#xenowlsome

I mean, on one hand, you’re right, that’s absolutely hilarious.

On the other hand Kakashi in the Waves Arc has a very strong (albeit one completely warped by living in the shinobi system) moral system. It’s striking to me on rewatch that the decision as to whether or not to turn Team 7 around and march right back to Konoha and leave the Land of Waves to Gato’s tyranny comes down to Kakashi and Kakashi alone. He’s the only fully competent, seasoned ninja with three EXTREMELY green genin strapped to his hip and going into a situation where they will have to engage enemy ninja, meaning he will be expecting to deal with a dangerous situation not only by himself, but effectively handicapped in the process.

And while abandoning Tazuna would be the right choice to make in the village’s eyes... Kakashi doesn’t.

Similarly, while bringing back kubikiribocho to Konoha would have been the right thing to do in the village’s eyes, to Kakashi (in my interpretation), that would be robbing a grave, making a trophy out of what happened to Zabuza.

I don’t mind if it helps people understand! :)

Who will caesar be n this case?

Oh my God, I’ll try! (Warning: Contains some salt for the second film, though it comes from a place of love and affection, and much rambling, which isn’t helped by the fact that it’s been a little while since I’ve seen both films but still have many feelings, also tw: for references to rape)

Like you, they were probably one of my oldest OTPs, and I’ve always been more or less consistent on them. (I remember being SO disappointed as a kid with the finale of the Animated Series when Imhotep just...walks away from her.) I absolutely loved how EPIC and tragic it was, and I was always rooting for them to get a happy ending. (And I was always disappointed, until I discovered the wonderful world of fanfic.) The Mummy is actually what got me started with my interest in history, and so I really do owe it a big one for that. It’s probably one of the single most influential pieces of media I’ve consumed in my life. I definitely think they were at their strongest in The Mummy; that’s the film that really DEFINES the ship for me, despite Anck getting relatively little time. Like, in the course of the introduction, we find out several things in quick succession: That Imhotep was Pharaoh’s high priest, that Anck was his mistress, and that they loved each other enough that "For their love, they were willing to risk life itself.” And then, after THAT, we learn that they were willing to kill PHARAOH, AKA the MEDIATOR BETWEEN THE DIVINE AND THE MORTAL REALM for the sake of each other. One of the things I actually realized while I was rewatching The Scene is that there’s actually a moment immediately after Pharaoh’s asked her who touched her where she looks at her arm and has a brief moment of surprise, starting just a LITTLE before she turns to look at Seti and then, behind him... 

She is TERRIFIED at this point. I think that killing Pharaoh was probably been something they’d considered, possibly talked about, but I have some strong doubts that this particular part was planned out. (Though I could also be very, very easily persuaded otherwise as well; it’s the kind of thing I’ve gone back and forth on over the years.) And then the two of them work TOGETHER to kill Pharaoh. Anck isn’t passively sitting by while her lover kills Seti, she’s actively participating in it, taking the first stab even before Imhotep gets to it, when he’s just drawn his sword. And, when the Medjai come, Imhotep was willing to DIE for her, only being dragged away by his priests, even though Anck had begged him to leave so that he could resurrect her. And then we learn a little bit about why she might not have hesitated to kill Pharaoh before Imhotep did...

This is what she chooses as her LAST WORDS. A defiant statement saying, once and for all, that she’s never going to be violated again, her last action seizing agency for herself, killing herself before letting her fate being dictated by someone else again (and to prevent her from the painful, painful death that would have awaited her otherwise). All while letting the man she chose to be with, to love, escape while she took the full blame (it’s mentioned in the original script by Narrator!Imhotep that “For murdering Pharaoh, Anck-su-namun's body was to be cursed. And it was I, the High Priest, whose duty it was to curse it.” Which...holy ANGST Batman. Given how IMPORTANT the body was to Ancient Egyptian beliefs relating to the afterlife and how important the afterlife really WAS, this must have killed him, even if he might have justified to himself that he was going to get her back. 

I’ll never entirely forgive the second film for changing her from “mistress” to “fiancee” (which seems to give her more...security, than her just being a concubine, though realistically Seti has MULTIPLE wives, but The Mummy doesn’t MENTION them or Nefertiti’s mother, so...) and deciding that she was going to be an Obvious Dark Sexy Lady from the get-go, when this is pretty damn self-explanatory. But they’d decided that Nefertiti was going to be Evie, and Seti was now the BELOVED FATHER of our heroine, and so of course Seti has to be a loving, kind father whose death was a great tragedy. (Though...personally, I choose to go with Nefertiti as an unreliable narrator. Of course she’s not going to have sympathy for a common concubine who murdered her rightful king, she had to have been a scheming, manipulative woman from the beginning. Seti can be a loving father...who still treated Anck as if she was an object for his pleasure.)

It’s just...so, so important for me to emphasize that she CHOSE to love Imhotep, that he might very well have BEEN the only man she CHOSE to be with in her life

And I’ve focused a lot on this opening and how IMPORTANT it is because it’s literally the first thing we see, and it’s what sets up the entire series. “For their love, they were willing to risk life itself” and, as it turns out, their afterlives as well. Even while Imhotep’s been turned into a cursed figure, doomed to bring the Ten Plagues of Egypt, he has two essential goals (1) Get himself rejuvenated so he won’t run up a tree whenever a cat comes along and (2) Get Anck back. Like...holy SHIT. He was willing to tear down this world and the next just to have the life with her that they SHOULD have had, in another world. 

