His ideal of wanting to help people is something he chose for himself, and apparently according to Sukuna he believes down to his very bones which is why it's something he'll never waver from. Yuji is the outsider who became a sorcerer by choice, he wants to be in this world - even if it wasn't a total choice like he chose to eat the finger but he didn't think of the ramifications and afterwards his choice was like "die now, or die after eating 21 more fingers." Yuji still views it as his choice though.

Megumi on the other hand never had a choice. All of his justifications and reasons and "I selfishly choose who to save" those are all lipservice, ex posto factor justifications, lies Megumi tells himself to cope with the fact that this life as a sorcerer was forced upon him.

That's why Megumi doesn't have the unshakable determination to get back up at his lowest point that Yuji had, because Yuji at the end of the day is kind of like the embodiment of the ideal sorcerer the way Nanami is, he's decided to give his life to be a sorcerer and live up to what sorcerers should be so he can make the world a slightly better place and then pass the torch to the next sorcerer.

Yuji chose that for himself, and for better or worse he keeps making that choice over and over again. He's resolved to live and die as an ideal sorcerer, and carry on the burden that Nanami left for him.

If Yuji's arc is to figure out what kind of sorcerer he wants to be and then be that person to the very end, then Megumi's arc is the opposite. It's to find out who he is outside of being a sorcerer, because being a sorcerer wasn't his choice it was something that was imposed upon him. That's what Killua's arc is too, Killua's arc is not him learning to live up to his full potential as an assassin because that would once again validate his family's abuse of him. No Killua can't grow up into what his family wants him to be, he has to figure out for himself what he wants, and try to grow into that person.

However, Megumi has that added layer of difficulty in that Megumi doesn't get to use "I want to grow strong enough to protect my sister" as an answer the way Killua did. Megumi unlike Killua gets the crutch ripped out from underneath him. He's not allowed to live for Tsumiki anymore, because Tsumiki is gone.

Now Megumi has to find a way to keep living for himself without Tsumiki, and show that life is worth living even if you lose your loved ones or he sinks. Which as I said again is harder and more complex o Megumi because he doesn't get the simple answer "I want to grow strong to protect my sister" he's called to do more than that and stand entirely on his own.

Finally, Megumi not immediately taking Yuji's hand when it's offered to him adds complexity to the story in another way.

Again we are asking the question, is it possible to save someone who does not want to be saved? It's repeating the same conflict in the past between Gojo and Geto now with Yuji and Megumi. Can Yuji really do anything to save Megumi if Megumi himself has decided to give up and that he's beyond salvation. If Megumi does not want to be saved then what does Yuji's attemps to reach out his hand amount to?

One last thing is I think Yuji's attempts to save Megumi were always going to fail, because as it's already been stated above by Gojo you can't save those who aren't willing to be saved.

In broader story terms though, if Megumi's arc is about reclaiming his own agency then how is getting saved by Yuji a proper end to this arc? Megumi being rescued like a passive damsel is not giving his character any agency, if anything it's robbing him of agency because it's reducing him to a victim to be saved by Yuji.

This is why I bring up delayed gratification, because if Megumi was saved here then his arc would be over and it would also be brought to a pretty unsatisfying conclusion. There would be no real moment where he learned to stand up for himself, he didn't find the meaning in living past the death of his loved ones for himself someone.

Not only is Megumi not letting Yuji save him, but story-wise it's kind of impossible for Yuji to save him because what Megumi needs narratively to complete his arc isn't to be saved.

What Megumi needs is to save himself. So no matter what Yuji did, no matter what heroic speech he gave, no matter what lengtsh Yuji went to to free Megumi's soul for Sukuna it would not have worked anyway, because that's not what Megumi needs.

Megumi needs to become himself. Megumi needs to save himself.

The fact that Megumi doesn't want to be saved, that he doesn't want to keep living, is the struggle he's going to have to overcome in order to achieve these things in the end.

And it will be much more gratifying when he does save himself, because the manga didn't go the easy route and just have Yuji save Megumi.

#jjk meta #hxh meta #megumi fushiguro #killua zoldyck #itadori yuji #gojo satoru #sukuna ryomen

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