#(and is instead a deliberate choice that she's making for some other reason)

[rxttenfish]

hi !!! sending this on anon because i am rather nervous all things considered <:3 (i am lying to you, i have not considered 'all things'.) one monster prom fan to another (can we be compared using such broad terminology ? i feel as if i am domesticated compared to you... [compliment, or at the very least not inherently negative]) , i wanted to thank you SO SO SO VERY MUCH for giving miranda so much love and thought and mulling her over in your mind in such a ... refreshing way

i also really really really like miri , but i can only aspire to have your level of dedication . it feels almost like we are of totally different worlds... !!!!!

thank you for bringing in real world biology too :3 i absolutely adore your design for her so much (this is most likely not proper grammar, but it is very late and i am very cold and so i will hope with all my heart you will excuse this mistake. one of many, i should assume) - though !!!! i do have a question if that is alright ?????

i cant say that a marine macropredator of a significantly vibrant pink really strikes me as advantageous colouring - does the abyssal environment that you say the merfolk live in negate the need for camouflage and such ????? i apologise for sounding passive aggressive !!!! i am merely asking a question. cocking my head to the side if you will

additionally, i would like to ask something foolish. how do they acquire food? i dont want to say 'hunt', because that might seem insulting. historically were they built for stalking, or high speed chases, or...???? please, talk 'nerdy to me' as they say !!! <- in an entirely normal way befitting two strangers of course.

you know, i would have expected to hit the ask word limit by now. but it seems i have not. yippee !!!!

with my extra space, i shall add this: I ABSOLUTELY ADORE THE WAY YOIU WRITE MIRI . GOOD LOOOOOORD IT IS AMAZING HAVIJNG SOMEOENE WHO KNOWS WHAT THEYRE DOING IWIITH HER thank yoiu for making her at least moderately intelligent. i feel blessed <- is this all too harsh sounding???? im a little new to all this letter/ask-writing thing <:3

IN ANY CASE !!!!!!!!!!!!! THANK YOIU SO VERY MUCH. AGAIN. drops this and scuttles away

https://cdn.discordapp.com/attachments/761693443676045363/1183251697129226270/ordered3.png

also i believe you can indeed tell, but i drew that in ms paint with my finger .. sorry that it looks like poop <:3

(moving the image out of the link just in case it breaks-)

AAAAAA THANK YOU THANK YOU!!!! this looks so WONDERFUL i love the way that you've shaped her head and how you've captured how Chunky it is... i know its one of the things people have the hardest time drawing with her so its just all the more impressive how well youve managed to capture her!!!

i also love the little doodles eeeee..... please feel free to toss all ocs at miri, its enrichment for her <3 ironically gentle chewing/biting is a Play and Bonding thing for merfolk so she shall happily Bites Bites Bites back-

(also i LOVE her smile!!! you arent anthropomorphizing in the slightest for that - miri often does have very human expressions in a way that's odd for a merfolk, because she effectively got imprinted during her time spent inland... and its politically useful if you smile and match expressions with the people you're trying to work with anyways)

ill also go ahead and answer your questions because i can! very easily clarify on them!

the color: actually, being bright red and pink is actually very common for deep sea animals, due to the way light works at depth! its why i decided miranda was abyssal, because that felt like the most natural way to explain why she's pink, since it's such an uncommon color in nature.

basically, different colors of light have different lengths! red is the shortest wavelength of light, and blue is the longest. water might be clear, but there's a lot of water in the ocean, and the more water you add, the more it filters out light - which is why the bottom of a pool might be dark and shady, but if you hold a little of the water in your hands there's no shade. the ocean is a lot deeper than a pool, and so it gets darker as you go down, but because it's also clear, it doesn't filter out all that light at the same rate.

red, being the shortest wavelength of light, gets filtered out first, so red often gets quickly darker the deeper down you go, until it's completely black! camouflage is dependent on the environment, so their color and brightness has to match the background, but it also depends on the light that's hitting the animal. it's why fawns have dappled spots, or animals might have black stripes, so they can mimic the light of their environment. and when your environment has no red light, well... red's a pretty good color to be!

because of this, a lot of animals in the deep sea can't actually see red either, which is doubly the reason why you might want to be red! think of it like tigers, and how ungulates often can't see their orange, making them look just about the same color as the foliage around them when they're hunting! miranda might stick out on land, but that's just because we aren't seeing her in the environment she's made for, where she blends in with everything else around her as much as a pure black animal.

(it's also why her bioluminescence is blue - blue is the longest wavelength of light, and the one most animals can see at that depth. if she lights up, then she wants to be seen, and she can even alter her silhouette to appear larger or smaller or breaking it up into multiple shapes if she needs to. it's why her tapetum lucidum is blue when light's shone on it, because there is blue light to be seen at depth, it's just very dim!)

(this is also why giant squid are bright red, and why the stoplight loosejaw fish is so special! the latter actually produces its own red light, and can see red light, which means that it has a secret light that won't reveal where it is but will reveal to it where its prey is!)

food: this is something that depends a lot, because there are actually multiple different species of merfolk, which is mostly my fault because i don't always feel like i communicate this the best. they're all slightly different in how they evolved to capture prey, with abyssals in particular being fuckoff huge ambush predators that attack from below, and others being shallower-water hunters or more adapted for smaller, faster prey - but they all evolved from an ancestor with a fairly consistent prey-capture method.

in short, all merfolk are ancestrally evolved to hunt whales and other large prey items, with all the extant species still holding at least a degree of this. primarily, they were ambush predators who were good at getting in close to their prey before a sudden burst of speed. they would work together in close-knit groups (one of the big pressures for their increasing socialization and larger brains, to coordinate such groups) to all mob a single prey item at once, hitting with force to cause sudden trauma, and then using their claws, double-thumbs, back feet, and mouths to hold onto their prey and refuse to be dislodged. they'd repeatedly claw and use their strong bites and massive heads to rip deeply into their prey, causing further massive trauma and shock, and if that failed, bleeding their prey to death.

think of it like the raptor prey restraint model, just further taking advantage of the fact that they were underwater, where no one else has hands that could potentially rip them off. being smaller and somewhat less-optimized for marine life compared to things like sharks and whales and large fish worked for them, because they had a novel adaptation that allowed them to take advantage of things no one else could, and the numbers to make up for it. this is, likewise, why they never lost their hands and fully developed flippers, instead making their limbs as flipper-like as possible to make up for it.

then as time went on and certain populations became separated from each other, they adapted for slightly different niches, but all remain fairly closely related to each other as a genus.

in the modern day, most merfolk don't really "hunt" for all of their meals, at least not in the same way that we might think. don't get me wrong, they still absolutely hunt and it's a larger part of their lives than it is for most humans, but they have options.

mostly, the merfolk theory for their relationship with nature is to invite it in. this is not to say they aren't controlling and pruning it, but they do live underwater, and it's far harder to keep animals out than it is on land, so merfolk accepted it and worked with it. they'll work to promote growth around their buildings and where they live, fostering the growth of sea grass and algae and coral and other sessile animals, encouraging them to set down and grow in these areas, and they'll then let more wild animals move in, further encouraged by these natural sources of food and shelter, on top of merfolk working even further to encourage them in. they serve as a functional cleanup crew for the merfolk in these settlements, being allowed to eat anything that merfolk might drop or go to waste, and even moreso might be purposefully fed at times, or have specific homes for them built. merfolk will keep encouraging them and taking care of them until they become a biorich hotspot, creating unique oasises for wildlife to live alongside merfolk.

however, this isn't just a free-for-all, persay. merfolk will also purposefully prune these populations and control how they form, often removing "problem" animals and encouraging certain behaviors which makes it easier for these populations to live alongside merfolk, not viewing them as a threat, but also not viewing them as an opportunity either. they will directly shape how these areas grow and cultivate them on a physical level, often using them as an easy shortcut to literally grow their settlements and buildings. but they will also harvest from these populations and selectively breed them, until their cities and towns act as massive public gardens full of food to be caught, picked, and eaten at any time

as there are also a lot of (very politically powerful) nomadic groups, they also do this, albeit not always so directly. they'll have specific shoals or "runs" of fish that they will follow behind and take care of, managing as they move through the ocean in accordance with the seasons. this is where the whales still factor in, because the nomadic groups will also take care of the whales, purposefully keeping an eye on their pods and taking care of them and, when the time comes, being choosy and particular in which whale they select at any given time to be hunted, harvested, and eaten.

(there's also the way in which food is distributed and managed throughout the merkingdom, since some food is indeed shipped and moved throughout the different areas, but that's a different story for another time and i've talked enough)

BUT!!!! thank you so much and thank you for enjoying all of this that ive been making with miri, and thank you for giving me an excuse to talk more about her <3

[scribefindegil]

Lorraine Baines McFly and Female Autonomy

Hello. I have spent the past month slowly losing my mind about Lorraine Baines McFly, Marty's mom in Back to the Future, so I am finally trying to articulate some of the reasons I'm so feral about her.

There's a quote from Lea Thompson, the actress who played Lorraine, that goes, "The three parts that women usually get to play are virgins, whores, and mothers, and in Back to the Future Part II, I got to play all three." While this is commentary on Hollywood and the limited roles that fictional women get forced into, I think it's also interesting to think about it in terms of how these roles are reflected onto actual women and used to limit their personhood and confine them to a very narrow range of acceptable behaviors . . . and then in turn to think about how the character interacts with these roles on a Watsonian level. They're affecting not just Lorraine the character as she was written, but Lorraine from an in-universe perspective trying to navigate life as a woman in a patriarchal world. Some of the sexism she faces is a deliberate narrative choice and some of it is a result of the writers' blind spots, but for the purpose of this essay I'm less interested in teasing out which threads are which and more in looking at it holistically.

Because the thing about Lorraine is that she's aware of what the acceptable roles and behaviors for women are, and the versions that we see of her across the various timelines alternately fight against and capitulate to these constraints. What is a woman allowed to be? How much is Lorraine willing to break from those restrictions? How much does she allow other women to break from them? Does she resent her role or embrace it? I have a lot of thoughts specifically about how the different iterations of her interact with concepts of female agency and autonomy.

(Putting this under a cut because it is. Long.)

I started thinking about this when I was talking with my partner about 50's Lorraine. She's extremely active and driven and planning to Get What She Wants (in a way that is very scary, if you are Marty) . . . but at the same time she's clearly aware that she isn't supposed to be. A Good Fifties Girl is demure and passive. Lorraine isn't--but she's still trying to toe the line. I think constantly about the scene where she shows up at Doc's garage to be like "I followed you home . . . so that I can ask you to ask me to the dance." The girl can embrace borderline stalking but she draws the line at directly asking a boy out! She's exercising a lot of agency but views doing so as rebellious and subversive--and risky.

And I also want to talk about the whole "boy crazy" thing because like . . . society (especially in the fifties) tells women that the most important thing they can possibly do is find a good man and become wives and mothers, that this will define the success or failure of their entire lives (and given how many things were unavailable to single women at the time this is in many ways true) . . . and then relentlessly mocks and punishes anyone who actually takes an interest in pursuing this instead of just sitting back passively and waiting. She is trying to do what society says will make her happy! And even her desire for a white knight is very much based in the reality of her situation! She's getting sexually harassed at school and around town and she's doing exactly what she's supposed to and standing up for herself and saying no and fighting back--and this is not enough. She does need backup! Biff harasses her in the middle of a crowded cafeteria and Marty is the ONLY person who does anything! No fucking wonder she latches onto him as hard as she does! (There's. I promise this is related but there's a BttF parody musical on YouTube where when Strickland comes to break up the lunchroom fight he says, "Now, I can excuse sexual harassment, but LIGHT SHOVING?" and like it's a haha funny joke but also?? Yeah?? That IS how it works. The way Lorraine's being treated is so overlooked and normalized that the authority figure isn't going to step up the way he will when it's a physical altercation between two guys. Screams.) I wonder if part of the reason she stuck with George in the original timeline even though they didn't have a lot in common is that "I have a boyfriend" is a boundary that some people might actually take seriously whereas "I'm not interested" is not.

But. In general 50's Lorraine is very much about grabbing as much agency as she feels she's allowed to . . . and then Twin Pines Lorraine is what happens when she regrets the result of those choices (because while we don't see it, it's pretty obvious that in the original timeline she pursued George as aggressively as she pursues Marty in the new one), and so she decides to deny, not just her own agency, but female agency as a general concept. She leans so heavily on the idea that her relationship was "meant to be" because it absolves her of any culpability in creating a life she's unhappy with. She's rewritten her own past to view herself as a passive participant in something inevitable. (Exactly the view of womanhood that she was fighting so hard against in the 50's!) And she extends this idea of female passivity to the women around her: telling Linda that she should sit back and wait and a relationship will "just happen," actively resenting Jennifer for doing something as simple as calling Marty on the phone. It's a really interesting form of internalized misogyny, perpetuating these sexist ideas as almost a misguided form of self-defense.

