i'm just going to leave this here for whomever might like to see it

anonymous asked:

Isn't it funny how they're trying to rehab Rebecca's image, and yet (from what I've seen) Chrissie is the one getting more likable by the month? Rebecca redeemed a White... it just ended up being her sis lol

here’s my thing anon, here’s my stonking big problem with Miss Universally Adored Rebecca White:

(why do i keep making these posts im sorry)

It sort seems like they’ve tried to make her a sympathetic character by simply trying to take away her agency entirely. And this might not be accurate, because she is so hard to understand as a character. I don’t know how we’re supposed to take her? She gets a lot of moments where she’s sad about the sorry state of her life but also a lot of moments where she’s actively sabotaging everyone around her.

I can’t think of the last time she made a decision on her own, without anyone influencing her. Legitimately, I can’t. She’s either going by what Robert suggests, or Chrissie, or Victoria, or whomever is around her and… it just seems like she can’t do anything herself. And I sometimes wonder if it is designed that way to make her often underhanded actions seem less terrible, because poor Rebecca, she’s not the only one to blame, it was way more the fault of [insert this episode’s bully here].

A few random examples (and by no means an extensive list):

Robert is responsible for: the abortion(s), betraying Lachlan, betraying Chrissie (over and over), cheating on Aaron and Ross, getting Ross to blackmail Robert

Chrissie is responsible for: Lawrence turning against her, confronting Aaron about the kiss

Debbie is responsible for: getting Lawrence arrested

When is anything purely her fault? When does she ever make a decision completely on her own? Even he final decision to not have an abortion came after Victoria spoke with her. Is this a designed character fault (because it’s the most consistent thing about her), or is this a tactic the writers have been using to have us feel sorry for her time and again? Because it just makes her seem desperately, uninterestingly weak. And completely unable to take responsibility for herself. But this is a woman who we’re supposed to believe wants a child and would be able to raise a child? Are we supposed to be rooting for her? Are we supposed to understand that she’s weak and easily manipulated? But still always ready to get on her high horse about the wrong doings people have inflicted on and around her?

I just don’t know how they want us to take her and that’s a problem, because the way she reads on screen is completely at odds with how Iain and EH have spoken about her, and this might be bias from myself towards Robert but I really don’t think it is - I do try to look at things as critically and fairly as possible, even if it means condemning characters who I love or sympathising with characters I don’t. But I just…. I’m so confused by her. The character we’ve ended up with can’t possibly have been the intention, can it? And if it is, why does all the press around her suggest otherwise?

Were they just that determined to put her in the role of the person coming between one of if not their most popular couple and have people still like her that they’ve just forced it too hard - and how does no one know that that doesn’t work with audiences? I know it must be very hard to objectively see how something plays out when you know the entire story, supposed character motivations and context behind everything but… can they really not see it? If it wasn’t their intention, can they really not see how much they’ve failed and how desperately her character needs a complete 180 to have a hope of working?

It’s so confusing to me, honestly.

I know it probably doesn’t sound like it, but I don’t even dislike the character - when she’s cute and entertaining, I enjoy it. She’s got an interesting backstory (to me) - but the writing for her is so awful. It’s so inconsistent and contrived and honestly, I don’t like being told that I need to like someone, or sympathise with them - I’d rather be shown it.

And this is the worst part because the character doesn’t even inspire hate in me - it doesn’t inspire anything, particularly. I have complete apathy 90% of the time. The way she’s written and her role in this story make me so frustrated, but the character herself has so little to her that it’s just vaguely exhausting.

Chrissie, on the other hand, is written in a way where it’s very clear where she’s supposed to be in the villain role, when we’re supposed to sympathise with her, she’s been given layers, we’ve seen her be put through the mill first hand, rather than in retcon, in ways that she was completely innocent to. It’s easier to feel sad for her, to respond emotionally to her.

I mean, I know this is biased because Chrissie is one of my faves, but at least she plays defined roles in her stories, whilst still feeling like a complex and layered character.

I need to stop with these feeling outbursts 😌

pistachioinfernal  asked:

Pacific Rim wild west AU (or Star Wars The Force Awakens wild west AU)

Oh boy so uh- the thing about the Wild West is that it was super genocidal and colonial and racist, and it continues to be the most treasured setting in the American cultural ethos and I refuse to back away from that part of it, to acknowledge hat these lands were empty for the taking, so this might be way darker than you expected, um-

1: Rey’s first memory is this: it is cold and she is walking. Someone, somewhere is crying, and there are men on horseback (she remembers their legs, how huge they were, how they penned them in on all sides) but mostly there are just people in one long chain of misery from here to the horizon. She is clutching to her mothers skirt, shivering in a leather dress, and she is terrified. Her mother is stroking her hair, singing the sorts of nonsense things that mothers say to frightened children. When they stop for the night, her mother pulls her hair from her face, carefully, and puts it in one of those buns that she sees white women wearing, doesn’t leave it loose around her shoulders, or in her braids.

“At least,” her mother says, “you look like your father. I want you to run to that town and stay there, until one of us can come and get you. You must stay there, you can’t follow us, do you understand?”

Rey is crying, crying, and she nods. She runs, at her mother’s direction, in the middle of the night, and never sees her again.

2. Her name is not Rey. It is longer, and more beautiful, but she stuttered the first time she introduced herself, and the man at the saloon had laughed, and no one could pronounce it and she was six and alone and terrified and didn’t protest the abbreviation.

She can’t remember what it is, any more, and hopes her mother will tell her when she comes back. She will come back.

3. There was, and this is true, a winter so cold it froze most of the cows where the stood in the fields. The next spring it stank to high heaven, and by the summer, the bones were bleached white in the fields.

There are, and this is true, big city folk who ride the railroad, and shoot herds of Buffalo put the window, to say they have done it, and leave the corpses to rot. Within a season, the heat and the bugs pick them dry, and Rey, with a solemnity that the other bone pickers don’t match, picks them up and puts them to use.

The skulls are worth the most, but other bones get turned into dice and buttons and fertilizer, and this way, she thinks, at least they are going to use and not to waste.

4. The civil war is half a generation over, and slavery never really ended. Finn knows, technically, that he isn’t a slave, but working in a chain gang for the railroad doesn’t feel much different. Chained beside him is a cow theif, who claims to be from actual Mexico.

“It ain’t as far south as you think it is,” he says “‘sides, it ain’t stealing if it’s on your land and they stole your cows in the first place, now is it?”

He grins, straight white teeth unmarked by chewing tobacco or sugar, and he claims to know every trail from railroad to cow trail between here and California, if only he had a horse to ride.

Finn is trusted.

He is put in charge, one night, of tending the horses, and he seizes his chance with both hands.

5. Maz Kanata seems impossibly old. She is, Han tells them in an undertone, nearly ninety. She has lived in three continents, and bears five different brands upon her skin, and she’s been a runaway and a freedman for sixty years. Her hair, wildly curly and white, is pulled back behind a colourful wrap, and she’s been running this saloon since before the civil war. Her hands are arthritic, she has a shotgun in her belt, and she has stacked two pairs of sunglasses on her nose to see them clearly.

She sees Rey, and with her wrinkled hands gently touches her face. Touches the bridge of her nose, and her cheekbones. She has always looked sun kissed, although she wraps her face in linen in some half-remembered advice whenever she works in the sun.

Maz traces her face, squints at her, as if she can see the bones through the skin and says “ah, child. You already know, don’t you. Whomever you are waiting for, they are never coming back.”