#even without plot or drama or success | Explore Tumblr Posts and Blogs

welcometothejianghu · 6 months

Text

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching. Today's choice: 琅琊榜/Nirvana in Fire.

Nirvana in Fire is a 2015 historical series best described as either a complicated succession drama set in the premodern Chinese imperial palace, or the story of a man who didn't die a decade ago and has decided to make it everyone else's problem.

And really, I almost feel silly giving my glib little summary, because Nirvana in Fire is so well-known of a property. It's a classic for a reason, and that reason is that it's legitimately very good. This show is what happens when you adapt a solid story, get a bunch of very talented actors, and throw a huge amount of money at it. It's incredibly popular and highly acclaimed, and it earned all of the hype.

Still, while I bet there are few people adjacent to c-drama stuff who've never heard of Nirvana in Fire, I'm sure there are plenty who haven't watched it. After all, it looks like one of those slow, serious shows with a lot of ponderous talking and no joy. If that's the impression you've been given, I could imagine looking at the 54-episode commitment and saying, I don't need that in my life.

I am here to tell you you're wrong. It is a banger of a show. It's tense. It's funny. It's heartbreaking. It’s exceptionally clever. It’s jaw-droppingly stupid. It’s romantic. It’s tragic. It has smart plots and bizarre subplots. And that's not even touching the thing with the yeti.

So in case you're one of those people who's heard of Nirvana in Fire, but has put off watching it for one reason or another, I'm here with five reasons I think you should try it.

1. Epic Shit

Did you like the Lord of the Rings? More specifically, did you really like the second Peter Jackson film? Great, then you're all set for this.

I guess I could have called this Game of Thrones without the dragons, but that's not actually the vibe at all. Game of Thrones is much more sensational and salacious, with all the blood and butts and what-not. The Tolkien comparison is more apt, I think, because Nirvana in Fire is equally about as wholesome as you can get in a property where dudes are still getting stabbed all the time.

This is a show about vengeance. And yeah, justice for the fallen, sure, that's fine too. But mostly it's about a bunch of good people joining forces to make sure the bastards who did wrong pay, with their lives as necesary.

The problem, though, is that these bastards are incredibly powerful, which means that a pure brute-force approach isn't going to work. Accordingly, this quickly becomes a story about the power of smart teamwork to exact retribution on some people who can (and did!) legally get away with murder -- and our heroes are some of the people with their necks most on the line if anything goes wrong.

Don't let the Middle Earth comparison fool you into thinking this is all epic swordfights. It's not. (I mean, for one thing, as well-funded as this project is, it doesn't have Peter Jackson Money.) The vast majority of the tension in the show comes from dialogue and slow, terrible realizations. The fight scenes are almost a relief from the nail-biting intensity of intimate conversations about getting a letter from somebody's ex-wife or returning a book.

All told, the show has that incredible almost-RPG vibe of going through all the little subquests and cutscenes you find along the way to defeat the final boss. The plot carefully unravels a multi-tendriled mystery told to you by people in incredible costumes. It doesn't get much more epic than that.

(Nirvana in Fire is also a cautionary tale about how you should be very careful with who gets invited to your birthday party.)

2. A chronically ill protagonist

Okay, right in the first episode, it is established that the main character has three whole completely different names and an old nickname. I'm going to call him Mei Changsu for the duration of this rec post, but let the record show that I could just have easily gone with one of the other three.

What you learn in that same first episode is that Mei Changsu used to be a palace insider, the cocky son of a noble family, only now nearly everyone he used to know thinks he's dead. Also, he's not far off from being actually dead -- he has an unspecified terminal condition that's mostly managed, provided he stays in his little mountain hideaway with his handsome doctor bestie and doesn't return to his old stomping ground and start kicking over hornets' nests.

So guess what he's about to do.

I have to make a note of how brilliant the casting is here: Hu Ge is an action actor! He is a kickpuncher of a man! And I think it's great that you can sort of see his frustration, as well as Mei Changsu's, at having to spend the whole series wrapped in countless layers of fabric and/or lying in bed while everyone around him gets to be the badass action heroes.

Mei Changsu's not faking it, either -- he's actually dying. He expends his energy where he thinks it's necessary, and sometimes that means he has to spend the following week in bed. He's constantly frustrated with himself for what he can't do anymore. He's racing a clock, and that clock is his own failing body. If he dies, the only hope anyone here has for justice dies with him.

He gets two love interests that the show treats pretty much equally. One's a lady general who wasn't even a love interest in the book. The other's the handsome prince who was initially going to be his textual romantic partner in same book, until the author hopped genres from danmei to general historical drama. I can't even call this a love triangle, because there's no competition. He just gets a wife and a husband -- in that he gets neither, because circumstances and his own illness keep him distant from them. He lies to both of then about his condition (among other things). He wants to be with them both and knows he can't be with either. And they in turn have to learn to accept what of him they can and can't have.

(Also, Nihuang (her) and Jingyan (him) are both incredibly gorgeous, which is exactly what bisexual genius Mei Changsu deserves.)

Obviously this isn't a perfect representation of life with chronic illness, largely because Mei Changsu is an incredily wealthy man who lives in a universe with what's basically magic medicine. However, I've seen the story's treatment of him and his condition resonate with a lot of chronically ill viewers, so even with the fantasy layer on it, there's definitely something there.

3. Dave

I have already told the story of how Meng Zhi became "Dave," but long story short, he's such a Dave that I legitimately forget his character's real name. He embodies Daveness. He's The Ultimate Dave.

Dave is an excellent fighter, a loyal friend -- and a terrible liar. He's possbly the only straightforward character in the entire show. When he's asked to be duplicitous, he's comically bad at it. Dave will never do a heel turn. I was misled at first by his semi-evil facial hair, but I have seen the error of my ways. Dave is pure lawful good.

And the reason I list Dave as such a selling point is that having a Dave means you always know what's going on. This is because Dave never knows what's going on, and he has no ego about that, so he asks questions, and other characters have to explain to him what just happened, and that is how you figure out what's going on.

It's an incredibly smart move on the drama's part, because some of the (very fun) schemes are so complicated that there's no way for you, the viewer, to understand them just by watching. Without the internal monologues and omniscent narration of a book, the machinations are opaque. You need things explained -- but why would the schemers explain their schemes? Well, Dave needs some exposition, so here you go.

So if you're worried that you might be left feeling stupid by a show where so many sneaky people are hatching so many complex plans, worry not! Like the good man he is, Dave has your back.

4. A Million Amazing Antagonists

If you like bad guys, this is a show for you. This show has brilliant bad guys all the way down. It has bad guys at every turn. It has bad guys for every taste. Welcome to Big Liang's Big Bad Guy Emporium, where we guarantee you'll walk out of here with a bad guy you like, or your money back!

(And yes, this set of pictures is also to say that their costume budget was entirely well-spent.)

Without getting too far into spoilers, I will say that the basic situation underlying the whole series is this: The emperor has done a lot of bad things, and he has enlisted a bunch of people's help in hiding those bad things, so much so that many of those other people have done even more bad things the emperor didn't even know about -- and then everyone has gone to great lengths to cover those up as well. Our protagonists spend the whole series unraveling this colossal shitshow and bringing people to task for their crimes.

So really, if you're going to spend 54 episodes taking down the baddies, they've got to be baddies you love to see taken down. And these are -- in part because all of them have crystal-clear, rock-solid motivations for their actions. Nobody here is a moustache-twirling comic-book-villain baddie. They're all bad for reasons that are very understandable in their individual contexts. And not a single one of them is going to go down without a fight.

5. World's Best Mom

(Sidebar: The fact that four out of five of my reasons to watch the show are individual or groups of characters should be your strongest indicator that this is an intensely character-driven story.)

This is not a Dead Mom Show. Okay, some moms are dead, but mostly this is a Moms Are Alive And Often Cause Problems Show, which is a lot of what makes the palace drama so delicious. But there is one Good Mom who stands out above all the rest: Consort Jing.

Played with perfect grace and devastating politeness by the stunning Liu Mintao, Consort Jing is a skilled doctor and excellent baker who starts the show with a low-level status among the women of the palace. She swallows down all kinds of mistreatment because she's not in a place to oppose it -- and when she can retaliate, it must only be through soft power. She loves her jock son with all her heart, but because of both their relatively poor positions in the hierarchy, she doesn't get to see him all that much. She wants to be an asset to him, while all the time she has to fear becoming a liability.

She is also the smartest person in any room that she's in, unless she's in a room with Mei Changsu, and even then it may be a tie.

There are lots of great characters in the show that I could have highlighted here, and plenty of them are women, but Consort Jing in particular never ceases to impress me. She is trapped in a gilded cage, married to a man who [lengthy list of spoilers that are traumatic to her in particular], and held hostage by how every time she even looks like she's out of line, it puts both her and her boy in danger. She's the most vulnerable of any of our good guys. Kind of like Wang Zhi, she's got to be clever or she's dead.

Consort Jing is not part of Mei Changsu's original plan. She figures out his plan and makes herself part of it -- and entirely remotely, as she and he aren't even in the same room until episode 40 or so. She puts herself in great danger to make sure he succeeds, not because it will necessarily do her any good, but because Jingyan needs him. This woman has been captain of the Mei Changsu/Jingyan ship for like twenty years already.

Oh, and did I mention her outfits?

I love you, Consort Mom.

Are you ready to watch it yet?

Get it on Viki! Get it on YouTube! Get it on YouTube but in a different playlist! (And also maybe get it on Amazon? Not in my region, but maybe in yours.)

I will warn you that it does take off running -- I think I saw someone say it introduces nineteen characters in the first episode? I was worried that I'd be too innundated by situations and flashbacks and names to be able to follow. By the second or third episode, though, I was rolling with it. So if you feel like you're struggling at the beginning, stick with it a bit. See if you don't feel it start to click.

...Man, reading over this post has left me going, oh, but I missed that! and that! and that guy! And yeah, the truth is that there are just so many great things about the show that limiting myself to only five (and being limited to only thirty images) was tough. I'm sure that people reblogging will add their own must-see elements.

Truly, this is a show that deserves its reputation. It may not be for everyone, but if this is the kind of thing that you like, it is a shining example of that thing.

Besides, you have to love a production where everyone was clearly having just a whole lot of fun being big ol' costumed dorks.

#nirvana in fire #lang ya bang #琅琊榜 #i made this #rec post

402 notes · View notes

watchfuldeer · 1 year

Text

the thing about tom and greg is that yes, the nero and sporus scene in 3.04 for instance is homoerotic, tragic and heartbreaking, yes it says a lot about tom’s neuroticism/his unhappiness in his marriage/queerness, and greg’s ability to fend for himself/ability to see tom for who he really is etc but it is also one of the funniest and strangest scenes in the entire show.

tom and greg’s subplots have always been a vital component of succession - their dramatic function being primarily comedic does not make them inessential. this is after all a show that was developed by a comedic writer, who is also the showrunner, and is written by a core group of people who have long careers in comedy and satire. some of their finest work across the seasons has been with tom and greg, who are an incredibly popular aspect of the show for that reason.

i really love kendall, roman and shiv but while they quip and squabble and lie to each other and grieve, they don’t have the comedic truth of a dynamic like tom and greg. comic relief does not mean some inconsequential sidebar on succession (i would argue that it rarely does in anything, but that’s a different post), it’s necessary to the plot. it’s where the big dramatic themes are played with and mirrored, made absurd, even whimsical, and above all honest.

having to stuff so much plot into season 4 now logan has gone has absolutely decimated the show’s internal structure. not because they haven’t written subplots, we know they exist, but because they simply don’t have space to include them. succession used to be many things, and for three episodes now has been mostly one thing, because there is no time for B plot - it’s all A plot, all the time. it feels weighed down, as opposed to mercurial - like, i was just getting bored last episode. i was bored during a succession episode! we the audience need relief: it enhances the A plot significantly and always has done. now, it’s getting cut for time and without it the show is suffering. the shift in editing has made the drama mawkish, and the comedy insubstantial, neither of which are particularly enjoyable effects.

i’m really, really hoping they can find that equilibrium for these last four episodes. this post might sound overly critical, but i am still enjoying succession. i’m more frustrated by post production decisions, as it just feels like a different show in ways that seem to be a product of foiled writing ambition and time constraints rather than actual creative intent.

