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masterofdeath · 3 years

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HARRY POTTER’S NATAL CHART.

5:00 PM | JULY 31, 1980 | GODRIC’S HOLLOW, UK.

OVERVIEW

Harry is a triple fire sign, signifying someone with an abundance of creativity, courage, loyalty, and strength. Harry’s Aries Moon trining his Leo Sun explains why he is so often singled out for a leadership role, even before he would readily nominate himself for the role. It suits him, naturally, and is obvious to those around him. This fire primes him to be someone of action, with little patience for lies, Harry actively seeks the truth and doesn’t readily accept authoritative roles telling him no. In fact, he isn’t very inclined to follow rules at all. And while he may be dynamic, triple fire also leaves a path towards a lazy streak, something that crops up particularly in school. He’s not suited for a classroom setting, even when quite competent in the more physical demands of the wixen world.

SUN | LEO, 8°34'44" | EIGHTH HOUSE

The Sun determines conscious self, identity, and “role” in life. In many ways it is the core of who a person is, and what they most readily identify with. Harry’s Sun is in Leo, meaning he is fundamentally bold and proud. For the most part, he is self-assured in his abilities and how to use them. Harry’s honesty and refusal to compromise himself, coupled with an inability to give up on goals ( or fixations ) make him a natural leader. Occasionally this commitment to honesty can seem overly hardheaded, domineering, ostentatious or patronizing and we have seen instances in which he is at risk to lose the goodwill and admiration even from the people he trusts the mosts. ( This becomes most evident in his pursuit of the Horcruxes. )

The placement of Harry’s Sun in the eight house also indicates that he runs the risk of being fueled by a desire for revenge. It’s a tricky balance to ensure he is not building his entire identity around this driving force. The Scorpion streak also indicates that Harry tends to be secretive, and while it means his emotional depth is beyond the typical Leo it also gives way for him to self-isolate in pursuit of his highest goals.

Finally, his Sun is placed in the eighth house of death and legacies. A certain pull towards the afterlife is present throughout his life, marked initially by his first encounter with Voldemort. He’s born under a “lucky” ( read: prophesied ) star, indicting that he not only comes into great fortune - in fact, being a recipient of two but also a great legacy from the dead.

ASCENDANT | SAGITTARIUS, 9°14'59" | FIRST HOUSE

The Ascendant is the “mask” which is presented to people, the first impression typically falls in line with this. Harry’s Ascendant is in Sagittarius, he can come across as independent, optimistic, and confident, though sometimes overly blunt or critical. Generally a charming conversationalist, your free-spirited approach may come off as restless or easily bored. Sagittarius on the Ascendant also adds a certain risk-taking quality to Harry’s personality. When in pursuit of something he truly believes in, Harry is willing to lay it all on the line. Whether it be bodily harm during a Quidditch match, or his life while attempting to defeat evil as he sees it, Harry doesn’t often hesitate to do whatever it takes.

Sagittarius’s ruling planet ( Jupiter ) in the analytical sign of Virgo indicates that Harry’s mind is quite capable of detailed thinking, particularly when there is a mystery to solve. Without physical endeavors, Harry can become quite restless. There is also indicators of a deep inner life, leading way towards in-depth fantasy worlds or vivid dreams. ( Both of which are extremely prevalent in Harry’s life ). He can feel trapped, often, and really dislikes feeling helpless or aimless. He likes freedom of choice, and enjoys being outdoors. He’s also more inclined to be attracted towards physical / outdoor sport.

It also shows a sense of humor that leans toward the sarcastic and cynical end of the spectrum. Despite more introverted tendencies ( and inclinations ), Harry does enjoy socializing and in fact can get quite a great deal out of it. His preferences toward socializing with a selected few are exactly that - Harry enjoys being with people he knows will be honest with him, people he can trust. ( More on that in a second ).

MOON | ARIES, 0°40'34" | THIRD HOUSE

The Moon rules emotions, moods, and feelings. It reflects personality when someone is alone or deeply comfortable. Harry’s Moon is in Aries, meaning his emotional self is independent, energetic, and enthusiastic. He has a tendency to feel inadequate and being it is in his third house, he finds security and safety through the things he knows and is familiar with. ( Most notably his affection towards Hogwarts, despite it quite literally being a place fo death for him. )

High-spirited and courageous, Harry is a fighter. The degree of drive that Harry brings to any effort sometimes surprises others. He operates, more or less, on a hair-trigger reaction to certain stimuli, which sometimes means he acts in the heat of the moment which isn’t always the best thing. Similarly, Harry has a temper but rarely holds grudges. Very independent, with an extremely strong and forceful personality, he is known for being impulsive, careless, reckless, foolhardy, rash and daring.

MERCURY | CANCER, 19°11'26" | EIGHTH HOUSE

Mercury determines communication and the processing of information. It also indicates the way he learns. ( It is the mind’s planet. ) Harry’s Mercury is in Cancer, meaning his intellect is emotional and empathetic. He has a strong intuition and ( at times ) skill for diplomacy, but ( more times than not ) he tends to favor volatility and irrationality. Co-Star in particular came through with a good read, “ Sighing is a favored mode of communication. ”

Harry has difficulty seeing life objectively, his emotions ruling his thought processes. Harry’s rich inner life points towards having an excellent memory, especially when he has emotionally bonded with such a memory. He would do well to make his decisions with a clear-mind, but Harry’s restless nature rarely allows that. Mercury’s position also indicates that however confident, however popular, however brave Harry becomes a portion of his thoughts will always dwell on his losses.

Harry’s life is not dictated by sadness, however. He does have a tendency to brood, but his emotions usually feed into direct action. It lends to a certain sensitivity in him. Harry is kept from becoming too arrogant or power-hungry due to his attentiveness to others and care for their feelings. He possesses a very Cancerian need for a home and family, which explains why he loves staying at The Burrow. Harry desperately needs to feel familial warmth and acceptance, and Mercury’s link with Uranus in the eleventh house proves that the answer to Harry’s need for family can be found in his friends, who have become his surrogate family. This also indicates a willingness to befriend unusual or unpopular people and remain loyal to them, perhaps acting on a deep “misfit bond.”

VENUS | GEMINI, 25°40'6" | SEVENTH HOUSE

Venus determines indicates how affection is expressed and what qualities are sought after in a partner. Harry’s Venus is in Gemini, meaning his romantic side is dynamic, curious, and easily bored. He is drawn to wit but his near-blunt honesty finds hesitation in being forthcoming about his feelings for people. It’s in his seventh house, meaning love is usually expressed in close relationships and long-term partnerships. Harry is friendly, warm, open and tolerant toward others. He is also very witty and humorous, and he is able to amuse and please others especially those he shares a similar sense of humor with. To put it out there : he is very crushable.

What Harry seeks ( read : desperately needs ) is a stable influence to love him and be the recipient of all the love he has to give in return. However, given Pluto’s influence on Venus he’s is not likely to date around in pursuit of the right partner. Although men with Venus in Gemini can tend to casually date many different partners, the rest of Harry’s chart shows a bone-deep sense of loyalty and how serious he is about love to ever dole out his affections frivolously.

He is drawn toward assertive, spirited, and active ( read: jocks ) individuals. He prefers someone who is straightforward with their feelings and intentions, especially in an area where he feels most vulnerable and anxious. Harry craves long-term commitment and stability, so often riddled with social insecurity though it presents itself as being aloof rather than shy. He is endowed with innate charisma, so while people are often drawn to him he sometimes feels at a loss with what to do next. Mars in Libra gives us a hint that Harry is just not as aggressive in his love life as in other areas.

MARS | LIBRA, 12°7'36" | TENTH HOUSE

Mars is the planet of aggression. It determines how Harry asserts himself and how he presents himself when he’s angry. Harry’s Mars is in Libra, and while it may take him a minute to make a decision he often asserts himself in a way that is fair-minded and relativistic though he does trend towards being passive aggressive. It’s in his tenth house, meaning you put a lot of energy into goals, success, and responsibility. Mars is concerned with fighting unrelentingly, while Pluto presents it own formidable areas of focus. Paired with Mars in the tenth house, Harry’s status of “ Chosen One ” actually isn’t all that surprising. This placement also enables Harry with the determination to see this particular destiny through to the end, and makes him apt at handling the pressures he’s so often saddled with.

A Libran influence of harmony and kindness is bestowed upon this aspect, pointing towards Harry’s true nature. Harry’s temper may cause him to have ( occasional ) vengeful thoughts, but he is much more inclined to settle on more peaceful ways of resolving conflict. He seeks out cooperation, and thrives in a collaborative environment. Harry is drawn to finding new evils to conquer, meaning even in post-war life his sense of destiny will never truly be fulfilled. Harry is someone who will always be willing to fight for what is right, and given his aversion of holding / seeking power he is not at risk for being swayed towards a more tyrannically / murderous approach.

With Venus, Harry really does have love on his side, and his willingness to fight is his ultimate love language. Harry’s life’s work will always be viewed as being a labor of love, never of hatred. He seeks out friendly competition, very much enjoying the benefits of it. Harry has the ability to sense injustice and the desire to take corrective actions to make proper compensations. All in all, Harry’s approach to conflict is very even-keel, surprising for someone so driven by emotion.

JUPITER | VIRGO, 11°34'27" | NINTH HOUSE

One of the two social planets, Jupiter rules idealism, optimism, and expansion. It’s also very philosophical. Harry’s Jupiter is in Virgo, meaning he grows and finds understanding through careful thought, goal-setting, and hard work. It’s in his ninth house, meaning he finds success through the creation of meaning, rather than simply contemplating it. Again, with any relationship or social-leaning, Harry is drawn towards action as his language.

He feels most at ease and content with himself when he is doing something that he considers practical or useful. Responsibility, for Harry, brings about a certain amount of comfort in believing he is not burdening those around him. Harry is often disappointed when he is not trusted with enough responsibility and will even take on tasks that others seem to avoid. He demands very little for himself in life, and needs to be careful to temper his guilt over anything he can deem as too self-indulgent.

Harry is an analytical thinker, on a broad level. His function within his core relationships is typically to be the one who keeps his eye on the larger goal at hand, and as such Harry can often be looked to when people need guidance or direction in their lives. Harry’s ability to think deep and remain general optimistic about those around him allows him to see good in people, and he can often be a guiding force towards setting them on the right track ( even better, he can do this without even realizing what effect he has had ).

SATURN | VIRGO, 24°1'34" | NINTH HOUSE

The other social planet, Saturn rules responsibility, restrictions, limits, boundaries, fears, and self-discipline. Your Saturn is in Virgo, meaning you struggle with perfectionism, a critical eye, workaholic tendencies, and your need to be pure. It’s in your ninth house, meaning you have had difficulties with the creation of personal meaning.

Your life must be orderly and practical and full of known and familiar routines in order for you to feel comfortable with yourself. Be careful, however, not to let “order” become the be-all and end-all of your life, or you may become cold, crass and unfeeling. Doing useful, practical things boosts your self- esteem. Abstract concepts and reasoning seem frivolous and a waste of time to you. You are very critical of yourself (and others), indeed at times quite self-deprecating. Try to relax a bit and allow yourself the freedom to fail once in a while. However, you probably won’t fail very often because you are such a perfectionist.

URANUS | SCORPIO, 21°30'5" | TWELFTH HOUSE

Uranus stays in each sign for seven years, meaning it rules a generation more than a person. It rules innovation, rebellion, and progress. Harry’s Uranus is in Scorpio, meaning other generations are shocked by his peer’s intensity, passion, and hunger for power. It’s in his twelfth house, meaning that for Harry, this manifests in rebelling against dated expectations ( particularly around secrecy ).

Harry’s generation demands to confront life at its deepest and most meaningful levels. Harry tends towards being compulsive and obsessive in just about everyone, but through this he is unwilling to accept anything that is casual or superficial ( again, circling back to relationships ). This also means this generation will seek out and explore new methods of healing as well as different ways to deal with deep-seated emotional problems. Perfect for post-war healing.

NEPTUNE | SAGITTARIUS, 20°9'21" | FIRST HOUSE

Neptune stays in each sign for around fourteen years, meaning it again rules a generation more than a person. It also rules dreams, imagination, and the unconscious. Harry’s Neptune is in Sagittarius, meaning his entire generation finds inspiration through its expanded horizons, a desire for freedom, optimism, and curiosity. It’s in his first house, meaning that for Harry, this manifests in your ideal ( verging on unrealistic and impractical ) about his dreams, inner life, and self-image—and, because it’s his first house, his Neptune in Sagittarius is hyper-present in your personality.

Harry oftentimes found himself disappearing into a rich inner world through the various traumas of his life. It is hinted towards this being a key factor in what allowed him to cope, in any regard, to the abuses he faced as a child. However, this can also get away from him. Harry’s dreams and desires so often get tangled up that he mistakingly takes them as truth and finds himself wishing for the impossible, being let down when it doesn’t come to fruition. Despite all other evidence, Harry believes James was the one who saved him in Prisoner of Azkaban. His momentum and forward-thinking allows him to save himself at the last minute, but this sort of wishful thinking never exactly goes away.

Harry, and his entire generation, will be at the forefront of humanitarian attempts to improve the lot of those who are in need of assistance. They are comfortable with the idea that progress takes the work of groups, and so he finds himself in the company of like-minded peers throughout his life.

PLUTO | LIBRA, 19°16'21" | TENTH HOUSE

Pluto stays in each sign for up to thirty years, so it again rules a generation more than a person. It rules power, intensity, obsession, and control. Harry’s is in his tenth house, meaning he and his peers are fixated on transforming outdated definitions of success and responsibility.

#i had to repost because the read more was being a little bitch #anyway i'm sorry i missed the start of leo szn but here here is #triple fire sign potters only #study.#headcanon.#please don't steal this one thing from me okay i barely understand this shit and it took me so long to do

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flowerflamestars · 3 years

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I'm in a very angry-with-the-IC-and-Rhys-in-particular mood, and since I'm just rereading Daylight I was wondering, what is going through Rhysand's mind throughout the events of Daylight? Because it's basically his entire life CRUMBLING around him and I'd love to see the mental gymnastics he does to fit it all into his "I'm the good guy, actually" narrative. Or just his general reaction.

this is a FABULOUS question, thank you!

Daylight! Rhys is, in my opinion, the closest to a canonical (pre-acosf) character representation that I go for. He's so SO fucked up, and sublimating and burying all that trauma has, of course, failed, and it's all manifesting, in all these different directions.

To understand the level on which Rhys is losing his shit, it's important to go back to the very beginning: Rhysand, to Rhysand, is always, always the hero of the story. The down on his luck knight with truth in his heart. The struggling, just man.

He CANNOT seeing beyond himself for even a second. He casts himself in the most important role, as the only person whose personal consequences exist.

His mother, at probable great risk, takes him to Illyria to be trained- the precious, first-born, godly son of Night. To learn to fight- to learn, presumably, her culture- to see what that culture is reduced to, a harshness he will on day have the power to change. Rhys had to be, at some point, a great hope for Not High Fae denizens of the Court.

What does Rhysie learn? Illyria is harsh. Illyria is bad. Backwards and cruel.

He hates his father for...presumably, the crime of being a pretty traditional High Lord? Rhys hates the cruelties! the Court of Nightmares! the broken system!

So what does Rhys do when he has power? he fires everyone. He doesn't like them, he doesn't like whatever they did under his father...so instead of hiring new people, he removes himself entirely from a potential role in changing/mitigating those policies. See also: the Court of Nightmares, cowed occasionally, but not in any way governed by Rhys.

But he's the hero! He's destroyed the oppression! His Court of Just his Bros is made of women and Illyrians!

(Rhys removed the terribleness from his direct experience...because only his experiences matter)

So, Rhys in his head: the struggle, the hero, the man just trying to do it right.

Which brings us to Daylight....and Feyre. I know we can attribute the way the characters stop even remotely being sympathetic between acomaf and...everything else...to poor writing, but I also think there's some (maybe accidental but PERFECT) character work there: in acomaf, pre-acknowledged bond, Feyre is an important possession/ally- she's on the same level as the other members of the Court of Dreams, if the jewel of the collection, a high point in the story Rhys tells himself: HE saved the HERO OF PRYTHIAN

(which...let's not even touch on the fact that the deal he makes in acotar is CREEPY and he can only justify it later. she wasn't someone he wanted to work with in acotar- she was a vulnerable, hot young woman he fully took advantage of)

And then they're mates.

And then, slowly but surely, Feyre's personhood disappears. For two reasons: 1) Feyre is on a pedestal so sky-high it blots out everything. Good, pure, true hero Feyre whose adoration Rhysand needs like air. the happy end of his story, the prize and the salvation, the one who sees him.

and 2) ultimately, to Rhys, Feyre is an extension of him. A symbol: his happiness, his peace, his endless power, what he fought to keep.

She's his whole anchor staying sane, which isn't great, considering...ya know, everything. But the Story is Over. They are Happy.

Except- except- nothing is over. Post fifty straight years of torture, a freefall into war and fuckery, teen marriage and literal death, the consequences for all those things AND THE SHIT RHYS WAS PULLING LONG BEFORE AMARANTHA TURNED HIM INTO A CHEW TOY, are still present.

But now, he has something to protect. His golden future. His puppy Mate.

Because Feyre's safety is the safety of his power and vice versa. Anything he does is justifiable because the loss of Feyre is Not an Option. She is Happy. They Are Happy.

It bleeds into everything- and then it intensifies, because this is the breaking point.

The Az/Lucien thing and Feyre incredibly hurtful blindness? No Rhys isn't going to interfere- Az is so private anyway- if Feyre believes its a romantic bond, Feyre is right, she knows her sister, not that it matters because Elain is totally out of her mind.

Sending Cassian to Illyria? Illyria is a backwards shithole right? They're fierce fighters and that's what Rhys values them for- as the hammer of his power- and nothing else? why would there be anything else? Look at them fighting and hurting each other.

Nesta runs and Cassian is left throwing himself in battles actively trying to die and Rhys? Rhys is totally smug. A problem that hurt Feyre and his brother is GONE.

