Saltburn (2023) dir. Emerald Fennell
Dianna Wynne Jones, Howl's Moving Castle
Ada Limón, Lies About Sea Creatures
Sharon Olds, in an interview with Sarah V. Schweig for BOMBLOG (archived by poetry.com)
Florence + The Machine, I'm Not Calling You a Liar
S. E. Hinton, The Outsiders
Richard Siken, Cover Story
Alfie (2004) dir. Charles Shyer
Sam Shepard, 'Tooth of Crime' from Seven Plays
Passenger, The Boy Who Cried Wolf
Charlie Smith, Liar
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IDENTITY 4 IDENTITY ARCHIVE ———
a blog archiving x4x terms
this blog runs on a queue, and I add terms as I see fit, please feel free to tag me in your coins that fit the x4x format
follow @/x4xarchive ! this blog is directly inspired, and my intention was to provide a blog that has a tagging system to navigate, as well as hopefully provide image id and plain text when I have the time
tagging navigation below cut
TAGGING SYSTEM ———
posts are tagged with a theme;
theme: media , theme: identity etc
elaborating upon those themes are specific identities and more narrow tags
id: bear , id: bpd , media: dc etc
extra tags: has id , has pt , no id , no pt
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The Barbie movie really said. Yes you will grow up and childhood wonder will vanish. Yes you will grow up and learn to hate yourself, your body, your awkwardness. Yes you will grow up and lose your confidence and certainty and sense of purpose. Yes you will grow up and the world will seem a bleaker, lonelier place every day, and society will seem bleaker and lonelier every day, and you won’t understand what went wrong in the span of just a few years, what took you from a happy and secure young girl to a sad, uncertain, scared grown woman.
And yet. You will learn to find beauty again. You will find joy in not having a purpose, in building a purpose for yourself. You will find beauty in connection, with the people and the world around you. You will learn to love signs of ageing as proof of a life well lived, of experience and happiness. You will take that little girl by the hand and tell her “I know, this isn’t what you thought it would be, but it’s real. Let me show you how beautiful it can be.”
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While theorising about the events to come in future seasons, I just keep going back to the question about who Mizu's parents really are.
So to try to figure it out, let's go over what we already know about Mizu's parentage and the white men. This info is from the flashback of Mizu as a baby in Episode 3, from the bounty hunters who came to kill Mizu in Episode 5, and from Fowler's reveals in Episode 8, assuming that everything he said is the truth.
Mizu must be someone important, as Fowler calls her Little Miss. It is capitalised in the Netflix official subtitles. This implies that Little Miss is something like a title, rather than just a nickname.
There is a bounty on Mizu's head with a sum few can resist. Whoever is trying to kill Mizu is rich and powerful.
Two men are sent to kill Mizu as a baby. They are Japanese. We know this because their swords are both katanas, and they're shocked when they see Mizu's blue eyes, discovering she's a "half-breed." Man #2 also calls her a "devil child" at the end of the flashback.
Man #2 is hesitant to kill her, as she's "only an infant," and ends up killing Man #1 to stop him from killing Mizu. Man #2 then gives Mizu to Mama, who is actually her maid.
Mama is paid to keep Mizu hidden. Mama does as told for years. We can infer that there was a steady stream of income going towards her, as she did as told until "the money ran out."
Skeffington and Routeley were the "worst" of the four white men, making their money from "selling Japan's unwanted daughters." Unwanted daughters like Mizu.
One of the white men "tried to burn Mizu alive as a baby."
One of the white men killed Mizu's mother ("Don't you want to know which one killed your mother?").
When bounty hunters came to the ranch to ambush Mizu, she asked them which white man they worked for. They only replied that the only white person they see is her. This could just be a way to avoid her question, or it could also imply that they do not work for a white man at all.
So from this, again assuming this is all true, let's go over some things:
The white men are NOT the ones who paid Mama to protect Mizu, as one of them had been responsible for trying to burn Mizu alive as a baby.
Mizu's mother was killed by one of the white men. She likely died protecting Mizu.
