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This is a continuation of sorts of this meta that I wrote about Sara and Wilhelm being A and B plot protagonists in season 1 and 2. I don’t know that I would describe them exactly that way in season 3, but I do think their plots, character arcs, and themes are meant to mirror each other very closely this season.

One of my favorite things about the parallels between Wilhelm and Sara this season is that comparing them really makes you hold Sara’s friendship with Felice on the same level as Wilhelm’s romantic relationship with Simon (and Sara’s with August) which I think is so important. Both Wilhelm and Sara go through breakups over the course of the season (I think Felice’s reaction especially frames her friendship breakup with Sara similarly to a romantic breakup, which I love). And both of their arcs are about mending those relationships.

Sara and Wilhelm both need to experience the world outside of Hillerska before they can mend those relationships. Sara is able to glimpse some independence, even just through getting her license. The whole world is open to her now, as Felice says in ep 6. I don’t know that she would have been able to make her decision not to go back to August without experiencing that freedom. And Wilhelm also needs to experience the full force of what life in the monarchy would be like before he is able to decide to leave it. Because of this they also act as our window into the two different worlds outside of Hillerska, the palace and Bjarstad. They create the larger context in which we understand Hillerska this season.

I love that both of their journeys of personal growth are symbolized through cars. Wilhelm is always getting trapped with his mom or a member of the court in a fancy car; it’s where almost all of the monarchy’s most onerous instructions on how to live are delivered to him. So it’s huge when he leaves his parents in the chauffeured car at the end of episode 6 and goes to find Simon, Felice and Sara in Sara’s beat up used car. Meanwhile, Sara has traded in horses for the car. This is stated pretty explicitly when her dad asks her if she would like to work with horses and she declines, saying that she has come to realize that horses are simply traded by rich people as status symbols, and her dad suggests she get her drivers license since it will help with any job she wants. In seasons 1 and 2 Rousseau is pretty heavily associated with August, along with the pressures put on August and the other elite kids at Hillerska to conform to expectations (@bluedalahorse has written the Bible on that here), so the fact that Sara swaps out the horse for a car that can take her anywhere feels like a step away from both August and the prescriptive norms of Hillerska.

Sara and Wilhelm both reject what they saw as their destined future. This is obviously really clear for Wilhelm; he assumed he would be prince and then king after Erik died, and his greatest moment of character growth is when he decides he doesn’t have to fulfill that assigned role if it will keep him from being happy and living authentically. I love the scene where Sara talks with her dad about her fears that she will fail in the same ways that he did because she also has autism and adhd. This is a less clear-cut assigned destiny, but that fear of becoming a self fulfilling prophecy is equally overwhelming, especially because Sara has already let down someone she cares about in a way that’s not dissimilar to how her father breaks promises. The fact that she’s able to come to terms with her dad’s influence in her life, but realize she really is in charge of her own future, is really powerful. (I also think it’s such smart writing about the way disability and internalized ableism can really affect your self image).

In order to break free of those predetermined destinies, both Sara and Wilhelm need to see a father/mentor figure as more than black and white. Wilhelm needs to acknowledge that Erik wasn’t perfect, and did help contribute to some of the abusive traditions of Hillerska. Sara needs to recognize that even though her dad isn’t a perfect parent, she still loves him for the care he is able to show to her and wants to have him in her life. I love that both Wilhelm and Sara learn to hold multiple conflicting emotions about their loved ones. They can be disappointed by some of Micke and Erik’s actions, but they can still value their relationships with those family members and recognize them as complex, complete people.

They also both go on a similar journey with how they see August. Wilhelm comes to recognize that August is both a perpetrator and victim of the class system and Hillerska’s systemized abuse. Sara similarly realizes that August is an adult who needs to be responsible for his own emotions. She’s no longer interested in saving him from his complex feelings of guilt, and recognizes his potential to find self healing. Both of those new assessments of August grant him more maturity and complexity than earlier in the show. (They also reflect the way that August grows, in fits and starts, over the course of season 3. If there was a season 4 of the show, I think we would really see August respond to Sara and Wilhelm’s new attitudes towards him in a way that would fuel future character growth).

Viewing Erik, Micke, and August more complexly also allows Sara and Wilhelm to forgive themselves for the ways they are similar to those people. They are able to acknowledge the shame they feel around their actions, but also forgive themselves in the same way that they forgive others.

Both Sara and Wilhelm have specifically let down Simon in pretty big ways (Sara by secretly dating August, Wilhelm by perpetuating the royal family restrictions onto Simon). But they are able to recognize those mistakes and reconcile with Simon.

Wilhelm and Sara both leave the monarchy (Wilhelm literally, Sara by refusing a relationship with August), but they also leave a kind of prescriptive romance behind. Wilhelm says no to having to monitor Simon, to having to roll out his relationship in a certain way to please the court, and to having their future together mapped out and their decision around children made for them. Sara says no to a smaller set of requirements, but the traditional ways that August sees romance are so influenced by the monarchy (which is in turn so influenced patriarchy) that they are similar in some ways. Sara says no to having to do August’s emotional labor, to managing him so that he will fit the image of a good heir. She says no to waiting for him to visit on weekends while he does military service. She says no to this grand plan that he has. (This was @bluedalahorse’s point originally that she shared with me, and honestly I think it's so smart). Wilhelm chooses a romantic relationship that he and Simon are free to create together without rules; Sara chooses a friendship based on honesty and support. Both are valid options that give the characters a sense of peace and freedom. And they would not have been able to make those choices without all of the growth they went through over the course of the season.

