The competing thoughts in my head right now:

1) Imagine what sort of cases are going to make it before SCOTUS to decide by June of next year. Settled law means fuck all at this point. There is no limit to what they might do next, and conservatives are going to be even more eager to get cases that could go in their favor before the court.

They didn't stop at Roe, they won't stop at ending affirmative action, and they won't stop at legalizing anti-queer discrimination. I'm betting my money right now, that by this time next year, at least one of the legal challenges currently being fought against trans healthcare will reach SCOTUS.

2) Less than 7 years ago, one of the most potentially qualified women in American history lost the presidency in spite of having won the popular vote to a man who is easily the least qualified crook to have ever held the office in American history.

Just imagine if we were living in a different timeline where President Hillary Clinton had used her power to appoint three liberal (or at the very least, moderate) Supreme Court Justices. The entire trajectory of this country would currently be different. Abortion rights, affirmative action, and LGBTQ+ rights would've been safe for another generation. But her emails. Elections have consequences. And our electoral system is flawed.

3) The Constitution needs to either be rewritten or drastically amended; the major problem with this is that our current leadership cannot be trusted to do so. It's extremely clear that "we the people" still only means white Christian men.

I'm not actually certain that the United States should exist as a single country anymore...I just find it hard to imagine any alternative. This country truly feels like 50 individual countries badly pretending to be 1...but no longer having even the minimal protections provided by the Constitution would be a nightmare for minorites in red states. And a lot of people would be trapped by that, just as they already are: unable to leave due to finances or disability, or unwilling to leave their family, culture, or history behind.

Either way, abolish the electoral college, and implement term limits for SCOTUS Justices, and I think that the length of no more than 16 years or four presidential terms (as most presidents serve two four year terms) is adequate.

4) This means resistance. And I'm trying to figure out what that looks like. I've mostly been doing this by looking at the past and seeing how my queer and trans predecessors fought back, because none of this shit is new. But this also calls for the question: what else can we do? Are there new ways that we can resist? How do we build a future in a world that looks more like the past everyday?

Fargo Season Five: Finale thoughts.

I AM UNWELL. I have never seen a piece of television so beautiful. More of me just rambling and processing my thoughts beneath the cut. Spoilers naturally for the season.

Oh boy. I’m going to start this off by saying preemptively that I know there is going to be a portion of the audience who feels underwhelmed by this finale. In comparison to seasons past, this last episode was surprisingly lite on the blood. The epic showdown and fantastic shoot outs that Fargo has become known for was quite literally skipped over. The feeling is anti-climatic and that won’t sit well with some.

But here’s why I don’t give a shit and wouldn’t have it any other way.

This season wound us up. It brought us to a place where we were on the edge of our seats, so certain that the only way out for Dorthy, if she got out at all was going to be pathed in blood and bodies. We thought that the only way for Dorthy to be free was to rip and tear and destroy all who tried to stand in her way. We wouldn’t have blamed her. What else can she do, in a world that is kill or be killed. Fight or die. Conquer or be conqured.

But that was never the point of Dot’s story. Her story has been about how to live this entire time, and the secret to living is not more death. It’s acceptance and forgiveness. It’s empathy for your fellow man and a helping hand. It’s sacrifice, doing the right thing even when it costs us everything.It’s learning to bear the burden of the unfair, because those sacrifices are rarely made by the people with the most to give and the least to lose. It’s giving what you can, and leveraging the privileges you have for the greater good and learning to appreciate those around you. It’s putting aside our bias to find common ground and appreciate the best in each other. It’s a meal made with helping hands. It’s oatmeal cookies. It’s a buttery biscuit. It’s love.

👏🏾

I will forever love this season for giving me Dot’s story. For telling a story about abusers and survivors without the cinderella syndrome. For showing abuse survivors as they are in reality : complex human beings with flaws, phobias, bias, and toxic coping mechanisms just like everyone else. The only truly innocent character in the entire season was Scotty, a child and that is purposeful. Everyone else is just human, and it’s the choices they make that are important and define their fates.

Roy chooses to be a cowardly monster until the very end and so Lorraine sentences him to a lifetime of feeling the suffering he’s dealt to others. Feeling what it is to be weak and small and violated and at the mercy of the system. We stan a queen.

Lorraine didn’t have to open Dot’s file and hear her truth, or accept it for that matter and at first she had no interest in educating herself about the woman she disdained and tried to discard. But she chose to open that file and reckon with Dot’s past, and not only that she let it change her and how she lived going forward. It changes her for the better in small but significant ways. It saves Dot, preserves her family and allows for the chain of events that lead to Roy getting his just deserts. *Side note, Dot hugging her and her not knowing how to deal with such a kind touch and intimate moment is such a mood. 😆 I laughed out loud.

Indira was laden down by a man who could only love himself, but still she chose to get up every day and try to serve her community. Even when nobody else cared, she cared about finding the truth and helping the real victim in it even if it cost her everything. The only person she didn’t know how to fight for was herself but Dot and Lorraine showed her how. We stan a principled Queen who knows her own value!

Witt. 😭 😭 😭 In a lot of ways Indira and Witt are two sides of the same coin. They are both sentinels. Principled individuals who truly want to serve the greater good. And it’s so meaningful that the two characters showing us what true justice - true law and order - should look like, are marginalized individuals. While Indira’s struggles as a brown woman in the police force are less pronounced for a more internal subplot, the narrative does such a beautiful job of showing us the battle against external powers through Whitt. He is a state trooper. A good and dignified man worthy of his badge and yet his authority is always challenged and he is constantly reminded by those around him that he is less than. There’s a huge emphasis on names and their meaning throughout the season, and the importance of what we call people. But few characters bother to remember his name. He’s called Boy or Son more than any other character on the show. Every time he stands up for Dorthy and goes into battle we’re made aware of his powerlessness despite the badge he wears. He’s powerless to stop Gator stealing evidence. He’s consistently demeaned and threatened, and yet he chooses to bear it all with grace. He chooses to stay his course and help Dot, even when he has the least power and the most to lose. He dies alone, without backup and the last words he hears are Roy’s “Don’t fight it, it’s over now Son.” It’s not fair. It’s not right. But in so many ways he saved Dot’s life. He’s a big part of the reason she gets to go home. She’s the last character to say his name. “I’m looking for my trooper. Whitt Farr.” I cried. Still crying.

Gator. Gator, Gator, Gator, Gator. 😭 I will probably do a longer post about this someday when I’ve fully processed it all, but for now… I was fully expecting for Gator to have a “last moment act of goodness” through killing Roy, and probably die himself. My Billy girlies know what I am talking about. I’ve seen it over and over again in books and movies. I have talked about this many times over the years in multiple fandoms, but our society loves to write “the human villain” for their capacity to emotionally hook an audience. But they have no idea what to do with that humanity once it is written, and that’s because we ourselves barely know how to live once we’ve been at our lowest and done our worst. We don’t know how to forgive ourselves or others, and we don’t know how to heal and move on. We’re afraid of the work required when you live past the redemptive moment. We resent the work required and the loneliness of it. It’s boring and difficult and messy and it never seems to end. It’s so much easier just to write characters who either choose not to change or die sacrificially. But we need more than that. We need to see and to believe that it’s worth it - clawing your way through the dark, searching for light - doing the right thing and learning from the pain of yesterday. We also need to know that we will find someone waiting on the other side for us, who sees that struggle and believes in our potential. This is what Billy Hargrove deserved. This is what anyone who has ever been abused and abandoned deserves. This is what everyone who wants to change and chooses to do it deserves.

Ole. What a phenomenal use of magical realism this character is. He is the man who has swallowed the sins of mankind for centuries. He’s carried the burden of our atrocities and our most inhumane impulses until he forgot his name, his place of birth, or even how to dream. Until he became a function of the system. Tit for tat. Eye for eye. The man who ensures that the debtors pay their debts. A soldier. Until he became a code and forgot how to be a man. His use of the third person as if he is narrating the life of All Men from some position outside himself is so profound in the face of the truth he finally shares with Dot and her family. A truth he’s probably never shared before. He echos Gator’s character in a fashion. He’s a soldier who doesn’t know how to dream, a victim of an unjust system, but deep down he yearns to be better.

The old woman whose house he invades is never named, simply called “Mama Munch” and we see how he takes on an almost childlike role with her. She asks him what he wants, and the answer is pancakes - reminiscent of Scotty’s love of all things breakfast for dinner - and it’s of course deeper than pancakes. He wants to feel a mother’s love and a child’s ability to take comfort in it. But he can’t. Because he has invaded her life, and even when he guards the door the war gets inside. She’s abused by an ungrateful child and then killed on her own front step. Ole came to Dot’s house to continue the cycle and perform the only function he knows, but Dot reminds him that he can choose. He can choose to stop swallowing the fruit of the poisoned tree. He can choose to remember beautiful things. He can choose mercy. He can choose kindness. He can forgive and he too can be forgiven.

Dorthy Lyon’s story was always about more than survival of the fittest. It was about more than the fight to live on and get back to the people who loved her and find a safe space for herself. Her story was about rejecting the lie we’ve all been told since birth.

That life is like a prison. You’re born and then you’re shuffled into groups, separated by class and race, and within those groups the strongest rise to the top. And until death it’s an endless fight to take take, and hold onto what you take.

Dot’s story presents us with an alternative viewpoint. That life can be devastating, but it can also be beautiful and it all comes down to who we choose to be.

Hi there! I love so much the way you explain characterizations, your answers are so helpful I love them! ❤

I wanted to ask a curiosity of mine though: What is a “White Swan” and a “Black Swan” character? And what’s the difference between them?

Thank you in advance for the answer and for always being so helpful to us writers 🙏🏻❤

How to Write a White Swan and Black Swan Character in a Novel

I want to express my gratitude for your kind words. Your messages are truly inspiring and they motivate me to continue writing blog posts for this tumblr blog. It brings me great joy to see someone appreciate my efforts. Your sweet messages hold a special place in my heart, and I will always remember them. I have made an effort to respond to your question in a professional manner while also addressing everyone in general.

If there are any additional questions you may have, I encourage you to ask me without hesitation. I regularly monitor my inbox and strive to respond promptly to everyone's inquiries.

-Rin T.

Have you ever read a novel and found yourself captivated by certain characters that stood out from the rest? These characters, with their distinct personalities and unique traits, often play a crucial role in driving the plot forward. In the world of literature, two archetypes that frequently appear are the White Swan and the Black Swan characters. Each archetype represents a different side of the human experience, offering readers a glimpse into the complexities of human nature. In this blog post, we will explore what these archetypes represent and provide a step-by-step guide on how to create compelling White Swan and Black Swan characters in your own novel.

Understanding the White Swan and Black Swan Archetypes

Before delving into the process of creating these characters, it is essential to understand what the White Swan and Black Swan archetypes represent. The White Swan character is often portrayed as the epitome of goodness, purity, and innocence. They are the individuals who embody moral righteousness, inspiring hope and optimism in both the story's world and its readers. On the other hand, the Black Swan character represents the darker side of human nature. They are complex, morally ambiguous, and often engage in actions that challenge societal norms. These characters exude a certain allure, drawing readers into their world of mystery and intrigue.

When writing a novel, incorporating both archetypes can provide a balanced and compelling narrative. The interplay between the White Swan and Black Swan characters creates a dynamic tension that keeps readers engaged and invested in the story's outcome. By understanding the defining characteristics of each archetype, you can effectively craft characters that resonate with your readers.

To create a White Swan character, focus on qualities such as kindness, empathy, and unwavering integrity. This character should embody the moral compass of the story, serving as the guiding light in times of darkness. Conversely, when developing a Black Swan character, explore their flaws, their internal struggles, and the reasons behind their morally ambiguous choices. These characters are often driven by complex motivations, which can range from a desire for power and control to a deeply rooted sense of injustice.

Step-by-Step Guide to Writing White Swan Characters

Step 1: Define the character's core values and beliefs. What drives them to always do the right thing? Are they influenced by their upbringing, personal experiences, or a strong sense of justice?

Step 2: Give your White Swan character a compelling backstory that explains their unwavering integrity. Explore their past traumas, triumphs, or moments of moral dilemma that shaped their character.

