The violin scene at the end of The Final Problem is truly one of the most impactful moments (if not the most) in all of BBC Sherlock. I honestly am still speechless that Moftiss wrote something so profound. Eurus was beyond communication with the outside world after the events of this episode, back to the untouchable genius in her glass cage. But Sherlock. Sherlock, this incredible and kind man, who had lost so much to this woman, understood her and still reached out to help. He wasn’t encouraging her to play her own song, he was initiating a duet–so she wasn’t alone, even in her music. It was a conversation, it was understanding, it was connection. This man went beyond words, where others had failed and stopped trying, and showed her that she wasn’t alone. Sherlock has become- or perhaps he always was- one of the best men I’ve ever seen.
To all my overachievers who don’t get praise from parents and loved ones anymore because it’s just expected of you to do well: I’m proud that you passed that test, I’m happy you graduated with honors, I love that you try your hardest all the time.
I know sometimes the lack of support and encouragement from those whose opinions matter the most to you can be disheartening, but keep pushing through and being the amazing person you are.
hey uh, little parenting tip? don’t get annoyed at your kids for things they’re really really invested in. don’t get all openly reluctant and grumpy when your kids for asking for merchandise of that thing. don’t make fun of it. don’t snap at them when they want to talk about it. don’t use it against them when you’re lecturing them about whatever. I don’t care how much “you don’t get it”. it’s such a shitty thing when you’re really excited about something and then the one person you trust and look up to just gets mad about it. it makes them defensive of that thing, it makes them feel like they can’t connect with you because you refuse to understand it. it makes them ashamed to feel excited about something.
I mean, I’ve had my parents do all of the above to me when I got super into pokemon. and it made me feel ashamed to talk about anything with them. it made me feel ashamed for liking something that made me feel happy. they’ve stopped at this point and they’re better about it. but now i can’t talk to them about my interests, even non-pokemon stuff, because I’m afraid of that annoyed response.
just. don’t be shitty about your child’s interests. give them a person to talk to about it. learn about it, and try to understand it. be nice to your kids.
<b>Parents:</b> wow you never talk to us, almost as if we are horrible to be around or something!!<p/><b>Me:</b> *talks to them about my interests*<p/><b>Me:</b> *talks to them about my friends*<p/><b>Me:</b> *talks to them about my day*<p/><b>Me:</b> *talks to them about my problems*<p/><b>Me:</b> *talks to them about my views/opinions*<p/><b>Parents:</b> oh my god that's so stupid! you're so stupid what the hell is wrong with you?<p/></p>
One of the most ludicrous things parents say is “Why aren’t you more grateful to us for feeding, clothing, and sheltering you?!”
It’s because you’re the parent. You have a duty to feed, clothe, and shelter your children. You’re not doing them a favor by making sure they don’t starve. You’re fulfilling one of the responsibilities of parenting. Your children don’t owe you for doing what you’re obligated to do.
Essentially. They haven’t said the word “transgender” and may or may not ever be allowed to, but in yesterday’s episode “Heinous,” Marco is essentially ‘outed’ to her parents as Miss Heinous comes to her house and explains that Princess Marco started an uprising in St. Olga’s, and demands justice. Marco is consistently gendered as female throughout the episode by everyone but her parents, even in the beginning when she’s not in the princess getup (Heinous actually compliments her ‘super cute new haircut.’)
It’s then confirmed that Marco has been continuing to inspire wayward princesses to resist their oppressors as Princess Marco, and has willfully encouraged and known about this and maintained this persona without her parents’ or Star’s knowledge, and she refers to herself as “Ya girl Marco” happily before being reminded about Heinous’s existence. After the episode ends and everyone is safe, Marco, her family, and Star have a game night, and Marco says something like, “Can I stay in the dress?”
The entire episode is also peppered with coming-out double entendres, where Marco’s parents say things like “Is there anything else we should know?” “I’m not sure we should be mad,” etc., and then afterwards it being implied they were talking about their child inciting the rebellion in St. O’s, and aren’t paying attention to the Princess thing.
