I think the thing that made me love Kate Argent as a villain was the way she seemed to subvert typical expectations of villains…

It’s usually a white cis guy who gets the role of the darkly charismatic villain. And it was quite exciting to see Kate Argent in that role. Obviously, a lot of the fandom vilified her as a ‘bitch’, but not much change there.

So I’m a bit disappointed because I feel like Kate’s role has been taken over by Peter now, much as I enjoy Ian Bohen’s acting.

And of course it’s Peter who gets to have a resurrection storyline, because - as Supernatural has also been at pains to let us know - only white cis guys get to rise again, a phoenix from the ashes.

I guess I just wish that Kate hadn’t been shafted after her short run on the show, or that it had been an Allison/Kate dynamic instead of Lydia/Peter - wouldn’t it be apt to have Allison descend into the hunting world with Kate’s voice whispering in her ear?

Rufus and Bobby (meta-ish)

One of the main reasons I love Rufus Turner’s friendship with Bobby in Supernatural is that it’s a testament to the imperfections in real-life friendships.

Like - and this isn’t going to be explained very well, sorry - he outright states in …And Then There Were None that he’ll never forgive Bobby for whatever happened in Omaha. But he is still there. He is still Bobby’s friend, despite only coming back into his life in a direct way after season 3. They still have a connection, and both Rufus and Bobby are loyal to it.

It’s obvious Bobby harbours a lot of guilt about Omaha; in Weekend At Bobby’s he deflects Rufus’ thanks for his help with the Okami because “I figure I still owe you more than you owe me”…

So: Bobby is guilty, and Rufus is hurt and unable to forgive Bobby’s actions. And I’d say Rufus is totally justified in this; Omaha was obviously a huge deal, and Rufus is under no obligations to accept an apology. In fact, one of the things I love a lot about Rufus is that Bobby attempts to apologise, and Rufus shoots him down. He is simply not able to forgive his friend. It can’t be done, and Rufus makes no bones about this. He doesn’t pretend to have brushed it all under the carpet and moved on, because he can’t.

Rufus is probably conflicted at this point; he clearly still cares very deeply for Bobby - evidenced by the fact that he's there with him, talking to him, helping him out - and yet he CANNOT get past Omaha.

It’s so real, this feeling. Remember, Rufus has no family, no other friends. He was a reclusive, retired hunter until Dean went to see him in Time Is On My Side. Bobby is it for him, especially once Ellen and Jo are dead. 

The idea that someone is simultaneously the most important person to you, and yet they’ve hurt you in ways that should make you despise them…that’s what is so real and special about Rufus and Bobby’s relationship. It’s tangled up with years of negativity, guilt and resentment, and yet there’s still something undeniable about the love at the heart of it all.

also is anyone gonna talk about louis’ reaction to richelieu being poisoned??? because, well. not only was there some amazing acting from ryan gage going on, but seriously, what is going on here

i have no idea what to make of louis’ reaction, which is similar (though even more emotionally charged) to his response in the first ep when richelieu threatened to resign

are we meant to read louis’ response as simply a product of his overwhelming need for someone who knows what they’re doing to guide him in his presumably-shaky kingship? are we meant to read it as romantic, even if subconsciously so?

i’d be interested to know people’s thoughts on the scene, and about louis’ relationships with the people he’s closest to in general (i.e. anne, richelieu, treville)

okay do i need to talk about marian? because i want to talk about her and there’s people calling her a manipulative bitch and ugh

tw implications of rape, death

Marian is one of my favourite characters in BBC Robin Hood. I’m not saying you must like her, but here are some reasons why I do:

