@yassmines right like ????? literally what is the damn point in being with someone if u don’t even try to take an interest with what makes their heart beat faster like if my s/o was like omg will u try to play whatever stupid ass game they love to play i’d be like yeah!! even tho i usually don’t!! because it’d make me happy to make them happy like i can’t even FATHOM telling ur s/o like straight in the eyes “no” when u ask them “do u wanna see what i’ve been doing lately??” or “hey do u wanna hear this song it’s my favourite”… wow im getting so heated BUT there’s literally no point in pretending to love someone if u can’t take an inkling of interest in their hobbies and passions and creative outlets i don’t understand ppl
Having both Chiron and Lilith (3rd House - planet of communication) in Scorpio is still something that is very potent with me even to this day. I think that my Chiron placement, from an incredibly young age, wounded me the most. Growing up I never felt listened, ever, nobody wanted to hear what I had to say; I guess I just never had a person to confide in or to share my thoughts with. I can’t recall a point in time where someone close to me listened, at least not when I was younger. But still, I look at my friendships and there’s a similar problem; it’s always been prevalent. I don’t mind listening to what my friends have to say. In fact, our conversations can sometimes be quite humorous and easygoing. But the thing is, we always discuss the things that only they want to speak about, their favorite topics, what they are interested in. But me? Never. I engage in conversations with them and it’s fine, it’s cool, but I can’t talk about what fascinates me. They don’t want to hear it. I can’t talk about my favorite subjects around them. I like discussing art forms, like film, music, literature, and I also like discussing politics, the state of the world, the intricacies of the universe, and more. But with them I just think it’s mostly superficial stuff, or things that I don’t know much about; it’s only ever what they enjoy. I can’t speak about astrology around them, even though I like it very much, or outer space in general. And my favorite thing of all: films. It kind of sucks to have to conceal my favorite passion around them, just because they don’t necessarily want to hear what I have to say about it…. Then again, how could I explain to them what film means to me? It is impossible.
Tbh I would just prefer at this point if bioware just made all the characters potentially romanceable by ur character no matter ur gender. Like ordinarily I’d be all about having some characters gay some bi etcetera but just the way it’s been played up to and including now? With these mass effect games? Like I just honestly want to be able to romance the women I’d like to romance in those games without bioware shutting me down cuz they’re all straight
“Someone said this:
“Even if you have no memories of being loved, for as long as you have memories of loving someone, you can continue to live.”
…But how is someone who has never been loved be capable of loving someone else?
A child who wasn’t able to receive the minimal love they required at the time they needed it the most will continue to gaze at the illusion of affection and never know how to love until the day they die.
Well, how about me? Can I continue to live?”
Furuta grew up without love, surrounded by the products of Tsuneyoshi’s fucked up harem. The only person who seems to have shown any affection at all for him, as seen in the flashback in this chapter, is Rize. Rize who cared if he died when she ate him. Rize who played with him. Rize, whose fate he was fully aware of. Who he saved, because at some point, or maybe deep down still, he understood that that fate is wrong. She was the only thing he had, and he let her go, for her sake.
In this explanation to Kaneki, he mentions explicitly that as a child, he had these childish ideas of love and marriage in the future for them. Things he gave up for her safety from the men of the main Washuu house.
Even when he’s being crude and creepy, talking about Rize having all of those children for him, he references 101 Dalmatians. A Disney movie. And one with some of the healthiest romances, both between the dogs and the humans.
Even now, he’s looking at a Disney movie where two dogs snuggle each other. Where these two dogs have 15 puppies who they risk their lives to save. And who adopt 84 other puppies who would otherwise be dead. When you think about him as someone who grew up surrounded by who knows how many half-siblings, in the Garden like he did - this is basically him saying he wants a Disney Romance.
Which is not to say that the way he’s speaking isn’t terrible. That the tropes he’s using aren’t horrible and misogynistic. They are. Furuta, as he always has, is falling back on farce and drama, on systems of power that he himself as already explicitly told you he condemns. Furuta switches between honest and lying, between truth and exaggeration, between real emotion and fake dramatic flare over and over.
He speaks in this weird mix between a cynical jaded, crude adult, and a desperate, sad, idealistic, stubborn child. Like with his big speech to Eto about V in 66, I think this chapter he is mixing truth and fiction. Sometimes strategically, sometimes just because.
@linkspooky pointed out to me that it almost seems that the more honest he’s being, the less of his face is shown. Times when he’s really approaching sincerity and seriousness, he’s shown from the side.
Where as most of the time, he’s hidden under his flare and his masks and his drama.
Furuta, for all his fake emotion, is clearly uncomfortable with the real thing. Uncomfortable when people make him feel things and uncomfortable expressing emotion. Uncomfortable and unskilled and really parsing it.
Instead, he falls back on theatre and performance and lies.
When he says he couldn’t bare the thought of her having a kid after being free for so long… was he talking (just) about jealousy, or was he talking about the fact that the CCG, and thus V, was gaining on her - had almost captured her in the 6th ward and gotten Shachi in the struggle, and was well on their way to tracking her down again? Was he talking about not wanting her to be free, or about after all that time, still not being able to accept the idea of her being recaptured by V and used by the Washuu men like that.
He used her too, of course - and brutally. I think he was mad at her not only for wasting the freedom he helped her win, for almost getting caught again - but also because he still cares. And he doesn’t want to still care about her. So he punished her for his own feelings. Furuta is… not a fan of his own feelings. And he’s childish.
Its not an excuse for what he did to her, but I do think he acted when he did, if not the way he did, because if he hadn’t, there was a very real chance she’d have returned to her old fate. And that, he could not abide. Even now.