One of the things that really stood out while I was looking for sources to work with was something that Pete Hammond, a film critic said, which is that "people want to believe in a life after death situation," which is TRUE, and explains a lot of the appeal of figures like ghosts and zombies and mummies (who are kind of specifically Egyptian zombies, as far as their ties to imperialism are concerned, but I digress), but also with Imhotep and Anck-su-Namun in particular, it’s the idea of a star-crossed love so incredibly powerful that it lasts for MILLENNIA, in defiance of death and life. It’s destructive, to the society they live in, to the world at large, but it’s epic love at its finest and it was something they both fought like Hell for. 

And then we get the second film. And in the second film, there’s obviously the ambiguity between Anck and Meela, and which one is which. Still, I think that for the MOST part the person we see in the film is more or less meant to be the person that Anck was in the past, given that there are traces of that in the pre-canon flashbacks, such as the opposition of Nefertiti VS Ankh su Namun, Pharaoh’s daughter VS the mistress, light feminine VS dark feminine, which then is repeated throughout film with Evie VS Anck/Meela, though to be fair, I’m not sure that the WRITERS were 100% sure where one began and the other ended. Which is probably a consequence of defining Anck in the first film mainly as “a goddess” and “gorgeous” the latter of which the film notes EVEN AFTER SHE’S DEAD, but I digress. The novelization plays with it a little bit, having Meela be the one to desert Imhotep, not Anck, running as her identities collapsed in on themselves. The one script I was able to get my hands on that seemed like it might be halfway legitimate rather than just a transcript said that he “realizes that she never loved him,” which seems to swing the opposite direction, being more in line with the Animated Series which would follow it where Anck is a villain whose “Love” for Imhotep is entirely opportunistic. 

Personally, even though I waffle back and forth on this one, I think that Meela is slightly more outwardly vampy than Anck, slightly more pragmatic (Anck was always pragmatic, don’t get me wrong, THAT’S shown by her asking Imhotep to leave so he could resurrect her, but it’s...DIFFERENT, in that I can’t see Meela stabbing herself in the stomach either.) But, we did get some solid OTP content in this film: 

THE LONGING. HOLY SHIT. Like, we know so little about their relationship pre-canon, but obviously, with the whole “Body paint” issue, I honestly don’t see how they would have had TOO much time available for sexytimes, and so you have this situation where they have to try to repress so much around each other when they love each other so much, and sometimes they fail and there are those LOOKS (which cues Nefertiti in on it, so bad move guys, but...#YouTried). I don’t think that they were chaste, per se, given that they were going to do SOMETHING in Anck’s bedchamber before Pharaoh arrived, but I think that their time together was limited and always fraught with the danger of being discovered.  

Which also ties into one of the major THINGS in both movies, which is that almost-but-not-quite-touch. There’s such an INTIMACY there, so much mutual pining. Even when they kiss and everything is ruined for them, look at how they do it. 

It’s so SLOW and longing, the way that Imhotep’s hands just kind of hover for a little while before going to her shoulders as he angles for the kiss. I mean, this is some REGENCY level pining here. Albeit. In Anck’s bedchamber. But still. 

Honestly, I think one of the biggest dick moves the second film did was use them as a foil for the O’Connell’s One True Love. Like, at the end of the first film, there are two love arcs, and for Imhotep to fulfill his and get Anck back, Evie has to be sacrificed, while for Rick to succeed (and save the world!), Imhotep’s gotta go. There’s no real way around this. 

With the second film, though, it comes down more to the two ladies, with BOTH of them having the chance to save their respective love interests. Evie, obviously, goes to save Rick, but Anck...wavers? Suddenly? And you could make an argument that Imhotep wavers himself, given that he chose fighting the Scorpion King for power rather than staying behind with her, but...still. After all these years? The novel explains it as Meela coming back and reasserting herself, but in the film proper it really doesn’t make as much sense, unless you go with the idea that she was never in love with Imhotep, as mentioned in the script above, or at the very least, that it was somehow LESSER to the love that Evie has for Rick, which switches the narrative of the first film from World-Destroying, Epic Love of the Undead VS World-Saving Love of the Living to Fake Love VS Real True Love (With the appropriate child to show it, while Imhotep and Anck can...obviously not produce children. Which I wouldn’t want to bring up normally but given how MUCH of Evie’s identity in the film is tied to her being Alex’s mom, Rick’s wife, and Seti’s daughter...). Which...I fundamentally can’t believe. I can’t believe that after everything the two of them did for each other, how IMPORTANT they both were, that it was just an infatuation. It adds a pointless element to Imhotep’s arc that doesn’t really make sense with what we’d seen before. The tragedy, for me, with their relationship was never that one loved the other more or less; it was that they lived in a world where it simply couldn’t happen, whereas Rick and Evie DID.

The quote that I’ve gone back to time and time again is, “For their love, they were willing to risk life itself,” THEIR. Always THEIR. No matter what, they felt strongly enough for one another that they were willing to do anything so long as it kept the other by their side, and they did it TOGETHER.