#succession #succession spoilers #tomgreg #greg hirsch #tom wambsgans #dare i say it… perhaps another season would have given them more space…#the desire to break with dramatic tradition by killing off logan at the end of the first act was brave #the episode was a masterpiece!#but it hasn’t produced a good second act #meta on meta

510 notes · View notes

buddhamethods · 5 months

Text

10 BL Characters I Would Hit With My Car

(I don't have a licence and can't drive so this is just for fun OBVIOUSLY)

LISTEN, I love these characters. They are complex, they are human, they are flawed and yet you can't help but root for them. Or they are just giant assholes.

Regadless, I think they would all benefit from getting hit by a car as a little treat.

Feel free to tag yourselves and participate in a bit of lighthearted negativity and media complaining.

1) Ben From Never Let Me Go (2022)

Of course he would be on this list. Mainly because how are you, a closeted gay in a coming of age bl drama, sitting down in front of a piano next to a beautiful boy and not just completely eat his face in a passionate life altering kiss? I understand that was the whole point of the scene, but personally I would rise above the narrative that was trapping me.

2) Dan from Not Me (2021)

Being a cop, killing Sean's father and selling NFTs is bad enough on it's own, I agree. But Dan's biggest sin was taking the cigarette out of Yok's mouth and depriving us of seeing sad First Kanaphan smoking near a body of water-THE queer cinema experience.

As it turns out, you can be gay and homophobic at the same time.

3) Kenji from My Dear Gangster Oppa (2023)

So you have funky hair and kawnty fashion sense? Oh, you partake in fun bathtub threesomes? What, you're a little unhinged and psychotic? Perfect! THEN WHY THE HELL YOU SUCK AT BEING A VILLAIN SO HARD HUH???

Kenji you better put your helmet on, I'm turning on the engine.

4) Kanghan from Dangerous Romance (2023)

Rich people don't deserve rights in general so Kang was already on thin ice to begin with. But being a bully on top of that? UNDER THE HOOD OF THE CAR YOU GO!

Also he is so attention starved on account of his father being a negligent asshole that he will jump in front of my car willingly just to get a drop of love from dad and Sailom.

5) Yu Xi Gu from HIStory3: Make Our Days Count (2019)

(I'm so so incredibly sorry but I HAD to okay you don't underst- *gets shot immediately*)

6) Mork from Fish Upon The Sky (2021)

I looked at Pond for 0.1 second and fell so embarrasingly in love that for the entirety of FUTS I saw no flaws in Mork's character at all. All he did made sense and I was blissfuly having a great time! So I'm pummeling him to the ground for my own sake I CAN'T KEEP BEING THIS STUPID ABOUT HIM HE IS OBJECTIVELY CREEPY!

7) Vee from Love Mechanics (2022)

Was he in my "I want them carnally" list? Yes. Do I find him beautiful and incredible? Double yes. Am I smearing him on asphalt like a squished bug for causing Mark so much unnecessary pain and heartbreak? More likely than you think.

8) Jiwoo from To My Star/ To My Star 2 (2021-22)

MY BEAUTIFUL BOY!! A crumb of healthy communication is all I'm asking for!

Jiwoo was so emotionally bricked up for the majority of both seasons that it caused ME damage. So me hitting him with my car is both a revenge plot and an attempt to let loose some of those pent up feelings of his.

(But also I'm dead meat if Seojoon finds out it was me behind the wheel. He loves that boy too much.)

9) Zee from Twins (2023-24)

I'm volunteering to do this as public service to keep Sprite and First together without any twins switch drama. One gremlin down, one successful volleyball couple UP!!

10) Winner from Pit Babe (2023-24)

I want to do it as an experiment. I feel like he would make a funny sound under the wheels, like when you sqeeze clown's nose or step on a rubber duck. I would also like to see how this will affect his character. Will he become even more annoying? Will it fix him completely? ONLY ONE WAY TO FIND OUT!!

(This was so fun I love inflicting imaginary violence on fictional men. If you read this far into this incoherent insanity, consider yourself tagged!💖)

#tag game #never let me go #never let me go the series #pit babe #pit babe the series #dangerous romance #dangerous romance the series #to my star #to my star 2 #history 3: make our days count #twins the series #love mechanics #fish upon the sky #my dear gangster oppa #thai bl #kbl

137 notes · View notes

ystrike1 · 1 year

Text

Remarried Empress - By Alphatart (9.5/10)

I've waited a long, long time for this. I'm not sure if this review will offend anyone, but here I go. I am not insinuating that Remarried Empress is a traditional yandere story. Obsession is not the focus. Especially not during the first season, but longtime readers know the drama eventually boils over. Delusion, denial, and love all clash during the fabulous finale. The line between villain and hero blurs in a beautiful way halfway through the story.

Spoilers for everything (I mean it) ahead!!!

Remarried Empress is well known for its seamless magic integration. Fantasy webtoons are infamous for clunky, wordy spellcasting systems and magic schools with zero charm.

That is not the case here.

Magic is a plot point that has little to no relevance during the first quarter of the story. We get hints. The issue grows. We get drama from the very beginning, from the perspective of a powerful woman trapped in a toxic marriage. The woman in question is the Empress, Navier, who has no magic whatsoever. Magic is an important political power tool. It doesn't magically make you more important. Lots of badly written stories love to give their protagonists fantastical magical powers, as if that power gives you the ability to rule.

This is not the case here.

Navier gains magical powers at the very end of the story. It is part of her happy ending. It is not the reason why she is successful in her political endeavors. Navier loves ruling. She was raised for it, and uprooting corruption gives her joy. Drama and sparkles are not her source of power. She is a borne and true politician who recognizes that the nobility cannot prosper without happy, healthy common people. She receives magic when her duplicitous and extremely loving husband decides she is worthy of it. It's sort of a wedding gift. Yes, it's a very morally dubious part of the story. The magic imbuing process starts without her permission.

(I won't spoil all the details. Don't be too mad at Heinrey.)

Navier is from the Trovi family. Her family line has produced multiple Eastern Empire ex-Empresses. Magic is on the decline. The Eastern Empire has less active wizards than ever before, and they can't figure out why. Luckily the nation has a steady Empress and Emperor to rely on. Naiver and Sovieshu have a good relationship. She loves him more than he loves her. They mostly live separate lives. They don't even eat together every day, because they are both so busy, but Navier trusts Sovieshu. They were raised together as children. The priest who married them thought they would be different. A rare, happy royal couple.

Souvieshu ruins that lifelong relationship when we brings in a runaway slave. The lovely young woman, Rashta, got caught in one of the Emperors animal traps! How awful! He takes responsibility for the terrible accident. He carries her to the doctor on horseback the way any decent man would.

He almost immediately makes her his Official Mistress. There is a formal title, as mistresses are common for Emperors. Naiver has to go through a humiliating process. She has to welcome, and give a spending allowance to, the woman her beloved husband is sleeping with. She even has to throw parties for the woman her husband is currently spoiling instead of her.

Ouch.

(Yes. You are correct. It is revealed later that the accident was no accident. Rashta jumped in harms way in a desperate attempt to escape her shackles as a slave. A slave who had a bastard child with her owners son. When said son decided he didn't want to lower himself and marry her Rashta dolled herself up. She ran into the royal woods looking gorgeous on purpose. She would have been a cool protagonist, in another life, but she's just not tough enough to survive royal intrigue. In her desperation she loses everything. It does sound tragic, until you get to know her. Rashta is a child abusing, bloodthirsty, narcissistic tattle-tale by the end of her story. I'm sure you can guess how it ends.)

Throughout season one we see how integral the Empress is to the East. At first it seems like everyone favors the Emperor, but things are not what they seem. Empress Navier runs a tight ship. She doesn't need to be babied like Souvieshu. A gap slowly begins to grow between them. His incompetence starts to shine bright when he lashes out at his Empress. He blames her for every little problem his Mistress encounters. Including the problems Rashta makes up to cause unnecessary drama. Rashta makes little mistakes that pile up over time. Her allies aren't very strong, and she is never honest with anyone. She talks like a cute idiot on purpose, but that backfires when she can't find a teacher willing to put up with her as a result. She can't catch up to Navier. A genius couldn't. Navier has been privy to national secrets since her youth. Trying to catch up on that much reading...just isn't possible for a regular, but gorgeous, slave. Also, Rashta is desperately hiding her slave status. Rashta starts to copy Navier in obvious ways, and Navier is refreshingly human about it. She hates it. She tells Rashta to learn on her own, and she isn't always diplomatic about it. Her complaints push her into an intimate but platonic friendship with the Prince of the Western Kingdom, Heinrey.

Heinrey has a special kind of magic. He can turn into a bird. He uses his bird form as an excuse to stick close to Navier, because he's carrying a MASSIVE torch for her. It is not just a crush. He's bitter about being younger than her. If they were the same age he would have gotten the chance to woo her, but Souvieshu was the most convenient and familiar choice for her family. Navier was a couple years out of his reach. He thought he would have to sulk about losing the chance to have her forever, but then Souvieshu stirs the pot. Sidenote Souvieshu is very insecure. He expects his Empress to love him over everything. He got upset when Navier...you know...did her job well. He wanted his wife to be drooling over him constantly or something. It's weird. He is also quite sexist. This becomes more obvious as the story goes on. He treats Rashta like an object, and he loses interest in her after less than a year. That's suspiciously fast. He is only using Rashta to satisfy his craving for cute attention. It's quite pathetic. They both are.

Anyway moving on.

Heinrey "visits on diplomatic business", but in reality he's planning to take over the East. Yeah. That's something. The writing is really on another level. I had no clue whatsoever until later on. He also stole the magic by the way. Yeah. Heinrey is the reason why their magicians just can't cast anymore. An adorable young student despairs before the Empress about her crushed dreams in tears. All while Heinrey is just standing there, in the background, completely aware of the fact that he is the cause of her suffering.

He's a pretty scary guy.

Navier eventually agrees to flee the country and marry him.

Rashta's lies leave no other choice for her. Rashta falls pregnant. Navier has never been pregnant. As the woman, she has always received the blame. Cough. Sexism. Cough. Souvieshu is actually infertile due to a childhood accident. He, of course, is completely convinced that Navier is the infertile one. Rashta is carrying another baby that belongs to her masters son. She is willing to put an illegitimate child on the throne to get power, because she doesn't know any better. There are certain things peasants just don't know. A magical paternity test exists. It involves droplets of blood and a mixture of special water. After Rashta gives birth to a child that looks nothing like Souvieshu he gets wise. Souvieshu makes Rashta Empress (temporarily) for the sake of "his" child. He always intended to remove Rashta from the Empress seat, as soon as "his" child was seen as legitimate by the court of law. His callous attitude is what convinces Navier to leave. She has always loved her husband. She loved him more than she thought she did. She put up with real pain to support him, but he decided to remove her from her Empress seat. She didn't know he graciously planned to take her back after the divorce, but it doesn't matter.

The incident proves he never respected her, so she leaves with Heinrey to become the Western Queen.

The West isn't really as powerful as an Empire yet, but oh! Wait! As soon as Navier is crowned and by his side Heinrey proclaims that the Kingdom is an Empire now.

How convenient!

Heinrey is pretty and morally grey, but he is a good husband. He worships the ground Navier walks on. When rumors about her infertility start spreading he does not give a crap. He has ways to fix the issue if it's true, and if she's actually not the infertile one he's ready to kill whoever started the story. His bird form is cute enough to be a marketable plushy. It's shitty that he lied about being a bird for the entire first season, but Navier needed comfort. He provided it how he could. As a pet. Yes I know it's weird. Navier wasn't willing to befriend him at first though. He had to use his adorable bird body to bring her guard down!

Wait.

That makes him sound worse...

