#( meta / credits. )

[deancasforcutie]

everyone knows the Pizza Man Montage but we don't talk enough about the Mii channel theme compilation of Concerned Boyfriend Dean in The Future. Berens-Glynn said He Was in Love Here

[tare-anime]

One thing that I like about sxf is that despite being a shonen (with not a teenager protagonist), Endo makes Twilight hot and very capable, but at the same time, make it hard for fans to give him harem.

Like, Endo does create lots of awesome women, but it is clear that Twilight has no (romantic) interest at them at all.

Karen?

Twilight didn't even bat an eye. Dumped her just like that

Nightfall?

Twilight clearly never see her more than colleague and mentee. He even despise the idea of their cover story as married couple

How about older woman? Handler??

Twilight clearly afraid respects her as older sister boss and mentor. And that's that.

The City Hall women who swoon at him?

Twilight imagine them as evil and despicable.

The only woman who can make him making lots of expressions, such as:

Devastated and confused

Flustered

Melancholic

Proud

Lovestruck Skipping a heartbeat

And truly smile

Is just Yor.

Love it 🥰

[afterthelambs]

I'm not sure if I believe the "Wakaba Isshiki did unethical experiments" theory in the fandom, but I do think this is the biggest proof of it in-game:

Because how the hell would she know that?

The first explanation is that she did experiments by sending people into palaces and then testing what happens to them if the palace collapses. Which is messed up for obvious reasons.

The second explanation is that she did NOT test it, meaning she was just making shit up. Which is funny but also would make her a terrible scientist. This explanation is less believable because everything else about her research is too accurate.

There's also a theory that Wakaba did unethical experiments on Akechi specifically. I'm not sure I believe that, since the evidence for it is pretty shallow (like the featherman game scientist experimenting on grey pigeon). But this scene is once again the biggest argument you could make for that theory. The researcher in the image above refers to palaces by their correct term 'palaces', which they say was based on Wakaba's research. But that's only something you would know with firsthand experience of the metaverse. And the only person they know who could access the metaverse was Akechi (that we know of, but i dont think Shido would rely only on Akechi if there were other options).

So yeah this scene is very sus. It's most likely the writers didn't think too deep about the implications. There's no way they wanted Futaba's mom to be sketchy, right? But even if it's not intentional, the scenes and their implications still exist. So in conclusion those theories make sense, I get it, and I don't blame anyone for headcanoning them and having fun. And tbh anyone involved with cognitive psience was portrayed as some degree of unethical (maruki for example), maybe this is just on-brand

[phantomrose96]

I think humans have an innate ability to recognize The Creature because today, when I had to replace my 4.5 year old phone whose battery life was finally shot to shit, it was a slightly annoying process, but it was just a process. Just a device. Old device transferred. New device set up.

But last month when my 5.5 year old bike was stolen and I needed to replace it, it was nowhere near the same, because the bike was a Creature and the Creature was taken from me and it's somewhere out there, alone, maybe chopped for parts. And I have a new bike now and it's a perfectly fine Creature by its own regard, but it is not the same Creature. My old bike was a living thing, and the living thing doesn't stop being the living thing just because it was replaced. Because it was Creature-shaped and Creature-sized and so it was a Creature. Something in my genes knows this.

[sexy-sapphic-sorcerer]

thinking about "it's unreasonable to assume that a character knows what genre they're in" and how in series 1-3, Merlin (and the audience) thinks that he's in a fantasy adventure comedy. no one realises that he's in a tragedy until it's too late.

[a-shakespearean-in-paris]

when a loved one suffers and eventually passes, especially from a horrible disease, several things are true. It’s excruciatingly difficult for the loved ones who have to see the person suffer, there can be feelings of relief when the person does pass, you can be angry and frustrated that your life is upended, you can miss the person they used to be, and you can feel extremely guilty for thinking all of those things when your loved one needs you. Those feelings of guilt can eat you alive if you dwell on it, and after going through my own loss, I deeply appreciate how SH2 remake’s Leave ending acknowledges that you can’t deny every conflicting and complicated emotion that’s attached to grief, or else it will consume you whole. Mary wanted the pain to end. James was selfish. Both things are true. Grief and guilt are truly some of our most consuming emotions in the way they torture you, and ultimately there is no way to move on fully until you understand the multitudes and accept that all of these things are true.