  • She has been doing what Robin does, only less overtly, for years before his return with her role as the Nightwatchman.
  • She is an unmarried young woman trying to fend off the unwanted advances of a much older man (that’s Guy, who often treats her creepily - Richard Armitage said he wanted the audience to squirm uncomfortably every time Guy went near near Marian, and whilst Guy/Marian is my main RH ship, I admit freely that Guy behaves coercively, rudely and cruelly to Marian)
  • Yes, Marian lies to Guy and often uses his feelings for her as a weapon against him. But what else is she supposed to do? She’s basically at the mercy of the Sheriff if she doesn’t pretend to support him (and by extension Guy). And part of that means playing along with whatever Guy throws her way, be it marriage proposals, kisses, etc. She is being brave and resourceful. She does things she deems necessary to protect her father and herself from the Sheriff and Guy.
  • I relate to Marian because she’s a flawed young woman trying to do what’s best. That often involves making unwise or unsafe decisions that she later comes to regret or want out of (eg. the wedding), and you can argue this point but Guy was pretty explicitly willing to force her into a physical relationship with him, and willing to view Marian as both a prize and an object to be won from Robin.
  • (S2 SPOILER) Guy kills Marian. Yes, he was upset by what she said to him about loving Robin, about wanting to marry Robin, about wanting to die rather than be with him. But let’s be real for a moment: Guy has given Marian no reason to spare his feelings. She’s trying to buy time, save the king’s life, and she says things that will purposefully make him angry - to distract him from the king. She may feel that way, or not (although I’d argue she’s ecstatic at the idea of maybe finally freeing herself from his control), but she needs him not to kill the king. She doesn’t deserve to be killed. She doesn’t deserve to be murdered by a man who professed to love her, who not only episodes before declared that ‘without her, my world may as well turn to ash’ and was willing to die at her side. She is trying to save the king. She is trying to save England.
  • She’s a young woman struggling to choose what she wants - who can’t relate to that confusion, that tussle between being sensible and being true to yourself?

So yeah, those are my thoughts on Marian.


I love Melissa McCall in Teen Wolf. I love how much she loves Scott, and I love that Scott loves his mum, and I love that they still have the kind of relationship (in s1, I haven’t seen s2 yet so idk about that) where he can stand around in his boxers whilst she sews his pants back together for the winter formal…

and I love that she tries to move on - even if it is by attempting to date Peter Hale…and that Scott wants so hard to support her in having a boyfriend, despite also wanting to, y'know, save her life.

And I LOVE HER SPEECH TO SCOTT ABOUT WOMEN LOVING WORDS, because it’s exactly what Scott needs to hear to help him communicate with Allison like an adult instead of a gawky teenager (which, to be fair, he is).

AND can I talk about the phone call she makes to Peter the night after their disaster of a date - ‘cause the Wiki entry for the episode called it “mostly pathetic”, but I thought it was brave…she knows it was all messed up, and she hates that she wants to date someone so badly, but she still calls Peter to communicate her desires about how she wants their acquaintance/relationship to pan out - she’s honest with him, despite not knowing quite how much he’s lying to her.

And she cries, but that doesn’t make her pathetic. She’s just wondering why she’s not allowed anything nice - her own son is in love with a beautiful girl, for God’s sake; is she not allowed to be in love too?

ALSO anne sparing the cardinal gives him the ultimate message that she is not to be crossed - she has all the power, and he is only alive because she chose to allow it.

you saw that shit-scared look on his face when he was called in to see louis at the end of the ep, right? he knows that anne’s not messing around, now. she’s laid down her conditions; he either respects her and lives by her own terms, or he dies.

i think constance sort of hates how much she enjoys the adventures she has with the musketeers

like she doesn’t quite want to admit to anyone else just how much she loves it (her pushback against d'artagnan’s ‘don’t you love it when a plan comes together?’) 

she doesn’t want to feel like she’s completely lost control of her life; she wants to feel like she could dissociate herself from them and their ridiculous, dangerous antics whenever she wanted, even though she’s probably too entangled and too emotionally involved to ever stop now, even if she really did want to

obviously, she’s had a much less quiet time of it since d'artagnan appeared, but she did know athos (and most likely aramis and porthos, too) before d'artagnan appeared, which makes me wonder about what their relationship was…

did she simply know athos in the way a lot of people in paris would, just through story and perhaps brief glimpses whenever he’s sorting out musketeers-business, or were they on speaking terms? did constance always want to learn to swordfight and use a gun? did she ever seek them out for help, or under the pretext of helping them (e.g. bringing them free food or spare fabric for clothes, or something like that)?

i can imagine her sneaking into the headquarters and watching them spar and practice, tracking every movement and clever twist, every mistake and how best to take advantage of that, always wishing she could just have the opportunity to learn too, but never quite being brave enough to ask, until d'artagnan turns up and turns everything upside-down…

you know why i love terri coverley?  

because she DOES actually do things. she’s a damn sight more helpful than the likes of john duggan, and from what we see in the show, she’s actually relatively competent (as much as anyone at dosac is competent, i mean).

just because the characters in the show take her for granted and say she’s useless doesn’t mean that she ACTUALLY does nothing.

