What's the context?!?!??!

Okay, serious discussion about s5e7 of wwdits. I have a lot of mixed feelings about it. The creatures fell into the uncanny valley, why did they choose the donut lady as a plot for nadja when it could've been with the guide, etc. HOWEVER, what I do appreciate about this episode is the meta commentary on how Nandor's culture is simultaneously erased in history classes and then mocked by museums. His culture, his writings, his garments.. almost everything about his history is completely misrepresented by the museum and all of his artifacts were stolen. He literally sees a pair of his underwear on display! He is looked at as an object, a relic of the past. The museum portays him as being unintelligent and frowns upon his writings. And that's based on their narrow understanding of him, Al Q, and his culture. The historians do not know Nandor of course, but they view him through a lense that chooses to only see him and his culture as unintelligent, subhuman even- because why else would someone write something like this? Or wear something like this? Or use weapons like this? It reminds me of those TV shows that theorize the pyramids were made by aliens. Because how else could the Egyptians have been capable of creating the pyramids? Surely they can't be intelligent enough! *eye roll*

Idk someone could probably use better words to communicate what I'm trying to say here, but I wanted to bring it to the table anyway. Oh, also Colin becomes the center of attention by acting like the stereotypical white professor who is more focused on feeding their ego than actually educating his pupils. And this ends up in Nandor being pushed out of the conversation. A literal metaphor for how whiteness obscures and diminishes other cultures and immigrant communities. Of course Colin did that just to feed off of the students. Because then he ends up replacing the museum display with a more accurate representation of Nandor (albeit for comedic effect). And then by taking back his horsie necklace. But.. everyone listened to Colin! And ignored Nandor! Lots to think about in terms of erasure, white washing, forced assimilation, how museums profit off of stolen artifacts and skewing history, etc.

Nandor is an immigrant to Staten island and he was forced to assimilate. Imagine how he must feel when he sees all these stolen artifacts in the museum, and plaques that inaccurately portray his culture and history. And people gawking at the clothes and weapons he proudly wore/still wears. This is a reality for many native and immigrant communities here in America and abroad. Being forced to view your culture, your way of life through the lense of the oppressor.

The Curse Of Hope

_

Danny is in another universe. He had a reason, but he doesn’t remember anymore. He can only stare, horrified and disgusted, at the sickest city spirit he’s ever seen. Shivering and swaying with every step, core exposed, and ectoplasm leaking from wounds that are decades old. A ratty blanket was thrown over their shoulders, barely hiding the spirit’s pale grey skin and protruding black bones.

The spirit didn’t even sense him until he reached out to touch its wispy shoulders. The spirit flinched, clutching at the dozens of trinkets hanging from their neck and tucking in on themselves like they were expecting a blow.

“Oh, shit,” He swore, floating back a few feet, hands in the air, to show he meant no harm. “I’m sorry. I promise, I’m not here to steal from you.” The spirit shivered again and rolled a pearl necklace in between their fingers. A nervous habit. “Uh, I like that pocket watch? It’s very nice.”

That got their attention. They peeked at Danny, and he saw that more tattered cloth was covering their eyes, blending in with the stringy hair that reached the ground. Their blanket fluttered weakly, revealing hundreds of thousands of tiny marks etched into their skin. Scars, really. Scars that wrote out curse after curse onto the spirit’s very being. They burned with evil intent, and even reached inside the spirit’s body and wrapped around their core.

Occasionally, blinding specks of color raced across their body, temporarily erasing the writing, but it always returned quickly. He watched, a little detached, as one particular line rewrote itself across their rough forearm, drawing fresh ectoplasm like someone was writing it with a thin knife.

“Are you…alright?” Danny stuttered. A stupid question.

The spirit cocked its head. He couldn’t see their eyes, but he felt their burning gaze as they pondered the question.

“The pain of others becomes mine own.” They rasped. “The lights of the city dim as rotten wealth clogs mine veins. Magicks long forgotten have eaten mine skins, pulled mine cloak, and darkened mine skies. Helios has refused to grace mine doorstep, and the seasons of the Earth have revoked their kindness.”