What he did, to Rize, in taking her power and undergoing that surgery himself, in killing off all the Washuu, taking leadership of the CCG - he gives multiple reasons for it even in this one conversation with Kaneki. On the one hand, in his proposal to Kaneki, he sets up a clear role for himself - as a villain to unite ghouls and humans against (Kaneki’s team, rather than the CCG and Clowns in this case) and introduces it as a big production, culminating in his own, rather than Kaneki’s death - ever suicidal as he is.
But explicitly, he also claims that people don’t need reasons for what they do. He also claims that he is doing what he wants to do, and that he is doing what he wanted to do as a child.
I think all of these have a grain of truth to them. He talks in such a way that mixes narratives, mixes truth and fiction, and sometimes just because its easier to talk with (half)fake emotion than real ones.
I think that Furuta, the nearly 6 year old child wants to destroy the toxic terrible “family” that used and abused him, and create in its place a 101 Dalmations style family, with him and Rize as Pongo and Perdita. A big loving, new Washuu family. This part of Furuta doesn’t care about ghouls or humans or Kaneki Ken or Eto Yoshimura or any of that at all.
But Furuta is also an adult, and became one probably much too quickly, if he knew what awaited Rize and helped her escape because if it. And the Adult Furuta knows he can’t have any of that. That Rize forgot about him and doesn’t love him back and that he burned that bridge by dropping those beams. His children with her are going to be via Kanou. Anything new will be born from death and fire and war. Adult Furuta has plans. Adult Furuta wants.…something… out of all of this. Some grand finale.
Part of Furuta is still that child - still wants Rize to come back to him and love him and play with him (and maybe kill him). Wants a big happy Disney ending for them. But he also knows he can never really have that. He’s known that he could never have that, because of how he was born. That’s the irony of that line, about the life he has and how he might as well. Because he was born to NEVER get what he wanted, ever. (And yet - and yet he fights back - viciously and endlessly and savagely, despite being born only to serve.) Because he has grown up now, and he’s done terrible things, and he knows that that happiness is impossible. But he’s also 6 years old and desperate and lonely.
I personally have thought for a long time that Rize is being set up as the one who will kill Furuta. I just hope (though I don’t necessarily expect) that they will get a chance to talk before it happens, or when he’s dying, or something. A chance for him to thank her for finally killing him, after all this time. A chance for him to say sorry, or not to - to say he’s glad he did it if it ended there, with him dying in her arms.
I still don’t think Furuta thinks any way about women, in general, though I understand why people see this pattern. It’s certainly a power structure highlighted by his character, either way. I think he probably has a good deal of the background misogyny of the culture and of the Washuu clan in his upbringing, but he also has a deep seeded hatred for everything about that upbringing. His understanding of things is so twisted and bent around this terrible place he was raised in, and the world he was forced to live in, that its honestly a miracle he’s still fighting for something different.
But Furuta sees every structure as a farce, as a mask, as a tool, rather than a truth. And he plays with these tropes of misogyny and discards them just as quickly. He’s making himself out to be a villain, to be crude, to be cruel. And it’s no excuse for his actions - for the very real fate Rize suffered at his hands. But he deals with Matsumae as a failed knight and a hypocrite, not as a woman. He plays with misogyny and its masks and its power system when he’s mock-flirting with Eto, but the next second he throws it away. He has no regard for masculinity or its virtues. Its a game to him. And that is a nasty and dangerous way to look at a very serious thing. Which is a great metaphor for Furuta who sees farce in everything. And is setting up a grand theater with all of Tokyo as its stage, possibly to write his own death into the final act.
“When I unveil this, won’t you come play with me?” He knows what Kaneki wants. He knows who Kaneki will save. He knows who Kaneki will kill. He still wants to die, and he seems to like the idea of dying to make things better, in a sense. And still, he’s speaking like a child. Come play, Kaneki.
“Doesn’t it make you want to die?
If you die, you can get cured you know. (This is true.)
So if you were planning on giving me something.
In this year, I want four times more of that love or hate.
Let’s all pray that what I am about to say will have become obsolete by next Sunday night or the end of the series, but still, it needs to be said.
This scene is nonsensical garbage.
So much progress destroyed in a heartbeat. And turns out it’s not even Sherlock’s doing.
You know what I hate the most about it? Molly Hooper is a tool. And I’m not even talking of her having to deliver John’s message. Which is dreadful enough.
I’m thinking ‘narrative tool’.
Molly is undermined as being Victorian Mrs. Hudson’s worst nightmare: a plot device. This scene erases what Molly fundamentally is only to emphasise the drama going on between John and Sherlock. All I’ve read since are wonderful attempts in fanfic to fix this mistake. Because let’s face it. The Molly Hooper we know would never have agreed to say such a thing without at least providing some sort of comfort to Sherlock. Amirite? I call that a royal screw up. This is Mofftiss yet again shifting things around to serve their purpose.
You can’t blame them for distancing their writing from ACD’s. They did their own version. Fine. But I am not going to let slide the fact that they managed to betray their one and only original creation. In one single line! All because everything needs to revolve around the two blokes.
Now, putting that disgusting fact aside and focusing on the story: by the end of the first episode, not one but two main characters are sacrificing themselves for the sake of keeping this toxic relationship at the center of the stage (and female ones at that. Talk about feminism. Is that what TAB was about Mofftiss? To get you off the hook for what is to come?).
One of them is even sacrificing herself in the most literal sense.
And you know what? I should have known. They keep repeating it and yet I didn’t listen. It’s all about the two blokes. Molly doesn’t count. Mary even less. I’m heartbroken.
What’s the point of my rant? This:
It is of course too late for Mary. And that’s a massive shame. But Molly. Molly Hooper is due. She is fucking due. If nothing comes out of this, and I’m talking BIG, I’m done.