ron and harry are very much black cat and orange cat duo
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My curiosity keeps knocking, so I've gotta pull the thread. Why would you erase Joker from existence if you could?
I'll break it down:
1. The Joker has no point.
There is not one consistent message in The Joker. It's not trying to "say" anything at all, because it commits to nothing. Instead, it almost says several things. It almost comments on the haves versus the have-nots. It almost comments on mental illness. It almost comments on society's treatment of those with mental illnesses. It almost comments on the government's spending. It almost comments on violence and comedy. But everything it tries to comment on feels like a sentence that gets cut off at the halfway point; after telling you the bad news and promising good news, it fails to deliver.
I'll tell you how it does this. Arthur Fleck is introduced as mentally ill. (As in, there was a developmental problem with his brain chemistry that causes him to miss social cues and laugh nervously.) This means that when he is mistreated by background characters for "being different," the audience should start to feel sorry for him and consider how a mentally ill person should be treated. But wait. He's not actually mentally ill because of a diagnosable problem with his brain chemistry—he claims he feels clearer and better when he's off his meds. Add that to the revelation that he wasn't born with a brain-chemistry issue. He was abused by his mom's ex. So, maybe he's not actually "crazy." Maybe, he's seeing the world as it really is? After all, it's been dark and terrible for him since he was a child. Or no, because what about that laughing tick, that's not normal, right? And he's hallucinating a life with a girl he's attracted to, and believes it enough to walk into her apartment like that's normal. So is he crazy, or just the only one responding correctly to a world as dark as he is?
The movie won't tell you. It starts a sentence, then cuts off before any thought or truth statement can be completed.
The movie also sets itself up as if those who have should be taking responsibility for society's "have-nots." Or it starts to. Mr. Wayne is introduced as directly responsible for the hardship Mrs. Fleck has fallen into. He is Arthur's father, and should be caring for him. But instead, he beats up and ignores the guy most entitled to, and in need of, his help. Just like the way he ignores the poor people in his city, right? But wait. No. Maybe none of that is true. Maybe Mr. Wayne is entirely innocent of abandoning Arthur and his mother—this was all the delusion of a selfish drug-addicted woman, and the rumors she's spreading ultimately lead to the assassination, not only of Mr. Wayne's good character, but of his actual life. And his wife's. So is the character who has power and influence and badmouths the poor a portrayed in a negative light, or a positive light? Is this character a selfish rich person who cares nothing for those less fortunate than himself, or is he just one more guy who could've been good if others' cruelty (Mrs. Fleck's lies) hadn't pushed him "past the breaking point?" Does that justify his cruelty, if it's true?
Both. Neither. Nothing at all. The movie won't tell you.
So you can pick whatever ending you want. But. No you can't. You can't even do that. Because guess what? It's all in Arthur Fleck, inmate of Arkham Asylum's, crazy head. Maybe none of it was real.
2. The Joker is therefore only successful as a piece of entertainment.
Everyone could've guessed that as soon as they saw it was a movie about the Joker. Nobody needed this movie in any sense. We already know more than one origin story for the Joker, as a character. We've already done-to-death every interpretation of his craziness. Everybody knows who he is and what he's like. So obviously, this was just going to be entertaining.
That's bad enough. Stories are supposed to remind you of goodness, beauty, and truth. Why? I'm not going to dissect it because everyone can read the pinned post on my blog. But because: the world's dark enough already, and it's easy to lose your sense of goodness, beauty, and truth. A story, even if it's a tragedy, even if it has no "happy ending," can still take you out of your present state of mind, sit you down in a fresh state of mind, and remind you of truth. Being "entertaining" is just one of the tools that the story uses to take you there. Or it's supposed to be.
When you take the point, the truth, the message, the "theme," out of a story, then it's just the Romans distracting the populace with coliseum spectacle so they forget that they're losing money and wasting their lives. Woohoo. "Fun. Entertainment."
You can disagree with me about that if you want. You can believe, like many I know, "it's fine to just turn off your brain and be entertained! Not everything has to mean something! I bet you're fun at parties!" Okay, cool, so you like being entertained, and The Joker entertained you.
The problem is, what were you being entertained by?
Because:
3. The Joker increases an appetite for evil in the audience.
I don't care. I said it. It's painfully obvious.
First of all, you came here to what? Watch the bad guy lose and the good guy win? No. This movie's got no Batman. You came to glut yourself on two hours of the bad guy with no pesky good guy to share his spotlight.
