separate spheres

a lot of the Cis-Friendly Trans 101 explanation of “you have four separate spheres: gender identity, gender expression, biological sex, and sexual orientation, and none of them affect any of the others whatsoever” can be helpful for cis people to get a basic grasp of why they should, yknow, not see trans people as delusional monsters, but i think it’s invaded the collective trans headspace a bit too much and as a result we have come up with some very wild and dysfunctional ideas about gender

So I wanted to outline some of the new topics outlined in the new California history-social sciences curriculum to include and celebrate LGBTQ+ history. Because it’s something I’ve been doing a lot of research into and I just think it’s absolutely fantastic. The following is copied from the “Making the Framework Fair” document - a report from the Committee on LGBT History. It’s a comprehensive list of the topics proposed.

> Grade 2: 

• LGBT families in the context of understanding family diversity as a contemporary and historical reality 

>Grade 4: 

• Central roles played by gender and sexuality in California’s history as a site of rich, contested, and changing diversity 

- How settlers and missionaries sought to impose European American concepts of gender and sexuality on Native American societies 

- Possibilities and motivations for same-sex intimacies and gender diversity in frontier conditions and the Gold Rush era 

- The role of gender and sexuality in nineteenth- and early twentieth-century migrant belonging and policing 

- The crucial place of California and Californians in the development of the modern LGBT rights movement 

>Grade 5: 

• Variation over time, region, and culture in colonial American practices and laws with regard to gender and sexuality 

- Native American gender and sexual diversity and European responses in the context of North American colonialism 

- Regional diversity in family and community arrangements, gender roles and possibilities, and approaches to sexuality in law and practice, with attention to Puritans, Quakers, Southern settlers, and enslaved Africans 

>Grade 8: 

• Fundamental transformations in gender and sexuality in conjunction with nineteenth-century urbanization and industrialization 

- Same-sex romantic friendship as an accepted cultural practice resulting from the separate spheres ideology and shifting gender expectations for women and men 

- Roles of gender and sexuality in the practice and struggles over slavery and emancipation 

- Interlocking ways that gender, sexuality, and race shaped Western expansionism and the diverse possibilities it presented 

- Evolving social and cultural expressions of intimacy between men and women (including same-sex relations) through urbanization and immigration

>Grade 11: 

• The evolution of modern LGBT communities and identities 

- Relationships formed in the late nineteenth- and early twentieth-century female worlds of settlement houses, women’s colleges, and social movements

- Sexual and gender diversity in early twentieth-century cities and cultural movements, including the Harlem Renaissance 

- The impact on approaches to same-sex sexuality, gender diversity, and cultural expression of 1920s changes in sexual and gender norms, including Prohibition, the rise of dating, and the emphasis on companionate marriage

- New possibilities in World War II for same-sex intimacy, community, and identity on the homefront and abroad 

- The postwar creation of vibrant if persecuted LGBT subcultures 

- The formation of open and expressive LGBT cultures and communities since the 1970s 

- Contemporary diversity of LGBT people, families, and relationships 

• Twentieth-century persecution of sexual and gender minorities and the related growth of the LGBT civil rights movement 

- The medicalization of homosexuality and gender diversity as pathological and the subsequent struggle against this perspective

 - Systematic World War II attempts to eliminate gay men and lesbians from the military and the establishment of a regime of dishonorable discharge that denied many veterans their rights to benefits 

- The Lavender Scare targeting gay men and lesbians, which developed in conjunction with the postwar Red Scare and exceeded its impact in both time and scope 

- Homophile, gay liberation, and contemporary LGBT movements as part of the story of civil rights activism in the United States 

- Anti-gay activism as part of the rise of the New Right 

- AIDS as a medical, political, and social issue in U.S. history 

- Court cases about same-sex sexuality and gender diversity demonstrating changes in policies and public opinion over time


This is super exciting news for parents and teachers in California. Hopefully the rest of the U.S. follows suit quickly. It’s also important to note that teachers aren’t really being forced to teach these subjects, nor are they yet included in textbooks, worksheets, or other teaching tools very widely. Teachers are receiving trainings, but it will take years to disseminate this throughout the state. 

anonymous asked:

Do you think you could do an analysis post comparing Alfor and Keith as red paladins?

Anonymous said:It seems pretty obvious that Zarkon and Alfor’s friendship parallels Shiro and Keith’s. How do you think this is gonna play out?

So what I think is so interesting about the paladins of old is… it’s really easy to project the guys that we know onto them, because we see the similarities! We look at Alfor doing this:

And it’s like “Keith Alfor Noo”

But they really….. aren’t.

Alfor looked up to Zarkon. He wouldn’t style himself as Zarkon’s right hand otherwise. He respected Zarkon. But they did not have… anything like Shiro and Keith’s friendship.

Because Shiro and Keith are close to siblings. They care deeply about each other but also they interconnect on a level that the paladins of old just plain didn’t. And that’s not because the paladins of old were bad people- it’s because they all came from different worlds, different contexts, and they really did not… work hard to bridge those differences.

It isn’t as if they didn’t care- because, look at the faces they made seeing Zarkon and Honerva dead.

But they had problems. Really systematic ones. And one of them was I think while they all cared, and connected, they were all much more withdrawn to their separate spheres than any of our current paladins are. We really don’t have the faintest inkling of the mentoring way Shiro relates to Keith. When Zarkon is challenged by Alfor, his only real recourse is trying to rattle the chain of command at him- which utterly fails.

The closest we see to Zarkon really acknowledging Alfor’s importance and value as a friend is right at the end, when he’s manipulating him. Which sends a really worrying message, because… with Shiro and Keith?

We see their closeness often expressed in contexts where neither of them really wants something out of each other. Where they’re just together- or, in the specific case of s2e8- we see that Shiro is willing to squander other things that he and the team values because doing so would hurt Keith.

Forcing Keith to give up the knife, or letting Keith proceed with the trial at his own expense, Shiro could have played it safe and tried to earn the Blade’s esteem- and they were desperate then, they had no real allies besides the Balmera and Olkarion, neither of whom could really back them up in a fight.

But Shiro says “Screw you people, you’re hurting Keith, I’m taking him and he’s taking his knife, and if I have to singlehandedly fight all of you towing an injured teammate to get out of here, so be it.”

The difference is as simple and fundamental as ultimately, in the end, when Zarkon was Black Paladin, priority one was victory and priority two was his team.

For Shiro, victory is priority number two. His team is more important. We’ve seen him make those kind of calls repeatedly. In s3e6, when he conflicts with Keith and risks them with his strategy, this is very unusual behavior- it reflects how stressed and unnerved Shiro is by his recent ordeal and furthermore, he later reconvenes with Keith and cements that the other was right to second-guess him.

That’s not a talk young Zarkon ever would have had. Because Zarkon believed in stratification, rigid divisions, a tense chain of command. He wanted the paladins of old to be a proper military unit first, and friends and comrades second.

