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she/her, 21, just here to have a good time
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On the topic of intense, hyper-fame, could you imagine being told the following during a press conference and being asked then and there to make sense of it?
Transcript:
Q: I have a question for Paul. I donât know if you know about it yet, but two young ladies threatened to jump to their death from the 22nd floor of the hotel here in Manhattan if they could see you. How do you feel about young girls acting this way?
McCartney: If they could see me?
Q: They wanted to see you â If you would come over they wouldnât jump. The police finally rescued them. They threatened to jump unless you came over.
McCartney: Good God, you know. Phew! I donât understand it. I donât know. Erm, silly, that. Iâll see âem, you know. Donât jump.
â Beatles Press Conference at Warwick Hotel, NYC August 22, 1966
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David: People always ask you about John. Iâve noticed they rarely ask about George, who of course also died relatively young.
Paul: John is probably the one in the group you would remember, but the circumstances of his death were particularly harrowing. When you die horrifically, youâre remembered more. But I like your point, which is: What about George? I often think of George because he was my little buddy. I was thinking the other day of my hitchhiking bursts. This was before the Beatles. I suddenly was keen on hitchhiking, so I sold this idea to George and then John.
David: I know this memory. You and George hitchhiked to Paignton
Paul:Â Yeah, Exeter and Paignton. We did that, and then I also hitchhiked with John. He and I got as far as Paris. Itâs interesting how I was the instigator. Neither of them came to me and said, âShould we go hitchhiking?â It was me, like, âIâve got this great idea.â
Source:https://www.nytimes.com/interactive/2020/11/30/magazine/paul-mccartney-interview.html
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The woe of being into old shows that have since gotten a TV show or movie reboot so all I see when I look it up is the reboot đ
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psst
go share this with your not kamen rider fans who are interested in kamen rider but want a convenient way to watch it without having to do any work
Edit: Agito, Faiz, and Hibiki do not have subs for some reason even though I made sure they did before uploading them to drive, I do not know WHY they do not have subs, but they will be crossed out until I can fix that
Edit 2: Found the problem - the thing with Agito, Faiz, and Hibiki is that I downloaded them in a .mkv format, and what I used to convert them to .mp4 got rid of the subs even though all of them had subs initially
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ultraman hasnât been wrestling with guys in rubber suits since 1966 for you to go on tumblr dot corn and excuse supernaturalâs failures
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I'm fixing to lose sleep over pondering what America would look like right now if the past 50+ years of procedural crime dramas had taken their cues more from Adam-12 (which follows two imperfect LAPD officers upholding the law and clearly more interested in helping victims than arresting bad guys) and fewer cues from Hawaii Five-0 (which follows a taskforce of people given full immunity and means to catch the bad guys no matter the cost).
The sheer number of people who joined the police force because they were inspired by the integrity of Pete and Jim vs the number of people who have since been inspired to join law enforcement based on the potential accolades, heroic autonomy, and cowboy power presented in the majority of crime dramas produced since. Stories are powerful, and sometimes I just think we follow the wrong narratives.
#thank YOU for such thoughtful posts about the show#adam 12 doesn't have much of a fandom so posts like this are a pleasant surprise#adam 12#appreciation post#long post
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Coming back to this post because I am rewatching Adam 12 right now and having similar thoughts. I hope you don't mind me adding my own speculations to this.
I remember reading somewhere that some LAPD officers actually disliked the show because they felt Malloy and Reed had raised the bar of policing a little too high. The thing is these two are not superhuman, as OP said, they are imperfect but they TRY to do their best to be helpful, kind while still upholding the spirit of the law. And the narrative also holds them to certain standards, when they do step out of line, they are clearly called out or punished even when their intentions might be good because as far as the show is concerned the police have a responsibility - they cannot risk acting in a way that might place others in jeopardy and they cannot impose the law if they themselves do not uphold it. Hence, Pete and Jim would be considered too "boring" or "unrealistic" from certain perspectives. The police have to be made "exciting" to fit in a fast paced, gritty, action-oriented tv landscape. They have to act out or break the law sometimes to prove they are not too "square" while still being portrayed as heroic characters that we should root for. It's why tv cops often do what they think is right without care of consequences because the shows justify or even glorify their behaviour as being for the greater good.
