Let's Talk About How Book 3 Ruined Aang
If you've seen any of my prior ATLA posts, you know that I don't hate Aang. In fact, I quite liked him in Books 1 and 2. He was flawed, as all characters should be, but the show didn't shy away from those flaws or justify them. He was called out for burning Katara and rushing his firebending, Sokka and Katara were rightfully upset when he hid Hakoda's letter, he willingly owns up to the fact that his actions helped drive Toph away, and his entire arc after losing Appa and finding hope again in The Serpent's Path was beautifully done.
(Hell, even in The Great Divide Katara says what Aang did was wrong and he agrees. It's played for comedy, but the show still makes the effort to point out that what he did wasn't the right thing to do. You're just meant to understand that he was fed up and acted off of that)
Those flaws and mistakes were addressed and improved upon and helped Aang to grow as a character.
But for some reason, that aspect of Aang's character was completely flipped in Book 3.
The best examples of this are in both TDBS and EIP. Both the show and the fandom are too quick to brush off that Aang kissed Katara twice without her consent, one of which after she explicitly said she was confused about her feelings.
(And yes, she is angry in response and Aang calls himself an idiot. But after this, it isn't really addressed. They go on like nothing happened for the rest of the episode. Aang's lamentation comes from screwing things up with her romantically, not that he violated boundaries)
The show never really addressed why what he did was wrong. Not only because he wasn't given consent, but also because both times he isn't thinking about what Katara wants. In both instances, Aang is only thinking about himself and his feelings. This is something that persists through a lot of the third book. And by Sozin's Comet it ultimately ruins any character development he had built up in the second book.
One thing I feel was completely disregarded was the concept of having to let go of Katara in order to master the Avatar State.
For me, the implication wasn't that he had to give up love or happiness necessarily. He was emotionally attached to and reliant on Katara, to the point where she was needed to stop him from hurting everyone around him and himself. This is obviously detrimental to his functionality as the Avatar. And the point of him "letting her go" wasn't that he had to stop caring about her, it was that his emotional dependency on her was stopping him from being the Avatar he needed to be and that was what needed to be fixed. I don't even think it's about the Avatar State itself, it's about being able to keep your emotions and duty as the Avatar separate.
(If you look at Roku, he loved and had a wife. It wasn't his love for her that messed everything up, it was his attachment to Sozin. He wasn't able to let Sozin go and not only did he lose his life for it, the world suffered for it. It's the unhealthy attachments that seem to be detrimental, not love itself)
And Aang realizes that in the catacombs, which is how he's able to easily enter the Avatar State and seemingly control it. He let Katara go.
So then why does it seem like his attachment to Katara is not only stronger, but worse in mannerism? He liked Katara in Books 1 and 2- obviously- but he was never overly jealous of Jet or Haru. He only makes one harmless comment in Book 2 when Sokka suggests Katara kiss Jet.
But suddenly he's insanely jealous of Zuko (to the point of getting frustrated with Katara over it), off the basis of the actions of actors in a clearly misrepresentative play. Katara showed a lot more interest in Jet and Aang was completely fine with it.
(Speaking of EIP, Aang's reaction to being played by a woman was interesting. He wore a flower crown in The Cave of Two Lovers. He wove Katara a flower necklace. He wore Kyoshi's clothes and makeup and made a funny girl voice. He willingly responded to Twinkle Toes and had no issue being called that. And for some reason he's genuinely upset about being played by a woman? Aang in Books 1 and 2 would have laughed and enjoyed the show like Toph did. His aversion to feminity felt vastly out of character)
I guess my point is, why did that change? Why was Aang letting go of Katara suddenly irrelevant to the Avatar State? It felt like him letting go was supposed to be a major part of his development. Why did that stop?
Myself and many others have talked about The Southern Raiders. The jist of my thought process about it is his assumption that he knew what was best for Katara. And the episode doesn't really call out why he was wrong. Maybe sparing Yon Rha was better for Katara, maybe it wasn't (the only one who's allowed to make that choice is her). Pushing forgiveness? That was wrong. But the episode has Zuko say that Aang was right when the course of action Katara took wasn't what Aang suggested.
Katara's lesson here was that killing him wouldn't bring back her mother or mend the pain she was going through and that Yon Rha wasn't worth the effort. That's what she realizes. Not that she needed to embrace forgiveness. How could she ever forgive that? The episode saying Aang was right wasn't true. Yes she forgives Zuko, but that wasn't what Aang was talking about. He was specifically talking about Yon Rha.