[withthewindinherfootsteps]

something about how both wei wuxian and jin guangyao repeatedly say they ‘didn’t have a choice’ in their actions. in both cases, it’s not literal impossibility, instead determined by their mindsets and personal conduct…. but while for wei wuxian that means he can’t do something immoral, even if it means losing all his social power, for jin guangyao it means he can’t do anything to lose his social power, even if it means doing something immoral. the other option is still there, but it’s never one they’d pick.

something about how they’re trying to walk the same path but in opposite directions: wei wuxian willingly left the nice, broad road in favour of upholding morals and debts, while jin guangyao is trying to claw onto it and stay there by any means necessary. in both cases, being parted from it so easily is only possible because this nice, broad road — full of people whose social power is unconditional, given at birth, independent of their actions — was never truly theirs to begin with. but despite how it is possible to be forced off due to nothing, as we see with wang lingjiao, the positions of both these characters were ultimately due to actions they took.

(about how no matter the similarity of the paths, no matter the narrowness of the choices, the direction you take is still up to you.)

[flashyfools]

months ago, while mindlessly scrolling through twitter, i came across an analysis of this particular panel from chapter 434 (i can’t remember who wrote the thread, i’m so sorry </3), and i really want to talk about it too.

(EDIT: original author of the thread is @goingbuggy!!! go check out their metas, they're amazing)

the thread was focusing on the way the speech bubble covers shanks's scar completely, and how it can be seen as a sign of vulnerability. oda is using shanks’s own words to hide his suffering, letting his physical scars be representative of his emotional ones, even though the event he’s talking about is completely unrelated to the way he got his scar.

in fact, we know shanks is not ashamed of the scar, since just a couple of pages after this one he mentions it directly as a way to start the conversation about blackbeard:

he doesn’t have a problem with the marking itself, it’s just used as a narrative device, a tool to highlight (in an extradiegetic way) his emotional wounds and the pain he always tries so hard to hide, in an effort to keep his usual composure.

the original author of the thread compared the panel from chapter 434 to another, way older one, from the very first chapter:

this takes place right after shanks loses his left arm to save luffy’s life. it’s obviously a very emotionally charged moment, which means the best thing to do would be showing a close-up of shanks’s reaction to everything that’s unfolding in front of him at that moment (luffy’s cries, or even his own reaction to his sacrifice). oda, however, chooses not to do that; instead, he hides half of shanks’s face, just like he did in chapter 434. the way the moment is portrayed tells the reader shanks is willing to hide his pain in an even deeper way than what he’s showing by smiling at luffy right after getting his arm chopped off.

it’s a great way to explain an important characteristic without stating it right away. it's a focal point of shanks's character: it's his way of showing luffy he cares about him and would much rather hide his suffering than pass it onto him, but it's also oda's way of conveying that shanks is much more vulnerable than what he allows himself to show.

having said that, the reason oda chose to bring back this framing in chapter 434 appears obvious: shanks misses buggy.

it’s plain to see, especially if we look at the whole page.

shanks tries so hard to act collected when talking about buggy, but it’s obvious that he’s hurting. his wording makes it clear he’s trying to detach from him (“that’s the end of it” + “rumors have it”); he acts like buggy doesn’t exist in his thoughts anymore, when it’s obvious he still does. he feels remorse, he regrets letting buggy go. he’s scared he might have been in the wrong. he knows he hurt buggy, but he desperately wishes he didn’t.

all of this weighs on him in a way he isn’t used to, so he locks these feelings up, thinking of them only in relation to something that happened in the past, and as so, stays in the past. he smiles while talking about him and buggy, but it’s a remorseful smile. he cuts the conversation short even though he vividly remembers what happened between them, and as he does so, his words hide the scar. he desperately tries to patch things up in his mind by exclusively clinging onto the good memories they share, but the remorse always creeps up on him. he always smiles when talking about buggy, even when he’s talking directly to him. but his smile always ends up looking sour.

this is exactly why i hate it when people say shanks doesn’t care about buggy. oda wouldn’t have given these panels so much depth if he didn’t want to show just how much shanks actually cares. even just the fact the panel we are focusing on directly mirrors a panel from the first chapter, one so important and impactful, should tell you everything you need to know.

buggy will always be shanks’s weakness. caring so much about someone when you’re a pirate of that caliber is difficult in itself, even more so when that someone is so far away from you now.