Is that too harsh? Maybe you just came in expecting the Joker to be about how a good man goes bad. Okay. Uplifting. But sure, maybe a cautionary tale could be useful.
But that's not what you get with the Joker. We already established: there's no lesson, no point, to this movie besides entertainment.
And I don't just mean "aw booo, there was way too much icky blood and scary suspenseful music. Oh no, a movie about a villain had villainy in it!!"
Nope.
I mean, tell me why Arthur Fleck only has moments of peace and transcendence after he murders someone? Why's the sunlight warming him up, like a benevolent gift from the heavens, in the shot after he smothers his mother with a pillow? Why are those somber strings playing out a ditty he can "be himself" and dance to after he shoots three young men? Why is he only experiencing clarity after he kills?
Why are the most "interesting" parts of Joaquin Phoenix's portrayal the parts where the character is killing, stealing, or thinking about killing?
Why is so much effort put into telling the story as if Arthur Fleck is sympathetic, no matter which way you look at it? He only kills mean people. Except his mother. Oh but she was kind of mean, too. Never mind that whatever caused her to ignore, lie, and abuse her son was also played off, in the movie, like a mental illness. The very thing we're meant to feel sorry for Arthur about.
The movie won't tell you who's right or wrong. But it makes you see everything through Arthur's eyes, with nobody to stop him or correct him or offer a differing point of view—and that alone is dangerous. Your mirror neurons are going to make you sympathize with that main character, regardless of how heinous his actions are, when the storytellers are so careful to offer you all these reasons why his actions were "justified."
The Joker was invented to have a Batman. Introduce a villain—even a sympathetic villain—but you have to also introduce the opposite of that villain. It can be one line of dialogue; it doesn't have to be a hero. But you have to say something about the evil when it is represented. Instead of inviting everyone to feel for the villain...then leaving them feeling vaguely satisfied when he commits atrocities. They can't help it. It's the first time he's looked at peace, or in control of anything. That's how the movie is made.
So you're entertained by looking for a statement that isn't there—or by watching one man brutally slay five people, one of whom is his mother, because you were just so excited to see some blood, to see a man snap. Panem et circuses. At its finest. And you paid for it. Smart. Cultured, of you.
I'd wipe that movie out of existence and force the writers and directors to stare at a wall while sad violin music plays in the background for exactly how many days it took them to make that movie, if I could.
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God, seeing that montage of Carol, Kamala and Monica testing their power entanglement in The Marvels makes me wish we could have had a similar scene of Steve and Thor figuring out their shield/hammer combo attacks 😭 just the wholesome chaos of it all as they bounce the shield around the tower gym with the biggest grins on their faces
no becuase there's no way they improvised allll this 🤭 stevethor messing around with their shield and hammer and a move occasionally sticking is the cutest thought ever oh my goD
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As a fellow trans person, do you by chance have an up to date map of "safe states" in the US? bc as someone who lives in florida and is getting Very Concerned about my health and safety, i can't seem to find any that are more recent, and i don't trust trying to google that shit rn.
This is up to date as of April 2.
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if any new jersey friends want to disrupt another disgusting and shameless attempt to steal and sell Palestinian land, here you go!
https://twitter.com/Kahlissee/status/1772156728169124272?t=CtukwhXPIdJeaR2RP6bLDg&s=19
Thank you for sharing this! This is happening in a few days -this upcoming weekend (March 31st, 2024). For folks living in New Jersey, and are able to disrupt, resist, and protest -please do!
Update! (as of March 28th, 2024): They have moved this 'event' to online. We do not have the direct zoom link as of yet, and OP highlights being careful while signing up to prevent doxxing since more information is required to now sign up.
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I just love the way you draw Riza's eyebrows, like shiba inu spots above the eyes, that's cute 🥺
like mother like son..............
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I'm so tired of people saying that the Prince from Snow White is a creep for kissing Snow White when he thought she was dead.
People act as if he put his tongue down her throat while she looks like a regular corpse.
Maybe I'm just more comfortable with death because of my upbringing.
There's a European tradition that you would kiss dead people goodbye. You would also wait with a dying person because dying alone was one of the most horrible ways to die.
In Poland, you would spend three days with the dead body of your relative in the house so family and friends have time to say goodbyes. We even have pictures of family members in coffins, so we could remember them.
Yeah, it's a very post-modern, historically, culturally-small-minded way to look at it.
Specifically in this movie (which is a fairy tale's fairy tale) people just...totally ignore the scene where The Prince is introduced.