Once again, the only time we hear Zarkon seriously acknowledging his own mistakes is when he’s actually learned nothing and is intending fully to deceive the team. The Shiro-like behavior- acknowledging Alfor was right, remorse for endangering people- is used to further contrast them because on Zarkon we only see it in an ultimately facetious light.

Zarkon breaks out the sentimentality ultimately as a way of controlling his team. For Shiro, that same sentimentality is something that ultimately rules his relationship with his team- even if it puts him at a significant disadvantage we see time and time again that Shiro will put the people his team is composed of first (for example, letting Pidge go look for her family because he finds the idea of forcing anyone to stay with the team when they don’t want to unacceptable)

anonymous asked:

I follow because you have good content. My disagreements with others on maters of worldview or philosophy shouldn't mean I can't enjoy fandom and all it entails

The things is that pretty much our entire blog is worldview. So is “fandom and all it entails” - you can’t hold entertainment and media in some kind of separate sphere that has no relation to the rest of the world. 

When we post tags like “transphobes get put in the bee orb to atone for their sins” or “I dedicate this gay fanfic to my vice president-elect Mike Pence for being a stellar LGBTQ ally”, we are absolutely aligning ourselves with a particular ideology. So the idea that someone could follow our blog and fundamentally disagree with our worldview is just vaguely confusing.

But if you’ve figured out how to do that then more power to you or whatever.

BS&T theory (how everything could link)

So BTS dropped the Japanese version of Blood Sweat and Tears and the visuals are amazing!! Like truly amazing!! But now my theory.. I’m going to break it down by parts so hear me out.

- okay so here is what I think and I’m sorry if it doesn’t make sense.

So in this MV there is a lot of symbolism that connects all eras of the Boy Meets series. I think this is actually what happened before and after everything went wrong. For example, we see Jungkook being forced by Rap Mon to drink absinthe (a hallucinogen) and Suga is desperately trying to get him out of it. But fails as he falls down on to the floor and it covered by black smoke. Now I think the black smoke represents him being submerged in all evil as he has lost the right path and has fallen deeper into his evil self, hence why we first see him with wings. He is doing this as Suga is the hotel (the one in I need you) and Suga goes to where he is and tries to get him out of it but it’s too late. In the Korean version Jungkook is swinging and he licks of the remaining of the absinthe from his finger (absinthe is knowing for making you feel floaty and like you’re being swung around) hence why we see him do all the things he does in the Korean version. After he is forced by RM to drink he loses himself and Suga tries to get him out but gives up as he is way too deep to be saved. Thai ties to past eras as we see Jungkook and Suga fighting or being distance a lot. Suga does not agree with what Jungkook and RM are doing that they fight so much.
Now that was the Jungkook portion.

Okay so Jimin. Wow Jimin is a tough one and it requires a lot. So we know his downfall started with a lie (committing a sin represented by the apple) and this made him all craze and confused as he couldn’t handle it (Lie is basically his plot within the plot of this series). As he keep living this lie Suga comes in a attempts to save him after failing to do so with Jungkook. He covers Jimin (eyes) and tries to protect him from the harsh reality of his actions. (Guess why he is always being blindfolded). But in this MV Jimin actually wants to see the damage his lie actually made an he runs away from Suga. As he keeps trying to get himself out of this dark tunnel of lie he almost finds himself again, the one he used to be beige he commits the lie. But Suga once again covers his eyes and get him submerged back into their world of evil. This is why we see him biting into the apple. Also Suga does fail in protecting him again since his true evil self submerged back into their world.
In this world of evil him and Jungkook are submerged so far in that they try to hold back V and keep him there and they manage to by literally ‘drugging him’ with evil. (The whole sequence of V moving around is THEM already submerging him.

Now V, the fallen angel. We know that V killed someone and that was his sin (all because he was trying to protect the one he cared for the most) This led him to fall in a loop between being good and evil leading him to be completely evil. While in his evil state he dragged RM and Hope (hence why they are the ones introducing drugs to the other Young ones). And once he tries to get out Jimin and Jungkook hold him back while Hope stabs him in the heart leading him to fall back but making it worse as he was already deep and was just pretending to be an angel. Next we see Jin beating him up, that ends up with V stabbing him and than walking out and tracing the knife along to seek the other members. Why I think he is looking for the other members? Because you can see the malice in his face, he is so far gone that he completely lost himself and now wants to get rid of what “dragged him back in” but he was there already. Than we see him out of a window ready to jump again but as we in the Korean version he already jumped for his “salvation” and that’s why he puts his hands up as in “I got it” but his skies are still dark meaning he didn’t. V is still in that world even though he thinks he got out. He is still playing a pretense and it seems that he won’t get out any time soon.
V is under this mantle of lie and evil but it seems white (meaning it’s where he is meant to be)

Hope and RM. this two are even more complicated to explain. One this is for sure, they were dragged into their evil by V as he convinced them to let their evil side take it’s true form while using their bad aspect (Hope pills addiction) and RM and his lack of control. Hope actually does not drag in anyone, but RM drags Jungkook in and Hope keeps on showing them the ways into their evil. In the Korean MV hope shoots and arrow, him shooting V with the dart is within the same scene as the Korean MV. Hope, RM and V are completely gone but V is the one that is playing even more with all of the boys that now he is trying to get rid of them.
Hope and Jimin dance to Lie and Boy Meets Evil and that’s their plot in the storyline. Hope met evil through his pills and Jimin through his lie. Jimin was blinded of the effects of his lie by Suga while Hope had to deal with it by himself and dig himself even deeper. RM was dug into the world by being the one V went to first after he did his sin that led to RM confessing his sin and they started a whole loop of evil dragging everyone along with their inside demons.
Their demons have consumed them but RM is trying to look into himself again (hence all the reflective surfaces around the MV) and Hope is gone.

Jin and RM. yup RM pops back out. So the theory so far was Jin is dead, like he dies and there was turning back. But in this MV it makes it seem that the reason everyone believes this was because of V dragging them with him into evil. Him doing this is what actually kills Jin, he can’t handle seeing those younger than him falling but he does not know all of their dark pasts and when he does it leads him to his 'death’. When he did find out he tried to get them out but it was too late a V had already consumed them and why he is beating up V. He apologizes as he didn’t want to but had to, to get the evil out of him that ends with him stabbed. But Jin has a dark past by himself and he couldn’t deal with that either but seeing his friends so far gone rips his heart out and killing him on the inside. Now why did I mention RM? At the end of the Jap. MV they are together again and RM says “seems like we haven’t seen each other for a while” (DISCLAIMER I DO NOT SPEAK KOREAN BUT MY KOREAN FRIEND DID ME THE FAVOR OF TRANSLATING) and this is how Jin and RM are connected. Being the eldest they feel guilty that they couldn’t help the youngsters. RM actually followed them and even lead them into their demise while Jin attempted to, ended up dying and now he is trying to come back and save them.
(The more I say save them I think of Save Me.. cries) and the reason why they hadn’t seen much of each other was because they were dealing with the youngsters fall separately they lost each other and their oldest role. And RM being seduced by V led him to believe Jin was actually dead and when their see each other he is surprised because he genuinely thought he had left.
Also Jin is seen as their father figure, being the eldest and all, who killed their father? V. (I know this might be far off and if you don’t agree kys completely fine).