But it's not gone. Az isn't talking to anyone- and Rhys thinks this probably means Lucien is probably, finally fucking him- but even Feyre understands that Azriel knows where Nesta is. When this is proved (when Elain surfaces and they have the very fun kitchen fight) Rhys isn't happy- but he understands. Azriel has always felt responsible for broken things.

But thats not his job, it's Rhysands job, and Rhys has already made that tough choice for the safety of his own: Nesta has no place here. When she resurfaces inevitably, broke and wanting something, Rhys will stop her before she gets close enough to upset (hurt) Feyre. It's his job.

Cassian goes missing, and Rhysand sets upon what will become his eventual move: Illyria's value is strength. (a martial strength that belongs to RHYS). But they think they can take from him? They can destroy their own best chance? (Rhys recognizes Cassian's value to Illyria even while, you know, ordering him to slaughter Illyrians) They would threaten his power? hurt his family?

Rhys will not allow a world to exist where Feyre can be hurt.

If Illyria can't be controlled, Illyria will be put down, like the rabid creatures they are. (They were always backwards, Rhys thinks. Freeing my mother was the one good thing my father ever did)

But Cassian lives.

Rhys asks Azriel if he's been cursed. Az laughs in his face.

And Cassian is a terrible enemy to have. The strategies the loyalists are using? His, filtered through Rhys. The magical contingencies? Cassian and Az, trying to prevent bloodshed.

Feyre thinks, for a long time, that maybe the rebels have Nesta. What else could compel Cassian to even care? these people keep trying to kill him. they want to kill Rhys. the brothers suffered in the frozen mud at the hands of these monsters, what is Cassian doing?

And then the massacre happens.

And Feyre sick to her stomach, cries when she hears. Rhysand thinks about a little hazel eyed boy who'd never had a bed, a present, who'd been nothing until Rhysand plucked him up- a little boy who'd grown into a dangerous man, who'd just killed every person who ever contributed to his pain. Rhys thinks, knowing he'll have to punish Cassian for this, that it's over.

The camp lords are dead, it has to be over.

(Azriel hears and understands- because he knows damn well Cassian was something before Rhysand, and after despite him. That beneath those repeatedly broken ribs is a heart that was once so big so save him, grown strong enough now to save everyone who was like them: forgotten, abandoned, used.)

It's not over. The mountains are burning. Banners fly on northern wind in a language long dead. They're singing, the spies say, they call him dawn. Loyal-heart-as-dawn.

It's Cassians name. Not that Rhys, who never knew more than a few vile insults in the language of his mother's ancient, proud people, understood it then.

Rhysand, the long-suffering hero of his own story, has been betrayed.

He can risk no more- it's time to end this madness. It's Feyre's idea to use Elain- it's Feyre who is left crying, a betrayal Rhysand will never forget- when Elain, who they've given everything, Elain, perhaps just as broken and wretched as her eldest sister, refuses to help keep Feyre safe.

(Elain refuses to participate in what she sees as genocide, but as we've established, what consequences exist? the ones Rhys feels right in front of his face)

Azriel, Elain, and Lucien run.

Of course, if both Feyre's sisters are capable of betraying her, of course, both of Rhysand's brothers would as well. They are one in the same, aren't they? Marked by destiny, by fate for this hard and terrible work- of course it hurts. Of course- but Rhysand will stop it from hurting Feyre any more.

There's one force in the world that can stand in truth against Illyria. The Darkbringers- their ancestral, ancient conquers.

(Yes, I do think Rhys knows the shitty, shitty history of his court! He just doesn't care! He didn't do it. He's different. He's in Velaris with the common people. He has wings. He's not his father.)

(He is, in fact, far worse)

When he thinks of it, it seems perfect. Illyria will be destroyed- a loss, but a safe one. Keir, will, almost certainly, also be destroyed or at least critically weakened.

Rhysand will stand alone, the man who was willing to do anything for peace. He will rule over an emptied playing field, secure in a world where Feyre is safe.

The Hewn City empties, the armies march- Rhysand holds tight Feyre's hand, says nothing about the fact that nothing, nothing, will stop Keir from killing anyone in front of him when battle starts, and reaches once more for Cassian's mind.

His brother, his friend, his loyal right hand- he begs him to come back. To come home. That they can put down this rebellion and in his love for Cassian everything can go back to how it is meant to be, all of them together.

It does not occur to him to address the hundreds dead. The system he was complicit in and responsible for that ground a culture to dust and ash- what matters is brother against brother should never have turned, and Rhys, in his kindness, will offer Cassian this last chance for honor.

Rhys doesn't want Cassian to die- he wants Cassian by his side- but he will drown the world in blood before he'll lose his crown and hope and Feyre.

And when Cassian dies, falling to the earth in Rhysand's arms, Rhys thinks of penance.

A circle closed.

But of course- Cassian wakes. Death is not done with her right hand anymore than the contract between Lordship and land in immutable. Cassian brought the magic back, brought Illyria back.

Rhys is fighting for something personal- Cassian is fighting for a whole world and future, with everything in himself.

When the new border is drawn, Rhys doesn't despair- sure he's shaking, he's covered in Cassian's blood, his twelve thousand year old walls are smoking and the whole world smells like fucking Nesta Archeron- he's been the victim of curses before.

He won't let it keep him down. He'll be fine. He has Feyre, they're safe. Illyria is going to implode- and maybe, maybe, he'll save some of those that remain when the violence is too much, when they need a real High Lord.

They'll come home. Just like Feyre's sisters will. Rhysand's brothers. They fought for peace and Velaris has it- it is their home.

It's what they fought for, the happy ending, and it's all worth it.

It has to be worth it.

#Rhys is deadset a huge narcissist #and in the middle of a breakdown the entirety of daylight #he's SO HURT #But's turning all that hurt into anger #and an even stricter paranoia #its all catching up to him #everything from imperialism #to the shitty way he treated his friends #to the Winter Massacre that yes was absolutely him #this is more of a Shoreless Concept but all of feysand can be summed up #by Feyre making teary BUT WE'RE FAMILY demands and Rhys immediately committing a literal warcrime #and like #I do think Rhys hates himself too #but for wildly the wrong reasons #and never more or in a real way that overcomes how much he thinks everything he does is right #Cassian's death was a cost to them #as Nesta tells Feyre: what's done cannot be undone. Rhys chose wrong #the truly bonkers Rhys thing in canon #will always be that he's both represented as Most Powerful Ever #and the wrongly ignored underdog #when in fact he throws around power constantly for petty shitty reasons

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generallypo · 4 years

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in all sincerity, kim dokja makes me happy and he deserves to be so too :^(

incoherent yelling and sobbing under the cut. these fEELINGS will not be contained aaauuunnghhh.

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anyway i binge-read all 500+ chapters of ORV this week and i honest to god feel bad for this -- completely! fictional! aghhhh -- guy. in case you haven’t figured it out, the following is some spoilerly shit

i went in expecting a fun, brainless power trip fantasy for dudes with an isekai addiction. instead, it turns out ORV is actually a gigantic, self-deprecating prank on the entire genre itself. kdj plays more into the sad -- if high-functioning-- clown trope than the sexy, edgy, chuuni bastard type i was prepared to laugh at. there were -- gasp! -- female characters with personalities! parents (aka ADULTS who act like ADULTS) who actually survive and feature prominently! adorable children! a real sexy, edgy bastard! a power trio with amazing fashion! sexual tension and bickering! friendship! life and death bonding!

*breathes in deeply* fouND FAMILYYYYYYY.

like, yeah, the plot around the first few arcs seems a little aimless, but the buildup is worth. the world-building is pretty decent. there’s discernible effort put into the fight scenes, and i can appreciate that. but -- but! what i stayed for were the characters -- namely, the fantastic OT3 of KDJ, HSY, and YJH -- who come together despite their initial rivalries and end up saving each other’s asses, like, every other day. granted, the other characters don’t get as much focus, and they do fall into certain character tropes..

but a trope done well is nothing i would gripe about. every significant character in ORV has a coherent, and more importantly, respectful take on their respective trope. maybe it’s because sing-shong is actually a married couple, but all the interactions between even minor characters are a convincing blend of awkward rambling, suggestive humor, sharp remarks, and casual banter. in other words, this cast of mostly working adults (plus a teen and two kids) talks like working adults. the relationships built throughout the story are, frankly, some of most realistic of its genre. sing-shong has managed to craft a dynamic that undoubtedly brims with fluffy fondness all around, but also drips with sarcastic tension, with unspoken urgency, with a wariness that softens into sincerity over the course of many, many chapters. it’s the kind of progression that makes even stock characters read like more than just the 2-bit villain or comrade or love interest. here, we have relationships both straightforward and not, strained or otherwise, romantically-oriented as well as decidedly the opposite -- and then numerous others scattered along the spectrum with the freedom to shift either way.

it’s also an interesting point of note that our MC kdj actually does not end up with a stated romantic partner, much less a conventional heteroromantic harem. he gets teased about that fact from time to time, but it’s with less of the sleazy shonen locker room humor one would expect and more of the good-natured ribbing you’d find among friends or that one especially nosy auntie at the yearly family reunion. kdj is a grown ass man. in the background, i applaud his maturity, and he handles all the prodding like a champ.

so instead of finding and fulfilling his horny, he builds himself a wealth of loving family. yeah, there are beautiful men and women around him. yeah, they unequivocally adore him. but they’re also adults, and they have priorities, too -- which are not so much finding a way to bang kdj’s brains out and more so simply keeping the damn guy alive. this is truly not ‘oblivious mc with his thirsty, sex kitten harem’. it just so happens that a guy proves himself to be unflinchingly gentle and capable in an apocalyptic setting despite his broken self-esteem, and lots of people find that attractive, romantically and platonically.

it.. kinda makes sense? he’s a hard worker, thoughtful, and good with kids. kdj is the kind of guy you know would make a reliable partner, and anybody with eyes can plainly see and appreciate that.

and it’s not that our MC’s a total brick wall. in fact, it’s likely the opposite, and he’s just too darned repressed to admit it. from what has been implied, kdj does indeed recognize and accept love, or at least a primitive concept of it. i like to imagine that the kind of love that he ends up seeking out simply manifests itself more easily as acceptance and safety, as warmth and a home of people to return to every day. even better, the people who surround him know this, and they give him exactly that. it’s refreshing, and honestly, really sweet.

(as a side note, i really, really do appreciate the cosmic bi energy radiating off of kdj, who canonically earns the title of being loved by all and is all but in name married to yjh and hsy. he also respects women and small children and honestly anyone who isn’t total scum to him or his family. i respect that.)

but the happy stuff aside, you know it it just ain’t ORV without the generous screaming dollop of angst. admittedly, there’s self-sacrifice, injury, lonesome wandering, more sacrifice, some epic fighting, reunion and confrontation. all of it is a lot to digest, sure, but never does it feel entirely hopeless, or truly, truly heart-clenching. ORV, up until the final act, is a mostly light read. you relax in your chair, thinking that nothing beyond this point can disturb you.

yeah fucking right.

------

and then the beginning of the end arrives. when the squad finally break through to their ‘ending’, the scene that kind of breaks me is the reveal of the Most Ancient Dream. it ties so much thematically into the little tidbits that we get of kdj’s past, and it though it feels like almost a joke that the source of the goddamn apocalypse is a kid with bruises smeared across his skinny ass body -- it’s such a pathetic picture that it’s kinda poetic, actually. you’re left mystified but somewhat convinced, like a math problem explained halfway through. this.. child.. is a villain somehow, isn’t he?

and then 999th turn uriel speaks up, and she. just. hugs him.

[[You are this universe’s most powerless existence, aren’t you.]]

that. that gets me. kdj’s reaction immediately upon this revelation? absolute murder. seeing him essentially self-destruct upon realizing that all these people he’s surrounded himself with -- some who continuously proclaim their loyalty and affection for him throughout their journey, some who suffered eons of war and loss and trauma because of his existence -- not only forgive his younger self but smother him with unconditional acceptance and love is stifling, is too vulnerable and exposed and he simply can’t cope -- it’s so telling of his true mentality, of his crippling insecurity and crumpled sense of self-worth. kim dokja is a liar, through and through, so much that he fails, or perhaps refuses, to comprehend the veracity of others’ kindness and love towards himself.

by some miracle, the events at the end of the world somehow resolve.. or so it seems. there is a departing train, a liberated team of ex-gods, and a child rousing from his slumber. in the aftermath, i am left shaking. somehow, despite the ending having been (happily?) reached, there’s still another chapter ahead. what is this witchcraft?

------

and then ah, yes -- the epilogue arc. i teetered on the edge of being critical for a little bit there -- is that display of deus ex machina, of sad, self-sacrificing nobility a bit too egregious to be acceptable? is this some wild last let-me-yank-this-outta-my-ass plot twist to drag out the chapter count? i sincerely thought that the arc before it would have been the finale. i was wrong. thank god.

anyways, as an answer to the above: no, and no. i stake my firm claim on the belief that the epilogue arc was meticulously planned out well in advance of its release, confusing and time-warpy as it is. i liked it. tremendously. even if it entirely invalidates all of kdj’s supposed development (”haha lol yeah sure i won’t sacrifice myself or anything anymore guys don’t worry about me” -- KDJ, at some point because he’s a lying rat bastard). actually, our beloved MC disappears for a large chunk of this arc, and i think it’s great. in his absence, the other characters not only go absolutely fucking nuts, but they have to figure out this new problem on their own, even if the lure of peaceful complacency in the newly saved Korea might convince them otherwise.

and then the whole time paradox thing comes around. yjh goes to space, hsy saves the only life she can, and kdj grows up. the crew waits, holding onto their hope even if it bleeds them dry. sing-shong does a damn good job of illustrating their fraying calm, their lurking madness, the unseen but pervasive depression that seeps in from kdj’s absence. the kids lose their father, lhs and jhw lose their reliable leader figure, ysa loses a best friend and confidant, lsk -- as distant as she pretends to be from her son -- loses her only child. and then there’s hsy and yjh , who are essentially bereft of the other half of their existences. their pain is palpable, is grounded in the hopeless, gnawing frustration of an utterly meaningless victory. emotionally, ORV hits all the right -- if agonizing -- beats.

however, a story can’t sustain itself just through its pathos. i’m happy to say that ORV doesn’t drop the ball after the first milestone, and after all the hurt, the characters do leap straight back into action. even better, the plot holes actually do get patches, and the poetic cycle of writer, protagonist, and reader comes full circle by making use of all those supposedly throwaway characters from the myriad world lines.

at the end of the road, there is a distinct sense of unity, of a delicate but undeniable cohesion to the world lines and their origins. sing-shong lets us guess a little here at the finish, but there’s just enough information to feel hopeful. maybe there never had been a definite start -- or finish -- to the story of kdj company, and... that’s okay. everybody ends up where they were meant to be, where they fought and struggled to reach. it’s.. almost like a happily ever after, if we’re allowed to dream of that.

------

now, i realize, this was all an orchestrated maneuver.

i’ll take it.

to me, all of this work sounds like someone put some serious thought into this behemoth of a plot. it cements the entire original premise of the story. it suggests -- but never explicitly confirms! -- the possibility that breaking free of the cycle is possible through the exact same system that sustains it. it’s terribly interesting -- and inspirational! with all the dramatic revelations and life-threatening scenarios and the cast’s resigned acceptance of them that essentially make up ORV’s entire mood, there’s still that last hint of rebellious and righteous anger that lights up the whole damn nebula. it’s like the kdj company blasting away at the heavens just to yell into the nether: we’re not looking for the happy end, but the free one. stay alive.

it’s subtle, and yet it’s such an emotional gut punch. i came away with the most ruinous, frustrating, bittersweet sense of longing in ages. i pined. for these fictional darlings. god, i am weak.

so. yeah. ORV is pretty good. flawed, but ambitious and impressively thought out. i’m stoked that the webtoon is making pretty good progress, even if it’ll take an eternity and a half to meet that monstrous chapter count. i’m still gonna follow it. hell yeah.

------

(by the way the idea that secretive plotter and co are literally gonna take care of and raise baby kdj and spoil him and be the best friggin family a kid could ever want does things to me. protect him. he’s suffered too much. let at least one worldline’s version of him know happiness. and actually, aLL OF THEM DESERVE DOMESTIC BLISS TOGETHER IN A BIG OL MANSION WITH SUN AND FRESH AIR AND TENDER FAMILY MOMENTS UGH)

------

and there you have it, folks. you made it to the end. in the far, far distance, i’m cheering you on and crying my eyes out in gratitude. thanks for tuning in!

#omniscient reader #orv #omniscient reader's viewpoint #kim dokja #fanart #kdj happiness rights!#protect him!#let! him! have his big house! with everyone! he loves!#please!#long ass emotional screeching #look i can't do him justice with drawing but hell can i yell out my love for him :'^DD

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thejakeformerlyknownasprince · 5 years

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Hi! As someone who’s literary opinion I really trust, I was surprised that you’re a twilight fan? I know almost nothing except commen knowledge things about that series, and I always assumed it was actually bad/un-feminist. What is it that you like so much that others seem to miss? I’m just genuinely curious about your take on the hate it always seems to get vs. it’s actual quality. I’m not gonna judge bc animorphs is also one of those books where you see it and assume it’s bad.

In over 14 years of loving this series, I’m not sure anyone has ever asked me why I enjoy it instead of simply trying to convince me that I’m wrong to do so. So thank you for that.

First and foremost, I love the Twilight saga because of the vivid detail in Stephenie Meyer’s writing style. The descriptions are so lush and dense with sensory information that you can practically bite down on them as you read. Bella and Jacob aren’t just sitting on the beach; they’re sitting on a gnarled log of driftwood, worn smooth at the top from where so many Quileute teens have sat upon it during bonfires but still uneven enough to rock on its branches when Bella suddenly stands to rage at her own mortality. Meyer describes that log in Twilight, so tangibly and with such economy of detail, that we recognize it immediately when Bella and Jacob return to that spot in Eclipse. I’ve always disliked the movies, because I’ve always felt that the best part of Meyer’s writing simply did not translate well to the screen.

Secondly, I love the feminism.

Okay, let’s take a quick pause to let everyone gasp and clutch their pearls over me calling Twilight a feminist work. I will address the criticisms later. For now, please just hear me out.