[raisedbythetv89]

Spike is the spark that brings Buffy’s fire (her ability to love) back

(stone - a notoriously non flammable material)

Buffy’s love is spoken about in relation to fire but even brighter and more intense

she sings of wanting the fire (her ability to love and feel as deeply as she once did) back - where once was a flame so bright it burned her - now there is nothing but black & cold

spike’s love for Buffy is also equated to fire showing how he matches her intensity with which she loves (love the use of the lighting in this shot he literally looks like he’s sitting back to back with his shadow as he wrestles for a moment of just letting Buffy die before ultimately going to help her) also this line is showing how much loving Buffy has cost him the burdens he’s carried, the pain and sacrifices he’s made and endured - “I have come to redefine the terms pain and suffering since falling in love with you” loving Buffy for Spike is painful AND HE STILL LOVES HER AND KEEPS TRYING TO DO AND BE BETTER FOR HER LITERALLY NO MATTER WHAT 😭🤚🏻

but this line from Giles foreshadows the need for Spike to get his soul (the spark) back in order for Buffy to get her fire back - soulless spike’s love is not enough because of the guilt and shame she feels loving a soulless demon

(thank you @spuffylatino for this spike screen grab)

e voila! Their joint hands burst into flames in the moment Buffy can finally say the words “I love you” which she hasn’t told a romantic partner that since Angel - representing Buffy getting her fire back and that she has found someone who not only won’t pull away from the intensity of her love but can match it

hands ablaze and neither pulls away until forced to by the collapsing hellmouth and Buffy gasps in relief because she did it, she got the fire back and now she can tell him with no fear or shame that she loves him before it’s too late

and after she says it she has sort of this “I know that’s pretty obvious given our joint hands are currently ablaze as our twin flame souls intertwine but you deserve to hear it and I wanted to and now CAN say it” look on her face like she’s really fucking proud of him but also herself that this is how far they’ve come both as individuals and a couple

When I say Spike is the best romantic partner for Buffy it’s not because it’s perfect - it’s because after she dates angel and riley she’s an emotionally devastated, vulnerable, heartbroken, abandoned YET AGAIN mess who can barely hold it together and gets more and more closed off each time. But THIS is the impact Spike has on her. Despite all they go through he is a catalyst for the return of her strength, confidence, healing, and emotional vulnerability. I love the overall impact he has on her as well as her on him!! They change each other for the better!! Through their love!!!! THAT’S AMAZING!!

[honeycreammilkshake]

we know that fighting is sukuna's canonical "love language"....

so what is this???

the level of physicality and closeness in all their fights is making me rabid. sukuna really gives yuuji such special treatment .... not only does he spare yuuji's life so many times when he could have killed him, he also keeps fighting yuuji in close combat when he literally has a cursed technique that can slice people apart from a distance.

this is a choice he's making to get so skin-to-skin with the enemy he's supposed to hate.

also, the way he was (unnecessarily) cradling yuuji's neck almost gently as he literally beats into him, how he's grabbing onto yuuji and just manhandling him — i'm no going to lie, it's almost carnal. how is so much intimacy in all of their fights compared to everyone else sukuna clashes with?

and the way sukuna is so expressive and uncharacteristically emotional whenever he gets to face yuuji. that brat just works him up so bad—

it's especially interesting when sukuna looks almost proud or excited to see what yuuji can do.

also.... sukuna, why do you look so excited for yuuji to come beat you up? is this like a date to you???

i mean, to be fair, sukuna probably considers violent brawling a love confession so no wonder why he's always ready to take on yuuji.

even in the official art he's so obviously into it.

the way he's smirking down at yuuji, holding onto his wrist, it's like he can't stop touching him. probably misses the closeness they used to have back when the brat was his vessel tbh.

i especially love that one scene where he literally sat on yuuji

he didn't have to do that. he just wanted to pin his brat down <3

"you're mine, you're not going anywhere without my permission" kind of thing really. like a bully with a crush would do.

in conclusion, sukuna gets off on throwing his boy around and feeling him up. it's just fact.

and yuuji is more than likely into it, too....

this means they share the same kinks traits to me tbh. if sukuna really did survive, i would like to believe that they would go on fighting hard with each other, even over the stupidest things. domestic cursed husbands to me <3

[sadcoms]

i adore how protective nine is of rose but i also think what is regarded a lot of the time as ten not caring about or valuing rose in the same way is him having more faith in her. it’s kind of like when people complain about rose not challenging ten the way she did nine when they’re just much more on the same page in s2 because they know each other better, so she doesn’t really need to.

in theory, ten could have yelled at rose in the idiot’s lantern for not waiting for him when she confronted magpie. but he doesn’t, he loses his mind trying to save her (VERY nine) and also acknowledges that her observation was spot on. the whole “domestic approach” line gets attention but i have never really interpreted his intention as being to insult her; in some ways, i feel her reaction is a holdover from nine, who did put down the idea of domesticity (and also actively manipulated her into leaving her mum in world war 3 which never really gets mentioned).

