On New Year’s Day, I will publish my 500th blog post.
I began this blog on September 28, 2014. If I had written every single day since then, this would not be blog number 500. It would be blog number 4,102. That alone tells a story. I did not blog daily for most of those years. Daily writing only became a discipline for me this year, and even then, I missed a few days in February during a mental…
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I thought for my 500th post on this blog, I’d do something self-indulgent and write down my thoughts about the parallels and contrasts of these two scenes, even though so much has already been said about them. Strap in, it’s long.
The parallels and contrasts between Zuko being reunited with Ozai and Iroh abound.
The lead up already, as he feels conflicted both on the boat back to the Fire Nation and when he decides to find Iroh. I’ve written about the parallels of the scenes with Mai and Katara before the actual reunification scenes.
1. The anticipation. Zuko seems apprehensive / afraid both times.
With Ozai his fear is clearly stated; his father won’t take him back because he didn’t capture the Avatar. He didn’t meet the conditions to his acceptance.
With Iroh; I’ve read some metas that Zuko is afraid that Iroh would hurt him the way Ozai did. I don’t think so. While Zuko is deeply traumatized, he knows Iroh too well, who never raised a hand to him no matter how rude, insolent, disobedient he was. It’s not how Iroh rolls. But I think Zuko is afraid that Iroh would not want to do anything with him anymore after the betrayal. And ironically, Zuko only realized what Iroh was to him (his “real father”), once they were ripped apart. So he’s afraid that he threw away the love and approval of the person who matters to him more than anyone.
It’s also interesting that returning “home” in the case of Ozai means the Fire Nation palace (the place that ceased to be home on the day Ursa left and Ozai became Fire Lord), but in the case of Iroh, means Ba Sing Se; the place where for a little while, Zuko and Iroh lived like a normal family, and for a brief moment seemed happier than they have ever been. It’s Iroh’s place of destiny, the place of his biggest failure and greatest self-sacrifice, the biggest loss and the promise of peace and a new beginning.
With Ozai, Zuko has to wait for an invitation, in contrast Iroh’s door is always open to him.
2. The setting.
Ozai greets Zuko in his throne room. The formality is suffocating. The physical distance is enormous between them, Ozai is on the elevation to symbolize the power imbalance. They are divided by fire (their relationship is forged by the destructive side of fire). Zuko is foremost a subject of the Fire Lord, a tool to his will and only secondly Ozai’s son.
With Iroh, Zuko is on his knees as well, but not because he has to, only because he chooses to. Iroh is close, there are no defenses around him, he doesn’t try to intimidate with his power. The situation is achingly familiar, a throwback to the informality of their relationship. The scene is not lit by fire, but by the rising sun and the warm light of a lantern (their relationship is characterized by the nurturing, protective side of fire).
3. The first words
It’s Ozai who speaks first. “You have been away for a long time. I see the weight of your travels has changed you. You have redeemed yourself my son. Welcome home.” Zuko’s feelings or experience don’t matter, only Ozai’s perception of it. It is only important that he behaved the way Ozai expects him. Ozai grants Zuko his redemption, it doesn’t matter whether he actually feels redeemed. Interestingly, it’s the first time we hear Ozai call Zuko “his son”. In the Agni kai, he calls him “Prince Zuko” and when he orders Azula to bring him back, he calls him “your brother”. Even though he walks towards Zuko, he stays towering over him and doesn’t touch him. Zuko may be his son in words, but it certainly doesn’t feel like it.
By contrast, Iroh's first words are silence and for a moment it looks like Zuko’s worst fears have come true; Iroh hates him and doesn’t want him there. But actually, Iroh listens - like he always has. He reached out to Zuko from the prison even, but now it’s Zuko’s turn. And Zuko’s heartfelt apology highlights so well the depth of their relationship and the mutuality of their bond.
“Uncle, I know you must have mixed feelings about seeing me. But I want you to know, I'm so so sorry, Uncle. I'm so sorry and ashamed of what I did. I don't know how I can ever make it up to you but I'll...”
It matters what Zuko feels (he’s sorry and he’s ashamed), but it also matters to Zuko how Iroh feels and whether there is a chance to fix their relationship. Iroh listens quietly, and he doesn’t interrupt Zuko with words, but with a hug, completely at the level of Zuko, showing him with action that he is loved, wanted, forgiven.
And he interrupts him before Zuko has a chance to vow to do whatever grueling task Iroh has for him to earn the forgiveness. His love is unconditional. Zuko doesn’t need to capture the Avatar to be taken back.
4. The Forgiveness
This is my favourite bit, and one that doesn’t get nearly as much attention as the other parallels.
