anghraine's meta

Korra and elemental identity (Book 1)

Every now and then, someone points out that Korra doesn’t seem to use her native element much, or act like a “proper” waterbender, or whatever. As a criticism of Korra, I agree that it’s particularly inane, but it seems people are in such a hurry to defend her that we don’t stop to think about why.

So, I’ve been thinking about why ;)

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It is not that the physical appearance of casts are beneath critical attention; it could be worthwhile to consider the frequent casting of Pride and Prejudice’s angelic Jane Bennet, described only as beautiful and heavier than her sister Elizabeth, as a willowy blonde, or the Lord of the Rings films taking pains to replicate the descriptions of the fair, Anglo-based Rohirrim but not the dark, Mediterranean-inspired Gondorians. Nearer to the topic at hand, one might even consider why it is that Cesare Borgia, traditionally considered a monster, is all but invariably portrayed as dark in art and cinema, despite the description of him in his twenties as “bello e biondo,” beautiful and blond (Sabatini 192). The popular images of his sister Lucrezia, however, have become consistently golden-haired with her demotion from chief villain to vapid tool of her family. The historical Lucrezia was, in fact, blonde, so this might seem unworthy of comment to a purist of the fidelity school. Yet it seems clear to me that what an adaptation retains from its source material is no less significant, and potentially suggestive, than what is ignored or altered.

this is pretty much eight years of ranting concentrated into a single paragraph

I ran across that “Austen’s heroines all, by some chance, marry gorgeous, fabulously rich men” thing again, ugh


two hundred year old spoilers within

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Elizabeth's feelings about Darcy

I was once writing a fic series about this but got lured away by the siren song of Star Wars. Anyway, I’ve been meaning to provide a guide to the evolution of Elizabeth’s emotions for awhile, and at long last I have time to myself, so–here goes.

note from the future: omfg this is ridiculously long, basically all my thoughts on their entire relationship after the first proposal crossed with a recap. every time I try to shorten it, it just grows again. CONSIDER YOURSELF FOREWARNED.

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Cesare and Kuvira
it’s all crocordile’s fault! Juliana, I am sure you know some/all of this, but other people may read it, so I’m talking like you don’t, sorry :P Kuvira reminds me of Cesare Borgia, a lot. And this is why.

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self-praise meme

Stolen from ta-dala: Repost this, then list the six ten posts you’re proudest of (all lists should be in sets of ten and I am not obsessive at all)

I personally excluded fic, photosets, and reposts of old stuff

1) why I don’t like the dragon argument

Why I intensely dislike “if you can have dragons, you can have marginalized people in your fantasy,” as a member of several of those groups.

2) Cesare and Kuvira

I might have written a post comparing Kuvira from LOK and Cesare Borgia. I might have reblogged it with a works cited afterwards.

3) Ernil

Why I see Aragorn as a model Machiavellian prince (and yes, still a decent person).

4) Elizabeth’s grand theory of Faramirs

Book!Faramir and movie!Faramir are incomparable less because of different media, and more because they are completely dissimilar in pretty much every conceivable way.

5) untitled (quasi-narcissistic love)

Why character parallels are my great tropey weakness.

6) woobies (again) and arrows

Why glimmers of good qualities in a pretty nasty character, or vice-versa, appeal strongly to people and that’s okay.

7) why men need to stop whining about Fitzwilliam Darcy

Darcy is not the perfect man and he does not get completely transformed by love; he’s appealing to many women because he respects the woman he loves enough to actually listen to her, even when she’s partially wrong, and takes no for an answer.

8) Korra and elemental identity

Book 1!Korra is a waterbender by birth, but an earthbender by temperament; the strengths and values of water are something that she needs and begins to regain over the course of the season.

9) Borgias and Hogwarts Houses

Exactly what it says on the tin: chiefly discussing their character development through the lens of Slytherdor!Cesare and Slytherpuff!Lucrezia, with some Gryffindor!Juan, Slytherin!Rodrigo, Slytherdor!Vanozza, and Hufflepuff!Alfonso on the way.

(Never finished, but I do have about half of the final piece written >_>)

10) Elizabeth’s feelings about Darcy

Charting the development of Elizabeth’s love for Darcy from the Hunsford proposal onwards. Yes, literally everything. With quotes. Lots of quotes.

Honourable mentions: untitled (why the defenses of the white mcwhiteperson casting of the LOTR movies are fucked-up) and untitled (why I actually don’t like the C/L arc in S3, contrary to all appearances)

tagging: steinbecks, crocordile, greenkaorichan, ikkinthekitsune, kareenvorbarra, heckofabecca, hobbitballerina, quentyl, mahidevrans, thessalies

anonymous asked:

do you have any thoughts on juan-the-show-character? like, what his relationship with vanozza was like, what his relationship with jofre was like? i feel as though he was a character that was only presented with certain relationships (rodrigo, cesare, snippets of lucrezia) but not given much of a role other than "Family Fuckup."


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anonymous asked:

I don't understand, what are your feelings on the problem of Susan? I take it most people are angry, or at least disappointed, about the implications of her ultimate fate. You don't think it was problematic?

