Here We Go Again

Colin; Merlin - Behind The Scenes 1.03

can we please talk about Merlin literally beaming like the sun when Arthur simultaneously compliments him AND touches his soulder?

that ussr propaganda poster that’s just a guy floating in space with the caption “there is no god” is so funny

✧･ﾟ: ✧ tag yourself - main characters ✧:･ﾟ✧

harry potter: thunderstorms, pine trees, athletic, coffee shops, newspapers, camping with friends, impulsive decisions, vivid dreams, dog person, optimistic

ron weasley: soft blankets, loud laughter, baking, chessboards, crackling fires, protective, the smell of cinnamon, crooked smiles, warm milk, staying home

hermione granger: cursive writing, scented candles, sensitive but hides it, study sessions, big dreams, cat person, impatient, classic novels, overachiever 

ginny weasley: fireworks, ripped jeans, adrenaline rushes, warm summer days, passionate, freckles, private jokes, acts before they think, fierce debates 

neville longbottom: house plants, sunlight, a little insecure, soft voices, lazy afternoons, green tea, loves animals, gardens in bloom, trying their best 

luna lovegood: early mornings, fairy lights, watercolours, soft giggles, always humming, very honest, sunflowers, messy hair, loves conspiracy theories 

draco malfoy: falling snow, silver jewellery, marble statues, loves tradition, hides how much they care, classical art, very competitive, expensive cologne

Merlin in To Kill the King aka he’s too precious for this world we must protect him at all costs

“This was gonna happen to you one of these days.”

Bojack Horseman (2014 - 2020)

I deeply appreciate how ATLA depicts all the main characters responses to trauma. Aang’s, for me, however, stands out for its rareness in media. And we are not hammered over the head with the idea that Aang (or any other characters) repeatedly act certain ways because of a single traumatic event. Sure, there are key moments in our lives when a certain event comes to the forefront, but no one experiences the world as constant flashbacks. Rather, we see only in retrospect the way our sarcastic sense of humor or our heightened friendliness were protective responses to a deep emotional injury. Being able to understand Aang’s approach to loss is essential for the show. The structure of the series is founded on his arc (despite an incredible foil provided by Zuko). Our little air nomad initially confronts the loss of his people with a full-on meltdown in the episode “The Southern Air Temple,” where Katara’s offering of familial belonging soothes him. But this kind of outburst is not Aang’s primary response (and actually the literally out-of-character apocalyptic tantrums align with Aang’s overall process of grieving). Instead of constantly brooding (hey Zuko!), Aang leans heavily toward the monk’s pacifist teachings and toward his assumed destiny “to save the world.” He becomes overtly accommodating and joyful, constantly trying to see “the good” in everything with a perfectionist’s zeal. This is not to ascribe his bubbliness only to his trauma. Rather, he comes to emphasize this part of his personality for reasons related to the negative emotions he struggles to face.  Book 1: Water