Now Suga. Out of all of them Suga is the one that seems to not have fallen. Even in the choreography he is the one being pushed down not going down at his own accord. He tried to help Jungkook when he let his evil take over, but he couldn’t. He tried to help Jimin and he succeeded at some point but blinding him of the truth about his lie did more harm than good as he never let him confront what he deserved. RM, Hope, V were so far gone that he didn’t try leading him to distance himself from Jungkook who was following RM (the leader) like a puppy following his every moves. Even at the last moment Suga is still trying to save Jungkook but it’s too late as he has been succumbed by darkness and he keeps trying to save Jimin by again covering his eyes of himself but he falls even deeper. Suga also had his own demons, but he somehow managed to keep them at bay and instead of letting them take over he confronted them and now it’s trying to help this who he thinks are still in hope of being saved but he is doing it wrongly. You can see him as a guarding angel but one who seems to lack experience while having the one that’s needed. Why he fought with Jungkook was because he saw all of them falling and when he tried to help he was pushed away and thought of as wrong but now he is what they need and he is trying to not let himself fall while helping them.

The last scene. Jin and RM meeting again. It looks like they are trying to go back and change it all. Him paying RM is sort of a bribe to stick by him instead of following V which RM seems to now do since he gives this smile…
and now whatever the future holds or the past.

One thing that I add here and not my Amino is that the second to last scene where all of Jin shatters. That’s him giving up his battle against suppressing V. In BS&T Korean version only his face shatters as he is slowly loosing against V, but now he lost. He let V succumb the others into darkness and their evil selves. They lost all innocence (the one they lost on Run and Fire) and the one they realized they were going to loose (I Need U) when they lost it already and were looking for something (Save Me) and BS&T falls in between in some separation of spheres. And this MV is a continuation yet manages to fall before the Korean version and it’s trippy as hell.

Now Spring Day and Not Today.. Not Today is them fighting back. Like that’s what the whole MV is about but Jungkook, being the youngest, finds himself holding onto what they are running away from their evil. As his young mind does not process it as the others he leads them to their fall again but this time it’s their death completely.

Spring Day is them already gone trying to find for answers. Why they are in different places? Because they all committed different scenes that their resting place is separated but the manage to find each other again on the train. The train that is taking them to genie resting place. (In some places it is believed that a train takes your soul to the place where you would be judged. Wether you live or die) and that place within is their tiny little resting place before resting completely. V is the one mostly near the rail road because he is ready to go as he knows the damage he did and now wants to give it all a rest. (Hence why his line is constantly 'MY best friend’ as he knows what his sin did to them). Why they are running? Even though they know what they did, they still are unable to grasp reality. We see them running every time or walking away. The run in Spring Day is their last run before they leave their world and go to be judged. (BS&T felt like Paradise but was Hell it’s the same concept).

(Also read the tags.. MY fan rant)

you know, the media keeps ranting about “simpler taylor swift times,” but the tHING THAT MADE THIS NOT SIMPLE IS YOUR INCESSANT NEED TO WRITE RIDICULOUS HOT TAKES FOR TWITTER RTS AND CLICKS. if we all took a deep breath and had fun and enjoyed music while being angry about politics in a separate sphere everything would BE SIMPLER!! YOU CREATED THE PROBLEM U DUMB FUCKS

Women in Ancient Greek Religion

In 480 BCE the Athenians had every reason to be very afraid. The Persian king Xerxes was marching into Greece with a giant army to destroy every city not willing to surrender to him. And Athens was one of the few city states that chose to defy him. How could the Athenians and their allies ever defeat the Persian army? In search for an answer, they asked the god Apollon for help. And his priestess, the Pythia of Delphi, gave them this answer:

“Though all else shall be taken, Zeus, the all seeing, grants that the wooden wall only shall not fail”

This was a very cryptic answer indeed. Some said that they should all stay within the city walls, as the “wooden walls” referred to the ramparts of the Acropolis, according to them. Others said that the “wooden walls” were meant to be ships and that they would defeat the Persians in a sea battle. 

The priestess of Athena Polias, gave them the answer. Athena’s holy snake hadn’t eaten its honey cake. This was a clear sign: The goddess had already left the city. The Athenians all left as well and prepared to battle the Persians at sea. And they won a glorious victory.

Women in ancient Greece, save for a few exceptions, didn’t have a lot of rights. In Athens, for example, women weren’t allowed to vote, represent themselves in court or move around freely. And yet two women greatly influenced one of the most important events in all of Greek history. This was because of one very important part of ancient Greek life women weren’t excluded from: Religion.

Religion was everywhere in ancient Greece. So much so, that the ancient Greeks didn’t even have a word for “religion”. It was so intertwined with every part of their lives that didn’t see it as a separate sphere. And women were very important.

I’ve already mentioned the priestess of Apollon at Delphi and the priestess of Athena Polias. But these weren’t the only ones. Women had important roles in everday religious life: Girls would lead processions to a sacrifice, priestesses would pour libations and sing hymns.

Women also had their own festivals. One of most famous is the Thesmophoria . Every year in the month of Pyanepsion (late fall) women would gather to honor Demeter and Persephone. They would celebrate for three days, including baking cakes that resemble genitalia and engaging in sexual banter. At Thebes, the men were even forced to hold a senate session in the marketplace because the women were celebrating the Thesmophoria in the Cadmeia (the citadel) where they usually met.

Women known as Thyiades would dance for Dionysos at the slopes of Mount Parnassos. Pausanias tells a story of one time when some of the Thyiades, still in trance, fell asleep in marketplace at Amphissa. Local women, of fear that the men would mistreat them, formed a circle and kept a vigil all through the night.

In Hellenistic Greece, priestesses and religious benefactors would be given extraordinary honors like front seats in the theater. They were revered by the people in life and in death, like Berenike of Syros who was granted a gold crown and a public proclamation at her funeral.

Women in ancient Greece were forced to live in the shadows for most of the time. But their gods gave them an opportunity to step into the light.

(Most of the facts and stories mentioned are from Joan Breton Connelly’s book Portrait of a Priestess: Women and Ritual in Ancient Greece)

Harry Potter and the Cursed Child Fic: I Am My Brother’s Keeper (Part 3 of 4)

By: @rarity-kasket

2.3k words, rated G

Being the son of Harry Potter isn’t easy and being the brother of James Sirius “Golden Boy” Potter doesn’t make it any better. However, as obnoxious as his brother can be, Albus wouldn’t trade him for the world. When Albus accidentally stumbles upon a secret, it threatens to break apart his already complicated and messy relationship with James.


Again, special thanks to @abradystrix and @autumn-of-ilvermorny. You is smart. You is kind. You is important!

Please click for Part 1, Part 2, Part 4


Summer 2018

“And you’ll write to me over the summer?” Scorpius asks, bouncing on his toes as he stood on the train platform. Albus attempts to feign an exasperated sigh, but a subtle smile betrays him.