I think Sara and Wilhelm's arcs compliment each other so well, and it was one of my favorite things about season 3. I loved watching both of them get to grow so much and end up in such a happy place.

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This is crossposted from my tumblr and is the promised third installment of my Young Royals and Radical storytelling series! Part 1 is here and Part 2 is here.

I’m ready to start talking about season 3, which I loved, and specifically about the theme of radical forgiveness, which I thought was laced throughout the whole season beautifully and drove Wilhelm’s arc specifically.

Before I jump in, I want to pause and really define the concept of radical. When I’m using "radical" in this context, I’m talking about something that challenges the nature of what we assume to be true. I’m talking about embracing an idea that may not seem logical at first, but feels emotionally true and necessary. And I’m talking about ideas that are revolutionary, that have the potential to change people and societies.

When I went in to season 3, I assumed from the beginning that it would end with Wilhelm leaving the monarchy. I have always seen this as the fundamental question of the show (will Wilhelm stay and fulfill his predetermined destiny, or leave and find his own path?). Wilhelm’s relationship with Simon is a catalyst for that decision and their ability to stay together depends on its answer. (There’s no world where Wilhelm remained prince and Wilmon was still endgame.) But during the gap between episodes 5 and 6, I realized that even if you could sum up Wilhelm’s overall series conflict as crown vs freedom/Simon, that was not the major thing driving him in season 3. Or rather, there was another dramatic question he needed to answer, or internal conflict he needed to solve, before he could decide to walk away from the throne and fix his relationship with Simon.

Season 3 starts with the private arbitration/settlement negotiation, and immediately establishes how inadequate legal and financial reparations are at mending the divide between Wilhelm, Simon, and August. Instead this setup pushes Wilhelm into more conflict with August, making him feel like he has to defend his family from August’s incursions. At the same time, the season also opens with the initiation reveal, and the immediate implication that Erik was one of the perpetrators of the sexual abuse that occurred and that August was one of the victims. Suddenly the audience is able to see that the perfect family Wilhelm thinks he is defending— including Erik’s memory— is so much more complicated than Wilhelm realizes. And at the same time, the supposed threat that August poses is also much more complex. No one is as black and white, as good or as evil, as we would like to believe. And Wilhelm’s arc this season is all about understanding this.

There’s one more component to Wilhelm’s arc this season, and that’s his relationship with Simon. As the season goes on, we see Wilhelm become more and more complicit in the abuse Simon suffers. As the season progresses, Wilhelm becomes an enforcer of the palace, asking Simon to give up more of himself, to compromise more of his values, to be with him. By episode four he is saying some pretty homophobic things (“do I have to represent all queers just because I’m in love with you” feels like a slap in the face) and by episode 5 he is subjecting Simon to a violent outburst, even if it’s not directed at him. Wilhelm says almost the exact same thing to Simon that Erik said to him in season 1 (“everything you do now represents me and the royal house”/“everything you do reflects on us as a family”). Kristina is explicitly asking Wilhelm to step up and fill Erik’s shoes this season, and Wilhelm obeys in more ways than one. Wilhelm begins to pass on the same cycle of abuse that is currently affecting him to Simon. The same cycle that has affected Kristina, Erik, August, and Wilhelm is affecting Simon now as well.

In order for Wilhelm to break this cycle, he has to be able to see what he is doing. And he cannot do that until he recognizes and accepts the nuances in both Erik and August. He can’t move on until he has made some sort of peace with both of them.

I think it was a genius idea to trap Wilhelm and August in Hillerska’s version of couple counseling (lol) and force them to talk to each other. (As an aside, I really do love how this show treats therapy as a thing worthy of being dramatized. It’s so powerful.) I also think it was important to see August begin to make some steps of his own, both in therapy and in the way he begins to give Wilhelm and Sara more space. We don’t really see the end of August’s arc of slow self improvement— by the end of the show he’s still very much trapped in the royal cycle and dependent on Sara in a way that’s problematic— but that’s ok because he isn’t the protagonist, and the important thing is that we notice that he is beginning to change, and so does Wilhelm.

The scene at the end of 3.4, when August tells Wilhelm about what happened during the initiation, is so important. August delivers that information genuinely, and not as a threat. And in that moment Wilhelm’s perception of his brother (and secondarily, of August) is flipped upside down. I think even more important is the kind of unspoken question lurking under this new information for Wilhelm: if I idolized Erik, and I detested August, and my image of both of these people was incomplete, then what does that say about me?

I think we can see Wilhelm questioning his perception of his family and of himself in a lot of subtle ways over the last two episodes. We see him put on nail polish and take it off. We see him afraid to ask his dad for more information about Erik on the phone, and then screaming at his parents for the way they abandoned him. We see him struggling to integrate this new information, and he completely neglects Simon because of it, leading to the breakup.

