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thankskenpenders · 1 day

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The Knuckles show

The announcement of a live action Knuckles streaming miniseries was surprising, to say the least. I mean, what would such a show even be about in a version of the Sonic universe with no Angel Island and barely any characters from the games around? Is he gonna go treasure hunting with the gang from Montana or something? Would a streaming miniseries have the CGI budget to squeeze in any new game characters, even briefly? Rouge? Amy? At least one member of Team Chaotix? Anyone?

Now the show is finally out, and it turns out what they actually made was a comedy show about bumbling deputy sheriff Wade Whipple, the minor comic relief character played by Adam Pally who you might not even remember all that well from the first two movies, with Knuckles as his sidekick. While, yes, Knuckles does get a decent amount of screentime and opportunities to punch bad guys and do cool moves from the games, large stretches of this show focus on Wade's personal life, to the point that a couple times I almost forgot I was watching a Sonic-related show. If you're judging it purely by the metric of how well it adapts and engages with its source material, this surely must be one of the worst adaptations the Sonic franchise has ever seen.

So then, despite some huge complaints... why do I kinda like it?

(This will contain full spoilers for the Knuckles show.)

A brief summary of what the show is actually about because I know half of you aren't going to watch it

The show picks up not too long after the end of the second movie. Knuckles is now living in Montana with Sonic, Tails, and the Wachowskis out of a sense of debt to them, though he doesn't really see it as his home. He doesn't feel like he belongs on Earth, and his life currently lacks direction. After communing with the ghost of Pachacamac, though, Knuckles is instructed to keep his culture alive by teaching "the ways of the echidna warrior" to a new apprentice: deputy sheriff Wade Whipple, who's currently more concerned about winning a bowling tournament in Reno than anything else.

Things are complicated by the interference of two rogue GUN agents - Agent Willoughby, played by Ellie Taylor in a bad wig, and Agent Mason, played by Kid Cudi. (Yes, the artist behind the second movie's credits song is one of the bad guys in this.) They want to steal Knuckles' power and sell it to a former associate of Robotnik's played by Rory McCann (The Hound from Game of Thrones), who now works as a black market arms dealer. Yes, they're still doing the thing where Sonic and friends' quills radiate some kind of super-energy that the bad guys all want. No, I don't particularly love this element of the Paramount Sonic continuity. Anyway, they go after Knuckles and Wade, complicating their straightforward road trip to Reno. Antics ensue.

The Wade show

So here's the thing. While the first episode focuses largely on Knuckles, the entire rest of the show is very much the story of Wade, and by extension the other original human characters invented for this miniseries.

Episode 2 is about Wade having to rescue Knuckles from captivity after the GUN agents get him. Knuckles spends most of the episode in a cage.

Episode 3 is about introducing Wade's Jewish family, including his slightly overbearing mother and weird sister, so that Knuckles can learn about their family traditions and have Shabbat dinner with them (and then save them from bounty hunters that the GUN agents hired).

Episode 4 only features Knuckles at the very beginning and very end of the episode, probably for less than a minute total. Wade is captured by a bounty hunter he personally knows, and Knuckles decides to let that be a trial for Wade to overcome on his own.

The last two episodes feature the climactic showdowns with the GUN agents and their arms-dealing ally, who comes in with a mech for the obligatory final boss fight. You'd think this would be Knuckles' time to shine, but really, these episodes are mostly about the bowling tournament in Reno where Wade encounters his estranged father, wrapping up his own personal arc. While Knuckles does get some fights, a lot of the finale is spent on lengthy bowling scenes where Knuckles isn't in the room or even mentioned. It frequently feels more like a spiritual successor to '00s sports comedy movies like Dodgeball, Talladega Nights, or Blades of Glory than it does a part of the Sonic franchise, and the presence of ESPN 8: The Ocho commentary in the finale only drives those Dodgeball comparisons home. They get so immersed in the bowling stuff that it's genuinely hilarious when the show suddenly pivots and remembers "oh shit we still need to do the final boss fight"

Throughout all this, Wade is the protagonist. He's the character we spend more time with, he's the character who drives most of the major events, he's the character who gets more of an arc. The emotional core is Wade's journey. Knuckles is still present - sometimes, at least - but he's there as Wade's wingman, and also just as the excuse for there to be some fight scenes.

How much Sonic stuff is actually in this show?

Honestly? Not much.

Sonic and Tails are only in the first episode. Sonic gets some good scenes, but Tails gets a grand total of five lines. I counted. Unsurprisingly, Jim Carrey is absent as Robotnik, though he does get mentioned a fair bit. (For that matter, basically the entire established human cast beyond Wade is absent, even including Tom, though Maddie is there in episode one.)

GUN is involved in the story, which helps it feel slightly more connected to Sonic, but it kind of feels like it's GUN in name only. They don't use any recognizable GUN tech, and they don't call in the military. It's just two agents in suits. They might as well be the Men in Black.

The Master Emerald is mentioned as something Knuckles has to guard, but it's never seen. Angel Island is pictured as a drawing during the show's intro, appearing exactly how it does in Sonic 3, but it's never referenced at all beyond that.

I guess the climax taking place in and around a Reno casino is a reference to Sonic's many casino-themed levels. That's something. I'll give them that.

Oh, and if you're wondering if this is the point where we finally start to get actual music from the games: no, it's not. The soundtrack consists of a lot of '80s needle drops, many of which are generic Hollywood picks like "Holding Out for a Hero" for the billionth time, thought it at least has some slightly less obvious picks than the Mario movie. The theme song is '80s rock song "The Warrior" by Scandal. You'll hear it many times. You'll hear the Adventure era Knuckles raps zero times in this. You'll briefly hear classic A Tribe Called Quest song "Can I Kick It?" before Knuckles takes the question too literally and breaks the radio in Wade's car.

Beyond a handful of surface level references for nerds (one of which is admittedly wild - we'll get to that), this is probably the least an officially licensed adaptation of Sonic the Hedgehog has ever tried to actually engage with its source material. I struggle to think of another Sonic adaptation that has less to do with Sonic. For as much shit as I and countless others have given Penders for seemingly ignoring the content of the games in favor of building his own convoluted mythos, his Knuckles comics honestly included way more elements from the games than this show does.

Somehow, the one new(-ish) Sonic character introduced in this is the ghost of Pachacamac of all characters. Not even Tikal! Pachacamac! A very minor character nobody has particularly strong feelings about! You can't even use the excuse that they already had the character model, because they completely redesigned him compared to his cameo in the first movie to better match his Sonic Adventure design. And he's voiced by Christopher Lloyd! Honestly, so many of his lines are strained that it sounds like he's on death's door here, but then he'll surprise you with a more casual line like "just do it, man" and it catches me so off guard that I can't help but laugh.

Pachacamac here has basically nothing to do with the game character he takes his name and appearance from. Where the game character was a cruel warlord who kicked off a 3000 year cycle of violence, Paramount Pachacamac is now just this chill old man who gives Knuckles (and later Wade) advice in two episodes of the show. Hell, he also feels completely disconnected from his established role in the movies, where he's literally the guy who shot Longclaw. The show will not grapple with this contradiction at all. He's just here to be a thing fans like me will recognize from the games. Again, if that's all they wanted, it's kind of baffling that they didn't just use Tikal.

I don't love Knuckles in this

But what about Knuckles himself? Well, he doesn't feel all that much like Knuckles to me. Ironically, he sometimes feels like one of the weaker elements in his own show.

