Bi-babe-y

sorry for having a huge cock and correct opinions on everything. as if it’s my fault.

working memory bad 💚

i think we are all forgetting something when we talk about how toxic patrick, tashi, and art are — or when we decide one is “worse” than the other. they all have moments of seeing right through it, seeing each other’s toxic behavior for what it is, and STILL want and need each other in this possessive, envious, visceral way.

1. in the way beginning, tashi is clearly flirting more with art than patrick, and patrick is visibly annoyed. art sees right through it and even challenges him like “okay, let’s leave”, and has this little smirk on his face because he knows patrick won’t give up on tashi.

2. tashi immediately sees the visible tension and love between art and patrick, and literally orchestrates their first kiss. she sees right through their repression, and even calls herself a “home-wrecker” but still entangles herself with them, especially patrick because he’s clearly the better tennis player at that point and that is tash’s ONLY true love. tennis. that’s what she desires most in him, and patrick knows that. he even calls her out on it in the dorm room scene. but they have this mirroring fire in each other that neither of them can give up, not until patrick breaks the balance and bails — tashi’s injury is literally a metaphor for the balance shattering between all three of them when patrick leaves her.

3. before this, patrick sees right through art trying to break them up, and even admires that quality — maybe even feels smug and flattered because art is jealous and feels left out from both tashi and patrick. patrick has known this all along, we saw it in the “tick-serve” scene, where he even swears to tashi he won’t tell anyone but he still tells art, who is desperate to feel a part of them and patrick wants that, too — even keeps that close intimacy with art that we see in the churro scene (swoon swoon swoon).

4. haven’t you noticed that arts desire to be great is only ever tied up in patrick and tashi? how he needs to beat patrick to win tashis affection, how he needs to win in tennis so that tashi can live through him, how he lives up to his potential in the ending only because tashi and patrick push him to it, in their little fucked up ways? he knows this — he even admits that he’s playing for tashi, that he knows she’s living through him. he even admits he’s playing a fucked up little game with patrick when they’re in the sauna. yet he still does it. again, he knows what’s happening, sees right through them — still does it, still loves them.

5. when tashi calls patrick to come pick her up he knows it’s not just to tell him to throw the match — and despite how she battles him about it, they still have sex in the car, because he already knows. he’s so fully aware of her and her game and he’s so willing to be caught up in it, the same as art.

just some examples of how they all have moments of clarity and agency and yet they still choose to be entangled in one another because they’re all fucked up in their own, individual ways, and they’re all living through each other for their own specific needs. arts is to be seen as worthy, as great, but only through their gaze. tashis is to have the career that was stolen from her. patricks is truly to be in love and in lust with both of them, because we even see that from the beginning that tashis love alone will never satiate him; it has to be arts love, too. that scene in the sauna when he thinks he’s lost it from art is the most sad and fucked up we ever even see patrick. on top of tashi asking him to throw the game — he’s so defensive of arts feelings.

in short this is an actual love triangle (and i would go as far as to see it as a polyship). you can’t erase one without the whole thing unraveling, and you can’t say one character was the “worst” without picking apart the motivations and pointing to the fact that their bad behavior was never a secret or left unchecked.

even at the end, patrick signals to art that he slept with tashi — art knows and they still have that intimate completion at the end, all three of them. art living up to his potential and embracing patrick fully (id argue this could even be a metaphor for embracing his bisexuality), patrick having both tashi and arts affection again, and tashi playing a phenomenal tennis match through her little white boys — in such a visceral, emotional way that she cries out like she did in the beginning and the last frame is her smiling.

in a fucked up way, they all get what they wanted out of each other.

god gives his wettest pussies to his most mentally ill soldiers

I feel like a universal young queer experience is knowing that you'll never actually get to be your true self until you're out of your parents house, everything before then is an extremely watered down version of yourself. And your parents think they know everything about you but you really have a whole other personality and they know absolutely nothing about you, or only what you want them to know. It even applies to your beliefs, religious or political.

Found this on Twitter and man, Sex Education really did THAT

I’ve decided to make a second post about Aang’s parental neglect because the first one was hijacked by people accusing me of being delusional.

The more I think about Aang’s attitude, the less I understand it. In my post, I said that it would be understandable (but still questionable) for Aang to leave Bumi and Kya behind if he’s going to places made for airbenders- I take it back. Not only because it’s parenting 101 that even if you believe that your child won’t enjoy a vacation, you still take them, but because I’ve come to realize that there is no such thing as airbender-only places. They don’t exist.

Think about it, what is airbender culture? Is it being vegetarian? Kya and Bumi could do that. Is it believing in absolute pacifism? Kya and Bumi could do that. Is it meditating and being spiritual? Kya and Bumi could do that. Is it being bonded with an air bison? Kya and Bumi could do that.

The only thing that is exclusive to Aang and Tenzin is bending air and even that isn’t unreachable for Kya and Bumi. Remember in ATLA when we learned that you can learn techniques from one form of bending and use them for another form of bending? Iroh famously learned a waterbending technique and used it to create lightning redirection and we saw Zuko using techniques from all 4 forms of bending in his agni kai- So why couldn’t Aang teach Kya airbending techniques and have her use them for waterbending? It would’ve been perfectly possible. Even Bumi could’ve used the same technology that Teo and Katara used to fly- Aang acknowledges that Teo is essentially an airbender, so why couldn’t Bumi do the same?

What TLOK is presenting is an immense regression for the character of Aang. Are we supposed to believe that the same Aang who saw Teo flying and exclaimed “Even though Teo is not an airbender, he really does have the spirit of one!” would look at his own children and say “Nope, you’re not an airbender and could never be one”?

If I didn’t know anything about Bryke, I would assume that they hate Aang and that this writing choice is their personal vendetta against the character- But I do know about them and I know that they love Aang more than anything, so what the fuck is this? Is it a power fantasy about being so famous and powerful that you can get away with neglecting your children?

I can’t believe that Aang stans flooded my mentions. If I were a devoted Aang stan, I would track down the showrunners and key their cars.

Huh. Cute!

#whitewomantears

Ugh I will always love the concept of Katara using blood bending to revive Zuko after the last agni kai, mostly because it makes no sense to me that Zuko was able to bounce back so easily after being struck by lightning, but also because the way the show treats bloodbending is just odd to me. It was a defense mechanism created by a traumatized victim of some of the most devastating parts of colonization, and although I understand that Hama was supposed to symbolize the "bad parts" of waterbending and was important for Katara's growth in realizing that the world isn't entirely black and white, its still disappointing to me that the show never explored the gray areas of blood bending, especially since that episode was, as I stated above, about understanding the gray areas of the war. Katara using blood bending to revive Zuko would add so much to the last agni kai in demonstrating that she has truly realized that "good" and "evil" are relative concepts, and Zuko being saved by both a defense mechanism of a survivor of colonialism and a type of bending used to terrorize his people would have even added to his arc, as the narrative required him to save and subsequently be saved by the physical embodiment of everything his family sought to annihilate.