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HUNTR/X 💥

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So let me get this straight…

K-Pop Demon Hunters is about a 3 woman singing group.

All 3 of them live together in their own skyscraper.

Their idea of resting is sitting on the couch together watching YouTube videos.

They frequently want to go to the bathhouse together.

They check in on each other, compliment each other, get dressed and fight demons together…

The main crux of the story is about one of the trio being scared of coming out to the other two girls…

The big final climax of the film is the three of them shedding their fears and anxieties to embrace each other’s faults and this is what powers the Honmoon and their fans against evil…

…And you’re trying to tell me they’re into MEN?

…

Fuck off, this is the most queer coded STRAIGHT animated film I’ve ever seen.

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Holding you feels like home. And I could hold you forever.

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[spoilers for chapter 7 of the unchanging polaris]

Somewhere during it all, Rumi is caught sitting on the vanity. She sits there while Mira traps her by kissing her breathless on the mouth, hands on either side of her to keep her where she is. Rumi can feel Zoey’s kiss-swollen lips against her shoulders, kissing up and down her patterns and over her muscles.

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Ahh, a blast from the past. Remember when people “critical” of Arcane complained that they had to pay attention to the ACTING in the show?

Fucking idiots, the lot of you. How dare a show expect you to watch what happens on the screen, right? Have you assholes never watched a drama before? Have you never been impressed by the way an actor can portray subtle hints and clues of their thinking by manipulating the way their eye twitches in a scene or by the tiny curl of their mouth?

Reason 1,001 why the “arcane critical” hashtag is absolutely garbage. They hate the fact they have to watch the show to get enjoyment out of it. Sorry guys but this sort of mocking just reinforces how DUMB you are.

guys i should have realized that everything in arcane that seemed to just be bad writing could actually be explained by their microexpressions. can't you see that the one scene where caitlyn slightly furrows her brow at a 5 degree angle clearly indicates that the class divide between zaun and piltover has been completely resolved. didn't you see it

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Gentle alpha Zoey and her two omegas

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Buff Rumi and da girlzzz lol

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Ah yes, the “I failed at media comprehension” post comes back around again.

Here’s one of the many ways this post is total BS.

Because the CONTEXT here is that Caitlyn asks Vi right before her answer “are you still in this fight?” And this is VI’s answer. She’s saying “yes.” She IS still going to keep fighting for a better place and future.

This is a call and response. Vi says she feels “lesser” and her response is “yes I am still going to fight.”

How are you guys THIS DENSE?

Baby girl I'm so sorry for what they did to you

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Let's face it ya'll....we all know why this poster wasn't used in the very end.

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You will be my girl

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Beach day!!

They definitely made a sand castle and zoey definitely got really bossy about it ;]

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feel like zoey would post shit like this

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Polytrix in this scene giving very "Three girls chilling in a bathtub~ 5ft apart 'cuz they're not gay! (Except they totally are gay) (for eachother)" energy lol.

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spreading the polytrix propoganda :'D

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The Matriarch Isn’t the Villain. She’s the Mirror

I often hear a discourse where Celine in K-pop Demon Hunters, Alma in Encanto and Ming in Turning Red are seen as vilains. They’re the ones who restricted the younger generation, hurt them, and are ultimately responsible for their pain, trauma and self-doubt. They’re framed as the real villains of the story. But I’d like to differ.

These are stories of intergenerational trauma. They are women who survived, repressed, and tried to protect their families the only way they knew how: through control, perfectionism, and emotional suppression.

And yet, when the next generation begins to reclaim joy, freedom, softness — they become the obstacle. Not because they’re bad people, but because they’re scarred. Their minds cling to survival strategies, unable to recognize that the environment has changed.

Alma is still stuck fleeing the colonizers.

Ming is still afraid of her true self.

Celine believes that fear and mistakes must be hidden.

It’s not about hating these characters. It’s about how unprocessed trauma twists love into control. How survival, unexamined, turns into rigidity. These women were never given space to process their own pain and they project it onto their daughters and granddaughters.

And here’s something we rarely say enough: intergenerational trauma can create toxic patterns but that doesn’t always mean there was abuse or conscious harm. Even when their love becomes suffocating or controlling, these women are not necessarily “abusive parents.” They are daughters of silence, fear, and sacrifice. And they were never taught another way. It’s important to make that distinction, especially in a world that often pushes a binary, punitive reading of family dynamics.