He's a good husband though.

I swear...

This is Christa. The young dowager Queen of the newly formed Western Empire. Heinrey's sick brother kicked the bucket. Now Heinrey is Emperor and he's brought a foreign Empress home. Slight problem. Christa is in love with Heinrey. She uses a spiked love potion, and a man who is madly in love with Naiver, in an attempt to seduce him and destroy the couple. Christa is pathetic, like Rashta, but she's a little smarter. Her love for Heinrey is the weakness that brings her down. She kills herself after she boldly claims that Heinrey slept with her, in an attempt to become his Mistress. Heinrey produces proof that the affair doesn't exist...and Christa doesn't recover mentally.

Fair warning.

Remarried Empress gets darker and darker until the ending.

Heinrey throws a party, to celebrate Navier's pregnancy, right after her death.

Suddenly I don't think Heinrey is cute anymore...

This is Grand Duke Kaufman. He falls in love with Navier. He accidentally used a love potion he was experimenting with. It turns out that the potion effects are extra strong when you already have a crush. Kaufman never intended to act on his feelings, but the potion eventually turns him into a madman.

His story ends after he attacks the Empress.

I think you already know how that ending looks.

Rashta ties everything together really well as a villain. She looks like an idiot, but for a commoner who didn't even know how to write she does pretty well. Her idiotic copycat act is a distraction. It cleverly hides the mastermind behind the scenes. Heinrey. Navier had no clue Heinrey was in love with her when she accepted his proposal. She accepted it because she was desperate to rule. She didn’t want to watch Rashta take her place, and Heinrey took advantage of that.

He sweeps her off her feet. They live happily ever after, but the pile of bodies behind them is quite steep.

(Souvieshu realizes he made a mistake as soon as Navier marries Heinrey. He starts drinking heavily. He travels to the West again and again to beg her to take him back. He quietly goes insane and he eventually loses his memories. He lives on thinking Navier is still his fiance, and everything is the way it used to be. Navier will always love him. That's his drunken dream. When his memories return he begs yet again and he says he'll accept Heinrey's children as his own, because they have her blood. Her goes seriously insane in six different ways. He also basically forgets Rashta ever existed.)

#yandere #male yandere #yandere male #yandere boy #recommendations #recs #rec #recommended #webtoon #fantasy novel #light novel #Remarried Empress

307 notes · View notes

slowlydifferentbluebird · 5 months

Note

Snsd reaction

To you being there younger boyfriend please

Hi Anon, thank you for your request. I slightly changed the plot, opting for a neutral gender reader, to be more inclusive and enjoyable for everyone. I hope it's not a problem💙 Also, I'm including Sica in the line-up because I felt so lol

SNSD reaction to the reader being a younger partner

Taeyeon

Being the leader and oldest of her group, having a younger sister, being tutor and teacher for a lot of trainee in her agency...having younger people around her was nothing new for Tae. Actually it's something that makes her comfortable, she has that sense of control but without being possessive. Sometimes she needs your help to discover and understand the new trends.

Jessica

When she left the group, she felt like she didn't have nobody to trust anymore...but then you suddendly appeared, overcoming her coldness somehow. You were so fresh in your attitude and behaviour, and maybe even a bit immature, that it was refreshing for Sica having you around. Also, you were still kinda innocent and that was really important for her to give you a chance. She never regretted it.

Sunny

Often you look more like a couple of siblings bickering more than a dating couple. Or better, sometimes you two are so funny together that from outside you two look like a comedy duo. Your chemistry in the jokes and the sense of humor was something that Sunny couldn't find in partner of her same age or older. But now there's no a day where she can go to sleep without having a great laugh.

Tiffany

She's such a soft person, always smiling and kind with everyone...but with you? She reaches a new level: always so delicate and careful, almost being afraid of breaking you. She's calling you "baby" at 100%, because you're indeed her baby and be sure that she would spoil you so much. Also, she kinda fell in love when, despite being younger, you were so much attentive to her needs in her moments of down.

Hyoyeon

This agent of chaos will have fun messing up with you. We know she's the most serious during practice, but she's also a goofball in her daily life, so she will definitely playing with you using her duality. Be ready to be called "dummy" day and night, even if she does that out of love. Also, be sure to have a suitcase always ready, because she's taking you with during her travel to work as dj.

Yuri

Dramas, movies, tv shows... she's always so busy and that really influenced her romantic life. She was successful but lonely...until she met you. Being young you had the perfect mentality to understand her schedules, not making her feel guilty about not interacting too much sometimes. But, oh boy, when she is free, she's spending all her time with you, cuddling her baby that she missed so much.

Sooyoung

Bruh, why is your girlfriend roasting you? Like, there's no need to be that savage😭 But hey, you knew from the beginning what you were getting into. Sometimes she can come out as rude or indelicate, but it's just her way to worry about you. She's honest till to the end, making her look like a firm teacher(the hot one 👀)

Yoona

Now, who's the youngest between you two? Because she's always acting like a child around you💀 Sometimes she can be a tease, some prank always ready for you. You are starting to think you're a babysitter more than her partner, but you know it's just her playful side and that if things get serious, her adult side will come out(and that's kinda scary).

