This scene still breaks my heart each and every single time I watch it.
Azula was a terrible, horrible person. She would have set the world aflame and laughed over the broken carcass of her brother.
But she was fourteen.
She was so ruined and twisted by her childhood and by her nation, driven to insanity by the expectations placed upon her.
Azula was bad and yet I can’t help but feel so terribly sorry for her.
"I don’t have sob stories like all of you."
SHE WAS FUCKING FOURTEEN WHAT
"My own mother….thought I was a monster.
She was right, of course, but it still hurt.”
actually, i think one of the shows strengths is that they didn’t shy away from what a horrible tragedy this was. even though she was clearly a villain and did unspeakably awful things, this scene was still framed as sad. there was no celebrating- they just look at her sadly.
the music for the battle that leads up to this moment is sad too- it’s an epic battle, visually probably one of the biggest things done in the entire series, and they could have played it with thumping, energetic, dangerous music. but instead it’s quiet and somber. because the whole scenario is heartbreaking, and they know it.
i think the fact that a kid’s show had so much respect for it’s viewers and their ability to understand the complexity of this situation is what makes avatar great.
i wish lok respected it’s audience as much as atla did
Happy 68th Birthday, Alan Rickman! (21.02.1946)
It’s not just work, it’s your life. And it’s a human need to be told stories. The more we’re governed by idiots and have no control over our destinies, the more we need to tell stories to each other about who we are, why we are, where we come from, and what might be possible.
Court Presentation Ensemble
Presentation at the Court of Saint James’s was a momentous social accomplishment for many women. The Boué Soeurs costume, which was worn by Mrs.George Henry O’Neil, the former Bertha Fadelhan Drake, for presentation before George V in June 1928, has a train, headdress, and fan, all made to conform to the dress rules that governed the occasion at the time. The train is detachable so that the dress could quite easily be worn for dancing after the court ceremonies had concluded. Though the robe de style silhouette, with its structural panniers, is reminiscent of the eighteenth century, the dress’s body-obliterating shape and light, translucent layers reveal its twentieth-century origins