Danny held his breath. It felt like he was the one with the exposed core, not the spirit.

The spirit shivered once more. “Tell mine soul, little lamb. How could this Forsaken City know peace, when it was long since ripped from mine hands?”

Shit, he needed Frostbite. And maybe Clockwork. Now.

-Or-

Danny meets the spirit of Gotham City. The villains and rogues that have plagued the city for decades are literal curses that are taking quite the toll on Gotham, and honestly, Danny isn’t sure how much longer they can hold out. The heroes seem to be doing some help, and are probably the reason Gotham made it this far, but the poor city needs help from the Realms if they want to get better.

Luckily, Danny can provide that help.

But only if he could get Gotham to leave their city behind. Because recovery is going to take a very long time.

nari goes on field trips :]

genuinely makes my stomach hurt thinking about being cringefail (affectionate) stede bonnet and somehow getting quite literally the absolute hottest piece of ass (and heart and mind) the entirety of the seven seas has EVER seen to fall in love with you to the point of asking you to run away together only to engage in THE biggest flop behavior of the century and LOSE him, and then trying so desperately to reunite with him and win him back but he gives you the (very beautiful and sexily tattooed) cold shoulder in front of two lesbian pirates in an antique shop. i'm gonna be sick

suki of kyoshi island and chief sokka of the southern water tribe 💚🩵

It's a good luck charm. Now nothing can touch you.

they shouldve brought back his cross chain💔maybe a smaller version idk but i get why they didnt since he probably wants to let go of his past life as a thug ig

hrngg........

Her Majesty our Humble and Merciful Queen

They are never beating the cozy allegations.

thinking about...sydney's cross grazing your skin as he fucks you. the cool metal of it brushing against your collarbone as he climbs on top of you, the thin chain shaking as he thrusts himself inside. at one point, he sees you take the cross between your lips and his eyes widen at the blasphemy of such a sight. he then removes it from your mouth and slides his tongue along your lip, looking to anoint himself with the holiness of a union that is only yours to share and yours to know.

look for the name: ALDEN

@aunayau

jean paul gaultier blush crinkle silk chiffon rib knit yoke skirt, c. 2ooo's

mm6 maison margiela long-sleeve bardot-neckline semi-sheer bodysuit in beige color

madomorpho "key to a heart" blush ribbon + antique key pendant necklace

maison martin margiela artisanal ballerina bag (made of reconstructed vintage pointe shoes), likely stolen from margiela's atelier in the mid/early 2ooo's

valentino powder pink ribbon lace-up ballerina leather ankle boots in black

My take on Shishido's beta design as described by Yokoyama in the behind-the-scenes video from last week!

She’d step on me and I’d thank her for it.

—Madara, at some point

Day 7 | genderfuckery for @foundersweek

WIP // Hey, don't tell anyone but

Why in the first season do we have the motif of Zuko stealing Katara’s mother’s betrothal necklace? Some point to a romantic subtext being read into this that, they argue, later gets ignored in order to prop up a problematic relationship for Katara with Aang, the protagonist. But if there’s subtext to be read in the theft of a betrothal token from a subjugated female by a male imperial representative, it’s the subtext of rape.

Why is it that it’s the women in the southern water tribe are gone? Ostensibly because they were the benders—but there’s a darker undertone, especially when we consider the clearly made analogy to indigenous peoples in North America, where even to this day native women are 2 times more likely to experience rape than those from other races. The fact that the necklace was her mother’s illustrates this legacy and connection, pointing us back to the original invasion of the tribe by the Fire nation, the attack on Katara’s mother by a single soldier inside their home (allowed in in order to protect Katara) and how Zuko’s actions at the beginning of the series echo it. This is not an auspicious place to begin a relationship if that’s what the writers were planning. Traditional enemies-to-lovers arcs usually involve prejudice but usually tied to pride, less so that kind of sexual violence. Despite Romeo and Juliet coming from warring families, it’s never implied that Romeo committed war crimes in the first act, especially not against the girl who falls for him, so we should perhaps be clued in that something different is going on in Katara and Zuko’s dynamic.