“Yes. I’ll write. You’ve already asked me twice on the train.”

“Actually three times.” Scorpius corrects him, his cheeks growing pink. “The summer will be dreadfully boring without you.”

Suddenly, James leaps off of the train, cuffing Albus on the back of the head before disappearing into the busy crowd.

“Hey Slytherin, Mum and Dad are here!” Albus glowers in the direction that James disappears before shifting his gaze to Scorpius.

“Please take me with you.” He begs Scorpius.

“You would rather spend your summer with the rumored son of Voldemort than your dad, the legendary Harry Potter?” Scorpius asks, to which Albus rolls his eyes.

“Trust me, you’re better company than my dad and James. Ugh, the entire summer is just going to be those two being chummy and swapping Hogwarts stories.”

“Now you have your own Hogwarts stories to share.” Scorpius offers, his eyes optimistic. Albus snorts bitterly.

“Yeah, which story do you suggest that I tell them first? The one where I was the last kid to get my broom up in flying lessons? Or the one where Karl Jenkins hid our wands and then sealed us in our dorm so that we couldn’t attend the end of term feast?” Albus asks sarcastically.  “I don’t know what’s worse, being at Hogwarts or being stuck in the same house as James all summer.”

“Lucky for you then, because you have a good friend who is willing to entertain you all summer. So it won’t be a complete waste.”

“Promise me that you’ll write often.”

“Albus, I would keep writing even if you never sent me a single letter back, but please do write. Otherwise, I’ll look pathetic. You’re going to get sick of me.” Scorpius smiles awkwardly.

“I could never get tired of you.”

The Present, Spring 2025

“So Teddy and James, huh?” Perched on his bed, Scorpius muses to himself as he watches Albus pace frantically around the room.

“Yeah.”

Scorpius sighs.

“Albus, please sit. You’re making me dizzy pacing around like that.”

Albus freezes on the spot, unsure of himself before Scorpius pats a spot on the bed next to him.  Accepting the invitation, Albus crawls into bed, sitting against the headboard next to Scorpius. He is all too aware of every point of contact their bodies make. The gentle press of their shoulders, arms, and thighs.

“Sorry. I’m just–” Albus lets out a loud incomprehensible sound of frustration before flinging a pillow. Scorpius frowns as he watches the pillow sail across the room.

“How do you feel about James and Teddy?” Scorpius asks quietly, and Albus shrugs.

“I’m not going to lie. It’s kind of weird, but James didn’t even give me a chance to be okay with it. He just lied to me.” Something very painful and all too familiar flares inside him. “He didn’t even give me a chance,” Albus repeats miserably, and Scorpius leans his head on Albus’s shoulder. Albus is aware of how intimate the gesture is, but it’s comforting. “He’s the worst brother ever.”

“You don’t mean that,” Scorpius says quietly.

“I do.”

“No, you don’t.”

“How do you know?”

“Because I know you, Albus, and I know your heart.”

In the moment, Albus wonders if Scorpius can hear the incessantly loud rush of his heart thrumming in his chest. If he does, Albus wonders if he knows that he is the cause of it.

Because I know you Albus, and I know your heart.

Albus doesn’t say anything. He doesn’t trust himself to not spew his feelings for Scorpius all over the place.

He thinks of James.

I know you. You’re crazy stupid about Scorpius, so stop wasting your time and tell him because being in love feels –really great.

Is he in love with Scorpius? He knows that he loves Scorpius. He would do anything for him because he was his first and only friend, but Albus has never been in love as far as he knows. He doesn’t know the difference. And he wants nothing more than to run to James’s apartment and ask him what is the difference between loving someone and being in love with someone, but James has shut him out.

Suddenly, it feels like their Hogwarts days again, two brothers existing in two very separate and different spheres.

“Maybe he’s scared?” Scorpius comments quietly.

“Scared? What could James possibly be afraid of? He’s one of the bravest people that I know. He’s too brave, in fact, he’s foolhardy.”

“Of what you might think of him.” Scorpius voices. “That you would think less of him.”

“I don’t know…” Albus swallows thickly as he is left with the startling and upsetting revelation that he doesn’t know his brother as well as he thought he did. He doesn’t know what James is thinking or feeling. Or how to diffuse the blow up from earlier. What can he say to make this right?

“I don’t know what to say to him. I always thought James was like an open book. He’s the Golden Boy. He’s never had to worry about anything.  What do you say to someone like that?” Albus asks.

“You don’t have to say anything. Just be there for them.”

Albus looks down at Scorpius, who has his chin propped on Albus’s shoulder. As if sensing his gaze, Scorpius’s owlish grey eyes flicker up with meet Albus’s. Their faces are so close. Albus imagines what would happen if he just leaned in, letting their lips touch. The thought makes his heart lurch and his spine shiver. He wants nothing more than to take Scorpius’s face in his hands and kiss him until the sun comes up. The thought makes his chest ache with want.

“I should go to bed.” Albus clears his throat awkwardly.

“Or you can stay.”

The words paralyze Albus as his emerald orbs search Scorpius’s face, for some clue or sign. Under Albus’s intense gaze, Scorpius pulls back.

Overanalyzing Scorpius’s every move, Albus comes to the frustrating conclusion that he doesn’t know what the bloody hell any of this means.

Scorpius takes in a deep breath and forces his eyes to meet Albus once more.

“You don’t have to, but you look like someone who really doesn’t want to be alone right now. So stay, if you want.” Scorpius says quietly.

It’s true. He doesn’t want to be alone with his thoughts right now. However, it’s not the reason he says, “Okay.”

He says okay because he’s a selfish human being.

Albus settles back into the bed, slipping under the blankets. Scorpius’s silk sheets are cool and smooth again his skin. Pressing his blushing face into the pillow, Albus inhales the sweet scent. It smells like peppermint, like the shampoo that Scorpius uses. Merlin’s beard, he’s embarrassing.

If Scorpius notices anything weird, he doesn’t say anything. He grabs his wand and whispers a quiet incantation before the two are enveloped in darkness except for the faint light emanating from his wand.

“I have some studying to do, so I’ll stay awake until you fall asleep,” Scorpius says quietly.

Albus buries his face further into the pillow, smiling.

“Why are you so good at this?”

“At what?”

“Comfort.”

“My mum.” Scorpius smiles sadly, and in his eyes, Albus can see him conjuring up the memory of her. Albus swallows thickly, regretting that he asked. He prepares to apologize, but Scorpius continues. “She always knew just what to say or what to do to comfort me. So whenever someone needs comforting, I think about what Mum would do, because she had the kindest heart that I have ever seen.”

“You have her heart.” Albus murmurs quietly into the pillow, but he doesn’t think Scorpius hears him.

The quiet sound of Scorpius turning pages of a book lulls Albus to sleep.

A week goes by, and James and Albus manage to avoid each other like the plague. When their traditional Sunday dinner rolls around, Albus is surprised that James doesn’t make up an excuse to avoid the gathering. He is there, seated at the table, conversing with their dad about some event that happened at the Ministry today. Their mum is off in Germany for the weekend to review a Quidditch match, and Lily is at Hogwarts, so it’s just the men this Sunday.

