You know, call me a Doylist but I think part of the issue here lies with Rowling, and a plot thread she’s working out that doesn’t always have the practical implications that she wants. Because mostly everyone’s right: Ron has horrifying robes because the family is poor, which is part of his insecurities and indicative of a number of ongoing plots within his family. Goblet of Fire, after all, is also the book where the Twins seriously consider blackmailing a powerful individual for investment capital and Percy makes a fool of himself trying to impress his boss, setting the stage for his fall out with his parents in Book 5. Ron’s dress robes, as minor a problem as they really are in the grand scheme of things, are a reminder of the material lifestyle his brothers are all trying to escape. And because Ron is fourteen, he doesn’t have the perspective to sit down and go “hey at least I’m not an orphan like Harry here.” But if you stop and think about it for a moment, why did the robes in question have to stay the way they were bought? Think about it: Molly is a lifelong champion of domesticity and the household arts. She’s very good at at least one physical domestic craft (knitting). What are the odds she doesn’t know any sewing spells, particularly with seven children to clothe on a budget and the attendant necessity to mend any rips and tears in clothes that children acquire? Molly also knows what’s going on at Hogwarts this year before Harry and his fellow students do, as Arthur and Percy both work at the Ministry and the latter has probably been working on the last-minute details of the tournament for the past few months. She almost certainly knows when Ron needs the robes by, and it’s not immediately after he arrives at Hogwarts. So wouldn’t the practical thing to do be to say, “Don’t be stupid, Ron, of course I’m not letting you go out like some out-of-sorts time traveler. I’ll modify the neck and cuffs after the lot of you are out of my hair and send them along in a few weeks?” People alter second-hand clothes all the time; it should be the obvious step to take. Even Ron managed to take the lace off, although he didn’t do it well. But the point was to drive home how poor the Weasleys are and how the children feel encumbered by it, rather than to apply an ounce of common sense to the problem. And I think that one’s on Rowling.

#malfoy #malfoid

no one's cooler than her

she clocked his ass and we didn’t give her enough credit

Thank you for hiring me.

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My problem with the Malfoid trend is that you have to actively ignore Ginny and the Weasely family to pretend it elevates the story in a meaningful way. While movie Ginny is lacking, book Ginny fulfills the archetype of young love. She became enamored with Harry between book 1 and 2, and that youthful affection grew after he saved her life. She pines after him until she realizes she has to move on, and Harry only comes to his senses when he sees her with someone else. Bar that, Molly Weasely was the mother Harry never had, and Fred and George were his older brothers long before he married into the family. We *already* have a found family, we don't need the Malfoys to fill that role. You guys are acting like Malfoid solves a problem in the Harry Potter canon, when that problem has already been solved twice over.

I wish there were more people like Mr. Bradbury, who instead of just whining in his corner, was an absolute chad and wrote a book to cure his dissatisfaction with complaining.

Harry spoke to Ginny like 4 times in the whole series. I didn’t even know who the fuck she was the first time I read it, I had to go and ask my teacher about it

The reason the Malfoid thing works, aside from everyone writing her as a tsundere, is that it’s the slow burn enemies to lovers trope over the course of all seven books. It also solves the issue of Draco never getting a proper redemption arc.

How would you change the Harry Potter book series?

me adoece ter tatuado essa cena tão foda e o final do mangá ter sido uma merda

One of the most enlightening takes on Malfoid that I've seen so far was a YouTube video I watched today that has since been lost to the aether. At the end of the video he made the point that this kind of story is extremely culturally important for the right. Not because it's conquering a leftist beloved IP or because it reintroduces beauty and romance to storytelling. Not that those aren't fine things. No it does something much bigger. For at least two decades we in the west have been subjected to nothing but deconstructive storytelling. Every expectation and trope is so routinely subverted that we know the story from the start. Its why so much modern media is just... ...boring. Because God forbid the guy actually get the girl, the bad guy be bad and get his comeuppance, or the ending be at all happy. (Aside: I believe this is responsible for the recent rise in eastern media) But I digress. What Malfoid actually is, is an inversion of the deconstruction of media. Its taking a broken story and making it whole. It takes a plot that was ok but flawed, and uses traditional story telling to fill in those gaps and create a recognizable pattern that elevates the whole thing. He doesn't call it this in the video, but I like to think of it as "reconstructive" or "restorative" story telling: the elevation of a story by the inclusion of traditional storytelling methods and tropes so that it speaks to what is true about the human condition. There was one other example he gave that comes, of all places, from Star Wars. While almost all of modern Star Wars under Kathleen Kennedy was deconstructionist crap, one show stood out: The Mandolorian. After the debasement of Luke Skywalker in the ironically name Rise of Skywalker, many people were extremely discouraged. Mark Hamill himself said that he didn't agree with anything that his character was doing and he didn't recognize Luke by the end. In steps Jon Favreau and Dave Filoni, and in the final scene of season 1 of The Mandolorian we get to see Luke Skywalker back in his rightful spot as the Big Damn Hero, doing the Right Thing and Saving The Day. Grown men cried watching that scene; once again seeing their childhood hero back in his rightful roll. It was reconstructive, restorative even, and why the left went all-out attacking the show. I know we all lament the idea of Malfoid fading even if we know it's inevitable. What we should do though is learn from it and take those lessons forward to new projects, be they fanfic or entirely new IPs: - understand that "creative" work is not the domain of the left - avoid deconstruction at all costs and instead speak to the truth of human nature - embrace traditional western storytelling On that last point, I want to remind y'all that not every story is a love story. The western storytelling tradition is rich with different story tropes that each serve a purpose: tragedy (Anakin and Padame in the prequel series), comedy (White Christmas), heroes journey (Dartanian from Three Musketeers), great quest (LoTR), rebirth (Kousko in Emperor's New Groove or the Beast in Beauty and the Beast), rags to riches (Edmond in Count of Monte Cristo). There's more, but you get the idea. Don't be afraid to retell these stories again and again. They resonate so well because they speak to fundamental elements of the human condition. Its tempting to wonder what other stories are out there that might be a tweak or two away from greatness, but I wouldn't get hung up on that. You aren't gonna catch lightning in a bottle twice. Instead I say look forward, using these lessions, and build something great from the ground up, borrowing pieces from the past to build the future.