I'm fixing to lose sleep over pondering what America would look like right now if the past 50+ years of procedural crime dramas had taken their cues more from Adam-12 (which follows two imperfect LAPD officers upholding the law and clearly more interested in helping victims than arresting bad guys) and fewer cues from Hawaii Five-0 (which follows a taskforce of people given full immunity and means to catch the bad guys no matter the cost).
The sheer number of people who joined the police force because they were inspired by the integrity of Pete and Jim vs the number of people who have since been inspired to join law enforcement based on the potential accolades, heroic autonomy, and cowboy power presented in the majority of crime dramas produced since. Stories are powerful, and sometimes I just think we follow the wrong narratives.
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Can you link to any hurt Newt fanfics? I'm struggling to find and xx
OKAY. *cracks knuckles*
soooo when you say âhurt newtâ that has such a wide range of fics like- ptsd? sickfics? nightmares? blood and wounds? ya knowso Iâm just gonna generalize it on suffering Newt ;Dalso- some of it is not centered around hurt Newt, but he will get hurt. In later chapters. Or sth. Honestly, it took me so long to compile this because I had to quickly read through the ones I donât remember clearly? And sometimes the tags can be misleading so Iâm sorry if theyâre wrong :âD I tried, I really did!
I WILL PROBABLY GO BACK AND UPDATE THIS LIST IF I HAPPEN TO FIND MORE :âD
part 4 has sick!Newt Scamander
this oneâs not centered around hurt!Newt but he does get hurt! attachment issues (specifically part 4)
This is a lovely series that kinda basically revolves around Hurt!Newt (well, at least the first part, the next couple ones are basically kind of what happens afterwards)
I love this series so muchhe has PTSD and is like, a fucking hardened badass. There are mentions of him being hurt but overall, Iâd say itâs just a fucking joy to read, Iâm gonna be honest.
and oh. oh man this one has psychologically damaged newt. he comes from a shitty family here (except for thes) my heart 3
This was pretty interesting- Newt and Tina meet in the war
This is another one- drugged newt. Newt is invited to a masquerade under the guise of a magical creature being auctioned off, but it turns out he was the main attraction.
This is a rather long one- with Omega Newt
In this one Newt hurts his back.
This one ughhâ my poor bby- emotionally hurt Newt. Percival has been busy with work, and comes home to find his husband has taken office gossip to heart and attempted to make himself better.
Here, Newt gets transfered to ilvermorny- letâs just say maybe ilvermorny and hogwarts wasnât so different when treating the outcast.
UUGGHHH THIS ONE KILLS ME (all of them kills me tbh) FUCK. MY POOR BABY AAHH. âNewt wakes up beside another man, which isnât unusual. Â Percival seems to want him there, which is.â
Okay- This one isnât really sad/angsty in the slightest but newt does get hurt. Quiet a bit actually
sad newt :â( Newt enters an arranged marriage with his dear friend Credence in order to help protect him from far worse matches. Now if only Credenceâs older brother Percival would explain why he detests Newt, things might go smoothly.
A 5+1 thing. Five times Newt saved one of his creatures, and one time his creatures saved him.
Ooo this one is rather interesting. Percival, Newt and Theseus seem to be in the same line of work. As thieves.
This. emotional hurt :â0 Newt isnât used to coming first before his brother
Newt has anemia- or something close to it, and no one knows how to treat it.
Misunderstandings; Newt is insecure.
Short fic- protective credence. lesson of the day: donât hurt his Newt.
Okay⌠I wasnt sure whether to put this one here? newt gets injured but itâs not the major theme of the story at all- I think itâs a rather brief thing? Im not too sure :âD sorry
Newt sickfic- his creatures take care of him
Newt has war flashbacks. PTSD fic
In this one, Percival has nightmares and Newt gets hurt.