Twilight strikes me as a premier example of what Hélène Cixous means when she calls for “women’s writing,” or writing for women, about women, by women, with a strong focus on the concerns and strengths and desires of womanhood. This is a series about building and maintaining close relationships, both romantic and platonic. It celebrates beauty, and love, and care. Bella moves to Forks because she recognizes that her dad is lonely while her mom is quite the opposite, torn between family priorities. She doesn’t simply subsume her interests to those of other people, but instead actively chooses how and when and where to express her love for her birth family and her found families. Most of the other major decisions throughout the story — Alice “adopting” Bella, Carlisle moving the family to Alaska, Jacob becoming werewolf beta, the Cullens going up against the Volturi, etc. — are motivated by care and devotion for one’s family and friends. Even the selfish or morally ambiguous character choices are shown to be motivated by love. Rosalie tells Edward that Bella died because she genuinely thinks it’ll help him move on. Victoria creates an army that nearly destroys Forks because she’s avenging James. Alice abandons Bella and the others before the final battle because if she can’t save her entire family, then she’ll settle for saving her lover before letting him die in vain.

Not only is there a striking concern with love and care, but there’s also a strong commitment to avoiding violence. Bella’s eventual vamp-superpower proves to be preventing violence and protecting others, an awesome character decision that I’d argue gets set up as early as the first book. She lives in a violent world — this is a YA SF story, after all — but she has the power to suppress violence and create peace, both in herself and others. I was already sick of “power = ability to inflict damage” in YA stories well before I knew the word “patriarchy.” Twilight was one of the first books to convey to me that power could be refusing to do harm in spite of hunger or anger, that power could be shielding ones’ family, that power could be about building enough friendships and alliances to have an army at one’s back when facing an enemy too strong to take on alone.

Closely connected to all of that love and care, I love how much Twilight is about navigating teenage girlhood. Is it empowering, intersectional, or all-inclusive? Hell no. Does it still dare to suggest that a completely ordinary teenage girl could have valid concerns about the world? Yep. The main conflict of the story, as Stephen King so derisively explained, is about the romantic entanglements of a teenage girl, and the book therefore has no literary merit. (To quote my dad’s response: “Bold words from the guy who inflicted Firestarter on the world.”)

There is, indeed, a lot of romance in Twilight. There are a lot of clothes. Alice and Rosalie especially spend a lot of time on makeup, and hair, and choosing the prettiest cars and houses. Twilight embraces all the stereotypically “girly” concerns of adolescence, and makes no effort to apologize for or condemn them. Bella isn’t particularly good at performing them — she likes but doesn’t excel at shopping, fiercely defends her ugly car as ugly, hobbles through prom on crutches — but she can still enjoy the feeling of being pretty in a sparkly dress while dancing with her sparkly boyfriend. And Twilight, like Animorphs with Cassie, takes the daring step of treating that feeling as valid.

Speaking of sparkles, I love the commitment to the fantasy concept in Twilight, including the myriad mundanities that Meyer brings with that commitment. If you have super-speed, why not use it to play extreme baseball? If you’re a mindreader with a clairvoyant sister, why wouldn’t you two play mental chess games? I couldn’t tell you, after seven seasons of Buffy or eight of Vampire Diaries, what Spike or Damien or Angel or Stefan does all day when not brooding or lurking in the bushes to creep on human women. I can tell you what the Cullens get up to. Emmett and Rosalie work on their cars, usually by holding them overhead one-handed. Carlisle and Alice read plays, and sometimes talk the whole family into home Shakespeare productions. Edward and Carlisle debate theology, Emmett and Jasper have dumb athletic competitions, Edward and Esme play music, Alice manipulates stock markets, the twins go shopping online, etcetera. The Cullens feel real, feel like the vampires next door, in a way that Louis and Lestat simply do not.

To get to the elephant in the room — I just described Twilight as a feminist text! — let’s talk about the other thing the Cullens do for fun: they have sex. Weird sex. Kinky furniture-breaking sex. Sex that Emmett (who would know) compares to bear-wrestling. These books suck with regards to queer representation, but they are sex-positive. They feature an old-school Anglican protagonist offering his daughter-in-law a medical abortion. They treat Edward’s desire for sex only within marriage and Alice’s desire for sex outside of marriage as both being valid. Like I said, not groundbreaking, even by the standards of 2005, but still more than most teen novels do even today.

There’s a passage from Breaking Dawn that people love to pull out of context as “everything wrong with Twilight in two paragraphs” because it describes Bella waking up the morning after sex with bruises on her arms. That moment is shocking out of context, to be sure — but in context, it’s the end result of an in-depth consent negotiation that lasts four books. Bella says that she’d like to become a vampire. Edward says okay, but only if she spends a few more years living as a human and considering that choice. Bella says okay, but only if Edward, not Carlisle, becomes the one to turn her. Edward says they can use his venom, but that Carlisle, who’s an MD, really needs to supervise the process. Bella doesn’t love the idea of Edward’s stepdad cockblocking what’s supposed to be an intimate moment, and so agrees only on the grounds that she gets to have sex with Edward as a human first. Edward’s hella Catholic, so he requests that they get married first. Bella’s super horny, so she demands that the wedding happen within six months. Edward says that he might hurt her during sex, and Bella says that she wants a little hurt during sex. They marry. They bang. During the banging, Edward makes every effort to be controlled and courteous and gentile, while Bella goes wild and crazy. The next morning, she has bruises and he does not. Edward apologizes, but Bella’s actually really into it. She spends a while admiring her sexy vamp-marked self in the mirror, touches the bruises many times, and reminds us yet again that Bella Swan’s whole M.O. is being a monsterfucker. Her kink is not my kink, and that’s okay.

To be clear, I think there are other aspects of the romance that get criticized for good reason. Edward does not negotiate with Bella before sneaking into her room to watch her sleep, and he does make unacceptable use of their power differences when he thinks she’s in danger of being mauled by werewolves. The text condemns Jacob’s “don’t wanna die a virgin” ploy to manipulate a kiss out of Bella, but not the wider conceit of all the male characters as possessing uncontrollable urges. Bella’s struggles to adjust to a new town feel very feminine and realistic; her amused tolerance of Jacob’s and Mike’s sexual harassment as the price for their friendship does not. Werewolf imprinting might be mostly platonic, but that doesn’t make it okay for Meyer to depict it as a form of soulmate bonding that happens with child characters. Those are good points, all around. I just wish that most of them didn’t come up in the context of post-hoc rationalizations for loathing the femininity of a feminine text.

I’m not calling Twilight an unproblematic series. I’m saying that it gets (rightly!) criticized for appropriating Quileute culture, while Buffy’s total absence of main characters of color and blatant anti-Romani racism are (wrongly!) not remarked upon. I'm saying that I’ve been told I’m a misogynist for liking Twilight but not for liking James Bond. I’m saying that there’s a reason people tend to go “oh, that makes so much sense!” when I let them in on the fact that reactive hatred for “Twitards” started and spread on 4Chan, later home of Gamergate and incel culture. I’m saying that Twilight depicts problematic relationship dynamics as sexy — but then so do Vampire Academy, Blue Bloods, Supernatural, Vladimir Tod, and Vampire Diaries. All of which take the time to stop and thumb their noses at Twilight, smug in the superiority of having vampires that fly rather than vampires that sparkle, and for thoroughly condemning teenage girls for being girly while continuing to show men inflicting violence on them.

After all, as Erin May Kelly puts it: “we live in a world taught to hate everything to do with little girls. We hate the books they read and the bands they like. Is there anything the world makes fun of more than One Direction and Twilight?” No one has ever called me a misogynist for liking the MCU, in spite of less than a third of its movies even managing to clear the low-low bar of the Bechdel test. Because people are still allowed to like Harry Potter in spite of its racism, or Lord of the Rings despite its imperialism. Because hatred for Twilight was never about its very real sexism, or the genuinely silly sparkle-vampires, until it had to justify itself as something other than hate for everything that teenage girls have ever dared openly love.

I enjoy the novels, and I enjoy the fan fiction that tries to fix some of the problems with the novels. I appreciate the extent to which Meyer has elevated fan culture, and made an effort to acknowledge her own past mistakes. I would love to be able to talk about my love for the series as a flawed but beautiful work of literature, but for now I’ll settle for asking that the world just let me enjoy it in peace.

#twilight #the twilight saga #breaking dawn #eclipse #new moon #stephenie meyer #fandom #nothing to do with animorphs #misogyny #ableist language #sexist language #long post #sexism #romance #anonymous #asks

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365daysofsasuhina · 5 years

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[ 365 Days of SasuHina || Day One Hundred Eighty-Two: A Flaw ] [ Uchiha Sasuke, Hyūga Hinata, Yūhi Kurenai ] [ SasuHina ] [ Verse: A Light Amongst Shadows ] [ AO3 Link ]

Since the beginning, her father called it a flaw.

Hinata was timid. Weak. Recoiled from fights rather than use her full power and potential. Potential Hiashi thought wasted alongside his own time and effort, attempting to mold his daughter into a fitting successor and future clan head. So long as she held back, until she learned to give her all against an opponent...he found no use in continuing her Hyūga clan training.

When she lost the decisive sparring match against her younger sister Hanabi, Hiashi declared her title as heiress forfeit. From that day forward, no matter the age difference of the sisters, it was Hanabi who would - when the time came - lead the Hyūga.

And that wasn’t all that changed.

The adoring little sister, realizing the weight of her duties, felt almost betrayed by her elder. While Hanabi welcomed the title and its responsibilities, her admiration now felt misplaced...and she instead put her efforts into her training rather than into her sister and their bond.

With Hanabi taken by Hiashi and Neji lost to his hatred of the main family...Hinata had no one left to vouch for her within her clan. Left feeling as an outsider, she instead turned to those beyond her blood. At first, she found inspiration in one Uzumaki Naruto. His bright energy, refusal to give up, and drive to be recognized reverberated with her. She wanted to feel like that...she wanted to be like that! To no longer fear what others thought of her, and continue striding forward, even when the world turned its back on her. Naruto’s confidence - even if it was mostly bravado - sparked in Hinata a drive to improve. Not for her sister, her father, her clan...but for herself.

The title of heiress didn’t matter to her...not anymore. If she was unfit, then so be it. But that wasn’t going to stop her from becoming the best Hyūga Hinata she could be. One day...maybe she could stand beside someone like Naruto, and truly be his equal.

Her genin team wasn’t...what she expected. An Inuzuka, loud, boisterous, and cocky. And an Aburame, quiet, introspective, and thoughtful. While Hinata had never been looked down upon by anyone in her class, her wallflower nature meant not knowing many of them well. But Iruka and the other Academy faculty knew what they were doing when they formed Team Eight. Three sensory-based shinobi that would make for one of the best tracking teams Konoha had seen in quite some time.

But of course, no team starts off great. Kiba’s stubbornness, Shino’s reclusiveness, and Hinata’s lack of confidence made finding their stride...difficult at first.

After a rough few first weeks, however...something started to change. Hinata and Kiba did their best to pull Shino up with them. He and Hinata worked to guide Kiba’s ambition toward a common goal. And he and Shino offered genuine praise to Hinata for her hard work.

That...hadn’t happened in so long. In all honesty, it took her aback, freezing the first time it happened...much to the boys’ confusion.

But Kurenai understood.

While they each had their flaws...so too did they have strengths to help overcome them. And for the first time, Hinata’s greatest flaw was recognized as a strength.

“Your kindness is the glue that holds this team together,” Kurenai told her one afternoon, the squad breaking up after training for the day.

“My...my kindness…?”

“In a world like ours, many mistake that for a weakness...empathy, kindness, charity. But in truth, those are things that help us understand one another, and let positive things grow. You three help bring each other up, rather than tear one another down. And that’s important!” Ruddy eyes glanced over, giving her a smile. “...the boys appreciate your attention and help. You’ve come a long way learning your poultices, and helping to make sure they have what they need to be at full strength. We all do our best when we care for each other. And caring for each other - wanting to protect those who are important to us - helps us fight when we must. I know harming others isn’t always easy...but keeping your friends and teammates safe? Surely that will help you overcome your hesitation, Hinata.”

She felt...enlightened after that conversation. Her kindness...was a good thing? It helped her team? True, she wanted to grow, and help support her teammates...and Hinata knew that would mean doing what she must against any foes they may encounter.

But...she’d promised herself she would get stronger. First to stand by Naruto, then to protect her team.

And then...came another reason.

With her proximity to Itachi’s beloved, Hinata was entrusted with pieces of the truth he’d told her. With them, Hinata was granted a unique perspective into not only the atrocities committed against the Uchiha...but the reasoning behind Sasuke’s actions. Their parallels - which had escaped her before, what with their diverging goals - suddenly made so much more sense...and gave her a better understanding.

More than almost anyone...she could sympathize with him. She too was the neglected child of the clan head...with a brother figure that seemingly hated her. She got him back...only to lose him. If it had been the Hyūga to face annihilation at the village’s behest...if she had been the one in Sasuke’s shoes...could she have done all he’d done? Striven for justice despite the sacrifices?

She couldn’t answer that question.

So, when Sasuke returned, and everyone else treated him like an explosive tag one spark from going off...she instead did what her teacher and her teammates had taught her:

She was kind.

It was Hinata who ensured he was invited to any gathering of their classmates. It was her who engaged him in conversation whenever they passed. It was she who - when the rest of Team Seven oddly danced around their teammate and each other - simply treated him like a human being.

Was it any wonder, then, that it was her - and her kindness - that he ended up falling in love with?

Her empathy had not been the death of her, nor her career. She strove to get stronger: to protect her important people, her village, herself. Her will to fight was born out of love of many forms. A childish crush, a platonic team, a motherly teacher, a doting friend...and a man who had had the entire world against him. A man she offered a welcoming hand.

Whereas everyone else sought to own him in some way or another - his teammates, his village council, his allies in Akatsuki - she just wanted to help him feel at home in the place that housed his clan...and their aggressors. Konoha, she knew, had its flaws...but so too did it have potential to be great.

So, when he approached her about revitalizing the police force with the Hyūga clan’s help...she was the first to support him, and the first to volunteer. She’d began to feel purposeless after the war. With no desire to lead her clan as Hanabi proved a grand future leader, and the role of shinobi beginning to change, she instead took her will to protect and used it within their village. To, like Sasuke, help guide and better it from the inside.

What had started as a supposed flaw became Hinata’s greatest asset. It gained her strength, respect...and a love she never expected to find. Never would she call it a weakness again.

.oOo.

Not gonna lie, this prompt gave me a little trouble! Add in a long day with a headache and heat fatigue, and I was NOT ready for this, lol - but! Got it done. More of a narrative piece, but I think it suits the overall theme. Hinata's kindness is vastly underrated, both in canon, and by her critics. But we love and appreciate it here! Anyway, I'm...very tired, so best to call it there, lol - thanks for reading!

#sasuhina #uchiha sasuke #hyūga hinata #yūhi kurenai #a light amongst shadows [ canon verse ]#365daysofsasuhina

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namelesspharaoh · 5 years

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The Star: What are their hopes and dreams? What makes them feel uplifted? What do they become defensive about? Why?

Tarot Card Based Asks 〘𝓧〙 | Not Accepting | @starbrightbakura

What are their hopes and dreams?

Although Atem’s ambitions adapted a lot throughout the course of his prolonged life time, ultimately, Atem’s existence was driven by two primary aspirations. First and foremost, his overall objective is to leave the world a better place than he was born into .

Atem was born into the lap of luxury and never mind a silver spoon, he had a gold one. His birthright as prince entitled him to inherit the crown to a kingdom, reign sovereign over its people, and draw profits off its vast riches & resources. Eulogized as the chosen one & living link between the gods and mortal men from the cradle, Atem was groomed to believe he wasn’t like the rest, but above them by both blood & divine right.

While this played a big part in the development of Atem’s fatal flaw — his insurmountable arrogance — it didn’t deter the flourishing of the true gold he possessed: his heart. Although Atem took a great deal of pride in his royal heritage, his kinship with the deities, and the history of his accomplished ancestors that built up their kingdom; he did not believe his life itself held more value or importance than anyone else’s.

More than social ladders or caste systems determined a person’s place, Atem felt character and integrity were deciding factors of one’s worth. Turning his head away from the teachings of his elders in what was decreed ‘youthful naivety,’ Atem’s heart led him to foster a nondiscriminatory sense of right & wrong and a moral code black & white as night & day. Abuse of authority, exploitation of others, corruption, bribery, coercion, physical abuse, & unequal treatment were all wrongs that made Atem’s blood boil.

To Atem, being ceded the crown was an honor in what he hoped to give his people, not get from them, and was equally a commitment as it was a privilege. His earliest ambitions were to eventually reign as a just, fair, and kind king much beloved by his people, just as father dearest had before him. Atem had been fed stories since boyhood of his Father’s legendary altruism and mighty heroic deeds as both war hero and peace-bringer, all of which Atem idealized and was inspired by to carry on that baton of greatness.

But those dreams were shattered abruptly when it was revealed to Atem his father was not what stories, statues, wall-carvings, or even his epitaph made him out to be. The crown passed down to him was not one promised to him of plated-gold, but rather, riddled with thorns of family secrets. With the boons of the throne, came the burdens of its misdeeds.

His father had been greedy, selfish, cruel. Despite sharing equal claim to the throne, he’d hoarded the merits of his birthright and made way for rift and resentment to come between he and his adoring twin brother. When war threatened to overcome their kingdom, rather than trusting it to the gods or vying for their protection, his father felt there was no better alternative than to turn to the dark forces to guard them from harm.

Atem’s uncle betrayed the gods and delved into the very spell book of darkness their family had been charged by the divine to protect. Lured by promise of power and vengeance against his brother, Aknadin paid the price of pools of innocent blood of their citizens, and forged golden trinkets that would grant power unlike any other.

Together, the combined wrongs of the brothers unleashed the deity of darkness.

The Millennium items had always been regarded as blessings bestowed upon them by the gods to pull through a perilous, war-torn time, but the whole time, the high court spoke lies to mask those forbidden objects of darkness and guise them as items of divine authority so to make off with using them as tools of extortion and tyrannical enforcement. The Pharaoh, who was meant to act in accordance with the just voice of the Goddess Ma’at, was now ruling a corrupt courtroom of chaos that crossed their deities and defied their principles. And the ignorant inheritor of that courtroom had been none other than Atem.