By episode 6, Wilhelm has lost Simon, reached a sort of catharsis with his parents, and maybe most importantly seen Hillerska itself— the setting where the abusive system seems to be baked into the very walls— crumble. All of the things he though were untouchable (his love for Simon, his parents’ authority, the everlasting nature of Hillerska) have completely changed. And I think all of that instability is what allows Wilhelm to finally accept that his understanding of both Erik and August doesn’t have to be permanently fixed either. I love the scene where August and Wilhelm meet at the party, August apologizes, and Wilhelm accepts his apology. And I also love the scene where Wilhelm throws out the broken frog prince snow globe, the one enduring symbol the show has associated with Erik and Wilhelm and their shared role over and over again. I know different fans will have different arguments about how Wilhelm feels about August at the end of the series, but for me their last interaction symbolizes radical forgiveness. By this I don’t mean that Wilhelm has to forget about what August did to him, just like he doesn’t have to forget the bad things Erik has done to others. But he does have to accept them as they are- full of flaws, but intricately connected to him. As part of his imperfect family. And he lets go of the violent anger that has plagued him through much of the series in that moment. That’s a type of forgiveness that makes a real change. It opens up a whole new avenue of possibility for Wilhelm. Because in extending that radical forgiveness towards August and Erik, he’s also able to forgive himself for the way he too has failed the people he loves.

Actually, I think there’s one more component necessary for that self forgiveness, which is Simon telling Wilhelm that he never gave up on Wilhelm himself, only on the Royal family and its rules. That one line is such a gift to Wilhelm. It allows him to see himself as an individual who is separate from his family and able to make his own decisions for the first time. It allows him to fully forgive himself, and to make the decision to leave for his own sake. It allows him to save himself. And then because he has saved himself, he and Simon can be together again.

So in the end Wilhelm ends up answering the driving dramatic question (crown or freedom?) but only after he extends radical forgiveness to his family members and to himself. I think it’s so beautiful, it makes me cry every time I think about it.

This theme of radical forgiveness is everywhere this season, not just in Wilhelm’s arc. It’s in Sara and Felice’s reconciliation, and in Sara and Micke’s relationship, and in the ways that Sara forgives herself and moves beyond shame (expect another meta from me about Wilhelm and Sara season 3 parallels soon, because there are many and I love them). It’s in the way that Linda and Simon forgive each other, and the way that Simon forgives Wilhelm, and the the way that Simon forgives Sara. It’s even in the ways that August grows in fits and starts this season too. I feel like I learned so much from this season. It challenged my assumptions about characters I thought I knew and reminded me to that there is beauty in acknowledging nuance in the world. And I think it will serve as an ongoing reminder for me that even when I mess up and do not live up to my ideals, I am still worthy of radical forgiveness. Growth can’t happen without that compassion towards ourselves and others. And if that isn’t the most perfect message to take away from this beautiful show that I have loved for so long, I don’t know what is.

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In an effort to keep cross posting my old meta, here's some writing about Simon's season 2 arc. This was actually the first Young Royals meta I ever wrote (originally posted on my tumblr), and I'm posting it again because my first post about season 3 will go up shortly, and is also about the way that the show embraces radical storytelling. Since I've created an accidental trilogy, I wanted to make sure that Dreamwidth had part 2 before I post part 3. Part 1, about Wilhelm and radical quitting, is already on this blog here.

There's a lot of discussion about Simon's character arc in season 2 floating around in the tag over the last few days, so I thought I would add my 2 cents.

I actually love Simon's arc in season 2, because to me it is a journey towards radical acceptance. Radical acceptance is something I think about a lot as someone with chronic pain. It means "ability to accept situations that are outside of your control without judging them, which in turn reduces the suffering that is caused by them." Simon starts the beginning of season 2 doing everything he can to deny his own feelings. And by the end he has admits that he is in love, that he cannot control the fact that he is in love, and that being in love might lead to him getting hurt. The fact that he radically accepts his emotions, regardless of the possible consequences, is an act of incredible vulnerability and bravery.

In the beginning of the season, Simon tries so hard to move on from Wilhelm. In my mind, Simon's season 1 arc was largely about him learning to establish boundaries. He learned to stick up for himself, and of course I was cheering him on as a viewer. So he starts season 2 with these firmly established boundaries, and he's trying to figure out how to live with them. He tries so hard to move on with Marcus. He listens to his friend's advice and agrees that he needs a rebound. He tries to pursue a physical angle with Marcus (hooking up with him at his house), and then a more romantic angle (relying on him for emotional support, inviting him to the dance), but it never quite works. Meanwhile, during this early part of the season, Wilhelm is constantly testing his boundaries and Simon is constantly defending them. Simon has to tell Wilhelm that he doesn't want to talk in episode 1, that he can't continue to be his confidant. He relents a little in episode 2, when the royal family tries to remove Wilhelm and Simon tries to come to his defense. But Wilhelm immediately tries to leverage this slight crack in Simon's armor and asks him, once again, to be his secret boyfriend until he turns 18, when his family has assured him he will be allowed to come out. (I love Wilhelm to bits, but this is not his brightest hour). Simon, rightfully reacts negatively to this.

So Simon doesn't have a chance to consider how he really feels because Wilhelm doesn't give him space to do so until late episode 3/early episode 4, when Wilhelm decides he has to let Simon go. And that little bit of breathing room allows Simon to gain some startling clarity.

The other thing I love about Simon's arc this season is how imperfect it is. I think a lot of times as audience members we want our heroes' journeys to always leave them wiser and more mature than where they began. But Simon is a teenager, and the way he learns about himself in this season is messy and immature. At first I was a little disappointed that he let his boundaries drop so quickly and kissed Wilhelm at the dance. If I had a friend who kissed someone who had treated them the way Wilhelm had, I probably would say something like, "girl (in a gender neutral way) WHAT are you doing?". But here's the thing: Simon figures out something about himself in that moment, and that self discovery is valid. He's not ready to move on. Wilhelm tells him earlier in the evening that he's figured it out; he has to let Simon go. I can practically see the cogs turning in Simon's brain, the thoughts "how DARE he tell me that I want him to move on. I don't want that!" sparking behind his eyes. The irony, of course, is that Simon wouldn't have admitted to himself that he's still in love with Wilhelm if Wilhelm hadn't made an effort to move on.