And that was wrong. Aang can choose the path of forgiveness, that's fine. That's his choice. But dismissing Katara's trauma in favor of his morals and upbringing wasn't okay.
I know it sounds like this is just bashing Kataang. But it's not simply because I don't like Kataang, in my opinion it brings down Aang's character too, not just Katara's. But let's steer away from Kataang and Katara for a minute.
The one thing that solidifies Aang's character being ruined in Book 3 for me is the fact that he- at the end of the story- does the same thing he did in the beginning.
He runs away when things get hard.
Aang couldn't make the choice between his duty and his morals. So he ran. Maybe it wasn't intentional, but subconsciously he wanted an out. And this is really disappointing when one of the things he was firm about in Book 2 was not running anymore. His character went backwards here and that's not even getting into the real issue in Sozin's Comet.
There's been contention about the Lion Turtle intervention. For many- including myself- it's very deus ex machina to save Aang from having to make a hard decision. And that in turn doesn't reflect kindly on his character.
Everyone- Sokka, Zuko, Roku, Kyoshi, Kuruk, and Yangchen (who was another Airbender and was raised with the same beliefs he was and would understand which was the whole point of him talking to her)- told him he had to kill Ozai. They all told him it was the only way. And he refused to listen to any of them, rotating through his past lives until he was given the answer he wanted.
And before anyone says that I'm bashing Aang for following his culture, I'm not. Ending the war peacefully, in my opinion, wasn't the problem. In a way, I think it allowed the world to heal properly. However, that doesn't make up for the fact that Aang refused to make a choice and face the consequences of that choice. Instead, he's given an out at the very last second.
Even if he couldn't kill Ozai and someone else had to deliver the final blow, that would have been better than the Lion Turtle showing up and giving him a power no one's ever had before. It would have been a good compromise, he doesn't have to have blood directly on his hands but what needs to be done needs to still get done. It would also show that being the Avatar isn't a burden he has to bear alone. That when things get hard, he can't run away but he can rely on the people closest to him to help him through hard decisions.
All these issues aren't necessarily a problem with Aang. Aang prior to Book 3 didn't have most of these problems. This is a problem with the way he was handled
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Day of Black Sun Parts 1 & 2 Re-watch
I'm combining my thoughts on DOBS parts 1 & 2 because...Well, much like with my re-watch of 'The Beach' while I think we're looking at some of the show's strongest episodes, every scene has already been dissected & analyzed to death & back. So, I don't want to do that again.
Instead of doing a play-by-play reaction, I'll just talk about the stuff that stood out to me / that I really liked. I'm not the best person to analyze military plans or action sequences, but I really enjoyed all the battle scenes & strategic aspects of these episodes. (Although there are flaws in the invasion plan that those better at analyzing this stuff than I have discussed.) I feel like Sokka really got his moment, even though he's not good at public speaking - he even took charge when Hakoda was injured. +1000 iconic behavior points. Katara was also so brave for helping heal her father & I loved her bravery & supportiveness. +1000 iconic behavior points for her too.
Sokka also gets +1000 iconic behavior points for helping invent submarines. I think Sokka's engineering skills are his most impressive skillset. Oh, & I really love that Sokka made Appa armor - another +500 iconic behavior points! He's really wracking them up in this episode.
Azula continues to be a boss-ass bitch.
[id: Azula sitting on a throne, smirking. end id]
I absolutely loved the Sokka, Aang & Toph scenes with Azula. Azula is just so incredibly smart & good at manipulating people. She had everything mapped out. The only thing she didn't predict is Zuko's betrayal. I just fucking love her, she's so incredibly smart & badass. +3000 iconic behavior points.
Another thing that I really enjoyed was how Sokka just thought Toph was so fucking cool for getting them through the tunnels. And she WAS! +1000 iconic behavior points for Toph.
The last thing I'll talk about is Zuko's confrontation with Ozai. It was just an incredibly well-written moment & we truly see how far Zuko has come. His speech has been analyzed many times already but basically, I just absolutely love that Zuko finally understands the way he's been indoctrinated & the way that he was abused & he gets to confront his father & redirect his lightning. This is one of my favorite scenes in the whole show. +3000 iconic behavior points for Zuko.
