🎵i'm salty and i know it🎵

world heritage post: avatar femslash fans on livejournal discussing the possibility of a lesbian or bi lead in the legend of korra in 2010, 2 years before the series first aired. four years later, korra and asami walked into the spirit world together holding hands.

actualmenacebuckybarnes: okay but can’t he be both though? Like, okay, I get the backstory, as it’s been given to us, but this is my number one pet peeve about the perception of Southerners, country people and of violent characters generally.

Eliot Spencer is incredibly smart and very cultured. When other characters talk about pink collar jobs, Eliot corrects them and is far more aware of that sort of thing than they are (Sophie says ‘stewardess’, Eliot immediately tells her ‘flight attendant,’ etc.). He has a great knowledge of not just knife technique, which, okay, but wines, distillery, flavor composition, etc. He routinely passes as professions deemed higher class than that which is perceived to be his own (doctor, lawyer, accountant), and he uses his means of accomplishing tasks, violence, with skill and discernment and not mere force.

He also reads Nate better than anyone, including Sophie, and calls him on his bullshit directly all the time.

When we see Eliot interacting with the rest of the team, it’s not that he’s uncultured or less of a hipster trope, it’s that it reads different coming from him than say, Hardison because he has a Southern twang, a gravelly voice, and a tendency to punctuate with the word “damn it.” Which is a local dialectical thing, honestly, I do it, my mom’s boyfriend does it, a lot of people around here do it.

Eliot with the Leverage crew is Eliot relaxed. He’s code switching. When he knows something, he tells them, ‘it’s a very distinctive,’ which is like our tumblr shorthand ‘for reasons.’ They come to trust that when Eliot says ‘it’s a very distinctive’ he means, ‘It’s complicated and I know it from experience, but it’s not important enough for you to know that I have to explain, so move on.’ He doesn’t have to turn on his charm or put forth any sort of airs, they know him, they know how he operates, they know how he thinks, so he can just grumble and swear and threaten and keep working, so he’s happy.

He doesn’t like talking. That doesn’t mean he doesn’t like anything else, he just doesn’t like talking. Some people don’t. Doesn’t mean they don’t think, I mean, there’s that old proverb about removing all doubt, right?

lan sizhui (yuan):  how formal should I be with this notorious weirdo who may or may not be having sex with my father?? i don’t know the proper etiquette for this situation! also it’s a little weird how much he reminds me of someone, who could it be

Tenna art by @9Aaaalt29 on twt

yes 💔💔 #myrosebride

before i elaborate more on yue, i would also like to point out something crucial about katara that i think a lot of people neglect: from the ages of 11-14, her village was almost entirely female. with the exception of sokka, everyone she interacted with on a daily basis during these extremely formative years in any child’s development were with women and girls of various ages. while women of course can still maintain the system in the absence of men under patriarchy (and we do see this to be the case in their village to an extent), katara does not have to worry about being abused by the men around her, because there are no men around her. of course, her life is under potent threat, but that threat is external, not from her own people. sokka may be a pain in the ass, but he doesn’t actual wield any material power over her. she takes out her frustration with being forced to do domestic labor out on him, but he’s not even the one ordering her to do that: their grandmother is. sokka only has any authority whatsoever because he tacitly agrees with everything kanna believes, and she is truly the one in charge. katara feels stifled, miserable, and angry in her village not because of the traditions of her people, but because of the genocide they are facing. perhaps, in a world where the fire nation did not devastate the southern water tribe, katara’s greatest gripe would be the patriarchal traditions of her culture, but we really have no way of knowing that. she takes her anger out on sokka primarily because she has nowhere else to put her rage, and as her older sibling, he is the easiest target. that is the social dynamic that characterized her early teenage years.