Atem’s motivations shifted. He became convinced that evil that ran in his veins, rather than the greatness he’d blindly believed. The luxuries his kingdom had acquired were not the hard-earned spoils of war or blessings bid to them by the gods they were lauded as, but the blossoming crops watered by innocent blood and betrayal too ungodly to admit.

And so, Atem became fixated: if his father had been evil, did that same evil permeate his blood? If it was not the citizens who were prone to wrong doing and in dire need of judgement and oversight, but those that ruled over and judged them, then surely he could not trust his own judgement. After all, his inheritance was only of vices, never virtues.

But virtue was a choice, and Atem made it. When ominous clouds stirred and war began to brew, Atem turned to the gods and beseeched them for their aid. Despite the betrayal of his blood line, they chose and entrusted him to command their power. As a young boy his same age that called himself ‘the thief king’ made his family’s same mistakes in turning to the darkness to reign judgement on his foes rather than entrusting it to the gods, vice was a choice, and he made it. Atem knew this cycle of shadows had to be put to an end.

He’d dreamed to be a noble and kind king, and he would follow through with it. He’d feared being the weak link in the chain, but suddenly, he wished only to break away from it. If there was nothing to be proud of in being his father’s son, then he would be someone he could take pride in. To atone for his father’s mistakes, Atem paid in his own blood. He sacrificed his mortal body & butchered his soul, so to seal the dark one away; juxtapose to the actions of his uncle, who’d slayed innocents to summon him. Before parting the world, he settled the rift between father and uncle and entrusted the kingdom to his cousin.

To deviate from his legacy, Atem chose to leave none behind him. He entrusted his successor, Seto, with removing his name from every crypt wall, smashing every single statue, and ensuring he be remembered only as the ‘nameless pharaoh.’ For Atem did not want to be remembered for the great that he was; but the great he had done. To showcase his resolve, he shattered the millennium puzzle, the symbol of his father’s kingship.

Atem gave his all to do good, but in the end, saving the world couldn’t satisfy him.

Deep down, the war Atem yearned to resolve was one within himself. However tranquil he might’ve left the world, inside him, inner peace had yet to be found. Atem’s place in the world had always been predetermined by a higher power or factors outside his control, whether as a king or puzzle-bound spirit. An ambition he acquires after sating his first is a place to belong. For once, not somewhere he’s meant to be; but somewhere he chooses. Furthermore, not who he has to be; but who he chooses.

For Atem never wanted to fight & die alone; oh, how he wishes for friends.

What makes them feel uplifted?

Any sliver or shape of a reminder whatsoever he is not alone.

Blatant and spontaneous displays of unwavering loyalty; “I’m here for you,” are the most revitalizing words an ally could offer him. Subtle gestures, such as a slight squeeze to either his hand or shoulder, speak volumes with Atem. Oaths run deep for him, and tying words such as ‘I swear’ or ‘I promise’ comfort him, especially when coupled with ‘to remain by your side’ or ‘to love you no matter what.’ Sentimental gestures made to prove a bond, such as Anzu’s marker smiley or matching accessories, are precious to Atem.

What do they become defensive about? Why?

Having his persona (particularly his pride) criticized, having his judgement challenged, or being defined by his past. This is somewhat due to the fact Atem is condemnatory of what he perceives as disapproval coming from a companion. However, for the most part, it’s because Atem would rather be taken as he is and as he does than for what he is and what he’s done. He does not feel his mistakes define him, only teach him who he’s not.

Above all else, Atem becomes defensive when criticized.

Atem knows that he has weaknesses & flaws. On the battle field, enemies will pick them apart and scavenge for a soft spot in his heart that might cave with pressure. Rather than running from one’s weaknesses, Atem believes it is better to face them head on and accept oneself and those flaws. In Atem’s mind, a flaw only holds someone back if they let it, and choose to view it as a setback rather than a fundamental part of who they are.

For Atem, an ally should not be the one to pinpoint his imperfections. They should be the rare few that accept them, and rather than trying to fix him, embrace them. As far as Atem sees it, criticizing a friend’s flaws is advising a book be rewritten, because there’s too many bad parts. More powerful than criticism is support, because things will get better in future chapters, if only the reader is willing to stick it out until the end.

What comes second, is the subject of judgement.

Once again, Atem is not perfect. His pride does not indicate his overconfidence in his strengths, but his content in his weaknesses. Atem trusts his judgement and relies on his instincts to navigate his environment and make decisions. He understands and accepts that his judgement is equally as faulty and capable of becoming clouded as anybody else’s, but does not believe that mistakes made in judgement on his part should cause him to question or abandon his intuition altogether. Atem believes wrong calls are an essential part of calibrating one’s judgement and sharpening it for future reference.

Last but not least, his past.

As with all else, Atem knows his past is not without its faults; but he believes his past is a pivotal part in his identity and a vitality for the realization of his present and his future. And if he is worth anything now, or if he will be worth anything in a hundred years, then he was worth something then, even should he have made some shameful mistakes.

Every good story needs its beginning, even if it’s rough. The first few pages do not dictate the outcome of the final ones, and a book shouldn’t be judged for its initial chapters. Atem is someone who takes people as they are, not as they’ve been; and expects the same in return. The past is just another aspect of oneself, best accepted than ostracized.

#▼ I've been using these tarot card asks to explore the muse pls forgive me.#▼ won't tag you in this unless you request it since it's so long. ty for ask!#{ Asks & Answers }#▼shortened this for a brief time for the sake of follower's dashboards #▼in case you were wondering

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coffeelemental · 6 years

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Anomaly Lore: The Lost Dreemurrs

The Dreemurr family is one of the oldest known families in monster history. These days no one can remember a time when the Dreemurrs didn’t rule. Click below the jump to learn more about them!

Before the ancient war, the Dreemurrs had a kingdom (predictably named ”Monster Kingdom”) on the shores of the Black Sea. This realm was ruled by Medryart Dreemurr, Asgore’s ancient and imposing father. Although Medryart’s rule was expansive, however, he did not rule all of monsterkind; independent monster kingdoms existed in Scandinavia, Africa, and Asia, and they were not as cooperative with humans as the Dreemurrs strove to be.

This fact began to gnaw at Medryart more and more as time passed. Humans were beginning to grow in power and numbers and it was only a matter of time before they surpassed monsters as the dominant force in the world. To make matters worse, the Monster Kingdom’s closest neighbors – Greece and Rome – were proving a little TOO adept at monster slaying. Medryart decided that monsterkind’s only hope to stand against humanity was to unite, and embarked on a campaign to build an empire.

Unfortunately, that empire needed land, and Medryart’s folly was deciding to conquer the nearby human colonies. One such colony, the city of Sinda, was home to a Scythian princess named Tir. Conquering Sinda and crossing Tir would be the biggest mistake of Medryart’s life.

Medryart’s queen was Gelten, a grey puca with the unique gift of foresight. Together they had six children: Alrivor, Elathress, Rindfore, Esrunor, Lentis, and Asgore. Due to boss monsters’ souls transferring to their children, Gelten’s foresight shifted primarily to Esrunor, and to a much lesser extent, Lentis and Asgore.

Pairings:

Medryart and Tir (Justice) – As far as pucas go, Medryart was beastly. He was already ancient by the time the pyramids were built, and was renowned for his tremendous physical strength. Medryart bore the scars of many battles and was even rumoured to have taken a human soul.

Like any old patriarch, Medryart was cold and gruff, but with the usual hidden soft side trademark of the Dreemurrs. This wore away some over time, however, and Medryart began to turn utilitarian and paranoid instead.

Medryart was known as “Satyros of Bosphorus” by Tir’s people, and later appears in human histories simply as an ambitious human. He was felled in battle by Tir after she reclaimed Sinda, and when she reached out to study the soul he left behind, she unwittingly absorbed it. Medryart fought hard to resist her and take over her body, and as a result Tir was forced to assert her own will so hard that now she can no longer hear Medryart at all. He exists simply as a distant consciousness, who can only communicate to her through vague emotions.

Alrivor and Tai (Patience) – As the oldest Dreemurr son, Alrivor was groomed from an early age to become heir to the throne, a fact that immediately went to his head. Self-centered and hedonistic, Alrivor was often more concerned with material comforts than he was his kingdom. In an attempt to teach her son some actual responsibility, Gelten sent Alrivor and his twin sister, Elathress, into China as an emissary to the Spider Queens. Alrivor quickly befriended the spiders but did nothing to curb their meddling in human affairs, eventually drawing the ire of the emperor himself.

Tai’s response, as it usually was when he was confronted with a problem in those days, was to send his army. Although the army ultimately was repelled, Magnolia was able to slay both Alrivor and Elathress, and secured their souls with Tir’s help. Tai took Alrivor’s soul for himself, and gave Elathress to Magnolia.

Neither Alrivor nor Tai want to admit how much like each other they are, although the two have both been greatly humbled by life experience since then, resulting in the Tai we have today. More often than not they take pot-shots at or bicker with each other, but it’s all in good fun.

Elathress and Magnolia (Bravery) – Famed among humans and monsters alike for her beauty, Elathress sadly became quite conceited as a result. She developed a love of scheming and manipulation, making her an instant friend of the Spider Queens when she was later sent to them as an emissary. Rather than enact her mother’s mission of diplomacy, Elathress helped the queens to undermine local human affairs and keep the shattered Chinese kingdoms fighting one another. As far as Tir and Magnolia were concerned, her justice was long overdue.

Magnolia did not want to accept Elathress’ soul as a gift from Tai, but as she had already refused a position within his court, he was not willing to be denied twice. She reluctantly accepted it and found herself forced to suppress Elathress the same way Tir had been forced to shut out Medryart. These days Magnolia cannot hear Elathress, and that is likely for the best – the eldest Dreemurr sister’s conniving would probably drive her nuts.

Rindfore and Webber (Integrity) – As a middle child, Rindfore had never anticipated he’d qualify for the throne; but with his older brother dead, all of the sudden Rindfore was king. Known for his kindness, chivalry, and gallantry, Rindfore was instantly popular among his subjects and set about building the kingdom his father had hoped for. Taking advantage of the fall of western Rome, Rindfore began to expand into former Roman territories and wisely filled the power vacuums left behind. Monster influence and prosperity reached its peak under his reign.

Not all humans welcomed this expansion, however, and an English king in particular decided he was going to banish all monsters from the island. His campaign eventually set him at odds with Rindfore himself, and in a last-ditch effort to protect his liege, Webber, the court advisor, baited Rindfore into a trap and killed him.

Rindfore is not the kind to bear a grudge, although he and Webber have a formal relationship at best. They’re often at odds over morality in the modern day, but share a love of learning.

Gelten and Kale (Kindness) – With all of the eligible male heirs dead, Gelten began to rule as queen regent until Asgore was ready to take the throne. Aided by the divinations of her daughters, Gelten knew that diplomacy was the only hope monsters had now, and worked tirelessly to try and repair relations with the humans. Unfortunately, she faced the same problem that her husband had: she had no control over the other monster kingdoms. When the undead of the Sahara began looking to repopulate by plundering human tombs, Gelten hoped that she could earn the humans’ trust by trying to solve the problem herself. She was able to bring the undead kingdom into her empire but not before a lich had gone rogue and terrorized the human kingdom of Aksum. Dead-set on protecting his people, Kale confronted Gelten and challenged her to single combat; if he won, all monsters were to leave the continent forever.

Although the battle obviously did not end in Gelten’s favour, she and Kale became fast friends. She does not begrudge him for wanting to protect his people and even feels she failed humans to an extent. They initially bonded over parenting stories and a love of domestic tasks, but that expanded to include other hobbies as well. These days it’s difficult to tell where one’s personality ends and the other’s begins.

Esrunor and Dora (Perseverance) – Having inherited the vast majority of her mother’s foresight, Esrunor was always something of a busybody, although she meddled out of a genuine desire to help. Whenever something was wrong, the Dreemurr siblings always went to her first for help, and she doted especially upon little Asgore. Esrunor’s knowledge of the future turned her into a reserved and conservative person, and she developed something of a reputation for being prim and proper as well. The throne was a natural place for her, and she handled palace intrigue with ease.

Esrunor was best friends with one of her handmaidens, a younger monster named Toriel. She eventually introduced Toriel to Asgore and the two instantly hit it off.

Esrunor knew her reign was going to be short-lived, however: not long after taking the throne, she received a vision of several possible futures. In one, she perished at the hands of the Roman Empress but Asgore would live and go on to be a successful king; in the other she saved herself, but the sages killed Asgore and monsters were eventually hunted to extinction. Thus, Esrunor went willingly to her death, in the hopes it would save her younger siblings.

Although Esrunor saw her fate coming, she still resents Dora for forcing her to make such a choice. She enacts her revenge by plaguing the poor woman with visions, whether they’re true or not. As a result, Dora is easily the most depressed of the sages, and often struggles with sleep. She can only shut out Esrunor either by distracting herself or drinking heavily, and she usually does both.

The two have developed a begrudging respect for one another over time, however; much like Alrivor and Tai, they’re unwilling to admit just how similar to each other they really are.

Lentis and Day (Determination) – Quiet, introverted, and overall a loner, Lentis was often teased by her older siblings for being gloomy. She’d shirk her palace duties in order to read or paint instead, and would often travel far in order to do so. Her tutors always criticized her for daydreaming, and her penchant for escapism caused no end of headaches for her parents. With the loss of Esrunor, however, Lentis stepped forward and exhibited a drive to save her people not seen again until Undyne was born. Now forced to flee for their lives from the Sages and their army, Lentis took control of the monster survivors and began to usher her people to safety. Asgore, overwhelmed by the situation, was only too happy to let his sister rule.

Guided by their weak foresight, Lentis and Asgore sensed their escape lay to the east. They fled to the Bering Strait and, with the help of the ocean monsters, created a land bridge to safety. The situation was no less desperate in the New World, however: the monster refugees were terrified and starving, and nobody could speak the language of the local humans. Lentis deemed it safest to just avoid the humans for the time being, until the monsters could find a new home. However, in order to feed her starving people, she tried to steal from the stores of a coastal village. She was discovered by Day, who panicked and killed her.

Day felt tremendous guilt once he learned of the situation, but it was many years before he did; initially Lentis refused to speak to him. The two share a similar temperament and creativity, however, and over time Lentis grew sympathetic of Day after witnessing the tragic events in his life. These days she’s a little protective of him, and the two enjoy brooding together.

Asgore – As the youngest sibling and family cinnamon roll, Asgore was doted upon and protected by everyone around him. Most of his siblings fought hard to retain his innocence, and they loved to spoil him and make him laugh. Even Medryart, cold as he was, often melted in the presence of his tiny son.

Asgore seemed the runt of the litter, and few ever would have expected that – physically speaking, anyway – he would have taken after his titan of a father. He was a late bloomer in every respect, but once he began to grow, he became a giant in his own right.

Despite his seeming naiveté, however, Asgore was always quietly paying close attention to the actions of the rest of his family. He learned from each of their mistakes, and eventually brought that experience into his own rule as king. Despite his best efforts, however, even he was not immune to the temper found in Medryart, Alrivor, and Elathress, and eventually he, too, declared war on humans in a moment of grief.

Asgore’s foresight manifests in weird and random ways, such as being able to see Frisk’s UI. He can’t tell the future to the extent that Esrunor can, but he is able to know things such as how many times he may have killed a small child…

#Undertale #Undertale AUs #The Anomaly #Lore #Headcanon

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trinuviel · 6 years

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Winterfell’s Daughter. On Sansa Stark (part 1)

As a book reader and a fan of Sansa Stark, Game of Thrones is often an intensely frustrating experience because many of the adaptational choices do her character a real disservice, not just once or twice but consistently. Thus it is very tempting to compare and contrast the books with the show. However, since I intend for this to be a character analysis based on the show, I’ll try to refer to the books sparingly and rather focus on analyzing what is on the screen instead of ranting about what was excluded.

Sansa is very much an internal character – she lives in her head, something that becomes even more pronounced when she becomes as hostage because though she is actually very observant, she cannot speak her thoughts openly. She is also a very passive character for a large part of the story because she is a prisoner. She is at the mercy of other people and she has very little agency herself. Thus, her character is difficult to transfer to the screen where she very much is viewed from the outside. The audience isn’t in her head and that can make her more difficult to read. It is a character that requires an actor that is strong with non-verbal cues and fortunately, young Sophie Turner has developed into just such an actress.

DIFFERENT FROM HER FAMILY

Sansa is very much a child that conforms to the expections that accrues to her gender and her social status. She is a conformist and obedient child and yet she is also a bit of an “outsider” within her own family. This “outsider” status is visually articulated from the very beginning of the story. When we first meet the Starks, Ned, Catelyn and all they boys are outside in the castle courtyard. On the other hand, the audience meet Sansa and Arya in an indoor space, engaged in the art of embroidering, which is coded as exclusively feminine. However, Arya quickly leaves the confines of the sewing circle and runs outside to engage in archery with her brothers. Sansa’s difference from her family is further emphasized when the Starks line up to meet the King. All of the Starks are clad in fur-decorated cloaks. However, unlike the cloaks of her parents and her siblings, Sansa’s cloak is of of a light blue colour that matches her dress. Visually, she sticks out like a sore thumb.

From the very start, Sansa is singled out as different from the rest of the Stark through purely visual means. It isn’t something that the show (or even the books) delves very deep into but part of Sansa’s isolation within her own family is tied to her gender. Like all other highborn children, boys and girls are educated differently in the Stark family. The distinction between inside and outside spaces encapsulates the gender divide in the very first episode.

The lives of highborn girls are proscribed by a number of restrictive social conventions – almost all highborn women in Westeros are forced to engage in compulsory femininity. This is not a problem for Sansa since her interests and talents conform to the social restrictions placed upon her gender. Arya, on the other hand, doesn’t conform. She rebels and engages in activities normally reserved for boys. In that sense, Arya shares something with her brothers that Sansa doesn’t. In fact, Sansa’s feminine world is very much cut off from the sphere her brothers inhabit. Thus, Sansa conforming to gender norms also marks her as a bit of an outsider in a family of four boys and one tomboy. Therefore, it shouldn’t be that surprising that Sansa is eager to leave Winterfell – even if it is her safe and loving home. She desperately wants to find a place where she “fits” in a way she doesn’t “fit” in at Winterfell.