and of course, rise of the cybermen is a parallel to father’s day. the doctor starts out harshly talking to her the way he did when he was nine, forbidding her to see her father, but then he gives in when she just looks at him. which is exactly what he does that in father’s day too of course.

like, why do you think she refuses to be sent away in doomsday, another direct parallel to parting of the ways? she’s saying she’s not a kid anymore, that she already made her way back to him once before. she can’t be protected from the hard choices anymore and she won’t be, because she understands everything that it means to be the doctor’s companion. you never see it on-screen but clearly sometime between tooth & claw and doomsday she asks about what happened before he regenerated; she has to learn that she is the bad wolf, especially when she is to continue her journey of turning into nine in s4 and making hard choices. ten wouldn’t have known that, but it’s a mark of the respect and faith (he believes! in her!) that he stops protecting her from the truth.

[zoloteh-volossya]

Minthy and Trust

One of the interesting things about the evil endings from patch 7 is how surprised Minthara is if you enthrall her with the Brain or murder her as a Dark Urge who embraced Bhaal. I've talked a little bit about it before here, but a conversation with @alicelufenia that resulted from that post got me thinking.

Minthara grew up in a culture where backstabbing is pretty much de rigueur. She has spent at least two centuries living and loving in a city where she could not trust anybody, and where lovers and family alike may try and betray or murder her at any given moment. It's implied that she's survived multiple such attempts. Why, then, does she put such complete and total trust in you? Shouldn't she be more wary?

Part of it could be her faith - or rather, the gaping hole where her faith once was. She was completely devoted to Lolth until she encountered the Absolute, and while her faith in the Absolute was forced I think the habits we see - her prayer after her romance scene, for instance - are genuine. After Moonrise, she has lost two faiths in rapid succession. I think she'd done with gods for good, but still wants - almost reflexively - something or someone to believe in. Lolth's favor is described in some D&D novels as being able to feel her love, however fleetingly. I think a partner whose acceptance and affection she can actually feel goes a long way to filling that sudden void in her life. (I also feel like she does best with direction, that fundamentally to some extent she is a follower and not a leader. A partner provides the support she prefers in this sort of context; she can essentially make them her purpose. But this is more of a headcanon and not as strongly textually supported so I will not actually argue it. Feel free to disagree.)

Part of it could also be her loneliness. Minthara is clearly an introvert but all people need social contact of some sort. Back in Menzoberranzan, she would have been enmeshed in a strict social sphere that would have provided both regular opportunities for social engagement and rules for how to go about it. Minthy obviously feels very defined by her (former) social station - per her act 2 romance scene she doesn't know who she is without it - and laments the loss of the structure of her former life. On the surface, she thinks (incorrectly) that no one likes her, and she lacks the status and strict rules of behavior that once shielded her. She has nothing and no one... until the protagonist comes along. Once in a relationship with them, it feels like Minthara is almost trying to make them the entirety of her social life (which is hella unhealthy, girl). We see this the most in the evil endings, where she is fine with the loss of all the companions so long as she and the protagonist are together.

But my above two paragraphs explain why Minthy would want to trust the protagonist (a want, a burning driving need, a drowning woman grasping a rope, desperation making her overlook warning signs and red flags), not why she actually does. I think the answer to that can probably be found in her act 2 romance scene. She asks to see the protagonist's mind in their entirety and uses it to verify the protagonist's opinion of her. This is something she never was able to do in Menzoberranzan. For once in her life, she (thinks she) is able to confirm that this lover is safe, that she can completely unabashedly trust them. And so she does - she throws herself into it completely and utterly, as she does everything she sets herself to. It never occurs to her that this might be a false assurance, that her partner could change or be less devoted in their affections than she is. She checked; it's safe.

Until it isn't.

[charmac]

How are you feeling about S17? I'm getting reaaal worried that it's going to be terrible. No Glenn in the writers room? A crossover episode?? Rob's gradual transformation into pondslime??? Help

Pondslime 😭Lmfao

I'm feeling more than fine about 17, really truly. I don't think anyone should be worried at all.

I think sometimes my interactions with Glenn come off a little more serious or abrasive than they really happened in real life (because we have to shout due to how loud it is in the bars), and my immediate transcription is just to get people *information*, which really doesn't convey tone.