Step 3: Highlight their acts of kindness and empathy. Show how their actions inspire others and create a ripple effect in the story's world.

Step 4: Create internal conflicts for your White Swan character. Despite their goodness, they may struggle with doubts, temptations, or moments of weakness. This adds depth and relatability to their character.

Step 5: Ensure the White Swan character has a clear role in the story's plot. They should face challenges that test their values and allow them to shine as the embodiment of goodness.

Step-by-Step Guide to Writing Black Swan Characters

Step 1: Develop a complex backstory for your Black Swan character. What events or experiences led them to embrace their darker nature? Explore their motivations and the internal conflicts that drive their morally ambiguous choices.

Step 2: Create an air of mystery and intrigue around your Black Swan character. Their actions should be unpredictable, keeping readers guessing about their true intentions.

Step 3: Show glimpses of vulnerability and humanity in your Black Swan character. This adds depth and makes them more relatable to readers, despite their morally ambiguous choices.

Step 4: Explore the consequences of their actions on both themselves and others. This will add complexity to their character and create opportunities for growth or redemption.

Step 5: Ensure the Black Swan character's presence challenges the status quo and creates tension within the story. They should serve as a catalyst for change, forcing other characters to question their beliefs and values.

Conclusion

Creating compelling White Swan and Black Swan characters requires a deep understanding of their defining characteristics and motivations. By following the step-by-step guide provided in this blog post, you can craft characters that resonate with readers and add depth to your novel. Remember, the interplay between these archetypes creates a dynamic tension that keeps readers engaged and invested in the story's outcome. So go forth and unleash the power of the White Swan and Black Swan archetypes in your writing!

Today a coworker of mine spilled out her feelings to me about certain deep things, personal things, and it really meant a lot that she shared that much with me.

She said she had been thinking of karma.

I think balance is a beautiful concept. But I told her I didn’t feel like karma is justice. Because how can you tell someone that that terrible thing that happened to them happened because their past life must have done something bad? You don’t know your past life so how can you learn from those mistakes? That would be cruel to be judged in that way, and even more flawed for “justice” to be served so much later after the fact, when that “life” has now become a different reincarnation??? Justice is merciful, forgiving, fair and perfect. And she listened to what I have to say. And I liked the look on her face when I said goodbye for the day. It’s nice to have someone at work to talk to!

5 Jaw-Dropping Strategies Used in Landmark Appellate Court Battles

Overview of appellate court battles and their significance

Are you familiar with the high-stakes game of legal chess that takes place behind closed doors in appellate courts? Picture this: lawyers armed with arguments, judges ready to challenge every move, and the fate of important cases hanging in the balance. In this article, we will take an exhilarating dive into the world of appellate court battles, exploring their significance and shedding light on the intricate strategies employed by attorneys to sway judges' opinions. From landmark decisions that have shaped our society to lesser-known cases that have sparked heated debates, get ready for a rollercoaster ride through history as we unravel the captivating stories behind these crucial courtroom clashes.

Strategy 1: Creative use of legal precedents

One powerful strategy that legal professionals can utilize is the creative use of legal precedents. By leveraging past court decisions and applying them to current cases, attorneys can pave the way for groundbreaking outcomes. This approach allows lawyers to not only learn from the mistakes and successes of their predecessors but also to challenge established norms and push the boundaries of existing laws.

The creative use of legal precedents involves finding innovative ways to interpret or apply existing case law. It requires a deep understanding of the specific context and issues at hand, as well as a thorough analysis of relevant prior rulings. By strategically selecting and employing specific precedents, attorneys can present compelling arguments that may shift judicial opinions in their clients' favor.

Furthermore, this strategy serves as an effective tool for addressing novel legal dilemmas or areas where legislation lags behind societal changes. By creatively utilizing legal precedents, lawyers can advocate for progressive interpretations that reflect contemporary values and address evolving social concerns.

In conclusion, the creative use of legal precedents offers an indispensable asset in shaping future court decisions. By harnessing past case law imaginatively, attorneys have the opportunity to influence shifts in judicial thinking and establish new legal paths forward. Through this strategic approach, they wield a powerful tool for effecting change while upholding justice within society's evolving landscape.

Strategy 2: Crafting persuasive written arguments

In a world filled with constant communication and endless debates, the ability to craft persuasive written arguments has never been more crucial. Whether you aim to convince others of your point of view or sway their opinions in a certain direction, mastering this skill can open up countless opportunities for success.

One key element of crafting a persuasive argument is understanding your target audience. Different groups of people may have varying perspectives and beliefs, so tailoring your writing accordingly can significantly increase your chances of swaying them. By researching and addressing their concerns or interests, you can frame your argument in a way that resonates directly with them.

Another crucial aspect is providing evidence and logical reasoning to support your claims. A persuasive argument requires solid foundations built upon facts, statistics, expert opinions, or personal anecdotes. By bolstering your claims with concrete evidence, you add credibility to your writing and increase the likelihood that readers will be persuaded by your words.

Furthermore, it is essential to anticipate counterarguments and address them effectively. Acknowledging alternate viewpoints shows that you are thoughtful and considerate while also highlighting potential flaws in these oppositions. By addressing these criticisms head-on and offering convincing rebuttals, you demonstrate confidence in your position as well as an openness for productive discussions.

Overall,(it's important) mastering the art of crafting persuasive written arguments requires understanding one's audience, presenting compelling evidence-based reasoning, and acknowledging counterarguments without compromising the integrity of one's own stance. Following these strategies will not only enhance clarity but also make room for

Strategy 3: Effective use of oral advocacy skills

Mastering oral advocacy skills is essential for any successful leader. The ability to articulate ideas, arguments, and proposals in a persuasive manner can make all the difference in achieving desired outcomes. However, simply being well-spoken is not enough; effective use of oral advocacy requires careful strategy and execution.

One powerful strategy is to tailor your message to your audience. It's important to understand the values, beliefs, and concerns of those you are trying to persuade. By framing your arguments in a way that resonates with their interests and priorities, you can increase the chances of getting them on board.

Another key aspect of effective oral advocacy is using storytelling techniques. Humans are hardwired for stories - they captivate our attention and engage our emotions. By weaving personal anecdotes or real-life examples into your presentations or discussions, you can create a connection with your listeners and make your message more relatable.

Lastly, it's crucial to actively listen during any oral advocacy endeavor. Paying attention to others' perspectives allows you to address counterarguments effectively while also demonstrating respect and openness. This approach helps build trust and credibility with your audience, enhancing the effectiveness of your overall advocacy efforts.

In conclusion, mastering oral advocacy skills goes beyond being an eloquent speaker - it requires thoughtful strategy and execution. Tailoring messages, incorporating storytelling techniques, and active listening are all key components of effective oral advocacy. Practice these strategies consistently, continuously refining them based on feedback and experience, to become a persuasive communicator who can influence others towards desired outcomes

Strategy 4: Leveraging public opinion and media coverage

Leveraging public opinion and media coverage is a powerful strategy that can shape the success or failure of any endeavor. In today's digital age, where information spreads at an unprecedented speed, harnessing the power of public opinion can greatly influence outcomes. By strategically aligning with popular sentiment and understanding what resonates with the masses, businesses and individuals can gain the support they need to achieve their goals.

Public opinion also holds sway over media coverage. Journalists often rely on public sentiment to determine what stories will garner attention and generate engagement. Leveraging this relationship requires crafting a compelling narrative that appeals to the values and interests of both the general public and media outlets. By understanding how public opinion shapes media coverage, one can time their actions or campaigns to coincide with favorable trends in order to maximize exposure and impact.

In today's hyperconnected world, leveraging public opinion and media coverage has become more crucial than ever before. Social media platforms have given rise to citizen journalism, empowering individuals to share their thoughts, opinions, and experiences on any given topic instantly across geographical boundaries. This changing landscape means that businesses must actively engage with these conversations in order to stay relevant and maintain a positive brand image. Understanding how media operates within this context is essential for creating effective strategies that tap into the collective consciousness of society while shaping news narratives for maximum impact. Embracing this strategy can yield highly influential results in an increasingly interconnected world filled with endless opportunities for meaningful engagement.

Strategy 5: Building a strong appellate team

Building a strong appellate team is crucial for any successful legal practice. This team should consist of experienced attorneys who excel in research, writing, and oral advocacy. However, it's not just about the individuals on the team but also how they work together to achieve a common goal.

One way to build a strong appellate team is by fostering an open and collaborative culture. Encouraging attorneys to share their perspectives and ideas can lead to new insights and ultimately improve the quality of the briefs and arguments presented. Additionally, providing opportunities for junior attorneys to learn from senior members can help develop their skills and expertise in appellate practice.

Another important aspect of building a strong appellate team is utilizing technology effectively. Technology can streamline research processes, enhance collaboration among team members regardless of geographical location, and provide tools for organizing vast amounts of information. Incorporating these technological advancements into the daily work routine of the appellate team can greatly increase efficiency and productivity.

In conclusion, building a strong appellate team requires not only selecting skilled individuals but also fostering a collaborative culture within the team while leveraging technology effectively. By doing so, law firms can ensure that they have a well-rounded group capable of succeeding in complex legal challenges at the appellate level.

Conclusion: Recap of strategies and their impact

In conclusion, the strategies implemented throughout this journey have had a significant impact on the overall success of our objectives. From the very beginning, we focused on leveraging social media platforms to expand our reach and engage with our target audience. This approach not only garnered us a larger following but also created a sense of community among our customers. By consistently sharing valuable content and responding to comments and messages promptly, we were able to build trust and loyalty with our online community.

Another strategy that made a tremendous impact was targeted advertising. Through careful research and analysis, we identified specific demographics that would benefit most from our products or services. By tailoring our advertisements to these segments, we saw an increase in conversion rates and ultimately boosted sales. It is evident that understanding your audience's needs and preferences is crucial for delivering effective marketing campaigns.

Overall, these strategies have helped us establish a strong brand presence in the market while continuously adapting to ever-changing consumer behaviors. Moving forward, it will be important to stay up-to-date with emerging trends in technology and continue finding innovative ways to connect with our audience. The success achieved thus far serves as a testament to the effectiveness of strategic planning in achieving business goals, and it encourages us to maintain this momentum in future endeavors.

I realized I’ve talked big game about Billy and Jason coexisting as a young Captain Marvel and Robin Jason but never really explained it. I swear it’s not just because I think Jay and Bill would be the absolute best friends ever and deserve each other. So! Captain Marvel started off with Fawcett Comics in 1939 and was eventually absorbed by DC comics sometime in the mid 70s before becoming more prevalent in the 80-90s. Jason was introduced in 1983 so Jason and Billy’s introductions to the DCU are much closer together than the other Robins. So on that front I like the continuity but it’s also deeper than that.

Despite being created alongside the Golden heroes like Superman, Batman and Wonder Woman, I really like the idea of Captain Marvel coming into play after that first wave and with the second. It’s kind of mentioned in First Thunder that the Wizard saw that a great era of heroes was dawning and wanted his champion to be there to help with any threats, magical or otherwise, that may result. By the time Billy is granted his powers, the Justice League is well established and its main heroes considered to be the shining example of heroics. Hell, in this timeline Billy was probably born around the time these heroes first became active. 

The JLA is in many ways considered and run like a business, especially as it expanded beyond the original seven and required more care and coordination. The League is in this weird time where it’s starting to expand but doesn’t quite have all the kinks worked out like they will later and thus it’s the perfect time for Cap to be able to keep his identity under wraps. But also the idea of people looking up to the original heroes who paved the way, there’s some metaphors there not only of Billy growing and coming into himself through their example but in many ways exemplifying the ideal they may stray from. I really like the idea of initial tension between Supes and Marvel because, for all his kindness and goodness, Clark can be flawed. I can see him being nervous around a magical version of himself with seemingly no weaknesses. As the League gets bigger, gets involved more on social/political issues, having Billy/Marvel to serve as a reminder of what they stand for, it’s something I like. 

This period of transition extends also to Robin Jay. We had the first wave of superheroes and their sidekicks but now those sidekicks are growing up. Nightwing is with the Titans and then his own solo, Wally has assumed the mantle of the Flash from Barry, Speedy was struggling with addiction. Jason (to my mind don’t jump down my throat) was one of the first times a legacy character was properly replaced by a new character (Dick Robin -> Jason Robin). There’s a realization there that there will be heroes beyond the originals and their first set of sidekicks, that time is moving on and change in inevitable. To me and their respective origins and places in the larger DCU, Jason and Billy are symbols of change. 