Seohyun

The national maknae being the oldest in a relationship? It was a dream to her. She really likes this dynamic in which she has the opportunity to be seen like an actual adult. It was like you really understood her persona. Despite that she would still your full attention like a real maknae lol. But in general she would be great help in your difficult moments, always supporting you in taking decisions.

~~~

I hope you liked it, Anon. Thank you again for requesting 😄💙

Zazá

#ask me anything #kpop #kpop girls #snsd taeyeon #snsd hyoyeon #snsd yuri #snsd #snsd jessica #snsd sunny #snsd scenarios #snsd tiffany #snsd yoona #snsd sooyoung #snsd seohyun #snsd reactions #snsd x reader #taeyeon x reader

102 notes · View notes

writers-potion · 2 months

Text

Writing the "Mean Girl" Character

How do we write the "mean girl" without making her another shallow copy of the brainless, pink-clad, cheerleader we see in high teen dramas?

Of course, there's nothing wrong with such a character if you want them to be funny/light in the first place.

However, I can hear myself slowly losing my last two brain cells when I keep reading about such papercut characters for more than an hour - reading clearly requires more effort than watching a class B movie, so I always appreciate when authors put more effort to make the characters dynamic.

No "Mean for the Sake of Being Mean

The classic way to avoid this is to give them a sad backstory. They used to be overweight/ugly and were bullied, or their parents don't care about them enough, or they are too insecure. Obviously these plot points are quiet stale now, but the basic principle still stands - if your charcter is mean, she needs A REASON.

I love reading about a mean character's backstory then feeling, "actually, I would have felt like doing that, too."

Whatever their motivations may be, remember that bullies pick on the weak, not the successful/powerful. While the Mean Girl might feel jealous/inferior towards the protagonist, I hardly think that should be the sole reason why they picked their victim. There must be a flaw in your protagonist that happened to be something that the Mean Girl knows how to exploit, which makes them a target above others.

Give Them A Twist

There are two ways that I can think of: (1) A seemingly nice character is in fact a mean girlie, or (2) A mean character turns out to be kind and well-intended.

Personally, I love Mean Girls who are intelligent/ know what they are doing. They are purposely manipulative:"are you okay?" as if the victim has something wrong with them or providing "constructive" criticism. Or kindly inviting them to a party that she knows they wouldn't fit in.

The conflict deepens when everyone else likes the Mean Girl due to her manipulative nature, making the protagonist doubt themselves.

A Purpose beyond Providing Conflict

Think about what the mean girl aims to gain from bullying your protagonist.

Is she continuously trying to prove herself "superior" so that she can feel better inside? Is she an academic rival who just needs to be the first in everything, even is that means reverting to questionable behavior?

Overly ambitious/perfectionist characters can come off as mean when they feel like others fail to live up to their standards (which only they know about, and are usually up in the sky)

Give Them A Proper Redemption

If you plan on giving her a redemption arc, make sure that she has earned it! The worst thing you can do is make it sound like you approve of the horrible things she has done.

this transition doesn’t mean the character does a complete 180 and is suddenly all smiles and good favors. They can fall back on their old ways of thinking, but is trying to make an effort to step out of their old clothes.

------------------------------------------------------------------------------

If you like my blog, buy me a coffee! ☕

Have a writing question? My inbox is always open!

References:

https://writingquestionsanswered.tumblr.com/post/668302340882857984/how-would-you-write-a-mean-girl-character-without

https://www.writingforums.org/threads/how-to-write-the-mean-girl-character.160729/

51 notes · View notes

lurkingshan · 1 year

Text

10 Things I Love About Khun Chai

I did it, y’all. I watched my first lakorn, and let me tell you, I had a fucking fantastic time doing it. Now that’s not a blanket endorsement of the genre, because I understand Khun Chai aka To Sir, With Love is pretty unique, particularly in that it’s a period queer love story with a happy ending. But as a different kind of Thai drama than any I’d previously seen, it was truly a great watch.

It has some flaws, sure. It’s a soap opera, so melodrama, repetitive story beats, overdramatic acting, and slow pacing are par for the course. If you go in understanding that, you’ll be fine. And the episodes are long af but don’t be shy about increasing the playback speed - I watched a lot of it at 1.5x and it was perfectly smooth. Now that I’ve finished it, I think the time investment was totally worth it (@bengiyo my final rec - worth going back to finish! It worked better for me when I broke it up in chunks of 2-3 episodes at a time).

Without further ado, the top ten reasons I loved it:

1. TIAN MY BELOVED

Look at him. Just look at his beautiful traumatized face!! I hold that it’s impossible to watch this entire show and not come out absolutely loving this man. He is so believably flawed but at his core he is good. He is generous. He is loyal. He is brave. And he looks very good in a three piece suit.

Honestly I could do a whole top ten list just about Tian but let’s move on and give some love to the rest of the show.

2. Did I mention this is a PERIOD ROMANCE??!! Something we get so precious little of in bl. I asked @absolutebl a while back if they knew of any other Thai period bls, and this was the entire list. So good thing it’s excellent!

The show is set in the 1930s and 40s in Japanese-occupied Thailand, and it centers on a powerful Thai-Chinese family (currently leading a cooperative partnership of five families) and the power struggle over who will be the heir (Succession, but make it Asian and queer). The show digs into really interesting family structure, politics, and class struggle stuff.

3. The brotherly bond is unmatched and undefeated. The plot centers on two brothers, Tian and Yang, who love each other so much, like I cannot emphasize enough how willing these brothers are to protect and die for each other. If someone was shooting at them they would both try to dive in front of the bullet. Their bond is so touching and provides an emotional through line when the plot gets wacky.

4. The classic soap opera plots are truly brilliant, all your favorite tropes are here. This show has everything - family secrets, nefarious schemes, murderous maids, mystical poisons, faen fatales, even sex pollen! As I believe @ginnymoonbeam put it at one point - everything is happening so much all the time. It’s truly a delightful romp, especially after the halfway point when the plot machinations really kick into high gear.

5. The queer love story is the main romance and emotional heart of the show. There are actually two romances in this show - each of the brothers gets a love interest. And both of them are lovely. But rather than the typical move where a het drama features a queer side pairing, here the entire story is driven by Tian’s sexual identity, the burden placed on him to keep it a secret, and how increasingly impossible that becomes once he meets Jiu. Over the course of this show, we get to watch Tian fall in love and finally live his truth and see how that changes him. It’s truly beautiful, and the romance between Tian and Jiu is so sweet (and a bit racier than I expected - the show does not shy away from the sexual aspect of this relationship). The romance between Yang and Pin is also very sweet - they are adorable tbh - but entirely secondary.

6. Every frame of this show is absolutely gorgeous. The scenery is lush, the costumes are beautiful, the tailoring is impeccable, the hair and makeup never misses. It’s truly a feast for the eyes.

7. There are so many good female characters in this show, y’all! Tian and Yang have not one but 4 or 5 different mother figures. They are all flawed, complex, and a little nuts. They get up to so much trouble and drive a lot of the plot with their scheming, hijinks, and prolific wielding of murderous sparkle dust (don’t ask, you have to see it to understand). Pin, Tian’s would be fiancé turned sister-in-law, is a total sweetheart, but she’s also smart and fierce with a steel core and not afraid to tell her man when he’s being stupid. There’s even a lady boss at the head of one of the five families.

8. Relatedly, there is so much complex family drama in this show, and so many interesting dysfunctional parental relationships. @waitmyturtles you will have a field day when you finally get to watch this. Both brothers have fraught relationships with their various parent figures, for very different reasons. The various relationships and resentments that form between the wives and the sons in a polygamous family unit (did I mention that yet? there are three wives in the mix here and the brothers have different biological moms) are absolutely fascinating.

9. The resolution to the succession plot and ultimate defeat of the Big Bad was so satisfying. I won’t get into spoiler territory, but let me just say that the characters went through a lot together and to see the way they ultimately had to come together and let go of their baggage to survive was very cool. It felt earned.

10. IT ENDS WITH A BIG OLD HEAP OF GAY DOMESTIC BLISS!!! I will get into spoiler territory here because you deserve to know that if you put in the time to watch this show you will be rewarded with a very happy couple forming a family unit and living peacefully on their own terms. I was so pleased with this ending, I can’t even tell you. The final scenes made me cry real tears, I was so touched. And they even put a literal rainbow in the sky at the end. A literal rainbow! Come on!

Watch it, friends! It’s worth your time.

#khun chai #to sir with love #thai drama #thai bl #10 things #shan shouts into the void

223 notes · View notes

thatastrologychick1111 · 7 months

Text

Scorpio rising in depth

You were encouraged or felt like you had to be secretive, mysterious, intense, mellow dramatic to be seen or heard. You could have been left alone a lot, maybe you were the baby or you were the oldest.. but you were trusted by your parents/caretakers to be on your own. No one was breathing down your neck.. you could have felt neglected or even forgotten about. There could have been a loss early on that completely transformed the life you used to know. You could have felt like you had to use manipulation tactics to either get eyes on you or off of you. You probably grew up a little shy, introverted and a little self conscious. You could easily intimidate others without knowing or trying. You may have grown up liking to wear all black, maybe you were into emo music, punk rock or you were part of the alternative group at school. You may have suck out people who also felt alone and misunderstood. You grew up differently in some way. There was something eccentric about your home or your mother. There could have been lack of stability or security. Your mom could have been detached or sent away from the family, you could have been taken away from your mom, which could have been traumatizing. You grew up in a house hold that may have had a lack of rules or if there were rules they were outlandish or weird in some way. Maybe you moved around lot, you could have been uprooted and made to feel lack of security within yourself.. you could have been confused on what was going on. There could have been lack of communication within the home, conversations could have been surface level, you could have had a lot of people coming and going from your home. Some with this placement could have even been raised in a commune or by extended relatives.. maybe your family only felt like acquaintances.. deep connection may have been lacking in childhood. As an adult you may enjoy unique, quirky houses/aesthetic or the idea of living on a plot of land with other people could entice you. The people you attract into your life are usually stubborn, earthy, values are big in their personality, they may be a bit harsh but it comes from a good place, they can be prodding in a more overt way than you and they’re usually predictable. Your relationships will feel like investments, you crave stability in other, however you may not be very stable which can create tension and resentments within your relationships. Depending where Venus is and what aspects it’s making will determine if your relationships are easy or hard and the lessons you are intended to learn. You’ll feel most successful when you are in a leadership role, a father, a mother, an actor.. you want to shine and you want to feel acknowledged and seen in the world. Drama, fun, excitement, entertainment .. all eyes on you is a craving but at the same time you may not know how to receive being seen.. it could make you uncomfortable to be recognized at first but overtime you’ll appreciate the lime light.

You are meant to create, share your experiences, tell a story, entertain through leadership roles.

#learn astrology #astro community #personal #astrology #astrology aspects #astro observations #zodiac #pluto #scorpio #scorpio rising #mars astrology #psychology

116 notes · View notes

physalian · 3 months

Text

Timeskips (A Deceptively Tricky Trope)

Anyone remember when we all went to the theaters to see Endgame and the trailers actually fooled us into thinking all the action happened immediately after Infinity War? Then 15 minutes into the movie, the Thanos we grew to love/hate dies and the bomb drops: “Five…Years…Later”

It’s a shame that the movie didn’t properly explore the worldly consequences of losing half the population in favor of a Marvel victory lap through all its greatest hits. That our heroes could do absolutely nothing for five whole years, opening on a shot of a cold and dark cityscape — that was the best use and execution of a timeskip I’ve seen in recent memory, even if the rest of the movie didn’t follow through with it.

Timeskips are an effective way to age up characters or age past the end of an era of peace, or the healing after a tragedy (or the lifeless aftermath of one). Usually, your established heroes do their heroic thing, and anywhere from a couple weeks to a couple months to a couple years pass before the story picks back up again. Some may have died along the way, the political climate has changed, couples have had children, or babies have grown into their own characters, relationships have grown, begun, or fallen apart.

These damnable plot devices are a double-edged sword. On the one hand, the author gets to skip sometimes decades of meandering plot and development to tell almost an entirely new story in the same universe, sometimes not even with the same characters who are now too old, too dead, or retired.

However, timeskips can also cause some massive confusion, missed opportunities, and fandom wars over whether or not the jaded and grizzled and depressed heroes we see on screen are, in fact, a realistic evolution from the last time we saw them (looking at you, Star Wars).

Sometimes, they’re used in a single episode, thrusting a present character into the depressing dystopian future so they can prevent whatever causes said future before disaster strikes (Teen Titans "How Long Is Forever?"), and all returns to normal by the time the credits roll. Sometimes, the author really wanted the drama and angst of a pregnancy, then got stuck with a baby that needs constant attention from its parents who can no longer go do Plot Things until the baby can take care of themselves (The Originals).

Sometimes it’s the jump between two eras of a series, where our heroes have had a couple years of practice and now we can make the tone a little darker and the action a little more visceral. Or, it’s expected of a multi-book saga that regularly jumps a year ahead with each edition, leading up to the big prophecy (Percy Jackson, Harry Potter).