Back when the second movie came out, I noted that Knuckles' characterization seemed to be pulling heavily from MCU Thor as a gallant warrior from an archaic alien culture who doesn't really understand modern day Earth stuff. That worked for me in that movie. It was just there for spice. Just a little extra flavor for the character in what was otherwise a very faithful adaptation of Knuckles' storyline in Sonic 3 & Knuckles. Without those familiar elements grounding him and with a much higher reliance on comedy, Idris Elba's Knuckles becomes a pretty one-note character in this.

In damn near every scene with Knuckles, he's going to say something about being a proud, honorable echidna warrior, or brag about his glorious feats of strength, or be confused about some Earth thing and call it sorcery, or act like every other character is also a member of some noble warrior clan. He still has his moments for sure, but this schtick kinda gets old fast, and it just doesn't feel like Knuckles to me. His entire character feels derived from the scene in the diner where Thor smashes the cup on the ground and goes "Another!" Sure, I can picture game Knuckles smashing a radio to turn it off and being a little too gung-ho about busting holes through walls. That's Knuckles behavior. But building a barbarian combat pit in the living room so the Wachowski family dog can fight the mailman? Nope. That's some other guy now. It really does just feel like them taking a broad character archetype from something popular that kinda sorta fits Knuckles and just running with that, rather than trying to actually adapt the character.

Oh, but don't worry, he wears the OVA hat for like two minutes! AND he loves grapes! See, Sonic nerds? We read the wiki! That's his favorite food! Grapes! This is gonna come up like five times!

Knuckles kind of gets an arc here, but not as much as Wade does. I think the stuff about him starting to feel at home on Earth thanks to Wade's mom and the way he connects with their Jewish family traditions is oddly sweet. This arc is kind of let down, though, by the fact that Knuckles' heritage is treated as a complete joke. He's a cartoonish pastiche of various historical warrior cultures stuck together in a blender and used mostly for comedic effect. When Pachacamac's ghost appears, he's reading a newspaper and bemoaning the fact that the Mets lost again. This is not the place for a serious examination of Knuckles' feelings on being the last of his kind.

This is far from the only time the show undercuts itself with its jokes and attempts at self-parody. In the first episode, for instance, Knuckles clashes with GUN Agent Mason and his tech-enhanced punches, leading to an extremely on-the-nose inversion of the "Do I look like I need your power?" scene showcased in the trailer for the second movie. Except this time, Agent Willoughby butts in and points out how stupid that line is in this new context, since they're literally trying to steal Knuckles' power. The fight can't just be cool, they have to get cute with it. A lot of stuff like that happens in this show.

Given all these complaints, the first two episodes left me thinking I'd be fairly negative on this show overall. This seemed like the version of the show from the fandom's collective nightmares, one that undoes all of the progress the movie series seemed to have been making towards faithfulness to the games. Like, just look at these cast posters. Is this what you want out of Sonic? Do these excite you?

But then, something strange happened. Over time, I just kind of let the jokes and shenanigans wash over me and basked in how fucking weird this show is.

And I started to actually enjoy it.

Look. The Wade & Knuckles Show was never going to be peak Sonic. But that sure as hell doesn't mean it can't be entertaining.

This show is so fucking goofy

Here's the thing.

The show is funny.

Unlike a lot of other people, I didn't hate all the wedding stuff in Hawaii in Sonic 2, because I thought a lot of it was funny, both in its actual jokes and in the ways in which they tied everything back to Sonic. Tom looking wistfully at some bodybuilders doing Top Gun shit and spraying each other with beer and being like "I wish Sonic had that" is weirdly funny. The twist that those muscle bros are all agents of the newly formed GUN, who orchestrated the wedding as an elaborate scheme to catch Sonic, is funny. Mr. Olive Garden becoming the fucking GUN Commander is VERY funny. Are any of these elements of my dream Sonic movie? No, of course not. But my dream Sonic movie was never gonna happen in live action.

The Knuckles show follows up on the comedy of the previous films by being probably the funniest live action Sonic release yet. Did every joke land for me? God no. There are some stinkers in there that made me roll my eyes. But enough of them landed that it worked out for me overall. A big part of this is the fact that they've got a good cast of actors and/or comedians here.

Adam Pally is funny as Wade, and I found myself liking him more and more as a character as the show went on. He becomes an oddly endearing loser, with some sweet moments in his personal arc that made me feel for the guy. I like Wade more than Tom now, thanks to this show. I will now be happier to see Wade in Sonic 3 than I would have been previously.

The supporting cast is frequently great, too, many of whom are playing completely cartoonish, over-the-top characters. They took a cue from how exaggerated Carrey's performance was as Robotnik and decided to just abandon all pretense that this is the real world. Stockard Channing as Wade's mom is funny, and carries some of the more sincere parts of the show. Cary Elwes as Wade's very British dad who abandoned him as a child to run off and be the world's most egotistical professional bowler is funny. Edi Patterson as Wade's sister Wanda is... well, she's kinda trying too hard, but she has her moments. The Mighty Boosh co-creator Julian Barratt(!!) as a scenery-chewing bounty hunter, who was also somehow Wade's former best friend and bowling partner, is VERY funny. I love this guy.

(Honestly, they should let more people who were on Garth Marenghi's Darkplace be in Sonic stuff. Where's Matt Berry)

This is kind of a stacked cast for a bunch of stupid side characters in a live action Knuckles show! And honestly, that just makes it funnier to me. Even when they're not funny, the fact that this exists makes it funny. They somehow convinced Paramount to give them a bunch of money to make a spiritual successor to Dodgeball about a schlubby guy who wants to beat his dad at a bowling tournament... except also Knuckles the fucking Echidna is there as his personal life coach. My life is richer for the fact that I can say that sentence. I think about all the little kids who are probably watching this show this weekend, going in expecting a show about Knuckles the Echidna and having to sit through extensive bowling scenes and lore about Wade's family, and sorry kids, but I just have to laugh. Wade isn't even on the poster! The poster is just a picture of Knuckles!! They punked those kids!!!

In a franchise where every single aspect is so carefully micromanaged these days, it feels truly special to get an adaptation this bonkers. It frequently appeals to the same part of me that enjoys the fact that there's an officially licensed Knuckles comic in which Charmy Bee's best friend (also a bee) dies of an accidental LSD overdose from a drug-laced chili dog. Or like, everything about the original 1993 Super Mario Bros. movie. Or the fact that they made seven direct-to-DVD sequels to Alpha and Omega, one of which is half a retread of the adventure from the first movie (with more annoying supporting characters in tow this time) and half a literal clip show of the first movie. The sheer absurdity of the fact that these things exist is charming to me. Except, with the Knuckles show, it has the added benefit of frequently being funny on purpose! This is why I'm not sure I'd call it "so bad it's good." Like, it's not amazing, but there were a lot of parts that I enjoyed in the exact way I was supposed to enjoy them.

Look. Here's a list of real lines of dialogue from the Sega-approved Knuckles the Echidna streaming show that they're billing as a pillar of the Paramount+ lineup, to drive this point home. Let these marinate for a minute:

"I only eat grapes, and Cool Ranch Doritos™."

"Annihilate this little girl, Wade. Crush her spirit. Humiliate her so badly her parents won't even look at her again." "Doesn't that seem like we're going a bit far?" "Not far enough."

"So is he Jewish?" "Half, I think."

"I had a friend who when he listened to Alien Ant Farm he could lift a Toyota Corolla over his head."

"I'm in dire financial straits. Due to my lawsuit against an unnamed rainforest-themed restaurant franchise, I don't have two pennies to my name."

"We're here in sunny Reno, Nevada, which is so close to Hell you can smell the sparks."

"You can't threaten me with your Jewish karate chops because I am a federal agent."

