"Tell him, he knows everything he needs to know and feels everything he needs to feel. And when the day comes, and those two pull together, he will be an unstoppable force for good."
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"I'm Dorothy Gale from Kansas"
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@feniah-394
"Tell him, he knows everything he needs to know and feels everything he needs to feel. And when the day comes, and those two pull together, he will be an unstoppable force for good."
when a show had so much potential setting up small, intimate stories set to the backdrop themes of liberation and repression and governance and resistance and exploitation and then just utterly fails the landing so fully and so completely you just gotta rewatch Andor to experience joy again.
My god, Cassian is just so young in season 1 of Andor. On this last rewatch, it kept jumping out at me everywhere. Especially at the start of the show, which makes sense--he goes through a pretty intense education over the course of the season and transforms before our eyes. But there's just so much in Cassian that comes from being young, traumatized, and desperate.
We see it in his moments of unabashed fear, like when he's stopped by the two corpos in the pilot, the first time he sees the TIE fighter fly past on Aldhani, or as the prison transport takes off for Narkina 5. Even when he tries to hide it, we can see it in his eyes, the parts of him that are still that scared kid from Kenari.
We see it in the chip he has on his shoulder, like the attitude he cops with Luthen in their first meeting: "I don't know you." He's not just guarded and distrustful, he kind of actively resents this guy trying to get too familiar with him. When he's scared, uncertain, or guilty, he tends to push others away, a product of having to fight most of his life and of losing many of the things and people he's cared about. I also think of him coldly telling Bix, "You won't have to worry about me anymore," at the end of their argument in "Announcement."
And yet, by the same token, he can also be surprisingly open and earnest in his affections. For me, this is most apparent in his scenes with Maarva in "Announcement." There, we see his naive optimism that the money he got from Aldhani can solve all their problems. He's so buoyant and hopeful and loving as he suggests running away, saying, "What do we need but the three of us?" Later in the episode, we see that same naivety when he insists, "We'll find a place they haven't ruined yet." But it crops up in other places too. On Aldhani, he chooses Clem's name as his pseudonym, even though he already realizes Luthen has a lot of intel on him and will probably recognize it--in that moment, his distrust of Luthen is outweighed by his desire to go into this dangerous mission carrying a small piece of his dad with him. Then there's that beautiful hug with Brasso in "Rix Road," especially those few extra beats past when you'd expect them to part. When he hugs Melshi in the previous episode, Cassian is rushed, on the brink of falling apart and not wanting Melshi to see. But with Brasso, Cassian needs that touch for a few extra seconds, and he's not afraid to hold on a little longer.
Most of Cassian's dumbest mistakes in the season are very youthful ones. He's an incredibly smart and observant guy, so he's not dumb very often, but when he is, it tends to come back to being young, traumatized, and desperate. We see this especially in the opening Ferrix arc: insisting on bringing an unsecured comm to his meeting with Luthen (oh my god, the way he bickers with B2EMO about them beforehand!) and trying to go back for the starpath unit when the shit hits the fan, even after Luthen repeatedly tells him to leave it. With the starpath unit, part of it is naivety--"What if it's just one guy left?"--and part of it is growing up poor and scrappy. This box represents more money than he's ever had at any one time, and he simply can't process the idea that his buyer would just leave it behind.
Finally, every now and then, Cassian has this subtle but impeccable "little shit" energy. We definitely see it when he messes with Timm in the pilot, deliberately goading him instead of trying to defuse the situation when he sees that Timm is jealous. It's a dumb, petty moment of cheap satisfaction that winds up with some intense blowback when Timm IDs him to Pre-Mor. And I love Cassian's refusal to give up on Kino on Narkina 5, always believing he can be brought into the fold no matter how many times Kino tells him to forget about it. It's a great reflection of how Cassian rejects the Empire's attempts to divide the inmates by pitting them against each other, but part of why he's able to keep at it is his annoying-kid tenacity. I love the scene where Kino brushes him off by saying how many shifts he has left and Cassian immediately responds with, "So...tell me what you know before you go."
It's simply wild to compare the Cassian we see in "Kassa" to the one in "Rix Road." He goes through so much in twelve episodes and really comes into his own, and it's fantastic to see some of the qualities he displays in Rogue One starting to peek through. He's already come so far in his character growth--I cannot wait to see how season 2 gets us from "Rix Road" to Rogue One!
Oh yeah, and Diego Luna is simply stunning. You can really feel how he traced Cassian's life backwards to this point, see how different the Cassian of "Kassa" is from the Cassian of Rogue One and yet still fully believe that this is the same character. All the little hints he drops, all the tiny moments where you can see Rogue One Cassian starting to gestate. It's such beautiful, brilliant work!
I had a different name back then, you know. Powder. You kind of remind me of her.
the vintage sapphics redraw prompt from twt ft caitvi!
I found a full HD version of this pic
The still ^
The scene ^
Her manifestation skills are actually insane
Mark Hamill, aka Captain of the Reylo ship
Ben Solo appreciation post 🦋
"redemption arcs are toxic, you shouldn't try to fix someone!"
actually it is so important to me that being in community and experiencing human connection can save people. thanks
lila&lenu - the story of the lost child
it's incredibly transparent that mainstream reviewers of the neapolitan novels (my brilliant friend series by elena ferrante) explain the divide between lila and elena in terms of elena having discipline, yet lila was somehow just too unfocused, pessimistic, or chaotic to be able to achieve her goals. some of them cast lila as a villain that needs to be contained by elena in writing; both a cruel misreading of lila's character but also one that tries to make elena complicit in seeing her friend as the antagonist of their story, something I don't for a second believe.
liberal press seriously can't handle, is unable, to admit, that lila cerullo didn't go on to become a famous writer or else lift herself up by her bootstraps because her family didn't care and couldn't afford her education, so she was forced to stop after elementary school? her father throws her out of a window when she complains. the point wasn't that she wasn't crafty enough, it's that you can be crafty and brilliant and if the opportunities aren't available to you it doesn't matter. lila potentially could have become the big boss of her neighbourhood if she'd seriously wanted to, but she wasn't interested in gaining power by such illegitimate means, she wanted to be better.
elena was dedicated and worked incredibly hard, much harder than those who were more fortunate had to, certainly. but she was also lucky. various things converged for her in such a way that she was able to leave the poverty of her childhood and create a different life for herself, and this wasn't because she was somehow better or more capable than lila, or because lila had deficiencies of character. to seriously read it as though that was the case, as though this was what ferrante was trying to tell us, is a reading so obviously false and cynical that it's bizarre these people wouldn't feel shameful publishing it. fuck the working class, they're mostly just lazy and incapable, right? oh but elena's alright, she has nice manners.
the bond between a girl and their favorite fictional man is both an unstoppable force and an immovable object
@prequelsnet prequels appreciation week: day 7 — the force ANAKIN AND PADME'S CONNECTION IN THE FORCE
"His agony somehow became an invisible hand, stretching out through the Force, a hand that found her, far away, alone in her apartment in the dark...and now he felt her, really felt her in the Force, as though she could have been some kind of Jedi, too, but more than that: he felt a bond, a connection, deeper and more intimate than he’d ever had before with anyone" — Matthew Stover, Revenge of the Sith Novelization