The Fundamentals of a Good Timeskip

As requested by Anonymous!

Telltale signs of a dubious skip:

Audience is expected to care more about an undeveloped newcomer than the pre-existing cast, because the current cast does without explanation

Audience is “told” to accept Catastrophic Event without being “shown” how and why it happened

Characters die, break-up, disappear, marry, change teams, or change entire personalities for ~drama~ and no other reason

The Book You Never Wrote was way more interesting than the future you brought us to

The new plot depends on Events Unwritten, but never shows or explains Events Unwritten

Timeskip only exists because the author is unable to make the leaps in logic themselves and hopes you won’t notice

The legacy of past heroes is trashed completely for More Story

Signs of a successful skip:

Characters we know and love are still themselves, just a little older and wiser

Characters that do change do so logically, within reason, and could have been extrapolated from the last publication

Radical changes and the new hellscape you threw your heroes into is given ample screen time to show “How tf we got here”

The new world doesn’t disregard or ignore the legacy and victory of past heroes

Absolutely nothing of import or unexpected happened in the interim, except time

Anyone who dies off-screen won the story by dying of old age, or some other respectful avenue (popular with aging mentors and old masters, usually when their actor also passes)

Whether your timeskip succeeds or fails depends entirely on, in my humble opinion, how much story you skip and sacrifice to make the jump, and how radical the changes are from the past to the future. And, to what degree the skip serves as a means to an end or the centerpiece of the new story.

Meaning that since you leave weeks, months, years, or decades unwritten, how interesting was the Book You Never Wrote, and how badly would audiences need to read it to understand the jump from A to B?

If I’m writing a ten-year skip and half my heroes have died, half have ended wonderful relationships, two kids have been born, a known hero has become a villain, and an entire city’s been destroyed… that is a *very* interesting story I wish I had the opportunity to read, because it sounds like every character I fell in love with is about to become unrecognizable and very frustrating to follow now that I don’t understand why they make the choices they do — *if* I’m never shown evidence to support the leaps in logic.

If I’m writing a ten-year skip and all that happens in the interim is a minor child character is now a tween with a pretty average life, or my super-powered heroes have had only mediocre rogues to battle, or a character who began in the mail room is now a middle manager at their boring job, then, yeah, we can skip all that jazz and get to the good stuff. This is usually the setup for your “next generation” skip for any genre.

Good timeskips also depend on how readily the characters accept and acknowledge the changes that have happened off-page, and how much the future story now depends on the information the audience never received. If your plot and your characters constantly reference and argue over the Book You Never Wrote, your audience won’t be pleased to not have read said book.

I’m going to use specific media here because the nature of a timeskip concerns entire plots and my usual vague examples don’t suffice. How you write and implement one is entirely up to you and each of these have their staunch defenders, I just don’t like them and I’m here to explain why. Hopefully if you’ve seen at least one of them, you can use them as a shining example of what (or what not) to do in your own work.

The fandoms in question:

The 100

Star Wars

Percy Jackson

Last Airbender/Legend of Korra

How to Train Your Dragon

The Little Mermaid

—

The 100

The timeskips in question are between seasons 2 and 3, and between seasons 4 and 5. The first timeskip is a couple months between seasons 2 and 3. After a huge conflict (and easily the best season of the show by a country mile), shifting alliances, enemy-of-my-enemy, the best couple-that-never-was, the season ends with protagonist Clark unable to let herself enjoy the spoils of war because of the crimes she committed to make it happen. She leaves behind all her friends to go be a hermit, including deuteragonist Bellamy, who is Not Happy about this decision.

The problem: In between seasons, Clark hasn’t changed much, but Bellamy sure has. He gets a girlfriend, develops an entire relationship, only for this girl to get fridged within the first 50 minutes or so of season 3. He takes her death super hard and, with Clark not there, spirals into a bit of a blind-faith fascist turning on all his friends and becoming nigh unrecognizable. Without seeing the growing relationship with the fodder girlfriend, without seeing how hard life has been for him without Clarke, all his choices, all his beliefs, all his pontificating sound completely foreign and out of character and he does not recover until it’s almost too late. As he’s the deuteragonist of the show, you can only take yelling at your TV for all his stupid and OOC decisions for so long, when it could have been done so much better.

The second damning timeskip is five whole years between seasons 4 and 5. Bellamy develops another unseen romance up in space, his sister becomes a bloodthirsty underground queen, and Clark devotes her entire life to raising a little girl she finds.

The problem: Clark cares a lot more about protecting the little girl than anything else, a choice audiences can’t empathize with because we’re still siding with the characters we’ve watched grow and suffer for four seasons, making Clarke an incredibly frustrating character to watch.

Five-year timeskips are fine. I think I’m in the minority in hating this decision by the writers. However, when your characters’ motivations change so radically without you being able to follow that development, making their new choices seem incredibly inconsistent with who they’re supposed to be, the disconnect is super strong. We’re being told at this point to care about these strangers over the existing cast without ever having been shown why.

Star Wars

Timeskip in question: Return of the Jedi to The Force Awakens. Enough time for Rey to look like a 20-something and, I believe, the exact same gap between the movies in the real world. The argument over Luke’s character has been beaten to death by now. We end Return of the Jedi with the promise of a galaxy in peace after decades of civil war between the Rebels and the Empire and the ultimate sacrifice from Anakin.

The problem: We open Force Awakens like the war never ended. There’s still stormtroopers, there’s still the Empire (though, now it’s called the First Order), there’s still Rebels rebelling. The happily ever after one would expect between Han and Leia is shattered because their kid went Dark Side. Their kid went Dark Side because… well, one side, the other side, and the unrevealed truth.

It’s less “Luke would never make these choices” and more “How do you expect audiences to believe Luke made these choices without seeing the pain and trauma inflicted on him to end up like this”. The casual fan only watches the episodic films. Luke ended one movie as a semi-optimistic war hero. He began the very next film jaded and traumatized enough to debate, and nearly go through with, murdering his nephew because of what he *might* do someday.

That anyone expected that to go over well was deluding themselves, but everyone knows these movies are a mess.

There’s also the disappointment in realizing all that Anakin lived and died for fell apart in less than 30 years. Who are these people calling themselves the First Order? Where did they get the funds, the resources, the platform to become as big a threat as they are? How did the Rebels fail so spectacularly at building a functioning government? How do they not have the funds, platform, and resources to buy better ships and equipment? How did no one realize they were hollowing out an entire planet to build another Death Star?

The Sequel Trilogy lost audiences when it refused to provide any explanations at all for *why* these changes happened. The movies don’t care about *how* Ben became Kylo, they just need you to accept that it happened. They don’t care *how* the First Order rose, just don’t look too closely or it all falls apart.

The skip between Empire Strikes Back to Return of the Jedi is also a bit sketchy, because Luke has done all his Jedi training off-screen and can just pull abilities out of nowhere, but the plot of Return of the Jedi doesn’t depend on having seen Luke grow.

Percy Jackson

I feel bad putting this here because it’s not nearly as egregious as the previous two, but because the original series was so good, these choices are that much more baffling. The timeskips in question: Sea of Monsters (2) to Titan’s Curse (3) and Last Olympian (5) to Lost Hero (6).

The books focus on a singular week or two per year, so Percy can age from 12 to 16 in time for the Great Prophecy by the end of the series. This series is filled with timeskips and unseen content, but the jump between books 2 and 3 is the most jarring. I just did a retrospective for both of them so if you happened to read that, I’m repeating myself a little.

The problem: At the end of SoM there is a huge shakeup in the realm of who will actually be the chosen one — a discarded chess piece has been revived and brought back onto the board. In the missing months, Percy has built an entire friendship and rapport with his would-be rival, and so many reunions were left unwritten between Thalia and the friends she left behind. It’s the depth of the missing content that really feels like they forgot to print a chapter in either book, particularly when she’s so important to the story.

Percy references quite a few times how good friends he and Thalia have become. Fantastic, on what page might I read that development, when the author spent quite a bit of time building up the presumption that you two would hate each other?

The other timeskip is the complete opposite. Last Olympian to Lost Hero is, I believe, only a month. Once again, we have a presumed happy ending and ultimate sacrifice completely torched for the sake of More Story. The original five-book saga culminates with the tragic death of a villain we’d watched for five whole books. His argument was the thesis of the first series.

The problem: As with Star Wars, everything that character died for is rendered mostly moot. There is evidence that his death meant something, in the positive changes seen in the lives of those that survived him, but he died preventing armageddon… and a month later Bigger Badder armageddon is on the rise.

I almost wish the timeskip here had been longer. A couple years, at the expense of aging up the heroes to their twenties. His legacy on the story is virtually nonexistent. When you look back at the horrible tragedy that was this kid’s life, all it amounted to, everything he fought for, everything he believed in and died for and lost friends for… bought only a month of peace.

The Last Airbender and The Legend of Korra

Obviously, the timeskip in question is between these two series, about, what, sixty years? Last Airbender ends with, once again, the world at peace, ish, with lots of cleaning up to do, reparations to make, and governments to reshape. In the gap between series, almost everyone we knew has passed away, or aged out of being useful to the plot. Aang, of course, had to die so Korra could be born.

In the first season, because I’m reasonably confident all they planned was one season, the 60 year interim sees a lot of radical changes. Fan favorites die, the old ways are lost, the status quo is nothing like it used to be. So how do they get away with it?

Firstly, the show doesn’t begin with the main villains having already conquered Republic City and trashing everything the heroes fought for. The entire season is a crawl, then a plunge, toward disaster. They let you enjoy the fruits of the old characters’ labor, see the world that they built, before the new threat attempts to burn it down.

Secondly, because almost the entire original cast is dead or absent, there are no relationships sorely missing context, and there’s no *subversive* twists to what the audience could extrapolate from the ending of the old show.

LoK did make some radical changes to the world, but, crucially, it didn’t change the surviving core characters — we still have a known point of reference through which to view all the other changes. Katara is still Katara, she’s just older. Zuko is still Zuko, he’s just older. Katara didn’t become a persnickety, bitter bat and Zuko didn’t launch the Fire Nation Invasion II and return to his angsty ponytail-era.

It also helps that Korra is, like us, an outsider to this strange new world, a perfect vector through which the audience can ask questions and get answers on how, why, and when everything changed. LoK, unlike Star Wars, cared and thought about the *how* and the *why*.

If you’re going to write a story about the next generation without compromising the legacy of the old guard, Legend of Korra is a solid example of how to do it convincingly, respectfully, and entertainingly, even if it did drop the ball on some characters *cough*Sokka and Suki*cough*

How to Train your Dragon

But an even better example? How to Train Your Dragon to How to Train your Dragon 2. It’s been five years, a massive risk for your children’s animated fantasy series, but it’s also been almost five years of real-world time. Those who were Hiccup’s age when the first movie premiered are still Hiccup’s age when they head back to theaters. Not to mention the optional Netflix shows to help fill in the gaps.

Once again, there’s no *subversive* choices made with the relationships. Hiccup is still with Astrid and they’ve grown out of their awkward teenage phase. Their personalities haven’t radically changed either, only matured, the main group of heroes have had time to foster deeper bonds.

There’s no surprise children, no important characters who got killed off screen, and the changes to their homeland seem reasonable and logical given the time frame. A place that once feared dragons is now dedicated entirely to their preservation and conservation.

This is a timeskip that took advantage of every benefit of skipping time. The audience can very easily fill in the missing years with their imagination, because the jump from A to B makes perfect sense.

Frozen and Frozen II relied on the same mechanic of the audience growing with the characters with that one musical number. I’m not a fan of the execution of either of these movies, see this post about Frozen’s convolutions, but the execution of the skip itself is well done. All that’s happened in the interim is Elsa getting a little more comfortable being a person, and time has passed.

The Little Mermaid

The gap between Little Mermaid and Little Mermaid 2: Return to the Sea double-skips. First, it skips ahead to Ariel and Eric having an infant Melody, then about twelve years later to Melody being a tween and the new protagonist of the story.

Why it works: Melody is remarkably like her mother and rides the line between endearing and annoying very well and the plot depends on the skip happening at all – twelve years removed from the ocean and Melody has no idea her mother was a mermaid. Ariel and Eric (and Flounder) have grown to become wizened and worrisome parents and absolutely nothing remarkable happened unseen between the credits of the first movie and the second skip in the second movie. They get twelve years of peace, respecting the first movie’s legacy, and it’s through the actions of characters we see on screen that start jeopardizing everything.

—

Another feature I didn’t touch on earlier is that, by virtue of being a musical, the opening song to the Little Mermaid sequel efficiently catches audiences up on all the necessary exposition, all the old familiar faces, and where everyone is now in about 4 minutes. Frozen II does the same.