For example, reporting that Glenn said "you don't want to know" in response to me asking for any teasers (as to plots this season) was met with a lot of "oh so this season is gonna suck" on Twitter, and that could not be further than the truth (sorry to the people I split-react blocked for saying that lol). In hindsight I get the reaction, because written out it's a response that can be easily misinterpreted and reads as potentially concerning, but know that when Glenn said "you don't want to know" he looked like this:

And when I was genuinely just asking for script information (regarding writers of individual scripts after he mentioned they had broken already) and mentioned Nina (Inflates) and Ross (DTAMHD), he gushed about both of them and then said, transcribed word for word, "It's been a good room, I'll say this it's been a great room. It's been an all-star room, it's been...like, breaking the stories this year has been really fun. [Me: Yeah?] Yeah. [That's great, that is great to hear.] It's been really fun."

So the idea of "no Glenn in the writers room" is really much more akin to Season 16 than 13/14. He was there to break stories (meaning he was in the room when they were brainstorming plot ideas and when they settled on which plots would be turned into scripts) but Rob and Charlie are taking the brunt of writing their (RCG's) scripts because of Sirens. This is the same thing that happened with The Gang Goes Bowling. Glenn's name is on the script, but Rob and Charlie wrote the majority of it while Glenn was shooting Blackberry. (I remember originally being convinced it was a mistake Glenn was listed as a writer for Bowling, lmfao). And Glenn is definitely still contributing, will be on revisions for the non-RCG scripts, and will classically change or improv whatever he thinks is best for Dennis when he's on set (see: the Risk E. Rats script).

Also, I know the crossover is concerning to a lot of people just given the nature of it, but as of what we know right now it's only on Abbott, so it's really just as if this season's The Gang Cracks the Liberty Bell or The Janitor Always Mops Twice took place on a different show instead of ours...

I promise promise promise Glenn was clearly holding his tongue for good things coming up, and Friday night very much restored my confidence that Season 17 will be good. (But..if you don't think Glenn has good contributions to Sunny or understands the agenda, then sorry this response probably sucks lmfao)

[fleet-off]

I will never be normal about this scene taking place after the end credits.

Because here we are, literally after the end of the story. And here is the comedic sidekick occasional-mentor, having survived his self-sacrifice for the hero at the end of Act II, having been torn open and loved in the dark, having emerged to realize that he can no longer be a blank moldable surface in his own life.

And here is the villain, having lost too early, having been cradled and seen and afforded grace, having emerged to realize that he cannot be the heartless evil he was made to be, having fought and failed and lived rather than died at the victors' hands.

After the story has been told, Pete is not a background character in service to someone else’s story. He is, in this place, the most important person.

After the curtain falls, Vegas is not a villain—and he is not lost, is not abandoned as comeuppance for his terrible flaws. He is a young man thoroughly, despicably, mutually in love.

Because after the finale has played out, after all the chess pieces have been tidied away until the next game, after the credits roll—the narrative roles Vegas and Pete were prescribed lose their sway. And they hold each other in the aftermath.

[hualianisms]

Not father & son, not master & disciple, but a secret third thing

First of all, let me preface this by being clear that everyone is free to headcanon anything they want and like/dislike anything they like/dislike! That being said, sometimes I see international fans interpret FDB as LLH's son, or their dynamic as parent-child or otherwise familial, and as a native chinese speaker, I just wanted to share some reasons why I personally did not interpret them as familial.

Granted, at the start of the show, FDB is kept in the dark and also not up to LLH's level of skill in solving cases. However, FDB quickly catches up in crime-solving skills, intellect and maturity by the 2nd half of the show, after a well-written growth arc. I think the beauty of the characters and relationships in this show is that they grow & evolve, and are meant to do so. The dynamic that LLH & FDB had in episode 1 is quite different from their dynamic at the end of the show. By the later episodes, they are 2 adults who are very much equals.

Why I don't read them as father & son:

LLH & FDB act and speak in a manner that is far too informal & familiar with one another, which would be extremely inappropriate for any kind of parent & child, even a surrogate one. Several times, FDB calls LLH by just his first name "Lianhua", and sometimes even calls him "Damn Lianhua" when he is angry/upset at LLH. This would be extremely rude for a disciple to call a master, or a son to call a father. No son talks to his father the way FDB talks to LLH, and no disciple talks to their master like that. Unless the son/disciple hates the father/master, and is outright rejecting his father/master altogether. As we see in the show, not only does FDB not hate LLH at all, he instead cares deeply for LLH and would do anything to save him. Why, then would someone scold/curse someone they care about? Does the trope of the upset spouse/partner sound familiar?

For comparison, see FDB's interactions with He Xiaohui, who he is close to - he is informal & affectionate with her, but never calls her anything other than "娘 niang" ("mother"). I can't emphasize enough how taboo it is in Chinese culture to ever call your parent or parental figure by their name under any circumstance.