Um Not really Hurt Newt but kind of hurt newt? Not physically hurt? More like⌠heâs kind of damaged. Either way, itâs a good fic. Everyone saw Newt defeat Grindelwald. So its no surprise that they want him to duel on their team in the MACUSA competition. Newt however, is less keen.
Emotional hurt/comfort and past bullying. Newt does get physically hurt nearer to the end.
War Horrors. Of all the things Theseus could have seen on the battlefield, this was the worst.
Donât hurt Percivalâs Newt.The moment he hears the loud thud, the moment he sees Newt sliding down the wall, going limp and soundless, the moment he sees red on Newtâs face, coloring his freckled pale cheeks - his own vision goes red.
Newt has a big old crush on Graves and has to figure out a way to woo him and/or ask him out on a date. The only problem is that Newt has no clue how to do that.. Well the obvious choice is to ask his creatures for some help.
SADNESS. Itâs been a rough few months. He prefers to think of it in smaller, more easily digestible chunks. A rough week. A rough couple of days. A rough night. They just keep happening one after another, thatâs all. Today is just a rough day.
Okay. I love this series? Newt is BAMF AF here. Nothing angsty from what I remember but Newt does get hurt sparring in the second part of the series- itâs incomplete though
5 times Newt fell asleep somewhere and Percival had to carry him to bed and 1 time they got their happy end.
weeeelll this one isnât really hurt Newt as much as⌠uh dead Newt? and Percival Graves gets his revenge.
le mis au
Newtâs a sniper in a special team that are tasked to bring down Grindelwald.
Newt gets severely sick.
This is a long one! Mermaid au!
Modern setting- Newt gets into a car accident. I really like this one :âD
Another long one! Itâs not centered around Newt being hurt but he definitely does get hurt here. He doesnât remember who he is or how he ended up injured in the middle of the Alaskan wilderness; all he knows is his name is Percival, and he owes his life to the shy, redheaded zoologist who saved him. But unfortunately, just because he doesnât remember his past doesnât mean it canât come back to haunt him. (He does get severely injured in the last couple chapters though- and it is a long fic so)
This. After being ambushed, beaten and left for dead in the snow. Newtâs life changes drastically. Feelings are revealed and Theseus voices his opinion on the matter.
Another one. Where an ill-timed prank leaves Newt with a broken arm.
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Your atla analysis is the best so I wanted to ask your opinion on something I've found the fandom fairly divided on - what did you think of Azula's ending within the show proper? Unnecessarily cruel or a necessary tragedy? Would you say that her mental breakdown was too conveniently brought about in order to 'nerf' her for the final agni kai? Also, do you think it was 'right' for Zuko to have fought with his sister at all or would it have been better for him to seek a more humane way to end the cycle of violence?
okay so im saying this as someone who loves azula to death like she has always been one of my absolute favorite characters ever since i was a kid and iâve always vastly preferred her to zuko and found her to be extremely compelling and eminently sympathetic. i am saying this now before the azula stans come for me. i believe in their beliefs. but i also think her downfall is perfectly executed, and putting aside all the bullshit with the comics and whatever else, itâs a really powerful conclusion to her arc. obviously that isnât to say that she wouldnât continue to grow and develop in a postcanon scenario (i have a whole recovery arc for her mapped out in my head, like i do believe in her Healing Journey) but from a narrative perspective, her telos is in fact very thematically satisfying.
no, she wasnât nerfed so that they could beat her in a fight. the fact that she falls apart is what makes them feel that they can confidently take her on (although i do think in a fair fight katara could win anyway), but the whole point is that itâs not about winning or losing in combat. the whole point is that zuko and azula being pitted against each other in this gratuitous ritual of violence as the culmination of their arcs is fundamentally tragic. yes itâs a bad decision to fight her, and zuko should have chosen another path, but the whole point is that heâs flawed and can only subscribe to the logic he has spent his whole life internalizing through violence and abuse.