and she’s one of the only people in the entire series, bar jamie (and steve fleming/julius, i guess, although they’re on a more even footing with malcolm in terms of power dynamics), who actually openly challenges malcolm’s authority - FOR HIS OWN GOOD, and the good of the department.

no one else at dosac was willing to step in and say something during 3x6 where malcolm was making all the wrong calls, but terri did. despite the fact that malcolm’s rarely been anything but intimidating/threatening towards her, she was willing to call him out for his erratic and ineffective decision-making.

also, she is dealing with MASSIVE bereavement after her dad’s death for the vast majority of s2, and those feelings of grief probably carry on into s3 to some extent, too. it’s easy to forget how cruel and unsympathetic hugh’s treatment of terri often was, and yet she STILL had to power through and fix his cock-ups with very little support from any of her colleagues.

terri coverley is part of the glue that holds dosac together, and i don’t like seeing people act like dosac really would have been better off without her

elvesarebad  asked:


ahhh thank you!


they’d balance each other perfectly; anne’s gentle and quiet, but she’s got that inner steel and she’s not afraid to speak up for things she feels passionately about, and constance is more outwardly energetic and bouncy. sometimes she struggles between what’s practical and what she really wants, but she’s courageous and is willing to push the boat out and be brave.

i think anne would be drawn to constance for those outward expressions of intense bravery, and constance would be drawn to anne because of her ability to stay calm and collected whilst still having passions, and feeling just as deeply as constance does.

basically, they might go about feeling and expressing things in different ways, but there’s that undercurrent of a longing for justice, freedom and happiness in both of them that draws them together,

evennowthereissnow-deactivated2  asked:

Antigone's devotion to her slain brother and Ismene's fear and inability to break the boundaries imposed upon her by society and is it Antigone's tragedy or creon's we just don't know hELP ME IM CRYING

(i hope you don’t mind me publishing this?)

also it’s huge i’m so so sorry

thank you, btw!!! ughhhhhhh yes everything about antigone makes me cry tbh because THAT PLAY IS JUST PERFECTION

antigone and polynices. well, i can’t even start to think about the sort of devotion it takes to break a law that will get you killed when literally all the odds are stacked against you and not even your sister will help (not that i blame ismene at all i identify w/ her so much)

also i love that ‘weird’ argument she uses — that she wouldn’t have done the same thing for a husband or a son because they could be replaced

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ismene is the odd one out

the one who cares about survival, the one who wants to be quiet and get by

she’s a woman, she knows the world is against her, so she works within it

the woman who’d rather apologise to the dead later than become one of them now

she’s the odd one out because unlike jocasta, antigone and oedipus, she’s not in love with death

she’s in love with life

like i completely get the appeal of the persephone myth, the ideas of fighting for agency and mastery of death….

the eleusinian mysteries are really cool! they’re based around the cult of demeter and persephone, a mother and daughter separated by the underworld, by hades. it’s a really interesting dynamic, and i can objectively see why people are drawn to the persephone/hades mythology, too

(although there are still consent issues that i think ppl tend to be to quick to rubbish – people are allowed to feel uncomfortable about hades and persephone’s relationship, even if it is a stable, ‘happy’ marriage in comparison to hera/zeus)

but yeah, it’s a myth that doesn’t chime with me, for whatever reason. i tend to be more drawn to the myths of humans. i don’t know why, exactly; the gods have plenty of all the fucked up dynamics i enjoy so much in the houses of cadmus and atreus, but for some reason, i’m most drawn to human families who are often trying their best and fuck themselves over all the same. also helen of troy and the whole patchwork trojan royal family – helen, cassandra, andromache, troilus, deiphobus, polyxena, hector, hecuba, priam, the entire messed-up lot of them.

basically, humans; the more dysfunctional and difficult the better.

idk, it’s not a hard and fast thing, i’m really into thetis, achilles’ mother, who’s a nereid/sea nymph, and i like thinking about the athena/aphrodite relationship and the manifestations of their internalized misogyny

but yeah, i guess i’m just trying to figure out why some myths and characters appeal to me more than others

meowrryxmas replied to your post:omg that thing you reblogged on dumbledore was an interesting read, and definitely a perspective i haven’t taken before, but omg i’m thinking about it a lot now!!

i haven’t read it yet but dumbledore is so questionable throughout the entire series lmao

he really is, it’s one of those things that as a kid i always just accepted – like, yeah, dumbledore must have to be mysterious and oblique and never address harry’s needs and concerns because…. 

and that’s where i get stuck because THERE IS NO REASON he couldn’t look after harry like 5000000000000000000000x better than he does

LEAVING HIM WITH THE FUCKING DURSLEYS LIKE no that is not acceptable when you are fucking magical and voldemort is shit-scared of you. are you saying YOU couldn’t have kept him safe when you’re supposedly the best fucking wizard of a generation???? but oh no, let’s just leave harry w/ his emotionally abusive and neglectful relatives who basically force him into servitude

headcanons about aramis going home/aramis’ family!