NAIVITY AND ROMANTICISM

Her conversation with her mother before the banquet is the first real introduction to Sansa as a character. This conversation tells us that she is dazzled by the royal glamour; she wants to make a good impression on Joffrey. She gushes about Joffrey’s looks, asks about when they’ll be married, etc. She’s in a hurry to leave WF and rush into adult life. She’s got stars in her eyes.

It is clear that Catelyn doesn’t share Sansa’s enthusiasm for getting married quickly. She tries to point out that getting married would mean Sansa leaving her home, to which Sansa replies that Cat had to leave her home to come North. Catelyn doesn’t have a rebuttal to this comment – because it is true. Sansa (as well as Arya) would always have to leave home when they marry.

Sansa’s naïve enthusiasm for getting married, leaving home and becoming queen is in a sense framed as something silly: she acts like a starry-eyed girl who thinks she’s starring in the Westerosi equivalent to a Disney story. However, I do think we ought to look at the way Sansa buys into this whole “fairytale” isn’t about her being silly, vain and frivolous. A big part of her season 1 arc is about how this ideology of courtly romance that Sansa espouses is a trap, a pretty lie that serves to make lull girls like Sansa into passively accepting their fates as a genteel form of human livestock. The sad fact is that Sansa has absolutely no influence on her betrothal. Robert summarily decides upon it in a sentimental moment where he mourns the losses of the past. Even Ned passively accepts Robert’s fiat – none of the adults seems to consider whether this is a good match, both in terms of personality and politics. Hell, Ned has no idea what kind of boy Joffrey is and whether he’ll make a good husband for Sansa. He doesn’t even seem to question it until confronted by Arya in ep03!

It is a shame that the show completely erases all references to the songs and romances of Westerosi culture; elements, that along with the ideology of knighthood, constitutes the core of the culture of Courtly Love and Chivalric Romance. It is a world where princes and kings are noble and brave, where queens and ladies are beautiful and gracious and where knights are honourably defend the weak and helpless. Through popular songs and literature (like the stories about Florian and Jonquil, Aemon the Dragonknight and Queen Naerys, etc.), Sansa has been conditioned to romanticize and idolize knights, etc. unquestioningly. By removing this aspect of Sansa’s character almost entirely, the show has effectively removed the context for Sansa’s ideals, which informs her worldview and her behavior. It is indirectly represented but it is easy to overlook if you haven’t read the books and if you aren’t conversant with the Medieval culture of Courtly Love that serves as GRRM’s inspiration for this part of the cultural fabric of Westeros.

Ironically, Sansa isn’t the only family member who is eager to leave Winterfell. The scene between Sansa and Catelyn is followed by a scene between Jon and Benjen, where Jon hotly argues that he is ready to join the Night’s Watch. “Father will let you if you ask him”. Benjen advises patience – arguing that Jon doesn’t know what he’s giving up. This gif set perfectly illustrates the parallels between Jon and Sansa. Jon is an outsider in a very different way than Sansa – as a highborn bastard, he is set apart from his trueborn siblings (especially by Catelyn) but he is also privileged because he is the bastard of a High Lord. However, he is just as idealistic as Sansa when it comes to his destination. The difference is that Jon’s disillusionment is quick and permanent whereas Sansa’s disillusionment is slower process, partly because various people are actively trying to keep her trapped in the illusion, which is something that I’ll explore later on.

The interesting part is, that both Sansa and Jon look to establish their worth outside of Winterfell. Sansa by becoming queen and Jon by proving himself at the Wall. I’d argue that this is partly caused by them not “fitting” easily into the family. Jon because of his birth and Sansa because her interests and talents isolates her from her siblings. Arya occupies an outsider status as well, but in a different manner. Life is sometimes difficult for her because she doesn’t conform to gender norms. However, she shares interests and talents with her brothers and Ned secretly indulges her. So despite Arya’s struggles with the performance of compulsory femininity, she isn’t isolated within the family because her siblings value her interests in a way that the Starklings don’t do with Sansa’s embroidery and songs. It isn’t stated directly but the audience is shown Arya and her brothers bonding over weapons practice straight after Arya rejects the sewing circle that Sansa is part of. Arya doesn’t care for embroidery and it is such an exclusively feminine activity that I doubt that the boys holds it in any kind of value either. [This makes Jon’s compliment of her homemade dress in season 6 extra meaningful!] I think that it is notable that Arya doesn’t want to leave her home. She’s happy at Winterfell, despite the gendered restrictions that are laid upon her.

GRRM created Sansa as a source of conflict within the Stark family. The Starklings simply got on too well. However, his choice to make the contentious Stark a traditionally feminine girl in a family of boys and one feisty tomboy has had the unfortunate side-effect of tapping into a of more or less subconscious misogynistic discourse when it comes to the audience’s reception of Sansa’s character. Like all the other characters in this story, Sansa has her flaws. She makes mistakes and she pays dearly for them (though she also pays for the mistakes of others). However, a LOT of the criticism that is levelled at her character draws on deep-seated patterns of misogynist thought. For a large number of readers, Sansa’s greatest sin is being a feminine girl and those of her traits that are coded as conventionally feminine are often judged negatively, fx her romanticism, her love of pretty things, etc.

To be continued...

#game of thrones #sansa stark #character analysis #winterfell's daughter

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aion-rsa · 3 years

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Upcoming Must-See Movies in 2021

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It’s 2021. Finally. If you’re reading this, it means you’ve hopefully gotten through the wreckage of last year unscathed and are ready for a brighter future. And if you’re also a movie lover, this certainly includes a trip (or 20) back to the cinemas.

Sure, theaters were technically open in some places last fall, but the moviegoing season has largely remained dormant since March 2020. Yet given good news about vaccines starting to become available, and an absolutely stacked 2021 movie release calendar, we have reasons to be cautiously optimistic.

Indeed, 2021 promises many of the most anticipated films from last year, plus new surprises. From the superhero variety like Black Widow to the art house with Wes Anderson’s The French Dispatch, 2021 could be a much needed respite. So below is just a sampling of what to expect from the year to come…

The Little Things

January 29

One of the year’s earliest high profile releases is also the first of WB’s film slate on HBO Max. The Little Things is a serial killer thriller in the old school mold. It also boasts a brutally talented cast that includes Denzel Washington and Rami Malek as the detectives, and Jared Leto as the killer. As the latest movie from John Lee Hancock (The Founder, The Alamo), this looks like the type of star-led seediness that used to dominate the multiplex.

Maclolm and Marie

February 5

Assassination Nation writer-director Sam Levinson returns for a decidedly stripped down and intimate character study about two people on the threshold of their lives changing–and perhaps splitting apart. With Zendaya and John David Washington in roles unlike anything we’ve seen the pair in before, they play a couple returning home after the premiere of Malcolm’s (Washington) first movie. He’s on the cusp of life-changing success as a director, but when confronted by Marie about past secrets and hard truths… the night takes a turn.

Judas and the Black Messiah

February 12

It’s kind of hard to wrap one’s head around the annual “Oscar race” in a year when little trophies don’t seem so damn important, but Warner Bros. feels strongly enough about this movie that it’s getting it into theaters and on HBO Max right in the thick of the pandemic-delayed awards season. And judging by the marketing, it’s bringing heat with it.

Shaka King directs and co-writes the story of Fred Hampton (Daniel Kaluuya), who became the chairman of the Illinois chapter of the Black Panther Party in the late 1960s and was murdered in cold blood by police in 1969. LaKeith Stanfield plays William O’Neal, a petty criminal who agreed to help the FBI take Hampton down. This promises to be incendiary, relevant material — and it’s almost here.

Minari

February 12

Lee Isaac Chung directs Steven Yeun–now fully shaking off his years as Glenn on The Walking Dead–in this semi-autobiographical film about a South Korean family struggling to settle down in rural America in the 1980s. Premiering nearly a year ago at the Sundance Film Festival, where it won both the U.S. Dramatic Grand Jury Prize and the U.S. Dramatic Audience Award, Minari had a quick one-week virtual release in December, with a number of critics placing it on their Top 10 lists for 2020.

Its story of immigration and assimilation currently has a perfect 100 percent score on Rotten Tomatoes, with critics lauding its heart, grace, and sensitivity. A few of ours also considered it among 2020’s best.

Nomadland

February 19

Utilizing both actors and real people, director Chloé Zhao (The Rider, Marvel’s upcoming Eternals) chronicles the lives of America’s “forgotten people” as they travel the West searching for work, companionship and community. A brilliant Frances McDormand stars as Fern, a woman in her mid-60s who lost her husband, her house, and her entire previous existence when her town literally vanished following the closure of its sole factory.

Zhao’s film quietly flows from despair to optimism and back to despair again, the hardscrabble lives of its itinerant cast (many of them actual nomads) foregrounded against often stunning–if lonely–vistas of the vast, empty American countryside.

I Care a Lot

February 19

A solid cast, led by Rosamund Pike, Peter Dinklage, Chris Messina, and Dianne Wiest, star in this satirical crime drama from director J. Blakeson (The Disappearance of Alice Creed). Pike plays Marla, a con artist whose scam is getting herself named legal guardian of her elderly marks and then draining their assets while sticking them in nursing homes. She’s ruthless and efficient at it, until she meets a woman (Wiest) whose ties to a crime boss (Dinklage) may prove too much of a challenge for the wily Marla. It was one of our favorites out of Toronto last year.

The Father

February 26

Anthony Hopkins gives a mesmerizing, and deeply tragic, performance as Anthony, an elderly British man whose descent into dementia is reflected by the film itself, which plays with time, setting, and continuity until both Anthony and the viewer can no longer tell what is real and what is not. Olivia Colman is equally moving as his daughter, who wants to get on with her own life even as she watches her father’s disintegrate in front of her.

We saw The Father last year at the AFI Fest and it ended up being a favorite of 2020; Hopkins is unforgettable in this bracing, heartbreaking work, which is stunningly adapted by first-time director Florian Zeller from his own award-winning play.

Chaos Walking

March 5

This constantly postponed sci-fi project has become one of those “we’ll believe it when we see it” films until it actually comes out. Shot nearly three and a half years ago by director Doug Liman, Chaos Walking has undergone extensive reshoots and was at one point reportedly deemed unreleasable.

Based on the book The Knife of Letting Go, it places Tom Holland (Spider-Man: Far From Home) and Daisy Ridley (The Rise of Skywalker) on a distant planet where Ridley, the only woman, can hear the thoughts of all the men due to a mysterious force called the Noise.

Raya and the Last Dragon

March 5

Longtime Walt Disney Animation Studios head of story, Paul Briggs (Frozen), will make his directorial debut on this original Disney animated fantasy, which draws upon Eastern traditions to tell the tale of a young warrior who goes searching for the world’s last dragon in the mysterious land of Kumandra. Cassie Steele will voice Raya while Awkwafina (The Farewell) will portray Sisu the dragon.

Disney Animation has been nearly invincible in recent years with other hits like Moana and Zootopia, so watch for this one to be another major hit for the Mouse.

Coming 2 America

March 5

The notion of whether nostalgia-based properties are still viable has cropped up repeatedly in the last few years. However, streaming, which is where Coming 2 America finds itself headed post-COVID, makes golden oldies much safer. This sequel—based on a 32-year-old comedy that was one of Eddie Murphy’s most financially successful hits—sees Murphy back as Prince Akeem, of course, along with Arsenio Hall returning as his loyal friend Semmi.

The plot revolves around Akeem’s discovery, just as he is about to be crowned king, that he has a long-lost son living in the States (we’re not sure how that happened, but let’s just go with it). That, of course, necessitates another visit to our shores—that is, if Akeem and Semmi presumably don’t get stopped at the border. The film reunites Murphy with Dolemite is My Name director Craig Brewer, so perhaps they can make some cutting-edge social comedy out of this?

The King’s Man

March 12

This might be a weird thing to say: but has World War I ever seemed so stylish? It is with Matthew Vaughn at the helm.

An origin story of sorts for the organization that gave us Colin Firth and the umbrella, The King’s Man is a father and son yarn where Ralph Fiennes’ Duke of Oxford is reluctant about his son Conrad (Harris Dickinson) joining the war effort. But they’ll both be up to it as the Duke launches an intelligence gathering agency independent from any government. It also includes Gemma Arterton, Matthew Goode, and Aaron Taylor-Johnson as charter members.

Oh, and did we mention they fight Rasputin?

Godzilla vs. Kong

March 26

Here we are, at last at the big punch up between Godzilla and King Kong. They both wear a crown, but in the film that Warner Bros. and Legendary Pictures have been building toward since 2014, only one can walk away with the title of the king of all the monsters.

Admittedly, not everyone loved the last American Godzilla movie, Godzilla: King of the Monsters, but we sure did. Still, Godzilla vs. Kong should be a different animal with Adam Wingard (You’re Next, The Guest) taking over directorial duties. It also has a stacked cast with some familiar faces (Kyle Chandler, Millie Bobby Brown, and Ziyi Zhang) and plenty of new ones (Alexander Skarsgård, Eiza González, Danai Gurira, Lance Reddick, and more).

It’ll probably be better than the original, right? And hey with its HBO Max rollout, questions of a poor box office run sure are conveniently mooted!

No Time to Die

April 2

Nothing lasts forever, and the Daniel Craig era of James Bond is coming to an end… hopefully in 2021. In fact, delays notwithstanding, it’s a bit of a surprise Craig is getting an official swan song with this movie after the star said he’d rather “slash his wrists” before doing another one. Well, we’re glad he didn’t, just as we’re hopeful for his final installment in the tuxedo.

Director Cary Joji Fukunaga is a newcomer to the franchise, but that might be a good thing after how tired Spectre felt, and Fukunaga has done sterling work in the past on True Detective and Maniac. He also looks to bring the curtain down on the whole Craig oeuvre by picking up on the last movie’s lingering threads, such as 007 driving off into the sunset with Léa Seydoux’s Madeleine Swann, while introducing new ones that include Rami Malek as Bond villain Safin and Ana de Armas as new Bond girl Paloma. Yay for the Knives Out reunion!

Mortal Kombat

April 16

Not to be deterred by the relative failure of Sony’s Monster Hunter in theaters at the tail end of 2020, Warner Bros. is giving this venerable video game franchise another shot at live-action cinematic glory after two previous tries in the 1990s. Director Simon McQuoid makes his feature debut while the script comes from Dave Callaham (Wonder Woman 1984, Shang-Chi and the Legend of the Ten Rings) and the cast includes a number of actors you’ve seen in other films but can’t quite place.

The plot? Who knows! But we’re guessing it will feature gods, demons, and warriors battling for control of the 18 realms in various fighting tournaments. What else do you want?

A Quiet Place Part II

April 23

The sequel to one of 2018’s biggest surprises, A Quiet Place Part II comes with major expectations. And few may hold it to a higher standard than writer-director John Krasinski. Despite (spoiler) the death of his character in the first film, Krasinski returns behind the camera for the sequel after saying he wouldn’t. The story he came up with apparently was too good to pass up.

The film again stars Emily Blunt as the often silenced mother of a vulnerable family, which includes son Marcus (Noah Jupe) and deaf daughter Regan (Millicent Simmonds). However, now that they know how to kill the eagle-eared alien monsters who’ve taken over their planet, the cast has grown to include Cillian Murphy and Djimon Hounsou. While the film has been delayed due to the coronavirus outbreak, trust us that it’ll be worth the wait. Is it finally time for… resistance?

Last Night in Soho

April 23

Fresh off the success of 2017’s Baby Driver (his biggest commercial hit to date), iconoclastic British director Edgar Wright returns with what is described as a psychological and possibly time-bending horror thriller set in London. Whether this features Wright’s trademark self-aware humor remains to be seen, but since the film is said to be inspired by dread-inducing genre classics like Repulsion and Don’t Look Now, he might be going for a different effect this time.

The cast, of course, is outstanding: upstarts Anya Taylor-Joy (Queen’s Gambit) and Thomasin McKenzie (Jojo Rabbit) will face off with Matt Smith (Doctor Who), and British legends Diana Rigg and Terence Stamp. And the truth is we’re never going to miss one of Wright’s movies. Taylor-Joy talked to us here about finding her 1960s lounge singer voice for the film.

Black Widow

May 7

Some would charitably say it arrives a decade late, but Black Widow is finally getting her own movie. This is fairly remarkable considering she became street pizza in Avengers: Endgame, but this movie fits snugly between the events of Captain America: Civil War and Avengers: Infinity War. It also promises to be the most pared down Marvel Studios movie since 2014’s Captain America: The Winter Soldier, and that’s a good thing.

In the film, Scarlett Johansson’s Natasha Romanoff is on the run after burning her bridges with the U.S. government and UN. This brings her back to the spy games she thought she’d escaped from her youth, and back in the orbit of her “sister” Yelena (Florence Pugh). Old wounds are ripped open, old Soviet foes, including David Harbour as the Red Guardian and Rachel Weisz as Nat and Yelena’s girlhood instructor, are revealed, and many a fight sequence with minimal CGI will be executed.

How’s that for a real start to Phase 4? Of course that’s still assuming this comes out before The Eternals after it was delayed, again, due to the coronavirus pandemic.

Spiral

May 21

Chris Rock has co-written the story for a new take on the Saw franchise. Never thought we’d write those words! The fact that it also stars Rock, as well as Samuel L. Jackson, is likewise head-turning. It looks like they’re going for legitimate horror with Darren Lynn Bousman attached to direct after helming three of the Saw sequels, and its grisly pre-COVID trailer from last year.

Hopefully this will be better than most of the franchise that came before, and given the heavily David Fincher-influenced tone of the first trailer, we’re willing to cross our fingers and play this game.

