They took Parks and Rec off Netflix so this is how I am coping :’)

 Part 1  Lemme know if you want a part 3

Bonus:

scientist 2:

zuko having done research on the past avatars to help him capture aang and it becoming a nerdy “passion project” has so much potential

(he somehow missed his being descended from roku)

but like anything happens

aang: hmm idk if i can do this

zuko: yangchen did it…here here and here…youve already done it

or theyre sitting around a fire and zuko cannot stop telling aang all the cool things he did in his past lives

“Tell us about the Avatars?”

And Aang can’t–not the stories The Duke and the others are looking for. But Zuko can. So starts Zuko’s Epic Avatar Storytime where he essentially info-dumps about Aang’s past lives. Sometimes it’s the dramatic, larger-than-life stories that make the flames jump and crouch; other times it’s the quieter stories, the ones that are hushed and hopeful, the ones that a reminder: the past lives have brought balance to the world, and through Aang, they can do so again. 

It’s yet another way Aang offers hope to the world.

(And I am living for the idea of Zuko offering Aang encouragement by telling him his past lives have already done [insert task]. Ahhh Aang and Zuko bonding is something that can be so personal.)

So I’m prolly not the first to realize this, but it only just hit me how much the Zuko Apologizes To Iroh and Azula Hallucinates Her Mother scenes foil each other.

Others will probably be better at breaking it down, but here’s what caught my eye off the top of my head

the framing early in the scenes- how Zuko and Ursa are visable to the audience over the shoulders of Iroh and Azula (interesting how at the start of the scene it’s Azula and Iroh who visually parallel to each other)

Again, framing wise- Zuko is shown in parallel facing Iroh while Azula is shown in parallel facing her reflection (again, interestingly, Zuko and reflection-Azula are on the same side of the screen, once again making Azula visually parallel Iroh). Throughout the series, when Zuko is feeling torn between right and wrong, his “shoulder angel and devil” are represented by Iroh and Azula. Azula, growing up, had a lot of sway on her brother (hence why he needed to tell himself “Azula always lies”), but she didn’t really have anyone to guide her, and in this moment she feels like she can’t trust anyone and has no one to rely on- Zuko and Azula are basically looking at their guides in these scenes

The faces and (to a degree) emotions Zuko and Azula show- they’re both facing off with a parental figure who they’re convinced hate them. The faces they make in the second row are the same, but since Azula is in profile while Zuko is facing the viewer, I didn’t realize it at first. They also both are crying in this scene, but Zuko starts crying early on and keeps crying openly the entire scene, while Azula only starts crying near the end and actually moves fast enough that the viewer might only catch it for a split second (though her crying is very audible at the end of the scene)

Ozai actually has a very strong unspoken presence in both scenes. Zuko Apologizing To Iroh is meant to harken back to Zuko’s Agni Kai against Ozai- Zuko is on his knees, crying from both eyes as he begs for forgiveness from his father/father figure. Azula, meanwhile, is preparing for her coranation as Fire Lord- a role only given to her because Ozai is dismissing her. In this moment, Ursa, Ty Lee, and Mai’s leaving her is brought to head, but her father basically ditched her a little prior to this

The love between parent and child- and expected rejection of that love. Zuko is convinced that Iroh hates him, only for Iroh to pull him into a hug and tearfully explain that’s not the case at all. Azula hallucinated Ursa telling her outright that she loves her, but Azula refuses to accept it. Iroh’s love is real, but since Ursa isn’t actually there, Azula can only imagine it, and refuses to let herself keep imagining it

The colors and lighting- with Zuko and Iroh, the colors are subdued, yet easy to make out, and though the scene is heavily set in shadows, it’s not dark. It makes it seem private, quiet, yet comfortable- it’s clearly a scene set at the start of a new day. With Azula and Ursa, the colors are both stark and dark and the lighting is harsh- it’s clearly a scene deep indoors, away from the sun, with most of the rest of the room set in darkness. Technically, the Zuko and Iroh scene is darker, but the Azula and Ursa scene was harder for me personally to actually see

Setting wise- Zuko and Iroh are in a small yet cozy environment, which makes the scene again seem quiet, private, yet comfortable. Azula is in a big open room, making her scene feel extremely lonely