thatâs why aangâs fight against ozai, while tragic in its own way, is also a triumph for the way in which his ideals prevail in the face of genocide, while zuko and azulaâs fight is very patently tragic. there is no moment of victory or triumph. even as zuko sacrifices himself in a beautiful mirroring of âthe crossroads of destinyâ and as katara uses the element of her people combined with techniques across other cultures to use azulaâs hubris and ideology of domination against her, itâs presented as moments of personal growth occurring within a very tragic yet inevitable situation. it was inevitable because azula had always been positioned as an extension of her father, and thus to disempower ozai also means disempowering azula, his favorite site of projection, his favorite weapon.
yeah, it does rub me the wrong way when zuko asks katara whether sheâd like to help him âput azula in her place.â itâs not a kind way to talk about your abused younger sister. but itâs also important to understand that zuko doesnât really recognize his sisterâs pain, despite the fact that they obviously share a father, because heâs always assumed that she was untouchable as their perfect golden child and thus never a victim. and heâs wrong. zuko and katara expect a battle of triumph and glory, noble heroes fighting valiantly so that good may prevail over evil. but as they discover here, even more so than their previous discovery two episodes prior, a battle is not a legendary event filled with bombast and beauty until after it has been historicized. often a war is simply fought between pathetic, desperate people who see no other option but to fight.
aangâs ultimate refusal to fight despite having all the power in the world is what makes him so important as the protagonist. but katara and zuko both share a more simplistic view of morality and what it means to be good. and zuko assumes that by fighting azula, he can only be punching up, because she has always been positioned as his superior, and she (in her own words!) is a âmonster.â and then azula loses, and his entire worldview shatters. joking about putting her in her place makes way for the realization that behind all her posturing and lying (to herself more than anyone) and performance and cognitive dissonance, azula has always been broken, perhaps even more than he is.
azula says âim sorry it has to end this way, brother,â to which zuko replies âno youâre not.â but i think azula is truly sorry, because in her ideal world, she wouldnât be fighting zuko. she doesnât actually want to kill him, as much as she claims to. sheâs already reached the conclusion that zuko will only truly reach once their fight is over. she lacks a support system, and she needs one, desperately. if she could somehow get her family back, do everything differently, less afraid of the consequences, she would. sheâs smirking, she sounds almost facetious, but really, she is sorry. as of this moment, she really doesnât want it to end this way. but zuko cannot accept that, because in his mind, azula is evil. azula has no soul nor feeling. azula always lies.
her breakdown doesnât come out of nowhere, either. itâs precipitated by everyone she has ever cared about betraying her. first zuko betrays her, then mai, then ty lee, and then ozai â the person she has staked her entire identity to and to whom she has pledged her undying loyalty and obedience, become nothing more than a vessel for his whims â discards her because she had the audacity to care about someone other than him. what i donât think zuko realizes, and perhaps will never realize, is that azula betrayed ozai by bringing zuko back home. he was not supposed to be brought back with honor and with glory. azula specifically orchestrated the fight in the catacombs to motivate him to join her, and itâs not because sheâs some cruel sadistic monster who wanted to separate a poor innocent soft uwu bean from his loving uncle, itâs because she genuinely believes that sheâs doing whatâs best for him. she believes that their uncle is a traitor and a bad influence, and she believes that bringing zuko home with his honor ârestoredâ is an act of love. to her it is.
yes, she claims that she was actually just manipulating him so that she wouldnât have to take the fall if the avatar was actually alive, but also, sheâs clearly just covering her own ass. she didnât know about the spirit water, and only started improvising when zuko started showing hesitation. but even if she was only using zuko, then that was an insane risk to take, because either way she was lying directly to ozaiâs face. and zuko admits it to ozai while simultaneously committing treason, so of course ozai would blame azula, his perfect golden child who tried to violate his decree by bringing zuko back home a prisoner at best and dead at worst, and instead found a way to restore his princehood with glory.