The Percy Jackson books also give a “previously on Percy Jackson” exposition speedrun at the start of books 2-5 and notes any important details that occurred in the missing months (save the glaring omissions detailed above).

If your time skip is just a plot device to get from A to Y, a well-handled exposition speedrun to catch everyone up won’t offend anyone, so long as you do it tastefully. If your skip is the centerpiece of the plot and the “how did we get here” is the big mystery, jarring your audience with the unexpected future on the opening pages is the point.

Do your best to avoid awkwardly having your characters state “X years have passed,” in dialogue because it’s always obvious and you can do better. Have somebody reference their upcoming birthday so audiences can do the math, or an anniversary. “X years have passed” cracks the immersion, as your characters don’t know or care that a time skip has occurred.

Or, if you’ve written a narrating style that talks directly to the audience, the narrator can just say “X months ago we did Y in the last book, reader, you remember how fun that was?”

—

TL;DR, terrible timeskips happen, in my opinion, when the writers are disinterested with the interim and want to get to the good stuff without providing a logical jump to get there. Or, they happen when the time the story skips to jeopardizes where it came from without explanation. Whether that’s undermining the legacy of the original hero, ruining relationships and killing fan favorites for *subversion points* and *drama*, or creating a world so far removed from what audiences expected that they’re left confused watching their heroes make baffling decisions based on development they’re promised did happen, but is never shown. It’s one thing if you take your wide-eyed hero and toss him into a bleak future where everyone’s shocked by his pessimistic outlook, it’s completely different tossing your hero into a bleak future and none of his friends seem to care.

#writing advice #writing resources #writing tips #writing tools #writing a book #exposition

43 notes · View notes

getghosteddd · 3 days

Text

ok. ok i've rewatched all 8 episodes and rambled at multiple victims. here's my final theory before the last episodes are released.

everyone's confused about how there doesn't seem to be enough time to introduce the time travel plot but also that they seem to have already included time travel elements. solution:

the events we see in the drama outside of the fire flashbacks is the regular, unchanged timeline. that really is the story of how jin met the others and became friends with them, and also how their personal tragedies unfold. if this was a linear narrative then the next episodes would be about how it all falls apart like it did in the original storyline. realistically it would leave it at an open ending right before the time loop events of the webtoon. if they did somehow include the time loop, it would have shown jin's attempts at trying to save his friends and so on.

but! it's not a linear narrative - time travel's already involved. it was basically confirmed with the two jimin pov scenes where he tries to warn the police about the fire. in the first one he stumbles and is too late, and in the second one he's given a script and is successful. so there's someone time travelling and changing the decisions that were made this day. that person texted yoongi not to leave his mother, directed tae to stall yoongi, and was the one who handed jimin the warning.

it's jin. most likely, it's jin. we haven't gotten his pov of the night yet, and we have that one scene of the capped figure flicking the lighter that belonged to jin's dad. not only does it follow jin's role in the original storyline but it's also being narratively set up by the show itself by how it keeps putting up parallels between jin and his dad. reminder that jin's dad also went through the cursed time loop in an attempt to save his friends and made the same sacrifice of losing his memories, exactly like jin did in the webtoon.

so what's with current jin? basically. the flashbacks aren't actually flashbacks. the original timeline unfolds and then at some point in the future jin decides he has to use time travel to fix things - the events in those flashbacks are the things he changes. the unknown number and capped figure is jin from the future episodes travelling back to a time where his younger self was still in america to try and save his friends without having to interact with himself because it was before any of the others would meet him two years later. Or if we're sticking with only one body then its just young jin with old jin's memories.

they are running the high school segment and the time loop plot simultaneously. maybe in the original event the others weren't even involved in the night of the fire. maybe having all of them be involved means that they avoid something tragic thats about to happen, or causes a chain reaction to happier circumstances.

... i'm trying ok. my only other guess is that the principal is the one time travelling to try and kill yoongi/cein in the fire so he doesn't out him. so.

#hyyh #begins youth #watch the time traveller be taes dad #cant wait to be confirmed delusional tomorrow #yay

21 notes · View notes

ecoamerica · 1 month

Text

youtube

Watch the American Climate Leadership Awards 2024 now: https://youtu.be/bWiW4Rp8vF0?feature=shared

The American Climate Leadership Awards 2024 broadcast recording is now available on ecoAmerica's YouTube channel for viewers to be inspired by active climate leaders. Watch to find out which finalist received the $50,000 grand prize! Hosted by Vanessa Hauc and featuring Bill McKibben and Katharine Hayhoe!

13K notes · View notes

suzannahnatters · 5 months

Text

And here are my reactions to Love Like the Galaxy: episodes 13-27, in which a cdrama does some absolutely terrific things I've never seen before which make me incredibly happy. This is also beneath the cut because I got very excited!

Tremendously diverted by how little this whole entire arrow through the chest is bothering our hero, one would think he'd broken a nail

Ling Buyi: I will tear apart this whole empire and everyone in my way to find out who is smuggling imperial weapons to rebels

also Ling Buyi: I am determined that only the very deepest love will ever induce me to marry

NN scolds a whole hospital full of sacking victims into drinking their medicine because how dare they lie around in pain and trauma when their loved ones died to keep them alive and it's another writing decision I'm not very fond of

the emperor is a gossipy old woman, he's discovered the secret of Murder General's heart in two minutes of screen time, I fondly look forward to episodes' worth of behind-the-scenes matchmaking

ahaha we have entered the "Niao Niao finally gets a boyfriend, and Murder General stares at the two of them sadly from a distance" section

he's just bowing himself out so silently, without ever saying a word - because he only wants to marry for love, so if NN doesn't want him, he doesn't want her

Marry the sweet boy, Niao Niao. He's not very bright, but the only baggage he's got is from the cake shop.

oh my, Niao Niao's boyfriend is sending her terrible mother snacks in an attempt to soften her heart, what a darling

I'm dead, not only does Murder General literally have a Niao Niao Memorabilia Hoard but he leaves it in his carriage for her to see while she's being given a lift in the rain askajdalfah

Niao Niao has dinner with with her three suitors and her aunt's ex and it's every bit as wildly uncomfortable as it sounds

also the Smug Scholar is here just to cause drama and wooow these are some epic sour grapes

It's a bit jarring how cavalierly everybody at this dinner dismisses the orphan girl in the backstory. The best thing I can say is that she fails to recognise one of the emerging themes of the show, that a woman shouldn't let love consume her entire life.

Murder General's family is straight out of Shakespeare - heartrendingly mad mother, moustache-twirlingly-evil estranged father.

meanwhile, over the Jane Austen side of the plot, Niao Niao's parents break the news to her that Murder General must be hopelessly in love with her. is this the worst way to find out or what

This whole mother-daughter relationship is so real it's triggering memories of a bad family situation I was familiar with around 5-10 years ago. Just…NN's mother not trusting her an inch, wanting to micromanage her life, despite all the ways that NN has bloomed away from her. Too painfully real.

Part of the reason this story feels SO Jane Austen is the way it focuses on the small domestic dramas of families, women, and marriage, with a keen eye to humour and satire. There's Murder General's political subplot too, but it's kept compartmentalised away from the main plot.

I…I think Murder General might be a darling, actually? when he's not mowing down the emperor's enemies in an overly dramatic manner or quietly and visibly pining, he is salving his broken heart by trying to make sure NN has everything she wants in life

and this is another place where this show neatly sidesteps a common pitfall - instead of HIM decided what's good for NN and then making sure she gets it despite her own wishes, he's allowing HER to decide and then silently providing her with everything she needs to make it a success.

I'm honestly astounded that this show is managing to make the typical strong, silent, commanding male lead…actually make sense as the endgame love interest, even in the presence of someone as charming and well adjusted (and devoted to snacks!) as Luo Yao. I honestly hadn't shipped them until this stretch of the show but now I'm beginning to.

He even credits her with "suppressing the mountain bandits" when he was the one who swooped in and saved her just as she was about to lose her siege T_T I'm sorry I have something in my eye

what WHAT WHATTTTT

having been informed of General Ling's feelings by her parents, is her maid now proposing to her on his behalf???????? wild

oh………he just wanted to know her hopes and dreams

Luo Yao has learned from Niao Niao how to fight for what he wants and it makes me so happy that this show is committing to these themes because the last big cdrama I watched was all about punishing the free-spirited heroine for wanting a life of her own

I feel hopelessly confused about all this arms smuggling subplot and backstory tbh

"don't be afraid, I'm here" asjkg love a good callback

also: good for you, He Zhaojun. good for you

It was also very satisfying seeing Bad Mum and our girl getting to fight together for once, but it's clearly only a temporary case of interests aligning and not a genuine change of heart for the former. I continue to enjoy the nuanced writing here.

Smug Scholar cracks me up. every interaction he has with our girl is like: NN: you make me feel sick SS preening yes I have that effect on a lot of women

Murder General telling NN that he's convinced that whatever decision she makes will be the right one!!!! and then for the first time she breaks down saying she's tired of always being the unlucky one - she's been fighting not to show any vulnerability and she's finally showing herself - to HIM eee

again: I'm ASTONISHED the show is making me believe he's the best choice for her given the presence of darling little snack boy but it is. She hasn't shown any vulnerability to Snacks. As for Murder General, he's been bleeding vulnerability everywhere silently for 21 eps.

"Everyone talks to me about righteousness and being fully considerate. But who will be fully considerate to me?" Snacks is a sweetie and he's doing really well, but the show is doing a terrific job of showing that for all his baggage, Murder General understands & supports her far more deeply.

I was wondering how the engagement with Snacks was going to end, & I have a lot of thoughts. On one hand, I really hate that after all the stuff about the importance of being able to fight for yourself, NN convinces LY to give her up & marry a girl who's already mistreated him, for the greater good

Snacks is absolutely correct here - none of the people telling him to marry He Zhaozhang can live the rest of his life for him. While NN always does prioritise the state above family, I hate that she is now putting it above somebody else's future happiness, AFTER teaching him to fight for himself.

It feels a bit hypocritical of NN, tbh, and like it muddles the themes of the show a bit. Also, it would be one thing if Snacks marrying HZ was to avert a future catastrophe, but the He family is already heroically dead and Snacks is being asked to self-immolate on their pyre. So unfair.

That said, I'm still appreciative of a lot about this. While I don't like that Snacks is deprived of agency here, you don't often see a drama heroine making this decision, & it's done without any of the "break his heart to save him" nonsense you'd usually see at this point.

We are also shown that although Snacks is giving in to marry HZ, he still has the lessons he's learned from NN about fighting for himself & plans to use them to make his life more bearable. And NN, though kinder & more respectful than HZ, never did truly love him.

I had my money on NN being the one to bow out all along, but I wish the show wasn't trying to make a virtue out of her self-righteous statism. I would love to see NN in the future realising that being able to let LY go like this, was a sign that she didn't truly love him. I hope!

In any case, I'm glad the show leaves us with real hope that Snacks is going to be a better, happier man for having known our girl.

"no need to worry about Miss Cheng's marriage. I'll be responsible for that" the SOUND I made

A LITTLE BOYFRIEND FOR YANG YANG, YESSSS

someone needed to come along and rescue our girl from Murder General's rescue just there, 1 out of 5 stars would not ask for a rescue again

does the man have fingertips made out of Velcro

the emperor is dying to matchmake Niao Niao and Murder General and tbh I feel his frustration, we have entered the "it's been eighty-five years" section of Waiting For The Cdrama Leads To Kiss (Or At Least Confess)

ahahahahahahahahahaha Murder General just blithely announces to all the princes that on account of the cancellation of NN's previous engagement he is going to marry her now and she goes into a coughing fit, hilarious

thing is, I don't think he actually means to be domineering here, I think he reckons the entire city in general and Niao Niao in particular must know about his intentions towards her, so why beat around the bush??? it's not like it's a secret or anything?

!!!! we have a proposal?!?!?!

and her mum is like NO NO NO oh die in a fire, woman

oh wow. oh wow. it's a trainwreck. oh my goodness.

"I had no idea I was so wonderful in your eyes" screaming crying throwing up

the fact that nearly their entire courtship has had to play out in public, carried by family members and households, until finally this proposal scene happens in the royal hall itself during a banquet, is just one more of the absolutely wonderful ways this is SO Austen-esque

I'm dying for these two to have a proper conversation in private but instead they've got to checks notes attend her ex-fiance's wedding together OOOOOOHH

This scene between He Zhaojun and NN is so good. I didn't expect such growth and change for this character based on her introduction. And she's absolutely right - a marriage to someone kind and gentle is far better than to someone elegant, but cruel

The writers making this point feels pretty unusual given a very usual sort of cdrama hero. But if course murder general is, as NN points out, cruel only to his enemies. Or is she in for some surprises? WE SHALL SEE

He certainly has no chill when it comes to using his more powerful position to protect her socially lollll

He's been protecting her so often it's beginning to deprive her of agency and I'm really hoping the story doesn't overlook this in the second half.

OH YES "he's standing up for you! Are you not happy" no, no she is not I AM BLESSED

I can't believe it they're finally having a chance to talk in private and it's ALL ABOUT THIS STUFF

NN just calling him out for his thoughtless use of power

