How Can You Be So Hopeful? I'm Sick Of My Sadness. . :(

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channeling Rikkard Ambrose huh

The Report (2019), dir. Scott Z. Burns

Star Wars Labyrinth Crossover

These two are just so cool.

She did say “becoming besties with you was the best thing” in an interview she & Adam did together. Like stated previously; they’re both very busy doing different things. That doesn’t mean they’re not friendly or friends.

I feel like Adam and Daisy aren’t friends but just have like a, cordial professional relationship. Which is absolutely fine! Not everyone in the cast will be personal friends. I just hate to see people get their expectations up, because I frankly don’t think Daisy is going to go see his play

you know there are varying levels of friendship, right? no one is saying they’re best friends (Adam doesn’t seem like he has the time or personality for a whole lot of best friends anyway lol) but they’re friends enough that Daisy has called him to ask for career advice before and gone for ‘a drinky-poo’ with him at the pub while they were filming and Adam has said he could ‘listen to her talk all day.’

and if she doesn’t go to Burn This, it’d most likely be because of a scheduling issue. it’s not just about Adam and Daisy, it’s a critically acclaimed Tony-nominated play that not one but two of her costars are in, and Oscar and Rian and other people she knows have also gone to see and probably recommended to all their friends, and Adam’s performance in it is quite frankly ART and something other artists want to witness even if they’re not his friend

Hello! I’ve just recently gotten into ASOUE, and I was wondering if I could get a clear answer from you. Sorry if you’ve answered this before. So there’s 100% without a doubt fact that Olaf finds Violet sexually attractive? A lot of people seem to have differing opinions. I ask because the only thing I have to go off on right now is Olaf’s comments about Violet being ‘pretty,’ and his constant staring at her. Thank you for taking the time to read what I had to say. Take care of yourself!

First of all, welcome to the family! Hopefully you’re loving the books/show as much as they deserve to be loved :)

Now, pardon my essay but I’m gonna try to summarize everything into an overly long answer at the best of my abilities, but it’s not gonna be easy.

—-

It is very true - and very obvious - that Olaf finds Violet attractive.

More than that, as you said, he is SEXUALLY attracted to her, and to the idea of her ( I’ll elaborate on that later ).

I’ll divide it in actions he performs, just to make it easier to read for the both of us. I will also note when there are differences between book Olaf and show Olaf, even if those are few.

1.STARING.

Ever since the door swings open, show Olaf stares at Violet when he talks. About anything. You can see it during their house tour, and then later, when Klaus asks how can they purchase anything without money and he blatantly ignores him and throws the little bag of money at Violet, who is carrying a baby and isn’t in the condition of catching it. You can see it after “It’s The Count” is performed, and during dinner.

Speaking of their house tour, notice this : when he shows them the kitchen, he straight up glares in her direction while he says “I expect you to keep everything gleamingly clean”. That’s just one of the many ways he expresses how ( low ) he thinks of her. As a servant, and nothing more.

After they discover that Sunny’s locked in a cage, Olaf goes on a tangent about the metaphor of a stubborn mule : the mule will walk closer to the carrot because it’s food, and further from the stick because it doesn’t want to feel pain. This is obviously referring to Violet, and stubborn is one word he always describes her with ( Notice : In the Reptile Room, when he “greets” the children again ).Now, look at his eyes when he says that the mule will move towards the carrot because “it wants the reward of food” 

straight to Violet. That’s pretty telling of what she is, in his mind. Food. Figuratively, of course.

Now, take a look at how he stares at her during these three events.

First, after he tried to convince her to marry him, he stares creepily at her lips and kind of checks her out.

Second, after she speaks to Justice Strauss, he almost looks disgusted by her audacity to talk back.

Finally, after he thinks she’s now his property, he keeps looking at her intensely and with a snigger plastered on his face, and he doesn’t even bat eyes.

These all show different emotions he feels towards her, and how they connect to one root point : he does not care for her consent, for her will, for her pleasure. He only wants to marvel AT her, to think he owns her, eitheras a daughter or as a wife ( interchangeable for him, I might add ) :

 “You may not be my wife, but you are still my daughter, and…” ( The Bad Beginning ). I’ll go back on this quote later.

As you noticed, too, he looks at her often. Pretty much in every episode. I don’t need to go down too much on this, it is quite obvious.

INVASION OF PERSONAL SPACE

This is where Olaf shines, with everyone but especially with Violet.The way he headbutts into her conversations during the books and the way he touches, strokes, gets too close to her is continuous. And she tries to scatter away every time.

