Tbh Like….i Ain’t Mad At Either Soo Or So

tbh like….i ain’t mad at either soo or so

they were always destined to fall apart in this era

soo tried so so hard to make sure that she would help him, so that no one would have to suffer, so that he wouldn’t have the legacy she heard of as a bloody monarch. she wanted him to be remembered as she saw him: a great king, and a good person. but once he became king and she became his “mistress,” as won puts it, she was inadvertently stripped of all the power she had in the palace as a court lady, and she was reduced to “sitting in her room, waiting for him to come home.” the intention was for her to become queen, but without the backing of a powerful family to support her, it became impossible. by the time so told her he would make her the second queen after she had a child, she was already broken. her best friend was killed because she was a traitor, spying on her and lying to her for years. not only that, but the one who ordered her death was the man she loved, and despite the fact that chae ryung was working against her the entire time she was in the palace and helped kill people she loved, soo is incredibly torn because she can still see in her a girl who was trying to help her family. then another friend of hers commits suicide. and then she is told that the reason the man she used to love became such a slimy, homicidal jackass was because of a warning she gave him, reminiscent of the previous king telling her he killed people in order to get the throne because she covered so’s scar.

at this point, hae soo feels not only like she doesn’t have the power to save anyone, but like her influence on politics has had an active role in killing all the people she’s worked so hard to save, people she loved deeply. no wonder she wants to leave - it’s not that she thinks so is a monster and wants to escape him, but rather she’s gotten to the point where she hinders more than she helps, and her staying is fatal. and she can’t take people she cares about dropping like flies anymore.

meanwhile so. so. so has his hands tied everywhere he turns. someone made this great post about how people have been abandoning him since the start of his reign. the military general. his mother. baek ah. now hae soo wants to leave too, the only person he has left. and to be honest, it would be better for his reign if he let her leave, because every move he makes he thinks of her, and, as we saw with his marriage situation, he would doom himself if it meant staying by her side. but he loves her far too much to ever let her go. the only thing that finally gets him, that really makes him let her leave, is finding out about wook. and i don’t think it’s a jealousy thing - he knew years ago she had loved one of his brothers, and there’s only so many to choose from. but the fact that it’s wook, “of all people why does it have to be him” wook, breaks him. not because it’s his brother. because he’s the man who plotted the death of his oldest brother, who used chae ryung as a spy and made her a traitor (with the assistance of won), who was ready to shoot yo with an arrow like he was hunting something, who threatened him using hae soo and collaborated with his family to make his sister take soo’s place at so’s side, who used his smart brain to rally the noble families, who looked so in the eye and said “nothing is yours, it’s all mine.” it’s not that hae soo loved someone besides him ever in her life, it’s that she was ready to marry someone who at every turn tried to tear him down and their family down, a manipulative murderous snake, and despite that part of her still cared for him enough to beg for his life.

he feels like she never loved him, “wook was always in your heart,” like it was all just some scheme wook was planning or a way to hurt him using what he cared about most. so he lets her go, because he feels like she’s “throwing him away,” or, even worse, that she never cared about him to begin with. at least not as much as the guy who killed his family and hers.

and it’s tragic. and heartbreaking. and i really can’t blame either one of them.

More Posts from Blackswan8043 and Others

blackswan8043

1 year ago

people all of a sudden up in arms about this kiss and calling so abusive like

yes the kiss was problematic good job sherlock it was supposed to be

“hae soo did nothing wrong” yes and no

hae soo took someone who has been abused and isolated, both physically and emotionally, his entire life, befriended him, swore to him that she would never betray his trust, and then did just that. she physically and emotionally pushed him away, repeating to him the things that triggered him. “i’m afraid of you.” “you’re going to ruin everything.” the exact opposite of what she’s said in the past, she’s done a complete 180 overnight, going from his closest ally to someone who doesn’t even want to be near him with zero explanation. this isn’t to say hae soo is a bad person, or that her fear was unjustified, but her handling of the situation was careless to an extent. the only person so had ever trusted or opened up to. for abuse victims, trust is a huge freaking deal and this boy had come so far in his healing process.

does that excuse the kiss? does that mean soo was wrong for being shaken by her visions? does that justify claiming ownership of someone and forcing yourself on them? of course not what the fuck. there’s nothing to excuse such behavior. but it is a violent way of trying to hold onto something you’re losing. we’re not supposed to see it as this great romantic gesture. it’s sad, it’s pathetic, and it’s extremely in character for wang so. he’s lashing out, something not uncommon for childhood abuse survivors. and it’s gonna be something he needs to overcome. he’s not there yet, which is understandable, especially since he’s still in a pretty damn abusive environment. i’d be a little annoyed if they did away with all of that simply because he fell in love with someone, because that implies that an abuse survivor needs only a significant other to be “fixed” and that’s not true. it takes time, years upon years of time. but look at where he was in ep 1 - he’s grown so much since then. but he still has a long way to go, and this is one way of showing that.

please stop acting as if this scene is “person a is evil and person b is an angel sent from heaven above”. please don’t write the scene off like that and ignore the episodes of character development and growth between these two. please don’t pretend that good and bad aren’t happening on both sides and that both characters are handling extreme trauma in questionable ways. please stop forgetting about how much abuse and trauma are shaping their decisions and are ingrained in their personalities. these are not two dimensional characters and this is not a two dimensional scene. please stop trying to oversimplify it to avoid being problematic. it’s a problematic scene - let it be.