And then for Lone Pine Lorraine this is completely flipped! She loves Jennifer for the same reason she disliked her in Twin Pines: because she reminds Lorraine of her younger self. And like . . . this is something of an extrapolation, but while obviously her husband and kids are still very important to her, it also feels like she has interests and friends and other things going on in her life, whereas part of the isolation of Twin Pines is that her life has shrunk down to the point where she's ONLY a wife and mother with nothing else to define herself by. And it also matters that in this timeline she has a partner that supports her, not just in the big dramatic moments (although also that), but you can easily see the dance as a catalyst for George actually learning to listen to her and stand up for her about smaller things as well. George McFly feminism arc. (I'm being slightly facetious but like. George starts off kind of shitty. The spying is actively Bad and I hope Marty chewed him out for it offscreen, but also his reaction to the harassment scene being "I think there's someone else she'd rather go with," implying that he sees what Biff is doing as like. Normal flirting that he expects to work. He doesn't GET it. Unsurprising because he is. A teenage boy in the fifties. But I do believe that saving Lorraine was something of a wakeup call and after that he listened to her about things that make her uncomfortable and gave her the support that she needed. Which would also give her a lot more freedom in this timeline because she has someone with more societal power who has her back!)

And then. Hell Valley.

If Lone Pine is the version of Lorraine who has the most freedom, the most opportunities to make decisions based on what she wants instead of What Is Expected Of A Woman, Hell Valley is the opposite. The things denying her agency in Twin Pines is largely societal forces (and herself); in Hell Valley she is actively being denied autonomy by her evil husband who functions as the personification of a bunch of sexist ideas.

She's been objectified to the point that she doesn't maintain control over her own body; Biff pressures her to get cosmetic surgeries so she can continue to look attractive to him because that's the only value he sees in her. Her physical appearance is entirely tailored to his preferences.

Biff's view of Lorraine is wife-as-possession. He treats her like a prize he's won and her kids like parasites. And he is NOT subtle about this. But Lorraine is still desperately clinging to the idea that she's wife-as-family. She calls Biff "your father" to Marty when he arrives, and talks about "our children" because she wants so so badly for this to be something different than what it is. It's especially terrible because this is a timeline where she got seventeen years of being happy with George, she knows what she's missing, and she keeps trying to force this new relationship into a similar mold even though Biff is openly contemptuous of her and especially her kids. It's been twelve years and she's still trying to pretend. To call back to that Lea Thompson quote: it's obvious where Biff thinks Lorraine fits on the virgin-mother-whore axis, while Lorraine is actively trying to centralize her motherhood partially because the kids really are that important to her and partially as a defense mechanism.

(And it's also such a bleak cautionary tale about how fragile women's stability can be when they're dependent on their husbands; Lorraine was happy with George and had a fair amount of freedom, but he was the only one with an income so when he died she was suddenly forced into a truly horrific situation because she had no other means to support herself and her three young children. Especially given that the Hell Valley universe is also worse in some broader political ways that mean there were probably even fewer social supports available than in real life 1973)

And god. It kills me the way that we see her lash out, the way she's clawing for autonomy when she threatens to leave . . . and then exactly how Biff levels all his axes of control against her. It's very interesting that his first tactic is consumerist (Who will pay for all your things? Who will take care of you?) and that doesn't work even though not being able to support herself is a very real concern. It's only when he threatens her kids that she folds. And then she immediately crumples and pivots to rationalizing Biff's behavior and blaming herself for her own abuse (in a way that is both HEARTBREAKING and also? surprisingly sympathetic and realistic for an 80's movie?). It's similar to the passivity we see in Twin Pines, but here we see exactly where it comes from. She doesn't have any way out so she has to pretend. It's the only way she can keep going. She has these flashes of rage but they're immediately snuffed out by despair and denial.

There's not a lot of talk about Lorraine and what there is tends to reduce her to "well she's Marty's mom" as if she's a boring character who doesn't have a lot going on. But even though most of her role in the movies has to do with her relationships with the various men in her life, those relationships are really interesting if you actually pay attention to them! She's not just (in the 80's) a wife and mother--she's someone who has a complex relationship with marriage and motherhood and the societal expectations surrounding them. She's not just (in the 50's) a vapid boy-crazy girl--she's doing her best to go after what she wants in a world that doesn't want her to (the fact that one of the things she wants turns out to be her time-traveling son from the future is unfortunate but not something she has any way of knowing!). She's stuck in a society that doesn't want women to be people, and she knows this, and because we see her across two different time periods and three different timelines you can watch how sometimes society grinds her down until she gives in and tries not to be a person. And also how, sometimes, she fights back.

[trappedinafantasy37]

I went to a very old save of mine in which I knocked out Minthara in Act 1 and I talked to her again in the throne room. If you knocked her out, this is how she looks at you when she questions you:

She seems genuinely disturbed over your actions. Can you blame her? You were the one who knocked her out. You brought her harm for reasons that she cannot understand. She can understand someone killing her as that is what she expects of those around her. She will criticize your choice of sparing an enemy and showing mercy to someone you have greater reason to kill. Even though she has doubts about you, she shuts herself down, thinking she should be more grateful rather than doubtful of you.

You can tell her that you saw her as a potential ally, but she will call you a hypocrite as Gut and Ragzlin were not shown the same mercy, nor was any other True Soul.

You can even tell her, "You were simply too stubborn to die" as a means of trying to take any culpability off yourself. To try to turn the situation into a little jokey joke. However,

Minthara does not take it as a compliment and she knows you are full of shit. Even though you took the "good" path, she does not trust you.

Minthara understands mercy and even she believes some people are deserving of it. Sadly, she does not see herself as one of those people and is disturbed as to why you gave her mercy. There is no answer you can give her here that will make her trust you. She knows you went out of your way to spare her and only her, and that frightens her.

Remember, this is not the first time in which Minthara's entire army was killed right from underneath her and she was deliberately left as the sole survivor. Orin slaughtered all of her men in a blink of an eye, and Orin's "mercy" only brought her pain and torture. Later down the road, Minthara criticizes herself for not paying more attention to Orin when she first arrived at Moonrise. And so she is giving you a lot of attention, she is watching you, studying you, because she fears that you are going to hurt her the moment she takes her eye off you. Because you already have. Your "mercy" gave her a concussion, your deception had her found guilty of incompetence, and she was then subjected to even more torture by the Absolute in which she was given permanent brain damage. She is afraid that the only reason that you spared her, is because you want to torture her. Even when you show up in Moonrise and enter into her mind prison, she is expecting you to kill her and begs you do it quickly. She is not expecting mercy from you, only death. She is only in that predicament because of you. Why would she think for a single second that your mercy comes from a place of good intentions?

She knows fully well that she owes her life to you and that her life is entirely at your mercy, one you can revoke at any time. She doesn't trust you, she doesn't trust the rest of the companions, but she cannot leave nor walk away. There is no good way out of this for her and she's afraid of the cycle repeating. She is not going to make the same mistake again. Instead of her oath to you being from a place of affection, her oath to you comes from a place of fear.

[avelera]

I have seen some discourse going around about how Mel never manipulated jayce. Do you agree? And what are your views considering mel?

I say this because I think that she did kind of manipulate jayce in the beginning but genuinely ended up falling for him in the end. I mean she had to genuinely care and love him if she ended up subconsciously saving him with magic.

I think that a lot of people from what I have seen were pissed at season 2 ep8 when jayce got into the argument with Mel but I thought it was quite understandable that he reacted the way he did especially after what he went through. That being said I still felt bad for mel because she literally lost everything and was ready to open up to him.

Sorry for the ramble

I think a lot of the Mel/Jayce discourse is being done in bad faith right now, mostly by people who are anti-Jayce/Viktor rather than pro Mel/Jayce for whatever reason. I would point out, that canonically Mel and Jayce are not together at the end of the show and they also canonically (in my opinion) break up. So it's fine if you just really like the ship or wish things had gone differently, but it should be acknowledged that any Mel/Jayce fic outside the brief time they're together in the show is as much an AU as any Jayvik fic where they got together earlier.

As for the manipulation, I mean yeah, it canonically happened. There shouldn't be a debate. Jayce calls her out on in it 2.08 and Mel doesn't deny it, she just gives her reasons for why she manipulated him. Ostensibly it was to help him and Hextech too but she absolutely used sex as a tool of persuasion with deliberate intent to use it for those ends, she absolutely flirted with Jayce to ingratiate herself to him, she absolutely called him an investment (though there is a slight plothole on how he knows that, it was never said in his hearing), and even if she poses it to herself as helping him she also used those persuasive power to nudge him towards Hextech weapons which he categorically did not want to make, so her own ends superseded his benefit or preference in canonical instances.

For those who deny manipulation took place, go back and watch the opera house scene in S1. She plays him like a fiddle. Indeed, the expert violinist on stage (playing an actual Stradivarius irl, btw) is symbolically depicted as Mel's counterpart, showing how expertly she is manipulating the situation, and Jayce.

Now, I think you can chart how much Mel was with Jayce for her own ends vs. affection for him by her support for Hextech weaponry. When she's pushing for it, she's using him for her own House's goals. When she drops Hextech weapons as an issue and instead supports Jayce's vision for it (in S2) that's when she's acting out of affection for him. It's tragic that her affection for him grows while his declines so sharply as a result of his ordeal and finally realizing the early manipulations (kinda like that trope where someone dates another person for a bet, then falls for them, and then the other person learns about the bet and breaks up with them, only this one without a happy reunion after).

Their relationship is tragic. It's a tragedy. And it ends tragically with them apart and us left wondering if they could have made it together under other circumstances. "What could have been?" is an overarching theme in Arcane, and it is our own choices, our own ambition and greed that get in the way of getting what we need instead of what we want. Every single character is built around these principles, with the happy endings being those who get what they need instead of what they want, and the tragic ones (like Mel) getting what they want (power, to be an official Medarda as she says in her first scene) and not what she needs, which is anyone around her to share it with. You can feel the loss but you have to also acknowledge how she ended up there and why she narratively can't earn Jayce's love after what she did at the start of the relationship.

[agendabymooner]

the leclerc daycare || cl16 fic

charles leclerc x ofc (hearth sister!ofc)

EXTENTION TO OF LONG LINES AND NAMES

Summary: Charles Leclerc was a father first and a driver second. So maybe being left alone with Hervé, Jules and PJ for the night wouldn't be much of an issue. OR Aimee Leclerc travelled with her sisters and Charles got a firsthand experience of watching his kids by himself (alongside his kids’ uncles Esteban and Pierre).

Content warning: dad!Charles centric, fatherhood, mentions of pregnancy, dad!F1 Drivers x OFCs appearance (Hearth sisters!OFCs), Uncle Estie and Uncle Pierre, doubts of being a good parent, shitty French translations by Apple, wtf is beta reading

Note: Dad Charles, Dad Charles, Dad Charles content enjoy xx

masterlist

Aimee and her sisters were known for being extroverts with introverted tendencies. They communicated with anyone who’d approach them and more often than not, would keep in contact with them in case of any business. 

They didn’t like hanging out with them, as much though. Not as much as they preferred being around their sisters. Aimee, especially, didn’t enjoy being around new people— not as often as any other person would. She would much rather be around her sisters or her husband and his mates. Having three kids, with another two on the way, did something about her interest in socializing with other people. It was fairly limited before until she began attending playdates or programs for toddlers that allowed her children to make friends with others — interacting with parents was common. 

Regardless, going out for two days was different — especially when her sister, Sylvie, was wanting to celebrate her engagement before she gets married in a month. Much like the other two sisters, they preferred a day out without any friends. Just the four of them, chatting each other’s ears off. Aimee Leclerc was alright with that.

“Je ne veux pas que maman parte!” I don’t want Mummy to leave. 

The littles, though, weren’t alright with that. Jules cried his eyes out the moment he saw Aimee dressed in some satin dress. She had a weekender bag next to her vanity, the boy picking up on the fact that his mother was leaving. 

It was Charles’ week off before the next race, and rather than going to Maranello, he deliberately made the choice to stay at home and do his sim practices instead. After all, Aimee had been at home for weeks rather than traveling with McLaren during the races due to her pregnancy. The wonders of having remote work, right? 

“J,” Charles shushed his son softly, playing with the soft curls of his mini’s hair. Jules continued to cry as he wrapped his arms around Charles’ neck. “Maman n'est pas sortie pour s'amuser. Ne pensez-vous pas qu'elle mérite de s'amuser?” Mummy hasn’t gone out to have fun. Don’t you think she deserved to have fun? 

Then another little babbling came along as Hervé clung to Charles’ leg. “Elle peut s'amuser ici. Papa dit à maman qu'elle peut s'amuser ici!” She can have fun here. Daddy, tell Mummy she can have fun here. Hervé cried too, sobbing as they stood in front of the shut bathroom door. 