Yessssss we've moved past the point where she can fight catty girls, she's fighting him now, AHHHHHHHH. so good

"let's eat together. No need to feel awkward. I am easy to get along with" amazing "hello fellow kids" energy

OH NO HE'S TRYING TO TELL A JOKE ABORT ABORT

Murder General, who has got straight As on everything in his life to date, getting an F in Intimate Family Dinners and thinking he's done splendidly is really…amazing

I see now how NN's conflict with her mother was setting up her conflict with Murder General - both want to run their families with dictatorial military discipline, and NN, who has had more than enough of it coming from her mother, definitely doesn't want it from a husband. NN I'm barracking for you

SCREAMING

Murder General has now taken over Niao Niao's household to train them so that his beloved will be strong and ready for anything. How bad is it? it's so bad that even Perfect Cousin Yang Yang no longer wants to be an obedient female anymore

the soundtrack for this drama seriously cracks me up sometimes. Most of the time it's lush, romantic classical strings and flutes. Then, BANG - 80's guitar + synths, or…jazz clarinet????

"I'm not used to discussing everything with someone yet" aw he does want to learn better!

"You represent only oppression in my life…I don't need you to take care of me and my family so much" I cannot beLIEVE this show is letting someone say this out loud. Amazing

Cannot believe she just sent him away like that. And of course he went because he only wants someone who loves him. And I think that's the one character detail that makes this man capable of change - he doesn't know how to relate to people outside hierarchy, but he WANTS it

I really, really like that the show doesn't try to gaslight NN that she's making a fuss out of nothing - her parents encourage her to compromise the life she truly wants, but even they aren't bad enough to tell her that this IS the life she wants.

And I also love that BOTH of them are shown reflecting on where they might be going wrong and why they might be better off yielding to the other person - not just NN.

It's delightfully reminiscent of Lizzie and Darcy getting a reality check in tandem after his first proposal. SO AUSTEN.

With episode 27 I've officially finished "season 1" of Love Like the Galaxy and am right around halfway through - and this show is fulfilling my wildest dreams of cdramas justifying tropes, letting the heroine have agency, and overtly calling out the hero's unthinking use of power to control, protect, and smother the heroine. All in a sparkling Jane-Austen-flavoured comedy of manners about a little gremlin girl whose greatest strength is fighting for herself when nobody else will, and a strong, silent murder general who has resolved only to marry for ~~ LOVE ~~

It's so good, if the second half continues to be this good it'll be a solid 10 for me. MORE TO COME.

#love like the galaxy #lltg #ling buyi #cheng shaoshang #cdrama #asian drama

42 notes · View notes

bts-trans · 9 months

Text

230805 RM's Instagram Stories

(https://instagram.com/stories/rkive/3162055826955650046) (https://instagram.com/stories/rkive/3162059962447181570)

(T/N: The photos show excerpts from The Agony of Eros by Han Byung-Chul.)

Picture Translations:

...constitutes an essential element of experiencing Eros. Heterogeneity is what dictates the essense of an entity that is not one's own self. And the reason one tries to find this quality in a strictly primitive relationship belonging to Eros - that is, a relationship that cannot be translated with one's existing abilities - lies here. The absoluteness of what one can do is what destroys another person. A successful relationship with someone else is regarded as a sort of failure. This is due to the other person being able to reveal themselves solely through the fact that they can't. "Can we really specify this kind of relationship of Eros related to the other person as a failure?" and once more the answer is "yes, we can" if we were to accept the terms commonly exercised in the description of Eros just as they are. This is so when you try to define Eros with words such as 'to grasp', 'to possess', 'to know'. Those concepts do not exist within the sphere of Eros. From time to time, Eros causes these concepts to fall. In a scenario where we were able to own, grasp and know the other person, it would no longer be someone separate from us. 'To possess', 'to know', 'to grasp' - these are all synonymous to being able to do something.

Today, love has become something positive and has, consequently, transformed into Sexualität: sexual love that falls under a system that awards individuals on their abilities. Being sexually attractive is an asset that needs to continue to grow. A body that is valuable in the way it presents itself will be different from...

...it is neither an abnormality, plot or drama; it is simply an insignificant emotion and the feeling of being aroused. Now, love is unfamiliar with the negativity that comes with wounds, ambush and loss. Even the mere act of falling in love is already too negative as it is. However, it is exactly this negativity that forms the essence of love. "Love isn't just a single possibility. It isn't created depending on our initiative. Without prior warning, love ambushes us and inflicts wounds upon us." A society that is governed by meritocracy, a society where everything is possible and a society where initiative and projects are everything is unable to access love characterised by wounds and agonised passion. Sexual love and romantic love also cannot escape the principle of achievement that dictates every aspect of life in this age…

흘러가버린 작품들의 경우, 지금 우리에게 들려줄 이야기가 있는지가 가장 중요하지 않을까. 마치 우리 네 옛 어른들처럼. 여기 퍽 좋아하는 말을 첨부해본다. 모든 영화는 현재형으로 다가온다. (https://instagram.com/stories/rkive/3162353181257045551)

With pieces of work being lost, isn't the question of whether there are stories we can now tell of the utmost importance? It's as if we're aged-up adults. I tried to add in phrases that I'm quite fond of here.

Every masterpiece draws forward towards the present.

#230805 #bts #bangtan #insta #instagram #story #stories #photo #RM #Namjoon #book excerpt #kim namjoon #phew this was a lot of work #namjoon is always keeping me sharp

77 notes · View notes

turtlesays · 3 months

Text

Watched the finale of HH today and really resisting making a Hazbin specific blog…

I really enjoyed season one of HH. Unfortunately, I don’t feel like I can truly support the show because of some of its creators—especially Vivienne Madrano—and the way the creators have treated the people who supported the show in its early days (without which HH would never have made it this far).

This feeling is just compounded by watching HB fall apart at the same time that HH is gaining such success and popularity.

Vivienne really shows her true self in HB. Namely, her lack of writing skills, poor design choices, inability to maintain a plot over more than a few episodes, and general immaturity as a person. While unfortunate, I don’t expect that HB will survive much longer. Even if it survives beyond its current season, it will just be getting propped up by young fans with little to no media literacy and dragged to a slow and painful demise.

Vivienne has also shown her true colours when dealing with the original VA cast of HH. I can understand her desire for bigger name talent on a growing show. I can understand the decision to recast the VAs—even up to 100% of the VAs. My issue is not that those things happened, it’s how they were handled.

Specifically, I have issues with the fact that Vivienne seems to have cut off all of the people who originally supported her. She didn’t tell them they were being recast. She didn’t give them the chance to audition to keep their roles (if desired). She didn’t even invite them to the premiere of HH. As far as I know, she barely acknowledges them or their contributions to her own success.

Beyond her treatment of the original VAs, there have been allegations of workplace harassment, which I’m inclined to glove because so many current employees of Vivienne have both expressed and demonstrated (through their actions) fear of retaliation from Vivienne.

There have been issues with Vivienne not clearly crediting other artists’ work as well, both in fan creations that she reposted from her own account, and in official works for the HH/HB universe.

There’s a lot more to the drama, but (1) it’s too much for a single post, and (2) a lot of the drama has questionable credibility. What I’ve listed so far is what I’ve personally seen the most evidence for/found to be most credible.

However, I wouldn’t doubt too much the other accusations against Vivienne, especially by those who worked for her. I have a very low opinion of her as the creator of a show I enjoy, and really hate giving her any kind of support as a result.

#hazbin hotel season 1 #hazbin hotel #helluva boss #vivziepop #vivzieverse #vivienne medrano #helluva boss critique #hazbin hotel critical #vivziepop critical #vivziepop criticism

23 notes · View notes

dramavixen · 2 years

Text

Chang Heng: The Man Who Deserves to Be a Male Lead, But Absolutely Should Not Be One

(i.e., I found the opportunity to dunk on Ten Miles of Peach Blossom’s Ye Hua after spending far too long harboring a simmering resentment for that giant man baby)

**Spoilers for: Love Between Fairy and Devil and Ten Miles of Peach Blossoms

I was around 19 years old when I watched the renowned xianxia drama 三生三世十里桃花 (Three Lives, Three Worlds, Ten Miles of Peach Blossoms, A.K.A. Eternal Love or TMOPB for short). I was smitten with the worldbuilding and music, but especially with the male lead. To this day, Ye Hua holds the crown as one of xianxia’s most beloved characters. Not that he did anything super cool—unless you consider bawling over his dead wife revolutionary.

It was a couple years and many more dramas later that I realized I had been conned. Beneath the pretty tears and fantastic dubbing, Ye Hua represents an absolute disaster of a man, an apocalypse for the poor lady on the receiving end of his heart-eyes. How could I, a supposedly mature adult, have been so blind to his deadly flaws (ironic, given what he does to his wife)?

This epiphany blessed me with an instinctual aversion to the xianxia genre. Everywhere I looked, I could only see the shadow of Ye Hua within the male characters who took up his torch—none of these xianxia men are worth shit. And then I learned that the same often applies to xianxia women. All of them need an intervention.

So when Love Between Fairy and Devil’s Chang Heng graced my screen and started exuding extreme Ye Hua vibes, could you blame me for thinking “oh hell no”? I was not ready to get hurt again. Over the course of the drama, I learned to heal and love again, but because of a single caveat: Chang Heng is destined to never get the girl.

---

The Walking Red Flag

As with all good science experiments, we need to establish the control element. Ye Hua will act as that today. What about Ye Hua is so unforgivable, yet allows him to remain as one of the faces of xianxia?

TMOPB was met with explosive popularity upon its release in 2017 and remains one of the most well-known C-dramas to this day. It’s not a reach to say that its success prompted the wave of xianxia dramas released in its wake, nor to claim that its influence inspired a new formula for the genre’s plot structure. It wasn’t entirely original in concept, but its impact on pop culture shouldn't be understated.

The drama’s primary selling point is the love story between esteemed goddess Bai Qian and Heavenly Crown Prince Ye Hua. Through a series of unfortunate events, Bai Qian loses her memory and powers, becoming the “mortal” Su Su. Ye Hua is the smitten deity who really, really wants to be with Su Su even though their relationship is strictly forbidden due to Reasons That Definitely Exist and Are Valid.

Dramatic irony is also at play. Bai Qian and Ye Hua are betrothed to one another long before they fall in love in the mortal realm, but are unaware that their beloved and their future spouse are one and the same person. Their love is essentially a fated relationship disguised as a wild goose chase.

Once Su Su “dies,” Ye Hua deteriorates into a lovesick shell of himself. His longing, guilt, and grief over her death have since established themselves as the picturesque representation of tragic elements inherent to the xianxia genre. Ever since Ye Hua did it, everyone and their grandmas think it’s the new hip thing to get their lovers killed and then cry over it.

Ye Hua could take one step into my house and I would kick him to the curb, install new locks, and file for a restraining order. I fear this man far more than I fear the typical drama villain. Because imagine what he’d do to someone he hates, if this is what he does to the person he loves:

I’ll give him a pass on some of his early flirting techniques, which includes shenanigans like injuring himself to elicit her care and attention and also sleeping in her bed without her express knowledge. (Off to a promising start, aren’t we?) He's a lovestruck fool, ignorant to proper methods to woo the ladies.

After Su Su takes an interest in him, he tricks her into marrying him. Fine, that’s a bit of an exaggeration. But he doesn’t see anything wrong with marrying her while she’s unaware of his true identity. He doesn’t even pipe up about it after she gets pregnant. Meanwhile, Su Su marries him because she’s lonely and trusts that he’s someone who can always be there for her—you know, like a good spouse tends to be. He is not that.

Ye Hua thinks he can outsmart the heavens with his amoeba brain and tries to fake his own death so he can be with Su Su. He fails miserably.

Su Su finds out who Ye Hua truly is after she’s captured by his Heavenly Lord grandpa, who fully intends on punishing her for their relationship since she’s a “mortal” and easy to bully.

Ye Hua fears that openly expressing his love for Su Su will get her killed. To avoid this, he comes up with the ingenious solution of pulling the whole “I have to treat you like garbage to protect you” bullshit. Dearest Ye Hua, please name me one scenario in any drama where you saw this method working out well enough for you to try it for yourself.

For obvious reasons, Su Su starts doubting that Ye Hua truly loves her. This doubt peaks after manipulative female support character Su Jin accuses Su Su of pushing her off the Zhu Xian Tai (“Fairy-Executing Terrace”) in an attempt to kill her, a plot that results in Su Jin going blind. Ye Hua, in another effort to “protect” Su Su, personally digs out Su Su’s eyeballs as retribution—even though he knows that she didn’t do anything wrong, and even as she sobs and begs him not to do it.

Blind and abandoned, Su Su explores the palace every day through touch and commits its layout to memory. After giving birth to her son, she uses that knowledge, finding and leaping off the Zhu Xian Tai to kill herself.

She doesn’t die, of course. She regains her memories as a goddess, but is so tormented by what she endured that she decides to wipe away the memories of the entire relationship. Then they reunite and fall in love again, yada yada yada.

All of that content makes for great angst. I still need a tissue box or two to make it through the episode where Su Su throws herself off the Zhu Xian Tai. If anything, my frustration toward Ye Hua makes me cry even harder because goodness, the audacity of this asshole. He acts purely out of selfishness, desiring to keep Su Su at his side at any cost, even if she’s the one paying it. This isn’t to say that Ye Hua gets off scot-free. He also willingly takes punishments in Su Su’s stead and wants to follow her after she dies. But so what? Does his suffering reduce Su Su’s pain at all? Does that change any of what he does to her? And he doesn’t even get her eyes back for her afterward; she has to do it herself!

What makes Ye Hua truly irredeemable in my eyes is that he still ends up with Bai Qian. Her forgiveness is only natural, as her love for him exceeds her hate. That sounds romantic, but only if you ignore how he caused her enough pain for her to prefer death. And even if she forgives him, why does she have to take him back? Unless she so desperately needs a reason to jump off the Zhu Xian Tai again.