2. In ep 31, FDB himself explicitly rejects the idea of LLH as his shifu and himself as LLH's disciple, responding that he is too old to be LLH's disciple and it was merely a joke. He clearly sees LLH as an equal, and rejects the notion of their relationship being anything other than that of 2 adult equals. LLH also tells his shiniang that FDB is not his disciple, and a few episodes ago LLH told FDB that he has never understimated FDB.

Coding/hints as something other than platonic:

Zhiji/zhijiao - FDB calls LLH his 知交 zhijiao in ep 19, and 知己 zhiji in ep 34. "In this life, I, Fang Duobing, recognize you as my only zhiji." is practically a love declaration. And this bond is reciprocated by LLH, bc in a deleted line in ep 19, translated by forayuarchive on twitter, LLH is the one who first calls FDB his zhijiao.

To clarify, Zhiji is not specifically a romantic term, but it's what was used in both The Untamed and Word of Honor - both dramas based on danmei novels with canon gay main pairings - to bypass censorship, to code the bond between the main duo as deeper than your typical platonic male friendship. (See this post for a detailed explanation of the significance/history behind the term zhiji, and see this twitter thread for an explanation of the meaning of zhijiao in MLC - especially how zhijiao is specifically mutual, reciprocated).

2. Married bickering - forayuarchive on twitter has discussed in these twitter threads how the tone of many of LLH & FDB's interactions (especially FDB) is similar to how married couples or romantic partners speak to one another bc of the level of familiarity, tone and language. For my fav example, see this note (translation by forayuarchive) that FDB left LLH in ep 35, which reads pretty much like a note that a spouse/partner might write when leaving their shared house in a hurry.

3. "Xiaobao" - Personally as a native Chinese speaker, LLH calling FDB "xiaobao" in front of everyone is a level of intimacy that genuinely would make me feel embarrassed to hear as a third party. 小宝 xiao bao (literal meaning = "little treasure") is usually something you call actual babies/children AND is FDB's family nickname for him, so if you're calling a grown man that in front of everyone including his colleagues, family and even strangers, then one might assume he is likely either your biological family or your romantic partner. (For comparison, just imagine calling your s/o their parent's special childhood nickname for them at work.)

4. Deleted lines where FDB calls LLH "xiaohua'er". 小花儿 Xiaohua'er ("little flower") is very intimate and feels like something someone might call a lover. Or, at least, definitely not a platonic shifu, even less so a parental figure. (For meta on the names that LLH & FDB use for one another, see forayuarchive's twitter thread.)

5. More deleted scenes (translated by forayuarchive on twitter), perhaps cut due to censorship, which make apparent LLH's high regard and deep care for FDB. For e.g., a line of internal monologue by LLH in ep 40, translated here by forhenjun, shows that LLH thinks of FDB as the only person in his two lifetimes who has always treated him as a human being rather than putting him on an unfair pedestal.

6. Official MLC accounts act like as if they ship them.

As murderedbyhomework mentioned, there is a song in the official soundtrack of MLC called "Fanghua's Day-to-Day Life" (yes, the exact same words as their ship name). Sounds like a couple's daily domestic life, doesn't it?

The official iQiYi Romance youtube channel lists clips of LLH & FDB under the romance category.

The official MLC douyin account posts MVs with emotional captions (e.g. this one translated here by forayuarchive) that emphasize how much both LLH and FDB mean to one another. Another official MLC douyin calls LLH & FDB the person each other trusts the most.

The MLC clips posted by the official Guangdong TV weibo account also has captions such as these (translated by rice_jpg) that straight up describe FDB's feelings towards LLH as "when you like someone" (very similar CN phrasing as the phrasing used to describe romantic crushes).

7. They are subtly paralleled with a canon straight romantic couple (see fanqxiaobao's twitter thread on the parallels btwn LXY/QWM scenes and certain LLH/FDB scenes). MLC also made a distinct change from the novel by not having FDB get married to Princess Zhaoling, even though the drama could have easily given FDB a romance with her.

8. If you're familiar with chinese romantic tropes or the danmei genre, LLH & FDB fit many common romantic tropes e.g. sharing a drink on the rooftop under the moonlight, forgotten first meeting in childhood (and then meeting again properly as adults), power couple fighting side by side (they even held hands!), nianxia, protective younger ml, sickly older mc - just to name a few. Danmei even has many stories of shizun/shifu & disciple pairings who fall in love as adult equals.