we only see ozai dismissing and discarding azula in the finale, but itâs clearly a tension thatâs been bubbling since the day of black sun. and we know this because we do see azula falling apart before the finale. in âthe boiling rockâ she is betrayed by her only friends. in âthe southern raidersâ we see that this has taken a toll on her, that she is already somewhat unhinged. she and zuko tie in a one on one fight for the first time. and she takes down her hair as she uses her hairpin to secure herself against the edge of a cliff. unlike zuko, who is helped by his friends and allies, who has a support system. itâs a very precarious position; sheâs literally on a cliffâs edge, alone, her hair down signifying her unraveling mental state. azula having her hair down signals to us an audience that she is in a position of vulnerability. she is able to mask this terrifying moment wherein she nearly plummets to her death with a triumphant smirk, but it should be evident to us all that her security is fragile here.
and the thing is, even though sheâs always masked it with a smirk and perfect poise, her security has always been fragile. azula has never been safe. azulaâs breakdown is simply the culmination of her realization that no matter how hard she tries, she will never be ozaiâs perfect weapon, because she is a human being. she is a child, no less. and there is no one in her entire life who loves her for nothing. zuko has iroh, who affirms to him that he could never be angry with zuko, that all he wants is simply what is best for zuko. but azula doesnât have unconditional support in her life. she doesnât even have support.
everyone she ever thought she could trust has betrayed her, and so she yells that trust is for fools. because she feels like a fool. of course fear is the only way; itâs what kept her in line all these years. azula is someone who is ruled by fear, and who is broken by the recognition that fear isnât enough. her downfall is necessarily tragic because her worldview is wrong. the imperialist logic of terror as a tool for domination is her own undoing, just as ozaiâs undoing is losing the weapon he has staked his national identity to. itâs a battle of ideals. aang v ozai: pacifism v imperialism. katara and zuko v azula: love and support v fear and isolation.
zuko is unfair to azula, itâs true. he tries to fight her even as he can clearly recognize that âsheâs slipping.â instead of trying to help his little sister, he uses that weakness to his advantage, tries to exploit her pain so that he can finally, for the first time ever, beat her in a fight. itâs cruel, but itâs also how siblings act. especially considering the conditions under which they were raised, and how zuko has always viewed her. and in zukoâs defense, she has tried to kill him multiple times lately, both in âthe boiling rockâ and in âthe southern raiders.â zuko is someone who gets fixated on a goal and blocks out everything else, including recognition of his surroundings or empathy for others. so of course when heâs promised to put azula in her place heâs going to exploit her weaknesses to do so. after all, isnât exploiting his weaknesses exactly what azula does best? so he allows himself to stoop to her level, and in fact only redeems himself through his sacrifice for katara. but it is when azula is chained to the grate and zuko and katara, leaning on each other, look down and observe the sheer extent on her pain, that zuko realizes that âputting azula in her placeâ isnât actually a victory. it feels really, really bad, actually.
theyâre in a similar position as they were when they faced yon rha. and now it is zukoâs turn to understand that he is not a storybook hero triumphing over evil, but rather a human being, facing another human being, in a conflict that is larger than themselves. to âput someone in their placeâ is to imply a logic of domination, of inherent superiority, that someone has stepped out of line and must be reordered neatly into the hierarchy. but aang disputes the notion, ozaiâs notion, that humanity can be classified along these lines, that there exists an ontological superiority among some and not others. so operation: putting azula in her place was always going to be flawed, even if she was performing competency the way she always does, because theyâre nonetheless subscribing to her logic.
of course they should be helping azula, of course they should be reaching out to abuse victims through support instead of more violence. but first they must recognize her victimhood. first they must come to understand that they didnât get lucky, and they didnât dominate her because they are more âpowerful,â that they werenât âputting her in her place.â they must understand that they are not heroes fighting villains in a glorious trial by combat. that the logic of the agni kai is flawed. that they are all victims. that they are all just scared, hurt children who are still grieving their mothers.