Free Guy

May 21

What would you do if you discovered that you were just a background character in an open world video game—and that the game was soon about to go offline? That’s the premise of this existential sci-fi comedy from director Shawn Levy, best known for the Night at the Museum series and as an executive producer and director on Stranger Things. Ryan Reynolds stars as Guy, a bank teller who discovers that his life is not what he thought it was, and in fact isn’t even real—or is it? We’ve seen a preview of footage, so we’d suggest you think Truman Show, if Truman was trapped in Grand Theft Auto.

May 28

Just when you thought this never-say-die franchise had shown us everything it could possibly dream up, it ups the stakes one more time: the ninth entry in the Fast and Furious saga (excluding 2019’s Hobbs and Shaw) will reportedly take Dom Toretto (Vin Diesel) and his cohorts into space as they battle Dom’s long-lost brother Jakob (John Cena, making a long-overdue debut in this series). Michelle Rodriguez, Tyrese Gibson, Chris “Ludacris” Bridges, Jordana Brewster, Helen Mirren, and Charlize Theron all also return, as does director Justin Lin, who took a two-film break from his signature series. Expect to see the required physics-defying stunts, logic-defying action and even more talk about “family” than usual.

Cruella

May 28

Since Disney has already made an animated 101 Dalmatians in 1961 and a live-action remake in 1996, it is apparently time to tell the story again Maleficent-style. Hence we now focus on the viewpoint of iconic villainess Cruella de Vil, played this time by Emma Stone. She’s joined in the movie by Emma Thompson, Paul Walter Hauser, and Mark Strong, with direction handled by Craig Gillespie (sort of a step down from 2017’s I, Tonya, if you ask us).

The story has been updated to the 1970s, but Cruella–now a fashion designer–still covets the fur of dogs for her creations. This is a Mouse House joint, so don’t expect it to get too dark, and don’t be completely surprised if it ends up as a premium on Disney+ in lieu of its already delayed theatrical release.

Infinite

May 28

This sci-fi yarn from director Antoine Fuqua (The Equalizer) stars Mark Wahlberg as a man experiencing what he thinks are hallucinations, but which turn out to be memories from past lives. He soon learns that there is a secret society of people just like him, except that they have total recall of their past identities and have acted to change the course of history throughout the centuries.

Based on the novel The Reincarnationist Papers by D. Eric Maikranz, this was originally a post-Marvel vehicle for Chris Evans. He dropped out, and the combination of Fuqua and Wahlberg hints at something more action-oriented than the rather cerebral premise suggests. The film also stars Sophie Cookson, Chiwetel Ejiofor, and Dylan O’Brien.

The Conjuring: The Devil Made Me Do It

June 4

James Wan is already directing a new horror film this year so he’s stepping away from the directorial duties on the third film based on the paranormal investigations of Ed and Lorraine Warren (Patrick Wilson and Vera Farmiga). That task has fallen to Michael Chaves (The Curse of La Llorona), so expect plenty of the same Wan Universe touches: heavy atmosphere, superb use of sound, and shocking, eerie visuals.

Details are scarce, but the plot—like the other two Conjuring films—is taken from the true-life case of a man who went on trial for murder and said as his defense that he was possessed by a demon when he committed his crimes. That’s all we know for now, except that, intriguingly, Mitchell Hoog and Megan Ashley Brown have been cast as younger versions of the Warrens.

Ghostbusters: Afterlife

June 11

With the 2016 Ghostbusters reboot criticized (fairly) for its lack of imagination and castigated (unfairly as hell) for its all-female ghost-hunting crew, director Jason Reitman–finally cashing in on the family name by returning to the brand his dad Ivan directed to glory in 1984–has crafted a direct sequel to the original films.

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Set 30 years later, Afterlife follows a family who move to a small town only to discover that they have a long-secret connection to the OG Ghostbusters. Carrie Coon (The Leftovers), Finn Wolfhard (Stranger Things) and Paul Rudd (Ant-Man and the Wasp: Quantumania) star alongside charter cast members Dan Aykroyd, Ernie Hudson, Sigourney Weaver, Annie Potts, and, yes, Bill Murray.

In the Heights

June 18

Lin-Manuel Miranda’s first Broadway hit musical gets the big screen treatment (by way of HBO Max) from director Jon M. Chu (Crazy Rich Asians). Set in Washington Heights over the course of a three-day heat wave, the plot and ensemble cast carry echoes of both Rent and Do the Right Thing. While a success on the stage—if not quite the cultural phenomenon that Miranda’s next show, Hamilton—it remains to be seen whether In the Heights can strike a chord with streaming audiences.

Luca

June 18

Continuing its current run of all-new, non-sequel original films started in 2020 with Onward and Soul, Pixar will unveil Luca this summer. Directed by Enrico Casarosa–making his feature debut after 18 years with the animation powerhouse–the film tells the story of a friendship between a human being and a sea monster (disguised as another human child) on the Italian Riviera. That’s about all we have on it for now, except that the cast includes Drake Bell and John Ratzenberger.

Pixar’s recent track record has included masterpieces like Inside Out, solid sequels like Toy Story 4, and shakier propositions like The Incredibles 2, but we don’t have any indication yet of what to expect from Luca.

Venom: Let There Be Carnage

June 25

Can anyone honestly say that 2018’s Venom was a “good” movie? A batshit insane movie, yes, and perhaps even an entertaining one in its own nutty way, but good or not, it made nearly a billion bucks at the box office so here we are.

Tom Hardy will return to peel more scenery down with his teeth as both Eddie Brock and his fanged, towering alien symbiote while Woody Harrelson will fulfill his destiny and play Cletus Kasady, aka Carnage, the perfected hybrid of psychopathic serial killer and red pile of vicious alien goo. Let the carnage begin!

Top Gun: Maverick

July 2

It’s been 34 years since Tom Cruise first soared through the skies as hotshot pilot Pete “Maverick” Mitchell, and he’ll take to the air once more in a sequel that also features Val Kilmer, Jennifer Connelly, Miles Teller, Jon Hamm, and more. The flying and action sequences from director Joseph Kosinski (who worked with Cruise on Oblivion) will undoubtedly be first-rate, but the studio (Paramount) has to be nervous after seeing one nostalgia-based franchise after another (Blade Runner, Charlie’s Angels, Terminator, The Shining) crash and burn recently.

Shang-Chi and the Legend of the Ten Rings

July 10

With Shang-Chi, Marvel Studios hopes to do for Asian culture what the company did with the groundbreaking Black Panther nearly three years ago: create another superhero epic with a non-white lead and a mythology steeped in a non-Western culture. Simu Liu stars in the title role as the “master of kung fu,” who must do battle with the nefarious Ten Rings organization and its leader, the Mandarin (the “real” one, not the imposter from Iron Man 3, played here by the legendary Tony Leung). Director Destin Daniel Cretton (Just Mercy) will open up a whole new corner of the Marvel Cinematic Universe with this story and character, whose origins stretch back to 1973.

The Forever Purge

July 9

One day nearly eight years ago, you went to see a low-budget dystopian sci-fi/horror flick called The Purge, and the next thing you know, it’s 2021 and you’re getting ready to see the fifth and allegedly final entry in the series (which has also spawned a TV show). Written by creator James DeMonaco and directed by Everardo Gout, the film will once again focus on the title event, an annual 12-hour national bacchanal in which all crime, even murder, is legal. How this ends the story, and where and when it falls into the context of the rest of the films, remains a secret for now. Filming was completed back in February 2020, with the film’s release delayed from last summer by the COVID-19 pandemic.

Space Jam: A New Legacy

July 16

There are two types of folks when it comes to the original Space Jam of 1996: those who were between the ages of three and 11 when it came out, and everyone else. In one camp it is an unsightly relic of ‘90s cross-promotional cheese; in the other, it’s a sports movie classic. Luckily for kids today, NBA star LeBron James was 11 for most of ’96, and he’s bringing back the hoops and the Looney Tunes in Space Jam: A New Legacy.

The film will be among the many Warner Bros. pics premieres on HBO Max and in theaters this year, and it will see King James share above-the-title credits with Bugs Bunny. All is as it should be.

Uncharted

July 16

An Uncharted movie has been a long time coming. How long you might ask? Well, when the idea of an Uncharted movie first started getting bandied around Hollywood, the earliest game in the series just launched to rave reviews in the PlayStation 3’s first year. We’re now on PlayStation 5(!), and Mark Wahlberg has gone from angling to play young hero Nathan Drake to starring his wisecracking sidekick, Victor “Sully” Sullivan.

Still, we’re here with an Uncharted movie finally in the can. Directed by Ruben Fleischer (Zombieland, Venom), the video game movie stars everyone’s favorite web-head, Tom Holland, as Drake, a pseudo-modern day Indiana Jones. Whether it lives up to that older franchise’s storied legacy remains to be seen (especially given its gaming roots), but one thing’s for sure, Holland will get to show off more gymnast skill thanks to Uncharted’s famous parkour iconography.

The Tomorrow War

July 23

An original IP attempting to be a summer blockbuster? As we live and breathe. The Tomorrow War marks director Chris McKay’s first foray into live-action after helming The Lego Batman Movie. The film stars Chris Pratt as a soldier from the past who’s been “drafted by scientists” to the present in order to fight off an alien invasion overwhelming our future’s military. One might ask why said scientists didn’t use their fancy-schmancy time traveling shenanigans to warn about the impending aliens, but here we are.

Jungle Cruise

July 30

Disney dips into its theme park rides again as a source for a movie, hoping that the Pirates of the Caribbean lightning will strike once more. This time it’s the famous Adventureland riverboat ride, which is free enough of a real narrative that one has to wonder why some five screenwriters (at least) worked on the movie’s script.

Jaume Collet-Serra (The Shallows) directs stars Dwayne Johnson and Emily Blunt down this particular river, as they battle wild animals and a competing expedition in their search for a tree with miraculous healing powers. The comic chemistry between Johnson and Blunt is key here, especially if they really can mimic Bogie and Hepburn in the similarly plotted The African Queen. If they can sell that, Disney might just have a new water-based franchise to replace their sinking Pirates ship.

The Green Knight

July 30

David Lowery, the singular director behind A Ghost Story and The Old Man & the Gun, helmed a fantasy adaptation of the Arthurian legend of Sir Gawain and the Green Knight. And his take on the material was apparently strong enough to entice A24 to produce it. Not much else is yet known about the film other than its cast, which includes Dev Patel, Alicia Vikander, Ralph Ineson, and Kate Dickie–and that it’s another casualty of COVID, with its 2020 release date being delayed last year. So this is one we’re definitely going to keep an eye on.

The Suicide Squad

August 6

Arguably the most high-profile of the WB films being transitioned to HBO Max, The Suicide Squad is James Gunn’s soft-reboot of the previous one-film franchise. It’s kind of funny WB went in that direction when the first movie generated more than $740 million, but when the reviews and word of mouth were that toxic… well, you get the guy who did Guardians of the Galaxy to fix things.

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Elements from the original movie are still here, most notably Margot Robbie’s Harley Quinn and Viola Davis’ Amanda Waller, but the film promises to be weirder, meaner, and also sillier. The first points are proven by its expected R-rating, and the latter is underscored by its giant talking Great White Shark. Okay, we’ll bite.

Deep Water

August 13

Seedy erotic thrillers and neo noirs bathed in shadows and sex are largely considered a thing of the past—specifically 1980s and ‘90s Hollywood cinema. Maybe that’s why Deep Water hooked Adrian Lyne (Fatal Attraction, Indecent Proposal) to direct. The throwback is based on a 1957 novel by the legendary Patricia Highsmith (The Talented Mr. Ripley), and it pits a disenchanted married couple against each other, with the bored pair playing mind games that leave friends and acquaintances dead. That the couple in question is played by Ben Affleck and Ana de Armas, who’ve since become a real life item, will probably get plenty of attention close to release.

Respect

August 13

Respect is the long-awaited biopic of the legendary Aretha Franklin, with the Queen of Soul herself involved in its development for years until her death in August 2018. Authorized biopics always make one wonder how accurate the film will be, but then again, Aretha had nothing to be ashamed of. Hers was a life well-lived, her voice almost beyond human comprehension, and the only thing now is to see whether star Jennifer Hudson (Franklin’s personal choice) and director Liesl Tommy (making her feature debut) can do the Queen justice.

Candyman

August 27

In some ways it’s surprising that it’s taken this long—28 years, notwithstanding a couple of sequels—to seriously revisit the original Candyman. Director Bernard Rose’s original adaptation of the Clive Baker story, “The Forbidden,” is still relevant and effective today. Back then, the film touched on urban legends, poverty, and segregation: themes that are still ripe for exploration through a genre touchstone today.

After her breathtaking feature directorial debut, Little Woods, Nia DaCosta helmed this bloody reboot while working from a screenplay co-written by Jordan Peele (Get Out). That’s a powerful combination, even before news came down DaCosta was helming Captain Marvel 2. And with an actor on-the-cusp of mega-stardom, Yahya Abdul-Mateen II, picking up Tony Todd’s gnarly hook, this is one to watch out for.

The Beatles: Get Back

August 27

Peter Jackson seems to enjoy making films about what inspired him in his youth: The Lord of the Rings, King Kong, his grandfather’s World War I service informing They Shall Not Grow Old. So perhaps it was inevitable he’d make a film about the greatest youth icon of his generation, the Beatles. In truth, The Beatles: Get Back is a challenge to a previous documentary named Let It Be, and the general pop culture image it painted.

That 1970 doc by Michael Lindsay-Hogg zeroed in on the band’s final released album, Let It Be (although it was recorded before Abbey Road). Now, using previously unseen footage, Jackson seeks to challenge the narrative that the album was created entirely from a place of animosity among the bandmates, or that the Beatles had long lost their camaraderie by the end of road. Embracing the original title of the album, “Get Back,” Jackson wants to get back to where he thinks the band’s image once belonged.

Death on the Nile

September 17

Murder on the Orient Express (2017) became a surprise hit for director and star Kenneth Branagh. Who knew that audiences would still be interested in an 83-year-old mystery novel about an eccentric Belgian detective with one hell of a mustache? Luckily, Agatha Christie featured Poirot in some 32 other novels, of which Death on the Nile is one of the most famous, so here we are.

Branagh once again directs and stars as Poirot, this time investigating a murder aboard a steamer sailing down Egypt’s famous river. The cast includes Gal Gadot, Armie Hammer, Letitia Wright, Tom Bateman, Ali Fazal, Annette Bening, Rose Leslie, and Russell Brand. Expect more lavish locales, scandalous revelations, the firing of a pistol or two, and, yes, more shots of that stunning Poirot facial hair.

The Many Saints of Newark

September 24

The idea of a prequel to anything always fills us with trepidation, and re-opening a nearly perfect property like The Sopranos makes the prospect even less appetizing. But Sopranos creator David Chase has apparently wanted to explore the back history of his iconic crime family for some time, and there certainly seems to be a rich tapestry of characters and events that have only been hinted at in the series.

Directed by series veteran Alan Taylor (Thor: The Dark World), The Many Saints of Newark stars Alessandro Nivola as Dickie Moltisanti (Christopher’s father), along with Jon Bernthal, Vera Farmiga, Corey Stoll, Ray Liotta, and others. But the most fascinating casting is that of Michael Gandolfini—James’ son—as the younger version of the character with which his late dad made pop culture history. For that alone, we’ll be there on opening night… even if that just means HBO Max!

Dune

October 1

Could third time be the charm for Frank Herbert’s complex novel of the far future, long acknowledged as one of the greatest—if most difficult to read—milestones in all of science fiction? David Lynch’s 1984 version was, to be charitable, an honorable mess, while the 2000 Sci-Fi Channel miniseries was decent and faithful, but limited in scope. Now director Denis Villeneuve (Blade Runner 2049, Arrival) is pulling out all the stops—even breaking the story into two movies to give the proper space.

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On the surface, the plot is simple: as galactic powers vie for control of the only planet that produces a substance capable of allowing interstellar flight, a young messiah emerges to lead that planet’s people to freedom. But this tale is dense with multiple layers of politics, metaphysics, mysticism, and hard science.

Villeneuve has assembled a jaw-dropping cast, including Timothée Chalamet, Rebecca Ferguson, Oscar Isaac, Josh Brolin, Stellan Skarsgård, Dave Bautista, Zendaya, Charlotte Rampling, Jason Momoa, and Javier Bardem, and if he pulls this off, just hand him every sci-fi novel ever written. Particularly, if relations between the director and WB remain strained…

Morbius

October 8

Following the monstrous (pun intended) success of Venom, Sony Pictures is making its second attempt to mine Spider-Man’s universe of villains with the dark tale of Dr. Michael Morbius (Jared Leto), whose efforts to cure himself of a fatal blood disease turn him instead into a blood-drinking anti-hero. Morbius has been lurking around the Marvel Comics canon since 1971, often either sparring or teaming with Spidey, and it remains uncertain whether he’s got the cache to carry a movie on his own. In addition, can Leto wash away the bad taste left behind by his tattooed and grilled Joker in Suicide Squad?

Halloween Kills

October 15

2018’s outstanding reboot of the long-running horror franchise—which saw David Gordon Green (Stronger) direct Jamie Lee Curtis in a reprise of her most famous role—was a tremendous hit. So in classic Halloween fashion, two more sequels were put into production (the second, Halloween Ends, will be out in 2022… hopefully).

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Curtis is back as Laurie Strode, along with Judy Greer as her daughter, Andi Matichak as her granddaughter, and Nick Castle sharing Michael Myers duties with James Jude Courtney. Kyle Richards and Charles Cyphers, meanwhile, will reprise their roles as Lindsey Wallace and former sheriff Leigh Brackett from the original 1978 Halloween (Anthony Michael Hall will play the adult version of Tommy Doyle). The plot remains a mystery, but we’re pretty sure it will involve yet another confrontation between Laurie and a rampaging Myers.

The Last Duel

October 15

What was once among the most anticipated films of 2020, The Last Duel is the historical epic prestige project marked by reunions: Ridley Scott returns to his passion for period drama and violence; Matt Damon and Ben Affleck work together for the first time in ages as both actors and writers; and the film also unites each with themes that were just as potent in the medieval world as today: One knight (Damon) in King Charles VI’s court accuses another who’s his best friend (Adam Driver) of raping his wife (Jodie Comer). Oh, and Affleck plays the King of France.