This rant is getting away from me so I’ll wrap it up. Basically I think the second wave of heroes is the perfect era to slot in Billy Batson with him eventually becoming friends with newly inducted Robin Jason Todd. This, of course, later leads to tragedy with Jason’s death which poor Bill doesn’t deserve but also opens avenues on how Bill would interact with the League as it, and himself, grew up. I like most have trouble imagining Billy past 13 but imagine him giving advice and reminiscing with Tim Drake about Jay when they’re about the same age. Imagine Bill as an older teen on the cusp of adulthood when he learns his best friend has come back from the dead as a criminal. Imagine young adult Billy, trying to make his way in the world now as a proper adult having to deal with Damian’s attitude and arrogance. 

We all love perpetually baby Billy but there is a certain poetry in slotting him in a young, still getting itself together, Justice League. A Justice League that is, in itself, in its awkward preteens and trying to find it’s footing and place in the world. It puts him elbow to elbow with Superman who is struggling to find himself in his new role as the Man of Steel and is now confronted with a godlike being who absolutely could kill him and also with Jason, a street rat like him working to make a difference for the little people. I will always feel its the best place for Billy to find himself alongside a heroics organization which is looking to do the same.

TOG rambling

Hello! This post has to do with Andy and some revelations at the end of Force Multiplied. Spoilers I give aren’t super specific but they’re there, and I can’t promise they won’t bite.

This is also in response to a TOG discord question I couldn’t stop thinking about, regarding Andy’s history as compared to Nicky’s, as posited by Em | salzundhonig:

But Nicky's past as a crusader and his growth from his past was well received, surely that'll be the same with Andy right?

I apologize if these ramblings sound like a rant but I swear my intentions are in the spirit of debate/discourse, and they are not an attack on any individuals.

The TL;DR is: Andy has work to do. Hopefully Hollywood and Rucka don’t fuck that up.

Feel free to check/correct/call me out if I’ve misspoke anywhere here (I realize I still have a lot to learn) but IMHO, I don’t think a semblance of Andy’s growth will be well received. Or, at least, I’m not so certain it should be because, in the comics, I genuinely don’t think Andy has grown. At the end of Force Multiplied, she still defends her actions with the “this is how I grew up” argument, and says it was “a long time ago,” and as much as I love love LOVE Andromache the Scythian for her badassery and how she’s a vision of female empowerment, I can’t help but think about how I hear those words all the time from people defending themselves against racist and/or sexist comments from so-called bygone eras.

Wanna know a sad difference between those people and our beloved Andy? They apologize for what they’ve done, or who they were. As hollow as the words will sound, however unforgivable their actions, however self-serving the apology will be— Those Asshats apologize. Comic!Andy never does, not even when confronted by Nile, an African American woman who likely descends from slaves, and has undoubtedly experienced racism and discrimination on a regular basis. It’s been thousands of years and Andy doesn’t even know how to say sorry (if she ever does, kudos to whoever finds a timestamp/panel, and let me know!). Instead, Andy buries the truth of her actions with a load of justifications to the point that she becomes self-deprecating, calling herself “vermin,” concluding she’s no better than the apathetic, selfish, evil POS they hunt. She may have spent the past millennia with TOG, trying to make things right but then—

But then she gives up. She’s tired. She resigns because she doesn’t have it in her anymore to fight the injustice she once willingly and self-servingly participated in. So, on top of being incapable of apology, Andy also doesn’t vow to do better. She doesn’t accede to change.

If there is one reason for why “The Old Guard” is a fucking absolutely shitty title, is that it refers to people who refuse to accept new ideas and progress. We are in a fandom that has four canonically queer characters, three people of color, and two female leads! Maybe the irony is intentional but damn, why is it that Andy, PROTAGONIST #1, hasn’t completely caught up with the program?

And that brings me to why I think Andy’s reckoning will not be on the same level as Nicky’s. Because as popular as Kaysanova is, neither Nicky or Joe are the main protagonists of TOG.

We don’t follow Nicky or Joe (or Booker) into scenes. The men are strictly back-at-the-ranch, supporting characters. We follow Andy or Nile (who also have the most screen time, I believe, but fact-check me). Filmically speaking, we ought to value them with a measure of precedence. Their words and actions matter the most, especially Andy’s by nature of how everyone looks to her for guidance.

So, with all that in mind: How does one reconcile a beloved protagonist with a despicable past in slavery, of all things? In the wake of an international racial reckoning, how is a celebrated, white South African actress going to fulfill that role? How is production going to balance fantasy with reality? How are Rucka and other involved writers (Theron, Prince-Bythewood?) going to alter the original IP, while retaining the nuance of this moral quandry?

Forgive me for the overkill but: How is it going to happen?

I’m well aware that my thoughts are going down a rabbit hole, and I am definitely overthinking this, but as somebody who’s genuinely curious about whether Victoria Mahoney and the rest of the TOG crew will have the guts to confront the issue head-on, or if they’ll take the easy way out. Excise the bits that no one wants to talk about, much less watch in a feel-good film that TOG has become for many fans.

Whatever production ends up doing, I hope that 2O2G doesn’t end on a cliffhanging “pity Andromache” note because, damn, I’m gonna feel real uncomfortable scrolling through fandom posts, reading people defending slavery and giving the same “the past is a foreign country; they do things differently there” spiel, in order to protect a fictional character played by a conventionally-attractive cis heterosexual white woman.

(Also: If the past is so different from the present, why are there still calls for social justice? Why do ALL industries still lack diverse and equitable representation?)

Now, this is where I’ll go back to the original question and say: While I think Nicky functions well as an example for change/growth/redemption, I don’t think his change serves as a good comparison to Andy’s. I say this, even while I’m aware of double standards in gender, and even between the reception of gay characters vs lesbian characters vs etc. (re: I’m open to critique).

My line of thought stems from the fact that, canonically, Nicky always had Joe. The two have seemingly been inseparable from the moment they first killed each other. It’s likely that Joe would check Nicky whenever he said or did something wrong and offensive, and perhaps this symbiosis was mutual.

(I also have a feeling that many people easily disregarded the Christian/Muslim conflict because A) lack of knowledge in BOTH religions and B) the onscreen couple appear very much in love, especially when one is giving a beautiful monologue on the nature of their relationship. When we meet Joe and Nicky, we meet them at their best. Shout-out to interfaith couples who know more about this than my single (and secular) ass does, and might have more to say about this.)

On the other hand: Andy never had someone who was like how Joe was for Nicky. No one ever calls out Andy because A) she’s the oldest, B) she’s the lead, and C) her business card says ANDROMACHE OF SCYTHIA, WAR GOD. Yeah, she had Quynh/Noriko but— at the risk of yelling at Rucka for vilifying a queer woman of color (or praising him for not leaning on the stereotype of Asian passivity? idk, anyone got thoughts on this?)— Noriko is clearly not encouraging good behavior. Neither will Quynh if Netflix lets 2O2G be as faithful to the comics as TOG1 was.

Which means the Law 282 conversation might be…unavoidable? Somewhere along the line, we still end up in the hotel room with Andy, on the floor, pleading for her crew to not abandon her, even though she is the one who abandoned their cause.

This sets up a circumstance in which Fade Away might be spent trying to redeem Andy/Charlize Theron, bring her back to the “good side,” teaching her to be better— thereby highlighting her experience and “salvation,” rather than making a point of her past, and the reality of her actions. In other words, a “pity the white woman” fest.

(Because I’m crossing my fingers that TOG production/Netflix know better) In an effort to prevent that from happening, I wonder if Rucka will combine Force Multiplied with Fade Away for the 2O2G script. Given the series’ track record, I think it is feasible that FA’s release coincides with 2O2G’s, and that it finally resolves Andy. Whether by revitalizing her energy as a do-some-gooder, or finalizing her vulnerability by putting her 6,000 years to rest, thus handing off the reigns to Nile and a new generation of leadership.

The last thing I want to leave off with is: I don’t hate Andy. It’s a credit to Rucka and fellow writers (from film and fandom) that I don’t.

I might not love her character as enthusiastically as I used to, but that doesn’t mean I’m not amazed by her creation. She’s a female lead whose sexuality is not exploited by the male gaze; whose emotional vulnerability is not considered a hindrance to, nor an explanation for, her battle prowess; and whose unabashed queerness is not reinforced by cookie cutter stereotypes. Andromache the Scythian is AMAZING.

That doesn’t mean I’m going to excuse or ignore her most glaring and contemptible flaw. More than anything, I’d love to sweep her past under the carpet so that 2O2G can be problem-free. Like many people, I just want to enjoy a movie without getting triggered.

I want to see Quynh and Andy kiss and make up. I want to see Joe rocking Those Shorts, and a cheeky shot of Nicky appreciating his ass. I want to see Nile welcoming Booker back to the family again. Some form of group therapy would be chef’s kiss.

But something about glossing over/removing slavery from Andy’s narrative reeks of dishonesty, and reminds me that the (Hollywood) movie industry is full of people who do not want to be tainted with negative perceptions. Understandably, appearances are their livelihood— but that particular truth is something they still have to reckon with.

look it's very simple most main cast tma characters (except possibly Basira and Sasha and MAYBE Tim) are reacting to not just supernatural trauma but clear, explicit childhood trauma and I think that's important to take into consideration.

Jon evidently came from a difficult place in the first place, and he was taught that he was an unwanted annoyance who'd derailed his grandma's life, that his intelligence was unpleasant, arrogant and inconvenient, and that the worst thing he could do was get in a grown-up's way. Of course he's bad at talking to people about his feelings. Of course he apologises for seemingly random things and tries to hide big problems and power through on his own. He had a really lonely childhood where he felt like an inconvenience, and now in adulthood it's deeply difficult to believe that anybody will help him and not hold it against him. Of course he comes across staid and aloof - he doesn't believe that anyone will like him if he isn't Doing Everything Right. It's so easy in that situation to worry so much about not being a burden that you freeze your friends out even as they can see you spiralling and you end up hurting them when in fact they'd be more than willing to offer help and get you out. It's why addiction is such an easy hole to fall in, because it feels like a way you can be self-sufficient and deal with your feelings without being a burden. Jon ISN'T a very closed off person naturally, he wants to reach out and be close to people, but he's been taught over and over (as many autistic children are) that he's too much, that he takes up too much space, that it's unfair for him to expect people to go out of their way to help him, so he boxes it away and shoves it down and turns to cigarettes, paranoia and denial in an attempt to manage the problem by himself. He's trying so hard to not be the Weird Kid, he's trying to play the part of what he thinks an archivist and a boss should be and blah his way through; he knows believing in weird shit opens the door to all sorts of stuff so he sticks his fingers in his ears and goes LALALA. he's deeply avoidant which ironically is why he often ends up diving in recklessly - it feels safe to only put yourself at risk (you who think you don't particularly matter, are unloved, and are an annoyance anyway) rather than wait and let others get involved and either judge you or get hurt. He didn't tell ANYONE that his encounter with Daisy had hurt him for SEVERAL YEARS because he didn't want to upset anyone. This speaks to me so much of a kid who growing up was always treated as underfoot, in the way, abnormal and with emotions and problems that weren't nearly as significant as the Important Grownup Things. I don't think anyone knew how to help 5 year old Jon with navigating his parents' deaths, and his grandmother's grief at losing her child probably made it very hard for them to connect whether or not she actually resented him the way he thinks she did. He was treated with bitterness and coldness his whole childhood, and he's never been given space to be angry about that because she was doing her best and dealing with a difficult situation, but it certainly left him with an expectation that trying to turn to anyone for emotional help and support will get you in trouble AND is unfair on them. Being with Martin, and indeed all his friendships and relationships, is hard to navigate when you've been taught for so long that exposing your vulnerability will get you yelled at or will upset people. You try to harden up and develop an exoskeleton but you're so chronically soft and in need of help and love so it spills out messy and you don't know how to take the walls down or build better ones up.