Aimee put down her mascara and sighed quietly. How the heck was she going to go if her sons were crying like this? The only reason why she’d managed to be roped into nights off before was because Pascale Leclerc had managed to kick her and Charles out of the house before. The boys loved their Mamé and their uncles. 

Pascale wouldn’t see them until this afternoon and their uncles were definitely not going to go until they got back from work. It was only 6:45 in the morning. 

How the hell were Hervé and Jules awake at this time, anyway? They liked to sleep, so how they managed to get the hell out of their bedroom at this time of the day was a mystery.

Aimee then remembered what her sister said. Intuition. Aimee was the same back when her sister was eighteen and heading to university in the morning. Two year old Aimee would wake up just to say good morning then dash off to have breakfast with the other sisters. So maybe her twins had the kind of intuition when someone’s leaving. 

She didn’t think that their reaction would be like this in the morning. 

“Oui, but my littles,” Charles crouched down to speak to both his kids, “do you know how Papa’s been working a lot and Maman has been home to have fun with you?” 

Hervé and Jules sniffled, but nodded nonetheless. Charles continued, “Papa has fun at work, but it’s Papa’s time to have time with you. Maman deserves to see what’s out there that she can have fun with.”

“We can go out to have fun with Maman!” Hervé cried out, protesting against Charles’ proposal. 

“Maman will go somewhere littles can’t go,” Charles told the boys. “How about we have some breakfast and make sure the babies are eating too before Maman goes, hm? Make some breakfast so Maman will be happy and be full of your looove by making her food?” 

“Maman sera-t-elle heureuse si nous lui faisons à manger?” Will Mummy be happy if we make her food? Jules asked, the two of them no longer crying. Thank god for that otherwise PJ, their two year old brother, would see it and somehow make himself comfortable at the tear train. 

Charles grinned at his boys and nodded, “Oui. Maybe we can make her some chicken and waffles— last I heard, the babies want some chicken.” 

Jules wiped his tears away and exclaimed, “Okay! I help, Papa! Herb! Come!” Then ran off the couple’s bedroom, his twin brother hot on his heels as Hervé dashed off. 

Charles watched the boys run out and winced, hoping PJ wouldn’t wake up to the loud footsteps made by the older kids as he slumped against the wall by the bathroom. 

The door swung open next to him, making him look as Aimee stepped out with a sheepish smile. He approached her carefully and wrapped his arms around her, his hands trailing down the protrusion of her stomach as he sighed, “I hope these two wouldn’t be that much trouble to handle.” 

“Hmm,” Aimee hummed happily, taking his hand to kiss the palm of it. “Are you sure you’re going to be alright?” 

Charles scoffed as if Aimee was questioning his superman abilities to stay sane. “I’ve been driving a Ferrari for god knows how long,” he joked, kissing her temple as his other hand continued to caress her stomach. “I’ve gone way past my sanity line. Don’t worry about the three, oui?” 

“I’m not worried about your minis,” Aimee giggled, “I’m more worried about you. You’re most likely to go mad once you realize PJ likes a little bit of mischief with Herb and J.” 

“As I said,” Charles rolled his eyes, peering down at her as he continued, “I’m no longer sane. I think I’ll be able to find composure.” 

The breakfast definitely DID NOT show all of that. Because by the time Charles reached the kitchen, an egg was already cracked open on the floor. Not only that, but Hervé and Jules’ tanned faces (alongside their jammies) were covered in waffle mix after they’ve both dropped the bag of mix on the floor. 

But their breakfast wasn’t that much of a disaster, to say the least. In between Aimee’s cooking and the boys’ morning shower, they somehow managed to find some time to eat breakfast. PJ had already woken up when Charles’ voice turned loud enough at the shock just as he stepped into the kitchen. Trying to get him to eat his fruits wasn’t as difficult. He was angelic of all the Leclercs that both Pascale and Aimee had given birth to. 

“C’mon, mon chou, last one for Daddy,” Charles opened his mouth wide, trying to get PJ to mimic the action. PJ followed his father, his mouth opening as Charles made airplane noises, his hand twirling around while it held a slice of banana stabbed into a silicone fork. It didn’t take long for the food to land on the toddler’s mouth as he kicked his feet in enthusiasm. 

“Tu vois? C'est de la bonne nourriture, n'est-ce pas?” See? It’s good food, don’t you think so? Charles asked his youngest, making the boy nod. “Good boy, PJ.” 

Charles turned to look at his twins, who both stood on their two step stools next to their mother as they watched Aimee wash their dishes. Aimee was apparently teaching them how to do their dishes as she said, “Then when it’s clean, you just put it right here.” 

“What’s this called, Maman?” Hervé pointed at the display next to the sink. 

“It’s a dish rack,” Aimee replied.

“Rack? What does the rack do?” Jules asked, his curious voice making Charles grin to himself. His boys were quite inquisitive about anything. Whenever they’re out, Hervé could point at something and ask. Jules would often follow after Hervé asked. 

And it wasn’t anything worrying. Charles and Aimee loved it when they asked a lot, because they had a lot to answer. It’s always a joy to answer their children’s curiosities. 

“That’s where you leave the plates after cleaning them,” Aimee answered, now drying her hands on the towel. “It’s to make sure they dry. You don’t eat on wet plates do you?” 

“Yuck,” Hervé and Jules pulled a face. “No wet food!” 

“Exactly,” Aimee grinned, looking up to see Charles staring at her and their kids lovingly. She then asked, “Are you enjoying your time staring, love?” 

Charles shook himself out of his thoughts and said, “Yeah. Mr. Sacha is done with his breakfast too.” 

“Oh? He finished it?” Aimee peered down at PJ, “how did you like it, my little bug?” 

Aimee didn’t like that nickname at first. PJ had only earned that nickname after everyone learned that she’d gotten more sick with him than she did with the twins, and Esteban joked that her baby was a literal stomach bug. But after some convincing (with the help of Esteban and Mick, dressing PJ as a grasshopper for his first halloween), Aimee finally caved in. PJ was her little bug.

“Little bug loved it well,” Charles grinned, lifting PJ out of his high chair and grabbed the empty plate. He placed down the dirty dish into the sink as Hervé and Jules’ eyes gleamed in excitement. “Boys, let Papa do it later. Maman’s going soon. Who’s coming to pick you up again?” 

“All three of them, once that Tils’ picked up Stevie and Sylv.”

“Oh,” he replied, “so is anybody dropping off their car to use yours or…” 

“No,” Aimee scoffed. “No one’s touching any of my cars. You are using the SUV, no?”

“That’s kinda assumed already,” Charles replied, “I just thought you’d use your… actually never mind.”

While their family expanded largely over the past few years, their garage did too. Much like her sisters, Aimee had a collection of cats hidden away to avoid being burglarized. Everyone knew about Charles’ custom Pista and the family SUV that they had — an Aston Martin. But they didn’t seem as phased as they were when they found out that Aimee had a vintage Mini Cooper and a coated copper McLaren 765LT hidden somewhere in their family home.

So really… Charles assumed that they’d borrow either one of their hidden gems for the trip as Aimee’s Cooper was often used than Stevie’s military green LaFerrari or Sylvie’s orange Cadillac. 

“The poor Cooper’s been treated like a bus for the past few months,” Aimee snorted. “You know I wouldn’t allow them to drive it either.” 

The ring on the doorbell had woken up something within the twins as they both squealed and bolted to the door, leaving Charles to yell, “Boys, don’t open the door without— damn it!” 

“Charles!” “Sorry! No swearing!”

He then returned to the dining area with Hervé being carried by Aimee’s eldest sister Tilly and Jules with Sylvie. Stevie followed behind as they greeted Aimee, “Morning, Aims! Excited for a good two day vacation?” 

“Oh am I ever,” Aimee rolled her eyes, gesturing at her husband, “he’s a different story.” 

Sylvie raised a brow and spoke amusedly, “You having fun yet, Charles?”

“I am,” Charles waved off Sylvie’s joking tone, “I’ll be fine.” 

“Don’t worry you’ll be fine,” Stevie chuckled, “even Lewis is running a daycare at home.” 

“Aun’ ‘Teve,” PJ toddled his way towards Stevie and tugged on her trousers, “L’land?” 

Stevie peered down at her little nephew — who was the same age as her youngest, Leland, and cooed, “Leland is at home with Uncle Lew and Lotlot, little bug. Maybe you’ll see him sometime today.” 

“Ah speaking of,” Tilly started, looking at Charles now as she said, “I think Lewis and Toto are planning to take the kids out today for the… indoor playground cafe. I’m sure they’ll be happy to have more kids and an extra pair of hands to come along.” 

“Oh nice, more kids,” Charles’ face didn’t even show how nice the thought was. 

“Good luck taking care of eight kids lads,” Sylvie winked, huffing out a laugh after Aimee nudged her a little bit too hard. “I’d offer Max but he isn’t here. I’m sure Arthur and Lorenzo would be more than happy to help!” 

That was a lie. Maybe Lorenzo would help a lot, but Arthur… Now Arthur was a good uncle, but he often leaned more into the chill uncle side than the kind who would somehow watch his words around the kids.

And so when the Leclerc boys saw the matriarch off to Stevie’s Bentayga (while Charles continued to remind his wife’s sisters that she was pregnant — practically warning them not to be stupid about driving), he immediately pulled his phone out to text the only people who’d be more than willing to go less sane with the kids.

Charles: Are you up for some insanity? Aimee’s out for today to tomorrow afternoon.

Esteban: What’s in it for me?

Pierre: He just said insanity.

Pierre: I hope you have enough room in your AM.

Charles: Fuck. I guess I’m taking out the Cadillac.

Charles: Will anyone help me take them out of the garage and help me move the boys’ seats to the other SUV?

Esteban: 👍

Pierre: 👌

Esteban Ocon showed up an hour earlier than Pierre did. When he did, he brought along a small gym bag full of his overnight clothes. Alongside his clothes were boxes of Spider-Man figures. Not everyday Esteban got to share his love for Marvel to anyone, and he could help but jump at the chance to introduce No Way Home to the Leclerc boys.

Now, he was in the kitchen, teaching the Leclerc littles how to operate the oven as they baked some chocolate chip cookie dough that they found in the deep depths of the freezer. Perhaps it was a bad idea to have Esteban come over, because he was prone to ruining their diets with his love for pastries. 

It was quarter to ten when Pierre finally arrived, with his own overnight bag and… a pile of children’s books? Charles wasn’t sure if he was seeing things right, but then the Frenchman pulled up a pop-up book version of Dr. Seuss from the pile as Charles groaned quietly. 

“Ils ont déjà beaucoup de livres, Pierre,” they already have a lot of books, Pierre. Charles told the man when he raised a brow.

“It never hurts for more,” Pierre shrugged, “how did you think PJ learned to speak a lot at this age? He won’t be chatty if it wasn’t for his Oncle P.” 

“You only started to get them books because you don’t know how baby sizes work,” Charles told him with a roll of his eyes, shutting the door behind Pierre as they both walked towards the living room.

Charles raised his brow when Pierre settled his bag down on the couch, leaving Pierre to say, “I’d head up to the guest room but I want to see the boys first,” there was a moment of silence between the two of them and in the background played the boys’ daily phonics songs. “Sick beats, by the way.” 

The pair headed off to the kitchen, where they found Hervé, Jules and PJ chatting away with their Uncle Estie. The last conversation Charles heard was about the track in Canadian GP, with Hervé saying “The turn there— what is that? Pin? Papa says is pin! It’s wooooosh~ woah, it’s so small, Oncle E!” 

“Sharp,” Estie’s signature grin returned to his face as he corrected the boy gently, “the hairpin is sharp, Herb.”

“‘Airpin?” Jules’ head cocked to the side, “I hear my cousin Tia say that!” 

“Because that’s what they use for long hairs,” Esteban replied. 

“What? All talks, no love for Oncle P?” The three toddlers turned towards the direction of the voice as they grinned widely. PJ, thank god for Charles’ reflex, had jumped off the kitchen island and ran towards his namesake. Pierre Gasly nearly tipped over at the suddenly thud on his legs as he grunted, lifting PJ up to his arms as he hugged the boy tight. “Good morning, Little P! How’s my handsome boy doing?” 

“Good, Oncle P!” PJ grinned. “Maman est partie!” Mummy left!

The enthusiasm in his tone broke Charles out of his trance as he laughed. “Sacha, why do you sound happy about Maman leaving?”

“Because she has fun!” Jules reasoned out on behalf of his brother, making PJ nodded eagerly.

And while the two were celebrating the thought, Charles looked at Hervé as he began sobbing quietly. Esteban’s eyes widened, not knowing how to react as the boy began wailing. Tears endlessly flowed out of Hervé’s eyes as he covered them with his forearm. 