"I will say, regardless of how you feel about child abandonment - and I'm against it! - the deals at TJ Maxx can't be beat."

This is a Sonic show in which they got Paul Scheer and Rob Huebel to appear as ESPN 8: The Ocho commentators.

This is a show where Wade's mom insists upon pronouncing "Knuckles" with the throaty Hebrew "ch" sound, and declares that Knuckles is basically Jewish. Later, they watch Pretty Woman together while enjoying a nice slice of key lime pie. Knuckles comments: "I don't understand. This young streetwalker with a heart made of gold, why do the others treat her with such disdain? Is it so wrong to walk the streets?"

This is a show where the fourth episode is directed by one of the guys from The Lonely Island and features a hallucinatory low budget rock opera stage musical put on by the ghost of Pachacamac. It recounts Knuckles' life story, with Wade playing Knuckles and the "evil" Longclaw played by the bounty hunter guy who's played by the Mighty Boosh guy.

Look at this.

And also, Knuckles' singing voice is provided by Michael Bolton, which they proudly announce in the middle of the musical.

And also...

Also...???

IBLIS IS IN IT????????????

Yes, Iblis!

From Sonic '06!!

Knuckles is said to have looked for a mythical power called the "Flames of Disaster" to avenge his clan, which ended up being the power that was within him all along that lets him do fire punches yadda yadda yadda. As part of this, he apparently fought Iblis off-screen at some point, as conveyed with the giant singing papier-mâché Iblis in the musical.

...Then Iblis sings about hitting up Facebook Marketplace

How? How does any of this exist? Why reference '06 of all games? How did Iblis get into the live action Sonic movie universe before Amy and Metal Sonic? Why are they using Iblis and the term "Flames of Disaster" in such a goofy way that completely disregards their original context?

I don't know. I don't know how any of this happened. But I love it. We got a Knuckles miniseries in which Michael Bolton sings the phrase "the Flames of Disaster." The world is a beautiful place sometimes.

Some people will tell you to skip episode four. "Knuckles is barely even in it," they say. "It's dumb and pointless," they say. "They clearly just ran out of special effects budget," they say. These are people whose opinions you should disregard. The episode with the least Knuckles in it is somehow the most entertaining episode of the show. I would, in fact, go as far as to say that if you only decide to watch one episode of the Knuckles show to see what goofy bullshit they get up to, it should be this one.

I cannot be mad at this show. It's so dumb, but it completely owns the fact that it's a dumb and unnecessary spinoff. Inferiority is baked into its very DNA. It's very self-consciously redoing the premise of the first movie, but stupider. It's about The Other Cop from the movies, instead of the competent one. Instead of being into a "cooler" sport, his life revolves around professional bowling. Instead of going to Vegas, he goes to Reno. Even his tragic backstory that shaped his entire life sucks. He was abandoned by his pro bowler dad in a TJ Maxx. Not even a nicer department store. A fucking TJ Maxx. This whole show is a Dril tweet.

They put a ton of effort into making it dumb in an occasionally spectacular way. So much effort was put into that joke rock opera that fans will just write off as stupid filler. They put their whole pussies into it. This is not a poorly made show. This has better production values than half the shit made for Disney+. This was made with love. Maybe not as much love for the Sonic the Hedgehog series of video games as we'd like, but it's love nonetheless.

Maybe this show broke me and these are the ramblings of a madwoman. Maybe I'm just really nostalgic for the '90s and '00s comedy movies all the Wade stuff is modeled after. Maybe the Alan Wake fan in me just really loves it when a story pivots to a silly rock opera for no real reason. I won't discount any of these possibilities. This isn't high art. This isn't something I would recommend to anyone with zero interest in Sonic, and it also isn't going to sway Sonic fans who hate the Paramount universe. I really can't blame them for being bewildered by this show. But for a specific type of person, this is the absurd three-star Sonic-adjacent comedy miniseries of your dreams. It's a mid masterpiece.

Again, I just have to step back, realize the fact that this shouldn't exist, and smile. Sega's too afraid to do stupid bullshit with the franchise like this these days. And I can't blame them, after years of Sonic being a treated as a laughingstock. But part of me misses some of the goofy shit. No matter how much I tore some of the Archie comics apart as I was reading them for this blog, I just look back on stuff like Cal and Al or the Many Hands issues and laugh. And that same part of me looks at this show about Knuckles being the sidekick to this fucking guy, and just goes...

"We're so back."

In conclusion, I genuinely think this was a more enjoyable TV show than Sonic Prime.

I wouldn't go back and rewatch Sonic Prime anytime soon, aside from maybe, like, a couple of the Shadow-heavy episodes. Huge stretches of that show bored me to tears. The writers squandered all of that show's potential. But I would rewatch the Knuckles show, which takes a terrible premise and has a lot of fun with it, in a heartbeat. Even the bowling parts. The bowling scenes in the Knuckles show are more engaging than 70% of the fights in Sonic Prime. I am not trolling. I mean that sincerely, with all my heart. Don't @ me.

Stray observations

There is effectively zero meaningful setup for the third movie in this, unless Wade's family or the two GUN agents come back or something. Project Shadow is not mentioned in this. There is no secret post-credits scene with Gerald

The CGI in this is pretty good. Not quite on par with the movies, but pretty good. Sonic's weird forehead wrinkles are distracting in his scenes though. Please fix that

I wouldn't say I liked this as much as the second movie, which obviously gets a ton of points for, you know. The Cool Sonic Shit. But I had more fun with it than the first movie, which I still feel is a painfully generic family movie that was only saved by Tyson's redesign

"Grapes are an interesting choice for someone who doesn't use his individual fingers."

Agent Willoughby was apparently the one at GUN who had to buy the Olive Garden gift cards and set up the fake wedding. Her origin story is that she hated doing shit like that and wanted to go fight aliens

This miniseries contains another Keanu namedrop because Wade's childhood bedroom has a Speed poster on the wall. I swear, if Sonic doesn't say Shadow sounds just like Keanu...

Knuckles is familiar with Paul Blart Mall Cop

Near the end the ESPN 8: The Ocho commentators say that the 1974 Reno bowling championship was also interrupted by an extraterrestrial, and given that was exactly 50 years ago I can't write off the possibility that that was Shadow. Please for the love of god give us a sequel series after the third movie where Wade takes Shadow the Hedgehog bowling. I need this more than I need air

#tkp post #other media

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1unpaid-intern · 2 days

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A little late to the party but I finally watched episode 17 of dungeon meshi!

I'm an anime-only so I thought all the "Laios has autism" talk was just a popular headcanon, but no! They basically spelled it out this episode!

I see a lot of people absolutly demonizing Shuro because of how he reacted to Laios explaining himself, and while it is his fault for not giving it straight to Laios earlier (because come on, you said yourself that he's sincere and not picking up on subtle hints) , he's not evil either (if anything he sees himself as a hero and Laios' sincere & annoying obliviousness is throwing him off).

Shuro was raised in a different culture + he also just had a really terrible time lately and he just reached his breaking point. I mean:

He thought his crush died and it was a race against time to save her

Because of that he didn't take care of himself

It turns out Laios & crew already revived her with BLACK MAGIC but they lost her AGAIN because they angered THE LORD OF THE DUNGEON

All things considered Laios seems super chill and oblivious about the situation (as always) not like his sister's life is in danger

Aaaaaand then he finds out, because of the black magic, she fused with the dragon and might never be her real self again, ergo he'd have to kill her

Like, Laios is right, this man needs a break.