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Can you please explain your dialogue theory of fanfiction?
In short, that dialogue, more than anything, makes or breaks a fanfic. What do posts like "He would not fucking say that" and "They would NOT have communication skills that good" have in common? Talk. Characters expressing themselves to one another. The faithful recreation of identifiable speech patterns is weighted heavily in the evaluation of a fic's quality. By "speech patterns" I do not just mean the semantic content of a given character's expression, but idiosyncrasies of style and slang, vocabulary and idiom, even gesture, musicality, and rhythm.
Of course believable dialogue is far from the only thing that makes a good fanfic Good. And there are forms of fic writing, particularly highly abbreviated ones like drabbles and ficlets, that in practice tend to de-emphasize its significance. But if we are talking about the romantic, erotic shippy stuff that is the meat and potatoes of online fandom, dialogue does the heaviest lifting short of the consummation itself. Arguably more so! It's the real keystone to the catharsis, and often the catalyst for it. Is there a confession occurring? A provocation? An evasion or ultimatum? Zoom out, big picture: What is the most potent and fundamental mechanic for developing complexity, tension, and transformation within a relationship, getting it to go from one thing to another? Making these two idiots talk to each other! Often clumsily and indirectly and maladaptively, at the worst possible time and in the worst possible situation, about anything or everything but what they should be â but talk they usually do.
What makes fanfic specifically so challenging and rewarding in this regard is that the talking is as much a feat of translation as invention, because both reader and writer are working off an existing model. Liberties taken with plot, form, and even narrative voice have wider buffer zones; you can get creative with circumventing the events of canon while still conforming to its emotional and substantive essence.
But the training wheels come off the moment you open your mouth to speak in another character's voice. And man, nothing will break a reader's immersion quite like he would not fucking say that.
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Iâve seen some people take issue with the political aspects of zukoâs arc, saying that his ideological motivation for joining the avatar wasnât clear enough, and that the fact that he assumes the throne in the finale tells us that that he believes in the fire nation as a state but simply disapproved with its past rulers, which, considering their direct role in personally harming him, doesnât do enough to establish his ideological convictions against imperialism. personally I disagree with that stance, as I think his speech to ozai in âthe day of black sunâ illustrates that a large part of zuko resisting ozai is not only his personal growth as he cuts ties with his abuser for good, but also that he has come to truly understand the horrors of his countryâs imperial conquest. that being said, assuming zuko was apolitical, I think taking over your country, decolonizing it, paying reparations, and generally working towards creating a more just and peaceful world, not because of any inherent political leanings, but specifically because you want to stick it to your piece of shit dad, is actually the coolest and funniest reason to join a revolution and reform an imperialist nation I can think of.
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To The Substitute Art Teacher - Jordan Bolton
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#palestine#dr. refaat alareer#as someone rightly said in the rbs the poem is the kite#may the spool woven with the thread of everyone's efforts keep it flying higher and higher#poetry
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Okay I'm thinking about monster of the week/self-contained arcs again and how much I love them like... okay... in Kamen Rider W, Accel is introduced in episodes 19-20. He acts like an asshole but agrees to start working with the W crew by the end. He slowly begins bonding with them and getting his shit together. Then, in episodes 27-28, Accel's nemesis Weather shows up and properly introduces himself to the protagonists for the first time. Accel backslides and starts stomping around again fuming about how he needs to do this alone and revenge is more important than saving people or whatever.
Like... just... think about how it played out for there to be three MOTW arcs between Accel's intro arc and Weather's introduction to the heroes.
First of all, Weather was being a huge creep the whole time he was off doing things with the Sonozakis and not interacting with the protagonists, and he did that awful shit to Wakana. The audience is learning how much this guy sucks and eager for him to get his ass kicked, but also we know he's strong. So it's building the anticipation - what awful thing is he going to be doing when he meets the Riders? Will the heroes be able to save people from him and give him the beat down he deserves? And then in episode 27, we realize the heroes' investigation is leading them to Weather before it happens, and we get to enjoy that anticipation - it's finally going to happen!