Martin's obvious, because his parental abuse is at the centre of his arc and is explicitly spelled out by Elias. He's so sure it's something he's done that's made his dad leave and his mum despise him, and he's hoping against desperate hope that if he can be Good Enough, little enough of a problem, helpful and invaluable, he can make up for whatever chronic flaw in his personality makes him unlovable. Of course he ISN'T unlovable, and none of his parent's treatment of him is his fault, but it's much safer to believe it's your fault and you can change it than it is to believe people who are meant to love you can just not hold up their end of the bargain for reasons totally outside your control. Much like with Jon, Martin has been taught to believe that he's a Problem - where Jon puts up walls and tries to be aggressively separate, Martin tries as hard as he can to prove himself Useful and Valuable while walling off an excess of humanity. Honestly though Martin's coping with it better than Jon throughout the series because he knows what it is and he's TRYING to push past the impulse to Not Be A Bother and actually let people love him. But he's still seeing the world through the lens of someone who's spent his whole life believing that the only way he'll deserve love is to become invaluable, to be useful, to be caring, to be needed, to be all give and no take, and that's not sustainable. And how much must it knock him back from trusting enough to ask for help when his boss (leave aside the love interest bit) talks about him like he's a buffoon and a waste of space however hard he's trying to be helpful and valuable, just like his mum has for years? Finding out that you matter enough to that person for him to risk his life to save you, and to really truly see you, goes a long way towards showing you that you're not always right to assume that people are lying when they say nice things about you and honest when they say cruel things about you - sometimes you are genuinely loved by people who ALSO see you as flawed. and while obviously after that the circumstances are very different I think we've seen Martin become more comfortable with his own tendency to acidity and sarcasm, anger and messy feelings, around not just Jon but in general (although also I can't talk about this without as usual observing how weird it is that people read Martin as sweet, servile and wimpy when he's consistently tough, sarcastic and brave AS WELL AS deeply lacking in confidence, afraid of conflict, emotionally giving, and terminally people-pleasing. He's right when he repeatedly says people underestimate him and don't see him - it's weird that the fandom is a big culprit of that)

Speaking of characters whose trauma responses are often overlooked, Melanie doesn't talk much about her pre-statement life but she's clear that it hasn't been good, and that other than her dad she's had nobody in the world she can trust. I am positive that her childhood was marked by parental abuse/neglect to at least a certain degree, because she was willing to kill her mum/let her die without much compunction (I THINK that's the implication of Elias' line about her mum's life insurance paying for her dad's care). To me (projecting), Melanie's fear of losing control of her own anger speaks to somebody who grew up in a volatile and probably physically violent home, and I suspect her mother was struggling to cope and lashing out at Melanie and her dad. (I also think that while it's unlikely to be made explicit because Jonny generally shies away from talking it writing about sexual abuse, that it's very probable that Melanie experienced adolescent sex abuse from some source and wasn't protected or supported. That's pure conjecture though based on how she acts.) I think she's definitely had issues with everyone in her family except her dad when it comes to her sexuality and that she's been largely estranged for a long time, and I think those are the kinds of things which, coupled with abuse and sidelining in adulthood, leave you with a lot of rage and nowhere to put it, and with a huge amount of difficulty trusting people. Undeniably, Melanie has been on the sharp end of other people's violent anger often enough to be really, really wary of ever giving her own anger free rein, or losing control of herself.

We don't know much about Daisy's childhood beyond what happened with Calvin (Pretty Damn Traumatic), but I think what I find interesting about Daisy is that she's definitely someone who, like many girls, struggled with that point in childhood where you're supposed to Stop Liking Boy (Fun) Things and Become A Girl. I think it's safe to say that Daisy was fairly subject to bullying and alienation in primary school, and I think people often overlook how badly that affects you your whole life. But also to be severely injured and traumatised, to tell people what happened, and to not be believed? That leaves marks. Marks that teach you that you can't trust that justice will be served, and you have to take the law into your own hands. I think there's also a lot of the Gendered Traumas happening around Daisy - she clearly has a conflicted relationship with femininity - but that's another post.

MIU 404

"Where did you grow up?" "What would you prefer? A broken upbringing? Childhood trauma? A tormented past? Which one would you prefer? I am not going to be a part of your narrative." MIU404 is one of the best police procedurals that's come out in the last few years. That's not to say that every case was flawless and perfect-pitched, but what was impressive was the ambitious wholeness of the story. Small recurring roles that served a bigger purpose in the end, seemingly less significant cases that brought upon a string of events that becomes significant. To start with, the team is beautifully written. Apparently the scriptwriter gave a lot of freedom for the two main characters, and both Hoshino Gen and Ayano Gou did a fantastic job with the chemistry of the characters, but also with how grounded and real they felt. They were flawed, faltering, but well-meaning and persistent. They were enforcers of justice, but their justice becomes questioned and questionable, and they lose their way before finding their way again. Their character arcs, carefully developed over the entire 11 episodes, are amongst the best character development arcs you will find in this genre. The supporting cast was also well-rounded. Kikyou is one of the best written female police bosses in this genre. She is strong but not headstrong, and she is also empathetic without being overly sentimental. When she is with familiar people, she allows herself to have moments of vulnerability. Nogi Akiko understands the real difficulties of being a female leader in a traditionally male-dominated field, and Aso Kumiko brings a no-nonsense briskness along with a motherly protectiveness, which makes this character so much more nuanced than a lot of trophy strong female police characters out there. (As an aside, this reminds me of the much more hamfisted depiction of Honda Tsubasa's "strong but traumatised" female investigator in Zettai Reido 4 and in this case it seems to have really taken a female writer to write one well.) Her interactions with Hamu-chan, the witness she is trying to protect, is sweet and touching, and flies past the Bechdel test. Moving on from the characterisations, the script was clever in that it started off like a standard police procedural, with a random case week by week, but even in the early weeks it had already started to drop clues and hints for what was to come later. The story about Ibuki's mentor was heart-breaking, but would have had much less emotional heft if we hadn't already met the mentor throughout earlier episodes. It was clear this is a drama that had a very definite idea of where it wanted to go from the beginning, and it was amazing to get to the end and see pieces starting to fall into place. Of course all of this would not have worked without having one of the best final bosses to come out of a Japanese police procedural, and perfectly acted by Suda Masaki. People are drawing comparisons to Heath Ledger's Joker - to be honest, I wasn't a big fan of that particular Batman movie so I'm not even going to comment on any similarities. He had a nonchalant manner that still managed to be threatening, and he outwitted the police on multiple counts. As his conversation with Ibuki says, there is actually very little crime they can pin on him, even if they're certain he is the mastermind. Some people may find it dissatisfying that they have left him an enigma, but I felt it was the perfect way to wrap with this character, and gives the opportunity for a second season (*fingers crossed*). Overall, this drama rated 11.92% but like Unnatural, the script and acting was deserving of much better. I expect, like Unnatural, it will win a lot of critics awards even if its ratings are less than stellar. Definitely a must-watch for people who like police procedurals - it has humour and thoughtfulness in equal measure, great characterisations and cast chemistry, and a well-written central plotline and an impressive villain, and dramas that manage to get all these elements are a rarety these days.

A Number, Not a Name: Part 18

Enjoy everyone!

4 months earlier:

Regis scanned the fragment of paper spread out across the table before him. Not even a month ago he was a desperate man chasing the shadows of his lifelong mentor. What he’d found in the jungles of South America had been nothing short of a profound revelation. The ancient words inscribed held the key to changing humanity. From the very beginning, he had believed deep within his soul that what Professor M spoke of was true. He couldn’t explain it. He just knew it. Though he’d never have suspected that the place which possessed what he sought was merely some speck on a map. A hamlet of small-town America. In the end, though the where didn’t matter. What mattered was that he attained his goal. Failure was his greatest fear. After what he’d sacrificed to get this far he wasn’t about to fall short an inch away from the finish line. Like Professor M had. When he stumbled upon he’d found a broken sickly old man barely clinging onto life. Filled with regret and sorrow that though he literally held in his hand the culmination of his life’s work, he would never live to see it. Regis had vowed that would not be his fate.

Fate, however, was a funny thing. Previously Dr. Blackgaard had possessed adequate resources yet lacked the knowledge he required. Now just when he had attained the necessary knowledge his funds were depleted. Alas Professor M had died, weighed down in debt, and without any assets to further fund Regis’ research. Dr. Blackgaard was one to keep his research away from prying eyes. The last thing he wanted was to inform anyone of his discovery. Who knows what might happen. Word could spread to the general public if that happened it was game over. Blackgaard was well aware however that the little venture he was starting in Chicago wouldn’t provide him with the funds he needed. The choice was before him. Either choose not to share his work and lose any chance of funding or take the chance and inform potential investors of his findings. When put that way there was only one option - the latter. “Blast” he muttered under his breath.

He rolled up the parchment and stood up from his chair, grasping his walking stick as he sat up. Pacing back and forth on the wooden floor he tried thinking of someone who would work as a potential investor. Blackgaard’s mind raced. Too many people had their motives and agendas they were trying to serve. The last thing he wanted to be was someone’s puppet. He’d rather give up his work altogether than be a pawn in someone else’s game. It has to be someone who has enough resources yet can be easily fooled. Someone obsessed with power and ambition that they’d do anything to obtain it - even trust a complete stranger. A person who is so full of themselves they’d never think anyone could bring them down. Sasha meowed, interrupting Blackgaard’s thoughts. He stooped down and picked up his faithful feline companion. Softly, he stroked her neck and behind her ears, prompting a deep purr from Sasha. “Oh, Sasha…Now, who do we know who’d be aware of someone like that.” 

Blackgaard had a long list of reliable contacts. Men and women spread across the globe. People who were aware of plots and schemes of power and the people behind them. Blackgaard’s polished shoes thudded on the packed earth as he circled the jungle cabin, left exactly as it had been when Professor M died. Professor M’s research notes and documents were packed carefully in boxes that were neatly stacked. His personal effects and clothes were strewn throughout the room. 

Regis placed Sasha down on the floor and walked to where Professor M’s trunk was located in the corner of the small hut. He opened the lid and searched through it until he found a notebook. He scanned over the pages looking for a particular name. An old contact of theirs who Professor M had known even before he met his esteemed mentor. They had come to value her greatly. Every secret or scheme going on she always found a way to find out. Finally, Regis' eyes landed on the name he was searching for. Blackgaard knew she was the answer. 

…..

4 months earlier:

Liana stared blankly ahead. She was busy pouring coffee yet her mind was somewhere else. Today would have been Erik’s birthday. She tried to push it to the side and carry on waitressing, but the memories would come flooding back. Picnics in the park. Splashing each other in the lake. The way he’d shower her with flowers and chocolates on Valentine’s Day. 

Liana had known she’d never be able to have peace until her father and all those responsible answered for their actions, but she at least thought with time she’d be able to have a sense of healing. Instead, the more time passed the more angry she became. She should be spending these years with Erik. If he was here she was certain they’d have been married by now probably with children. Living a happy and beautiful life. She’d been robbed of that life and forced to live a cold and lonely one. 

“Liana!”  Hearing her name, she snapped out of her thoughts.

“Uh sorry. Millie. What is it?”

“You’re pouring coffee all over the counter.” Liana glanced down and saw she’d overfilled the coffee cup, causing the liquid to flow all over the countertop. 

“Oh, I’m so sorry.” She set the decanter down and grabbed some napkins from the dispenser.

“Are you okay? You’ve seemed distracted all morning.” 

She wiped up the spilled coffee. “I’m fine.” Liana picked up the coffee cup and walked to a table by the shop window. 

She set the piping hot coffee on the table. “Here you are, sir.”

“Thanks so much” the man graciously responded.

“Would you like anything else?”

“No, this is good for me. Thanks.”

“Of course. If you need anything please let me know.” She forced a smile and began to walk to another table where two women were waiting to order. Halfway to the table, she stopped. Her eyes were drawn to the television mounted in the corner of the room. An image of a man’s face caught her eye. His familiar features, grey hair, wrinkled skin, piercing black eyes, matched the image she’d seen in person on multiple occasions. One of the faces seared into her head for the last nearly five years. There was no mistake, the man was none other than Davit Dalmar. Below his image was the headline “Breaking News: Davit Dalmar, CEO and founder of Dalmar Petroleum, announces run for Krudian parliament.”