What I do find hilarious though is how Falin has all these qualities he doesn't like, but it's Falin so with her it's not enraging but ✨️enchanting✨️

She already knew about Marcille's black magic and was cool with it (in the flashback she was really interested in Marcille's ideas so she probably even encouraged it)

To the people of her class she was an outsider with weired interests just like Laios. The only difference is that he's very talkative and likes to overshare, while Falin seems more like a soft spoken, quiet type of day dreamer

She also doesn't seem to get social cues that well (she also fell for the scam + didn't seem to realize Shuro wanted more alone time with her when Laios joined them)

Apparently you can overlook quite a few things in a person when you're down bad for them.

#delicious in dungeon #dungeon meshi #laios touden #shuro #falin touden #marcille donato

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princesspete · 23 hours

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nothing has made me feel the passage of time like coming to fob fandom at 30 and realizing that a lot of people are now too young to remember just how much the alt/emo/etc whatever look was gender nonconforming in the early/mid 00s lol. I only heard skinny jeans referred to as girl jeans for yeears and that was about boys in my high school who were wearing them never mind what people I knew personally and what the culture at large was saying about boys in bands who wore 'girl jeans' and straightened their hair and wore eyeliner. Which turned into 'guyliner' specifically to try and avoid the gender bending slant of it all! Idk if I'm expressing myself well but tl;dr your tags about needing to view pw 00s fashion and gender thru an 00s lens is IT

literally nodding along to everything that you're mentioning here — i think it's so strange when people try to diminish or express that this kind of look was "normalized" amongst people in the 2000s like...no?? lol. a specific subsect of people were into this kind of look and there is something to be said about how pete DID help to popularize and was one of the celebrities who made the kind of quintessential emo/alt/punk look more mainstream but it def is like............ um. idk man, most guys would have got a LOT of flack for dressing like that at least in the area where i grew up and im from a fairly liberal area of chicago! like you said, i remember seeing a vid recently detailing how the emo/alt/etc look was one of, if not THE, designated look for gender nonconforming people and it's just a bit dissonant to see something like this not considered when people want to talk about the intersection of gender and fashion, particularly with pete.

#also like. lol. um. sure 'emo' was well known but like...you would get teased a lot if u were into that look or was someone who had a crush #on someone who embodied the emo/etc style like. oh. memories from the 2000s are rushing back to me :sob:#and oh man. scream. 'girl jeans'....... literally. it was considered derogatory even if u were a cishet guy for wearing 'girl jeans'#nevermind the fact that they WERE in fashion at the time #anyways anon ur so right sometimes some of the stuff i see floating around here im like. um...that's not really how the 2000s were. but ok.

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drdemonprince · 8 hours

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I've noticed a pattern in anticapitalist books I read (specifically I'm talking abt Mark Fisher here, in Capitalist Realism). They do this great anticapitalist analysis etc and then go on to critique their students? and sometimes it's a bit ableist? it's like all the critical thought goes out of the window and they cannot understand the situation because for once suddenly they are in the authoritative position. It always gives me this "I don't understand these kids, back in my day-" vibe, and I see this with lecturers at university too. like Mark Fisher maybe we can think outside the box about your student who "needs" headphones to focus in class "even though no music is playing". and maybe it's not to do with the "Matrix"(????) I'm well aware this was written in 2008 but it's weird that I see this pattern continue today. Not to mention Mark Fisher took part in some ableist studies, and was a guy with questionable intentions on occasion.

it's like you Just said that reducing labour is good why are you calling your students lazy, that's so unprofessional and privileged. I wonder of coincidence that he is anti-meds when his right wing, pro-eugenics, accelerationist friend was addicted to amphetamines.

Or even just the amount of people who have written books about laziness and anticapitalism (excluding you) and just saying the most contradictory shit ever?? or not following their own ideology???

Anyway, I wonder if, when writing Laziness Does Not Exist, you came across any of this and were equally as baffled.

Materialism is just *so* true that high-status academics don't have a vested class interest in seeing their student struggles as legitimate or in recognizing the struggles of disabled people in general. For many edgy academic leftists having the correct opinions is just a way to flex one's intellectual status, not a lived experience they give a shit about. I'm not shitting Fisher in particular in saying this, it's more that it's a really widespread problem in the culture of these kinds of (very white, very academic, very cishet) leftists communities. You see the same kind of thing among some of the Chapo stan types, too, you don't have to be specifically an academic to do it -- lots of people throwing around the r-slur and flexing on how much they have read and doing fuck all for the oppressed people around them. I tend to find it especially common among people who inherited leftism from their (often academic) parents? Whereas leftist communities populated by Black & brown anarchists and working class people tend to fare a lot better in this particular respect.

Note that I'm not saying a person's identities are a guarantee of them being any more radical -- there's lots of liberals lurking in our midsts of all identities for instance -- more that someone's orientation toward power tells you a lot. and unfortunately there is an approach to leftism that puts a lot of stock in either institutional power via the academy, or in a kind of soft power of intellectual authoritativeness that tends to punish anyone who is supposedly less well read, less intelligent, lazy, needs disability accommodations, has trauma triggers, or what have you.

The simple answer is that power and privilege obscures other people's challenges from you, and the desire to preserve one's power (be it actually institutional academic authority or just the status of the person who supposedly knows the most in the room) leads to a lot of oppressive behavior. a lot of these guys that you're talking about believe in communism sincerely but they don't have humility, they believe themselves to be superior to most everyone else. and they tend to be white guys from wealthy families who either do not have any disabilities of their own, or they have the undiagnosed intj mastermind rational flavor of autism that makes you feel incredibly alienated from others but interpret that alienation as a sign of your intellectual superiority. (i had this type but i got better. a little)

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skaldish · 2 days

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Oh my god I just had a horrible realization. It's a really personal one so please bear with me but I need to share it because…Idk, maybe it's not just me.

But I realized. I didn't actually grow up being a part of any culture. I grew up with seeing culture around me, and sometimes participating in culture temporarily, but I was not raised with a cultural identity of any sort whatsoever.

I identify as an American only because I live in the US, not because I'm acculturated American. I only have the cultural senses I have because it just so happened to be what I was surrounded by.

None of the stories told to me, none of the food I ate, and nothing I wore, were used to convey "This is who we are as people" by my family or community. Stories were just for entertainment, food was just for eating, and clothes were just whatever I liked wearing from the department store. These things weren't, in any way, identity, outside of things I could use to express my own personal identity if I wanted to.

Fuck, I wasn't even given the cultural knowledge associated with the class I was raised in. No leadership skills, no business sense, nothing.

"But what about religion?" No religion either. My family has culturally Catholic leanings, but it's residual and unrecognized.

"What about being white?" The fact that I can't describe what "being white" even means—beyond how I've heard it described—goes to show you my expertise in the matter.

"What about subcultures?" I only know how to participate in subcultures as either a spectator or as a guest. No culture has ever identified me as belonging to it, despite welcoming my participation, and I can't consider myself part of cultures if they don't claim me.

In terms of my cultural identity, I'm completely blank. It's like I have no name.

I write all this because I was thinking about why some Scandinavians would be upset at me using "Heathen" (as well as bigger questions of cultural appropriation in general) and came to this realization.

For the record…I don't consider myself Heathen because I identify as part of Scandinavian culture. That would be absurd. I use "Heathen" because I accidentally befriended a Heathen god. Loki hid his identity from me for years, and I was very upset when when he finally told me who he was—I felt like he betrayed me, and also like I was going insane, because my worldview prior to that did not support the existence of gods.

I dug deep into learning about Norse paganism because I knew understanding Loki within his cultural context was vital to understanding who he is. The reason I started digging around in Scandinavian culture directly, though, was because—surprise!—nothing we have published in the US actually has this context.