“Oh hello, Albus and Scorpius,” Harry greets them; the wrinkles near his eyes smile kindly at them.

“Hey, Dad.”

“Hi, Harry!” Scorpius greets him enthusiastically as he takes a seat across from Harry. “So I have a story for you.”

“You do?”

“Rightio! A wizard walks in the front doors of St. Mungo’s, because he accidentally ingested a shrinking potion. The healer tells him to sit in the lobby; he will be with him shortly. The wizard sits there for a while, waiting. Meanwhile, another wizard comes in for treatment. The healer takes the other wizard straight away. Before he does, he apologizes to the shrunken wizard and asks him if he can wait for a little longer. The elderly wizard says, ‘No problem, I can be a little patient’.” Scorpius grins. Albus is quick on the uptake and groans at the pun that Scorpius has landed on his father. It takes Harry a beat to let it sink in. Even James grimaces.

“That one was actually good,” Harry compliments him.

“Really?” Scorpius asks, hopeful.

“Best one so far.”

“Dad, all of his jokes awful,” Albus says drily, and Harry simply smiles.

“Like I said, best one so far.”

Scorpius joins Harry and James’s conversation. As Albus watches them interact it becomes unfathomable to him how his father had ever thought Scorpius was a dark cloud surrounding him. Scorpius, with his stupid jokes, who has sunlight in his smile. Over time, Scorpius Malfoy has found a way to affectionately worm his way into every Potter’s heart, including Harry’s.

Excusing himself, Harry retreats to the kitchen to check on dinner, and Scorpius eagerly volunteers to help him.

Which leaves James and Albus alone.

His gaze travels to James, who actively avoids all eye contact.

“Could we talk? Maybe after dinner?” Albus doesn’t know what to say to James or if he possesses the courage to start this conversation. He’s completely aware of his inability to be emotionally vulnerable with other people, and it feels like he’s flying blind here.

James pretends not to hear him as plays with a fork on the table.

“James.”

No response.

“Please.”

Nothing.

“You didn’t even give me a chance to be okay wi–”

“Albus, not now.” James hisses sharply at Albus before he glances cautiously at the kitchen.

“I don’t want to argue. Just talk.”

“I’m busy,” James says nonchalantly.

“You’re scratching your fork against the table. I doubt you’re busy.” Albus replies sourly.

“I’m not discussing this here, with you.” James huffs before attempting to make an escape to the kitchen. Albus quickly launches himself in front of James.

“You can’t keep avoiding me–”

“Watch me.”

“–or shutting me out.” This makes James stop in his tracks as he looks at Albus, unbelievably, before he laughs. His laughter is hard and bitter; it makes Albus cringes.

“Wow, that’s rich coming from you. Like you have room to talk.”

“What does that mean?”

“You’re always the one shutting people out. You’re the one who just bottles things up and wallows in his own misery. You’ve never actually let anyone in. You’ve never let me in–”

“You’ve never tried!” Albus cries. “Where were you those first four years of Hogwarts, huh? I could have really used someone in my corner and that person was Scorpius when it should have been you, James. Do you know why it wasn’t you? Because James Potter, who has everything he could ever possibly want in life, doesn’t care about anyone else but himself.”

“I’m so sick of you thinking that my life is so easy.”

“Because it is! You’re the popular one. You’re the confident one. You’re the talented one. I’m not going to stand here and feel sorry for a perfect, spoiled golden boy who thinks one stupid secret is going to ruin his entire life. Get over yourself!”

“Yeah, well, I would rather be a spoiled golden boy than the useless dark smudge on the Potter family.” James shoots back darkly.

It feels like a cold shock of ice water splashing down his back. Paralyzing and numbing.  The words settle into his bones like an unforgiving frost. For a second, he wishes that James would have just struck him across the face. Anything would have been better than hearing those words. The words that he fears are true after all.  

Albus doesn’t recall when their father appears in the doorway, wearing a concerned expression.

“What is going on out here?” Harry asks.

Upon seeing their father, the cold evaporates. Instead, something hot and angry and red flares inside of Albus’s chest. Something begging to be unleashed and threatening to destroy everything in its wake.

Albus turns to their father. “Hey Dad, I think you would find it interesting to know what James and Te–”

Something catches his eyes.

Scorpius.

Standing in the doorway.

“Albus, please, don’t do this.” He begs quietly.

Suddenly, looking at Scorpius brings him back to reality, and his face flushes with shame.

“Someone needs to explain what exactly is going on here. Albus?” Harry looks between the two of his sons, neither say anything. “James?”

Albus’s gaze slowly meets James, who is staring back at him. His deep brown eyes hold a heavy mixture of emotion.

Rage.

Sadness.

Fear.

“Fuck you, Albus.”

Knights in shining armours – or shining dresses. The MFMM August trope challenge

“I’m not sure, Sir. How do we know if she actually wants to be rescued?”

The August trope for MFMM turned out – just like the earlier ones – to instigate a lot of really good fic, and also very different fic. August’s trope was “the Dulcinea effect”, which means “the compulsion many male heroes have to champion, quest for, or die for girls they met five minutes ago”; the name is taken from the woman Don Quixote in Cervantes’s novel strives to be a champion for (more here).

This is a fun trope, but it’s also very ironic – making fun of these self-appointed and not seldom selfish and self-aggrandizing male champions. This poses specific problems for a fictional universe like Miss Fisher’s, where most men aren’t depicted as stupid like that, and where the male lead is behaving in what could be said to be the opposite of the dulcinea effect: very rational, not seldom actually saving people, but also hardly ever managing to save the leading lady, because the lady is so good at saving herself – which he accepts. 

This means that just like the soulmate trope of January, the idea and the fictional universe collide in interesting ways, asking for twists and tweaks and thorough considerations. The imagination of the fanfic writers of course found ways to use the trope, and it is turned around and peaked at from different angles (here is the full collection). 


I’m trying to follow some kind of logic in this post by following who is the dulcineaing person, and who is being dulcinead – not that these words exist, but I hope you catch my drift.


She was not in distress – she had climbed up here for the view.” Art by @kidnthehall​.

First there are fics that use well-known story templates to completely subvert the idea of the dulcinea trope – a subversion that fits perfectly with the fictional universe of Miss Fisher.

Here we find @ollyjayonline, @kidnthehall & @solitarycyclistadventures, “Love and Other Fairy Tales”. This is a short, beautifully crafted fic, with few words and with images, rather like a picture book – a picture book for adults. It explores who Phryne is and what she stands for, and shows this as a contrast to the common fairy tale idea of a woman needing a man to come to her rescue. The fic is very succinct, and has one-liners about Phryne like “She could do everything herself – but good company was always welcome” and “She was not in distress – she had climbed up here for the view." 