Simon has always had little sparks of impulsivity and ferociousness that make this move feel totally in character, so it's one of my favorite writing choices of the season. The Simon that will call the royal family out for tax evasion in class is the same Simon that will kiss Wilhelm half out of desperate desire and half out of spite, and I love that about him. It's also the Simon who feels the need to hold the system that wronged him-- the Hillerska class system and August in particular-- to account.

So after the dance, Simon is left with two irreconcilable facts. He is in love with Wilhelm, and being in love with Wilhelm isn't going to lead to a healthy relationship (at least as far as he knows at that time). Wilhelm might be willing to give up the crown for him, but is unwilling to sacrifice his family and the royal system as a whole for Simon. Dating Wilhelm would mean allowing August to go unreported and sacrificing some of Simon's moral code. So Simon is torn, unsure of what matters more to him.

So much of Young Royals is about the struggle to live authentically. It's about the battle between what you feel in your heart and what other people are telling you is the correct way to live. It's also about the systems that keep us in our place, and whether we choose to defy them or not. I think other marginalized people can relate to the fact that sometimes you just can't fight all the battles. You can advocate and protest as much as you can, but sometimes you have to walk away in order to keep your heart intact. (I feel this way a lot with disability advocacy, especially in the time of covid as an immunocompromised person.)

At the end of the season, Simon's attempts to defy the system have been defeated. August has trapped him, eliminating his ability to report August's crime to the police (or so Simon thinks, until Sara does it for him). Everything has been taken away from Simon except for his heart. And he knows what his heart is telling him. His heart is telling him that he's in love with Wilhelm. There's defeat there, but there's also victory in realizing that his emotions are still real and strong and undeniable even after everything he's been through. So he radically accepts his emotions and gives in to them. He tells Wilhelm he'll be with him. Forget about August. They'll cope with the secrecy. None of it is ideal. But Simon is prepared to deal with the unideal if it lets him live truthfully. Even though this decision is about his relationship with Wilhelm, the journey he took to this decision is about his relationship with himself. So I don't agree with people who say that Simon's season 2 arc is only about his love life.

To me Simon's final decision is like taking a step off a cliff with your heart exposed, and hoping the new wings you just bought will allow you to fly instead of letting you crash to your death. It's so brave. It's so vulnerable.

And then Wilhelm returns that bravery and vulnerability, and Simon's wings are working after all. They're flying, and I can't wait to see where season 3 takes them..



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I'm gonna make an effort to start cross posting all of my meta here! So here's an Interview with the Vampire one I posted a few weeks ago. New Young Royals season 3 thoughts coming eventually, once I can adequately process all my feelings.

I want to talk a little bit about Daniel in the Interview with the Vampire show, because the new trailer material has me stuck thinking about him, and also I’ve never written about how meaningful he is as disabled character to me before.

I don’t see many people thinking about show!Daniel in these terms, but he’s a canon disabled character. And I think the way he is written is just SO good. The acerbic wit, his relationship to doctors and his medication, his rueful acceptance of the way his disability has changed him. It is all so correct!! It’s really incredibly rare to have not only a disabled character written this well but specifically a chronically ill character written this well. His illness is always present; it doesn’t get forgotten about by the story. It gives Daniel insight into the vampires (more on this in a min), but it also gives Louis and Armand leverage over him. When Louis triggers his Parkinson’s symptoms? Deeply not ok. But that’s what made it such a great scene, and really made Louis feel dangerous and threateningin that moment. Armand and Louis arranging Daniel’s meds is a sign of great care and also great power over Daniel. It’s the perfect way to communicate the complicated power dynamic in their relationship.

I also just fucking love that this show takes place in 2022 and doesn’t erase the pandemic. Covid is a very present concern for Daniel and I cannot describe how validating that is for me as someone who is clinically vulnerable to Covid and who has had to really limit my life and take a lot of precautions because everyone else has decided to stop caring whether they pass on Covid or not. The fact that Daniel gets on a plane to Dubai is a BIG DEAL. He’s risking his life to talk to Louis and Armand before he’s even in the room with them. He really wants to be there. I have to make a similar calculation every time I travel, and trust me, getting on that plane knowing getting sick could spiral you into even worse health or kill you is really hard.

I think making Daniel disabled and including the pandemic is kind of a genius level decision on a thematic level. Of course Daniel is now facing down his mortality, which gives him a whole new lens on the vampires and the fact that he once asked them to turn him. And the pandemic further highlights his fragility, and is also possibly being used as a cover for drama that’s happening in the vampire world. But I think it also really sets Daniel up as a foil to Louis.