Seriously and truthfully, BECAUSE the Prince only takes action in three scenes of the movie, you HAVE to take all three of them very very seriously. Because thats all there is to know about him. That's how fairy tales work: lots of information hiding under very brief, simple snippets of information. It's called nuance.
Anyway.
The Prince kisses Snow White as a culmination of their promised love for each other.
First scene he's in, he falls in love with her because of her obvious purity and he overhears her longing for someone to love her. Then she runs away because she's not sure of him, and doesn't know him. But he sings his part of the song, which is all about how he has just one heart to give, one devotion to spend, and he's choosing to give it and spend it on her if she'll have him.
And she will have him. How do we know? She sends a kiss to him on the dove. That's how the exchange ends; that's how she responds, and that's why he leaves satisfied. It's their engagement scene. They're promising their hearts to each other.
Fast-forward, the Queen messes up what might have been the natural follow-through of that engagement which is marriage by trying to kill Snow White, she's living in the woods, but she won't forget the Prince and wholeheartedly believes he'll come find her.
And the very next thing we hear about him is that he keeps his promise. He's got one heart, one love, one devotion, and it's promised to Snow White, and he will not stop searching for her. When he finds her, he's returning her kiss from their engagement scene. He thinks she's dead, but he has to finish his quest anyway. This is him, trying to keep his promise even if she's dead; he's trying to fulfill the exchange they had when they saw each other last.
It's ridiculous to assume that she needed to be awake and alive to give permission for him to kiss her; it's ignorant of the whole relationship, symbolic and literal, between these two fairy tale characters. She already sent him her kiss and her heart; he already promised to claim it; he's fulfilling the promise in that scene.
Crazy postmodern people, don't know how to take in a story. Not everything gets to have your socio-cultural lens imposed upon it.
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Hey! I have to ask because you seem like a good resource, I have never had a PIEROGI before, and want to know if you have any good recipes for them?
PIEROGI RECIPE from my babcia
ingredients:
10 medium sized potatoes
250g curd cheese, or a mix of ricotta and cream cheese
1 large onion
salt and pepper
sour cream, butter, & bacon to serve
and, for the dough:
4 cups white plain flour
approx 1 cup of water
tablespoon of olive oil
(or you can buy round dumpling sheets from asian supermarket if lazy)
TO MAKE
peel, cut and boil potates until cooked
chop your onion finely and caramelise it in a bit of oil.. don't let em burn or they'll taste bitter
mash your potates and cheese. add the onion, salt and pepper, and mix very well. cover with glad wrap and set aside
in a mixing bowl add your flour and salt to taste. start adding the water or oil until you have a dough you can roll out very thinly
put a large pot full of water to boil, add one tsp of salt & a glug of cooking oil to stop the sticking
knead your dough a few times til it becomes elastic and easy to work with
lightly flour your work surface and, with a rolling pin, roll the dough as thin as possible, like 1-2mm. the thinner you can do this the yummier the final result, but work within your comfort zone, as you don't want the pierogi to split when boiling
use a glass to cut circles out of the dough
placing the circle of dough in the palm of your hand, stretch slightly and add a heaped teaspoon or more of the potato/cheese mixture. yummy!
stretch the dough around the mixture to seal into a dumpling, and place them on a floured plate
when you're ready, boil your pierogi about 5 or 6 at a time, making sure they don't stick to each other or the pan. boil til they float to the surface.
pull them out with a slotted spoon and lay them on a draining board to cool
congrats! you have make delicious pierogi ruskie. you can eat them straight away, but i loooove to fry them all crispy in oil and butter... i hope this brings you so much love and dumpling
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I’ve seen Palestinians refer to their homeland as Occupied Palestine and “Israel” as the occupation, to better illustrate the settler colonial history of “Israel” and deny it legitimacy. As “America” is also a settler colony, would it be accurate to refer to the so-called “USA” in general as Occupied Turtle Island/the American Occupation or is that terminology specific to Palestine?
Turtle Island is the name given to North America by the Anishinaabe, though it's certainly not the only indigenous name. The Anishinaabe/Ojibwe/Chippewa just happen to be one of the largest native group so a lot of our terms are more easily popularized.
And I'd say yes and no as for it's accuracy tbh.
Like with Palestine, you have to be Very Clear when differentiating the people of Turtle Island and our wants from the US government and the people who support the US government.
You can't support Palestinian liberation and the existence of the state colonizing them. In the same way you can't claim to support Native liberation and Turtle Island but still want to remain our colonizer.