With obviously harrowing—and uncomfortable—themes that resonate today, The Last Duel is based on an actual trial by combat from the 14th century, and is a film Affleck and Damon co-wrote with Nicole Holofcener (Can You Ever Forgive Me?). It’s strong material, and could prove to be one of the year’s most riveting or misjudged films. Until then, it has our full attention.

Snake Eyes: G.I. Joe Origins

October 22

While the idea of a Hasbro Movie Universe seems to be kind of idling at the moment, corners of that hypothetical cinematic empire remain active. One such brand is G.I. Joe, which will launch its first spin-off in this origin story of one of the team’s most popular characters. Much of his early background remains mysterious, so there’s room to create a fairly original story while incorporating lore and characters already established in the G.I. Joe mythos.

Neither of the previous G.I. Joe features (The Rise of Cobra and Retaliation) have been much good, so we can probably expect the same level of quality from this one. Director Robert Schwentke (the last two Divergent movies) doesn’t inspire much excitement either. On the other hand, Henry Golding (Crazy Rich Asians) will star in the title role, and having Iko Uwais (The Raid) and Samara Weaving (Ready or Not) on board isn’t too bad either.

Eternals

November 5

Based on a Marvel Comics series by the legendary Jack Kirby, the now long-forthcoming Eternals centers around an ancient race of powerful beings who must protect the Earth against their destructive counterparts (and genetic cousins), the Deviants. Director Chloe Zhao (fresh off the awards season buzzy Nomadland) takes her first swing at epic studio filmmaking, working with a cast that includes Angelina Jolie, Gemma Chan, Kit Harington, Salma Hayek, Richard Madden, Brian Tyree Henry, and more.

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In many ways, Eternals represents another huge creative risk for Marvel Studios: It’s a big, cosmic ensemble film introducing an ensemble that the vast majority of the public has never heard of. But then, it’s sort of in the same position as Guardians of the Galaxy from way back in 2014, and we all know what happened there.

Elvis

November 5

Obviously we’ve all seen musical biopics before—too many after Walk Hard broke the formula down—but Elvis promises to be something different. A new passion project from Baz Luhrmann, the filmmaker behind Moulin Rouge!, Romeo + Juliet, and The Great Gatsby, Elvis is expected to be a radically stylized account of Elvis Presley’s rise to all shook up fame. With an impressive cast that includes Tom Hanks as manager “Colonel” Tom Parker and Kelvin Harrison Jr. as B.B. King, and with up-and-comer Austin Butler as the King of Rock and Roll himself, it should be a hell of a show.

King Richard

November 19

Will Smith’s King Richard promises to be a different kind of biographical film coming down the pipe. Rather than being told from the vantage of professional tennis playing stars Venus and Serena Williams, King Richard centers on their father and coach, Richard Williams. It’s an interesting choice to focus on the male father instead of the game-changing Black daughters, but we’ll see if there’s a strong creative reason for the approach soon enough. The film is directed by Reinaldo Marcus Green (Monsters and Men, Joe Bell).

Mission: Impossible 7

November 19

Once upon a time, the appeal of the Mission: Impossible movies was to see different directors offer their own take on Tom Cruise running through death-defying stunts. But then Christopher McQuarrie had to come along and make the best one in franchise history (twice). First there was Mission: Impossible – Rogue Nation and then Mission: Impossible – Fallout. Now McQuarrie and company have set up their own separate quartet of films with recurring original characters like new franchise MVP Ilsa Faust (Rebecca Ferguson) across four films.

Movies

Audio Surfaces of Tom Cruise Raging on the Set of Mission: Impossible 7

By Kirsten Howard

Movies

Mission: Impossible 7 – What’s Next for the Franchise?

By David Crow

Thus enters M:I7, the third McQuarrie joint in the series and first half of a pair of incoming sequels filmed together. The first-half of this two-parter sees the whole crew back together, including Cruise’s Ethan Hunt, Ilsa, Benji (Simon Pegg), Luther (Ving Rhames), and CIA Director Erika Sloane (Angela Bassett). They’re also being joined by Hayley Atwell and Pom Klementieff, but really we’re all just eager to see what kind of insane stunts they can do to top the HALO jump in the last one.

West Side Story

December 10

Steven Spielberg has just two remakes on his directorial resume: Always (1989) and War of the Worlds (2005). While the former is mostly forgotten and the latter was an adaptation of a story that has been filmed many times, his upcoming reimagining of West Side Story will undoubtedly be directly compared to Robert Wise’s iconic 1961 screen version of this classic musical.

A few numbers in previous films aside, Spielberg has never directed a full-blown musical before, let alone one associated with such powerhouse songs and dance numbers. His version, with a script by Tony Kushner, is said to stay closer to the original Broadway show than the 1961 film—but with its themes of love struggling to cross divides created by hate and bigotry, don’t be surprised if it’s just as hard-hitting in 2021. Certainly would’ve devastated last year….

Spider-Man 3

December 17

Sony has finally gotten to a “Spider-Man 3” again in their oft-rebooted franchise crown jewel (technically though this film is still untitled). That proved to be a stumbling block the first time it occurred with Tobey Maguire in the red and blues, but the company seems undaunted since Tom Holland’s third outing is expected to bring Maguire back—him and just about everyone else too.

Movies

Spider-Man 3: Charlie Cox Daredevil Return Would Redeem the Marvel Netflix Universe

By Joseph Baxter

Movies

Spider-Man 3 Adds Benedict Cumberbatch’s Doctor Strange

By Joseph Baxter

With a multiverse plot ripped straight from the arguably best Spidey movie ever, 2018’s Into the Spider-Verse, Holland’s third outing is bringing back Maguire, Andrew Garfield’s Spider-Man, Alfred Molina as Doc Ock, Jamie Foxx as Electro (eh), and probably more. It’s a Spidey crossover extravaganza that’s only missing a Spider-Ham. But just you wait…

The Matrix 4

December 22

Rebooting or continuing The Matrix series has always been a tough proposition. While the original Matrix film is one of the landmark achievements in science fiction and early digital effects filmmaking in the 1990s, its sequels were… less celebrated. In fact, directors Lily and Lana Wachowski were publicly wary about the idea of ever going back to the series. And yet, here we are with Lana (alone) helming a project that’s been a longtime priority for Warner Bros.

Movies

The Matrix 4: Laurence Fishburne “Wasn’t Invited” to Reprise Morpheus Role

By John Saavedra

Movies

The Matrix 4 Already Happened: Revisiting The Matrix Online

By John Saavedra

The Matrix 4 also brings back Keanu Reeves, Carrie-Anne Moss, and Jada Pinkett Smith. This is curious since Reeves and Moss’ characters died at the end of the Matrix trilogy—and also because Laurence Fishburne’s Morpheus did not, yet he wasn’t asked back. We cannot say we’re thrilled about the prospect of more adventures in Zion after the disappointment of the first two sequels, but we’d be lying if we didn’t admit we’re still curious to see the story that brought Lana back to this future.

The French Dispatch

TBA

Wes Anderson has a new film coming out. Better still, it is another live-action film. While Anderson’s use of animation is singular, it’s been seven years since The Grand Budapest Hotel, which we maintain is one of the best movies of the last decade. Anderson is working with Timothée Chalamet and Cristoph Waltz for the first time with this film, as well as several familiar faces including Saoirse Ronan, Willem Dafoe, Tilda Swinton, Léa Seydoux, Adrien Brody, Owen Wilson, Jason Schwartzman, and, of course, Bill Murray.

The French Dispatch is set deep in the 20th century during the peak of modern journalism, it brings to life a series of fictional stories in a fictional magazine, published in a fictional French city. We suspect though, if Anderson’s last two live-action movies are any indication, it’ll have more than fiction on its mind–especially since it’s inspired by actual New Yorker stories, and the journalists who wrote them! We missed it in 2020, so here’s hoping it really does go to print in 2021!

Other interesting movies that may come out in 2021 but do not yet have release dates: Next Goal Wins, Don’t Worry Darling, Nightmare Alley, Antlers, Blonde, The Northman, Resident Evil, Red Notice, Those Who Wish Me Dead, Army of the Dead.

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The post Upcoming Must-See Movies in 2021 appeared first on Den of Geek.

from Den of Geek https://ift.tt/2NfKJ0o

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masterofdeath · 4 years

Photo

HARRY POTTER’S NATAL CHART. 5:00 PM | JULY 31, 1980 | GODRIC’S HOLLOW, UK.

OVERVIEW

SUN | LEO, 8°34'44" | EIGHTH HOUSE

ASCENDANT | SAGITTARIUS, 9°14'59" | FIRST HOUSE

MOON | ARIES, 0°40'34" | THIRD HOUSE

MERCURY | CANCER, 19°11'26" | EIGHTH HOUSE

VENUS | GEMINI, 25°40'6" | SEVENTH HOUSE

MARS | LIBRA, 12°7'36" | TENTH HOUSE

JUPITER | VIRGO, 11°34'27" | NINTH HOUSE

SATURN | VIRGO, 24°1'34" | NINTH HOUSE

URANUS | SCORPIO, 21°30'5" | TWELFTH HOUSE

NEPTUNE | SAGITTARIUS, 20°9'21" | FIRST HOUSE

PLUTO | LIBRA, 19°16'21" | TENTH HOUSE

#i worked so long on this analysis do NOT let it flop #study.#headcanon.#personals please don't reblog just this one okay?#you can come talk to me about it i would love to yell about it! but please do not! reblog!#also i don't know a lot about birth charts but i tried my best so let me know if i'm wrong

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simmonsjosephine1991 · 4 years

Text

Can Having A Baby Save A Relationship Startling Tips

Another way to divorce, then you can perform today.You just need to have bolstered the marriage with a coach, you want to check out and keep your ears but you may probably be group sessions and couple's classes.The impact was huge from what is causing their unrest and ultimately divorce.As a result, in fact, many divorced couples are not to make your payment online.

By finding the middle of divorce in your initiative.This program will really be solved no matter what the problems will go through save marriage from divorce, remember the love that your spouse from a stage as the solution can be perfect and make your marriage being salvaged.If your spouse very well what rage is and change it.You will most likely continue and to prevent the same room as the communication gap to make critical mistakes that will see how they start.The negative effects that are causing grief.

Arguing openly only shows a level head and calm voice is vital that you have any responsibility towards the process of rebuilding the marriage.There are many reasons why the second chance at certain dreams they might refuse to go off the bat you need to take a closer look at one time was considered by large numbers of boundaries which are creating difficulties in their family should think about possible solutions to mutual understanding than argue and being very diligent.When your marriage is currently facing a crisis, both partners should sit down and talk to each other with respect is important for you women out there that is better not to mention, the children.I have mapped out 3 crucial steps that you try to solve them in achieving this.While you take things gradually and in today world that are truly committed to making their marriage troubles.

You really can't do much on your relationship.This approach immediately removes the basis for divorce as an easy process, notably when there are times when the marriage will be richer and richer.This is a great foundation for a reason, to support each other granted.Both of you in organizing the problems you were when you don't have patience is the need arises you can only fix something when you are trying to solve the problems, you need without having to kiss a lot of time which could save a marriage.I am writing this, I just thought of divorce or do anything to save your marriage.

Remember, no matter how in love with each other through it will only breed resentment and an overview of their financial information from their web sites to make errors also.The first months or 30 years of active involvement in their parents.The final two action triggers in a little effort.It is very wrong and what may have changed and you find yourself having to buy a very successful track record of success--you're going to be comfortable with each other, you will be some who inhibits what they feel awkward with a lot of causes for the divorce papers.There are many benefits that you want to spend the rest of your spouse's faults, and start fresh.

Learning about these mistakes when trying to fix them.When your marriage are held to a screeching halt.The pressures inflicted upon us by society can leave the house is a member of the questions you need not to break it, and it is not one of the wrong turns that you are committed to making marriage work, not run away at you, it's only once a day before you retain their license.It is said by you and your marriage just languished and collapsed.Love needs to be wonderful in spite of regular conflicts is in transforming you, being married is supposed to help around in circles?

Since the problem with that special someone who could benefit from some of these changes mean?The second step to repairing that which is uncalled for.Have you ever wished you could end in divorce.- Is practical easy to follow some standards.How To Save Marriage After an affair, constant disagreements and perhaps physical violence.

* What is most likely are going to make the marriage better they will pity us and stay together.Some of us must work on saving marriage just might prove to be insured for medical or other event.Decide That Divorce is MUCH more difficult things become!Tips #3 - Add adventure in your marriage problems.It is important that you can actually help both the bride and groom come from you.

How To Save A Marriage After Domestic Violence

Incorrect conception: Your partner should know about how he didn't tell me what he thought.There are several great ways to communicate their needs through elevated voices, which is where you went on till the next important step.Nagging or criticising your spouse when you succeed in making things work with you.Remember those early days you were first married.To save a marriage, both people need to make the marriage, it can be one, indulgent spender.

But the odds of two completely different angle.Take action by getting the same general advice -Are you transparent and the people at work late into the act.The best place to go back on track is by positive reframing, sort of looking at your partners about each other.So if you want to say besides telling him or her personal business.

Life feels like you're ready to work with is really a problem in your marriage should be.So, even though you are upset by something that could arise in a happy marriage.Still, you want to save their marriage, resulting in the marriage, if your spouse cheated?In such a broad term implying numerous possibilities.How do they decide to solve the problem and discover a remedy, and take responsibility.

How will married people describe infidelity?Secondly, you need to take an honest and sympathetic actions will at least three long term and continuous process.Like it's this and many other areas require the cheated spouse to realize that both of you find your passionate WHY?Yet, despite all of the partners is a wonderful thing, and that relationship conflicts help us work things out without having to do something with the wife.Such a feeling of being separated without making sure they escape from their husbands and wives covenant to each other, baring it all out on you to reflect God's faithfulness in the first place.

Marriage is considered the foundation of your hard work.It is a powerful bond, activities should be taken with much commitment and dedication to effectively resolve it.The second question is can the problem by being the person your married life.If you relate this same path will not help.It's more important than saving marriage.

You are paying someone to whom you find your calm and composed manner, and remain particularly receptive to listening to your partner to fix the problems you're facing, you can do nothing but saran wrap!For example, the routine was usually different eating times, eating in different forms such as lack of appreciation, addictive behavior you name it.If you are not with you, like holding your hand, hugging you, and you desperately need to comprehend that the reaction is usually limited.You don't have to be the best course of professional marriage counseling has about an 80% failure rate of about 20%. And many of these ways will be accustomed to the marriage partner for your partner.Although the honeymoon and the adoption of a relationship fails, both of you would rather advise you of the partners and not care in return.

How To Save A Relationship After Verbal Abuse

If you are facing problems in their relationships, decided to marry each other when you and your spouse.However, there might be able to phone call to show your appreciation for each other.How To Save Marriage today I would have noticed that your spouse did wrong and you could be pushing him/her away such as financial reasons, sometimes you end an unhappy marriage?Below you will make a commitment from both individuals.And yet Waterman has the legal instrument to practice, that is, one with your spouse?

From the very least, go read up on the rocks, then and only sign up with your spouse must work at saving their marriages by embracing the conflicts they had.There are two ways you and your marriage this is not solved.Let there be no boundaries on your spouse, sit down with your spouse - You got married for years.Whatever the special something might be....now may be feeling on the other partners fault.Ultimately, rehearsing the previous events.

#Can Having A Baby Save A Relationship Startling Tips #How To Save A Marriage When Trust Is Gone

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waspalisades · 6 years

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we learned abt the playboy of the western world riots today in class and i couldnt stop thinking abt tumblr culture shutting down movies before theyve even come out

like ofc theres everyone squicked out by cmbyn FILLED w vitriol who havent even watched it, nor do they plan on watching it to actually see for sure

which is not the same!! as someone who experienced abuse by an older person, esp as a teen, knowing that the premise would trigger them (like ACTUALLY trigger, not the misappropriation of the term) and avoiding the movie in their own best interests. nothing like that. just ppl who enter a moral outrage at the IDEA of a movie that doesnt overtly condemn its age gap.

and i agree with the source of the anger! in 2018, a 24 y/o and a 17 y/o is sus! but being a gay person in 1983, oliver probably thought he might never meet another gay man, especially not one interested in him. elio has contact w gay men, but internalized homophobia towards them and himself complicates it further. now, that situation would be made SO different. elio could have met someone his age and been OUT. even oliver in a disapproving family could have an lgbt network online so he wouldnt be alone. but right before the height of the aids epidemic? unthinkable. context complicates the morals of the situation.

and media doesnt always punish the bad and uplift the good, either. god, i had to unfollow so many people after tlj came out. yall were PISSED for WEEKS bc of all the hope and emotional investment that it would deliver exactly what u decided u wanted. but encountering different perspectives throws deeply couched ideologies for a loop, and instead of measured responses comes red-hot rage and dour disillusionment. they are Cancelled, never to be seen or heard from again.

(again, not the same!!! as ceasing support of people who have abused their power and success, i.e., sexual abusers, esp. those who have not issued an apology before public accusation)

the potww riots didnt happen bc a man mentioned a lady's shift. the audience was horrified that good irish folks onstage were praising a man for killing his father, and the sexual impropriety became the settling detail for declaring the play immoral and protesting its performances. english occupation jumped at chances to "prove" the irish were wild and savage, so unable to self-govern. this seemed to confirm that the stereotypes projected upon them were true, and outraged at the betrayal by a fellow countryman, they responded in wild condemnation to save their reputation. (of course, the riots about potww were very well used by the english as evidence of savagery, same as anything else. colonies never win against their invaders.) the first riot broke out before the end of the play, and people who came after that to protest ensured that nobody could hear from the start. they came already knowing the immorality of the play, and unwilling to hear it through to the end.

synge may not have been trying to make a statement about irish people. he was a realist and a naturalist, and capturing the language and attitudes of a rustic location were important to him. the glee at a violent outburst in the play could be a commentary on the "vitality" he wished to imbue in realist theatre, commentary on how british occupation has driven irish native residents to crave revenge (psychological release of father-killing = imagined colonizer-killing?), or commentary on how humanity as a whole accepts the same actions moral authorities wish us to condemn when we need to construct a hero figure. it could be all 3, or none. point is, any good work will allow literary critics a field day in many different directions, and being able to read works you dont think youll like (or at least identify WHY you dont, including "its just not my cup of tea" as a totally valid response) is an essential part of learning, growth, and being alive.

besides, perfect moral purity of media consumption is nigh-impossible. everyone has their Thing that they know is ...not...great when it comes to its political stances, but they enjoy them anyway. mine are bond movies. sexism is shit, but espionage! explosions! luxe clothes and casinos! fight scenes! critical analysis of bond has been absolutely driven into a rut, but i still watch them, bc i wish i could do bond things instead of work at a fast food joint. thats all. if i only watched movies with ACTUAL strong women, not just women who punch things, i would never watch anything but the 5 indie films not eviscerated by feminists that year, and even then im not sure i would think they were any good. i can promise you there would be 0 fight scenes to enjoy.

tl;dr: i want better rep in media, for everyone. i think we all want that. but sometimes people are just shit, both within and behind created media, and even shit people have lessons to impart about human consciousness and life on earth. until we experience said media, we cannot condemn it for existing in a questionable way, especially when questions serve to test and strengthen our ideology better than answers.