“Oh no,” Charles sighed quietly. Esteban quickly recovered from shock and immediately lifted Hervé off the counter, allowing the boy to soak his shirt with his tears. 

Out of the three boys, Hervé was the only one who took the information to heart. The Leclerc kids were loved by both Aimee and Charles — but Hervé, out of the three, loved Aimee more than anything. He often clung to her like a koala on a tree, and when they’re out and about — Hervé would often hold hands with her more than he would with his Papa. It wasn’t a shock that Charles would witness his eldest cry at the absence of his Maman. 

Jules, who was sitting on the counter, stood on the marble surface and reached up to pat his twin on the back carefully. He then said, “t’s okay, Herb!” He wasn’t even sure if Hervé could hear him, but all Jules seemed to care about was comforting his brother.

“Are you sad because Maman’s gone for the day?” Esteban asked, and all he got was a nod in his neck. That, and maybe a wet patch of tears on his neck now. “Okay, okay. Is there anything Papa or your uncles can help you with that can make you feel better.”

“Maman—“ Hervé stuttered, still crying in Estie’s arms.

“Yeah, but Maman’s not here, H,” Estie replied. “What if you show us what can help you feel better? Or do you want Oncle E to help?” 

Hervé’s reddened face looked up at Esteban and nodded. “Yeah? You want me to help? Or everyone?” 

“I know!” Jules jumped, making Charles reach close to his son with a mutter of ‘Careful, J.’ 

Hervé turned to his twin as Jules exclaimed, “Princess and Frog!” 

“T’ana!” PJ squealed aloud. Hervé’s eyes brightened, all thanks to the suggestion that his brothers proposed not to his tears. Hervé nodded before he wiped his tears away and asked Estie to put him down, to which the man obliged as Charles helped Jules hop off the counter and led the Leclerc littles to the family room. 

The adults look at each other. “There will be a lot of that,” Charles smiled meekly. 

“Not a bother,” Esteban waved off with a chuckle.

“I need to put my bags upstairs,” Pierre nudged Charles lightly. “Before craziness even begins.”

The oven goes off at the same time, leaving Esteban to turn away and return to the kitchen as he said, “I’ll leave this to cool off. You need help moving cars, you said?” 

“Yes please,” Charles replied, following his boys to the living room as they navigated through the Disney app. 

He then heard Estie say, “Can I drive her Mc—“

“I can’t let you drive the McLaren, sorry,” Charles interrupted Estie before he could continue on.

Charles: Hey! Are you and Toto still taking the kids out today? 

Lewis: Hey Charles! Yeah we’re taking them out today. If we’re gonna get heart attacks we can at least do it together. You in? 

Charles: Pierre and Estie would come along, if you don’t mind? 

Lewis: Five against eight? We’re still outnumbered. But yea, of course! 

Charles: Haha!

One of the joys of having children was the opportunity to dress them. The same could be said for Charles. They always said that it was hard having to dress boys, and while that remained true, it didn’t discourage the Ferrari driver from dressing his boys up whether they’re going out or heading to bed. 

He could admit that he couldn’t dress for shit, but it didn’t mean that he’d do the same to his kids. 

Neither he and Aimee believed that Jules and Hervé should be dressed the same whenever they’re out because they were twins. In fact, they thought that it would be a bit too confusing for them. At the very beginning of their lives, they were always dressed differently. 

The same could be said for today. Hervé was dressed in a Ralph Lauren denim button up and some denim shorts, his hair tied loosely to a bun to avoid his soft curls getting in the way of his face. 

Jules, however, was dressed in a white tee (with the infamous Burberry pattern sewn as a pocket) and khaki shorts while his hair was merely brushed back. Esteban Ocon was quite proud of his work of art. 

Sacha Leclerc, or PJ, had opted for a soft pink shirt with the Ralph Lauren polo logo on its left chest and some denim shorts with Mickey Mouse embroidered all over the place. He beamed at his Oncle P proudly, immensely proud of his decision to dress like this. Pierre Gasly merely high fived him, proud of his godchild for no reason. He was just proud. 

No one was prouder than Pascale Leclerc, though. Just as her hair salon opened and the boys (and the men) took a ten minute trip there, she gasped at the sight of her grandchildren. 

“Oh mon! Qui sont ces beaux garçons ? S'agit-il de mes petits-enfants?” Oh my! Who are these handsome boys? Are these my grandchildren? Pascale squealed, excusing herself from her receptionist as she knelt down to get on the level of the toddlers. “You three are always soooo handsome! Did Papa dress you?” 

Esteban and Pierre cackled on the side, leaving Charles to look at his mother with an unamused expression. Pascale giggled. It was a running joke in the family that Charles was shit at dressing himself, and when Aimee got married into the family it got even worse — with Arthur starting the chaos with, “Can you believe that, Charles? Two models for sisters-in-law and another who worked for Vogue and you’re still dressed like this?” 

“I sure hope not,” Pierre continued behind Charles, leaving the Monegasque to kick his best friend.

“I did!” Jules grinned proudly. “I dress up myself, Mamé!” 

“I did too!” Hervé raised his hand, catching the attention of his grandmother. PJ babbled along and told her that he too had dressed himself. 

“Wow! Such big boys, you are!” Pascale exclaimed, pulling out her phone to stand up. “Can you smile big for Mamé? Say cheese.”

“Cheeseeee~” the three grinned heavily as Pascale took a photo of the three. Typing for a good second, she finally put her phone away and looked at Charles and his fellow grid mates. 

“I sent it to Aimee’s mothers,” Pascale explained herself as the men nodded.

“What are you up to today?” Pascale asked. “I heard the girls are out for today and tomorrow?” 

“They’re going to stay in Cannes for the day,” Charles replied before leaning towards his mother and whispered, “Hervé cried twice today, Maman and I’m worried he’s not going to sleep tonight because Aimee’s not here.”

Pascale let out a quick snort and shrugged it off, “Yes he would,” she reassured him with a pat on the head. “He managed to sleep well when you two were out for the weekend.” 

“But that’s with you, Maman,” Charles looked back to find Esteban and Pierre preoccupied with the kids as he continued, “What if the three of them won’t settle because I haven’t been around them for too long and I haven’t put them to bed before? Hervé cried because of his Maman. He sees Aimee more than he does me so—“

“Charles, pause,” Pascale grabbed her son on both of his shoulders and shook him out of his thoughts. “Take a deep breath.” The middle Leclerc man obliged, heaving a deep sigh as his mother told him, “He won’t make things hard for you, Charles. He’s not crying because he likes Aimee more than you, but it’s only because he’s going to have to adjust for tonight. Kids, when they’re outside their routine, act differently when they have to follow a new one — so he’s not acting like that because you’re the one who’s with him tonight.” 

“Hervé loves you, Charles,” Pascale told him softly. “With how he proudly wears your number on his shirt and his jackets, and how he brags about his Papa in the red car, I think I can say that he loves you so much. He will never ever make things hard for you with Aimee not being here for today— or for all those times she wouldn’t be there. So, don’t worry about it. Just don’t make things hard for him either. Try to make sure he’s comfortable with adjusting his routine. Make sure that your children are feeling comfortable with the thought of doing things differently than usual.” 

Charles glanced back at his kids, the pressure on his shoulders long gone as he nodded at Pascale. “Merci, Maman.” 

“Yeah of course,” Pascale giggled quietly. “I’ve always wondered the same when your father was gone. Look where I am now. Look at where you are now. The boys just need to adjust a little, Charles. Just make sure you’re there to guide them if needed.” 

Lewis Hamilton and Toto Wolff were rarely at Monaco, these days. 

After Lewis retired, he thought of selling his house in Monaco. Being a father was what he wanted and clearly, while he was still fit for a celebrity lifestyle he resorted to being a quiet and reserved man. His 5-acre estate in Warwickshire showed something of serenity, their home surrounded by nothing but woods and a river nearby. He was content with being at home with his children while his wife Stevie continued to work as a model and Ferrari’s communications director. He preferred the quiet while he taught his daughter phonemes, and it was clear to everyone he abandoned his flat in Monaco. Now the flat served as his vacation home whenever his family would go on a holiday and see their cousins. 

The same goes to Toto. He hadn’t retired as a team principal yet, but his Monaco place no longer held the same value as his estate in Brackley. One of his kids was already eleven (already in year nine) and playing in his school’s association football team and the other (nine years old) had been entering karting tournaments around England almost every weekend. He once told Charles about his estate and how he had it purchased and renovated long before his eldest son with Tilly even existed — how well he valued his home there and wouldn’t exchange it for Monaco or Austria. Much like Lewis, he was content with his home there, and it didn’t help that the Mercedes factory was only a few minutes away from his home. Toto expressed his interest in selling his house in Monaco once that his vintage Mercedes was moved back to Brackley, but then his nephews were born (and were planned to be raised in Monaco). He then decided that it was a home to go to whenever his kids wanted to see the Leclerc kids — their cousins. 

So after everyone started talking about Lewis Hamilton and Toto Wolff no longer residing in Monaco and their rare appearance in the streets of the principality, it never came as a shock to anyone anymore. It was still rare, but it was expected. 

But the sight of the two, alongside the three current drivers that just sat along the older ones, would be considered hilarious and extra special for the fans. Because not everyday you get to see two Mercedes personnel casually hanging out with a Ferrari driver and two Alpine drivers. At least, not with the two Alpine drivers while they all sat on a cozy indoor playground and cafe in Monte-Carlo. It wasn’t everyday you get to see Toto Wolff and the drivers talk about the racing season while they all sip on some silly cat and animal-themed cups with their kids running amuck in the playing area. 

Toto’s two older kids were somewhere else, and Charles could only assume that they were at the football area. None of his kids were crying yet, and so he sat there relaxed as he listened to whatever Lewis was talking about. 

“Did you really allow Aimee to go with the girls?” Lewis asked Charles, making the Monegasque nod. “You could’ve said no, that way they’re just stuck here in Monaco.”

“She’ll be fine,” Charles was beginning to think that he was only saying those words to reassure himself, not others. “She hasn’t been out for a while.”

“They still could have found something here,” Lewis pointed out.

Charles rolled his eyes, “That’s true. But Aimee lives here, she knows every curb to avoid and I don’t think I don’t want to bore her to death.” 

“Besides,” Charles shrugged nonchalantly, “I don’t want her to think I’m trying to lock her up by making her stay in Monaco all the time.”

“She’s your wife,” Pierre brought up.

“She’s my boys’ Maman, but she’s also been working her ass off trying to keep them happy while I’m gone someplace else,” Charles couldn’t find himself to argue, only telling them what the men needed to hear, “the least I can do is to let her travel the same way I do almost every week.”

“She loves the boys, that’s why her work in McLaren’s now remote,” Toto nodded, reaching on his pastel donut cat cup as he sipped on his tea, “I appreciate you for recognizing that.” 

“It’s the only thing I can do besides spend my time with the kids,” Charles replied, looking around to find his kids as Hervé came dashing and jumping into the ball pit of the soft play area. Hervé’s head popped up from the ball pit as he grinned, finding his father watching as he waved enthusiastically. Charles grinned and waved back before he turned back to the men, “I don’t think I’ll ever regret spending my time with them. If anything, I regret leaving Aimee behind while I go away to race. Lessens my time with the boys.” 

TWO MERCEDES, A FERRARI AND TWO ALPINES WALK INTO A CAFE: The Popular Fathers of F1 were seen on some Father-Children day out in Monte-Carlo.

“Hamilton, Leclerc and Wolff = Fathers of the Year? PLUS, a surprise appearance of Uncles Esteban Ocon and Pierre Gasly included in this article!” 

THE MONTE-CARLO DADDY DAYCARE: These might be the best photos taken of Lewis Hamilton, Toto Wolff and Charles Leclerc yet!

“Where’s Max Verstappen? Oh, and HI ESTIE BESTIE AND PEAR!” 

THE HEARTH HUSBANDS: How Toto Wolff, Lewis Hamilton and Charles Leclerc made the best husband materials ever through these photos.

“Max Verstappen, maybe it’s your time to shine, too!”

Aimee: I’m gonna go to sleep now but omg those photos of you and the other two are so funny haha!!! I’ll talk to you more about it tomorrow, but the babies wanted to say goodnight my love :)

Charles: I’ll tell you so much about the boys’ playdate tomorrow. Sleep well, mon cœur ❤️

Aimee: Give them kisses for me?

Charles: Already did for you. Now sleep.

Aimee: Sleep well, my love 

“Papa?” At first, Charles wanted to fall back asleep at the sound. He thought that he was just dreaming. His dream was literally just about baking those cookies— and with the call of Papa he assumed that he was just being called by the boys from the living room. 

Then he felt a small soft hand on his cheek, making his eyes open slowly as he witnessed his three sons standing there. He sat himself up a little, stretching as he asked, “H, Jules? PJ? What’re you boys doing up?” 