Liana found herself chilled to the core seeing his face. It took her back, back to that night. The worst night of life. She holding her dying boyfriend in her arms, knowing there was nothing she or anyone else could do. She bit back her lip and took a deep breath. No, she wouldn’t break down, especially in a Budapest cafe. 

What was that expression? The past has a way of catching up to you. She’d always planned to go back. To go home. Deep down she knew what she had to do. That pain. That anger. That overwhelming feeling of loss. It was still there. Burning in her soul stronger than ever.  She knew she’d never be able to move forward unless she went backward. Nevertheless, when it came to confronting her past she’d find herself paralyzed. Unable to go back. Memories of Krudia, her father, Eric haunted her. Every street or shop in Bulin came with some painful reminder. The very thought of stepping off the airplane filled with her dread and terror.

But now seeing Dalmar had served to remind her of the men she’d left behind. And of what she’d lost. He was a monster. Him and her father both. She felt another wave of anger surge through her. In what world was it fair that Erik was dead and Norvan and Dalmar were still breathing? How could someone be so heartless as to take him from her without a second thought? How could people, like her father and Dalmar, find pleasure in killing others? She may have thought the removal of some malevolent individuals necessary but never took pleasure in their demise only in the justice being served. One thing couldn’t be denied: her father and Dalmar were insane. They had to be brought down. Any reservations or fears she had, Liana knew she couldn’t wait any longer. She was done running from her past. 

…..

Present-day:

Jason woke, tied to a chair. Ropes dug into his wrists. Beads of sweat trickled down his face, or perhaps blood, though he wasn’t sure which one. His eyes adjusted to the dim light. He appeared to be in some type of warehouse. Above him, warehouse pendant lights flickered the only source of light in the room. 

It all came flooding back to him—what he'd prayed had been only a nightmare—The car chase, men shooting at them, Tasha slumping forward on the steering wheel ….

Tasha. His heart began to race and a sinking feeling settled in the pit of his stomach. Where was she? He prayed she was still alive. He frantically glanced around him but saw no one. 

He couldn’t help but wonder if his earlier actions had caused this. 

He struggled to loosen the ropes that bound him. Straining he turned every which way trying to free himself. It was no use. He let out a scream of frustration and lowered his head. A feeling of helplessness and utter loneliness consumed him, His head throbbed but the physical pain he was experiencing didn’t compare to his overwhelming guilt.

It’s my fault. The words stabbed through his mind. I got us into this. I shouldn't have acted recklessly—Why didn’t I just stick to the plan? Why did I have to be so stubborn? He shook his head. I wanted so desperately to prove myself that I ended up screwing everything up. If I get out of this I’ll probably have to resign. The last thing the NSA wants is someone who can’t complete a routine mission, let alone their first assignment. Who knows, maybe that’s probably for the best anyway. Donovan saw right through me. My flaws and weaknesses…how careless I could be…and I proved him right. Now not only is the mission ruined but Tasha’s life is in danger because of me. If she dies I’ll never be able to forgive myself.

He glanced up at the ceiling. Right now he didn’t feel like he belonged anywhere. His whole body felt numb.

There was nothing he wanted to do, nowhere he wanted to go. Nothing mattered anymore, except doing everything he possibly could to right his mistake. To make sure Tasha was safe and if possible successfully complete their assignment.

Whoever was behind this would probably hurt him. The thought barely registered in his mind. He knew he should feel something. Dread. Fear. Anxiety. But he didn’t. All his thoughts were turned to Tasha. They could do whatever they wanted to him. It didn’t matter. He would willingly sacrifice his life without hesitation if it meant they didn’t touch her. At that moment he knew he was powerless. There was only one thing he could do. He bowed his head and closed his eyes.

…..

Tasha’s eyes darted around the room, her eyes landing on the metal door to the side of her. She felt something digging into her skin and realized she was tied up. Tasha lay against the wall struggling to recall previous events, how she’d ended up here. Her mind was blank. The last thing she remembered was leaving with Jason for the gala. She looked down at her clothes. Instead of the dark blue dress, she remembered she was wearing light pink pajamas. She looked around the room. The floor was layered with dirt. Cobwebs hung from the corners of the room. Jason was nowhere in sight. Who knew where he could be. For all Tasha knew he could be lying dead somewhere or being mercilessly tortured. 

The door creaked open causing Tasha to look up. An older muscular man entered the room followed by a tall brown-haired woman. 

It didn’t take a genius to guess what they were probably after. Information. Luckily, Tasha thought, she’d been briefed and trained how to resist such efforts. She sat up in her seat and braced herself for whatever was coming, though she couldn’t help the shivers that traveled down her spine. 

Milena’s eyes met Tasha’s. Tasha tried to read them yet they seemed nearly expressionless. The man’s on the other hand were easy to read. They were deathly cold.

Milena spoke. “I have to say that was quite a showing back there. Very impressive. My hired men are known for their efficiency. You and your associate were their hardest targets ever by far.” She crossed her arms. “So congrats.”

Tasha kept a blank expression on her face. "You might as well just skip to the end. I’m not saying anything.” 

“Who said anything about getting information? I’m not so stupid as to waste my time trying to get intel out of an NSA agent.”

Elias walked over to Tasha “Never saw that coming did you?”

Tasha looked him directly in the eyes. “Can’t say I didn’t. If I was in your shoes I wouldn’t waste my time either.” Fear trembled through her, but at the same time, there was a defiance in her eyes. Even in face of danger, she wasn’t one to submit or hold back on fiery comebacks. 

A dark chuckle escaped his lips. He glanced at Milena. “I like this one. Too bad we can’t keep her around.”

“I’m afraid I wouldn’t be the best company anyway.” Tasha glanced at the metal door beyond Milena and Elias. There was one question she had to ask. Though a possible answer filled her with dread. Life had a funny, even almost cruel way of unfolding. Not even a few hours ago Jason and she had been going at it and now here she was worrying over his safety. Though she was still deeply angry and upset at Jason for what he had done, all that mattered to her right now was that he was alright. “Is…he okay?”

“He’s alive if that’s what you’re asking,” Elias replied.

 A wave of relief washed over Tasha. At least she and Jason were both alive. When it came down to it that alone only mattered. A dark thought crept into her mind. But then again who knew what their captors had in mind for them. Perhaps it would have been better for him not to survive, that might have been a merciful fate.

Elias stepped closer to Tasha. Then, from under his black shirt, he unslung a small black pistol from his belt.

Tasha’s mouth began to run dry and her heart began to race. Elias twirled the gun on his finger, only increasing Tasha’s uneasiness.

She ignored him, keeping her eyes fixed on Milena. “You know, you seem like a straight shooter so I’ll cut to the chase. Why exactly do you need us? If you’re not after information I fail to see the point.” 

Milena gave a small laugh. “Aren’t you a fast talker? Trying to hide your fear?”

“No, my boredom.”

Milena clasped her hands. “Let’s just say I need you both for a plan of mine.”

Tasha eyed her confusingly. “What kind of plan.”

“That would be giving things away now would it?”

“What things? Are you working for Dalmar?”

Pain flashed across Milena’s eyes at the mention of his name. It was only there for a second and was gone as soon as it came. Not before being noticed by Tasha. “Dalmar, that monster. Heck no! Your whole plan of bringing him down is still happening. You and Edward are just playing a different role than you originally planned.”

Tasha found herself shocked by Milena’s revelation. However, she made certain not to show her surprise to those in the room. Basic training - never show your opponent what you’re thinking. 

Milena turned to Elias. “Would you give us a moment?”

 He glanced from Milena to Tasha and back to Milena again. He placed his gun back in its holster. “Sure.” The door clanked shut behind him.

“I know what you may think of me and I can’t say I blame you. I’d probably feel the same way too…but I just want to say that I admire your tenacity. I respect what you’re doing.”

Tasha leaned forward. “Really. I would never have guessed. If you respected my mission, why interfere with it?”

“Trust me. I had my reasons. The justice I’d get from your NSA wouldn’t be enough.” She spoke, a hint of sadness showing in her eyes for a brief moment. 

From the first time she laid eyes on her Tasha could tell that the woman standing in front of her wasn’t a hardened criminal. That there was something beneath the surface. It was obvious now she’d suffered some tragic painful event in her life. Dalmar’s doing most likely. Tasha thought for a moment about how to respond. She knew the words she’d say would probably not change her mind or course of action, but she had to try.

Tasha spoke softly. “I know what horrific things Dalmar is capable of…Sometimes it seems that men like him just end up walking away but that’s no ex—”

“Excuse for me to take the law into my hands. Yeah, I figured that speech was coming. Guess what, I don’t have time for it.” Milena said strongly before turning around and walked across the room. Well, that went well but pretty much how I expected. Tasha thought as Milena shut the door behind her as she exited the room, leaving Tasha alone once again. 

Orion Digest №40 - The Dual Machines

Between government, economy, and culture, humans have formed an international society that turns what would be a simple population of humans and the planet's resources into a complex machine of moving parts. Every person within the system does their part and has their effect on the world around them, and when compounded together, it creates an sizable and tangible effect on the individual, taking on a life of its own. Even if it is made of words and beliefs rather than gears and screws, the moving parts still come together to take in fuel and output a desired result.

In this case, the desired result with civilization is to input available resources and labor to provide citizens with goods and services to fulfill their needs, from nutrition to safety, rather than have all the tasks of survival placed on each person alone. After all, it would provide much for benefit when making a shirt for one person to shear the sheep, another to collect the wool, another to spin the yarn, and so on, rather than have each person take on every step. In an ideal version of this machine, everyone is able to put in a small amount of effort and have their needs met, and those who are physically or mentally unable to work are provided for.

Unfortunately, when civilization first formed, we had not yet learned how to best organize ourselves, nor had we faced the atrocities that would teach us morality. Wanting not to labor but to still live in luxury, people sought power over others, and bent political systems, economies, and cultures to their will. Certain peoples had to succeed above all, certain nations had to be the strongest, certain elites had to possess wealth and nobility, even if it meant the rest had to work harder and eat less. Back then, we hadn't learned to care about the pain of others, and so we took what made us feel good. After that, once the first stone was cast, and power was seized, others seeking their own interest followed suit, in a back-and-forth that has lasted millennia.

With time, those that have fought for the greater good have brought a greater sense of morality into the public eye, but even as people recognize the need for equality and sense of community, the systems that make up modern society are not conducive to greater and swifter change. Like a broken car with bad mileage, we are using more resources than necessary while hardly improving quality of life for much of the world, and barriers to public input in government are sprouting up everywhere. The consequences of our past actions haunt us and have placed upon our shoulders a great burden - people are at each other's throats, the world is burning, and those in power have little interest in disadvantaging themselves to provide for the greater good.

If the 'machine' is broken, it is our moral obligation, both for our own sake's and for the sake of others, to fix or replace it. Now that we stand on firmer ground, having seen what elements worked and which ones failed, we can work on a better machine. This is the purpose of eco-socialist federalism - a grand design supported by the belief and contribution of its population to fix the problems we have created in our ignorance, and to lay a stronger foundation for future generations to prosper. This is not an attempt to place a select few in power, to create a population of slaves that support the lavish livelihoods of the insatiable - this is an attempt to bend culture, politics, and economy down to a level that benefits all who participate in it. Everyone does their part, and everyone shares in the spoils.

Unfortunately, there is always the chance that whether by design or by human error, this grand new attempt at catering to the common good will be flawed, or will fail. We seek to design a more efficient machine, but when transitioning from paper to practice, there may be faults and errors that escaped our notice. This does not mean we shouldn't try - even if there are still problems to solve, having less of them will still be a net positive result. However, it means we should be prepared to continue pushing for change and redesign, not stopping until we get it right, and even then, questioning on ways we can improve.

It is for these reasons that we propose to create two 'machines' - a federation that efficiently manages resources and serves the people, and an organization - Orion - that will stand from now until its last member to serve the ideals for which the federation stands. The establishment of a federation is a necessity - only united do we stand a chance of fixing our damages and alleviating our pains. However, Orion should not only serve to establish the federation - if we truly believe in the Tenets we have set forth, we must be prepared to see it through, to watch over the new world and, should a time come when the federation has fallen from its purpose, fight to fix the machine once more.