During the dinner, when the bald man turns around, looks at her and exclaims “You’re a pretty little one”, Olaf butts into the conversation like a hurricane and scolds her. He acts very smugly and weirdly possessive towards her in the entirety of the series, but it’s particularly noticeable in the first book/first two episodes.

When he tries to convince Justice Strauss to join The Marvelous Marriage play, he keeps poking Violet, patting her hair and her face, under her breast and, when Klaus stands up and says “Justice Strauss, he’s up to something”, hegrabs her by the waist and pulls her closer to him. Creepy.

Then there’s the iconic “I’ll touch whatever I want” with the hand on the shoulder. He also speaks directly to Klaus, in that instance, almost as if he was daring him, as to say “I’ll snatch your fortune and your sister away from you”.I feel like he feels an inferiority complex towards Klaus but that’s a whole other matter that I won’t dive into.

In the Reptile Room, The Hostile Hospital, The Ersatz Elevator, The Carnivorous Carnival and The Grim Grotto, he leans down to her close enough that she can smell his breath, and says something equally creepy.

Of course, we can only see four of those on screen - for now - and The Hostile Hospital one is shocking. If you’ve seen it, you know he practically kisses her.

In The Hostile Hospital, he’s the one who catches her when they kidnap her, he’s the one to change her into her medical gown ( according to Violet in The Carnivorous Carnival book ) and Violet retrieves her own ribbon out of hispants pockets, in the same book.

In the Bad Beginning, in the books, he touches Violet’s face inappropriately when asking her to star in his play. Actually, when forcing her to star in his play.“Count Olaf reached out one of his spidery hands and stroked Violet on the chin, looking deep in her eyes. ‘You will’ he said ‘participate in this theatrical performance.”.

In The Reptile Room, he makes a non subtle threat and caresses her legs with his knife - the most common phallic metaphor there is.In The Hostile Hospital part 2, after calling her Sleeping Beauty ( which gets raped by the Prince in the original tale ), he slowly caresses her forehead and throat.

He’s way too damn close.

CREEPY WORDS.

You may think all these are nonsense, all small things that really don’t matter but put them together with his words and you’ll find yourself shuddering.

In The Bad Beginning, his whole plot consists of him conconcting a plan to steal their inheritance by marrying his 14 year old adoptive daughter, daughter who he keeps referring to as very pretty, both in the cupcake scene andto Klaus “Why in the world would I want to actually marry your sister?’ Count Olaf asked. 'It is true she is very pretty, but a man like myself can acquire any number of beautiful women.” or, when describing the play, “It is about a manwho is very brave and intelligent, played by me. In the finale, he marries the young, beautiful woman he loved[…]”.

There are a bajillion phrases he speaks out, such as “Build the sets? Oh, Heavens no. A pretty girl like you shouldn’t be working backstage” or “You’re such a lovely girl, after the marriage I wouldn’t dispose of you like your brotherand sister”, sentence I have explained in one of my previous asks.

As I said earlier, there’s the ”I’ll touch whatever I want" which heavily implies rape to anyone old enough to understand.There is “You may not be my wife but you are still my daughter, and…” which describes his idea of in loco parentis and his ownership of her, and the fact that he will be free of punishment from the law by doing anything he wantsto her, whether she’s under his control as a child or as a wife.

There is the book-only “Now, if all of you will excuse me, my bride and I need to go home for our wedding night.” which is the equivalent of I’ll touch whatever I want. He’s going home and he’s taking her virginity.

In The Reptile Room, in the show, he grabs her and tells her “I have four tickets with me to Peru. I was going to take you and your siblings because that’s the kind of guardian I am, but I’ll settle for one of you.”. At the end of the episode, his room had only one bed. Pretty self explanatory.

In the Carnivorous Carnival, when the children are hidden in the trunk of his car, he tells his henchpeople that he hopes Violet survived the fire at Heimlich Hospital because “She’s the prettiest”.

In The Grim Grotto, when she tries to stall and wants to tell him where the sugar bowl is, he sneers and says “I’m not going to bargain with an orphan, no matter how pretty she may be.”. Realizing he loses control and gets overpowered by his attraction to her, he attacks her.