A second fairy tale to the trope is @loopyhoopyfrood, “The Prince Who Said No”, where Phryne tells a lovely bedtime story about a woman who dances with everyone except one prince, who all the time tells her no, and he’s the one she falls for. The prince is so far from dulcineaing that he doesn’t even pay her much attention, which triggers her curiosity. It’s a sweet and well narrated fairy tale, with lovely reactions from Dot and Hugh’s daughter, and in the end Jack peeks into the room and helps out with the telling at just the right time:

“Did they have a big wedding?”
“They didn’t have any wedding.”
“They didn’t get married?”
“No.”
“But why not?”
“Because they didn’t need to.” A familiar voice spoke up from across the room, and both storyteller and audience turned to see Jack, leaning against the doorway with a soft smile on his face.

A third fic that also stays on this meta level is @longlineoftvdetectives, “A Hero’s Journey”, an amusing scene where a man is pitching a movie to Phryne in the hopes of her financing it. Both Phryne and Dot find some fault in the story’s depiction of the hero, that after an absence of three days is coming to rescue a woman he doesn’t even know:

“But three days,” Dot repeated, her voice lowered this time as she leaned closer to Phryne to speak to her directly. “I think the damsel may have saved herself by now.”
“In that case, the hero will be quite disappointed,” Phryne answered wryly. (…)
“I don’t think so, Miss,” Dot replied, her voice now barely above a whisper. “I’ve seen quite a lot of movies. I’m certain the hero will find a more agreeable damsel in the next town.” 

Another fic that is primarily resisting the dulcinea trope is @longlineoftvdetectives, “Of Mothers and Men and Rescues”. This fic gives us two scenes where Phryne doesn’t need to be rescued, and also isn’t, although the set up and the conversations touch on the possibility of it – and rather like in the first fairy tale mentioned, she doesn’t need to be rescued, but she doesn’t mind company either. It’s lovely done, with a lot of mirroring between the two scenes, and both of them including Phryne hiding away from her mother, one time right before and one time right after the show’s time frame. 


In some fics, the person going into dulcinea mode is Phryne herself. 

Quailitea, “Rain and Whiskey”, is a lovely and very poignant drabble of Phryne’s introspection about her need to save people, ever since Janey: “And all the rescuing she’d done since, proof that she had always tried, dammit, that it had only been because she was too small and too weak then, and now that she was strong, it would never happen again.” It is beautiful, and in all its shortness it captures a lot.

Also in @whopooh, “Separate Spheres”, it is Phryne that has an urge to be the saviour, in this case in a more light-hearted situation – she wants to save Jack from social embarrassment. But it turns out that Jack doesn’t need her knight in shiny dress-stint, since he already has a date to the event they’re invited to, which instead causes Phryne embarrassment. On a gala night for Raymond’s film, she has to navigate the insight that Jack has friends, friends she had no idea existed, and even female friends. Much as it rattles her, it also piques her interest and of course she befriends this unexpected woman. 

Finally, Phryne in the dulcinea role is also in @zannadubs23, “Axiom Tilt”, where Phryne wants to play saviour to a young nurse. The fic has only started so I can’t predict where it’s going, but it has several very interesting parts: Phryne trying to cope with a case she starts to feel very personal about, wanting very much to help out, and Phryne being unhappy about Jack’s too thorough adjustability. I know there will be plot twists coming, but I can’t predict in what way.


The next type of fic is where someone wants to save Phryne. 

In @rithebard, “Interference”, a random, stuck up man at a party wants to rescue Phryne – from the social disaster of being with Jack. This does not end well for the unsuspecting man, whom Phryne sets straight on the matter, and in quite a physical way. In @longlineoftvdetectives, “Locked Up”, we instead see an aftermath of a similar event: a random man did try to save (well, “save”), Phryne and the result of this is that Phryne has been arrested for assault. The way Jack gets to know about this, from Dot not really breaking any confidences but hinting very thoroughly, is much fun, as is the way Jack reacts to the fact that he gets news via Dot:

“But you’ve heard from her?”
“Yes.”
“Of course,” he stated, a slight edge of jealously joining his tone as he leaped to a certain conclusion from Dot’s evasiveness. “As long as she’s well.”
Jack pivoted to duck back into his office before Dot’s voice stopped him again.
“Did you have plans with Miss Fisher, Inspector?”
“No,” he answered. “Not as such.”

Jack does not in his turn try to save Phryne per se, but he sure makes her arrest more comfortable and social.


In @ollyjayonline’s, “Evil in the Shadows”, the dulcinea trope is even more surprisingly developed, by the use of a crossover with another fictional universe. Here it is Spike, the vampire from Buffy the vampire slayer, who wants to get to Phryne – he wants to understand, threaten, in a way devour her. Phryne is holding her fort beautifully, and her strength here is her bravery and loyalty. The layers of the trope are several – Phryne rejects the idea of a man coming for her rescue: “This statement made her angry. “There most assuredly is a Jack but I don’t need him to rescue me.” and finally, in the end, Spike turns around from threat to instead wanting to save her.


In @firesign23, “One Night In Berlin”, set during WWII, Jack seems to randomly want to save a woman, which means he seems to have become a dulcinea man. But it turns out that he knows what he’s doing, as the woman might not be a stranger after all, and might also count on him being there:

“I wasn’t aware you were in town,” he said conversationally.
“Just arrived,” the woman replied. “I do hope I didn’t interrupt anything.”


And then, interestingly enough, finally a fic actually managed to turn Jack into a proper dulcinea knight! This happens in @firesign23’s short fic “In An Instant”. We’re here not talking about the world-weary, experienced Jack we know, but about young Jack, wanting to save Rosie. This is a lovely fic about young constable Jack who is in love with Rosie, but socially below her, and so they will never be – until she is in need of help and he offers. It’s a tale about how life can change in an instant – as the title says – and this choice is followed up by another similar one, to go to war. Knowing how their marriage turned out later gives the fic an extra twinge of melancholy, and it’s a beautiful exploration of one way their relationship could have started.


Two fics that put the dulcinea reaction on other characters completely are Quailitea, “Hero in Love”, a very sweet short fic where Hugh wants to take on the whole world for his newborn daughter, and @flashofthefuseAbout a Girl” that dives into Jane’s school life seen through one of her school mates, Fin, who has a crush on her. It’s a great exploration into both the boy’s mind and into how school could be for Jane, with mean classmates and a tendency to get swallowed up by reading. There are so many lovely details here, of Fin finding out a way to help Jane against bullies without her even noticing, of Fin seeing two grown up men assaulting Jane and trying to help her – but it turns out they are Bert and Cec and only joking with her. And there’s a lovely scene where Cec really sees and understands the boy, and also gives him some really good advice about how to treat a girl.


I’ll round up this overview with three fics that are leaning heavily towards the lighthearted and fun in their use of the trope.

In Sassasam/@phrynesboudoir, “Save Me”, there really is a rescue, Jack saving Phryne – although it turns out to be more of a sartorial rescue, and mostly being about her dignity:

“Oh come on Miss Fisher. Are you saying you need me to save you?” he chuckled. “I thought there was no problem you couldn’t overcome.”
“Jack,” she said a little more forcefully. “I need your help.”
“You could ask nicely,” he replied.
“Do you want me to beg?” she asked sharply.
“This may never happen again,” he replied.

