#analysis series

"I'm going to need a small elite team" (return to Omashu)

"I've plotted out every move of this day, and the only way we win is together" (crossroads of destiny)

"But I thought we were going to do this together" (Sozin's comet)

All of this compounds back to, while she was of course impacted by her mother's view of her which is something she can acknowledge ("my own mother thought I was a monster" / "I know what you really think of me. You think I'm a monster"), the implicit trauma Azula never acknowledges is that she doesn't want people to leave her. She relies on fear to control people so they don't betray her, but to her that has often been synonymous with leaving. It also speaks to some awareness about Ozai's true nature—since Azula could believe Ursa left entirely of her own accord, and Mai and Ty Lee did—as Ozai made Zuko leave. "You can't treat me like this, you can't treat me like Zuko!" is about disgrace, distance, and punishment yes, but is also about separation ("I deserve to be there by your side") and her fear of it... especially because as of this point, Zuko likewise left the family, meaning that Ozai is all she has left. It also shows in Azula's paranoia, with the punishment she doles out to people being banishment—that they have to leave because she says so, that she's self-sabotaging and making them leave before they choose to first ("sooner or later, they all would've betrayed me, just like Mai and Ty Lee did").

This fear of abandonment makes me think most notably of Katara and Aang. Partially because Katara shares this fear, but is also incredibly steadfast. While she would likely hold a lot of resentment and hatred towards Azula post war (the girl did kill Aang) and I don't know if their personalities would mesh well, Katara's loyalty ("if he's banished, then I'm banished too!" / "And we need you" / "I will never ever turn my back on people who need me") and friendship (or more) could be a balm to Azula's abandonment issues. Alternatively, Aang is someone who like Katara — if not more so in some ways — values togetherness and presence ("we've got to stick together" / "we could learn it together!" / "but we just got the family back together"). Being abandoned is something he fears (keeping Hakoda's message) but ultimately something Aang is more willing to undergo and handles a bit better. At the same time, his added maturity here is juxtaposed with his immaturity and tendency to leave / run away, something that Katara doesn't really do except when it comes to certain things.

What I Thought was Good

Probably goes without saying, but the music and animation, particularly for scenery and the action scenes. Flying Bark animated one of my other favourite tv shows, Lego Monkie Kid (starring Sokka's VA Jack de Sena) so I knew they'd knock it out of the park on that level. Gorgeous, truly, even with the little details like updating Appa's saddle.

Aang's trauma and the Air Nomads have always been the most compelling part of ATLA to me. A movie therefore focused on both of those things, fleshing out how his trauma has evolved following the end of the war as well as more of their history and perspective, was always going to be appealing to me. I also think by and large this is the strongest aspect of the movie, if not just the movie point blank, for reasons I'll get more into down below.

The other aspect of ATLA that I find deeply compelling is the Avatar cycle, specifically the past lives, and historical worldbuilding. Renown for its cultural worldbuilding (which continues here), ATLA doesn't spend much time discussing the history of its world outside of like, 10ish years prior to the start of the Hundred Year War and then the war itself. Having a new, old historical conflict be relevant both character and plot wise was fun and unique. The fact we get another interesting past life, and better South Asian representation than ATLA (which admittedly was a low fucking bar to surpass) with Sonam was also a good reevaluation of a story 20+ years later.

I also appreciated that we got actual like, parallel framing with symbolism and meaningful cinematography re: lighting, both for the foils dynamics (Aang&Sonam, Aang&Tagah), especially because that's another aspect of TLOK that's rarely ever utilized but was one of the best things about ATLA.

Except for mine. / We can bring back the Air Nation.

One thing that stood out to me with Tagah (besides maybe Polynesian influences in discussions and techniques with the air current navigation, like wayfinding?) was how when he wakes up, he's not really surprised to find out the Air Nomads have been wiped out. Devastated and distressed, sure, but given his backstory and how extreme his circumstances were, it feel more like what has happened thousands of years later ended up being his "ongoing worst case scenario that had already begun" than something that was completely unknown and unfathomable the way it was to Aang.