…I'm embarrassed to admit I wasn't aware "cultural appropriation" describes a situation where one person walks into another person's culture and says, "Yes, this is my home now," like a cuckoo taking over another bird's nest. I always thought it was a function of mishandling a culture—using it in ways that was careless and ill-informed—but no, it's taking away other peoples' identities in the name of playing dress-up for yourself.

"You're robbing me of myself for your own stupid aesthetic desires!" That's how I imagine it must feel.

It disgusts me to think that's how my actions may have looked.

#zan speaks #personal #I need to figure out how to resolve this but idk #no culture has gone 'ah yes that's clearly one of ours' before #not even the ones I'm demographically a part of #I'm upset yes but also extremely bewildered by how this happened

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nohoperadio · 2 days

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Here's a little breakdown of my personal relationship/non-relationship with various types of aesthetic self-modification (?, I feel like there might be a word or at least a more elegant phrase to denote this category). The point is not to offer my "take" on each thing but to express the different feelings/desires/inhibitions my psyche manifests around them. Some of these will approach awkwardly personal territory, fair warning! You may notice that basically none of them are especially positive; I'm going to leave off from analyzing that pattern for this post.

Tattoos -- I think tattoos as a concept are extremely cool, frequently they're cool in practice also and I like seeing other people's, but I don't think I've ever had even the smallest urge to get one for myself. I'm not totally sure why. The lack of an obvious thing to get is one factor, I feel like "band tattoo" would be the most likely thing for me to have but I don't like the idea of directly lifting a band logo or album art and I really don't like the idea of a lyric tattoo (I offer no justification for these prejudices), so I'd have to get clever with it if I'm doing that and I'm not very clever. More broadly, I predict that my enthusiasm for any artwork I put on my body would fade through overexposure in a matter of weeks if not days--other people describe "barely knowing it's there" after a short time--which on top of making the value of the project seem dubious, I feel like having a permanent image on my skin that I don't actively love would be something I'd feel bad about rather than neutral. Like "man, that thing's on my arm and I don't care about it at all, that sucks" rather than just not noticing it. Maybe I'm wrong about that.

(Tattoos are the one that got me thinking about this whole subject I think, it feels like they're reaching a ubiquity in the culture where it's almost like you're expected to have a reason not to have one rather than a reason to? Maybe that's just a people-I-know thing, anyway it got me thinking about why I don't want one.)

Piercings -- An interesting thing about me and piercings is that it's virtually impossible for me to notice when somebody has them unless I'm like, actively consciously scrutinizing their face (or whatever it is). When I was about ten months into my current job I asked my co-worker who I worked closely with almost every day "hey when did you get that septum ring" and she was like "well way before I met you". That is simply how it is with me and piercings and I make no apology.

If my inability to perceive piercings (perceirvings...) makes me indifferent to the idea of getting one, what makes me actively hostile is the total certainty that I would fiddle with it constantly if I did. I know these hands and their ways and there would simply be no dissuading them, it would be so bad you guys, oh my god. This is probably the hardest no on the list I think, although I haven't finished the post yet so idk maybe I'll think of a worse one.

Makeup -- There's undeniably a lot that's very beautiful in the universe of makeup and there's also the weird dark side, I have dabbled a little in this area and in my heart I feel more positively than not about it, but it's just never going to be a sustainable part of my life because (not unrelated to previous para) I am a perennial and unrepentant face-toucher. I will be itching and rubbing my face-skin and also inflicting other hard-to-characterize punishments upon it (is this "stimming"?) until the day I die and anything that wants to be on my face has just gotta deal. It would probably be better if this was not the case but I don't make the rules, sorry.

Haircuts -- When I was a child I haaaaaated getting my hair cut, like the physical sensation of it? Was so horrible and would usually make me cry and always ruin my day (is this "sensory overload"?), I didn't understand why I was being made to go through this ordeal and basically as soon as I reached an age when I realized my mom couldn't literally force me to do it if I just stubbornly refused hard enough--that age was 13 I think--I stopped. I haven't had a professional haircut since that time although I'm sure I could cope with the sensory aspect at this point, it's just not a habit I ever picked up again (I've had a couple of non-professional ones from my ex who just kind of wanted to try it, in a not particularly ambitious or dramatic fashion). Sometimes I feel like I should, but idk. My hair as it stands is not optimized for making me look hot but I don't think it looks especially horrible either, it's just kind of whatever I think.

Complicating factor here: I've had trichotillomania since I was 15/16, and it's hard to imagine it going away at this point but it's a lot more under control than it used to be, to the point where you can't really tell just from my appearance that something's up now. I say "under control", I have very little conscious control over it and usually no conscious awareness that I'm doing it, but over the years the compulsion seems to have unconsciously settled into a routine where it's just kind of... sculpting my hair into a more-or-less normal silhouette? Like I sort of have a fringe and stuff despite no haircuts. Oh I guess this doesn't make sense unless I clarify that I mostly break rather than pluck the hair nowadays, that's a big part of the gradual unconscious shift that's occurred.

A fun thing about trichotillomania is that it often makes people really uncomfortable when you talk about having it, which sucks for me because it makes me feel lonely, but I guess it sucks for the person feeling uncomfortable too in a smaller way. If you're one of the people who feel uncomfortable around this topic, sorry! Quite genuinely.

Gender transition in general -- I feel like I'm just, just on the boring side of cis-by-default. I think about transitioning shockingly often for someone who's never gonna do it, like it's not searing a hole in my heart or anything like it is for a lot of people but it occupies that "it would be cool to learn an instrument" kind of niche in my thoughts, if that makes sense? (Probably a bit stronger than that analogy makes it sound, it's on my mind frequently but not with a massive sense of urgency attached I guess is what I'm getting at.) I can see myself taking the plunge if the medical technology was like 10% better, or the social technology was like 20% better, or with some medium-sized changes in how my personality was configured, but this life being this life there's no way in heck the juice would be worth the squeeze. If I had one fifth of the executive function required to do all of that lying to doctors and learning how to clothes shop and having awkward conversations with people in my life and all the rest of it, well I can list like ten things I'd rather spend it on first. And I don't!

Glasses -- Love wearing glasses, 10/10 no notes. I knew since I was like 11 that my face should have a pair of glasses on it and I was very smug when the optician agreed (I did not cheat on the eye test in any way for what it's worth). The only times I'm not wearing glasses are sleeping and showering. I don't even carry a case because there's no point because I simply don't ever take them off. This is probably overkill, I think as a kid I was instructed to only put them on when I need to see something in the distance, ignoring that and just wearing them permanently has probably led to my vision weakening to the point where they're now pretty much mandatory in every situation, but I don't give a shit about that because just let me wear my goddamned glasses okay, fuck off. It's actually crazy how much I like wearing glasses, this is the only true thumbs up on the list.

I remembering trying to explain how I like my glasses to a then-close friend of mine many years ago when the subject of laser eye surgery came up in conversation, he said I should get the surgery and then just wear glasses with non-prescription lenses. When I tried to explain why that wouldn't be the same at all he was adamant that I was just being stubborn. That guy was a wonderful person in many ways and I loved him very deeply, but man what a dumbass thing to say.

Facial hair -- There are so many great beards and moustaches in this world, there are few more cheering sights than someone bearing some swish whiskers who's pleased about it, but personally I don't wish to be involved in that business at all.