There’s a lot of analysis of the vampire chronicles that reads vampirism as a metaphor for queerness. But I would actually propose that it’s a much neater parallel for disability and illness in a lot of ways. So many of Louis’s initial experiences after being turned resonated with me, as someone who became chronically ill in my 20s. My appetite and relationship to food completely changed, much like Louis. My relationship with the outdoors and the sun changed, because of dysautonomia and allergy reasons. I was very mad, and very depressed, and I too have missed out on birthday parties and big life events like Louis did because I was too sick to go. Hell, you can even say that the way that Louis is treated as evil by his family, that the way vampires literally can’t be a part of society during the day, is reminiscent of ableist exclusion and ugly laws. (Ugly laws were laws that forbid disabled people, especially those with visible differences, from being out in public, and they were on the books in many American municipalities until the 1970s.) You can look at Lestat being an out and proud vampire in the first few episodes on the season and imploring Louis to leave his shame behind as a queer thing, but you can also view it as a disabled thing. Disabled people are portrayed as monstrous so often (and in a way that has gone relatively unexamined compared to say, the queer coded villain trope) that sometimes it’s just easier to embrace that label: I’m the monstrous Crip, but at least I’m not ashamed of or disgusted by who I am anymore.

I do think the real strength of this adaptation is that while you can find parallels between queerness or disability or other forms of marginalization with vampirism, ultimately it’s not a one-to-one parallel. It speaks to the real world but ultimately it is a gothic horror story about supernatural monsters. So I don’t mean to say that vampirism directly equals disability, because it does not. But I do think that making Daniel disabled was an intentional choice to help draw out some of those parallels, and I think the text is richer for it.

So Louis and Daniel have had these kind of parallel experiences of uncontrollable and difficult things happening to their bodies. It sets them up perfectly as foils, and even, I would argue, as the A plot and B Plot protagonists. This is one of my favorite ways of kind of examining the structure of a TV show (or maybe it’s that most of my favorite shows seem to be structured this way?). When TV was all episodic, it would be common to refer to the A plot (mystery of the week), B plot (interpersonal drama happening as the mystery gets solved) and C plot (any overarching plot tying the season together) in an episode. Now that stuff is serialized, there’s often a main protagonist, who has the main dramatic question and the most agency, and then there is often a secondary B plot that explores similar themes and mirrors the A plot, or presents a second main character who is the ldifferent side of the same coin” to the main protagonist. (My favorite example of this is Flint and Max in Black Sails, and I’ve also made the argument that Wilhelm and Sara fit this pattern in Young Royals.) In IwtV, Louis is obviously the main protagonist of the show, especially in the A Plot, which is the stuff taking place in New Orleans/Paris. But I would argue that Daniel is the protagonist of the B Plot set in Dubai. At the very least they’re intentionally set up as mirrors of each other:

They are both unreliable narrators, who are struggling with the way memory contorts (through memory erasure, illness, deliberate obfuscations, and just the passage of time). The most recent teaser trailer, where we hear Louis saying “I don’t remember that”, with panic in his voice, further underlined this similarity between Louis and Daniel to me. I don’t know if it means that Louis has also had his memory tampered with, as I’m assuming Daniel has, but I do think it means that Louis is going to be struggling with feeling out of control of his own narrative more in season 2, a thing that was already starting for Daniel in season 1.

They are also both locked into power struggles with people more powerful than they are. The fact that Louis is under Lestat in the flashbacks and above Daniel in the Dubai scenes in terms of power/status makes it all the more interesting. And, if we want to go ahead and assume that the Devils Minion’s years have happened in the past by the time we get to Dubai— it’s possible that both Daniel and Louis are united in being the less powerful partner in their own respective fucked up gothic romances.

They’re also both the audience’s entry point into their respective stories. Louis’s narration guides us into the world of vampires. Daniel’s questioning satisfies our human curiosity in Dubai.

I think one of the things that makes the show so special is the way that these two protagonists interact. In a lot of shows the a plot and the b plot stay pretty separate. I love talking about Black Sails for this because I think it’s such a good example; Flint and Max never exchange dialogue the entire show, even though they’re so clearly affecting each other the whole time. But the way that Louis and Daniel clash in Dubai is so exciting. We see them both wrestling for control of the narrative. It’s thrilling to watch and it just hammers home the theme of how complicated and changeable stories can be.

I am SO excited to see how the Dubai scenes play out in season 2 because of it. I really can’t wait. I’m really hoping we’ll see Daniel and Louis’s relationship evolve in surprising ways, and I’m holding my breath that we’ll get a lot of Armandaniel material to work with. (I have a whole other post drafted that’s much less smart than this one and is just me waxing poetic about Devil Minion’s theories which I may post at some point. You have been warned.)

I do have two wishes for Daniel in the new season, and they’re 1: that he gets to have romance/sex, because disabled (and older!) characters are so often seen as unworthy of being desired, and I would like to see that challenged and 2: that he continues to refuse to be turned/is not offered a vampiric cure for Parkinson’s. The magic cure for a disability or chronic illness is probably my least favorite disability trope, because it serves to erase disabled characters and representation from the narrative, and I want to see my experiences continue to be reflected in Daniel’s. That means that whatever ending Daniel’s story has will probably have at least a bit of tragedy baked into it, but I’m ok with that.



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I love so many of her poems, but I was thinking about this one recently. I love how it flips the old story of Bluebeard on its head, and turns it into a parable about the importance of not losing yourself in a relationship, a thing I don’t think Edna ever did. Edna was such a complicated personality, and sometimes I find myself thinking about how every man she ever knew fell in love with her, or about how deeply she loved people, or about how codependent she was with her mom, or about how she had some really weird internalized misogyny, or about how she was brazenly queer and poly a whole damn century before any of that was acceptable, or about how she had chronic pain and died addicted to morphine, or about how she was genuinely a kind of poet celebrity, a thing that doesn't exist anymore, or about how so many people devoted to preserving her legacy today seem intent on flattening all those interesting things about her into a kind of "saintly girl genius" image. And then I remember I don't actually know her at all, even though it feels like I do, and no-one alive now, not me or the people from the Millay society or her biographers, really know her "sought-for truth". Edna gave us her poetry and then left to "seek another place." She refused to be pinned down. She refuses to be flattened.