The second thing was Tagah being used to explore Aang's grief as another airbender driven to desperation in wanting to have their people back ("we have been given a great gift, a chance to redeem ourselves"), but also as the lone literal Air Nomad who can reaffirm all of Aang's darkest and guiltiest thoughts. Aang's mind treats Gyatso as a mouthpiece in his nightmares in both stories ("why did you run away?" / "we need you, Aang" / "where are you?"), but Tagah once he takes an antagonistic turn can do so directly and hit him right where it hurts. We also see Tagah grapple with Aang's decision, like his friendship with Zuko or the fact he ran away in the first place. He doesn't hate Aang, he doesn't blame him at first when their goals are aligned, but Tagah's anger does come out, viewing himself not as a traitor but Aang as one (and a coward to boot), which is an interesting character journey of moving from Point A (positive) to B (negative) to C (positive in a different manner) and a contrast to Sonam's closing assessment of Aang (which we'll get to).

In the book, prophecies are a big deal. They kickstart and scaffold the Plot of each book. Untangling them and the difficulty of undoing so is a core anxiety for the protagonists. The Great Prophecy looms over their head like a guillotine, and particularly over Percy and Annabeth's relationship in books 4 and 5. Trying to out-think the prophecies—or thinking that they have—often creates more issues. The same message is written over and over again: You cannot know the end. You can't rewrite your fate. You can't change the story.

So what does the show do? It turns everything into a prophecy.

The monsters they encounter are ones where they think they know the story and how it'll end. And to a degree, they're right, but they're also wrong. Knowing more about the monsters doesn't save them from falling into traps. Knowing more about the gods doesn't save them from being tricked. Knowing more about themselves brings them more fear and anxiety, not less; it doesn't solve their problems. They know these stories, the ones told about others, the ones they tell about themselves.

It still doesn't save them. It can't.

Only each other can. And that changes the ending.

There is something interesting about the way TDP talks about like, both literal (physical) and metaphorical (magical?) ascension, y'know? Like, we have the trio + Ellis climbing the Cursed Caldera, sacrificing (stolen) primal magic to hatch Zym, paired alongside Claudia and Soren climbing Mount Kalik using dark magic to track them down... only to end the season with Viren and Callum (mostly offscreen) climbing the same path to the Pinnacle of the Storm Spire where Viren's ultimate dark magic levelling up is aborted and Callum's primal growth is successful (wings) because like, we're not being Subtle

But then we have arc 2 right off the gate, with Viren being physically unable to retreat the path he took up the Spire twice before (pre series and 3x09) only for Claudia (and Terry) to complete it in his stead, which is. Loaded. and we see more competing points of power (ie. Rex vs Avizandum, Janai vs Karim, Finnegrin vs Domina) all ostensibly in the name of Reaching The Top ("of the org chart"). We have Callum having to fly higher to get closer to the stars for his ritual; we have everyone congregating towards the top of Lux Aurea for the final confrontation with Aaravos. Callum's primal victory doesn't make him ascend but go into the depths instead; Ezran's ascension to the throne is clouded with anger and doubt (walking up above everyone to sit on his charred throne on top of rubble). and then we have another fight for dominion, to be the greatest, the highest, entering in the form of Luna Devorans. "you will know your place." / "you are lesser beings."

The narrative of Darius and Brooklynn in "Jurassic World: Chaos Theory" is a poignant and complex one, reflecting the intricate dynamics of relationships set against the backdrop of thrilling dinosaur adventures. The series takes a dramatic turn with the apparent demise of Brooklynn, a key character, at the jaws of an Allosaurus. This event sets off a chain of investigations by Darius and the crew, who are also grappling with being targeted for unknown reasons.

As the story unfolds, it's revealed that Darius was the first to discover the aftermath of the attack, leaving him deeply traumatized. In his struggle to cope with the loss, he continues to send messages to Brooklynn's voicemail, a testament to his profound connection to her. The series also delves into the emotional layers of the characters, showcasing Darius's unreciprocated feelings for Brooklynn, adding depth to their interactions and the overall narrative.