“Nous ne pouvons pas dormir parce que maman ne nous a pas embrassés,” we can’t sleep because Mummy didn’t give us a hug. Jules said as quietly as he could, swinging his body back and forth while he clung onto his Lotso bear. 

PJ pulled his hand back from holding Charles’ face as he meekly stood there, still sucking on the pacifier. 

Hervé nodded at Jules’ comment and sheepishly asked, “Can we sleep here, Papa?”

PJ pulled the pacifier off and added, “Pwease?” 

Charles shook himself out of his thoughts. He was still feeling a bit hazy after being woken up by his kids at… two in the morning. These kids really have a bad habit of waking up in the most inconvenient time. 

But just as he was looking down at his kids, who still stood at his side of the bed, he couldn’t help but smile softly. He might not be Aimee to make them feel comfortable enough to go to sleep after being given a hug, but the least he could do was be there for them. 

Looking back at today’s events, he seemed to be content with the result of his plans and his kids’ reaction towards it. Sure, Hervé might’ve cried for the first three hours, but he soon got comfortable at the thought of spending time with his Papa while Aimee was somewhere else and away from them. PJ proudly dressed himself up and decided what to wear by himself. Jules comforted Hervé when his twin got sad. He was nothing but proud of his boys. He was hella proud of himself.

And he loved his boys so much that he couldn’t deny them anything. Now that he thought of it, it was even harder to deny them anything because Aimee wasn’t here. He was just happy they hadn’t asked for sugar before bed. 

He grinned at his boys and patted the empty spot next to him, hoisting PJ up while he said, “Alright. Up we go then, boys. Let’s go get some good sleep.”

It’s safe to say that the Leclerc daycare went well today. That was a major achievement for Charles. Thank god for his mother and other peer support, right?

[aerithisms]

i think my problem with this dw season arc accusing the audience of fanbrain for theorising about ruby is that it both feels deceitful and isn't actually that compelling from a character perspective. the season goes out of its way to build up supernatural mystery around ruby and even invokes susan more heavily than ever before in a way that is deliberately trying to get the audience to make those connections. and then it turns around and says you stupid idiot why would you ever try to connect these dots i have deliberately tried to get you to connect.

building up a mystery only for the character to be ordinary is an impossible girl arc redux only this time accusing the viewer of failing to see the humanity of the companion, whereas the impossible girl arc was turning that accusation on the doctor. 7b didn't really blame the audience for viewing clara as a puzzle and in fact several times spells out the fact that clara is perfectly ordinary before the big reveal to give the audience a chance to catch on. as 7b goes on, instead of laying the mystery on thicker, the audience just gets more and more affirmations that clara is a normal human being (rings of akhaten, journey to the centre of the tardis, hide). i found this approach compelling because it was rooted in character, focusing on the doctor's disconnection from humanity/the gendered dynamic of a man treating a woman as his manic pixie mystery to pull him out of grief. s14's meta approach of accusing the viewer feels both unfair, given it has deliberately led the viewer towards theorising, and personally less compelling to me because it wasn't tied into character in any way.

the thing about rey's parentage in tlj is that the reason rian johnson chose to go for that reveal was that it was the only answer that was interesting. none of the theories - rey is a skywalker, rey is a kenobi, and even the eventually canonical rey is a palpatine - were interesting or satisfying because they brought nothing compelling to the table for the story being told. the only satisfaction to be gained from those answers was a fanbrained "omg rey is important because she's related to that guy from the other movie." on top of that, rey desperately wants her parents to have been important, to give her life and her abandonment some kind of significance. so them being ordinary provided the most compelling trajectory for her character because it was the thing she least wanted to hear. it forced her to do the most introspection and growth, as well as tying into the film's themes about the capacity of ordinary people to be special. it wasn't just a choice made to "gotcha" the viewer, it was rooted in character.

i don't think ruby's mother being ordinary accomplishes the same thing. by invoking susan, s14 is engaging with the most egregious example of the doctor's streak of abandonment, which has potential to be very compelling in relation to ruby (and now also the doctor's) own abandonment issues. theories that ruby might be susan, or be somehow related to susan, or somehow related to the doctor, weren't just fanbrained "omg she's related to that guy i know from the classic series." they were theories genuinely rooted in character and the potential to explore both the doctor and ruby's issues with abandonment. and this is something the show willingly led fans towards by invoking susan so much in the first place. so for the show to turn around and act like they were shallow out of nowhere ideas when they were not shallow and were based on potential character conflicts the show itself deliberately invoked, feels misguided.

as well as that, ruby's mother being ordinary does not require that same growth from ruby as it did for rey because it is exactly what ruby wanted to hear. she never wanted her mother to be important, she just wanted to know who her mother was and have a connection with her. so finding out she was a normal woman who still loves her and wants to be a part of her life is everything she's ever wanted. it doesn't introduce interesting conflict for her the way rey's parents being ordinary did for her, because they were written as different characters with different hangups over their abandonment.

tl;dr i don't necessarily dislike ruby's mother being ordinary as an idea but compared to the things it was inspired by - 7b and star wars - it is not nearly as compelling in terms of how it relates to the characters or themes. and the meta angle, while conceptually interesting, doesn't quite work for me because it feels a little manipulative of the audience.

[wetcatspellcaster]

Veilguard Thoughts

(my sort-of review, more of a ramble, below the cut in case of spoilers)

I had particularly low expectations for this game, as it felt to me like it was rushed out to try and hit the BG3 crowd and get them to pay £70 at the point where their hyperfixation was failing them. It felt like a very commercially-motivated decision, and I tried to modify my expectations accordingly.

I then started playing... and had to modify my expectations again.

But with two lowering of expectations completed... I genuinely enjoyed this game! I had fun! Sort of! if I squint!!

Thoughts!

I am not a competent gamer, so I like combat that feels fun and engaging without being challenging or a chore (cough, BG3 Act 3, cough), but without being lazy either. I played as a mage in Veilguard and I felt like this hit a sweet spot - moments where I was stressed kind-of invested, no moments when I was bored. The graphics for mage (for spellblade particularly) were awesome and badass, and I loved to new mode of engaging with the mage class in orb and dagger.

I understand the frustration with a lot of lore being retconned, ignored, or wilfully erased or moved away from. Some parts I understood: I do think Veilguard tries to make a move away from grimdark, not out of disloyalty to the franchise and it's roots, but bc grimdark is a very different prospect now than when Origins released. it's a genre that gets a lot more criticism and bad press, and that some people feel genuinely uncomfortable perpetuating as a results. While Origins is my favourite dragon age game, there's a lot of insane things you need to just let slide to enjoy it - like the fact that multiple origins begin with some kind of rape and sexual assault if you're playing as a woman. I don't think retconning that stuff is anything other than being politically savvy, and a little more sensitive to how fantasy has changed.

(I also think this is why they've moved away from the chantry conflict to be honest. Like the optics of Christian religions in fantasy has also changed, and let's be honest, Dragon Age had already fucked THAT, multiple times.)

I did however, like everyone, find it a bit disheartening to see how little Keep decisions mattered. Why is there no Keiran with Morrigan? why can't Mythal move to an inquisitor who drank the Well of Sorrows instead? why is my Inquisitor defending Solas when she ended the game hating him? Why is Hawke being in the Fade meaningless? I know this is just echoing what people have already said, but it was sad to see the 'conclusion' to the franchise (that probably isn't the end, let's be honest, not now that people paid £70 for an underwritten game) was even less satisfying in terms of choice and agency than ME3

This game deliberately skewed itself to read as a 'better DA2', than a 'worse, rushed inquistion'. IDK, it just makes me feel a bit grossed out, and manipulated. I mean, we know DA2 can be made in crunch, lads!!!!! :)))

Criticisms!

EVERYTHING is underwritten. The game is woefully short. If I can complete all the sidequests in a game, then something is wrong. The romances, the character arcs, the main quest, the dialogues. Everything was sparse, with the bare bones of a plot, that (in the case of companions quests) was rarely seen through to a full and satisfying conclusion. And I *know* that's not the writers fault, necessarily, but that doesn't mean it couldn't be done better.

There's so much potential, but I found that most of the companions could be boiled down to one or two traits, and while I can see people headcanoning reasons for this in real time, it's just... underwriting, or bad writing. Extremely telling to me that both Emmrich and Davrin were my favourite companions... because they had their own companions. That meant that they had multiple story hooks - their professions, their relationships, and then their little guys. They got three things, when most people only got two.

This was particularly egrerious for me with Taash, because they started out amazing, and I ended up being extremely disappointed as I watched both them and their mother being reduced down to flat one-dimension caricatures and a tired queer narrative of 'my parents hate me'. Only, this time, it's 'my immigrant parents hate me'. when you couple the reductive approach to Taash with bioware's inability to write the Qunari well or without falling into Orientalism??? they're suddenly an evil repressive queer phobic religion after being supportive of trans characters in inquisition???? you're telling me Shathann, a woman who was forced into a more feminine role by circumstance but considered herself more genderless/masculine as a scholar, wouldn't be on board with non-binary identity? just galling tbh.

The romances are underwritten. And they are badly written, to me. Luckily I know we'll have fic, but in Inquisition, each romance was 90 minutes worth of content. In Veilguard, Lucanis's romance is the longest... at 18 minutes. It just seems stupid and strange to me - if this game is chasing on BG3's coat-tails, why don't they know everyone is fucking horny?

While I liked the decision to give companions more banter together and flesh out their interpersonal relationships, I felt that the balance was off... probably bc it's cheaper to have two actors share a piece of scripted dialogue, than voice a decision tree. It meant that to me Rook often felt like a bystander in their own story, or excluded from their own found family. HR Manager-core, as it were.

General uselessness of the Lords of Fortune coupled with the Orientalism of the Lords of Fortune.... big sad.

I think the choice between Lace and Davrin is highly!!!! suspect!! do you go with fantasy racism (kill off the only dwarf, thus meaning all your dwarf companions are dead in the game, including the one who represented to future for her people) or the real racism (kill off the black man). I really wish this decision was more reactive, and perhaps based in faction strength or character bond, not just a pre-set choice.

I'll never care about solas, the way trick weekes wants me to care about solas. pretty dumb decision, to make a whole game contingent on this fact.

The ending and epilogue screens were underwhelming, and left the game feeling incomplete to me.

Joys!

To end on a more positive note...

everyone is hot. I honestly think everyone is hot. No other dragon age game had a cast of characters whom i all found attractive. This is unheard of. This is why I know all the fic will be fucking stellar.

And you know who else is hot? Rook. Genuinely one of my favourite DA protagonists! Maybe bc of the faction thing, or just the chemistry of the VA I chose. I just felt like she was pretty fucking hot tbh, and that more people in-game should be taking notice of it. Everyone should stop having conversations with each other and start desiring Rook carnally.

Weisshaupt was genuinely an amazing sequence and questline. In fact, I loved that this game featured Grey Wardens more heavily, and I loved all the lore about Wardens that was introduced.

Assan!! <3 Manfred!!! <3

Bellara and Neve kissing with tongue!!! No, I will not elaborate!!!

(I think that Bellara and Neve were two characters who did have strong stories, and that they should kiss about it.)

Elgarnan and Ghilanain.... never before has a dragon age game known what it's like to have a charismatic villain. This time, we got two. Ghilanain was my favourite, bc I'm fucking gay, but even interactions with Elgarnan and his boss battle felt engaging. I honestly don't think a dragon age game has ever had a good villain before, and these guys were both fucking cool.

[heartofwolfe]

Whole reason i made a new blog Can i get a word about eurylochus. Im sure other people have said it but if so then ill gladly add on the noise. I dont think hes as hypocritical and bad as some people have made him out to be? And i want to go over his crimes one by one, to bring them to a less exaggerated ground.

"He was going to abandon those men in Circe's island, therefore he had no right rebelling against Odysseus after Scylla."

I need us all to review both situations for a second. With Circe, Eurylochus witnessed what she's capable of, he KNEW Odysseus wouldn't be able to take her. Between losing his captain (and KING) and "cut their losses", it was probably logical for him to leave those men behind in place of losing any more lives or Odysseus himself. Had he known Hermes would show up to help, I'm sure he wouldn't have been so adamant on leaving. He's the voice of the crew, after all.

But Scylla? Odysseus withheld the information of what they were going to encounter in that lair. Odysseus deliberately made him light up torches (one of which would've been for HIM) that would sentence the 6 men that'd carry them. Of course, upon realizing this was his plan, he'd be mad. And we have to realize the rest of the crew are just as sentient as Eurylochus: Seeing their king give up 6 lives like they're nothing for the sake of getting home to his wife... how do they know they won't be next? The 3 men at Circe could've left like Eurylochus did, it was a slip, but Scylla was a choice. (A choice I think was the best outcome! Im not coming for Odysseus here, and I acknowledge and agree it was probably the safest way to get through Scylla. But it doesn't negate the feelings of the crew).