Also in @geenee27, “In Over Her Head”, set at the beach, there is an amusing play with the trope. A girl very much wishing for Jack, who is out in the water swimming, to rescue her decides to feign distress in the water. But when she does get rescued it is from someone else’s strong arms instead – and that is someone who completely sees through her act. Perhaps Phryne can also be said to be overly protective of Jack in relation to other women, which would be another version of the knightly persuasion, this time in a bathing suit.

Finally, @scruggzi, “Braving the Storm”, is a very fulfilling fluffy story about Jack, at City South on a Christmas eve in full storm, facing the realisation he needs to take care of two kittens. There is such powerful adorableness in Jack trying to keep up his dignity although the kittens totally melt his heart:

The assembled day shift was therefore treated to the sight of their DI handing out assignments and issuing orders with his usual taciturn efficiency, but with one fluffy kitten in hand – which had rolled on his back in order to have his tummy tickled – and another perched on the Inspector’s shoulder, staring the junior officers down with all the ferocity of a warrior queen. It was a sight no-one at City South who saw it would ever forget, and yet no-one could quite bring themselves to question it.

There are also lovely parallels to when he himself, one year earlier, was let in by Phryne from a similar storm. Jack decides to call them Cleopatra and Marc Antony and bring them back to Wardlow, to a surprised and sleepy Phryne. The next day, as the kittens meet the household, the poking at his dignity continues: "Apparently realising quite suddenly that he had in fact been talking out loud to a kitten in a room full of people, the Inspector’s ears turned a beautifully festive shade of red and he cleared his throat, glowering at Phryne in the futile hope that she would let his pre-caffeinated comment go unremarked.”


As we can see, the explorations of the trope has really gone in all directions, and I am extra pleased with that this month, as I thought it might perhaps be a bit of a difficult trope – but it turned out to be just as good at generating fics as the others have been. 

That was all about the August trope. These overviews can also be found here on AO3. And I am very much looking forward to the September trope challenge – “Rumours and Gossip”.

anonymous asked:

Does that mean you're abandoning the Keith's dad is a druid theory?

Not necessarily! I’m kind of keeping the “Keith and Acxa might be siblings” and “Keith’s dad might not be human himself” in separate spheres since I don’t think they really hinge on each other and either can operate without, but I do think they can play nicely together.

Because whatever the druids are, we now have the Paladin Handbook confirming that the druids aren’t human, and my theory they may be polluxian would still, ultimately, give us the end result of Acxa who is obviously mixed-race galra because there’s still the end result that her other parent was not galra.

I’ve developed a kind of fondness for casting multiple theories even in not necessarily the same direction because that way I have more of my bases covered even if I have one theory I’m highly biased towards. I think there’s still a lot of fascinating unanswered questions about Keith’s dad whether he’s human or not and likewise a lot of fascinating questions about the druids, whether or not Keith’s dad is/was one of them.

anonymous asked:

How do you feel about the arguments that cultural sharing is unbalanced? The ones that say white people take more from Poc cultures whilst poc aren't allowed to take from white one's? That seems to be the big counter argument when people agree that cultural sharing is fine.

That you can have some kind of “unequal power relationship” in terms of cultures makes sense though its the kind of thing you’d have to analyze by specific examples rather then come up with a general theory of it (much less a general theory which turns into individual moral commandments).

 The rest though of your ask though.. “white people take more from Poc cultures whilst poc aren’t allowed to take from white one's” like that part doesnt really make much sense to me. Its implicitly talking in what seems to be global terms which is just radically inappropriate and “poc aren’t allowed to take from white one's” just seems blatantly false and contradicts observations people make about assimilationism or cultural imperialism (the Spanish did not adopt the religion of the colonized, the forced the colonize to adopt theirs). Like “cultural sharing/diffusion/whatever” shouldnt be thought of as like, two separate static spheres like exchanging the contents of two marble bags or something. 

hewlett & abigail!!!

Things I love about this teaser:

  • Two of my favorite characters having real, substantial interaction at last!!! Just in time before the series is done!!! (They’ve technically met before, of course, and have both heard much about the other via Anna, but they’ve never really talked.) 
  • Hewlett comforting Abigail!!! Taking her hands, kneeling, apologizing for frightening her!!! I LOVE IT
  • And of COURSE he’s gonna help her get to Cicero. He is A Good Man.
  • ~Anna mention~
  • Plus Ben mention = potential fake love letter mention…?
  • Abigail knows that Anna was engaged to Hewlett and legitimately had feelings for him (see 3.08). With the right prompting, might she tell him what Anna told her?
  • Even if she doesn’t, Abigail says she intends to go to Washington’s camp and appeal to Anna. In 4.01, Anna encouraged Abigail not to give up hope of seeing Akinbode again. Given that Abigail is now trying to do just that (reunite with Akinbode as well as Cicero, that is), and given the subtle parallel or two this season has seemed to draw between Abigail/Akinbode and Annlett, wouldn’t it be nice … if Abigail mentioned to Anna … that Anna has a chance to see a man Anna thought gone for good, too…
  • Did I mention I love both of them and I get so excited whenever characters who have always been in completely separate spheres of the narrative FINALLY intersect??

Things I do not love about this teaser:

  • “Then I will leave this cursed country for good” oh no you DON’T mister you are NOT getting the deed to Whitehall just to SELL IT you sit your skinny idiot butt back down RIGHT NOW!!!
FIC: Unsent Correspondence (10/10)

Title: Unsent Correspondence
Fandom: SWTOR
Pairing: Theron Shan/f!Jedi Knight
Synopsis: Before he starts something new, Theron needs to finish something he started years ago.
Warnings: See Part 1.
Author’s Notes: In which I switch narrative styles to wrap everything up, and Theron proceeds to kill my word count, as per usual.

Part 1 | Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9Crossposted to AO3


The whisky stung as it came in contact with the split in his lip. It had only recently scabbed over on the long flight, but had opened up again right as he had ordered the drink from the bartender. The metallic tang of blood mixed with the smokey, almost sweet alcohol. He tried not to wrinkle his nose at the taste, still acutely feeling every still healing bruise. His sorry state only earned the briefest of looks, as most of those who either took up residence or conducted business on Asylum had found themselves on the wrong side of trouble at least once. No one really came to the freeport for the sightseeing.

Keep reading

People talk about ballet!lock and rugby!John, as if the two were completely separate spheres. I’m sitting here thinking about John being sent to Sherlock’s ballet studio to work on his footwork during the offseason. Putting it in to practice at some point the next season, and Sherlock spotting the move and just burying his face in his hands as he blushes red as a turn-up.

John helping Sherlock as he weight-builds for tone so he can handle a certain difficult move, his rugby-captain’s hand on his hamstrings as he stretches it just so when he braces against the weight machine. Completely legitimate spotting, of course.