"Jurassic World: Chaos Theory" not only explores the thrilling aspects of its prehistoric setting but also humanizes its characters by exposing their vulnerabilities and the complexities of their interpersonal relationships. The interplay between Darius and Brooklynn's storyline and the overarching mystery surrounding the dinosaurs creates a compelling and multifaceted tale that resonates with audiences beyond the action-packed scenes.

Darius's journey through grief and coping with Brooklynn's loss in "Jurassic World: Chaos Theory" is a deeply emotional and humanizing aspect of the series. The narrative does not shy away from the raw and often messy process of mourning. Darius, who had developed a strong bond with Brooklynn, finds himself grappling with a profound sense of loss that affects him both personally and within the group dynamic.

The series portrays Darius's coping mechanisms through various stages, reflecting the complexities of grief. Initially, he is seen in a state of denial, unable to accept Brooklynn's fate. This denial is depicted through his continued attempts to communicate with her via voicemail, hoping for a response. As the reality sets in, Darius experiences a range of emotions, from anger and bargaining to a deep sadness that seems to engulf him.

(We see Darius' Various Calls To Brooklynn, All From After She "Died") In an effort to process his grief, Darius immerses himself in the mission at hand, using the urgency of survival and the need to protect his friends as a way to channel his emotions. The series also shows him finding solace in the memories of Brooklynn, often reflecting on the moments they shared and the impact she had on his life.

The support of the group plays a crucial role in Darius's healing process. The collective grief and shared experiences with the dinosaurs create a bond that allows each character to find strength in one another. Through this support system, Darius begins to find a path toward acceptance, honoring Brooklynn's memory by continuing their shared mission and embracing the responsibilities she left behind.

-Intro-

Have I made the title sound dramatic enough?

Perhaps!

Perhaps I made it sound like I'm on a crusade to criticize the series. Which, frankly, no... and yes. Yes, and no. In all my honesty, I think the series is one of the greatest manga/anime I've ever experienced, a canvas of cleverly sewn together threads pertaining to characters and their ideas in a way to depict a larger image and convey timeless messages. That's not to say that I'm turning a blind eye to its shortcomings, of course.

However, what I've seen people often point out as shortcoming, most of the time I do not share the view. Let me explain a little, I'm referring to certain plot contrivances and timeline inconsistencies. One of the examples I've seen often brought up is the scene of Gras' sudden death by a random bridge collapse. And I'm not saying it's perfect, by far, in fact if we looked deeper into canon we could find many other such scenes that were a little blown out of proportions for the sake of pushing the plot forward. Those, coupled with a bit of inconsistency when it comes to tying together specific timestamps on specific timelines, might generate more questions than answers.

Why I'm bringing this up, is because I've seen this used as an argument against the realism of the series, to the point of being accused of breaking immersion; and I can totally get behind this idea unless... what if realism isn't the point?

What if the aim of the story isn't to be a hyperrealistic slice of life, a lesson of history, or even about heliocentrism at all? What if the events are merely vehicles to carry messages and symbolism across, the characters are embodiments of voices and concepts, and their dialogues are clashes of philosophies? Maybe what was important was not a rich backstory for any of the characters, or an explanation for whatever happened during time skips, but rather an emphasis on the characters' convictions being won and/or lost according to circumstances. A clever game of tag between ideas, words, played by people of different upbringing and privileges, that brings out both the beauty and ugliness of the humankind. At this point, the story can be set in any time period and on any continent and it would be just as impactul.

My take away is then: even if it might feel that some story elements are either exaggerated or not developed enough, then that's probably the point. Or at least it neither adds nor detracts from the story as a whole. Maybe less time invested into narrative and characterization even helps emphasize all the dialogue and the different life philosophies behind it. So any time I hear critiques such as 'this plot point doesn't make sense' or 'this is not historically accurate', I feel like the point is being missed.