"He opened the wind bag and it got over 500 men killed! With that body count, he was still hypocrital to critisize Odysseus for sacrificing 6 men to Scylla"

I mean, yeah, if we leave it at that. Why don't we ask Poseidon what would've happened to Ithaca if they arrived at the shore instead of being sent to him directly?

Yes, opening the bag is breaking Odysseus' trust. He did wrong at this. But if we are gonna get nitpicky, Odysseus shouldn't have revealed his name to the Cyclops at all— Or just kill him, like Poseidon and Athena told him he should've done. I think they're both at fault for this, and even then, killing his fleet over the entirety of Ithaca is probably the best outcome somehow.

But like, overall, I just don't think we can use the 500 men excuse to throw bricks at this man. No one, not even Odysseus, realized they pissed off Poseidon by hurting Polyphemus and that's where the storm was coming. It's just cruel and it is very obvious it weighted not only on Odysseus but on Eurylochus as well.

"He killed Helios' cow despite Odysseus warning! And then got mad at Odysseus when he didn't sacrifice himself for the crew?"

I feel like he is a little unfair for getting mad at the end, but it is also just very human. We can think of it logically because it is a story we are witnessing, but most if not all of us would've lashed out and felt betrayed if our lives ended because our closest friend (and person that was supposed to look out for us) needed to see their lover.

And the cow... I need you guys to put yourself in his shoes again. Eurylochus didn't believe they'd make it home, he had given up on life, he couldn't trust his brother in arms to bring him home alive anymore. And hunger is so heavy (sorry). Between dying of starvation or drowned by Poseidon, and dying swiftly by divine intervention for pissing off Helios, he probably didn't care (and, like, if he didn't do it someone else in the crew would've. Is the thing.)

I actually think it's such a well done thing, the way he kills the cow because he gave up but deep down doesn't actually want to die— Which is why he gets desperate and seeks for Odysseus' guidance once again when he realizes what he's done. The cow is probably the hardest thing to defend from him, but i think it is so human. And so tragic.

And I need to clarify again— This isn't against Odysseus! I think he makes so many mistakes and is so selfish but also human in a way, I can see where every character is coming from in this musical. And the Odyssey is about a man losing his humanity in a journey back home, so his actions have to be. Bad. But there's a treatment of this characters that ends up coming off as a disservice to each of them. Using Eurylochus as a scapegoat to make Odysseus look better just feels like missing the point of both and their complexities to me. Cause even after defending Eurylochus here, none of these actions are entirely justifiable! He IS hypocritical and selfish as well, and maybe a bit cruel at times. But he's not the root of all evil. If he were, Odysseus wouldn't be the lead.

This post is pretty over the place, so I apologize!it isn't meant to be read as an essay or anything too serious despite the tone that might come off of it. I'm just mostly voicing my thoughts about these characters re: some takes I've seen here and there in other platforms that I can't go too much in detail about. Would love to hear other thoughts, agreeing or disagreeing, although i might not respond too in detail. Also please befriend me i need friends into epic LOL

[reachexceedinggrasp]

Danny 'I don't do weird' Pink frustrates me as a character, because I'm honestly not sure whether he was supposed to have an arc or not.

His primary role is as a foil for Clara's arc and, in aid of that, as a mirror to the Doctor. A solider with survivor's guilt and a man of action who can't stand by when people need help etc., in some ways he and the Doctor have a lot in common, but he's also a very grounded and circumspect personality versus the Doctor's being fantastical and adventurous. Danny isn't curious and doesn't want to pursue new things or experiences, instead he wants to be fully present with and grateful for what he already has. The Doctor is incorrigibly curious and always interested in new things.

Danny is someone who desires nothing more than an ordinary life, and looks for beauty and satisfaction in the normal things and people around him. He wants his world to be small and quiet, he values the mundane things others might take for granted. He's normal, patient, dependable, simple, honest, etc. His reaction to trauma hasn't been to disavow the things which lead him to that event, or to seek out stimulation to avoid thinking about it, it's to be thoughtful and cautious and somewhat rigid so he can always apply the mindset and skills he retained from before he was traumatised.

He's very firm and unbending in his worldview and in his self-image. He doesn't seem to ever reassess people once he's decided what he thinks of them. He's not unreasonable or unwilling to compromise, he is in fact maybe too reasonable, but he is implastic. He's extremely even-tempered except for around his identity as a soldier, which he's prickly about, but still pretty quick to let it go as long as he's not being deliberately antagonised.

So anyway Danny represents this other path, and this opposite response to the horror of war and making a catastrophic mistake, but he never learns, he never grows and he and Clara are never much on the same wavelength about anything. He's supposed to be stability, the things she 'should' want, the 'person she's supposed to like', the safe choice, the presentable life which Clara feels like she has to have. He's orderly and ordinary and that's what she wants from him. She has to control her image, her future, and her options.

And their simple relationship, once it exists, functions well as the contrast to her complicated and tumultuous relationship with the Doctor while the companion power dynamic is being dismantled and rebuilt so they can be emotional equals. But like, the set up is confusingly executed.

Listen- they have zero chemistry, they have nothing to talk about and have to resort to talking about work, every conversation goes instantly off the rails, they rub each other the wrong way, there is never any reason for them to keep reconciling and trying again to connect. Like. You are not hitting it off! and keep offending each other bc you're not compatible! Quit!!

Clara is forcing it, that makes complete sense with what she's going through, she's trying to take control of her life and her emotions, trying to prove to herself she's not pining for the Doctor and at the mercy of his whims for her life to be full and complete. She doesn't want to need him or to be dependant on him. She doesn't want to be the heartbroken sadsack whom he abandoned at Christmas or who will take whatever scraps he'll throw her. She wants to control his position in her life and control how she feels about him. Hence her assigning him a specific day and confining their adventures on her own terms. She's trying to keep the Doctor compartmentalised. Having an Appropriate Human Relationship means she's successfully put the Doctor in his box (lol) and neutralised the chaotic power of her feelings for him. I mean, obviously not, but that's what she tells herself.

But what is Danny doing? Why does he keep pursuing this when it's so clearly not a good match?

Again in Listen, and much more so The Caretaker, Danny illustrates that he does not know who Clara is, he's wildly wrong about her and what she's like, and he's very high handed about it as well. He's convinced that the Doctor is taking advantage of her, that the Doctor is domineering in their relationship, that she is not a person who wants to be put into challenging or dangerous positions, that the Doctor is pushing her to takes risks and become a leader where that's not her nature. None of this is true. Clara was always a decisive, assertive, strongly driven person who seeks out new experiences and naturally assumes a leadership role any time that's necessary; she relishes being challenged and facing the unknown. Her blow up with the Doctor wasn't about him 'pushing her too far', it was about him failing to support her when she needed him and condescending to her as a human rather than treating her with the intimacy and equity their bond and history together demands. It's personal and it's about their emotional relationship. It's not about making hard choices, it's about having to make hard choices without her partner being honest with and emotionally available to her.

Clara was always an adventurous person, willing to be spontaneous as long as it's on her terms, and excited by the prospect of authority and responsibility. The danger and challenge isn't an unfortunate side effect or a risk she has to take to see amazing sights, it's part of the appeal. She lied to Danny by omission when she said she went off in the box to 'see wonders', not just because the real reason is that she's in love with Doctor, but also because she doesn't just want to be a tourist. She wants to get involved and save people, she wants things to sometimes go pear shaped. She enjoys and craves that part of it too.

Danny is also wildly wrong about the Doctor, but this is understandable and would be fine except that he's never corrected? He never learns better? What's the point?

In Death in Heaven Danny goes out still wrong about the Doctor, still condemning him cruelly and unfairly while knowing nothing about him. He had a point with some of his original rant, there was actual insight there, but it's buried in assumptions and bitterness and then Danny keeps tripling down on the assumption. The one which doesn't understand that the very thing he's shitting on the Doctor for (being willing to lead and make hard choices that must be made in order to save people) is something the Doctor has in common with Clara. And always has. The Doctor didn't change her or push her into that, that's who she's always been.

What is the point of Danny calling him a blood-soaked general and mocking him, calling him an officer as a pejorative again, and again because the Doctor is trying to save the planet. Like, memory check, that's what Danny is mad about. The Doctor doing everything in his power to save literal billions of lives. Doing it for no reason, out of altruism. Doing it while always trying very hard not to fight or kill anyone. Doing it even at enormous spiritual cost to himself.

I don't understand how we're meant to find Danny sympathetic in that moment, because he comes off like a complete dickhead. And it's all the more frustrating because in the intervening episodes Danny has been eminently reasonable. As I've discussed before, we're exhaustively shown that Danny is 100% okay with what Clara claims is going on, that he doesn't want to get in the way of her friendship with the Doctor, that if it really were only the relationship she's pretending it is, there would be no conflict. He's the one who encourages her to make up with him after Kill the Moon! He tells her to go on travelling and it's fine!

Even when he discovers she's been lying to him and cavorting with the Doctor behind his back (again despite him telling her it was fine with him!), he's calm about it and repeats for the millionth time that all he wants from her is honesty. The truth. Which is the one thing she can't give him because Clara knows their entire relationship is built on the lie, they're only together because of the lie. The truth is, as Moffatt said, that Danny never stood a chance. There is a conflict between the two relationships and she's always going to choose the Doctor.

And that does come out, she gives the whole speech to Danny, not knowing it's him, finally being honest. And he seems unsurprised by it, which makes sense because on some level he definitely always knew ('do you love him?' 'no' 'really had enough of the lies'), but then nothing comes of that. Clara just soldiers on, going right back to pretending this relationship wasn't a façade doomed from the start, and Danny allows her to pretend. He goes off on the Doctor, but not in a way the Doctor actually deserves at all, and just sweeps her confession under the carpet. Letting her get away with it again. True to form, I guess! he always did. But shouldn't we make progress?

And it's like... I hate that he dies on that note. It feels like he dies in denial. I guess you could argue it contributes to his decision to not come back, but that feels like a disservice to the character. Saving the kid is important to Danny, it allows him to atone for his greatest mistake, but he didn't need to change or grow to accomplish that and it doesn't provide any closure to his actual role in the narrative, which was as Clara's foil. Clara is off the hook, free to go on lying to herself about their relationship. It's not addressed in Last Christmas, either, it's only barely hinted at.

[adragonsfriend]

SW Prequels: 1 Politic Please, for the Naive Child

(A complicating narrative…but probably not for you, reader of this post)

The prequels, according to quotes from GL, have two main goals:

“How did Anakin become Darth Vader?” (How does good person become a bad one)

“How did the Republic turn in to the Empire?” (How does a democracy become a dictatorship)

The first goal, though perhaps not perfectly executed, is largely achieved. We see Anakin go from a child who wants to help others, to an adult willing so sacrifice children for his own selfish desires—and we the viewers understand that (if not always agree which) decisions he and others made caused him to follow that character arc.

What the Prequels do Not do

The second goal falls far short.

The prequels offer some broad factors in the Republic becoming a dictatorship (as well as why the Separatists were no better)—corporations in government, greed of the already wealthy, war, fear-mongering manifesting policy changes, etc—but does not examine them in detail. It doesn’t take particular care with the timing of when the main characters acknowledge Republic’s values as having been lost, or the construction of “democracy” in-universe, or to what degree planets like Alderaan must be stealing from the Mid and Outer Rim, or even how Padmé and Palpatine both being from Naboo potentially alters any political commentary to be about Naboo rather than on the Republic as a whole, and carries around a whole bunch of other careless world-building problems that muddy the waters of plot elements which should be fairytale-clear (look I was gonna link a bunch more individual posts, but I got tired. Go read @saga-ordsmed’s star wars tag—she writes more elegantly, scathingly, and competently about Star Wars’ political & narrative failings then I ever will).

The prequels are a story about Anakin and about values of personal responsibility, and any political commentary suffers for that.

We know that the Senate willingly votes Palpatine into absolute power, but we do not know what alliances led to that vote passing, what Palpatine has been doing inside the Senate rather than outside it (his Sith & separatist activities), what battles and press releases cause the tide of the Senate to turn. We are shown a few bad apples but largely left unsure what turned the whole Senate, other than “time” “decay” and “greed.” These are vague comments on human nature, not on systematic conflicts.

If we saw something like this deleted scene, where Padme gives a speech to the senate, or this deleted scene, where some Senators talk about the Delegation of 2000 confronting Palpatine, I might have a reason to believe Padmé has fresh insight into the current political instability when she says the Republic is crumbling (if we actually got some of the pointed comments from the Delegation of 2000 scene, I would never have been able to make this post). Frankly, all of Padmé’s opinions are already under narrative suspicion because of her choice to help cover up Anakin’s massacre; without taking time to establish her expertise in politics as separate from her decisions about Anakin, her words about the Republic mean little. But these scenes are deleted, and whatever the reason, it causes the prequels to fail at their second goal, even more than they do structurally by not paying it much attention.