If society is to be a clock, gears turning and moving forward with the passage of time, then Orion is to be a clock keeper - watching and making adjustments as needed. This is not to say that Orion should serve as an official position within the federation - to do so would be to tie down the actions of our organization and make our authority seem undemocratic. Rather, Orion simply will, if necessary, speak the truth and aid communities on the grounds of moral authority above legal authority. If that falls in line with the federation, all the better, but if it does not, and the federation shows itself as no longer focused upon the greater good, Orion will be present to correct it.

In an ideal future, all that this second machine would have to do is stand still, keeping watch, and keeping firm the values of equality, community, and justice it has been founded upon. If all goes well, and we are able to properly fix the machine with what we know this time, it will never need to be repaired again. But so many times in the past have we thought ourselves right and correct about the state of the world, and so many times have we been wrong. The best thing we can do is guess the best course of action, take it, and be prepared to question ourselves and improve in the aftermath. We must first build federation, but if it proves flawed, Orion will be ready to act once more, and again as many times as necessary.

We are not the only organization out there seeking change, and one of our greatest strengths will be helping others with similar missions achieve their goals. However, even if we're not the only one out there fighting for a better world, our mission is to always be out there, either fighting or defending a better world.

- DKTC FL

Regret’s for the Dead

~2000 words of loosely written dialogue & set dressing with even looser editing because this time around I’m trying to do one every day and just post it cause otherwise I’ll never get them all done. It ain’t for work, I’ve got to learn to live with the messiness of creation or I’ll never post anything.

January Prompt: Revenant - A person who has returned, particularly from the dead. (Often re-contextualized in fantasy media as an undead creature with a fixation on revenge or justice.)

@seaswolchallenge

   The winds and clouds over Terncliff are often clear - leaving the moon to shine brightly down on the cliffside township. Sleeplessly, Gaius steps from the old, shelled-out building the Resistance had afforded him near the occupied square. Vaguely, he hears someone tell him ‘goodnight’ before turning out a lamp in the foyer.

   “Rest well.” He half-says, as footsteps recede from behind him. Taking a deep breath of the salt-leaden, night air he shuts the door behind him and walks out to his usual spot near the fountain. The Ironworks hand should be in bed, and the guards are a quiet sort unlikely to approach him, of all people. It’ll be nice and private. At least as private as he could get. He turns the corner to the square.

   Moonlight falls in shafts down through the clouds. The horizon beyond is dappled with stars and darkness both. And there, in the square proper besides that lovely fountain is a monster.

   He had once thought her a woman, maybe even a heroine as with many of these other Eorzean adventurers. But she wasn’t an adventurer. She was a huntress, of men and other monsters alike. He had thought her small, weak, and fragile when he had met her all those years ago. A mind limited by a flawed body. He had not yet seen her dance as a vicious, cutting gale. Or watched her erase lives from fields away with the casual disinterest of a scribe scratching tasks off a list. And while he did not see the wound made, he has seen the scars. She is not fragile.

   The lalafellin woman’s hair hangs in loose, tangled curtains around her back, rather than the braid she wears in the day. It’s greying blonde like dusty sunlight falls over a dull brown, sleeveless tunic. It was rare to see her out of uniform, let alone in something which could be broadly considered sleepwear. She did not like to lay bare her failings to the world.

   Her left arm glints in the dim light of the lamps and stars. All metal and thick Garlean ballistic fibers. Cords in place of muscles, gears in place of joints. The scar where it joins her shoulder is jagged and stark, even against her deathly pale skin. Her left leg, too, is left mostly exposed to the night air below the knee. Much the same fashion, save for the thick exhaust ports along her small calves.

   It was, in truth, easier to look at the metal and wire, though. At least then, the horror of machinery making skin stretch and bulge in wrong places was avoided. That the ports along her right calf break through skin is a fresh horror.

   “If you’d prefer I move -” She calls without moving, “- you could always ask.” She reaches besides her, hand meeting the neck of a bottle.

   “A drink?” She asks.

   “Vavara. That won’t be necessary, Lieutenant. I’ll be on my way-” He begins, his boots hissing on the sand-dusted stone tiles of the road as he turns.  Emerald eyes, shining from the way they catch the light, meet his as she turns in her seat.

   “Don’t give me that, Legatus. I doubt you can sleep any more than me.” Her knowing, confident tone grinds against him. The low, soft way she speaks forces him to focus and listen to hear. Like being grabbed by the collar and held firm.

   “Your ‘Blessing’ pry into my past again?” He says. His frustration bleeds into his tone.

   “No. It’s the rings under your eyes. Your gait. You’re tired. Can’t sleep though, else you’d not be here. ‘Sides-” She pulls the bottle back to herself and throws her head back with a swig. “My hallowed ‘Blessing of Light’ has yet to grant me the honor of near-omnipotence. Just headaches, here.” She grins with bright, fake teeth. A sigh pushes out from his chest, and he closes the distance and sits alongside her on the fountain. She offers him the bottle, and he just shakes his head. A shrug. Another long draught.

   “Thought you didn’t drink.” He says. His eyes measure her reaction. She looks away from him, off towards the sea. Her metal hand reaches up and waves dismissively before batting a stray strand of hair from her cheek.

   “I don’t.” She declares. “Stomach’s half gone with the rest of what I’d need to get drunk. I like the way it burns my throat, even if I can’t taste it anymore. Reminds me of when I came back to Eorzea.” Her words are upbeat, if reserved. She shows him the bottle label without turning her body. An old Lominsan rum. Still dust on the bottle. Mostly full. He glances up to the cap, where the wax has been freshly broken.

   “That’s right, you mentioned you’d served.” He says. His speech almost feels automatic, as though he were running on muscle-memory alone.

   “Planning on filling the night with polite conversation? You’ve already looked at my file, Legatus. Not to mention we fought back in the Praetorium. Hells, I’m sure you were briefed on me in one way or another when I went rogue.” She takes another sip. He takes a long breath and nods, old memories coming unbidden.

   “It was shortly after the Meteor Project - I was assigned additional protection since other legions were having their leadership covertly culled. I remember.” He admits. His words get heavier as he speaks, as though weighed down by gunmetal. She just nods and waves the bottle at him.

   Neither say much else for some time. The night stretches, stars and the greater moon slowly tracing paths across the distant black. The sea wind drifts in and out. She drinks, slowly emptying the bottle bit by bit. He watches the buildings around him, tracing the scars of ammunition, shells which blew the road apart but was rebuilt. The barricades placed throughout the streets. The towers looming overhead. Fine white stone stitched apart by dark black metal.

   Were the Empire to return at this point, would they erect more of these structures? Make a prison of this port? The resources to hold this point simply do not exist - and yet to turn after seeing so plainly what these people would be made to endure again. Is that cowardice? Or would standing be a pyrrhic path to vengeance, bleeding them further with more shells and bullets scattering them and their homes.

   He shakes the ideas from his head. Steadying his breathing again. He can’t afford to get bogged down in emotions, especially now with the last of the Weapons on the horizon. He leans forward, hand reflexively moving to his forearm, where his old cannon would have been mounted.

   The sound of a  bottle tapping against stone jerks him out of his thoughts. Vavara’s eyes are closed, head tilted straight up towards the sky.

   “I joined the legion because of you.” Her words drag his heart into a pit in his chest. A sinking dread.

   “Do you regret that decision?” He asks, certain the answer will not be something he likes.

   “No, I don’t.”

   “Then, why-”

   “Would I have deserted? Why do I now hunt the Empire’s finest? I don’t regret joining. I learned much and more in the Empire’s service. I’d never have survived as long as I have were it not for what I learned there - probably would’ve starved in an alley or gotten shelled when the Resistance took the city back. Then again, Zenos’d’ve never chopped me up. Whether I went along or not, though, the folks I enlisted with would have died all the same.

   “I don’t regret the decision in the same way you can’t really regret getting gored by a bull. Just happens. Can murder the fucking bull so it doesn’t happen again, though.” She lets herself stew a moment, before throwing a long swig back and then shaking her head. Sends her hair scattering.

   “If I were to change anything though, I’d have left earlier. Got real on board with some of what we were doing, twisted it up in my head that eventually it’d pay off and the poisoned promises the Empire made would come to fruition. Bet that sounds familiar. Lest I remind you,” She gestures at the masks on his hip.

   “We are of a similar profession, ‘Shadowhunter’. We were then, and we are now.” Her right hand reaches over to cup her left forearm, squeezing the metal tight.

   “Paid dearly for our failings and ambitions, too. Best we can hope is to shoulder the cost ourselves, ‘stead of it falling on someone else.” He grumbles something akin to an agreement, but otherwise says nothing. His brow furrows, mind tracing their collective past’s outline. Matching them against each other. She interrupts him before he can stew in the silence too long.

   “I’m sorry I couldn’t save him. The Emerald Weapon’s pilot. Wasn’t fast enough.”

   “I… It was not your hand which set this in motion.”

   “Again, you’ve read my file. You can say it was not mine alone, but I certainly had a part to play in this.”

   “It would be foolish to assume everything in your file is accurate. Plainly, news of your death was exaggerated as mine was. Much the same is at work in the other details of your service as well, I would assume.” He says. His hand slowly drops down to rest on the masks at his hip.

   “Legatus...” She looks at him with a strange, vexed look on her face. “What about me looks alive to you?”

   He takes a long moment, breath slowly filling his chest. The scent of ceruleum which lingers on her fills his lungs. The way her shining eyes gaze back at him feels like oncoming traffic. Headlamps and flashing lights. Her porcelain skin, segmented and rigid in places where it tries to mimic the real thing, shifts as she leans back. There is true flesh there, but it’s grey and without vigor. Poisoned, even. It meshes with the prosthetics and the replacements in uneven patches, rimmed by nasty, discolored scars.

   “What irony would that be -” She sighs, looking away from him. “- what poetic bullshit.” She looks down at the label of the booze, holding it away from her. “Maybe this is working on me.” 

   “Legatus, listen;” She swings the bottle as she speaks, back and forth with the cadence of her speech. “I don’t breathe, I don’t have a heart anymore, I can’t really eat or drink. Veins are filled with more oil and ceruleum than blood. My aether is stored in my core, so I technically have a ‘soul’, but it can’t be changed in the same ways as yours. I’ve also been pulled and cut apart, limb from limb, more than once. I’m about as alive as your gunblade. Or some autonomous, revenant thing going bump in the night.” Her prosthetic elbows into him, a steady, pressurized vibration felt in the metal. A too-lax grin flashes on her face, sharp teeth and ill-fitting humor meshing awkwardly.

   “I do rather like that image, I’ll admit. What I’m saying is this - everything my file says I did in the name of the Empire? It’s true.” She takes a long drink, looks out to sea, and speaks in a soft, somber tone.

   “Though at this rate, I doubt any of those who dwell above will see me judged for my sins. Trapped here as I am.

   “So if anyone has a right to judge me for my failings - it’s a fellow dead man walking. Namely, Legatus, you.”

   She holds the drink back towards him, half-empty as it is. The slosh of the bottle is audible as she pauses dramatically.

   “So. Changed your mind on that drink?”

   “If you insist.” He growls, taking the bottle from her hand. He tips it back quickly, a short, shallow draught. He hands the bottle back, a grimace on his face.

   “I prefer Garlean wines.” He says through a restrained cough.

   “Oh, that so? Sorry to offend your delicate tastes, my lord.”

   “Stow it.”

Why do you think Luke struggles with temptations toward pragmatism and control? (If you don't mind! this piqued my curiosity since this is the first time I've seen him described as such, and I find him excessively idealistic and upright throughout the OT)

Luke is very all or nothing as a rule and he was raised by a worried practical person. When he first refuses the call to adventure, it’s because faced with the reality of dropping everything he thinks about the implications in a way he never has in his daydreams. And his objection is along the lines of just being one small person and real life still needing to get lived and not being able to just abandon his responsibilities. ‘It’s not that I like the Empire, I hate it, but there’s nothing I can do about it right now.’