Heinous isn’t in the Season 2 finale but still has some cliffhangers related to her plotline so Marco will most likely start being gendered as female in regular, non-St. O’s related episodes after some more plot with her happens in season 3, for now she’s still mostly closeted.
tl;dr Marco has been secretly presenting as female part-time since halfway through Season 1 and is undeniably coded as a closeted trans girl at this point, will almost certainly properly transition over the course of Season 3.
urgh i’m so annoyed like, did sigmund freud even read oedipus before dumping his flaming bag of dogshit theory upon the world where unfortunately it remains to this day??? oedipus didn’t know the woman he married was his mother. he didn’t sleep with her because she was his mother. and when he found out he wasn’t like “oh well i guess i have a mommy kink now” he was so distraught he literally stabbed his eyes out. fuck freud is what i’m saying
Tonight, my son sagely informed me, “I was so patient as a baby. I really was! I wasn’t hitty at all. But then I grew up and now I am. I try to concentrate and be good, though.” I reassured him that the important thing was to try, even if he didn’t always succeed; he accepted that, but continues to assert that he won’t get any older: “I got to four, but I won’t have any more numbers. I’m going to be little forever!”
Imagine Yurio confronting Yuuri after the podium ceremony
Yurio starts kicking him in the back the same way he did to Victor in episode 10 and Yuuri turns around confused
And there’s Yurio, rageful and ready to strike out , rapidly blinking away the tears in his eyes and he says “I won gold. You lost. So you better not retire you pathetic pig!”
And Yuuri is at a loss , but ultimately chuckles and agrees. “ Yes next year i’ll win gold…and the year after that to , I need to beat Victors 5 year consecutive streak yknow?”
And finally , relieved that Yuuri is not retiring, Yurios tears spill and he launches himself at Yuuri desperately clinging to him.
And Yuuri tenses up at first , but ends up gently hugging him back and asking very softly “ What do you want to do now that you’ve won gold Yurio?”
And Yurio starts openly sobbing , almost hyperventilating and says “ I want to eat pork cutlet bowls with you Yuuri.”
And then Yuuri is crying to and Yurio starts beating his little fists against his back and finally asking for what he wants in desperation and as a final plea
“ I want you to come to Russia with me and Victor. I want to beat you again next year and the year after that to, so you dont ever retire. I want you to never leave me and stay by my side! P-please dont leave me”
And both Yuri’s are just a mess at that point and haven’t noticed Victor at all who entered the room earlier and is looking at them both so fondly before he ruins their familial moment by launching himself into the hug as well and saying “Yuuuuuuuuuurrriiii i’m going to be the one to win next year silly , dont get ahead of yourself just because you won a single GPF.”
And then Yurios back to his old self, screaming and having a huff while Victor continues to tease him , and Yuuris laughing and trying to wipe away his tears. And none of them would have it any other way
(A table of contents will become available at the end of the series. Recent additions can be found in the meantime in either the posts by pear or the relationships tags. This series will remain open for additional posts and the table of contents up-to-date as new posts are added.)
Part Four: Parents on the Page
So you’ve accepted the challenge, huh? You want to actually include your character’s parents this time around. Excellent. Since the tendency over the years has been to exclude them, you may be finding yourself a bit stumped on how to write them. Good news - I’ve got some tips for you.
When we imagine our own parents, we mostly think about our interactions with them–the PARENTING part of being a parent. While it’s pretty common for parents to deal with loss of identity as part of becoming parents, don’t forget that these are still people. They have fears and loves, wants and needs above simply making sure they can support the family. What are their hobbies? If given a week to themselves, how would they spend it? When faced with their greatest fear that is not wrapped up in their children’s well-being, how do they face it? What kind of teenager were they, and what’s the most illegal thing they’ve done? (It doesn’t have to be a big dark secret like they killed a man. Maybe they just put soap into a central fountain or removed the C off a sign for crude oil.) What kinds of trips did they used to take prior to their children? What’s a phrase that the child would shake their head upon hearing and just mutter, “Of course you would. That… that’s such a [parent] thing to say”? What are three or four words that sum up who this person is that don’t include “parent”?