The different MOTW arcs (which were all good in their own rights, by the way) all had pretty different tones and showcased different characters. Triceratops arc had a stronger villain and more drama, and Accel took the lead again in that one. Liar arc was fun and silly, and more W-centric with Accel settling into a secondary role. Doll arc was an Akiko-centric horror/melodrama/??? wherein Accel enters his Wifeguy Era which he has yet to exit. So the audience, and all of the protagonists, have gotten to know Accel fairly well. He's friends with the W crew and if he's your kind of character you probably like him by now.
So, because we've gotten to see Accel trying to stop villains and playing the straight man in comic relief scenes and being soft and supportive with Akiko, it's like "oh shit" when he starts acting like such an asshole again. We know that's not who he is. The other characters know that's not who he is. It's a very distinct, alarming change. Drama levels at maximum. I love drama.
I mean there are just so many goddamn series that would introduce Weather like one episode after Accel (probably introduced both of them in a dramatic montage at the end of episode 1 tbh) and have him show up to taunt the heroes and say cryptic shit at least every other week, and it would be so much worse. We wouldn't have that contrast, where Accel suddenly flips out when Weather arrives and we know because we have been shown and not told that this is very out-of-character and upsetting to Accel's friends. We wouldn't have that sense that the first confrontation is important and pivotal and dramatic, because we wouldn't have been anticipating it for a month. And after he's started being proactive as a villain, it's enjoyably stressful that Weather could show up at any time, but he doesn't lose his impact as a villain by actually showing up every time.
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i actually ended up enjoying li xiangyi and qiao wanmian's interactions in episode 9 quite a lot more than i'd been expecting. this show is, well, sparse on the female character side to begin with, and when wanmian was introduced a little more i was bracing myself for her to be written as someone who was built around forever mourning and chasing the memory of li xiangyi without moving on. arguably you could say that role has actually been given to di feisheng instead.
what we got with wanmian, though, is a woman who IS grieving because things between her and xiangyi ended tragically, but she had agency in that decision and a life for herself built afterward. she was the one who chose to leave him first, before he disappeared, and it was because she knew she didn't deserve to be left as the one always going after him. she's with xiao zijin in the present day, and seems content with that. yes, she's still sad about xiangyi, but she's managed to move forward as much as she could. even when wanmian does see xiangyi in the cave, she ultimately tells him it's too late for both of them. she's done waiting. and although xiangyi makes her think it was all a dream later and that he truly is dead (which i am assuming will have future consequences, yikes), saying that offered her closure on their relationship. both of them accept that, and move on. frankly i'm delighted by how both wanmian and xiangyi were written together here and i hope eventually we can see them fully reconciled but as friends or allies in the future
#this#mysterious lotus casebook#I know many don't like this relationship#but i thought it was handled in a very refreshing manner#i just really really hope they don't go back on this development and have wanmian pining for xiangyi again in the future#<- op's tags: I will live in constant fear of this happening till the finale#lxy and qwm enjoying a working relationship as allies would be awesome#li xiangyi#qiao wanmian
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It's interesting that Kono in Hawaii Five 0 (2010) is closer to the original Danno (played by James MacArthur) than Scott Caan's Danny Williams. Both reboot!Kono and original!Danno are- younger/ relatively inexperienced detectives initially. Both are great surfers ( Kono was a pro while Danny was invited to judge a surfing competition at some point) , both are the resident sharpshooters (in the original 'Hookman' it was Danny who brought down the villain with his rifle whereas it was Kono in the reboot). Also, while Caan's Danny was a mainlander acclimatizing to the clime and culture of Hawaii, the 1968 version was born and brought up locally. Grace Park's Kono is of course a native Hawaiian.
#hawaii five 0#hawaii five o (1968)#kono kalakaua#danny williams#Original!danno kind of surprised me#he's so much... younger and quieter#The original Mcgarret is more like a protective older brother and mentor towards him
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