There's honestly lots more but these are just some off the top of my head. Again everyone is free to interpret anything! This is just me explaining why as a native chinese speaker I personally did not read their dynamic as that of a father and son.

[ladystoneboobs]

westerosi ruling ladies/acknowledged heiresses outside of dorne, listed by region:

the north

lady jonelle cerwyn, lady of castle cerwyn after the murder of her younger brother, lord cley cerwyn, by ramsay snow. (cley did not long outlive their father, lord medger cerwyn, who died of his wounds as a pow at harrenhal, after fighting in roose bolton's host when tywin lannister defeated them on the green fork.) we first hear of lady jonelle when robb stark calls his banners and lord cerwyn means to bring his old maid daughter with him, and the next we hear of her is when asha greyjoy gets her letter from ramsay, co-signed by a lady cerwyn and lady dustin, among the other northern lords in the bolton camp. cerwyn men-at-arms and the cerwyn maester are noted with roose at wf, and presumably if their lady did go south with her father, she must have returned north in roose bolton's party.

lady barbrey ryswell dustin, widow of the late lord willam dustin, apparently the last of his line since no surviving male dustins are ever mentioned. the widow of barrowton rules in his place for the remainder of her lifetime, and (unlike poor lady hornwood) rules with power uncontested, as barrowton's closest neighbors are the ryswells, also her closest kin, father and brothers. however, without any children from the late lord dustin, unclear what would happen after lady barbrey dies.

lady lyessa flint, head of the branch of house flint of widow's watch. lady flint's son, robin flint, led their forces in robb stark's army and died with the king at the red wedding, but was not the head of house. lady flint is listed such in the appendices, and was said to be pregnant in acok, meaning she likely had a living husband at the time, but he goes unnamed as only her consort.

lady alys karstark, heir to her eldest brother lord harrion karstark of karhold (whose location and current status is unclear after being captured by the lannisters a 2nd time), following the deaths of their brothers in the battle of the whispering wood, and the execution of their father by king robb as a murderer and traitor. at jon snow's instigation she has taken sigorn, magnar of thenn, as her consort.

lady wynafryd manderly, elder granddaughter of lord wyman manderly, by his son and heir ser wylis. should be the next heir to white harbor after her father, unless her parents should produce a son.

lady maege mormont of bear island, the only ruling lady listed here to also have a daughter as her heir. first this was dacey mormont, but after her murder at the red wedding, the new heir is second daughter alysanne aka aly the she-bear. but since aly told asha greyjoy she had a son as well as a daughter back home, that means there likely won't be a 3rd ruling lady in a row, as the mormonts may have a history of women warriors, but there's no sign they don't still practice male-preference primogeniture when there is a son to inherit. where the mormonts do step out of northern convention, however, is the ruling ladies fucking whoever they want without feeling the need for a husband and still naming their fatherless children mormonts, not snows, a practice rhaenyra targaryen would surely envy.

lady eddara tallhart, an heiress and then nominal ruler of torrhen's square, before the age of 10, after her elder brother benfred was killed by theon greyjoy's ironmen and then their father ser helman was killed when roose bolton sent him into an ambush at duskendale. listed as still a captive inside her family's seat, besieged by dagmer cleftjaw again, in the adwd appendix.

the riverlands

lady barbara bracken, eldest daughter of lord jonos bracken of stone hedge, who has multiple daughters by two of his three different wives, but no surviving sons.

lady amarei frey lannister, married to lancel lannister at castle darry as a granddaughter of a previous lord darry, then left to rule on her own after lancel abandoned her and repudiated their unconsummated marriage

lady eleanor mooton, eldest daughter of lord william mooton of maidenpool, listed as his heir in adwd appendix, at the time of her marriage to dickon tarly. (meaning presumably his sons mentioned in acok died during the war.)

lady carellen smallwood, (likely?) heir to acorn hall as the only known surviving child of lord and lady smallwood, whose only known son died years before.

lady liane vance, eldest daughter of lord karyl vance of house vance of wayfarer's rest, listed as his heir in the affc appendix

lady shella whent, last of the line of the whents of harrenhal, disposessed by tywin lannister, and allegedly dead by the time of affc, according to littlefinger. text is somewhat inconsistent on whether she or her husband inherited harrenhal, just as it's unknown what happened to all their children if they were the same whents hosting the tourney at harrenhal years before, nor even how they were related to minisa whent tully, the late lady of riverrun.