Relationship with their children
Once you have an awareness of who these people are as people, add in their children and think about parenting skills they might employ. How they speak to their children will cue a lot off of the respective ages, so take into consideration whether this is an adult speaking with an adult, or an adult speaking with a child. That relationship between parents and their adult children really does change, despite the couple of years of transition when the parent still thinks they’re talking with a child. That location within the relationship is important to figuring out how to write parents and children in scenes together. It doesn’t always have to be either knocking-heads-antagonistic or sickly-sweet-friendship. It can be as simple as two characters talking who simply have a long history with each other.
Parents are often concerned about well-being in regards to their children. They want to make sure that the child doesn’t need assistance whether monetarily or emotionally. That long history can create either a very clear-headed ability to assess what’s going on with the child or a blinding effect where they don’t see as well as they think they do. Generally, the blindness is also well-meaning, but can end up creating tensions between parent and child. Dialogue between parents and children will often reflect this. Long history provides inside jokes and memories, resulting in references to each other or avoidance of certain topics because they both know.
When writers decide not to include the parents in a story, usually their only focus is on eliminating extraneous characters to streamline the story down to only those who are most integral to the plot. In theory, we’re taught that this is the best way to handle stories: keep it simple and make sure the characters you choose to include are worth including, right? If a character’s not pulling their weight, see if there’s a way to combine their purpose with another flimsy character to create a more substantive character, right? This, alongside ideas like “This character would never be able to go on this adventure if their parents were around!” leads writers to take advantage of the close relationship inherent in parent-child relationships by forcing the parents to leave and putting that angst to use as character backstory. It makes characters more sympathetic, right? Consider, instead, that parents can become hugely helpful to your story by providing an easy reason for something to be discussed or providing excellent tension.
Long story short: Parents don’t have to be a burden to your tale, but rather can have a function if you bother to develop them into full and rounded characters.
Consider what kind of agenda these people might have–what are they up to? And don’t just think about it in regards to their children, but also in regards to the wider world. Think about how they would react to the things going on in the city due to the wider world machinations. It’s so tempting to think they’d be oblivious, but what if they’re also taking action? What if they’re preparing for something? Think about what kinds of facets that might add to your story.
Remember to take into consideration the parents’ hopes and dreams in regards to their children and family, too, of course. How far are they willing to go to protect them? What does protection mean to them? Where would they like to see their children in the future, and how involved do they feel the need to be in order to get them there? How much space is there in their agenda to allow for road bumps and input from the child?
What kind of foil or new perspective could having the parents in the story provide? What opinions or worldviews/understanding do they have that could be a benefit to your character? Part of the common plot for adventure/quest stories is the hero’s reluctance to join the adventure at all. How much more fun could you have if you put the trope on its head and involved the parents. Yeah, your character wants to go, but it’s family game night; or your character would never be able to sneak out of the house without attracting the parents’ attention, so think about how a character might achieve that and the fun situations your characters can get into before you even get started with defeating the Dark Lord.
Not all parents have to manifest as obstacles, or even as obstacles all the time. Consider taking another perspective with them that allows them to be part of the picture, even if they’re not on the team fighting the Big Bad.
I don’t want a Romeo and Juliet love story. Have you ever even read that? They know each other for a couple days, then commit suicide. It’s not beautiful. It’s not romantic. It’s infatuation and impatience. I want a grandparents’ love story. I want a long, drawn out tale that my grandkids love to hear about when they come over. Something my daughter can compare her love to and something my son tries to mimic with the person he loves. I want dates and flowers and drive in movies. I want to be chased. I want dinners where he meets my parents and giggly nights telling my best friend about how he treats me. I want frozen yogurt runs and late night grocery store drives. I want day trips and I want nights under the stars and I want living together. I don’t want infatuation. I want to be loved deeply.