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blackswan8043

3 years ago

I love picnics!!❣️

My soulmate might be a picnic basket.

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blackswan8043

1 year ago

Noir 🖤🌙

Recs;)

A list of my favorite poetic films: The Passion of Joan of Arc (Carl Theodor Dreyer, 1928) The Man Who Sleeps (Bernard Queysanne, 1974) Letter Never Sent (Mikhail Kalatozov, 1960) The Turin Horse (Bela Tarr, 2011) Satantango (Bela Tarr, 1994) Werckmeister Harmonies (Bela Tarr, 2000) Mirror (Andrei Tarkovsky, 1975) Nostalgia (Andrei Tarkovsky, 1983) The Holy Mountain (1973, Alejandro Jodorowsky) Three Colors: Blue (Krzystof Kieslowski, 1993) The Double Life of Veronique (Krzystof Kieslowski, 1991) The Ten Commandments (Krzysztof Kieślowski, 1989) Pictures of the Old World (Dušan Hanák, 1972) The Cabinet of Dr. Caligari (Robert Wiene, 1920) Persona (Ingmar Bergman, 1966) Koridorius (Sharunas Barthas, 1995) Taste of Cherry (Abbas Kiarostami, 1997) The Color of Pomegranates (Sergei Parajanov, 1969) The Spirit of the Beehive (Victor Erice, 1973) The Gospel According to Matthew (Pier Paolo Pasolini, 1964) Spring, Summer, Fall, Winter… and Spring (Kim Ki-duk, 2003) Woman in the Dunes (Hiroshi Teshigahara, 1964) Meshes of the Afternoon (Maya Deren, 1943) Still Life (Zhangke Jia, 2006) The Exterminating Angel (Luis Bunuel, 1962) Koyaanisqatsi (Godfrey Reggio, 1982) Wings of Desire (Wim Wenders, 1987) Raise the Red Lantern (Yimou Zhang, 1991) Kes (Ken Loach, 1969) The Human Condition (Masaki Kobayashi, 1959-1961) Diary of a Country Priest (Robert Bresson, 1951) Land of Silence and Darkness (Werner Herzog, 1971) Aguirre: The Wrath of God (Werner Herzog, 1972) Dreams (Akira Kurosawa, 1990) Embrace of the Serpent (Ciro Guerra, 2015) Shadows of Forgotten Ancestors (Sergei Parajanov, 1964) La Jetée (Chris Marker, 1962) Sans Soleil (Chris Marker, 1983) Last Year at Marienbad (Alain Resnais, 1961) Marketa Lazarová (Frantisek Vlácil, 1967) Chungking Express (Wong Kar-wai, 1994) Eternity and a Day (Theodoros Angelopoulos, 1998) Ulysses’ Gaze (Theodoros Angelopoulos, 1995) Eclipse (Michelangelo Antonioni, 1962) Red Desert (Michelangelo Antonioni, 1964)

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blackswan8043

3 years ago

#VanGogh#art

“When Van Gogh was a young man in his early twenties, he was in London studying to be a clergyman. He had no thought of being an artist at all. he sat in his cheap little room writing a letter to his younger brother in Holland, whom he loved very much. He looked out his window at a watery twilight, a thin lamppost, a star, and he said in his letter something like this: “it is so beautiful I must show you how it looks.” And then on his cheap ruled note paper, he made the most beautiful, tender, little drawing of it. When I read this letter of Van Gogh’s it comforted me very much and seemed to throw a clear light on the whole road of Art. Before, I thought that to produce a work of painting or literature, you scowled and thought long and ponderously and weighed everything solemnly and learned everything that all artists had ever done aforetime, and what their influences and schools were, and you were extremely careful about *design* and *balance* and getting *interesting planes* into your painting, and avoided, with the most astringent severity, showing the faintest *academical* tendency, and were strictly modern. And so on and so on. But the moment I read Van Gogh’s letter I knew what art was, and the creative impulse. It is a feeling of love and enthusiasm for something, and in a direct, simple, passionate and true way, you try to show this beauty in things to others, by drawing it. And Van Gogh’s little drawing on the cheap note paper was a work of art because he loved the sky and the frail lamppost against it so seriously that he made the drawing with the most exquisite conscientiousness and care.”

— Brenda Ueland, from “If You Want to Write: A Book about Art, Independence and Spirit”

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blackswan8043

1 year ago

…he was always sad.