The most convincing comments about the political state of the Republic and the Chancellor instead come from members of Jedi Council, who have deliberately held themselves at a remove from the political process—for philosophical and practical reasons—and so lack detailed insight into the Senate’s functioning (why have so many benevolent Senator characters if you’re not going to use them as such? Just put one in the room with the Jedi council for a minute, seriously).

The most interesting scene we get about politics is the scene when Anakin and Padmé chat in the field and Anakin basically says he thinks the right dictatorship would solve the Republic’s problems, and Padmé largely laughs it off. It has the potential to be commenting on how people become radicalized when governments do not serve them, but the scene is so short and Anakin is in such a unique position as a Jedi and someone being personally groomed by the Chancellor, that it falls flat in terms of telling us anything either fresh and interesting about GL’s perspective on radicalisation, or anything applicable to a wider group of people.

Instead, the scene is again almost solely about the characters. It tells us about Anakin, Palpatine’s influence over Anakin, a little about Padmé, and a lot about Anakin and Padmé’s relationship. This would be fine—stories are allowed to use politics merely as a backdrop to character-level conflicts—if the creator didn’t claim to be telling us how a democracy can become a dictatorship.

So the prequels fail as a detailed or even followable portrayal of how a democracy becomes a dictatorship. They set up a few dominoes, but largely do not connect them to one another—for that we must fill in elaborate headcanons, read a million and one comics that probably don’t help the matter, or refuse to pay the question any detailed attention at all.

What the Prequels do Achieve

I recall a day, quite a while ago now, when as a kid—9 or so—I was walking to a friend’s house. It was sunny; the lawns were green and the sky was blue but the pools were bluer. I don’t remember the exact trigger for the thought, but I suspect my eye caught on the American flag hung by someone’s door. Whether it was the first time, or only the most memorable time, I remember realising: There is nothing inherently stopping my country (the US) and the whole world from getting worse again.

Now, there was a lot that was limited and outright wrong about that thought: the idea that the world didn’t currently suck for a lot of people, that it couldn’t start sucking for me, that the safety I experienced wasn’t built on other people not being safe, that the world was necessarily headed in a positive direction at the time, and so on. Many children are obliged to realise those things far earlier, if they ever held such beliefs in the first place.

But it was a step on the ongoing path toward a more complex world view, and a necessary one.

What the Prequels do is to present a situation in which the Evil Overlord takes over not by having a bigger army, or by poisoning the Good King, but by asking for and being granted supreme power by the government which is supposed to be checking his power. It is not detailed, or nuanced, or particularly well orchestrated. The how is barely a concern. The Prequels are highly unlikely to tell an adult anything they do not already know—in fact they are more likely to reinforce overly simplistic, individualistic views of highly systematic, large scale issues.

But the prequels do present a naive child with the possibility that a democracy can willingly become a dictatorship, that a government and a world can become worse.

That is only a step—one everyone must eventually move beyond—but for the naive child, it is a necessary step.

[whetstonefires]

So re: Qin Su's death, one thing I'm absolutely certain of is that she did not just conveniently kill herself due to her high level of distress, at the exact moment most convenient to a person she was super mad at.

Because, frankly, mxtx is not that shitty a writer. She doesn't sweat the details or logistics of things, characters are allowed to coincidentally turn up in the right place to make the plot work and so forth, but these novels are intensely concerned with character motive and internal life. Everyone does things for their own reasons.

People do what the plot requires, but a defining feature of her writing is that everyone is fashioned into the shape of the kind of person who would do that thing in this situation. Sometimes whole scenes or subplots exist mainly to put on display the underlying cognitive patterns that justify as individual choices the kinds of things stock characters routinely do in genre novels, for no reason than that they are The Type Of Character who Does That.

If Qin Su was going to commit suicide about the bad news, there would have been hints that this was the direction her thoughts were trending during the preceding scene, where we're introduced to her reactions. And there aren't.

Her primary reaction is anger. She's scared to death when her husband paralyzes her and puts her on his dismemberment table to interrogate later for the name of her informant. She is contemptuous of his caring almost exclusively about what all these horrors could do to their reputation.

There is nothing in the scene to suggest she would, given the opportunity to denounce him to the cultivation world, choose instead to escape by knife.

The interpretation of this sequence that says she Just Did That really annoys me, because it requires ignoring basically every single piece of information about the character other than the fact that Wei Wuxian always thought since they were kids that she wasn't very bright.

Furthermore, it would be out of character for Jin Guangyao to have knowingly arranged a situation likely to go so badly for him, and wildly unusual for him to get so lucky if he had. This man has shit luck normally.

The sensible thing for him to do, in a universe where Qin Su just conveniently opted for suicide instead of ratting on him, would have been to take the ten to twenty minutes of prep time he had to work with to disappear her the same way he did nmj's head.

This might have required killing her first, since we don't know where he put it, but while I'm sure he didn't want to do that I'm equally sure he was entirely capable. He had a convenient scapegoat handy to blame for her disappearance.

He had no reason to allow her to be visible and capable of independent action when his cavalcade of guests arrived. But there she was, dazed but unrestrained. And then...cursed knife time.

Super convenient! She's dead and can't blab, and lots of important people saw her do it and saw how horrified he was and are disposed to be sympathetic. Works out much better for him than the risk of being blamed if she disappears.

So Wei Wuxian's assumption that jgy set the suicide up and compelled her somehow is the most logical inference. Neither of their characters is really compatible with the other scenario.

If Jin Guangyao had actual mind control powers he definitely would have used them a lot, so the most straightforward version of what happened is he used some technique or drug that would confuse her and suppress her cognition, then deliberately put 'cursed dagger that preys on your negative feelings and makes you kill yourself' within reach just before everyone entered.

I'm sure if it hadn't worked, and she'd just kind of stared into the distance while he talked his way out of the unproveable allegations and weaponized Mo Xuanyu's bad reputation and so forth, he'd have been happy with that outcome too, since it would still have meant a lot of important people saw her alive and not freaking out, and then he'd still have been able to torture her for information later. (Again, something I'm sure he didn't want to do, but absolutely would have.)

But this worked out well and got rid of two exposure threats at once while buying him sympathy points.

Although considering his shit luck, I wouldn't rule out that his plan only went as far as sedating her so she couldn't make trouble and he could show everyone how not paralyzed on his murder table she was, and he'd forgotten he had an evil dagger that compelled you to kill yourself lying around in reach of a woman whose ability to exert force of will he'd just reduced to nothing.

And he wasn't expecting that result at all.

[ingravinoveritas]

So al was asking ppl to ask her questions as her Fridays are so dull while her partner doing a play. Doesn't she find when she wiv michael it dull cos usually shows it or the other way round and then the bird one I found interesting cos since when have we seen Ms be protective over Al we haven't seen him speak or defend his relationship of what the journalists or ppl say about his relationship of what was said on weds where she defended it and and put a insta story about it we all know he loud but protective I think if he had to choose to protect or save someone it would be david hands down not al

What ur thoughts love to hear ur take on this

(Grouping together for ease of answering. @hyperfixating-rn-brb's Ask is referring to the last screenshot.)

So, I saw this as it was happening on Friday, and...yeah. I'm not sure what the impetus behind this random Insta AMA was (perhaps PR suggesting that Anna do something to counter her rash of recent off-putting social media posts?), but whatever the reason, choices™ were definitely made with some of (well, most of) her answers.

I think what struck me about the ones in these screenshots is how they’re lowkey insulting to Michael, but all in different ways (and not overtly, but passive-aggressively, as hyperfixating-rn-brb mentioned). It also seems odd that AL is currently in London, one of the most dynamic and attraction-filled cities imaginable, yet acting as if there is nothing to do on a Friday night. (Because Michael (and/or Georgia) aren't there to entertain her, I guess?)

Leaving that aside, the entire way this happened was just strange. A lot of the questions felt very boilerplate ("Are you currently reading anything?" "Who is your biggest inspiration?") and almost like they were planned in advance (I think at least one actually was from someone AL knows personally, IIRC), yet interspersed with enough "wacky" questions to give the impression of it being this spontaneous Q&A thing.

As for the answers in the screenshots above, I saw people on Twitter getting outraged over the "girly" question on Saturday, but predictably for all the wrong reasons. In particular, I noticed people once again blaming Michael/David shippers for it, but just from the wording alone, my feeling was that whoever sent in this question did not seem to be a shipper at all. "Girly" has a very specific, borderline homophobic connotation to it (akin to someone asking Anna if she "acts dykey" around Georgia), and while I know English is not her first language, I don't think that meaning is something AL would have missed.

So, no, it's certainly not a great or appropriate question by any means. But the bigger issue, at least in my opinion, wasn't so much "Why would someone ask this?", but rather "Why would she post this?" Because Anna is a grown woman who could have very easily just ignored this question altogether. Instead, she chose to draw attention to it, and to react in much the same way as her "vagueblogging" from the other day. It was as if the purpose in sharing it was to show people what she has to "put up with"--either from the fans or from Michael or both.

That's the other piece of this--that she shared this question with seemingly no regard for how it makes Michael look, or whether it would or could be embarrassing to him. It immediately made me think of this tweet from Michael two years ago, where he chose to answer a question in such a way as to deliberately not embarrass David (further explanation can be found here). It's something that seems so small but means so much, and that you'd think would happen effortlessly for someone you love. So the contrast of that to Anna posting this was striking to me, and it was further compounded by her answer to the "favorite bird" question.

Again, it's almost unsurprising at this point. Anna has previously made unflattering comparisons between Michael and Cousin Itt, a Hobbit, and Hagrid--among others--and now we can add a cockatiel to this list. What’s weird is that the question itself had nothing to do with Michael, so there was absolutely no reason to bring him into it...and yet. It felt like name dropping for the sake of name dropping, which just seems like a weird thing to do when she's been dating him for five years now. Did she think we forgot? That we needed a reminder? Whatever the reason, this definitely seemed like such a strange choice, and another instance of passive-aggressively putting him down under the pretense of a compliment.

(A note about the "protective" part, as I noticed that was particularly mentioned in this Ask. I would agree that there are a lot more overt/visible instances of Michael being protective of David--many of which I have talked about on my blog--than of Anna. That does not mean I don't think he is protective of her, however, but that there is a distinction between the two. It is possible to be protective of someone out of a sense of responsibility and obligation, and those are not necessarily bad things. But it's very different to being protective of someone not because you feel like you have to be protective, but because you want to be. Interpret that how you will...)

Finally, I just need to mention that one of the questions AL was asked was about Georgia ("Is Georgia secretly holding you hostage?"), and what I have hardly seen anyone talking about is that Georgia reshared that Insta story a short while later...and added a song called "I'm Trapped"...

I just...was this meant to be shady on Georgia's part? Who, exactly, is "trapped" here? The subtext and potential implications can go in so many directions here that it's hard to know where to start, but...yeah. The optics of Georgia resharing this story and adding that song in the middle of AL's Insta Q&A were and are questionable/cringey/unintentionally hilarious on multiple levels.

So yes, that is my take on the events of Friday night. As I've said before and will again, I know I could be totally off the mark here, so I'd love to hear from my followers as to what you think. Thank you for writing in! x

[purble-turble]

So i was looking through the general tags and i ran into that 'if the various Red Sons played Smash' and it was said that TTRed would favor Kirby specifically because he's still trying his best to 'declaw' himself and all- and i was thinking like- Mei would ABSOLUTELY be down to aid this endeavor, figuring its a pretty healthy coping mechanism compared to others and just-

LOADING him up on cute things. it's a pain in the ass to get him to ACCEPT any gifts, but when she wears him down he USES them because he doesn't want her to feel like she wasted the money and effort to help him with his 'domestication' attempts, so he's out of here with the fucking Pom Pom Purin backpack and other various trinkets that she could get away with foisting onto him

Haha oh I had forgotten about that ask! But yeah Time Travel Red Son attempting to get into cutesy stuff as a way to NOT be like King Red is a freakin great idea!

I imagine it starts out small, like when Red is asked to pick what color straw he wants or which arcade prize to get and he finds himself just deliberately choosing one that’s pink for the mere reason that it’s the exact opposite aesthetic that DKR had. It’s not necessarily cute on purpose, just worked out that way. After awhile Mei notices first just because she super duper loves cute things and, before his future adventure, Red Son seemed to either dislike that style or at least thought he was too good for it… so yeah Mei gets excited about this particular change and decides to take it upon herself to make Red Son Super Cute™ from now on!