If it was the white father who tried to kill Mizu and her mother, then it's likely the mother's side who paid Mama to hide Mizu.
Mizu's mother must have been rich enough to afford servants.
Mizu's mother must have been someone powerful enough to have been in the shogun's inner circle, allowing contact between her and the white men.
Furthermore:
Mizu's mother should be someone tied to existing characters, to make the reveal of her identity more narratively significant.
So with all that said, let me dip my toes into wild theory-land for a bit and propose a new idea.
WHAT IF: Mizu's mother was a concubine or even the previous wife of the Shogun? And, considering how people have pointed out how similar Lady Itoh and Mizu look (credits to @roninzuzu in particular for her post on this), what if, maybe just maybe, Mizu's mother was also Lady Itoh's sister?
If this is true, then Mizu's connection to the shogunate would explain why and how Fowler knew so much about Mizu's past, especially regarding her maid taking care of her, etc. This is because Fowler is allied with the Shogun himself, as well as one of the shogun's closest advisors, Master Chiba. So if it were true that the previous wife/consort of the shogun gave birth to a blue-eyed baby, it would've been a big scandal that was certain to reach Master Chiba's ears, and he would have in turn informed Fowler about it.
If this is the case, both the shogun and the white man would be trying to kill Mizu and her mother. The shogun would be trying to cover up the scandal, while the white man would be furious that she wanted to keep the baby at all, as the scandal likely ruined his business dealings in Japan and forced him to retreat back to London or wherever else he came from.
But then, if that is the case, then who would have been the one paying Mizu's maid to take care of her? I think it's Lady Itoh. If she and Mizu's mother had indeed been sisters, perhaps Lady Itoh went behind the shogun's back to protect her sister and her baby niece. Because maybe Lady Itoh knew that Mizu's mother had wanted to protect her no matter what happened. In such a case, what kept Mizu alive would thus have been love. Her mother's love. In this scenario, Mizu would have been brought into the world through the sheer strength of her mother's unconditional love. This would be a very poignant message that overturns everything Mizu believes about herself.
Moreover, Mizu having connections to the shogunate would inevitably lead to her wanting to discover the truth about her mother's identity. This would thus bring Mizu back to Edo palace, and would neatly tie Mizu and Akemi's storylines together again, letting them cross paths once more and work together to face the main plot-conflict.
TL;DR it's my crazy theory that Mizu's dead mom was the sister of Lady Itoh and the previous consort of Shogun Itoh. She had an affair with one of the white men, and against her better judgement and against what everyone else wants from her, she decided to keep Mizu. By making this decision, she risked and sacrificed everything for Mizu, out of love.
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Jeanette Winterson, Lighthousekeeping
Jerry Spinelli, Stargirl
Catherynne M. Valente, The Girl who Soared over Fairyland and Cut the Moon in Two
Charles Wright, The Fever Toy
Neil Gaiman, Coraline
Carmen Maria Machado, In the Dream House
Margaret Atwood, The Handmaid's Tale
Jerry Spinelli, Stargirl
Rick Riordan, Percy Jackson and the Lightning Thief
A. L. Kitselman
Jeanette Winterson, Oranges Are Not the Only Fruit
Elie Weisel, The Gates of the Forest
Jean Baudrillard, Cool Memories
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The Widow
How easily the ripe grain
Leaves the husk
At the simple turning of the planet
There is no season
That requires us
Masters of forgetting
Threading the eyeless rocks with
A narrow light
In which ciphers wake and evil
Gets itself the face of the norm
And contrives cities
The Widow rises under our fingernails
In this sky we were born we are born
And you weep wishing you were numbers
You multiply you cannot be found
You grieve
Not that heaven does not exist but
That it exists without us
You confide
In images in things that can be
Represented which is their dimension you
Require them you say This
Is real and you do not fall down and moan
Not seeing the irony in the air
Everything that does not need you is real
The Widow does not
Hear you and your cry is numberless
This is the waking landscape
Dream after dream after dream walking away through it
Invisible invisible invisible
-- W.S. Merwin
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