Ozai explains as he circles around the still kneeling Zuko his reasons:
Ozai: I am proud of you, Prince Zuko. I am proud because your sister conquered Ba Sing Se. I am proud because, when your loyalty was tested by your treacherous uncle, you did the right thing, and captured the traitor. And I am proudest of all of your most legendary accomplishment. You slayed the Avatar.
That’s super interesting. What is Ozai exactly proud of?
-Azula conquering Ba Sing Se (the first thing he mentions isn’t about Zuko, but something Azula who always comes first in Ozai’s book did that Iroh failed to do)
- Zuko turning against Iroh. (The single thing Zuko feels the worst about. And for Ozai, again ,this isn’t about Zuko, it’s about Zuko choosing Ozai over Iroh, it’s about proving that fear is more reliable than love, it’s one more way Ozai is beating Iroh. Familiar? Self-worth based on being “better than”?)
- You killed the Avatar (The third thing is a blatant lie, something Zuko didn’t do - but is he willing to to earn Ozai’s acceptance?)
Now let’s compare it with the dialogue with what Iroh says:
Zuko: How can you forgive me so easily? I thought you would be furious with me.
Iroh: I was never angry with you. I was sad because I was afraid you lost your way.
These are Iroh’s first words. “I was never angry with you.” For Iroh, it is not about himself. Nor about Ozai or Azula. It’s about Zuko and his love for him. He doesn’t expect Zuko to carry out any agenda for him. He doesn’t want to make him the poster boy of the White Lotus. All he wants for Zuko is to find his way. His own path to redemption and happiness. Iroh doesn’t own Zuko, he’s not a tool. He doesn’t pretend he can give Zuko his redemption or honor. Zuko is his own man and he has to decide what he wants for himself in life and Iroh, like a good father, steps back and hopes that all he taught the boy will help him become who he is meant to be.
5. The resolution
Now the ending.
For the first time, Zuko speaks to Ozai.
Zuko: What did you hear?
Ozai: Azula told me everything. She said she was amazed and impressed with your power and ferocity at the moment of truth.
Again. Ozai is not interested in Zuko’s version of the story. Azula (better than Zuko) vouched for him - the forgiveness is built on a lie and not only on Ozai’s whim, but Azula’s as well. The attributes expected of him are power and ferocity. Aggression. Proving that he’s cruel enough to belong to this family.
Zuko closes his eyes, clearly left in a really bad place, conflicted, tormented by doubt and fear that his acceptance home is conditional on being his absolute worst self. There is no feeling of catharsis after three years of suffering and doing his best, there is no love and he doesn’t feel honorable.
Even though he’s home, it feels like he is surrounded by people who can and will destroy him when it suits them.
(And in light of this meeting, his actions in The Headband become more understandable [even if still ooc] - he unleashes his rage on Iroh and hires an assassin. Because what did Ozai say? It’s about Iroh’s supposed treachery and killing the Avatar. All that suffering, all the exile becomes useless if Zuko can’t make the lie true somehow.)
With Iroh though, there is catharsis - Zuko is crying from both eyes for the first time since he was burnt. His own tears are the spirit water that can heal his scar. His feelings are laid out all raw, and Iroh reciprocates with the same honesty.
Zuko: I did lose my way.
Iroh: But you found it again. And you did it by yourself. And I am so happy you found your way here.
Zuko: It wasn't that hard, Uncle. You have a pretty strong scent.
Iroh can’t give redemption or honour to Zuko (he can only do that by himself), but he can give him something even more powerful: love and acceptance. All his scars and mistakes and stumbling on his path included. Iroh loves him for who he is and supports him on his path. But it’s Zuko’s path.
Finally, Zuko is home - because home is not a place. It’s not a fancy palace, not even a favourite summer house. It’s a place where people who love and accept each other come together, wherever in the world they pitched their tent.
And so it begins... What you ask? The creation of my new white garden! I am beyond excited. Up to last weekend I mainly have been trimming back trees, weeding, preparing the future garden beds by putting down a thick layer of mulch, and edging the beds with natural lime stones that can be found on our property. And even though I only have been able to get a small part of the frontyard ready for planting, when we had to go to Home Depot to buy something essential that we needed for the house, I couldn’t resist the temptation and popped into the nursery and got the first plants for the white garden. Yes, this white delphinium was relatively expensive and it probably won’t last too long in the Texas summer heat but I couldn’t pass up this beautiful unnamed variety and see it as a gift to myself for all the hard work that I have put into the garden so far. I have always adored these amazingly pretty and elegant plants and I am so happy to have one blooming in my own garden now! On another note, this is already my 500th post on Instagram! I hardly can believe it! I thought about what to post on this special occasion and even though I was tempted to pick a particularly beautiful photo from one of my garden tours in England I decided to choose one from my own budding garden here in Austin, Texas because that, my friends, makes it very special to me! . . . #delphinium #delphiniums #beautiful #elegant #special #whitedelphinium #whitedelphiniums #mygarden #privategarden #white #whitegarden #moongarden #austin #austingardens #austintexas #texas #texasgardens #gardening #whiteflowers #500thpost #garden #gardens #centraltexasgardening #centraltexasgardener (at Austin, Texas) https://www.instagram.com/p/B_ht7xfg7J-/?igshid=v4f051x44pp0
When I started the DOOMonFILM blog, the only purpose was to have a place where my thoughts on films, both first run and of the past, would be chronicled online where they were easy to access and share. I knew my love for films was a deep one, but I never imagined that I’d hit the 500 post milestone in less than three years. My following is small at this point, but I see your activity, and it is greatly appreciated. I will continue to write, and I hope that you will continue to support.