*coughs*

anonymous asked:

but just in the new episode we got alec saying that if jace wants to talk about his high school level love drama then he is here for him and we got .. nothing from jace? no "yeah if you wanna talk about how you (temporarily) lost the love of your life i'm here too" or anything like that? jace doesn't seem to notice or care how bad alec is feeling bc of magnus .. not this episode, not in the last (izzy did though!) no hate but jace really needs to step up his game and be there for alec for once!

ok friend see here all due respect you’re already coming in here with a little bias so let’s see if we can work around that i mean i get that you likely don’t ship c/lace and that likely m/alec is your otp, but right off the bat you’re dismissing jace’s emotional life and problems as “high school level drama” without a second thought but validating alec’s as actual emotional problems. i’m not saying you shouldn’t validate alec, but if you really want to look at it from a slightly more objective point of view, you probably shouldn’t be so dismissive of jace’s emotions going to the discussion because that’s where everyone usually is, where alec’s emotions are more valid because you personally are more invested in them, which always, always makes jace come off as the bad guy when he usually isn’t 

and, continuing to talk about bias, we could shade both jace and alec all the livelong day (i know, because depending on who i’m defending on the day, i’ve done both lol) – for example, while jace was languishing in the city of bones potentially awaiting exile in 2x04, alec was ready to skip off to marrakesh for dinner with magnus with hardly a second thought. does alec need to step up his game? (disclaimer: i don’t actually believe this, in fact i defended from such accusations back in the day, don’t @ me) but the point is that it’s easy to build up a case against both of them, people just do it against jace much more often because they like alec (and, usually, m/alec) much more. i mean, has alec asked jace once how he feels knowing who his real parents were and how they actually died? has he asked him how he feels knowing he had a kind of quasi-brother that valentine was raising alongside him  so that he meant literally nothing more to valentine than as one half of an experiment? no, he didn’t, because they can’t always have jace and alec having heart to hearts, because there’s not always  space for that - i wish there was, but the point is, i wish it for both of them, not just one of them

like i’ve said before, jace and alec are in separate spheres of the narrative in 2b for the large part - alec (and izzy! which is why she’s often more ‘aware’ of what’s going on w/ him) is in the politics/downworlder aspect of the valentine problem (with magnus, izzy, luke, etc), whereas jace is in the more personal, sebastian-oriented side of the problem (with clary, seb, and valentine). so narrative structure - because the show services the plot first and foremost - has, in the second half of the second half of the season, kind of kept jace and alec from having long meaningful interactions. again, i wish it were a bit different, but i can’t really complain knowing all the constraints they already have to work with and i love the way the season is unfolding plot-wise, so i’ll accept the sacrifice grudgingly

finally - the clary/jace scene just happened, in the episode, whereas viewers have had time to like….marinate with the m/alec “breakup” scene - we saw the aftermath in the seelie queen scene, we saw the aftermath in magnus looking at the japan photos, we saw it even in the lingering shots at the end of 2x18. but the clary/jace one just happened and we didn’t get to see a lot of aftermath since the plot started going just as soon as it happened - so it was much more necessary, from a writing standpoint, for that one to be addressed in some way or other. i mean, this is a writing thing, not really a character thing which is what we were talking about so it’s a bit of a digression really, but it makes sense why that was mentioned there but not the m/alec thing 

Betty Friedan (1921- 2006)

A US political activist. Friedan challenged gender stereotypes in her book ‘The Feminine Mystique’ (1963) which highlighted the fact that women wanted to aspire to more than simply being a housewife.

She was credited for sparking off the second wave of feminism in the 1960s and 70s which focused on women’s liberation.

Friedan was also criticised for focusing only on white, middle-class heterosexual women.

She co-founded the National Organisation for Women (NOW) in 1966.

In her book, ‘The Second Stage’ (1983) her view was reformed, she empathised on the battle between wanting to be domestic and at the same time women wanting more. However she did warn that the quest for ‘personhood’ should not encourage women to deny the importance of children, the home and other domestic affairs.

I personally think Friedan was an inspiration in showing the women of her time that there was more to life than domestic activities. She challenged the separate gender spheres and her legacy has lived on, in the way that you can be both domestic and a feminist at the same time.

10

In one of the cruel ironies, or perhaps the horror in which we become our parents, Hwei-Lan does to Wil what her father had done to her: reject a child for a perceived wrong that will reflect on their own parenting and thus their own merit or worth or value or standing. “You can’t be x, because being x makes me look like I raised you incorrectly–and I didn’t raise you incorrectly.”

The cruelty of this is that in both cases, the child is vulnerable, hurting, scared, and just as lonely, and that rejection comes just in the moment when support or acceptance is most wanted and most yearned for. In their respective “coming out” to their parent(s), both Hwei-Lan and Wil are at their lowest. But rejection is the means by which “face” is being saved and maintained. It’s like: You shouldn’t have done it in the first place; now that you’ve done it, you shouldn’t have brought it up; now that you’ve brought it up and thus entered it into the public sphere of knowledge, I have to punish you for it because in these series of events, you’ve wronged me (tangentially, collaterally).

It’s brutal and it’s why the silence is so pervasive. As Hwei-Lan’s father says: She wasn’t going to tell us. Just in the way Wil hasn’t ever voiced to her mother that she is gay, despite a) her mother having caught her in the act and b) Wil being perfectly easy and open to her coworkers and friends. It’s the potential rejection of family that inspires such fear and shame.

When I first saw the scene in which Wil comes out to Hwei-Lan, it hit way too close to home and the fears I had. As I think it does for many, but especially Asian Americans who so easily see in Saving Face the cultural and generational divide that separates the older, immigrant generation and the younger, first-gen American-born generation. They can be very separate worlds and we, the children, grow up learning and understanding that these are separate spheres with separate rules and sometimes we have to be the mediators when those two worlds meet or overlap. Just as Wil has to slip between her neighbor Jay and her mother, or Vivian and her mother, or her mother and her grandfather, she’s constantly navigating different expectations–and trying so hard to meet and satisfy all of them.

And for how well Saving Face captures this atmosphere and divided reality, Wil’s coming out scene can be really frightening. Saving Face is ultimately a comedy, but this scene is so quietly wrecking–there’s no screaming match, just two people who can’t even look at each other directly, quietly speaking–because it’s so clear that the cultural roadblocks are really lofty obstacles. Wil is at peace with herself, but not with her mother, whom she loves and whom she wants to love her in return. It’s from a many years’ remove that I can see how important it is that this movie had a happy ending. The ending may not be super realistic, it may not tie up all the loose ends, heck it may be too quaint, but that it ended well for these women and for their relationship(s) is so hopeful a message.

How many movies are there like Saving Face?

archiveofourown.org
Separate Spheres - whopooh - Miss Fisher's Murder Mysteries [Archive of Our Own]
An Archive of Our Own, a project of the Organization for Transformative Works
By Organization for Transformative Works

Jack is invited to a party, and Phryne wants to save him from embarrassment.


I know this is trying to fit into the trope “The Dulcinea Effect” with a shoehorn, but I couldn’t resist! Set after S2ep11, Dead Air.