while katara did technically still grow up in a patriarchal society, it was a highly unusually organized one, since it was still being led by women, with no men save for a single teenage boy. katara has the ability to fight back against the sexism she faces because she was actually raised to value herself. she is confident in her own agency and strength and feels it is distinctly cruel and foolish to deny a woman their rights on the basis of their gender because the only misogyny she ever truly faced growing up was her brother saying “boys rule girls drool” and inane shit like that. she was certainly never raised to think she couldn’t be a great waterbender, and we see from hama’s pov that for at least a century women waterbenders in the south have been at the vanguard of the resistance and actively fought against the genocide of their people. the fact that pakku denies her is thus totally absurd to her, because from her point of view, it’s quite literally the first she’s ever heard of the notion that women cannot use waterbending combat forms. of course she is familiar with the idea that men and women each have distinct social roles (and she has definitely internalized some of these notions subconsciously, even if she also resents its most obvious manifestations), but she has never once truly entertained the idea that her life’s only value is to serve men, so she balks at the idea that she “belongs in the healer huts,” that she is already engaged despite only being fourteen, that she must be the one to apologize to someone being unreasonable and cruel to her simply because he is an old man and she is a young girl. she has the frame of reference to notice how fucked up these manifestations of patriarchy are, because she grew up in a village surrounded by women telling her how amazing and special she is, and so she knows her own worth and will never compromise that for anyone.

yue’s situation is entirely different. after all, katara is not her mirror; sokka is. if anything, katara is her foil, her opposite. katara has the agency yue is denied. yue was raised with privileges katara was not: wealth, safety, resources, comfort, security. but katara had the privilege of being allowed to value herself. keep in mind that even though kanna may torment katara by making her do laundry, she’s still the type of person who crossed the entire globe to get away from cultural values she disagreed with, and those are the kinds of beliefs she is imparting upon her granddaughter. katara would never stand for being forced into an arranged marriage against her will; to her, the very notion is unthinkable. but to yue, it is her duty. she is a woman (read: just turned sixteen, therefore of marrying age) and a princess, and so she has equal duties to her father and her people (note that katara is also the daughter of the chief, but she displays absolutely no feelings regarding this fact whatsoever one way or another; hakoda is just her dad to her, nothing more). although yue is clearly a person brimming with desires, emotions, passions, interests, hopes, dreams, joys, fears, thoughts, humor, excitement, wisdom, and curiosity, her personhood is not recognized by anyone in her tribe (that we see). her father sees her as a symbol, her fiancé sees her as an object, and they both view her as property to be traded in an exchange she is not privy to and has no real say in. yue does not want hahn in the slightest, and yet she will be expected to bear his children, his heirs. in a beautifully tragic way, becoming the moon spirit was actually the best option available to her. in her final moments between human and spirit realms, she can finally exercise her own autonomy, and chooses to kiss sokka without guilt or shame. she can only reclaim her agency once she renounces her humanity.

there is a lot to be said about the ways in which yue and sokka parallel each other. it is, after all, yue’s primary relationship in the narrative. she was constructed specifically with this dynamic in mind. I could and often do enumerate the many ways in which they function as mirrors to each other, the most obvious being the ways in which their duties to their respective father-chiefs and cultures/people leads them to fully internalize the notion that their martyrdom is not only logical and necessary, but indeed, the ultimate exercise of their utility, which means that self-sacrifice is actually aspirational, because all they are good for is performing their duty. yue’s duty as a Woman and sokka’s duty as a Man involve functional differences when practiced, but ultimately arrive at the same conclusion: their ultimate purpose is to die for their people. their bodies are mere vessels, they must endure their pain silently for the sake of their people, their lives are not their own. yes, sokka complains a lot, but never where it counts. yes, yue cries a lot, but she never renounces her duty. and sokka would never force her to renounce her duty, because even if she claims he doesn’t (which is funny in its own way, lol he literally doesn’t tell anyone anything!), he understands what that’s like. sokka and yue’s story could only ever end in tragedy, because as much as they love and value each other, they do not value themselves enough to fight for their happiness. had the siege not happened, yue would have married hahn, and been miserable. the only person who could possibly intervene on their behalf and advocate for yue’s agency is katara, not sokka. and that is not because katara loves yue; after all, she barely knows yue. but unlike sokka, and unlike yue, katara loves herself.

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