I never learned how to ride a bike -- Obviously this one doesn't belong on the list, it doesn't fit with any of the other categories, and yet I feel compelled to include it here. And why should I resist that which compels me? This is my post. Yeah, I'm the oldest of four siblings, we were all given bikes at the appropriate kid-on-bike age, the others picked it up but not me. I liked it when I had stabilizers on my bike, then they took them off and I started falling off the bike, and after a very short amount of time I gave up. Like I didn't get mad injuries or anything, it just felt like I wasn't improving at it quickly enough and I didn't feel like keeping it up so I didn't. Early indication of my bad personality.

Fashion in general -- Clothes shopping has always been extremely aversive to me for whatever reason, it's gotten a little better in recent years, I have been able to exist inside clothes shops for long enough to purchase a small thing or two, but eh. Most of my tops are band t-shirts I bought at gigs, most of my bottoms are exactly identical pairs of jeans, there's just not much going on you know? But unlike with most of the items on this list I would really like to be doing this properly. I would like to wear cuter things with prettier colours and designs. This one's an actual goal. But so far I haven't really made progress. The aforementioned shopping sucks thing, plus a fear of being so aesthetically clueless that I just make myself look like a big idiot if I try anything risky, plus the fact that doing things that are not my established routine is tricky in general--these are barriers for me. I guess another barrier is that the things that would be most interesting to try out and therefore most potentially motivating fall into the wrong-gender-clothes category and therefore bring into play some of the barriers from that other category a few ones up. I did actually somehow get myself to dabble in that area some years ago to a modest but positive degree of satisfaction. It'll probably happen again. The patterns and causes that determine whether I can or cannot find motivation to engage in a thing--they are mysterious indeed.

Like horn implants or whatever other crazy miscellany -- I don't want anything in this category and don't have any non-trivial thoughts about it either. Including this section for completeness only.

---

Well, there you have it, that's the post. Now you know a bit more about some of my little weirdsies. If you actually made it through the whole thing, a) how interesting and b) why not tell me a little weirdsy of yours in return, whether it pertains to the above list or not? Why not get all antiphonal on my post, that way I'd get to know a thing about you as well, it might be a whole fun kind of deal. You don't have to though, I didn't make this post to try to snare people into letting themselves be known, I just kind of made it to be a post mostly. I make all sorts of kinds of posts you know? And so I thought I'd try one that's like this.

#selfposting #uninteresting #more uninteresting than average #and a bit too long #and yet putting it in a readmore didn't feel right for some reason; sorry all!#have you ever tried listicle oversharing? it's weirdly freeing

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licorice-lips · 2 days

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Hi, everyone! So, I know there's a lot of controversy about Rhys's behavior Under the Mountain (at least in Brazil fandom it's a hot topic), a discussion that is valid and definitely needs to be had, so I did a lot of research on the subject and compiled the three texts that influenced me the most into a compilation that I'll share here — along with my thoughts and additions.

These texts that serve as my supports were made here on Tumblr and can be found under the following titles, although the third one is the most comprehensive of them all:

*Rhysand's Defense Post (The author had only read A Court of Thorns and Roses when she wrote this).

*The Difference Between Tamlin and Rhysand: The Man on the Throne and the Man in the Arena — Acotar and Acomaf's Excerpt Analysis (The author was following the small teaser quotes for A Court of Mist and Fury and analyzed them).

*Understanding Tamlin and Rhysand — A Post-Acomaf Reconciliation of Rhys's Actions Under The Mountain in a Culture of Defeat.

In addition to discussing Rhys's behavior, however, I'm also going to discuss Tamlin's behavior and compare the two. It's going to be quite fun… Just a heads up that I don't want any hate messages. Do you want to share your thoughts agreeing or disagreeing? That's fine, but with respect. Any offensive comments will be deleted.

Now here's my defense post for Rhys:

Leadership is a heavy burden. When you're a leader, especially when it's not your choice but comes to you because of the family you were born into, for example, responsibility can be a burden. But when you're a leader, there's something very important to consider when making a decision: those who follow you.

All of Rhys's actions as High Lord of the Night Court must be thought of to put the well-being of those he is responsible for first. And when he, Tamlin, and the other High Lords are Under the Mountain, he decides that he will be Amarantha's whore to ensure that his Court is in the best possible condition within the situation — he lets himself be raped to ensure that his people and his family remain safe when he could have done nothing.

But from the moment Feyre strikes the deal with Amarantha, he is the only one who is truly in a position to make a difference: the other High Lords do not have enough of Amarantha's trust for her not to suspect anything if one of them tried to bargain with Feyre as Rhys did, for example. If any other High Lord — Kallias, Thesan, Helion, etc. — tried the same thing as Rhys, Amarantha would have been suspicious.

So in this case, he is the only one who can truly act.

But he doesn't have to. The point is that his Court is reasonably safe because of his role in the court Amarantha built, so Rhys doesn't really need to help Feyre win. But he does it, not because he wants his power back, but because he's the kind of leader who will do everything achievable to change — for what he believes is the best — the lives of his people.

And I'll talk about how admirable that is later on when we're talking about the culture of war and defeat, and about Tamlin's behavior. So, he decides to act, and he tells Feyre in A Court of Mist and Fury:

"I decided at that moment that I would fight. And fight dirty, and kill and torture and manipulate, but fight. If there was any chance of freeing us from Amarantha, it was you." (A Court of Mist and Fury, page 550, Brazilian edition)

He knows, then, that the fight he would have to wage was not the beautiful, heroic, noble thing we're so used to seeing: Rhys knew that his actions to ensure victory — for Feyre and Prythian as a whole — would be horrible and would probably haunt him for the rest of his life. He knows that. And he doesn't excuse himself for a moment. He doesn't invent, he doesn't embellish, he doesn't paint himself as a hero. He knows he's not and he really isn't a hero.

A hero is someone who sacrifices themselves in a grand gesture to save the entire population, a true hero doesn't really sacrifice one person to save others. And while Rhys does have his own share of sacrifices, that doesn't excuse him from the horrible actions he took Under the Mountain:

So, the first part of his questionable behavior in Under the Mountain comes to light: the moment he twists Feyre's injured arm to convince her, to scare her enough to accept his bargain. This is a minor moment and my description alone makes it understandable: he does what he does to keep her alive and charges an insignificant price (which he planned to release her from later, as he himself says) to keep up appearances.

And Rhys needs to keep up appearances because his whole game to defeat Amarantha depends on how he appears to her and to other people: no one can notice while he moves the pieces on the board to bring the advantage to them. No one, not even Feyre, who is the "lamb to the slaughter," so to speak. And she can't know for several reasons:

Feyre is not in a mental condition to act and pretend to hate him as much as he needs her to pretend. So if she knew what he was doing, she would probably let something slip, or wouldn't be convincing enough, because honestly? Who could?

Rhys spent the last 50 years fighting alone and being surrounded by people who constantly despised him for being Amarantha's whore or for those who tried to ingratiate themselves with her through him, so he doesn't trust others easily, even though he was falling in love with Feyre, as he says in ACOMAF.

He couldn't trust that Feyre wouldn't trust others — Lucien and, therefore, Tamlin — with this knowledge. With their mutual hatred, they would surely end up messing things up.

Feyre was there to protect the High Lord who killed his mother and sister — and Rhys didn't know that Feyre didn't know the history behind his and Tamlin's relationship — so, in theory, it made sense that he wouldn't want to show his "true face" to her.

That's exactly what the book is about: like a retelling of Beauty and the Beast, the book is about how appearances deceive. If Feyre found out that Rhys is a decent person right away, it would be the same as throwing the whole intention of the story out the window.