In order to celebrate 500 posts, I thought I’d share some of my DOOMface artwork centered around film. Part of the idea of my logo was malleability, specifically in the sense that a little Photoshop assistance could place me in any number of famous or iconic situations and locations. Once the idea of transitioning the work into film stills was on the table, the possibilities became endless. This collection represents a small section of the work based on film properties that have inspired me and entertained me over the years.
If you enjoy this work, more can be found at my DoomsdayNow Tumblr page.
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Get Out (dir. Jordan Peele, 2017)
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Down By Law (dir. Jim Jarmusch, 1986)
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Le Samourai (dir. Jean-Pierre Melville, 1967)
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2001 : A Space Odyssey (dir. Stanley Kubrick, 1968)
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Goodfellas (dir. Martin Scorsese, 1990)
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Black Panther (dir. Ryan Coogler, 2018)
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Full Metal Jacket (dir. Stanley Kubrick, 1987)
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Do the Right Thing (dir. Spike Lee, 1989)
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Roman Holiday (dir. William Wyler, 1953)
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La Haine (dir. Mathieu Kassovitz, 1995)
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Taxi Driver (dir. Martin Scorsese, 1976)
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Butch Cassidy and the Sundance Kid (dir. George Roy Hill, 1969)
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The Shining (dir. Stanley Kubrick, 1980)
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Nostalghia (dir. Andrei Tarkovsi, 1983)
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Menace II Society (dir. Allen and Albert Hughes, 1993)
i know i am aged
when the fun is hard
sharp like dried sap
spurted from a wounded tree
the sun catches itself
inside
there is beauty here
reflected in the splattered
still rays of amber light
i know i should drink it up
but the whole picture is frozen
grotesque
like spoken violence
on the radio
death today and now for weather
i am in mourning for my ignorance
but there is no love lost
for that brother
his absence
allows my eyes to see
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Dangers of the Car Wash, a Seven Little Monsters fanfiction
Summary: Seven gets scared of the car wash
"I'm not looking forward to this" Audrie said, "not at all."
Mary looked at her, puzzled. She was confused as to why someone would dread washing a car. "Why?" she asked, "I mean, washing the kind of car is kind of fun."
"Easy for you to say" Audrie said to her friend, "You actually look OK in a tank top, Mary. I look awful." Make no mistake, Audrie was super self conscious of how she looked. She almost never went swimming because she felt so embarrassed wearing a swimsuit. It was so bad that she probably forgot how to swim in the first place. She wore baggy clothes because she was convinced she didn't look good in anything else. It also didn't help that Audrie was blind and thus had no way of knowing whether or not the sentence "you're fugly in a tank top" was a factual statement or an demeaning opinion. If only there was a way to wash the car that didn't require changing into a tank top, she thought, then I wouldn't hate washing cars so much.
Neither Mary nor Audrie knew it, but Four was eavesdropping on them. And just when the two of them were least expecting it, he said, "I think I can help you there, Audrie". Almost immediately after he opened his mouth, a wave of dread hit Audrie. Uh oh, she thought. Audrie had been acquainted with Four long enough to know that his ideas were pretty dumb. Even if his intentions were good, his means of solving a problem were so poorly planned that, in the long run, they did more harm than good. This one was no different.
"How about driving the car to the car wash?" he suggested.
Both of the girls collectively groaned. Audrie had no license, no experience, no useful vision, and no idea which pedal was the gas and which one was the brake. It also didn't help that she was very blind. The only upside to Four's plan (for Audrie, at least) was that she wouldn't have to wear a tank top.
"How am I supposed to drive, Four?" Audrie asked in a ticked off tone of voice, "I'm blind"
"Way ahead of you" Four said. He then gestured to his younger brother Seven. "We'll put Seven's head on the dashboard. He'll be your eyes, Audrie."
Seven looked at the whole thing, hesitating. "I, uh, don't think that's such a good idea, Four." he said nervously, "Are you sure it will work??"