I miss her now that I’m done revising (for now) the play I wrote about her. But she never really leaves me alone. Anyway, here’s the poem:

This door you might not open, and you did;

So enter now, and see for what slight thing

You are betrayed… Here is no treasure hid,

No cauldron, no clear crystal mirroring

The sought-for truth, no heads of women slain

For greed like yours, no writhings of distress,

But only what you see… Look yet again—

An empty room, cobwebbed and comfortless.

Yet this alone out of my life I kept

Unto myself, lest any know me quite;

And you did so profane me when you crept

Unto the threshold of this room to-night

That I must never more behold your face.

This now is yours. I seek another place.

heliza24: a bird with a rust colored breast and a grey back sits on a branch with its beak open mid-tweet (Default)
I kept debating what my first real long post would be over here, and wondering if I had enough new thoughts for a new Young Royals meta in me that I could debut here. But in reality the things I hold most dear about the show are already in this meta, which was originally posted to tumblr last year but has been going around a bit again over there. When I first wrote this, it felt very unpopular to suggest that the monarchy was harming Wilhelm enough that he should leave it. I think that idea has become less incendiary now, especially now that the season 3 trailer hinted at this as one of Wilhelm's major conflicts in the upcoming season. I've been having a lot of disability feelings lately, and a lot of Young Royals feelings. So here it is again, the true heart of how I feel about the show:

I’m disabled. Specifically, I have a chronic condition that began in my early twenties, and slowly got worse and worse until I was finally diagnosed at 28. I’m 31 now, and I’ve had to grieve the person I once was many times over. I used to be a dancer, I used to be an adventurous eater, I used to love to travel. My chronic pain and restrictive medical diet have taken those things away from me, piece by piece. But the thing I mainly want to talk about right now is quitting my job. At the time of my diagnosis, I had worked at my job full time for three years. For a few years after my diagnosis, I tried to remain at my job part-time, because I loved it. I worked in the music industry, and I had the best team of coworkers. I had a great work/life balance, I was never stressed about work. I looked forward to each day in the office. When I went to events and had to introduce myself during an ice-breaker, I would usually include a fact about my job. I found a lot of my identity there. All of my work directly supported musicians, which was something I was very proud of.

So I tried very, very hard to hang on to my job. My company gave out these ridiculously heavy plaques for employees who had been at the company for 5 years, and I was determined to get one. But it was really hard. I could no longer type sitting up for more than a few minutes, so I did every day from my lap desk in bed. (This is still where I write all of my fic and meta!) I struggled to talk to customers on the phone while I was in pain. The office was closed because of the pandemic, but I would have had to work from home regardless because I couldn’t handle the commute. Every day was a slog. And my pain and fatigue weren’t getting better. In fact they were continuing to get worse as time went on. Finally, my five-year work anniversary arrived. I made it, but I felt like a runner barely stumbling over the finish line. It was the end of 2021. I talked with my friends and my therapist and my disability benefits lawyer. “I don’t think I can keep working,” I would say. And then I would cry, because the thought of letting go of this last part of my identity, when my illness had already taken so much, was so horrible.

After several months of deliberating and grieving, I quit. My boss begged me to reconsider (God bless him, honestly). Was there anything he could do to better accommodate my needs? Could I work a different schedule to let me sleep more? Could I work freelance on specific projects they really needed me on? I wanted to say yes so badly. But I knew. The longer I held on, the more I fought, the worse my health would become. And the worse my health would become, the more I would struggle with work. The joy I had felt during my first three years in that office had already drained away. I was fighting just to get through each day, and I didn’t want to fight anymore.

I recognize that having the resources and disability benefits to even consider quitting is a huge privilege. There are a lot of disabled and chronically ill folks who struggle through work at great detriment to their health because they can’t afford not to keep working. So I recognize how lucky I was to be able to quit. I am so grateful for that option, even as I mourn all the things I have lost.

In my meta about Simon, I talked about radical acceptance and how it has been my guiding light as a disabled person. Embracing radical acceptance means that I have done my best to accept what I can and cannot do, and what I can and cannot control, without judgment. I accepted that I needed to walk away from my job. But how was I supposed to define myself without it?

Capitalism defines most peoples’ self-identity, whether they realize it or not. We identify with our jobs, or with the “grind” culture, or with the moral goodness associated with working hard. But here I was, without a job. And I had my whole adult life ahead of me. I had to find a way to make a new identity outside of work.

Around this time, I started to gravitate towards stories where characters are faced with similar decisions, even if I didn’t realize it yet. And let me tell you, there aren’t many of them.

@bluedalahorse and I talk about this a lot. In our ultra-franchised world, the point of stories, even those that are supposedly about rebellions, is often to return characters to the status quo, so that the next movie/comic/episode can pick back up where the last one left off. And when there is a significant change in the status quo, it is usually because the characters worked, and pushed, and struggled to achieve that change. It’s very rare to see a story about someone who walked away from something that was harming them. It’s rarer still to find something that deals with the aftermath, as characters work to re-establish themselves.