It's one thing to say you support native sovereignty, it's another entirely to realize that support in practice would mean calling & working for the US to be dismantled; it means Choosing to be a person from Turtle Island instead.
So yes, call it Turtle Island, but say it with the understanding and gravity of it.
Start by learning 5 medicinal plants and 5 edible plants in your area, figure out how you can support local tribes. Learn how to be from Turtle Island instead of the USA. Find values and principles to believe in that are your own and not just moralized propaganda.
The less dependent you are on the US, the less freedom you realize you have within it.
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with your "WHY do you want to look masculinized and have a deeper voice?" point, i keep hitting the road block of "because im a man" and im not really sure what to do with that. it seems almost innate to brain that im a guy, its just there like a building block to everything else- i feel like i cant get past it? why cant women be masculine?-> they can but im not a woman -> you where born a woman-> yeah but im a man , its literally just that again and again and im not sure what to do ?
i know dude, but—and i mean this gently—it’s not innate. that thought springs from conditioning, my best guess is from living in a society that hates and ridicules women, especially masculine women. and since YOU don’t hate masculine women, it’s fine for other women to be masculine, but your little sponge of a brain has been absolutely steeped in the message that masculine women are [take your pick of negative descriptions], so that’s why it defaults to “but not me, tho; i’m actually a man.” the implication being that your secret man status absolves you from the societal embarrassment of being a masculine woman.
and maybe transition will insulate you from the overt hostility and abasement of being a masculine woman in this culture—as long as you convincingly imitate being a man. and that “as long as” is a very heavy burden to carry. i do not recommend it. but that insulation will also cut you off from real authenticity, connection to people who are actually like you, a self-congruous life. helluva bad trade imo.
so wanting a deeper voice and a masculinized body? of course you want that, that’s the necessary camouflage upon which your entire self-deceiving identity construct is predicated.
there is no man-essence inside your female body waiting to get out. there is only accepting yourself as a woman or pretending you’re not; there is no third option where you either somehow ARE or BECOME a man. that won’t happen.
so do whatever you will, act however you act. i say none of this to stop you from transitioning—i am not invested in your individual life trajectory—whether you transition or not, all of the above is and will remain true, and that’s up to you to reconcile however you choose.
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I too ship Zutara and think they should have been canon. Although for me it's important to know how such a rewrite would go down. I tried to think, and I'm lost.
After Mai betrayed Azula for him, will he just go "sorry, not interested"? He isn't obligated to date her because of this, but her redemption hinges on Zuko and I don't see it being satisfying if he ends up rejecting her after this.
I thought the solution would be to rewrite her arc in boiling rock to make her have a moral realization, but then the problem with Maiko is practically solved. Their relationship wasn't salvaged by her redemption because last time they talked, Mai still didn't understand what's wrong with the Fire Nation and only changed because she loved Zuko. So how do you make it both satisfying & logical?
With Kataang the problem is the Chakras. The problem with the original (in my opinion) is that after he opened his chakra, letting go of his attachment to Katara, he's still attached (forcing a kiss on eip). Should TCoD get rewritten so that Azula shoots him before he opens it? Then why wouldn't he just open it later? Maybe the chakra would be locked so he feels as though he doesn't need to overcome his attachment just yet. In that situation, how would his chakra even unlock? The stone thing felt like nonsense, so how would I do it?
So yeah I have no idea how to approach this. How would you? (Thanks)
I've been rotating this ask in the back of my head like a rotisserie chicken for a few days--it's interesting because I don't generally stop to think like, how would I write them out of these relationships, I either ignore the relationships completely (which isn't hard, they were barely footnotes in the cartoon) or play a little bit with jealous exes or something. Thinking about like, In A Perfect World where Bryke wasn't in charge of ATLA post-canon (because if zutara had been canon, you can be sure they would've made us regret it) is interesting, and I do have thoughts on how I'd handle their relationships in a rewrite.
(this got long, so the rest is beneath the cut)
Assuming you mostly want to keep canon intact, I think maiko would be the easiest to work around, given how little relevance their relationship has in canon. The problem with maiko as an endgame ship is that it was not set up that way--if it had been, it would not have begun entirely off-screen and their whole relationship would not have been a study in misery and utter inability to connect emotionally. His relationship with Mai was there to showcase just how much he had changed and how little he fit into the life he had been so sure he wanted more than anything since his banishment. It worked very well to highlight Zuko's growth--how that contrasted to Mai's lack of it and why she could not understand him even at his most open and vulnerable--and did not work nearly so well when she was shoved back with him in the epilogue, after he'd quite literally forgotten her existence (he never mentions her again after Boiling Rock, not even to say a word of mourning, considering he'd have every reason to believe she was killed for defying his sister).