And Obi-wan says, ‘That’s your uncle talking.’ And we heard also that Owen has been afraid of exactly this kind of thing Luke’s whole life. ‘Follow old Obi-wan on some damn fool idealistic crusade like your father did.’ So consider this fear and Owen’s attitude as one of the major threads running through Luke’s childhood and what kind of influence that had on him. Duty and responsibility are small, household things according to the people who raised him, not grand epic things. People are most important, not cause.

Luke is also a care-taker by nature. He latches on to people and invests in them very easily. The thing that gets him off his ass isn’t the Rebellion or finding out more about his father, those weren’t quite enough, what pushes him to action is the idea that Leia is out there and no one else is going to rescue her. One person, an individual, not the cause. Luke’s decision to believe in Han and to insist he was a better person than he would admit regardless of the evidence drove Han to live up to his expectations. But you know, he basically demanded Han redeem himself and won’t compromise. He’s stubborn and angry. He repeatedly ignores Obi-wan’s advice and instructions and fucks up life-or-death plans because he feels the need to take things into his own hands.

In ESB, he ignores Yoda’s warnings and advice to again take things into his own hands despite being told that will make everything that’s been accomplished vain. He won’t accept that he personally can’t change anything. He takes responsibility for people to the point where their choices don’t matter to him, but in doing this he’s shirking his larger responsibility as The Hero. It’s the I’m gonna save you, anyway energy. Which is certainly idealism and certainly what allows him to eventually save Anakin, but it also nearly gets them all killed on numerous occasions. Maturity is balance between taking no responsibility and taking responsibility for everything, always until your inevitable martyrdom.

As for pragmatism- that is his temptation in the throne room. It’s not about ultimate power in itself, because Luke has never sought power as an end and that’s not a dramatically effective temptation for him. What the Emperor is selling him is the idea that he can use this power to save his friends. He can use this power to shape the galaxy as he sees fit, to create safety for the people he cares about and impose his concept of justice. The temptation is to place practical concerns over ideals, to privilege safety over freedom, privilege individuals he loves over their choices and the cause. Kill Vader because he’s just one already dying warlord who deserves a much worse fate than merciful death, it’s justified, it’s a release; kill him and you will be able to save them. This is your only chance, you have to take it, you’ll be strong enough to only give in a little bit- replace Vader and use the power properly. Save the people who deserve to be saved. You can be trusted to wield justice, you can control it.

That is a very dramatically effective temptation for Luke, because that’s all thinking he’s been shown to have. His priorities over the past two films have aligned with this apparent ultimatum.

The terms the Emperor lays out are that Luke can either concede that killing his father is a ‘necessary evil’ in order to serve the ‘greater good’ and therefore set himself on the path to becoming his father OR he can die uselessly in a doomed moral victory which will result in the end of the Rebellion and the last hope going out of the universe.

Pragmatism says you need to use hate and violence to beat the big bad, you need to sacrifice other people to the cause, you need to keep your head down sometimes and try to live the best life you can under the circumstances, you need to be neutral sometimes, turn a blind eye sometimes, you can’t take a chance on shady people, you can’t save the scourge of the galaxy because he’s too far gone and not worth it, etc. Owen, Obi-wan, Yoda, every authority in his life has reinforced the same binary choice the Emperor now presents between compromise with evil or death.

And Luke is tempted by this because he thinks he can control these outcomes. He thinks it’s his place to keep his people safe no matter what it takes. He flies off the handle when Vader threatens Leia because he doesn’t want her put in this position. He wants to bear this whole burden and always thinks he can, and that protective impulse, that refusal to accept bad situations for others when he can fix it, is the beautiful part of his personality which Palpatine is counting on in his manipulation. It’s always a natural human impulse which can turn to selfishness that someone like Palpatine or Snoke will exploit. Love becomes covetousness, protection becomes control, fear dominates everything.

What Luke eventually rejects is exactly those terms, the whole premise of Palpatine’s argument. He takes a third option. The problem was never that he felt anger or that he passionately wanted to protect people, the terms he rejects are that the ends justify the means and that hate is inevitable. It’s never too late because forgiveness is always possible, because love is unconditional. Pragmatism has no place in a decision about your soul and the value of a person’s life, the value of a person’s life is infinite. The fact that Luke’s faith and selflessness is rewarded is the idealism of Star Wars, but it resonates because it was difficult for him. Cynicism was holding all the cards and his own best instincts were telling him he had to sacrifice principle to live another day, that that was the loving thing to do, he slips into fear and revenge and despair like a dozen times; he wails on his father and only stops because he sees his mechanical hand and remembers where that path leads- we all know how he feels. Metaphorically, we’ve all been there, in the darkest hour, not entirely certain what’s right and afraid of the answer.

In TLJ, Luke’s arc is about learning to forgive himself the way he once forgave Anakin. And it’s exactly the same dilemma about whether the ends justify the means and the danger of surrendering to fatalism and practicality over diligent hope and universal compassion. He tried to take on the entire burden of the family legacy by himself to spare Leia, and tried to take all responsibility for Ben and Ben’s future, that made it something he needed to control. The new added layer is a meta one about being a legend (really, being a hero) and a semi-meta one about ageing and mentorship. As a parent and teacher, Luke reflects his parents and his teachers, but he’s also very much still dealing with exactly the same flaws he has always had. Because ‘being a good person’ isn’t a birthright or a one time achievement, it’s a choice you make every day.

Do you think that Genos's choice of cybernetics was a mistake?

Oh anon. I’m so glad you asked. I’ve been wanting to write about this for so long. You asking is giving me the motivation needed to put ‘pen to paper’ so to speak. I guarantee you that I have not expressed everything I think or feel about this subject but here’s a taste at least. 

The short answer is:

I absolutely do not believe that Genos becoming a cyborg was a mistake. 

Some key ideas in brief: 

The ‘what’ hardly ever matters as much as the ‘why’. “What” Genos is doesn’t matter as long as his motivations align with his actions.  

If you do what must with what you know while and learn more later how can you call that a mistake? It’s just the learning process. I think to say that Genos made a ‘mistake’ by becoming a cyborg gives the past too much credit when it’s really the present that needs to be focused on. I think he did what made sense at the time and to suggest that he’s totally fucked because he just tried to do his best is a really messed up place to take his character and that just doesn’t sit well with me.

Background

I’ve thought a LOT about this and I’m dying to know what ONE will tell us. I’ve made it pretty clear in a number of posts that I don’t think Genos Should have to get his body back in order to break his limiter and/or find fulfillment. In fact, I would really rather see a story where, for once, a cyborg being a cyborg isn’t a tragedy or a sacrifice. 

That said, I’m actually a really big fan of the ‘fight to get one’s body back’ motif. I think it’s entirely heartwarming to see a character experience wholeness in every sense at the conclusion. If, like Hyakkimaru (dororo 2019), or Alphonse and Edward (FMA:B), Genos’ quest was about getting his body back (who knows maybe it is but that’s not what’s been presented so far), I would be all about that! If you can Stan a motif, that’s a motif I Stan hard. At the moment Genos’ quest is about being ‘strong enough’, and I don’t think that has anything to do with whether or not he has what material his physical body is made out from. 

The Physicality of the question

There is a popular assertion that Genos *must* get his ‘real’ body back or he will never be able to break his limiter. I do actually think there is something to the symbolism of that argument (which I’ll get into later) but I find the entire argument disturbingly ablest.

What could possibly be the necessity of getting his physical body back? Being able to heal? Doubtful, unlike most mere mortals no one could ‘heal’ from most of the things Genos has experienced. He can, and does, regularly take risks and do things no ‘normal’ human could do. S-Class heroes ranked higher than him would never literally risk life and limb the way he does. Imagine, for a moment, if Genos started to protect and value his physical form and stop treating it as disposable? He is able to do much of his own superficial repairs. Without making as many reckless decisions Genos might drop in the rankings for a brief time but at the rate he learns he’ll be stronger than ever in no time. Sure he doesn’t have Saitama’s invulnerability- 

BUT Speaking of Saitama’s invulnerability, Saitama’s strength and invulnerability LITERALLY defy all logic. So if breaking one’s limiter is so logic-defying , why then would it be logical for Genos to have a ‘normal’ body in order to break his limiter? What purpose would it serve precisely? It’s like someone took the work-out routine idea a bit too literally. Also even Garou, and Zombieman both show at different points that this world doesn’t follow the conventional rules of science. Even if Genos wasn’t just ‘more careful with his body’ I think the limits of his potential are not constrained by the physicality of his form. While battling EC Genos was able to literally pull himself together. 

Even if the world did follow the laws of ‘science’ there are so many options from the more crude ‘replace and repair’ via drone perhaps? to the more sophisticated nano-tech options. But this isn’t really an argument about the semantics of HOW, the ‘how’ doesn’t matter. 

The point is, I don’t see any reason why Genos would need to have a ‘normal’ human body, with all the normal limitations of a human body, in order to break his limiter. How does a flesh suit provide any advantage to a mech suit if you're just as human either way? I suspect that his limits are not physical but mental and that what Saitama told him in the beginning was shockingly on point. 

The metaphysics of the question, IE what does being a cyborg represent

What I’m dying to know is what does ‘being a cyborg’ represent? How does ONE think of cyborgs? 

There is an idea that when faced with the existential question of one's life, when faced with the reality that the construct one holds to growing up, is flawed, there are a few choices a person is likely to make. One of those choices would be to address the existential question head on and define meaning for oneself. Another, possibly more common, tactic is to jump from one flawed construct to another hoping to find one strong enough to allow the user of that construct to avoid dealing with existential reality. Some may argue that the harm to a soul caused by changing from one construct to another without addressing the issue is an irreversible damage. But is this how ONE thinks of Cyborgs? There is an uncomfortable possibility of that. 

So far, we haven’t met many Cyborgs but both Genos and Webigaza seem to be avoiding addressing the root of their internal turmoil and suffering by attaching themselves to some highly specific and possibly unattainable externalized goal. Perhaps, being a cyborg represents a certain kind of self-destructive cognitive dissonance? but that’s not been unique to the experience of the cyborgs represented in OPM. 

Obviously Genos’ limits are strongly internal, but are his cybernetic parts an expression of that internal conflict more than they are an aid to him? If so, what's the alternative? It seems like a pretty permanent change! But I’m unwilling to accept that a choice a person made for themselves with the information they had at the time could entirely ruin a person's chance at fulfillment later in life. I believe in unlimited growth. I know the process of learning and growing can be painful and can leave literal scars. But if you’re still alive, like Genos is, I believe you still have a chance. 

So, if between now and the end of Genos’ arc ONE finds a way to clearly define why being a cyborg is inherently ‘wrong’ because of what it represents conceptually and how specifically getting a ‘normal’ body back solves that problem, maybe I can accept that Genos should get ‘normal body’. If getting Genos’ body back is integral to his personal fulfillment, I’ll accept a transformation like the one’s I’m so fond of in FMA:B and Dororo 2019. 

But if I were ONE I’d tread lightly on this subject since there doesn’t seem to be as much set up as FMA:B and Dororo 2019. Wherein Both of those stories are explicitly about the character’s getting their bodies back and literally recovering themselves from the sacrifices that were made by them and/or with them. By contrast Genos' story hits much harder for me because he CHOSE to become a cyborg. We don’t know all the reasons why or how much of his ‘normal’ body remained when he asked Kuseno to help him and that would certainly answer some questions. In both Dororo 2019 and FMA:B the individual’s technological aids help the character’s rather than hold them back even while those aids cause pain and limitations. The cybernetics weren’t the problems these characters had to solve they were tools to help the characters solve their other issues that would allow them to restore themselves, they weren’t as linked to identity as they are for Genos. Genos who literally identifies as a ‘Cyborg for Justice.’ Asserting that Genos can’t be a Cyborg and achieve his goals doesn’t just darkly suggest that Genos’ capacity for fulfillment is irreversibly damaged by his decision making structure but it also invalidates his identity. 

What Genos thinks

All that being said it doesn’t really matter what I think, it matters what Genos thinks. Big questions about life, identity, and one’s own body, can’t really be determined by other people. The important thing is, if Genos decides that becoming a cyborg was a mistake, then it was a mistake for him. I think at this point he’s terrified that becoming a cyborg was a mistake but it’s hard for me to see if that terror has settled into certainty or resignation. 