They’re the product of a generation that was told to endure. But endurance without healing becomes its own kind of violence.

What’s powerful in these stories is that they don’t end in vengeance. They end in confrontation and transformation. The confrontation is necessary: the younger generation refuses the silence. Refuses the shame. Refuses to carry a burden that wasn’t theirs to begin with.

The house is destroyed in Encanto.

Mei accepts her full self.

So does Rumi.

And in the best cases, this confrontation allows the elder to soften too. Alma opens up. Ming listens. And I’m hoping in the sequel, Celine will open too.

Maybe that’s also why these stories speak so deeply to POC audiences. These aren’t stories about cutting ties. They’re stories about how hard it is to transform them, to protect ancestral bonds while refusing to perpetuate inherited pain. In many racialized families, collectivity, loyalty, and intergenerational duty are sacred... even when they come at the cost of personal boundaries.

And sometimes, Western individualist frameworks read these tensions as dysfunction or villainy. But for us, they’re just the difficult truth of growing up and trying to do better.

These women aren’t villains. That would be too easy. They embody the fragile, necessary work of bringing change without breaking the thread. These stories are about refusing to inherit their pain without reflection. Because love, without accountability, is not enough.

These stories show us that each generation has something to learn from the next. And the new generation must also break free from the chains they inherited while preserving what is meaningfull.

But it’s not just their story.

One day, we’ll be the older generation.

And we’ll need to be humble enough to learn from the ones after us.

So don’t be a fool.

We may be Mei, Rumi, or Mirabel today.

But tomorrow, we could be Ming, Celine, or Alma.

And when that time comes, we’ll realize how hard it is to unlearn what once kept us safe.

So let’s have compassion for all these characters.

Because these stories show us not just how the cycle of generations works, but how it can make us better, stronger, and more connected... if we’re all willing to go through the change.

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If you’re curious, I’ve written more on K-pop Demon Hunters:

A post on the mental health themes woven through the songs — right here.

A breakdown of Celine-Rumi in comparaison to Gothel–Rapunzel dynamic — here.

An analysis about Rumi, Jinu, and the danger of sinking together — here.

Some book recs for each of the K-pop Demon Hunters characters — here.

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edit (07/08/25): Thanks to several kind Colombian commenters and reblogs, I’ve learned that the historical context shown in Encanto is more likely tied to the Thousand Days’ War, a brutal civil war rather than direct colonial violence. I initially framed Abuela’s trauma through the lens of colonialism, which was a mistake. The real context is deeply rooted in internal ideological conflict. As a South asian viewer, I’m very grateful to those who shared insights ! I encourage readers to check the comments and reblogs for more historical nuance and brilliant perspectives 🧡

And thank you to everyone who shared, commented and interacted on this post !

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Severance is a cool show. Because, like. What if you knew nothing. No context. No idea who you are. No history. And, of course, you are scared, but you can’t leave unless you get permission from someone— the person who put you here— someone who will never listen. Someone who makes all the decisions, who says “I’m a grown-up person and you’re not.” And you’re naive and lonely, but at least there’s other people in the same boat as you. Someone, just been there slightly longer, is trying to shield you, trying to protect you, taking responsibility and taking on punishment they “can handle and grow from.”

Like. Oh yeah. I recognize this one. Someone else dresses you. Someone else feeds you. Someone else, who's just like you, but they get everything. The little toys and the waffle party. Helly is desperate and suicidal, but she still has to go to school work. You have to do work that doesn't make sense, but you'll understand eventually. The meaningless, manufactured rivalry between departments. The rumors??? “they have larvae that eat them?” “I’m livestock grown for food” “I’m a bodybuilder who has loads of girlfriends, but you don’t know them they go to a different school?” Punishment in the form of apologizing over and over, having to use all the right words, until you are believed. Endless hallways. Scary authority figures. "Are you mad at me?" Religion being the only type of media you see, until you read some shitty book that changes your life. Confusing, sudden camping trips that are supposed to fix you. Condescension. The words "innie" and "outie" are brought up multiple times as infantilizing. Of course his innie's voice is higher pitched????