Of course it is. It comes out of virtually nowhere and is very, very gendered. What I dislike is the constant, uncritical parroting of things like this, which is virtually the only thing I ever see about her:

There comes a point where Susan, who was the older girl, is lost to Narnia because she becomes interested in lipstick. She’s become irreligious basically because she found sex. I have a big problem with that.” (JK Rowling)

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anonymous asked:

Hi, Anghraine! I would like to ask your opinion over the idea that P&P is mostly told from Lizzy's PoV with her opinions, which explains why certain characters are more one dimensional. Do you think this idea has some merit or do you think that things like, the fact that sometimes we gets the narrator outright pointing Darcy's feelings long before Lizzy had an idea of them, invalidates it?

Hello, and thanks for the P&P ask!

That idea is one of my pet peeves, honestly, as Elizabeth is manifestly not the narrator. P&P combines an omniscient narrator with free indirect style, which muddies the waters a bit, but ultimately Elizabeth’s perspective is just one (if the most prominent) of many we see in P&P. Even if we set aside Darcy’s scenes, here is a small sample of other POVs:

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celebrating Mother's Day with Vanozza meta :)

Vanozza <3 <3 <3

Awhile back, an anon asked me about my feelings about Vanozza. I keep losing replies, but it seemed an appropriate day to respond–so if you’re still out there, anon, here you are!

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anonymous asked:

I feel bad for spaming your inbox, but if I ever got an account I'd seriously just reblog your whole blog XD Do you think real life L is closer to Showtime L (perhaps minus the killing)? Sometimes C comes off as having an unhealthy obsession with L in RL, with all the dead lovers he kills of hers, but I think the weirdest thing that no one really remarks all that much on is how ok with it ultimately L is? I mean to the point that it seems the obsession is mutual? Sure C lemme be your spy haha

Thanks :)

(Though in that case I hope you like Star Wars :D)

Showtime’s portrayal of Lucrezia is—well, honestly, I think it’s pretty messy. It seems that they’re simultaneously trying to portray the Lucrezia of real life, the Lucrezia of the Borgia myth, and the Lucrezia that suits the show’s narrative. Each of the three is compelling and a totally valid choice artistically, but the combination of all of them doesn’t always work well, and she’s often given less attention than Cesare and Rodrigo, so she seems very incoherent at times. 

So there are definitely things that I don’t think are true to Lucrezia the person (or even Lucrezia as-otherwise-characterized-in-the-show!). That said, I do feel that there’s always a respect for her—for the woman who inspired her, and the show tried to be fair to her even while incorporating the more sensationalist material. In particular, there’s a consistent effort to show a tension between the side of her that’s sly, cunning, manipulative, seeking and relishing power for both herself and her family, and her basic good nature and kindness. 

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anonymous asked:

Does Lucrezia's very quick about face on the death of Alfonso, almost prove that Alfonso was not nearly as innocent as he seemed (i mean killing him was wrong, yes, but I mean their likely was a good reason) since Cesare manages to convince her in such a short amount of time, and not only that, but have them be almost stronger for it? I mean as much as she loves Cesare, that's a really horrifying assassination played out right in front of her, not to mention he was her husband.

Prove it? No. Suggest it, perhaps.

I’ve mentioned before that Lucrezia’s own character is really the crux of the situation. The implications of the reconciliation at Nepi and her closeness with Cesare afterwards (I agree, they seem if anything more devoted from that point on, and their most extravagant and arguably selfless displays of affection come from that period) depend on what she was like. And Lucrezia is an enigma.

It’s like a scale: the more we weight the idea of Lucrezia as a blameless, innocent model of virtue and proper feeling, the less sense we can make out of her swerving around to renewed intimacy with Cesare and loyalty to family interests, except by supposing some other reason. The more we regard her as cold, ambitious and entrenched in Borgia interests, the easier it is to accept the totality of the reconciliation—and the less we need to look around for other reasons. 

So, traditionally, there are two images of Lucrezia: the ruthless evil villainness Lucrezia and the sweet vapid victim Lucrezia. At the first extreme, it’s perfectly easy to understand her shrugging off her husband’s murder, but… not much else; at the latter, much of her day-to-day conduct makes more sense, but we have to assume she knew some terrible secret about Alfonso or something and was terrorized and dominated by Cesare to the point of pursuing his interests when he was imprisoned in a different country for years. The reality, I think we all have to agree, was somewhere in between; unless Lucrezia was incredibly unfeeling, it seems likely that Cesare’s hatred of Alfonso (on record) had some basis that satisfied her, but from what we know of Alfonso, not a serious plot. I don’t think he was an innocent lamb, but lbr nobody was.

(Personally, I think Alfonso very probably got up to his neck in the Colonna plots, and may have followed his sister’s lead in her open antagonism with Cesare, but without anything like her skill or nerve. Not reasons that would have satisfied someone who was not Lucrezia Borgia, but there you go.)

I am gradually discovering that virtually everyone takes the severance from the previous Avatars waaaaay more seriously than I do

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Watch on

my video on entailments and dowries, cut down slightly, for crocordile and beguilingblackness

obligatory disclaimer: I am not a legal expert! or a historian! I probably don’t properly distinguish between entailments and settlements! 

a general overview though

smiles in P&P

so, awhile back I might have counted the number of times the characters in P&P smile, or are mentioned as smiling. for general edification:

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