I’ve found a lot of comfort in true stories of people leaving cults and high demand religions, and of queer people forced to leave their conservative families behind. In all of these cases, people are consciously abandoning a predominant belief system that is harming them, and have to start over as they craft their new sense of identity. (I am also queer, which adds an additional level of connection). Often people in these situations come to rely on their found family, a thing I have also found to be true in my own life.

I quit my job in between seasons 1 and 2 of Young Royals, and I don’t think I realized how many themes connected my experience to Wilhelm’s until I was watching season 2. Wilhelm is the protagonist of Young Royals, and his central dramatic question has always been: will he fulfill his duty as a royal? Or will he quit, and discover who he is beyond the system he was raised in? Simon is a huge part of this decision, obviously, but the question has never been strictly about Simon.

While I have no personal experience with the monarchy, I do know what it’s like to consider walking away from a role that you assumed you would fill for the rest of your life. I know what it’s like to think about quitting your job.

There’s so much pressure on Wilhelm to assume the role of perfect Crown Prince. He’s told constantly—by Kristina, by Jan-Olof, by the court-- that he can’t let his family or his country down by deviating from this role in any way.

This is a pretty common experience for people who are trying to quit something. They are told that they will let down those around them if they leave. People who are leaving high demand religions are told that they will not be able to enter heaven. Queer people in conservative families are told they can’t come out because “it would break [elderly relative]’s heart and kill them.” When I quit my job, I thought a lot about how I’d be letting down my coworkers and everyone who knew me as a hyper-competent career-driven person.(This included some of my doctors by the way, who expressed their disappointment in my failure to adhere to their idea of a “worthy” disabled person, i.e. someone who soldiered through the pain and continued to work. Some withdrew care because of this and honestly I will never forgive them). And maybe I was letting people down, and maybe ex-Mormons really will spend the afterlife in outer darkness, and maybe all the grandmas of queer people will be so upset that they kick the bucket when their grandkids come out. But ultimately, if your happiness or safety or well being depends on leaving, it doesn’t really matter. You have to do it anyway. You have to abandon the things that you can no longer carry. You have to discover who you are on the other side of religion, of the closet, of capitalism.

I think about this every time people in the fandom talk about how Wilhelm leaving the line of succession will create a constitutional crisis, or impact all of Sweden negatively. I am personally pretty anti-monarchist, but I honestly can’t even tell you if I think that Wilhelm removing himself from the line of succession would bring about the end of the Swedish monarchy or not. Honestly, I don’t really care. I care about Wilhelm. I want him to seek happiness, to search for the future that must live on the other side of this oppressive system he finds himself in. A constitutional crisis? That’s Kristina’s problem, that’s Jan-Olof’s problem, that’s the government’s problem. Radical acceptance means focusing on the things you can control, and Wilhelm can only control his own happiness.

When this issue gets debated, I often see people argue that Wilhelm is too young to make the decision to give up the throne. But the reality is that we ask teenagers to make decisions about their futures all the time. @bluedalahorse wrote a great piece of meta about that here. I love what she said so much I’m going to quote it directly:

"Nonetheless, we ask teenagers of Sara and Wilhelm’s ages to think about decisions that affect their future all the time. We ask them to consider what career they’ll pursue or what university to attend. Teenagers who grow up in various denominations of Christianity consider whether they’re going to go through with Confirmation or sometimes Baptism. Other religions (ones where I can’t speak from as much personal experience) have various other rites of passage around this age, and various cultures have coming of age rituals. For some teens, they do these things willingly and with their whole heart, whereas for others, they do it to please their parents or families or for the social norms of it all."

And if Wilhelm is too young to decide to give up the throne, how can he be old enough to decide to keep it? Surely the decision to take on the governance of a country, even in a symbolic way, requires as much, if not more, maturity than the decision to pursue a less high-powered career elsewhere.

When people in the fandom claim that Wilhelm is too young to make this decision, I hear Kristina telling Wilhelm to wait until he’s 18 to come out, because only then will he be responsible enough to deal with the consequences. That’s a delaying tactic, and nothing more. People who don’t want you to leave will ask you to delay your decision over and over again, because they think that if they can kick the can down the road just a little farther, they’ll never have to lose you.

I also see people argue that Wilhelm isn’t qualified to make a decision because he doesn’t know enough about the “real world” to know what he is choosing. To be honest I don’t think most teenagers know much about the “real world”. I definitely didn’t. But we ask them to make decisions that will affect their futures anyway. And here’s another way to look at this: Wilhelm has plenty of places he can look to for examples of how “ordinary” people live. He can find out what it’s like to be from a noble but non-royal family from the students at Hillerska. He can talk to Simon and Linda about what their lives are like. He can read the millions of books, or watch the thousands of movies and TV shows that feature non-royal protagonists and were created by non-royal artists. But only Wilhelm knows what it is like to be Crown Prince. No one else has had that experience. So I would argue that actually, Wilhelm is the only one qualified to make this call.

Ultimately, the agency and mental capacity of people who are quitting is often doubted, usually by the people who have the most to gain by keeping them in place.

So many people have so much invested in maintaining the status quo. And as soon as you invest in a system, someone daring to leave puts your world view into question. Why are you dealing with so many oppressive rules if someone else can just leave? We see this a lot with high demand religions and cults; if someone threatens to break free, the members often join ranks and work together to pressure them to stay. What has your sacrifice as a woman in a patriarchal religion meant, for example, if another woman can decide to simply walk away? Does Kristina’s grim life of duty and sacrifice matter, if Wilhelm can just opt out and seek happiness instead?