With that being said, what's all this yapping even about? Well, it's my lousy attempt at an intro to my defiance against the direction of the series and I will give a damn about the stuff which I said we shouldn't. I will take certain arcs and events and dissect them to the bone to fill in any timeline vacancy with my own conclusions and interpretation, as logically as possible, while admitting that 'yep I might be reading too much into it'.

Why? Because I'm a motherfuckin' shipper and a gooner and this is my blog I can write whatever I want I have a hyperfixation on painting blank spaces within canon to elevate my blorbos' characterization and the relationship between them (watch out, you'll be reading lots of 'they breathed in each other's direction for 3 seconds therefore they gay' /s).

So I'll be starting a series of takes on certain canon events and clues and even posing questions and inviting to debates, titled more or less as deceivingly as this one. Welcome to Ana's pointless blogs I guess!

(P.S. In case I might seem a little nuts you're probably right I did something similar on Vinland Saga's Thornute, as reference)

Facts:

Grew up as an odd child out due to her neurodivergence & Specific interests.

Abandoned by her parents.

Spent time in foster care & abused 

Felt abandoned by her brother, who didn’t care for her after their parents left.

Got into good colleges regardless of a difficult childhood

Has three doctorates in anthropology, forensic anthropology, and kinesiology

Did work with genocide victims and 9-11 victims

Joined the Jeffersonian

Successful Author 

Forms a bond with Booth. 

Had to do the investigation on her own mother’s murder

Deals with her father, who is a criminal and lied to her

Forms a family with her team at the Jeffersonian, later adding Sweets to this bond.

Is targeted by any serial killers

One of her own interns is murdered. 

Has two children who help continue to open her up to life

Has to live on the run away from Booth 

Loses sweets

Booth is put in jail, and they are separated again. 

They quit their job temporarily but come back.

Booth ends up gambling again, which damages their relationship.

Injured at the end of the story but able to return to work 

Temperance “Bones” Brennan deals with a lot of traumas throughout her life and a lot of love throughout her life. She has been abandoned and hurt as well as surrounded by the love of both her birth family and, just as importantly, the family she was able to build at the Jeffersonian. The people she found loved her with all their hearts and would do anything for her. The way the people she found can open up the hurt heart she had is beautiful. 

She struggles completely reasonably with opening herself up. Having your parents and brother abandon you and then being mistreated by foster parents and peers will make you unable to form close bonds easily and cause damage to your views of how relationships work. 

Brennan’s intelligence and skill at her work are impressive and regarded as some of the best in the world, and she holds this with a sense of great pride. Her ego built around her intelligence can also be problematic because she can use it as a shield against having a real connection. 

Brennan struggles to truly understand and process emotions due to her neurodivergence. Her skill to deal with her emotions is to try to rationalise them. She blocks other people's emotions at the end to not let herself truly bring the feelings in from the outside world. Her own emotions might be turmoil within the walls she built, but she keeps those on the inside. And her own affect can become confused.

Her emotions often come out in fits and bursts. In the beginning, they come out in times like when she has to deal with her parents or when children and animals are harmed. We see that there is a dissonance for Bones with her emotions, not understanding what she is showing and feeling and disliking showing it. Later in the show, when she learns to allow her inside emotions, her affect and others to flow together. 

High intelligence can also create an ego. Brennan experiences this and it causes friction with people who work with her who are of equal stature, like Cam and Clark.  Being Bennan’s version of “smart” can cause her to disregard people who have emotional intelligence. 

 One of Brennen’s earliest close relationships we see is with Angela, a person who seems very different from her. She is spiritual, artistic, flirty, open and leads with her heart. However, they match each other in intensity of love for each other. That’s what matters the most to Angela. Brennan also believes in Angela’s skills, asking her to come work with them at the Jeffersonian. Brenna knows Angela's art and technology skills are good enough to warrant the trust. They also both have abnormal childhoods. Angela, having a rocker father and mother who seemed to have never been in the picture, was adopted, or for some other reason. Angela also helps Brennan with her books. Angela supports Brennan through emotional situations, giving her advice when she struggles to know what to do. Angela is the only person Brennan communicates with when she’s on the run and Angela is extremely angry with Booth when he halts the marriage due to Pelant. She is the first piece of a family Brennan built. 