I don't think you can fix this by giving Mai some moral realization, because there simply is no room for it. As @araeph says in the essay I linked:
As a character, Mai is very useful to the story during Zuko’s return, because she represents everything that Zuko gains by sticking by his father. A girl who cares about him; the ability to indulge her; the authority he has over others at the palace; we see it all in his interactions with Mai. But this makes Mai a tether to a life he has long outgrown. Her function is not to advance Zuko’s character development, but to obstruct it, which also unfortunately means that Mai gaining a full understanding of Zuko’s trials would be disadvantageous to the story. If she knew everything about him and still wanted him to stay, it would give Zuko more cause than he should have to remain in the Fire Nation, but if she knew and encouraged him to leave and join the Avatar, it would rob Zuko of the triumph of making this decision on his own. In other words, there are good narrative reasons for keeping Mai in the dark; it just doesn’t make their relationship any stronger.
The seeds of a genuine redemption arc (one that includes some sort of moral realization and change to her moral framework) for Mai would have to have been planted far earlier than five episodes from the end of the series, but doing so would have of necessity detracted from Zuko's own character arc and the realizations that he makes despite his attachment to Mai (or more specifically to their relationship, which I feel like he was clinging to more out of a sense of abject loneliness he couldn't shake rather than genuine feelings and emotional connection).
So, in my mind, since we're tackling this with an eye towards getting rid of maiko with the fewest ripples to the overall story anyway, the easiest way to do this would be make one slight change to the end of the Boiling Rock two-parter--have Ty Lee (who had always been the least gung-ho of the trio about bowing to Azula's whims and had to be textually threatened into joining her in the first place) save Zuko's life, and then have Mai (who showed the most genuine affection for Ty Lee anyway) save Ty Lee. I love Zuko more than I fear you always fell flat for me as some epic declaration of love, anyway, since a) Zuko is not around to hear it, and b) unlike Ty Lee, she never showed much fear of Azula to begin with, so it wasn't a very high bar to clear. It was a cool line that was entirely unearned, and I don't think it would be missed, there would be some cute mailee crumbs this way, and a throwaway line of getting them released from the prison after the war ended could wrap up their presence in the story pretty nicely.
Now, kataang is a little trickier, if only because the last leg of Aang's character arc is almost completely derailed by his refusal to let go of his possessive attachment to Katara, to the point where he never naturally reopens his chakras, he has to have the Rock of Destiny hit him in just the right place, and the deus ex lionturtle there to give him a way out of having to make a hard moral choice. (I've maintained for years that if you work the final act of your main character's overall arc in such a way that it could have been solved by one good session with a chiropractor, something got fucked along the way.)
The thing about Aang's chakras is that, narratively, his whole thing with Guru Pathik and leaving his training early to save his friends was basically his version of Luke running away from his training with Yoda on Degobah because of his Force vision, only to find out that his friends were in the process of rescuing themselves and then losing his hand because he hadn't completed the most crucial part of his training. What's missing, therefore, from the last act of Aang's character arc, is the return.
See, in Star Wars, Luke pretty explicitly makes the wrong choice when he chooses to prioritize saving his friends over attaining enlightenment and fully mastering the Force. It was the only choice he could have made, but it was still the wrong one--because, like Aang, his friends did not actually need him to save them, he actually almost makes it harder for them to get away by requiring them to save him because, like Aang, he loses a battle in a very critical way. This was a lesson he desperately needed to learn, and it is clear he has learned it by the time he makes it back to Degobah and witnesses the end of Yoda's life, his own enlightenment having already been reached.
But Aang never goes back to the Guru.
And the text refuses to allow us to sit with the fact that he made the wrong choice in prioritizing his attachment to Katara over his ability to master the Avatar State. He is actually narratively vindicated about it, because the plot bends itself into a pretzel so that he doesn't have to spend any time during the last book trying to reopen his chakras and regain access to the Avatar State, handed both in the final battle with no excess effort on his part, and handed the girl into the bargain. (The girl who never even wanted him, so far as we can tell from all the lack of cues she gave him that she actually returned his feelings.)