The Gaang leaving the adults behind - especially Katara & Sokka leaving Hakoda behind - was such an emotional & painful scene.
These episodes are so strong & I think it's incredible the way they give a sense of hope even though this was a loss. I really do love this show & the characters with my whole heart. That's all I have to say for now.
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i have a request for roommate!spencer where he's just miserable that no one remembered his birthday at work but when he gets home his roommate just welcomes him with the most thoughtful gift and a warm hug PLEASE
thank you for requesting! <3 fem!reader
The lights are off. The air conditioning blows a shade too cold. Spencer shrugs off his jacket and acknowledges that, despite his awful, aching day, it’s nice to be home.
The living room is clean where it hadn’t been this morning when he left. If he had to clean it by himself, he’d die. It must’ve taken a good hour or longer, even the floor shines sparkling clean.
“Hey?” he asks into the open air, wondering where you are.
“Spencer!” you yelp from the kitchen, “Hey, what took you so long? It’s almost seven!”
He sighs to himself with a great dash of self-pity. “I know. Had to stay and finish something. You cleaned?”
“I had to! Quick, come in here, I need your help with something.”
He doesn’t want to help, he wants to lay down in bed. Spencer wonders how a normal person, a normal boy, would feel after a day like today. He wonders if Morgan would go home and lay in bed and cry. He wonders if it could ever be possible for everyone to forget Morgan’s birthday.
Spencer hangs his jacket on the rack and puts his bag by the shoes. He’s tempted to go to bed and pretend he hasn’t heard you, but he supposes he shouldn’t. He’d sort of been hoping you’d text him happy birthday, and but that never happened. He doesn’t think anybody in the world besides his mom knows what day it is today, and Spencer had to remind her, so.
“Spence,” you say, your smile of a calibre he’s never witnessed, standing in front of the kitchen island with your hands behind your back, “I hope you know I’ve been waiting two whole hours for you to get back. Actually, I’ve been waiting all day, but you can’t be blamed for working. Okay. Are you ready?”
“Am I ready? What did you want help with?”
You step to the side, grinning, the sleeves of your nice blouse like big, soft petals around your wrists and against your thighs. “Tada!” you say, guiding his attention to the silver platter on the countertop, a chocolate cake at centre stage and stuck with candles, flames aglow. “I rushed to light them when I heard the door,” you tell him, and he can hear your breathlessness now, your excitement for him evident. “A lot of candles, you’re getting old! Too old for chocolate sprinkle. I should’ve got you something sophisticated.”
“You got me a cake?”
“It’s your birthday,” you say happily. “Happy birthday, Spencer. I got you some presents, too, but the cake is the best, it’s from the Leaven. How fancy is that?”
“Will you sing?” he asks.
He doesn’t know why he asks. He’s mostly kidding, but you smile shyly and beckon him toward you. “I’ll sing. Come stand over here.”
You sing him happy birthday, and he blows out his candles, only ten candles altogether but enough to feel like a kid as the heat kisses his chin.
“Okay, and I got you this,” you say, finally pulling both hands from behind your back, seemingly eager to move the focus from your performance.
It’s a bundle about as thick as an average novel. He knows it’ll be books before he opens it, because you know him, and it’s in your nature to give him your everything.
He doesn’t look at them. He takes the package blindly and shoves it onto the counter, wrapping you in a hug so hard it makes your back click. “I’m sorry,” he says, but he doesn’t let go. You don’t make him. “Sorry, I just– I–” You’re the only one who remembered. “Thank you for the cake.”
You hug him not quite as hard, but tight. “Hey, it’s okay. I love you, you’re my best friend ever, you can pop me like a roll of dough any day of the week.” You might be exaggerating. Spencer doesn’t know. “But especially today, you know. You can have anything you want.”
Spencer should let go. Anything you want, you’d said. He hugs you until he’s sure you’re sick of him, your thumb pressing little circles into his shoulder, his arms tucked up under your armpits and around your back. “Thanks,” you murmur.
“What?” he asks. “For what?”
“For such a good hug. And being a great roommate. And for not complaining about the candles.”
“The candles are perfect.”
You lean back in his arms. “Thank you. Now what do you want first, cake or dinner?”
Spencer really wants another hug. “Um. Cake?”
“Good choice, handsome.”
His cheeks are pink by the time he gets a slice, but it’s the best birthday cake he’s ever had.
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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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