"Chillax" Four said overconfidently, "Saw this on TV once, so it's gotta work."
Seven really didn't like hearing those words out of Four's mouth. He knew all too well that whenever Four said that any of his zany schemes had to work because it worked on TV, it really didn't. The words "it worked on TV" almost always spelled disaster. They were the reason Two had a minor spray-tan fiasco just before he went on a game show. They were the reason that Six once wound up with a seriously bad haircut. If Four said that he knew how it worked because he saw it on TV, then the chances of it ending well were not that good.
This was no different. Once Seven's head was on the dashboard and Audrie pulled out of the driveway, things went completely downhill from there. Literally, they went down a hill, knocking out several garbage cans (and the passenger side mirror) along the way. As they travelled backwards, Seven's head slipped off the dashboard and onto the passenger side seat. "GAH! I can't see, I can't see!" he shouted. Without stopping, Audrie picked up his head and put it back on the dashboard. It did nothing to ease Seven's panic, as he could now see that they drove off the road and were about to head down a very steep ravine with a river at the bottom. "Oh, God; I can see!" he panicked. After driving out of the ravine and on a few sidewalks on the other side, they eventually made it to the car wash.
You might think that actually going through the car wash was the least stressful part of the whole endeavor. After all, you aren't really driving when you're going through the car wash. All you have to do is just put the car in neutral, sit back, and let the car wash work it's magic. Well, you'd also be an idiot, because Seven is absolutely terrified of the car wash. He panicked the entire time.
"Seven, it's OK" Audrie said, trying to console him, "The big slappy things aren't going to eat you." The big, slappy things in the car wash didn't eat anything, as they were inanimate objects. All they did was scrub the cars down with soap. They didn't mean anybody any harm. It didn't make sense to be afraid of them.
Yet he was. He was just terrified. His body probably wet itself out of fear. And no amount of reassurance from Audrie could calm him
"Seven" she said, somewhat exasperated but still trying to remain calm for Seven's sake, "The slappy things aren't going to eat you. They're inanimate objects. There's nothing to be afraid of." She exited the car to demonstrate that the flappy things wouldn't eat you. "See?"
But there, she made a fatal flaw. It might not have been fatal for Audrie, but it was definitely fatal to the car door. When Audrie stepped outside, the spinning brush was behind the car. As she walked out in front of the car to show Seven that she was completely unharmed, the spinning brush moved forward. The car door wasn't open very wide, but the spinning brush still got caught on the door. The brush continued to move forward, tearing the door of the car clean off. Worse, not only did the door come off, the car got stuck in the rigging for the spinning brushes and was dragged backwards. Only when the rigging went all the way back was the car dislodged.
As for the door, it was now completely torn off the car.
Eventually, Audrie found the car, got back in, and drove through the rest of the car wash. But poor Seven was inconsolable. His worse car wash related nightmare came true. The slappy things attacked, and he and Audrie were powerless to stop it.
By the time they got the car back to Mary's house, the car was a total wreck! The mirror on the passenger side was missing, the door on the driver's side was missing, and it was dented everywhere. As Audrie pulled into the driveway, Mary and the monsters took a good look at the car. It was totalled. Clean, but totalled. Everybody wondered how the car ended up looking like a 3D rendering of a Picasso painting. Once they saw Audrie get out of the car, they then wondered what possessed Audrie to try and drive.
"Hey, check it out," she said, beaming, "I got the car washed, no tank top required"
Mary tried not to giggle. Yeah, what's left of it, anyway she thought.
Meanwhile, Four stood there, pretty proud of himself. "Am I a genius or what?" he proudly declared in front of everyone.
The other monsters just looked at him. The though his idea of Audrie, a blind person, driving to the car was was really stupid. "OK, I'm going to go with what?" One said.
"And what was wrong with my brilliant plan?" Four retorted.
One couldn't believe she had to point out the obvious reasons why Four's plan was stupid. Audrie had no license, no useful vision, and no idea how to actually drive. Even with Seven's head serving as her eyes, the car was still a disaster. Clearly, Four failed to consider the possibility that Seven was afraid of the car wash. "Four, do you not have this little voice in your head that says this might be a bad idea?" she continued.
Four was in trouble and he knew it. "Hey, look at this" he said, trying desperately to make a diversion, "We found Seven's head."
Seven's body took the head out of the car and screwed it back on. Mary and the monsters couldn't believe Four had done something so stupid. Four couldn't believe his brilliant plan didn't work. After all, he had seen in the film Scent of a Woman that it was totally possible for a sighted person to effectively dictate directions to a blind driver. It hadn't occurred to him that just because he saw it work in Scent of a Woman didn't necessarily mean it would work in real life.