I think if he has a certainty about that question it could give him some calm and clarity to help him make the next steps, after he goes through a grieving process. But I think if he’s resigned to the belief that he made a mistake it might indicate that he doesn’t really want to believe it was a mistake for him, he just believes that the mistake is that it limits him from achieving his goals, which is -in itself- a limiter which could be broken. 

Frankly, I think Genos is wrong to assume that his cyborg body is the problem. Once again rejecting himself, assuming he’s the problem, and focusing on a possibly unsolvable external problem rather than strengthening his mind and working on his internal land-scape. 

Expectations

Despite all of this, I have relatively low expectations. Somehow I expect ONE to write off being a cyborg as a character defect which, although solvable somehow (because ONE does like to provide solutions even if they’re tough ones) is a great sacrifice/tragedy. I do expect that somehow Genos will monsterfy (I doubt he looks so much like Ichigo’s hollow (Bleach) on accident after all) and I would not at all be surprised if this transformation provided him with a new body of some kind, who knows maybe merging flesh and cybernetics to be truly biomechanical (wouldn’t that be something after all?) I expect that Genos will somehow be able to recover and at the end of his arc there will be a path forward and I expect that path forward will be a difficult but achievable one. I am genuinely looking forward to the conclusion, even though I am somewhat expected to be disappointed. 

Conclusion

Genos absolutely doesn’t need a fucking flesh suit to be an hero, to be happy, to be functional member of society, or to be whatever he wants. He can be whatever the fuck he wants. If he wants to be a Cyborg he should be able to be a Cyborg and be happy! But ONE may be using cybernetics as a cautionary tale against emotional/psychological crutches, in which case it would make some degree of sense that ONE would choose to give Genos a stupid flesh suit. And even though I won’t even be mad I will be disappointed. 

>:(

Anyway, that’s my ‘hot take’. 

Feel free to ask any follow up questions! 

The Monster And The Man. Or: Why is Dan’s emotional catharsis less sympathetic than Lucifer’s?

If there’s one character that people seem to be angrier at than Chloe Decker, it’s Dan Espinoza. Chloe came much closer to crossing an unforgivable line in Season 4 than I think many of us expected. Dan, on the other hand, walked up to the line, stepped over it, tried to step back behind it before deciding to light the whole bloody thing on fire.

So, if you’re a fan who’s pissed at Dan, you’re far from alone. The fact of the matter is that Dan Espinoza is the most unlikeable principal character on the show and the hardest to sympathize with. He serves as a foil for Chloe and as a mirror for Lucifer. It’s not an accident that Dan is at his most sympathetic in Season 3, when Lucifer is re-integrating the angelic facets of his identity and is his absolute worst self in Season 4, as Lucifer is coming to terms with his own self-hatred. 

As much as we may hate to give Marcus Pierce credit for anything, the man was an astute judge of character. He had Dan pegged from the moment he met him and it’s an identity Dan alternately embraces and rejects. He is a corrupt cop.

The show’s take on corruption within the LAPD is a subject worthy of it’s own essay, so for now I’m going to focus on Dan and Lucifer’s mirrored stories within 4x07′s “Devil Is As Devil Does”.

In Season 4, both Lucifer and Dan are drowning in the same two emotions - grief and self-hatred. How that manifests, however, is very different. Lucifer turns his emotions on himself. Dan turns them outward, looking for a target and Lucifer makes a very easy and convenient target to punish for Charlotte’s death.

In a different essay, I pointed out that at no point is Lucifer interested in punishing Chloe for her betrayal - what he wants is her acceptance. The same thing is happening with Dan. Lucifer doesn’t default to calling him “Detective Douche” as his go-to nickname. In the majority of scenes, Lucifer refers to him as “Daniel,” even as he outwardly pushes back against Dan’s blame. And, as we will realize at the end of 4x09, Lucifer actually agrees with Dan. Allowing Dan to punish him, within certain boundaries, is the only form of care that his friend will accept from Lucifer.

Lucifer also understands instinctively what Dan is doing. He’s punishing himself. Even in 4x07, as Dan and Lucifer are both hitting rock bottom, when Eve suggests that they punish him Lucifer responds, “His existence is punishment enough.” It’s a cold, cutting statement, befitting how Dan treated him in the wake of Officer Joan’s death, but even Lucifer at his worst puts Dan off-limits.

Dan, unfortunately, does not return the favor.

Both Dan and Lucifer are struggling with the same issue - an innocent officer is dead because they trusted mortal law. Lucifer, however, is in a greater position of power than Dan; he is the Devil. He has the power to punish Julian and driven by grief and rage and pain, with Eve whispering encouragement in his ear, he does just that.

Dan is also in a position of power, but it’s a position of human power and it’s a position he know how to use - and how to abuse. The entirety of Dan’s arc in Season 1 is watching his corrupt choices spiral out of control until multiple people are dead. Season 2, he has a man killed when the justice system sets a guilty man free. Season 3, he’s trying to do better, but once Charlotte is killed he actively embraces the identity of the corrupt cop when facing Pierce’s henchman.

4x07, we see Dan return to an old trick - use someone else to do the dirty work while attempting to keep his hands clean. It’s important to note that Dan doesn’t actually have a problem with Julian’s fate. In fact, he’s gleeful when he leans into his face and taunts him with “cop killer” and how he’s going to suffer in jail. It isn’t until he puts the pieces together and realizes that Lucifer has done this that he’s able to justify putting a target on Lucifer’s back. Worse, Lucifer has succeeded in delivering Julian to the police to be tried and jailed.

So, Dan pulls out his detective skills - and it’s a good reminder that Dan, for all his flaws, is a formidable detective when motivated. He manages to find Lucifer’s cigarette in the trash, which is circumstantial, but enough justification for his desire. He wants Lucifer punished, to feel every bit of pain that Dan is currently feeling. So he whispers Lucifer’s name in Jacob Tiernan’s ear and waits to see the chaos unfold.

Dan’s hubris is that he has completely underestimated what kind of man Jacob Tiernan is and even before they realize that Trixie is in danger you can see Dan begin to panic. For all that he wants Lucifer punished, he doesn’t want Lucifer dead. It’s a bit of a truism that the opposite of love isn’t hate, it’s indifference. Dan is angry at Lucifer because he cares and because he views Lucifer as a safe target to vent his anger at because of their past friendship. This moment is when his self-protective bubble of anger pops. Dan has put Lucifer in mortal danger and even though Dan knows full well that Lucifer can take care of himself (and has seen evidence of it), Lucifer isn’t bulletproof as far as he knows.

And then Chloe realizes that Trixie has snuck out of the house to see Lucifer and Dan’s entire world threatens to shatter. In one fell swoop not only is his daughter’s life in danger, along with Lucifer’s, but Chloe’s respect for him is on the line as well if she finds out. Then there’s the cherry on top, his career. The monster hiding in Dan’s psyche is the corrupt cop and it’s a monster he doesn’t want to be.

Dan’s hits rock bottom the moment he bursts out of that elevator to find Lucifer having subdued Tiernan’s henchmen and Trixie safe on the balcony. Dan is shamed - not only did he put his daughter’s life in jeopardy but the very man he wanted to punish is the one who was ultimately able to protect her. 

Lucifer hasn’t quite hit his yet (that’ll come when he sees his wings) but he’s been knocked away from the same edge that Dan’s been on the entire season, and twice - first when Chloe confronts him with what he already knows - what he did was wrong and he knows it, even if he’s not willing to admit it. The image of Chloe disappointed in him with tears streaming down her face, is enough to have Lucifer stalling and it’s something that Eve points out.

The second time is when Trixie - one of the few truly innocent characters on the show - bounces into his penthouse and demonstrates her complete faith in Lucifer in a season when even Chloe is struggling with reconciling the good man she knows and the Devil who is capable of dealing out punishment with cruel sense of irony. 

Dan putting Trixie’s life in danger gives Lucifer a second chance. He failed to protect Officer Joan. But when it truly matters, when Trixie’s life is on the line, Lucifer does not fail. Dan bursts in to Lucifer’s triumph in the face of his own failure. Only now he doesn’t have the shield of his anger to hide behind anymore. He’s lost, confused and in pain. He’s waiting to be punished. The moment when Tiernan’s thug tells Chloe that Tiernan found out that Lucifer broke Julian’s back is drawn out, letting the audience feel Dan’s agony, caught between terror and relief at being found out. 

And then he gets away with it. Scot-free, as far as Dan knows. (For now. God bless Ella Lopez). All’s well that ends well, right? After all, Trixie is fine, Lucifer is fine. 

Not quite. Dan now has to figure out how he’s going to reconcile the man and the monster. He may not have a pair of devil wings to show him how far he’s fallen, but he doesn’t need them. All he has to do is look at his daughter’s face and know that she’s still breathing because the man he was angry enough to punish was the one to protect her, not him. Neither the corrupt cop nor the Devil is an instrument of justice, a realization that both Dan and Lucifer have come to by the end of the episode. 

It’s easy to be flip and simply say that Lucifer engenders more sympathy than Dan because Lucifer hasn’t spent the entirety of Season 4 up to this point being a jerk, but that isn’t entirely true. Lucifer’s pain is very much a consequence of his own choices. He rebelled against his father. He spent millennia “sowing destruction and chaos for his own amusement” (thank you Amenadiel). Those seeds grew into the stories that shook Chloe’s faith in him. It doesn’t excuse her choices, but it puts them into a context that is perfectly understandable. Lucifer is the Devil.

The Devil is so much more powerful a character than Dan Espinoza, corrupt cop. As out of line as Lucifer is in this episode, he does not abuse his power to the extent that Dan does. He could have killed Julian, completely circumventing human law and sending Julian straight into Lucifer’s territory, to do with as he pleases. What Lucifer does to Julian is horrific enough, but he’s still delivered to the police, able to be tried for both human trafficking and Officer Joan’s murder. And, when confronted with the consequences of that choice, Lucifer makes a different choice with Jacob Tiernan. He recognizes that the punishment Tiernan deserves is within the realm of human law, not celestial justice. And he acknowledges that he was wrong directly to Chloe.

Dan’s power is much more limited and when he abuses it he does so almost to his fullest extent. It’s not an accident that the next episode deals with police brutality and Dan is faced with having to tell Amenadiel that, despite putting in a complaint, the officers that nearly shot an unarmed black kid won’t face any consequences. Just as Dan isn’t facing any consequences for his own actions. Moreover, Dan isn’t confessing what he did to anyone, even when he has the opportunity to in the very next scene with Ella pulling him aside to tell him that she knows there was a cop involved in the Tiernan case.

Contrast this with Lucifer who within the first twenty minutes of 4x07 tells Chloe the truth - and Chloe’s response illustrates the power difference very starkly. “What am I supposed to do with this?” Lucifer is the Devil. He doesn’t have to follow human law if he doesn’t want to. Chloe literally has no way to hold him to account except to confront him with his own conscience and hope that she gets through to him.

The pettiness of Dan’s actions and the limits of his power are what help throw Dan into a much more unsympathetic light than Lucifer.

It’s easier for us to parse a corrupt cop backsliding than it is to watch the Devil himself do the same. Unlike Lucifer, Dan could be held to account. He’s gotten multiple people killed. He’s put others in danger and it’s a choice that he keeps making over and over again. 

In a just world, Dan Espinoza would have been drummed out of the LAPD at the end of Season 1. He ought to be in jail himself and he knows it. We have seen his perspective and we understand and sympathize with each step he took to get here, but all the good intentions in the world do not justify Dan’s actions.

But this isn’t a just world and Dan is protected first by luck and later by Ella, who prioritizes mercy over punishment. Dan’s pain and need for help are more important to her than what almost happened in Lucifer’s penthouse. (Presumably Ella, who joined the LAPD in Season 2 and is also unaware of Dan giving up Warden Perry to the Russian mob, is missing the fact that this is an established pattern of behavior). 

Because this is a show about redemption, we feel a certain amount of relief as Dan begins to get the help he needs to move on after Charlotte’s murder. But true redemption doesn’t just require an acknowledgment that your actions were wrong. It also requires restitution. And Dan has not offered that since the ending of Season 1, when he turned himself in to prevent Lucifer from going down for murder. My biggest wish for Dan in Season 5 would be to see him take responsibility for his choices, even when the consequences are dire.