So we have the second — and most controversial of all — point: the dance and the wine. I'm not going to mince words about this: It was sexual harassment. Period. But with this, Rhys manages to:

Get Feyre out of her cell, which is driving her crazy, as she says in this part: "I was alone, locked in silence — although the screams in the dungeon continued day and night. When they became unbearable and I couldn't ignore them, I looked at the eye in my palm." (A Court of Thorns and Roses, page 356, Brazilian Edition). And let's face it, anyone would go crazy in an environment like that.

Keep an eye on Feyre so that no one else could harm her — something he disguises with a comment about not liking others to touch what's his — and that's a curious thing because Feyre never expresses concerns about being abused by others after Rhys starts taking her to these parties (it's also interesting to note that despite the various traumas of what happened Under the Mountain, Feyre never showed any signs of trauma from sexual abuse, as far as I know — and again, not that this excuses Rhys, it's just a factor to point out that maybe she understood his game better than we did).

To leave Tamlin full of anger — which he claims is the main reason for all that theater during A Court of Thorns and Roses — so that he wouldn't hesitate if he had the slightest chance to kill Amarantha in the end or between challenges, no matter as long as he didn't hesitate. Because from Rhys's perspective, Tamlin is the noble golden prince who might spare Amarantha's life to demand some kind of trial or something. Which I consider he might have been dumb enough to do too.

Divert Amarantha's attention, as, thinking that Feyre was already humiliated and abused enough during those nights, she wouldn't give Feyre those ridiculous tasks anymore (like cleaning that filthy hall or collecting lentils from Rhys's fireplace). And if you reread ACOTAR, she really never gives those small tasks to Feyre again after that.

Send a message to those who could read, as Rhys himself says: he crowns Feyre every night, and for the cruel ones, this would be a subtle kind of mockery, but for those who could see beyond the evil, Rhys was declaring Feyre the champion of them all. He declared that he believed in her and in her potential to free them all.

Convince Amarantha that he's still playing on her side — a belief that was shaken by Rhys betting on Feyre in the first task and closing that bargain to heal her arm. This might be the most fundamental of all points: the one that allows the game to continue toward victory. He needs to prove to Amarantha that he's doing it for fun, out of cruelty, considering Feyre as the whore of the whore, someone lower than the lowest of courtesans. Thus, Rhys clears the way to act when the time is right.

By taking Feyre with him to those parties, he moved not one, but six pieces of the game to be in his favor. He killed six birds with one stone. Strategically, it's an incredible tactic, by the way. But morally, this act leaves something to be desired.

So why the wine and the dance? Because Rhysand plays with appearances. Everything in his game depends on it.

Feyre wouldn't play the whore of the whore while conscious, no one with a shred of self-respect would accept that without knowing the reason behind it, and Rhysand, for the reasons I mentioned, wouldn't tell her anything. So he makes her drink the wine to keep the whole purpose of that show and keeps her close to prevent her from being touched by anyone other than him.

But besides that, the wine is a form of escape, a way to forget about the horrors, as Feyre herself says at the end of the chapter where all this happens:

"[…] and I began to long for the moment when Rhysand would hand me the goblet of faerie wine and I could let loose for a few hours." (A Court of Thorns and Roses, page 381).

In fact, Rhys sees it this way: when he is forced to kill the High Lord of the Summer Court (not Tarquin, but his cousin from whom he "inherited" the title, Nostrus), he himself drinks the wine with Feyre — it's an escape from the character he so carefully plays because not even Rhys can bear everything without letting the facade fall, even if only a little.

Note: not that I'm saying this would be a healthy way to deal with all that trauma and accumulated stress, but considering the place they were in and the situation, perhaps it was the most… effective way.

I have to say, however, that all of this doesn't justify what he did: it was still sexual abuse and it's still very bad and very serious. However, I need to point out to you: what we do to survive often does not reflect what we would be in a normal situation (normal being their everyday life without Amarantha, in this case).

When we are confronted with a situation like this, where to survive we end up needing to do something horrible, many say they would never do and would take the noble path of dying before giving up their values and principles, which is great, it proves that you have a very good character. The problem is that Rhys doesn't have the choice to think only of himself and how much this abuse will cost his dignity and principles because every decision he makes affects his people.

So here's my question for you: could you love someone who chose to preserve you instead of saving thousands of innocent — children, women, and men — who are under their responsibility?

Because I couldn't love someone who did that. And that's how I make peace with what Rhys did to Feyre Under the Mountain: I couldn't love someone who condemned the world to save me from abuse that I know I can endure — even if it causes me terrible harm.

Of course, it's entirely valid if you decide not to forgive him for what he did, because, after all, it's a morally gray action when you consider the whole situation they were in and what Rhys did. So, no one is really wrong for not forgiving Rhys for what he did, but those who forgive him aren't wrong either. It's very important that we understand that.

Now, an argument that is often used and that annoys me every time I hear it is that Sarah "changed Rhys and Tamlin's personalities because of shipping", so she ignored everything Rhys did Under the Mountain to make him the hero just because fans liked him. There are so many things wrong with that that I don't even know where to begin, but let's analyze all of Tamlin's, Feyre's, and Rhys's behavior throughout the ACOTAR and ACOMAF stories and show why I know Sarah did absolutely everything with careful consideration:

There is a trait that is very striking in Tamlin from the beginning of the ACOMAF story and is especially explicit when Alis tells the whole story about Amarantha, Tamlin, and the curse, which is the fact that Tamlin can't deal with the consequences of his actions:

The first time he does this is at the beginning of the curse when he gives up sending his soldiers to die for him, thus Tamlin simply gives up not only freeing himself but all of Prythian, all the people who live there, and still condemns the human lands in the process. He only started sending the soldiers out of desperation after 46 years, look at Alis's speech:

"For two years, he sent them, day after day, needing to choose who crossed the wall. When there were only a dozen left, Tamlin was so devastated that he stopped. He canceled everything." (A Court of Thorns and Roses, page 294, Brazilian Edition).

The second time I can point out is Feyre herself (this because I'm ignoring the events during her stay in the Spring Court, as I don't remember what happened): he takes Feyre to Prythian with the intention of making her fall in love with him, but at the first glimpse of direct danger from Amarantha — in this case, the scene where Rhys makes him kneel — he sends her away.

He gives up saving Prythian because he can't stick to the decision to put Feyre in danger so that she could break the curse, so much so that he condemns himself for it, because Feyre only doesn't say that she loves him — and breaks the curse — precisely because she's leaving:

"— I love you. — He said, and stepped back. I should say — should say those words, but they got stuck in my throat because… Because of what he needed to face, because maybe he wouldn't find me again, despite the promise…" (A Court of Thorns and Roses, page 261, Brazilian Edition)

These are the main events, and perhaps I could list more for you if I reread A Court of Thorns and Roses. But what does this show us? That every time Tamlin makes a decision, he freezes and backs down at the first sign of an obstacle. He retreats and avoids anything that shakes him.

So it makes sense that Tamlin's reaction Under the Mountain is paralysis — a common behavior among leaders in times of war and defeat, by the way, which aligns not only with Tamlin's personality but also with the reaction of a true leader in such a situation.

Alright, let's stop there and go back in time to analyze Feyre's behavior:

Right from the start, we learn that, even being the youngest of three sisters, Feyre was the one who, when they were starving, took action and sought a solution, which shows us right away the kind of person Feyre is: she's the kind of person who acts when forced to face danger, whether it's something intangible, like death by starvation, or tangible, like Amarantha.

This is proven repeatedly throughout the books: when she seeks answers with the Suriel, when she tries to fight off the bastards who tried to rape her at Calanmai (because paralysis can also be a reaction to abuse of that kind), when she goes to Under the Mountain to fight for Tamlin without even hesitating, when she heals from the traumas of Under the Mountain as soon as she has something to focus on, something to dedicate herself to.