The only problem with it is.. Red still doesn’t like it. Not genuinely. He forces himself to make those choices almost as a reflex, desperate to have any difference between who he is/wants to be and the monster he saw in the future, even in just superficial ways like having a pink Pom Pom backpack…… well, he thinks, at least Mei likes it, and if she wants to pick out some cutesy accessories for him, then that’s fine. It’s good to to have her make choices for him, right? The less agency he has the better.

…MK notices this shift much later, probably after Red’s already carrying around his blueprints in a pom pom backpack. He doesn’t fully know how this happened until he spots the six or so chibi dragon keychains that he knows whos responsible lol…. Anyway he has to have a talk with a pouty Mei in private about if, instead of pushing him to like the things that they like, they should instead try to get Red Son comfortable with just being himself, even if it means going back to being a dorky edge-lord. Mei is disappointed, but agrees Red Son should make his own choices from now on….. she still foists cute things on him once in awhile, but the initial deluge that happened definitely stops lol

[doomed2repeat]

About Theo and Eloise:

In my humble opinion:

Theo’s use as a character is to encourage Eloise to look past the surface of people. Of course he’s there to introduce her to romantic attraction, but in a very specific way, and it’s to start developing a sense of what she might like in a partner. Just because someone is perfect for you superficially does not mean they actually are, and for a character like Eloise patience and discernment are going to be very important for her storyline.

🛑 If you really really love Theo or Theloise and think they should be endgame, please stop now… 🛑

We got foreshadowing of this when Violet tries to hook Eloise up with that ton guy at the Hearts and Flowers ball. Violet picks him out for Eloise because she says he shares her rebelliousness. And that guy is rebellious and is looking for someone different, just like Violet says. But his personality is all wrong for Eloise and it crashes and burns pretty much immediately.

Theo is said to be “perfect” for Eloise. And on the surface, he might seem so. He’s a radical. He’s political. But those are his interests. Not his personality.

So let’s really look at his personality. Theo is one of the most condescending and patronizing people Eloise comes across. When he first meets her, he talks down to her, making assumptions of her based on her gender and class. Their initial banter is the stuff of meet cutes, which glosses over WHY they were bantering back and forth like that in the first place- he immediately underestimated her intelligence upon seeing her.

It’s debatable why she accepted it from him vs the other guy, but I think the biggest issue is that unlike the guy Eloise danced with at the ball, Eloise has a reason to keep talking to him despite him showing the same attitude that left her running from the ballroom floor. She needed him for something, so it was worth continuing to engage, and engaging with him for longer allows her crush to grow.

Eloise is going to be a character who needs time to really fall in love. And so she is going to need to develop the capacity for more patience for other people than her character currently has. She’s often impulsive and makes snap decisions, but Theo forces her out of that by being a character she has to work with. Which is a great thing! Through Theo, Eloise gets to explore more of her interests, which is not nothing! Credit where credit is due, she’s obviously going to want that in a partner, and I would hope any relationship they write for her would have that as an element to it. It’s valuable for her to learn that that’s possible as she starts to develop her sense of taste in men.

But he’s also not the ONE yet, which is also valuable for her.

When Eloise doesn’t kiss Theo he blows up at her. He lashes out and accuses her of being just like every other lady. Going back to the foreshadowing from the Hearts and Flowers ball, there’s some irony here- there, Eloise gets offended because the man implies that she’s Not Like Other Girls. Here, that is used against her. Theo thinks Eloise should act a certain way because she’s rebellious, but when he dismisses her as a prude, he once again reveals the superficiality of his politics when it comes to praxis.

At the time I watched S2, I hadn’t yet read the books, but I’ve read them since, and this is very similar to a scene from TSPWL, where Eloise is trying to discuss something serious with Phillip, who is trying to kiss her instead. We don’t know yet whether that scene will make it to the show or not, since show Phillip seems to have a somewhat different storyline from the books, but it was a deliberate choice to use that as a reason for Theo to lash out at Eloise in the show, and I think it’s actually about Eloise’s growth. In the similar scene in the book, she calls Phillip out for this behavior while in the show Eloise just cries. Somewhere between age 18 and 28, she won’t take it, even from men she likes, which is, frankly pretty realistic. Even the most radical feminists sometimes take BS from the “radical” first boyfriends they date as teenagers. Eloise has a realistic mix of strength and vulnerability, and Theo hit a vulnerable spot for her. She’s a feminist, but she has very little real world experience with relationships between men and women outside of her brothers, and Theo is a valuable storyline to create that experience, so that when she is ready (hopefully 10 years on, I’m team time jump Eloise), she’ll have the combination of patience and discernment necessary to find and keep the right person for her.

When it comes to Sir Phillip specifically, Eloise is interested in his words first. They write letters back and forth, they never meet in person before Phillip proposes, so we know physical attraction has nothing to do with it. When she runs off to meet him she’s partially there to assess his personality. See how he actually acts. And he’s not perfect. But even as flawed characters they ultimately compliment rather than clash. In the books we know she had been courted before and turns down multiple proposals, so she had enough experiences with men to know where she stands. Eloise was never going to settle for the first man who liked her, or even the first man she thought she might like, and in fact, so many happily married women have that story of “wow, if I had married the guy I was with at 18 it would be a disaster.” Eloise is getting that with Theo.

Because imagine Theo and Eloise long term. Imagine their verbal sparring when they’re fully on Theo’s turf, with Eloise as his wife. His condescension would get old so fast with Theo always having the upper hand. Eloise likes the buzz and mental stimulation of their banter, but ultimately she’s a woman who likes to be right, and likes to feel like she’s being heard and respected. Theo likes the novelty of a woman like Eloise, but prefers when he’s in the teachable position- giving her books to read, taking her to rallies, etc- and not when her needs don’t line up with his desires.

I won’t claim to know how they’re going to do Phillip in the show for Eloise’s season, other than what we all know the changes they’ve already made to his backstory with Marina and the twins. But I do think counting him out already by claiming Theo is “perfect” for Eloise is a pretty shallow read on what’s been seen and what’s still possible for her.

[elthadriel]

💜 surprise kiss / impulsive kiss for Cody/Waxer/Boil?

It’s really just a combination of unfortunate positioning and having been awake for long enough that Boil had forced himself to stop keeping track.

Boil’s helmet comm crackles, Butcher’s voice coming through patchy and full of static. “Commander Cody, this is LT Butcher reporting.”

Cody’s helmet hangs at his waist, visor smashed beyond all reasonable use. He speaks into the comm at his wrist instead. “Butcher, report.”

Boil’s throat constricts, anxious nausea rolling through his stomach.

“Made contact with Waxer and his unit,” Butcher says. He sounds as tired as the rest of them, but the relief in his tone gives away the good news even before he continues. “All accounted for. Some minor injuries to attend to, and then we’ll join you at the extraction point.”

“Minor injuries?” Patchwork says from somewhere behind Boil. “After the scare they gave us they couldn’t have mustered up something more dramatic?”

Boil barely hears it. The news takes a moment to sink in, for the numb dread he’s been nursing to be replaced with jubilant relief. It only takes another moment for him to remind himself where he is, and the professionalism that’s expected of him. Unfortunately before that second realisations hits he does something uncharacteristic and provides Patchwork with the drama he’s looking for.

Boil rips off his helmet and grabs the man closest to him, laying one right on the man’s mouth. He realises what exactly he’s doing as soon as their mouths make contact and then he’s wrenching himself backwards, eyes wide.

The only saving grace is that Marshal Commander Cody of the Third Systems army looks more confused than annoyed.

The silence is uncomfortably dense. The longer Cody stares at him the worse it gets, morphing into something that squirms in Boil’s gut and makes him feel like a cadet still too young to have been fitted for their first set of armour.

“Sorry, sir,” he croaks. “I didn’t mean to…”

He looks around frantically, looking for some sort of help. The rest of the men are either staring with the same horrified expression as Boil would aiming towards himself too, or very deliberately not looking. Maybe there are still Seps left after all. Maybe they can mount a surprise attack and save him from his own stupidity.

”Didn’t mean to what, lieutenant?” Cody asks. The confusion has faded into a terribly familiar expression. Cody’s eyebrows are raised in a challenge and Boil is too busy dying of mortification to even consider how he might avoid the trap he’s about to be walked into.

Boil’s going to open his mouth and make it worse. He doesn’t have any other choice.

“I…” he says, mouth too dry to continue. He’s going to combust and Cody is going to watch with mild amusement. Boil licks his lips trying desperately to find his voice again.

He probably can’t taste Cody. It’s probably just his imagination.

Patchwork is an excellent sergeant. He’d earned himself a reputation by throwing himself on a grenade and saving Commander Tano’s life two weeks after she was deployed. It seems he intends to make a habit of it.

Patchwork whistles.

Cody’s eyes snap away from Boil to Patchwork.

“Something to say, sergeant?”

“Always, sir,” Patchwork says, hauling himself to attention.

Boil takes the mercy his brother has shown him and slams back on his helmet, hiding his flaming face and shuffling away as quickly as he can manage. Cody will notice anyway, but he doesn’t turn back, accepting Patchwork’s noble sacrifice.

“So when I ask for volunteers to inventory what’s left of our ammo, I assume that means you plan to offer you and your squad.”

Patchwork doesn’t hesitate. “Of course, sir.”

Cody snorts. “Get to it then.”

Patchwork’s squad groans, but hoist up their kit and follow after the martyr.

Boil manages to pretend that Cody isn’t looking at him again until Cody huffs. In the corner of Boil’s eye Cody loosens up, expression finally softening into amusement. Boil glares at his kit as Cody approaches—Cody might not be angry, but that doesn’t mean Boil can stand the embarrassment of continuing the conversation.

Cody doesn’t stop, but passes close enough that he can reach out and clap Boil’s shoulder.

“Not while we’re on duty, trooper,” Cody says.

Boil splutters, jerking his head up just in time to see Cody smirk before he’s all business again, returning to organising the rest of the extraction.

Waxer might not survive today after all—he’s going to die laughing when he hears about this.

[dianight]

Perhaps some day we could have a serious conversation about why despite her amazing character designs and great variety in body types compared to other mangaka, Kui Ryoko still chose to have all but one (two arguably) of the characters with an active leader role in the story of Dungeon Meshi to be men.

Spoilers below.

It is a fantastic manga, to quote a post I've read a while ago (paraphrasing), Dunmeshi is 95 chapters long and no panel is irrelevant. But! Out of all the groups in the story only one is led by a woman (elf queen) and she does not actually participate in it.

Laios' party has Marcille, but she is at best "second in command" if you will, as much as Chilchuck is.

Kabru's party, the orcs, the governor(s), the gnomes' party, the canaries, Shuro's party, the dwarfs and even the golden kingdom (Delgal and Thistle). Fionil and Doni are minor characters and they're a party of two, we could assume both share the "leader" position.

One can find excuses to each of those choices, but at the end of the day the choice was made to make them men.

Kabru could have been a woman, it would not change anything at all.

Zon and Leed could have swapped places, with the older sister leading and taking a less violent approach to the hotheaded younger brother.

Either/both of the governors could have been women, no difference.

The leading, more vocal and abrasive of the gnomes could have been the old lady and the quiet one the old man. I struggle to see if anything would change at all.

The canaries are mostly women, and they were led by Milsiril back in the day and the queen leads them, technically. Still, the choice was made to have Mithrun in the role of Mithrun with everything it represents. Could it have been the younger sister that has her love stolen by the older one, would the dynamics be the same? Tempted to have the life she could not get by the demon, getting eaten (but not fully!) and seeking revenge? Would Milsiril spare her this time? We can't tell, Mithrun is a man. It was a choice made by Kui-sensei.

Could Shuro have been a woman? Seeing as he's the fantasy equivalent of a japanese young lord(!) probably not(?) in terms of how it would be presented. A young lady with her entourage chasing after her unrequited love and getting beaten to it by another lesbian? Sorry but this looks like the kind of ntr I enjoy now. But I don't think it would be the same conflict with Shuro/Marcille and Shuro/Laios. It could(!) work, but not in the kind of story where (almost) all the leaders are men.

Could the dwarves have been women? I don't see why not. Senshi could have been inspired by a mother figure (or older sister) as much as he was by his mentor (whether you see it as a father/older brother/something else figure). All the women in the party starving while the young kid survives? I won't even call it sexist (<- not joking).

Could Delgal have been a queen instead? What about Yaad being a princess? Or Thistle, still a jester but a woman now? Which manga readers thought he was, for a while. It would require an author that doesn't put the importance on the king while the queen is irrelevant.

Am I overthinking things? There are a lot of important characters who are women in the story of Dunmeshi. People have jokingly described the plot as a lesbian trying to resurrect her girlfriend, and it would be accurate although not fully correct.

But the issue remains that all leaders except for the elf queen are men. I don't believe it was by chance. It might have been a deliberate choice for reasons that I can see, or it might have been completely unconscious when designing the characters and writing the story.

What a shame.