While I understand that the show is more marketable when the lead couple has a “happy” ending, it doesn’t sit well with me that that’s the end result for Ye Hua and Bai Qian. Ye Hua expresses remorse, tons of it; otherwise how could so many viewers readily forgive him? But it’s simply not true that once we show enough remorse, we should earn back the things and people we lost. Once some things are over, they’re truly over. If that applies to anyone, it should definitely apply to someone like Ye Hua.

---

Wake Him Up Inside

And so we arrive on the subject of Chang Heng. Oh, Chang Heng. I see his tiny face and I just want to wrap him up in a blanket and feed him s’mores.

Chang Heng’s character shares many foundational similarities with Ye Hua: he crushes on someone while unaware that she’s actually his long-lost fiancée, has too many responsibilities, and struggles to balance those two problems. I honestly wouldn’t be surprised if the writers had Ye Hua in mind while creating Chang Heng. Every single word of wisdom he utters is a not-so-subtle jab at Ye Hua’s erring ways. It’s the sweet honey of vindication, I tell you.

Before he gets to that point of self-awareness, Chang Heng treads the same path as Ye Hua. He wipes Xiao Lanhua’s memories of him without her permission. He doesn’t dare reveal his feelings for her because that would be counter to his duties. Even after painstakingly creating medicine to help with her dysfunctional spiritual root, he ends up pretending that he never did such a thing. In his deepest subconscious, he believes his love for Xiao Lanhua is a weakness. The main difference between him and Ye Hua is that Chang Heng has the decency to distance himself beforehand, knowing that he is in no position to have a relationship with her.

Two things prevent Chang Heng from transforming into Ye Hua 2.0: 1) he isn’t the male lead and 2) Dongfang Qingcang’s existence.

Imagine a world in which Chang Heng is the male lead. When Xiao Lanhua is accused of being a traitor, he would almost certainly pull a Ye Hua move and negotiate with his brother. “I know she’s innocent, but I also know that you must punish her, so please just spare her life”—that type of thing. (The reason I think this isn’t just possible but probable is because later in the actual drama, he enthusiastically agrees to a plan in which he and Rong Hao would kill Xiao Lanhua’s body with DFQC trapped inside, and simply build Xiao Lanhua a new shell to live in. Bro, what the hell.) Because Chang Heng doesn’t fully understand how useless he is, that would be the limit of what he can do for her. He would seriously believe that he has no other choice in the matter.

But someone else is the male lead. When DFQC comes along to rescue Xiao Lanhua, there’s no compromise to be had. He’s taking her with him and that’s the end of it. I, for one, have never felt so validated as when DFQC beats Chang Heng to the floor and then just...walks away, like he’s making a stop at the supermarket.

DFQC: Are you going to save her? Or are you going to save your Shuiyuntian?

That someone can behave this way is a major culture shock to Chang Heng. How can someone just do whatever they want? What about rules? Watching DFQC whisk Xiao Lanhua away serves as loudest of wake-up calls: DFQC intends to put Chang Heng in his place, showing him that he does have a choice in the matter. But he can neither defeat DFQC nor abandon his responsibilities. Until he can overcome those obstacles, Xiao Lanhua will always be out of his reach.

While Xiao Lanhua sparks love in Chang Heng with her desire to protect him, DFQC is the one who makes him question his priorities. Exactly what should he be doing that he currently isn’t? How is it possible that he’s a god of war, yet can’t protect the one he loves?

Chang Heng realizes that distancing himself from Xiao Lanhua accomplishes nothing but forcing her further out of reach (proud of him for realizing that one because let’s be honest, we don’t love Chang Heng for his brain cells). He also has an extreme edge to him, so he hops straight over to doing the exact opposite, rebelling against the arbitrary rules of heaven, constantly trying to bring Xiao Lanhua home, and openly expressing his feelings for her. Later, even if it means becoming a mortal, even if it means letting her go to someone else, nothing is off-limits.

---

The Fine Line Between Helplessness and Incompetence

A lot of xianxia plots depend on characters being helpless and subject to the fates. In my childhood memories, xianxia dramas commonly had at least one main character who was a low-ranked human or deity. Bullied and unable to fend for themselves, their journeys to improve themselves and protect what mattered to them were ones that touched and inspired people who could relate to their common identities. These characters aren’t given many choices in such situations, yet they consistently choose to fight back.

This zero-to-hero trope has become less convincing over time as the trend turned into telling the stories of “chosen ones.” There’s nothing inherently wrong with that, except now all of these dramas are trying to convince us that these gods with unlimited power are...powerless. They’re all hero-to-even-bigger-hero tales, if you will.

It’s not impossible for gods to be forced into making certain decisions, but it’s quite rare that a xianxia persuades me into finding it believable. If we look at Ye Hua again, he gets outsmarted by some random woman who's jealous of his wife. He also snubs Su Su to placate an old man. You’re trying to tell me that that’s the best a dragon crown prince can do? If I lived in the heavens, I’d live in fear of a revolution every day if those are the capabilities of my future leader.

When it comes down to it, Ye Hua is not helpless like our heroes of old—he’s incompetent. And it’s hard to sympathize with a guy who loses everything not because outside forces overpower him, but because he himself sucks major ass.

LBFAD, a drama where every one of the three leads is someone of super high rank, is the only xianxia in recent years which puts into perspective how huge power translates into huge responsibility, and why that pushes characters into feeling like things are out of their control. Be it DFQC’s and Chang Heng’s duties to their people or Xiao Lanhua’s destiny to save all life, it’s hard for any of them to decide when to give in and when to rebel against the heavy weight of destiny.

Chang Heng is a pleasant mixture of both helplessness and incompetence. Is it not endearing the way DFQC easily crushes him, yet he still goes flying into enemy territory proclaiming that he’s going to save Xiao Lanhua? I don’t know where his confidence is coming from and I don’t think he does either, but it’s heartwarming to watch him try and fail with flying colors.

When Chang Heng hops over to Cangyan Sea to bring Xiao Lanhua home without a solid plan, DFQC is again the guy to remind Chang Heng that he still needs to do better. Good intentions are a solid starting point, but are worthless if he can’t convert them into something practical.

CH: Xiao Lanhua, is someone threatening you? Do not be afraid. Tell me, and I will protect you.

DFQC!XLH: No one has threatened me, and no one has forced me. [...] I am also no longer the inconsequential lowly spirit that you all take me for, nor am I a traitor or a spy in collusion with the Moon Tribe. I can happily be myself. Compared to my days in Shuiyuntian, when anyone could step all over me, this is over a hundred times better. [...] Suppose that I go back with you. Can you guarantee that you will clear my name from collusion with the Moon Tribe? Suppose that your Lord Yun Zhong insists that he will not pardon me; would you dare go against him? Suppose that he uses that heavenly rule nonsense to ask you and force you; could you promise my safety? Suppose that anyone dares to harm me or blame me; could you reduce them to ashes?

Aside from making Xiao Lanhua understand that Chang Heng’s mainly just a pretty face, this interrogation forces Chang Heng to consider what’s at stake. Protecting Xiao Lanhua and following the rules are mutually exclusive decisions. His struggle to circumvent this issue isn’t trivial, seeing as it’s challenging his entire belief system. But he can either start questioning what he’s capable of, or let Xiao Lanhua get hurt again.

What stands out to me about this interaction is when DFQC also tacks on that Chang Heng “cannot even tell [her] something [she] wants to hear”; that he won’t even claim that he can keep her safe. Maybe I’m just that jaded, but his refusal to tell pretty lies is what I adore about Chang Heng. It’s a matter of life and death, and if he can’t promise her safety, he won’t. If he lies to her and to himself, then he could never become the straight-shooting Chang Heng we all know and love.

DFQC might be his inspiration, but Rong Hao being simultaneously Chang Heng’s best friend (potentially more; oh what could’ve been) and a foil to his character is an enormously overlooked dynamic. Rong Hao frequently tells Chang Heng that they’re the same type of people, that their love for their respective ladies is what corners them into making less-than-optimal decisions. Each time, Chang Heng’s instinct is to rebuff him.

RH: Because the two of us are the same. I have no choice. And you, ultimately, will also have no choice.

CH: You do not have a choice? You chose to conspire with my brother, to disturb matters, to catalyze the three realms’ largest war in the last tens of thousands of years!

Chang Heng’s newfound philosophy is that everyone has a choice. You may be dealt an awful hand, but you can still choose to play or fold. His friend’s decision-making comes off as foolish arrogance to him.

But Rong Hao is right in one respect. They are similar: if Ye Hua represents an alternate universe version of Chang Heng in which DFQC doesn’t exist, then Rong Hao is suffering a version of Chang Heng’s future in which Xiao Lanhua/Xi Yun sacrifices herself for the greater good, yet is forgotten by those she dies for. Chang Heng can remain optimistic because the person he loves is still alive and loved by others. Rong Hao is comparatively hopeless. He can only wait to witness the impending devastation before realizing that the harder choice is oftentimes the better one.

We will never know how Chang Heng would react if in Rong Hao’s exact position. But whatever he would choose to do, he would not absolve himself from responsibility by claiming that he had no other choice. The results may be out of his hands, but the initial choice is what he can decide for himself.

Chang Heng reminds me much more of traditional xianxia protagonists. Every obstacle they face only drives them to seek enough strength to change the status quo. While Chang Heng may never win against DFQC, he’ll keep trying. (Or he’ll convert him into a brother; that works too.) Everyone will say he doesn’t have a choice, but he wants one and he will get one. Ah, my heart is so full. I don’t want perfect characters. I want characters who strive to do better, especially in a world that pushes them down, and he suits that to a tee.

Meanwhile, Ye Hua over here blinds his wife due to...societal expectations? My god. He just keeps getting worse the more that I think about him.

---

I’m Sorry. But At Least I Love You!

There always has to be an arc where the lead couple’s relationship splinters because one party draws back in order to “protect” the other. It’s accompanied by an intentional lack of communication, so the other person thinks that they’ve been left behind. Remember when this trope used to be cool? Yeah, I don’t either. Because it never was.

Ye Hua might have some fun with this, but LBFAD doubles it by making both the male lead and second male lead utilize this strategy: DFQC, in order to force Xiao Lanhua to fall out of love with him and spare her life in the process, and Chang Heng, who refrains from pursuing Xiao Lanhua in the beginning in order to keep her out of his brother’s view.

I’m tempted to be lenient in both cases. DFQC’s predicament is written well enough that he does seem truly out of options in that situation—every possible choice is wrong. He either breaks her heart and she survives, perhaps so he can explain his actions later, or he lets her die. Or, you know. He could communicate like she asked him to, and they could try to find a way out together. Instead she stabs herself. So you know what, no free pass for DFQC, but at least he makes up for it later.

(I have to get another jab at Ye Hua in here. When Xiao Lanhua commits suicide, she does it to save DFQC. It’s an act of love and sacrifice. Su Su literally seeks death out of unadulterated heartbreak and betrayal. Big difference there, huh?)

I mentioned that Chang Heng’s actions are out of responsibility, so it’s hard to fully blame him. At the same time, the reason Chang Heng can’t win over Xiao Lanhua is because he doesn’t act on his feelings until it’s too late. Simply “protecting her” is not enough: people don’t love others in the hopes of being protected. They love someone to walk alongside them through all the good and bad in life, together.

Chang Heng shines in the ending episodes. He still wants to protect Xiao Lanhua, but he also becomes the one person who understands and accepts her own desires. Knowing from experience that acting one-sidedly is but a temporary solution to a much larger issue, he listens to and considers what she wants. When the two tribes are on the brink of war and Xiao Lanhua doesn’t want to return to Shuiyuntian with him, even after learning of her lost identity as the Goddess of Xishan, he respects that. When, as Xi Yun, she confides in him that she’s pretending to not remember DFQC, he is hurt by how cruel she is being to him, but in the end chooses to understand her.

CH: Your life will truly be in danger this time, Xiao Lanhua. I absolutely cannot let you go back there.

XLH: Lord Chang Heng, are you really going to stop me? My lord, you are a god of war. I am merely a plant with a damaged spiritual root. If you insist on stopping me, then there is nothing I can do. But I will definitely not give in.

CH: You will die. Is that right? [...] You and Dongfang Qingcang love one another. You would rather pretend not to know him than to harm him in any capacity. Then what about me? How could you...how could you ask me to marry you and then personally send you off to die? Did you consider me at all?

XLH: Chang Heng...I am sorry.

CH: I do not want any of your ‘sorry’s. You clearly know that what I want is not for you to say sorry. Are you going to tell me that you do not have a choice?

XLH: That is not true. It was me who chose to live with the Goddess of Xishan’s destiny. Chang Heng, you are the only one who can help me.

Oh, Chang Heng. He’s come to his senses, but everyone he loves and respects falls apart. Saving DFQC from his dreamworld, bringing Xiao Lanhua back from the dead, sacrificing Xiao Lanhua, burying his best friend...what a rough schedule. Scratch giving him s’mores, he needs a drink or two.

Everyone in this drama grows into a better version of themselves, but Chang Heng practices the deepest empathy of any of them. To be hurt is to understand others’ pain, and he really does learn to understand.

---

Such is the beautiful tragedy of Chang Heng and his love for Xiao Lanhua. It’s bittersweet that Chang Heng knows to let go, but comforting to recognize that they’re better off not being together. Only with them apart can Chang Heng’s love stay as pure as it is.

Take that, Ye Hua. I’ll admit, I appreciate Ye Hua for showing me the perfect example of a guy that I should not even spare a glance at. Otherwise, Chang Heng supremacy declared; respectfully, please get that other man away from me.

#苍兰诀 #love between fairy and devil #三生三世十里桃花 #eternal love #three lives three worlds #scribbles*#chang heng has liberated me #i feel so free after finally badmouthing this guy after all these years lmao #ahem no hard feelings ye hua #you were a good part of my c-drama history

362 notes · View notes