And this is one of the fundamental differences between Tamlin and Feyre: while he paralyzes, she acts, and whether we like it or not, differences create friction. Especially with what happened Under the Mountain because she and Tamlin were separated, and neither of them experienced trauma together. Paralysis generates a different trauma from the trauma of someone who is acting, so the end of their relationship begins when she goes to save him Under the Mountain — and Tamlin freezes.

Then we have Rhysand, who is exactly like Feyre: he acts when confronted with danger or defeat and has thousands of actions of his that exemplify this:

As soon as he becomes High Lord, he bans the wing clipping of Illyrian females regardless of the reaction of the Illyrian lords or what they thought about it. It's not that he doesn't care: Rhys, unlike Tamlin, is willing to pay the price that comes when a decision is made.

He becomes Amarantha's whore to protect his people from her getting too close to them. He doesn't care about the cost to himself simply because Rhys knows he's doing some good for his own people by letting himself be raped.

When he sees in Feyre the chance to do something to free all of Prythian, he goes all in knowing that that game would be total defeat or victory. He acts.

When Hybern starts threatening Prythian, he is willing to do whatever it takes — lose a potential friend, hand over the city he loved with all his heart to horrible women, give up his own life — so that they wouldn't fall into slavery again.

When the war comes anyway, he faces it head-on and uses every card he has to stop the King of Hybern: monsters of all kinds, all his power, his own life, and the truth about himself, about who he is.

And these are just a few examples. The fundamental difference between Tamlin and Rhys, just like between Tamlin and Feyre, is how they respond to situations and traumas.

Quoting Teddy Roosevelt (btw, this is a direct translation of the Portuguese version of the quote, so it can be different from the original):

"It is not the critic who counts; not the man who points out how the strong man stumbles, or where the doer of deeds could have done them better. The credit belongs to the man who is actually in the arena, whose face is marred by dust and sweat and blood; who strives valiantly; who errs, who comes short again and again, because there is no effort without error and shortcoming; but who does actually strive to do the deeds; who knows great enthusiasms, the great devotions; who spends himself in a worthy cause; who at the best knows in the end the triumph of high achievement, and who at the worst, if he fails, at least fails while daring greatly, so that his place shall never be with those cold and timid souls who neither know victory nor defeat."

Feyre and Rhysand are the ones in the arena, they are the ones who fight to be able to act in the face of evil — Amarantha. And it's interesting to note that those who condemn Rhys for the dubious actions he took Under the Mountain never say anything about Feyre committing murder there as well, which is a crime as heinous (or at least should be when it comes to innocent people) as Rhys's.

I'll tell you why: when we're faced with a gray and complex character like Rhys — and we don't know his heart, instead we're "infected" with the main character's partial view — we tend to connect him directly with evil, instead of understanding that this character is neither wholly good nor bad. We forgive soldiers for killing people in a war — that's also a combat in Under the Mountain, so why can't we forgive both Rhys and Feyre?

We forgive Feyre because we know how sorry she is, we know her heart, and we love her. But Rhys? He's the High Lord of the Night Court — which alone triggers some unconscious alerts within us — and he's playing dirty, hiding, and being a horrible person, so why should he be forgiven?

That's what our brain unconsciously thinks sometimes, and it makes us judge some characters more severely. Understanding the duality and complexity of a character is not an easy task; it requires a lot of empathy and an open mind.

But why am I saying this? Because it's important to understand: Rhys and Feyre are extremely similar, and they understand each other at a fundamental level because of that. Tamlin, on the other hand, has a completely different personality. He's the one who freezes, who paralyzes.

Rhys and Feyre experience the trauma Under the Mountain together, so Feyre and Tamlin are separated, which, combined with the glaring difference between the two, makes it difficult — perhaps impossible — for them to heal together because, out of loyalty to the character's nature, Sarah can't make Tamlin talk about what's happening like Feyre needs.

Even after Under the Mountain, Tamlin's instinctive action is to freeze. So he doesn't talk about Feyre's nightmares, he pretends not to see her despair, he turns away from her need to talk about the subject — because looking at her trauma would be the same as acknowledging his own.

And he can't do that because it's part of his nature to freeze. But this isn't healthy, hence the explosions of anger, and hence he locks Feyre up the moment she tries to assert herself: these are the consequences of forcing someone who deals with PTSD by freezing to actually deal with their traumas (that and the fact that he's horrible).

I can understand that (not in his relationship with Feyre, I'm talking more generally here, about him as High Lord, he can rot otherwise) but I can't forgive it like I did with Rhys because, unlike the actions Rhys took, paralysis only allows evil to continue to grow and end up imprisoning us (this is, in fact, one of the reasons why Tamlin didn't try to fight like Rhys while Amarantha was killing Feyre: his lack of previous action left him unable to take action when it was time to "put up or shut up").

While Tamlin's paralysis pushes us down while doing us harm, Rhys's actions, as horrible as they may be, are done in the hope of something good, they're done to move us forward. I can forgive him because I'd rather be someone who does horrible things in the hope of creating something better than be someone who allows evil to continue to grow until it imprisons me.

It's that simple.

And Feyre is exactly that kind of person. She needs to act, she needs to talk about it to heal. She needs to have a purpose, not be coddled like Tamlin — and his trauma — wants her to be.

The relationship between her and Tamlin becomes abusive the moment he tries to stifle her feelings to maintain a state of paralysis. And that's something you'd expect from a character like Tamlin, that's how he was built. But this happens long before Under the Mountain: I remember that on the first day Feyre yields to the dresses Tamlin gave her in ACOTAR, I think it was the morning after Calanmai, she warns herself to be gentle, to be kind, when dealing with Tamlin and Lucien.

But after Under the Mountain, Feyre can no longer accept that her feelings be stifled simply because her traumas are consuming her from the inside out. So she fights back. And that's what completely ends their relationship.

But the point is: both Tamlin, Feyre, and Rhysand follow exactly the line of their personalities throughout the story. They are those kinds of people from start to finish. There's an evolution, of course, but it's an evolution of beliefs, opinions, and perceptions — their essences remain the same.

That's why Sarah is brilliant in these books: by being completely faithful to her characters' personalities, she created a story that discusses abusive relationships, the varied responses of certain types of people to trauma, and the various reactions of leaders in times of war and defeat.

But the point is: none of them were changed to fit a ship, simply because they weren't changed. All three of these characters act exactly the way they should within the limits of their own personalities.

Rhys is the High Lord who plays dirty to create a better world, and Tamlin is a leader who can't make a tough decision. And there's another fundamental difference between them:

While Rhys knows that, from time to time, he'll be forced to make decisions that will end up harming part of his people (and will choose the lesser of two evils), Tamlin still struggles with the enchanted vision of a superhero who saves everyone without exception. And when that doesn't happen — because it's never possible to save everyone no matter what you do — he prefers not to act.

I think the two things that illustrate very well the kind of person Rhys and Tamlin are is the Illyrian tradition of cutting the wings of their females and the Tribute:

Rhys risks a revolt to improve the lives of his people and sticks to that decision, willing to pay the price for it if the result is a better life for the Illyrian females, while Tamlin fails to abolish an extremely unnecessary tax because his inability to act makes him cling to archaic traditions like the Tribute.

So, yes, I forgive Rhys for what he did Under the Mountain, because I couldn't love someone who freezes and leaves me to die. I prefer to love someone who cares so deeply about something — a dream — that they're willing to fight and play dirty for it. And then go to battle to defend it.

Hope you enjoyed it! Feel free to point out points that I didn't comment on; I'll try to respond to everyone's comments!"

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