(because yes he still has a home/family you can’t destroy my belief in that, show. although obviously he goes home very rarely because he lives a long way out of paris. like, in the provinces maybe? so they’re quite a self-sufficient rural family, poor but they can get by because of the work aramis’ mum and sisters do in their village, and the pay he sends home, which they don’t like accepting but usually do because they know he’ll only worry himself otherwise)

so yeah whenever he goes home he just gets showered with this overabundance of love and affection from his mum and his mASSIVE group of sisters

there’s his baby sister ana who’s forever rescuing injured little wild creatures and nursing them back to health (aramis teaches her some of the healing techniques he’s picked up over the years, and she always tells him the story of the latest mouse or fox or bird she’s patched up and cared for).

aramis thinks she’s got enough compassion and talent to become a physician, and he suggests to her that she could ask to help the local midwife when she’s a bit older …she’s maybe sixteen or seventeen?

she doesn’t feel ready for work yet even though she’s pushing it age-wise, because she’s a gentle and free-spirited sort of girl who enjoys being outdoors alone and spends her hours in the middle of the countryside where no one can find her, and she’s worried that work will take away all of her freedom

and then there’s his studious sister clara who buries herself in books and tries to learn as much as she possibly can about everything imaginable – she wants to be a teacher really badly. their village teacher is getting old and he’s a kindly but strict man who believes in education for all, so he’s training her to take over from him when he retires

(she’s v. quiet and reserved and worries that the kids don’t like her much, but they all adore her because she’s always fair when she has to discipline them and sometimes she slips them sweets after the schoolmaster has had them in detention for something relatively minor)

THEN there’s isabel, his twin.

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idk if this is something that’ll change as i grow and learn and whatnot, but i always get pissed off when people act like shakespeare invented the human onstage

like, no. who could be more human than creon and ismene? yes, the characters of greek tragedy were alienated from the audience, and they represented types, and the concept of identity didn’t exist as it does today but i feel like it’s a gross underestimation of greek tragedy to act like characters didn’t become ‘human’ until like, renaissance england

acafenfan replied to your postactually despite feeling kind of ambivalent to man…

I’m curious as to why? I personally left the theatre feeling very hollow. I can’t justify to myself the idea of a symbol of hope being so destructive. I’d be interested to hear your thoughts.


hm, i can have a go at an explanation, although i do apologise for how bad it’ll no doubt be :p

well, first things first, i wasn’t a superman fan prior to this film. not because i hated him, i’d just never seen anything to do w/ him and basically all i knew was he was vulnerable to kryptonite and the jesus allegory, so my opinion’s obv shaped by that in a way that’s different to a person who’s been a fan of superman and who’s understood him as a fundamentally peaceful and non-violent character throughout many comics/films etc.

BUT much as i understand and respect the point of view of a superman fan who finds the ending (and the destruction beforehand) to detract from the character, i do see the film as a reimagining of the superman mythos

and i think it’s important that clark is just beginning, he’s not experienced in pr and saving people and he’s certainly not prepared to bear the fate of the world on his shoulders. zod appears out of the blue, unscripted, unplanned for, and basically tries to destroy everything and everyone clark’s ever known

and even though this clark doesn’t necessarily have the same polished and practised ease of some superman incarnations, he still has that instinctive drive to protect people.

it kills that he wasn’t able to protect his dad (hOWEVER LITTLE ACTUAL SENSE THAT MADE IN THE MOVIE), he fiercely protects his mom from zod, he struggles to protect those innocent people from zod at the end, and he even tries to protect zod, the one responsible for the near massacre of the entire human race – he doesn’t want to kill him, he doesn’t want the destruction to go any further, the narrative here very much pushes him inbetween a rock and a hard place and he makes the only possible choice

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