the vale

chella, daughter of cheyk, clan chief of the black ears

lady anya waynwood, lady of ironoaks, an older lady with multiple sons and grandsons still ruling in her own name, a formidable power in the vale, perhaps second only to the main branch of house royce as chief bannermen of house arryn

the westerlands

cersei lannister, lady of casterly rock as well as queen regent, following her father, lord tywin lannister, being murdered by her younger brother tyrion, an attainted traitor and fugitive, with her twin brother, jaime, unable to inherit as a knight of the kingsguard

lady alysanne lefford, lady of the golden tooth after lord leo lefford drowned in the battle of the fords against edmure tully's army. (whether the previous lord was her father, brother, or even uncle or cousin is unknown, all we know of her is her entry in the affc/adwd appendices after lord lefford's death in asos)

the reach

lady alysanne bulwer, the lady of blackcrown as the only known child of the late lord jon bulwer, frequently referred to as lady bulwer. (lady fatherslastname not being a style otherwise used with a lord's unmarried daughters, lady housesurname usually referring to a lord's wife using her husband's name). there is an inconsistency with taena merryweather telling cersei that there was talk of megga tyrell being betrothed to lady bulwer's brother (which a nondornish heiress cannot have and is not listed in any appendix), but this is either a mistake by grrm or misunderstanding by taena unless she's referring to an unknown brother of alysanne bulwer's mother, the last lady bulwer. (i'm taking multiple mentions of her as lady bulwer in sansa's pov over any gossip from taena.)

lady arwyn oakheart, lady of old oak, a widow with multiple grown sons who commanded her own forces in renly baratheon's army, even if she did not mean to fight on the field.

the crownlands

lady ermesand hayford, the last of the hayford line, a babe ruling in name only, married to the squire tyrek lannister before she was weaned, a husband now missing since his disappearence during the riot in kl on the day of princess myrcella's departure

the ladies tanda, falyse and lollys stokeworth, three would-be rulers of castle stokeworth dispossessed by the schemes of queen cersei and ser bronn of the blackwater. lady tanda ruled for years with falyse as her heir and younger daughter lollys as the only heir to the barren falyse, until such time as lollys was wed to bronn and lady tanda took a griveous fall from a horse. bronn started calling himself lord stokeworth when tanda and falyse were still alive, chasing off falyse after her husband attempted to kill him at cersei's behest. falyse died painfully in qyburn's dungeons, while tanda was left to die at castle stokeworth, making lollys even more a ruler in name only than baby lady hayford, as her husband is inside the castle with men loyal only to him, not to any stokeworth lady.

the stormlands

lady brienne of tarth, heir to lord selwyn tarth the evenstar as his only surviving child

lady mary mertyns, listed as lady of the mistwood in the adwd appendix

you'll notice the iron islands is the only (nondornish) region missing here. ofc they did have a possible heiress to pyke and all the isles but then asha greyjoy was soundly rejected as such at the kingsmoot after balon's death. the lack of other present-tl ruling ladies/acknowledged heirs afab may be down to this being the smallest region, aside from the crownlands. however, there are no historical ruling ladies in their section of the world book either, iirc.

AND there is another case of a possible heiress, again meaning asha, wrt harlaw. her uncle lord rodrik harlaw tried to dissaude her from the kingsmoot by offering to name her heir to his castle, while allowing a cousin to inherit all his other titles and power over the whole island of harlaw. but shouldn't asha have already been in line for all the harlaw lands and titles, above all the harlaw cousins? her aunt gwynesse's complaint of being the true heir as rodrik's elder sister may not work outside of dorne, but even on the nondornish mainland, a lord's sister (and therefore their children, ie asha) still come before a lord's uncles and cousins. isn't that the whole point of alys karstark's plight, that her older cousin had to marry her to try to claim her birthright? so the harlaw line of succession should go rodrik>gwynesse>alannys>asha before any cousins come into it.

that this would not be the case and that asha is only presented with the option of being lady of ten towers by doing homage to a cousin as her overlord for the whole island of harlaw suggests imo that the islands are particularly resistant to a woman as head of house, with all male kin following her in place of a patriarch. women may serve as castle stewards and the right sort may prove themselves as captains (not common, but not too rare either) but ruling on land, ruling over male kin, and fellow captains is a different matter. perhaps not too surprising from a people whose religon sees rape of foreign women as a key and holy part of their way of life. an ironwoman may not disapprove of her men doing so, but cannot fully participate without the cock to forcibly spread seed across the world. how can a captain who cannot fully perform manhood as the drowned god proscribes for his captains be rock king over any island, let alone all of them? in this light, balon's choice of asha as heir is even more radical, though likely it came not from a view of equality between the sexes but from a feeling that his own daughter was the very much singular special exception, more a son than greendlandized theon.