Then of course, there are all the benefits that an oppressive system confers on its most privileged members. Those benefits are in danger of disappearing if enough people quit, so high ranking people will work to keep others in line. Think about all the people who benefit from the monarchy: all the staff who work for the royal family, all the nobles who get their reputation by proximity to the monarch, and everyone in Sweden who in general benefits from the image that a long-standing institution of white, straight, conservative power projects.

And those aren’t people Wilhelm needs to be responsible for (or should be concerned with placating, to be honest). If the monarchy fails because Wilhelm leaves, it’s because there’s always been a fault in the system. Those relying on this outdated system have signed their own fate.

No one knows fully what life will be like after they quit. That’s the radical acceptance part of quitting. You have to make a blind leap, and discover a whole new world once you land. Wilhelm is no more sheltered than anyone before they take this leap. Everyone who quits—a religion, a cult, a job—has to go through this process of rediscovery. You have to learn by doing. People do that successfully all the time, and I believe that Wilhelm can too.

When I was talking about this meta with @bluedalahorse, we talked a lot about Plato’s allegory of the cave. That story goes something like this:

Several prisoners have been kept inside a cave their entire life. They are chained to the spot, and cannot move. They are facing the back wall of the cave. Behind them is a fire, and in between them and the fire, their captors walk back and forth, casting shadows on the wall. Because the prisoners have been kept in the cave their entire life and have only ever seen shadows, they think the shadows are real. They think the only thing that exists in the world is shadows. Until one day, one of the prisoners is set free. He goes outside for the first time, where he is blinded by the sun and overwhelmed by stimulus. But he discovers the real world. He now knows that the shadows he was used to are pale imitations of the real things. He’s so excited that he goes back to tell his fellow prisoners what he has learned. But the prisoners get angry at him for challenging their world view. They don’t believe him, no matter what he says.

There are a lot of ways you can interpret this story. Some people think that Plato is talking about the role of philosophers in society. Some people use it to explain a philosophical concept he writes about elsewhere called “forms”. But I think one thing is clear. Plato didn’t write the allegory of the cave (and it didn’t stick around in human imagination for thousands of years) because he thought you should stay in the cave. Leaving the cave is hard. You will be met with resistance. But discovering the real world, when you were only seeing shadows before, is worth it.

I want Wilhelm to leave to be happy, to see the real world instead of shadows. But I also believe it’s what the story demands. It’s the only answer that makes asking the dramatic question—should Wilhelm conform or rebel?—worthwhile to me.

To be king, but to be the first gay king, would be such an unsatisfactory ending for me. It reminds me of how hard I tried to keep my job—by working from bed, by reducing my hours. My boss could do the best he could to be accommodating, but ultimately working was harming me. You can’t adapt the monarchy enough to make it a non-damaging space for Wilhelm, because there will always be people pressuring him to conform to its straight, stoic ideals. Those ideals have been around for hundreds of years, and to put all of the burden of reforming them on Wilhelm is unfair and unrealistic. If he does stay, I see him struggling to change a system that is not designed for him. Even if he does make small victories for representation or inclusion in that context, it will come at an enormous emotional cost. I just don’t think it’s worth it. Not when there’s a whole world where Wilhelm could be doing good, important work– in whatever arena he chooses– that won’t also come along with inherent emotional trauma.

Believe me, there’s a whole world to be discovered after you walk away from something that’s damaging you. You grieve, yes, but you also grow. Since quitting I’ve been able to love my friends harder, to treat myself better, to give back to the disabled community. I think if you talk to most people who have committed a similar act of radical quitting they’ll say the same thing. I want this future for Wilhelm, but I also want this kind of story to exist for all of us. I want there to be a story that represents those of us who have had to make these kinds of decisions. I want there to be a story that can encourage people who are currently wrestling with their desire to leave and the pressure to stay. And I want there to be a story that shows the hope, the bravery, and the self-belief that is required to walk away and seek a brighter future.
heliza24: a bird with a rust colored breast and a grey back sits on a branch with its beak open mid-tweet (Default)
I'm on a bit of a refugee journey from tumblr. I came with my friend [personal profile] bluedalahorse, because certain fandoms weren't super welcoming over there. (specifically: so ableist. what's that about?). So we figured maybe it would be better to go back in time a little bit to an older school platform where you could use more filtering techniques. This is kind of funny for me, because I never had a Live Journal. I think I'm a little bit too young, and also I just never knew someone who had one so I never learned about the platform! So despite this format of blogging being a lot older than most social media, it's new conceptually to me.

I am a big TV lover, and all of my fandoms are tv shows-- Interview with the Vampire (AMC), Young Royals, Black Sails, and Dimension 20 are the big ones for me right now, although I also love The Bastard Son and the Devil Himself (RIP) and The Newsreader. I am also a playwright and a theatre person and I love talking about dramatic structure and writing meta. I'll probably crosspost some metas from tumblr. Maybe I'll write updates about play progress and the research I'm doing for projects here too.

I love cosplaying and dress history and am figuring out how to sew. So I might end up detailing more of my process of that here too. It would be great to connect with some more experienced sewers, I am always trying to learn.

I'm also physically disabled and may occasionally drop a (restricted) rant about the medical system and how it is not designed for the benefit of patients. I am a salty crip, what can I say.

I've recently become obsessed (OBSESSED) with actual plays and TTRPGs. Like actual crack to my story-obsessed brain. Do people talk about games here? I hope so.

That's all I can think of for now. Nice to meet you, Dreamwidth.
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