The intense rage, fear, and defense Katara puts up against Zuko in the finale of the first season (right after she has had to face the misogyny among her own people) is evocative of her response to his assaults throughout the first season. If this was not enough, we then have the rape of the moon spirit and the sacrifice of Yue for her people happening in the background, all pointing us back to the gendered violence of the empire Katara’s living under and fighting against. Her battle is not passionate because she secretly loves Zuko. She is doing everything within her power to protect herself and the spirit (literally the Avatar and figuratively within herself) that she has kept kindled despite the violent attempts to wipe it out—Zuko eventually prevails and steals a precious thing from her again…

When Katara and Zuko are imprisoned together during “The Crossroads of Destiny,” often seen as the peak of their romantic tension, they discuss their mothers, and Katara learns about the loss of Zuko’s mother (which we’re encouraged by the symbolism in the first season to read through the symbolic lens of gendered abuse and sexual violence, only now it’s domestic and internal rather than imperial). Zuko’s shift to a pitiable victim of abuse has softened his monstrous face for us, and the same happens to Katara in the catacombs, to the point where she’s willing to share a spiritual token with him.

It’s remarkable in the scene that, after being interrupted, there’s an effort made to remind the audience of Aang and Zuko’s continued antagonism—they glare at each other despite being in the embrace of the person who cares most about them in the world. And in the next scene, it’s revealed that Katara and Zuko’s reconciliation is actually not enough to transform Zuko’s loyalties. His desires for Aang and the redemption he can offer are too great.

In fact, throughout this couple of scenes, Zuko shows no interest in possessing or learning about Katara. She spouts off her grievances without his request, and then he shares his own loss only in defense to Katara's accusations and self-recognition in her stories, not as consolations for her pain. And Katara is moved by his vulnerability because she is so eager to see more evil within imperial power. She wants to hear the truth about how even those within it are injured. With all the feminine fantasy of being able to fix the behavior that toxic masculinity has induced, she suggests her spirit water might alleviate the scar Zuko bears--no forethought about preserving it for her own needs. Zuko doesn’t even request or accept the spirit water she offers him. It's all Katara. You'll be hard pressed to find a moment where Zuko expresses desire for Katara in this scene, a definite difference from his sexual aggression towards her in the first season. We as an audience are actually moved by his lack of desire her and what she has to offer because Katara is finally free from his predation (though it was only his initial violence that makes this neutral kind of freedom feel heartening).

The eventual gesture of Katara healing Zuko in “Sozin’s Comet” is free of his desire as well, unless you count the desire to protect a non-combatant, which has been Zuko’s reoccurring theme throughout the series, Katara or no (when he chooses the safety of his crew in "the storm," his advocacy for the lives of the fire nation soldiers that led him to banishment, etc.). The suggestion of rape arises here again with the penetrative nature of lightning, but the show has really complicated it’s gender dynamics by having Azula direct it, pointing to imperialism as the core concern rather than a simplified feminist reading. When Katara heals him, it's after she's cared for herself and defeated Azula now, and the words exchanged are "thank you," words of cordiality and comradery. They touch, but they are touches of equal counterparts rather than romance.

Reading romance into the simple refusal to commit colonial rape seems like a fairly low bar. This is neither what Katara nor Zuko are seeking out over the expanse of the series. They are looking for the transformative hope, action, and balance that the Avatar embodies, which, if anything allows them to stop fixating on each other and the dynamic of feminine colonized victim and masculine imperial patriarch that their world would have them locked into forever.

Aang does not go back in time to fix it all, but he brings an acceptance of reality that still allows for change. And this applies to the emotional states for the characters. Finding balance. Their griefs are not gone but not totalizing, either. They don't have to obsess or ruminate on it, or on the person who embodies the "problem" for them. The balance that the Avatar brings (and the fantasy that the show concludes with) is not a world in which the violence of colonialism never occurred but a world in which emotional release is possible from the intensifying dynamics colonialism forces its subjects into to sustain itself.