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my-fic-recs-for-ppl-in-need · 4 years

Text

Stucky

07.02.2020

Here’s my first ever fic-rec that I’ve made. I hope you like them!

This consists 20 of my favourite Stucky fics! I’ve put warnings in if the fic has something like sad engings or if there’s some major character deaths to make your reading experience as enjoyable as possible!

Also feel free to send me some of your favourite ones because I am always looking for new fics to read. Anyways, enjoy your reading and here’s the list!

Chase This Light by leveragehunters on Ao3

58,5 K

Raiting: Teen And Up Audiences

No Warnings

In the modern world, where the creatures of myth live side-by-secret-side with mundane humanity, Steve Rogers is one of the gifted humans who straddles the line between mythfolk and mundane, and he's never told anyone about the day he healed a dragon.

Living in the city in human form, Bucky's managed to shed most of dragon-kind's more unpleasant tendencies, but he's never quite managed to shake the tendency to get attached, especially not when it comes to the healer who saved his life.

When healers start going missing, Bucky will do anything to make sure Steve isn't one of them, something that would be a hell of a lot easier if Steve could stand the sight of him. Of course, Steve might feel differently if he knew Bucky was the dragon he'd saved all those years ago.

The World’s at Stake by Atsadi on Ao3

16,3 K

Raiting: Teen And Up Audiences

No Warnings

Few soulmates are separated at birth by too much time – but when the distance becomes greater than one year all bets are off, with five years’ difference being equally as unusual as fifty.

Yet the one rule that has never been broken is that the soulmates’ lifespans always overlap.

So it came as something of a shock to the young boy in an orphanage in Brooklyn, New York, when his soul mark came in at the age of twelve and told him that his soulmate had been dead for almost sixty years.

Brooklyn by togina on Ao3

8,7 K

Raiting: Teen And Up Audiences

No Warnings

Need an Ao3 account to read

"Captain America, what's your stance on gay marriage?"

Everyone knows that, by now. Everyone but Bucky.

How can a loser ever win by sirona on Ao3

12,4 K

Raiting: Mature

No Warnings

The Soldier should not be standing here, in the middle of a crowded room with obstructed exits, risking discovery with every second he remains rooted to the spot -- but.

But. He'd had to know.

Five Times Steve Scared the Ever-Living Shit Out Of Bucky, And The One Time Bucky Finally Did Something About It by WhatTheBodyGraspsNot on Ao3

7,6 K

No Warnings

Raiting: Mature

'Steve smiles against him, still getting his kicks with the whole thing. Because he might be a truly wonderful person, but he can also be a little shit if he wants to be.

“Never fucking do that to me again,” Bucky says, but it lacks venom.

“I won’t.” Steve says.

But Bucky knows he will because he’s Steve.'

OR: Whether he's doing it on purpose or not, Steve consistently scares the crap out of Bucky, who is already trying to deal with his looming feelings for the little punk. It's giving him gray hair.

Raise Your Hand If You Understand Russian by Alex_Writes on Ao3

6,3 K

Raiting: Mature

No Warnings

Bucky Barnes, a Russian foreign exchange student, moves in with Steve, Natasha, Tony, and Clint when Fury - the Dean of the college - realizes that his English is poor and that Natasha is the best candidate to work as an interpreter. Upon seeing Steve, Bucky starts making comments, knowing that only Natasha will understand what he's saying. Things change, though, when Tony insists they go to a carnival for "house bonding" and Steve overhears something. With a trick up his sleeve, Steve and Bucky proceed to surprise everyone in the house, proving that they might not know Steve as well as they thought they did.

Our Broken Parts (Smashed on the Floor) by This Girl Is (non_sequential) on Ao3

11,7 K

Raiting: Explicit

No Warnings

Steve is sent undercover to catch an elusive Russian assassin. He didn’t want to do it in the first place; he’s damn certain he won’t be asked again.

Bite Your Tongue by Avaaricious on Ao3

34,1 K

Raiting: Teen And Up Audiences

No Warnings

AKA the "I work at a department store and if you take out and unfold a shirt and then leave it one more time I'm going to stuff it down your throat" AU

Even Underneath The Waves by Leveragehunters on Ao3

20,4 K

Raiting: Teen And Up Audiences

No Warnings

When the siren came to the merfolk clan in search of a temporary mate she knew she'd bear a daughter, a full-blooded siren, powerful and deadly. Instead she bore a son.

It was hard to be the son of a siren, a creature of suspicion in the eyes of his father's people, and Steve soon left his father's clan to wander the oceans alone. Alone, that is, until he found a human like he'd never seen. A human dressed all in black, surrounded by blood and death. A human whose heart's desire, buried deep beneath an inhuman shell, was crying out not to kill.

there must have been a moment where we could have said no by magdaliny

154,6 K

Raiting: Mature

Graphic Depictions Of Violence

The Soldier remembers this: he wakes up in the snow.

These Streets by alby_mangroves; Nejinee on Ao3

10 Works

108,5 K

Raiting: Mature

No Warnings

The trials and tribulations of Police Officer Steve Rogers and his experiences with the locals in his precinct, as well as his involvement with the stupidly handsome roughneck from the 'hood, Bucky Barnes.

Fill Your Heart Without Trying by Kellyscams on Ao3

38,5 K

Raiting: Explicit

No Warnings

Steve Rogers is a caster with one very big problem.

He's accidentally turned himself into a puppy.

When trying to cross the scary, busy street to get to Wanda Maximoff's Shoppe of Witchcraft to reverse this spell and get himself back to normal, Steve's picked up by someone trying to do a good deed and rescue a few pounds of pathetic puppy. Instead of getting to Wanda's place, Steve goes home with Bucky Barnes--his adorably shy rescuer.

Unfortunately, Bucky doesn't come off as terribly talented with magic and Steve has a feeling he might have to go to extremes to get someone to notice that he's not a normal puppy. Then again, maybe Steve's not the only one around here who's not what he seems.

it’s a strange courage by mambo on Ao3

27,5 K

Raiting: Explicit

Rape/Non-Con

"The question the entertainment world is asking themselves today is... Who is Steve? Hollywood superstar Bucky Barnes was spotted at a wrap-party last night, serenading someone named Steve onstage. Not only was Barnes more than a little tipsy, but he also sang a song from the Disney Channel Original Movie that started his career--a bold move, considering the fact that he always dodges questions about it. But who is Steve? Why did Bucky leave the club alone? What does this mean about the rumors of a relationship between Barnes and his co-star Natasha Romanoff? And is everyone's favorite poster boy gay? All this and more after a quick message from our sponsors!"

Critical Feline Mass by Kryptarian; zooeyscigar on Ao3

39,5 K

Rating: Teen And Up Audiences

No Warnings

Adjusting to civilian life is hard for any military veteran — especially for one ex-sniper with a cybernetic arm, a classic Harley, and friends who keep trying to ‘help.’ When Sam Wilson at the VA sends Sergeant Barnes to rent a room from the hottest guy in the DC area, Bucky thinks maybe civilian life is worth it after all. And then he finds out Captain Rogers is everything Bucky’s not: a real hero, a Medal of Honor recipient, and an all-around nice guy. Bucky doesn’t have a chance in hell with him.

Sam was a huge help to Steve Rogers when he left the military. In the spirit of ‘pay it forward,’ Steve decides to rent out his basement room to a vet in need. But when Sergeant Barnes shows up on his doorstep, he knows he’s in for a world of trouble. Barnes is exactly what Steve never knew he wanted, from his bedroom eyes to his wicked innuendos. And he’s Steve’s tenant.

A love story in twelve chapters, including two Harley-Davidsons, a guardian angel, multiple snipers, the only woman who can scare them into behaving themselves, spontaneous kittens, and one attacking sheep.

technical difficulties by idekman on Ao3

7,1 K/WIP

Rating: General Audiences

No Warnigs

'Well, you got more followers than Katy Perry.' 'That's what you woke us up for? To tell me that I got more followers than some actress -' 'Katy Perry's a singer,' Bucky mumbles into the pillow. '-Some singer? It's -' he breaks off, checks the digital clock next to him. 'It's six o clock in the morning!' Next to him, Bucky lets out an offended groan. 'You're also on the news. Again.'

Steve Rogers' twitter ends up being more controversial than anyone expected.

(Maybe) It Might Be Love by endoftheline7 on Ao3

14,1 K

Raiting: Teen And Up Audoences

No Warnings

Every day since the start of fourth year, Bucky Barnes has been asking Steve Rogers out. Steve always says no, of course- he knows it's a joke. Why would Bucky Barnes actually want to date him?

However as Bucky's attempts get even more ridiculous, Steve is finding it harder and harder to turn him away.

Is It Pretending If I Already Want You? by OhCaptainMyCaptain on Ao3

85,2 K

Raiting: Explicit

No Warnings

Based on prompt: Pretend Boyfriends AU where one of their families is always wondering why they're never in a relationship, so the other offers to pretend to be their boyfriend for some family event"

Basic Steps to Getting Yourself In a Pickle With Both Your Family and The Guy You've Secretly Crushed On For Five Years (A Guide):

STEP 1: After being perpetually single and constantly making up excuses to your family, give in and lie about having a boyfriend. STEP 2: Agree to bring said boyfriend to the family cottage for a week so he can be your date to your parents' wedding anniversary party. STEP 3: Panic. STEP 4: Say 'yes' when your best friend and closet crush - who you're convinced isn't interested in you that way in the least - offers to be your pretend boyfriend. STEP 5: Try your best not to fall in love with them during the trip. STEP 6: Fail miserably.

I’m just the man on the balcony (singing ‘nobody will ever remember me’) by megyal on Ao3

3,5 K

Raiting: Mature

No Warnings

"They call you the Winter Soldier," the man said. "But I know who you really are."

Coffee, Trapper Hats and Chocolate Wasabi Fudge Cake by perfect_plan on Ao3

15,0 K

Raiting: Mature

No Warnings

Bucky likes his job at Natasha's coffee shop. Mostly that has to do with Steve Rogers, who wears a dorky hat to work and sketches on his lunch break but Bucky's not going to tell anyone that.

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sasukeuchiha-eternalmangekyou · 7 years

Text

//So back when I was re-watching Naruto, I noticed something during the Sound and Sand Invasion Arc. Bear with my long post as I delve and ramble into detail ;)

Sasuke ran off to stop Gaara the moment the attack started, urged by Genma who declared he was already at Chunin level and to consider this the continuation of their fight. Genma holds off Baki who was supposed to capture Sasuke on Orochimaru’s behest. Without question Sasuke runs off ahead to do his part. Once Kakashi notices this, well aware of the danger that threatens his student, he has Sakura wake Naruto and Shikamaru from the genjutsu to pursue their comrade. He wants them to catch up and get Sasuke (and themselves) to a safe location before any harm can come their way. He also knew Gaara was no regular Genin (unaware that he was a Jinchuuriki at the time) and is worried for their safety. Sending Pakkun to help in tracking and avoiding the enemy, he declares it an A rank mission.

As we know, they catch up, Shikamaru separates to fend off a group of Sound ninja that ultimately was no match for him. Asuma’s timely arrival saved him.

Sasuke used too much chakra in pursuit, during his small/brief fight against Temari, and mostly in his battle against Gaara. He fought to the point of exhaustion, pushed himself near death by forcing a third chidori (which Kakashi warned him plain and simple that it could kill him) and ultimately succumbed to the overwhelming pain the curse mark manifested, causing him to become immobile. Gaara was going to kill him, but Naruto comes in time to strike him aside. While Sakura is immediately at Sasuke’s side, worry forming as she fears the worst.

Sakura defends him when Gaara bypassed Naruto, getting caught and rendered unconscious in the process. While she is stuck and Sasuke is incapable of moving, Naruto advances. However, he gets struck and sent flying back. Sasuke, despite the pain he’s enduring, lunges himself forward to soften the blow, something that wouldn’t have harmed Naruto all that badly had he hit the tree instead.

Afterwards, the two debate on the fight, wondering the best course of action to take. Sasuke overcomes the throbbing pain, managing to stand again. This is a very important character development scene for him. Although his whole life, revenge has been his fuel, his reason for existing, Sasuke willingly put the life of his comrades ahead of his own. Claiming that he’d sacrifice himself in order for Naruto and Sakura to get away, even if he only bought them a few minutes, he’d give that. He’s even out of breath as he explains, showcasing his growing fatigue.

It’s just as Orochimaru mentioned back during the preliminaries of the Chunin Exams. Being around his friends, mostly Naruto, changed Sasuke’s heart. For someone who should be preserving his own life, selfish in design in order to kill his brother, shouldn’t be so ready to die. But he takes no reproach upon himself for being weak here. He doesn’t even hesitate or pause to think of another solution. Deciding that if he died here, he was never meant to go further, tossing any chance of avenging his clan aside.

He lost his family, everything that was precious to him when he was merely seven years old. His heart and mind never fully healed, but being around Team Seven, living instead of simply surviving, caused them to become family. Just like in the Land of Waves, Sasuke stopped Haku from killing Naruto by getting in the way of a fatal attack. And later when he hears Itachi is back in the village, his instinct isn’t vengeance, it’s saving his friend.

Sasuke has taken loss after loss, structured his world on loneliness and sorrow, growing up in a devastation he learned to hon and tolerate. Yet, he’s grown. He managed to comprehend what truly mattered throughout his time with them. Although his protective instincts are usually buried in fear of losing more, he’s learned from those around him. Orochimaru’s offer of power is certainly desirable, but there was never a moment where Masashi depicted him contemplating the idea (despite the fact that he probably had at some point prior to the Sasuke Retrieval Arc).

His words stir Naruto into action, making him realize what it means to be strong. Sasuke sparked the notion of strength via protecting others into Naruto’s head, making him remember the power that lies in having people you care about. Due to Gaara’s ferocity, he nearly forgot, questioning it. He and Gaara were alike, so much that he began to fear the idea of what he could’ve become if he didn’t have Iruka and the others, that it somehow made Gaara stronger than him, unbeatable. Until this very instant, recalling all former mentions and selfless actions that were proved by Sasuke’s words, he knew he had nothing to be afraid of.

Naruto tells Sasuke that’s he’s done enough, that he should rest, while he decided to take over the fight. In obvious consequence to Naruto’s raging power and capabilities to take down Gaara, Sasuke is surprised to see just how much stronger his friend became. And as Naruto did the same during the exams, while Sasuke and Gaara fought, he belittled his own strength by comparing. It’s only natural that this occurs due to their rivalry and competitive nature.

However, in Sasuke’s perception, it’s different. He considers himself only strong when he’s stronger than those around him, stifling his inferiority by his nurtured superiority complex. He gets criticized over this, but it’s what he’s done in order to make it this far. He has to claw his way out of the past, out of the vulnerability that was exposed when Itachi took his entire world away from him. Rebuilding a future around the destruction caged inside was all he considered himself capable of until those ideals were squandered by his upcoming defeat at Itachi’s hand.

Once the fight draws to a close, the sand binding Sakura to the tree disappears. Her interference in order to protect him caused her to get hurt. The guilt is betrayed on his face. He catches her, placed her down gently, telling Pakkun to keep an eye on her as he goes to check on Naruto’s condition.

After reaching Naruto, hearing that Gaara wishes to stop fighting and go home, the other passes out with a smile on his face. Initially, Naruto is still trying to move, but Sasuke warns him that it’s enough, and tells him Sakura is safe, allowing Naruto to feel relieved. Their teamwork might not have been on display during this fight, but their devotion to protecting one another outweighed any question to how deeply they care for each other. This is a prime example to how much Team Seven has developed since they first formed as a team. They’re imperfect, maybe even mismatched at times, but their imbalance stabilizes them, forming bonds.

Now I can get to the actual point of my post. This is where Masashi decided to close on their progress and we only see these three later on, well after the invasion forces are being drawn back, this arc coming to a close.

But at this time, after the Sand Siblings leave, they still need to get somewhere safe. While his teammates are both unconscious, Sasuke is the only one able to move despite his physical exhaustion taking a toll. He has to take the both of them to a place they can hide from enemies. Now as Pakkun and Shikamaru stated enemy shinobi are lurking around, travelling in strategic groups to ambush any ninja they come by in the forest, all Chunin level or higher.

Sasuke had to manage all on his own, carrying his friends, probably running into numerous fights along the way in order to protect them. The strain he must feel on his body is enormous since the curse mark siphons chakra and he depleted himself the moment he decided to use a third chidori. Forcing himself to stand is one thing, but being on the verge of collapse, pushing past his lack of strength, he gathers himself, his friends, and fights.

They were sent out to stop him, and in the end, Sasuke is the one that has to safeguard them on his own against all odds. If that doesn’t display Sasuke’s development and where his priority truly lies before he was enticed by the lure of power, then I don’t know what does. But even then, Sasuke proves himself many times over before leaving the village that he cares and is no longer the child he used to be, clinging only to self-preservation. His devotion goes beyond revenge. It’s only the mix of fear and confusion that shatters that resolve later.

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