Generally, he often addresses her first - or only - in any conversation, and wants to come closer to her more than her siblings.For example, in The Penultimate Peril, when Dewey takes her hand. he orders him to “hand her over” twice. Not her siblings.In The Slippery Slope, he screams “You are dead, you died in the caravan!” only to her.In The Austere Academy, when Nero asks him if the orphans have good enough legs for him, he points at her first.

And so on and on.I could go on forever but this response is already a book.

In regards to what I said about the idea of her turning him on, he never really makes and attempt at doing anything to her ( that is debatable though as I firmly believe he raped her in the Hostile Hospital book, andI have my own thought about it but it is indeed a theory ). He clearly wants to but giving in to his sexual desire towards his enemy would only shift the power between them, and she’s already stronger than him by being unattainable andrejecting him, thing his narcissistic side doesn’t digest at all. He resentes it so much, and you can see the hatred and lust he feels 100% of the time.

This is canonical, there are a thousand posts and excerpts from essays you can find online and I’m so damn tired of people sweeping it under the rug or deeming us creeps because we acknowledge it. Come ON.

Also, if you need a visual representation of Neil’s body language and hard work in showing this, you can watch a video I made a while ago that sums it up. You can turn off the music if it’s too cheesy, but I think it’s a good exampleof how a great actor can make you feel disgusted by small gestures.

And thank you so much for reading this papyrus! Take care yourself!

So Rian just confirmed:

1. Kylo was going to kill Snoke for Rey since the hand touch. It was never for power - it was all for Rey.

2. Rian drew inspiration from the prequels (Anidala) for Reylo.

3. Rey is the most important person to Kylo brb I’m fucking dead

But not resolving a romance with a Big Damn Kiss isn’t a non-ending, not necessarily. Ben and Rey’s relationship could have a resolution that isn’t explicitly romantic, and it would still be a resolution. It’s possible to redeem Kylo, bring closure to his relationship to his family, give Rey fulfillment of her heroic arc, give her a happy ending where she’s gotten rid of her bad blood with Kylo, has her friends and has completed her coming-of-age, but not have a kiss or w/e be part of it.

Not when their relationship is the main thrust of the conflict, not when their arcs are married. The romantic tension is already there, their relationship cannot be resolved without addressing it. This is the ‘business partners’ take on TLJ and it is, imo, nonsense.

What is a happy ending for Rey? Belonging, family, open-eyed unconditional love. Can’t it be with friends and the Resistance? No, she was given that instantly without effort and it gave her no clarity or fulfilment. What pushed her to growth and acceptance? Ben. What does she want? Ben.

It isn’t a ship thing, okay, this is a plot thing. A really big, huge plot thing. It’s not on a ‘will Our Hero and the Tough Spunky Gal kiss at the end or nah?’ level. The relationship between Rey and Kylo Ren is formative to the fabric of the story regardless of what kind of relationship it is and the filmmakers had to decide what it was going to be before moving forward. On the brainstorming whiteboard you’d have: ‘what is the story about (hope, compassion)’, ‘who is the protagonist, why her’, ‘what does she want’, and ‘how does she relate to the Skywalker saga’, ‘what are the stakes’? The answers are all closely related. If the answer to ‘what does our protagonist have at stake with the villain/legacy/thematic lynchpin?’ wasn’t ‘she falls in love with him’, it would have to be something equally melodramatic.

As for Ben, his purpose as a character is to ‘finish what [Anakin] started’. He is the Skywalker so he is there to raise questions about identity and destiny, but as the Skywalker he is also the personification of the moral conflict at issue in the story and has a Fisherking relationship to the entire galaxy. To break the cycle of generational tragedy and to vindicate the faith and hope of all the heroic characters that healing is possible and the galaxy can be renewed, Ben has to be in a position to have children and be equipped to raise them. The implication of children to carry on and renew is necessary for a happy ending.

@benperorsolo has a great post on this and @fluffycakesistainted has some good ones on the Skywalkers. My tag ‘the legacy’ has an extensive, if disorganised, catalogue of how I think this stuff works and why I think that.

But the place of the romance is pivotal. This is the salvific, unconditional love of this trilogy. This is why our protagonist is not a Skywalker, because it’s not platonic. Rey Nobody only makes sense because platonic love has failed and an outsider was needed to get the galactic royal family back on track. Anyone can be a hero in SW, but the divine mandate to balance the Force is a burden still attached to Anakin Skywalker and will be accomplished by healing his legacy. If the generational trauma is healed, the mythic purpose of the Skywalkers is fulfilled and we can move on to other stories.

so that was a lie