Hodgins and Brennan have a less defined relationship, but are close, going through many things together, like being buried by the Grave Digger. They are both supportive when the other goes through hard times and work to catch people who put the other in dangerous situations. They respect each other’s work in their fields. He is Angela's husband and the father of her child, making him Brennan's family that way, but their friendship also makes them necessary for their family to work. 

Cam and Brennan butt heads to begin with. Brennan does not like feeling like she is out of control in what she considers to be her space. Brennan has a deep need for control due to all the out-of-controlness she experienced as a child. She feels intellectually superior and more important. Brennan learns to see Cam as a necessity within the system. They come to not only respect each other but also consider one another to be part of the family. They invite each other to family-style events like weddings and celebrating child births. They come to help each other during hard times. 

Brennan originally had a relationship with Zack Addy as her first intern, whom she shows a great deal of love. He is much like her, showing neurodivergence to an even stronger extent than she. He is very much like a little brother to her. When he betrayed them, it affected her; she talked Zack into helping them. She proved to Zack that he loves Hodgins more than his overall beliefs. She still shows affection for him, even touching foreheads. When they see each other again, we see Zack kidnap her in an effort to prove his innocence. She sides with him being framed for the crime, and helps get him exonerated. Her love for Zack shows that her ability for familial love existed even before her long-term relationship with Booth. 

The group of Interns she has over time means a lot to her, and she cares deeply for them. When she loses parts of her memory at the end of the show, she remembers things about them as they mean so much to her.

Arastoo: He is part of the Family as the husband of Cam and she shows great respect for him as a scientist as well as a person for the trauma he suffered as a young person.

Clark: He becomes a Doctor and they clash once he takes charge of historical anthropology. She comes to respect him after seeing his work. While originally finding their family dynamic non-conducive to work, he becomes friends with the whole squad. Clark comes to help when they need it. 

Daisy: She is one of the interns Brennan seems to like more than the others. Taking her with her when she leaves on a sabbatical later taking her on her "bachelorette party”. She is also more folded into the family as the Fiancée of Sweets and mother of his child. 

Finn: Brennan and Cam are willing to take him in as an intern and Jeffersonian employee with his background in crime. Brennan finds his background to be non-pertinent in most situations. This shows her logic-focused worldview can be part of compassion.

Fisher: His sardonic pessimism and her general flat faculty can comically conflict. He also once offered her his sperm, which she turned down. For the most part, they get along generally well, Fisher even loving her novels. 

Fuentes: Doesn’t get along with Brennan to begin with, as he is flirtatious and arrogant. 

Jessica: She helps Brennan learn about social media.

Oliver: Probably the intern she gets along with the least, like most, she thinks his know-it-all and blase attitudes to be grating. But she also often states his genius status is warranted. 

Vincent Nigel-Murray: She sometimes shuts down his fact giving, but he is well-liked and cared for by Bones; his death affects her deeply, being a catalyst for her relationship with Booth. She awkwardly brought a flower to put on his casket. 

Wendell: He is helped out by Brennan to be able to stay in the Jeffersonian because she respects his work and she cares about him. She also shows compassion when he has cancer.

Sweets is a psychologist, so originally, she dislikes him because she doesn’t like his profession. He needs science to fit her rigid view of “logic”  to trust it. His usefulness in helping re-solidify her and Booth’s working relationship isn’t something she finds necessary. Sweets ends up finding his views of them smashed funnily when he learns Booth and Bones first met they almost had sex. 

Over time, Sweets and Brennan learn to respect each other, and as they work together if she never loves psychology. On a more personal level, Gordon Gordon points out that Sweets is imprinted on them like a baby duck. Brennan and Booth deeply love Sweets as a family member.  They take him into their house, Brennan expressing when he leaves that she wasn’t sure about bringing him into their house, but then was very unhappy about him leaving because she actually loved having him around her; she does care for protecting him. Losing wounds her family.