And I think this could have been solved with a few scattered scenes. Let Katara actually have some agency in her own romantic relationship (or lack thereof), insofar as noticing Aang's advances and clueing the audience in to how she actually feels. Let Aang struggle with the fact that he can't reach the Avatar State, that his mastery of the elements is in limbo because he can't access his full power, rather than ignoring all of this until the end of the show. If we're trying to keep the shape of the last season roughly the same, let Katara confront Aang about the invasion kiss.
This would have been the perfect time to establish that Katara actually does feel some type of way about Aang prior to the epilogue, and it could have saved us from the exceedingly cringey EIP kiss that Aang never apologized for. How it comes across now, of course, is that Katara basically pretends it never even happened, to the point where she doesn't even know what Aang is talking about during EIP until he reminds her--the death knell for any shot their relationship had at looking requited, because I can tell you, as someone who's been a teenage girl, if someone I had conflicted but burgeoning romantic feelings for had kissed me, I would not have completely forgotten about it only a few weeks later--and we never get any indication as to what she actually felt about the kiss (which was not mutual, despite what Aang's dialogue in the EIP scene implies) except for the fact that she looked away and frowned afterwards. (A change mandated by Bryke, who wanted to leave her feelings completely ambiguous; the original storyboards had her smiling to herself.)
So, with an eye towards wrapping up Aang's puppy love crush and establishing Katara's distinct lack of romantic feelings for him, have her talk to him about the kiss. A good frame of reference for this would be Meng's conversation with Aang in "The Fortuneteller", where she finally realizes that he doesn't like her in the same way she likes him. Katara and Aang's conversation about the invasion kiss could be a callback to this, with Aang having some important realizations--that just because Katara doesn't share his feelings doesn't mean she loves him any less, and just because he can't have her the way he wanted doesn't mean he has to love her any less, that she doesn't belong to him but that's ok, because she's still his family and they'll always have each other's backs. Which could have functioned well in helping him take another step towards unblocking his chakras. Going back to the Guru directly may not have worked, since by this point in the story we're hurtling towards the final confrontation and Sozin's Comet, but let Aang reflect on what the Guru told him with new understanding granted him by his experiences throughout the first half of the season.
To keep the stakes high and up the suspense, obviously, he shouldn't have fully unlocked his chakras and the AS before the final fight, but the seeds could be planted--little moments like a talk with Katara about the invasion kiss, maybe a little more empathy and understanding from him about why Katara needs closure in TSR, etc--and then, during the final fight, rather than hand him all the answers on a silver platter, have him almost lose. He still can't go full Avatar, he's out of time, he still doesn't know exactly what to do about Ozai given his own pacifism and desire to preserve that part of his culture--he tries to fight but he's pretty quickly overpowered. Idk how I would've animated this, and maybe it wouldn't have looked as cool for the final fight, but the true climax of the finale was the Zuko and Azula agni kai anyway, so it hardly matters--I'm picturing him doing the rock-shield thing and going into a brief meditative state, where he finally achieves the enlightenment necessary to unlock the AS on his own, no rock of chiropracty necessary. And at this point, I'd give Ozai a Disney Death, since leaving him alive causes more problems than it solves and it's not necessary for Aang to kill him for him to die--they're fighting on a mountain ffs--but if you don't want to change that part then him figuring out energy bending as part of becoming a fully realized Avatar would at least feel more earned than the lionturtle just handing it to him. (And that could've been foreshadowed better by seeding the idea for it earlier in the season.)
After all of that, particularly if you up the emotions during the agni kai and have Zuko and Katara kiss there (or something less explicitly romantic but still tender, like a brief forehead touch), it'd feel pretty natural to have a just friends ending for Aang and Katara. Maybe a brief, slightly awkward but ultimately amiable conversation if Zuko and Katara had a ~thing at their final fight, and then the final shot of the series could be the gaang all together, maybe zutara holding hands or Katara resting her head on his shoulder or something, but since they already kissed there wouldn't feel like a need to end the whole show on romance, something which I've always felt missed the point of the series.
And then, y'know, after that, the world's your oyster! This is how I'd do it if I were trying to keep the bulk of the final season intact. Of course, breaking it all down to its component pieces and rebuilding from the ground up is also an option, but that'd probably be a longer post lol.
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Skizz might be joining Hermitcraft! If you go to Impulse's vod from today (Retro Console Gaming Couch Stream) and go to 3:1:42
November 18 👀
AYO??? SKIZZ ON HERMITCRAFT SOON??? PLEASE GOD LET IT HAPPEN
clip for anyone who hasn't seen it
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