In the first season, Aang is simply rediscovering his place in the world. “Water is the element of change. The people of the water tribe are capable of adapting to many things. They have a sense of community and love that holds them together.” This is vital to Aang as he initially faces his experience. He won’t get through this if he is not prepared for his life to change. Even if he hadn’t been frozen for 100 years, his world would never be the same. This fact involves eventually finding new people that he feels safe with. After such a massive loss, he’s learning who to trust, and also often making mistakes; not only does he find Sokka and Katara (and I’d argue he’s actually slow to truly open up to them), this is the season where he helps save a fire nation citizen who betrays him to soldiers, befriends the rebel extremist Jet, and attempts to befriend an actively belligerent Zuko (his moral complexity had only JUST! been revealed to the kid!). He’s constantly offering trust to others and seeking their approval in opposition to the deep well of shame and guilt he carries as a survivor of violence. This is also the season where Aang swears off firebending after burning Katara in an overeager attempt to master the element (one will note how fire throughout the series is aligned with, above all else, assertiveness and yang). Aang is so eager to be seen as morally good to others that he refuses to risk any possible harm to them.  And asserting himself carries a danger, in one sense, that he might make a mistake and lose someone’s positive regard, and, in another sense, that he is replicating the anger and violence he’s witnessed. He has no relationship to his anger at this stage of his grief, so it comes out uncontrollably, both in firebending and the Avatar State. It’s through the patience of his new family that he can begin to feel unashamed about his past and about the ways his shame is finding (sometimes violent) expression in the present. Book 2: Earth In the second season he begins to trust himself and stand his ground. Earth, after all, is the element of substance, persistence, and endurance. The “Bitter Work” episode encapsulates how Aang must come to a more sturdy sense of his values. First, there is the transition of pedagogical style. While Katara emphasized support and kindness, Toph insists on blunt and threatening instruction, not for a lack of care towards Aang. Instead, it’s so Aang learns how to stop placing the desires of others above his own–to stop accommodating everyone else above his own needs. Toph taunts Aang by stealing one of the few keepsakes from the monastery that he holds onto. This attachment to the lost airbending culture is echoed in the larger arc with Appa. And, by the end of this episode, it is Aang’s attachment to Sokka that allows him to stand firm. This foreshadows the capital T Tragic downfall in the “Crossroads of Destiny.” Aang gives up his attachment to the other member of his new found family, Katara, despite his moral qualms. Although he has access to all the power of the Avatar state, his sacrifice is not rewarded. Season 2 illustrates Aang coming to terms with his values. He is learning about what he stands for, what holds meaning to him. Understanding himself also includes integrating his grief, and there’s a lonely and dangerous aspect to that exploration. We see Aang’s anger and hopelessness over longer stretches rather than outbursts in this season. It’s hard to watch and hard to root for him. That depressive state leads to actions that counter his previous sense of morality, as he decisively kills an animal, treats his friends unkindly, and blames others for his loss. Letting these harsher feelings emerge is an experiment, and most people discover their boundaries by crossing them. Finding ways to hold compassion for himself, even the harm he causes others, is the other side of this process. Our past and our challenging emotions are a part of us, but they are only a part. Since Aang now has a strong sense of community and is learning to be himself rather than simply seeking validation, we also see him having more healthy boundaries with new people. He’s no longer befriending villains in the second season! He’s respectful and trusting enough, but he’s not putting himself in vulnerable situations nor blindly trusting everyone. Instead, he’s more likely to listen to his friends’ opinions or think about how the monks might’ve been critical towards something (they’re complaints about Ba Sing Se, for example). By knowing what he cares for, he can know himself, the powerful, loving, grief-struck monk. And he can trust that, though he might not be everyone’s favorite person, he does not need to feel ashamed or guilty for who he is or what he’s been through. Book 3: Fire However, despite a sense of self and a sense of belonging, Aang and the group still find themselves constantly asking for permission throughout their time in Ba Sing Se. It’s in the third season, Fire, that initiative and assertiveness become the focus. And who better to provide guidance in this than the official prince of “you never think these things through,” Zuko. It’s no longer a time for avoidance or sturdy defensiveness. It is the season of action. Fire is the element of power, desire, and will, all of which require us to impact others.  We see the motif of initiative throughout the season: the rebels attempt to storm the Firelord on the Day of the Black Sun; Aang attempts to share his feelings and kiss Katara; Katara bends Hama and a couple of fire nation soldiers to her will. In each of these examples, the initiators face disgrace. Positive intent does not bring forth success, by any means, only more consequences to be dealt with. This is perhaps Aang’s biggest challenge. He is afraid that his actions will fail, or worse, they will succeed but he will be wrong in what he has chosen. The sequencing in the series, here, is important. We have already seen how Aang has worked to care for (and appreciate) the well-being of others and how he has learned to care for his own needs. With this in mind, he should be able to trust that his actions will derive from these wells of compassion. But easier said than done. Compassion can also trap him into indecision, hearkening back to his avoidant mistake in the storm, in which the whole mess began. Aang’s internal conflict, here, becomes more pronounced as the finale draws nearer. I think it’s especially significant that we witness Aang disagreeing with his mentors and friends. He must act in a way that will contradict and even threaten his sources of support if he is to trust his own desires. Even the fandom disagrees about the choice Aang makes, which further highlights the fact that making a decisive choice is contentious. There is no point in believing it will grant you love or admiration or success. For someone who began (and spent much of) the series regularly sacrificing himself just to bring others peace, Aang’s decision to prioritize his own interests despite the very explicit possibility of failure is the ultimate growth his character can have and the ultimate representation of him processing his trauma. (This arc was echoed and made even more explicit in many ways with Adora in the She-ra finale.) The last significant time Aang followed his desire, in his mind, was when he escaped the Air Temple in the storm. To want something, to trust his desire and act on it, is an act of incredible courage for him, and whether it succeeded or failed, whether anyone agrees or disagrees with it, it offered Aang a sense of peace and resolution. Now I appreciate and love Zuko’s iconic redemption arc, but Aang’s subtler arc, which subverts the “chosen one” narrative and broke ground to represent a prevalent emotional experience, stands out to me as the foundation for the show I love so much.

“It’s my destiny. As it has been since the day we met.”