#I just think it's more thorough

[jemmahazelnut]

Juvia for the character bingo?

I adore Juvia, I’m the only one who can speak about her and I know her better than anyone, even Mashima himself.

No, ok, of course I'm kidding, but premise: if you are a Juvia-and-Gruvia stan, this post is not for you, because I don't care about the version of a perfect and adorable Juvia who deserves the world because she's pretty and never done nothing wrong in life etc. Likewise, if you're a Juvia-and-Gruvia hater, this is no place for you, because I literally don't care if you think she's a horrible canon person who deserves to die and disappear off the face of the earth.

If you are Juvia stan and Gruvia hater (I know you exist somewhere), this is the place for you (or if you are indifferent to Gruvia, or if you like it but you are not avid shippers proclaiming Juvia as the ideal girl. Actually, idfc what you think about the ship, I just know that shippers and antis generally think in compartments and don't want to question anything, so if you belong to one or the other category, go on and see other posts).

So, now let's make two things clear before starting the discussion.

Juvia is not a lovely girl, nor is she a good person. Juvia is a fucking messed up person who has good intentions, but having not lived in a good place most of her life she has unhealthy relationships with many people, highly questionable behavior, and a very bad relationship with herself. She is also a strong and cruel woman who can kill, she will and she has already done. And despite all that, she deserves the love, but more importantly, she deserves a fucking painstakingly detailed development arc (and no, if you tell me there's no forgiveness for her, Ill get pissed, everyone have had a development arc, Jellal, Laxus, Gajeel, Cobra, Sting, etc. but Juvia doesn't deserve it? Don't even talk to me).

I won't explain all my ideas about her in this post, otherwise it would get very long because trust me, I have an Odyssey in mind, but basically:

Juvia is a girl in love with the idea of love. She has lived her whole life alone and desperately wants to make friends and find her life partner, so as soon as she meets someone who is even a little bit nice to her, she becomes morbidly attached, as indeed she did with Gray. But she doesn't just do it with him, she also does it with her friends, so Lucy, Cana, Erza, and other people in the guild. As soon as someone extends a finger of hers, she takes the whole arm and craves that affection that she always sees in others. At the same time, she's not good at showing affection in the normal way, so she does weird things, and usually she's overly pushy and willing to literally go out of her way to get anyone to accept her. She sacrificed herself for Cana, so yeah, she would literally do anything, and she doesn't understand the limits of people, so as long as someone gives her something, she takes, takes and takes. She is also very insecure of herself, so it doesn't take much, a miserable 'no' and she risks going back to being the lonely rain woman and that she annoys everyone with the weather she brings with her. When this happens, she leaves the guild because she is afraid to annoy her guildmates and return alone (Lucy and Natsu always join her and stand by her in those moments).

She has a complex relationship with Gajeel, but he's also probably the only real friend she has, at least in the beginning, because she doesn't feel this need to continually affirm her affection for him. She's not even afraid of him leaving, because Gajeel has already seen the worst of her in Phantom Lord, and he's stayed, and she knows that he will stay by her side because he's one of the few people who understands her. (Then Cana will also become friends with her in a similar way).

She is an unnervingly strong sorceress, let's not forget that she was an S-class level in Phantom Lord. She was cruel too, she killed people with the Water Lock, and she wouldn't hesitate to do it if she saw something that reminded her of her childhood.

Speaking of her childhood, she was awful. From an early age she was considered a cursed child because she brought rain everywhere, for this reason her parents put her in an orphanage. She had no idea, and after spending her early years in an orphanage with everyone staying away from her and bad-mouthing her, she went looking for her parents. She hoped to reunite with them but when she found them, they did not recognize her, and badly kicked her out of the house saying never to be seen again. She moved to a village and tried to live alone, but still everyone annoyed her and told her to leave. One day someone annoyed her so much that she seriously injured him by trapping him in a water bubble and suffocating him. Since then, she has escaped from there.

She tried to remove the magic herself, with dangerous methods that put her life at risk, but it was unsuccessful (I have a whole arc in mind on this omg). She even pushed herself too hard with her magic that she nearly died. Probably in a very dark period of her life she also thought about ending it. This until she entered Phantom Lord. There, for the first time, she found a place that accepted her, and she immediately understood that the stronger she was, the more she was accepted. That's why she trained hard and became ambitious, she wanted to surpass all wizards, she thought that as she got stronger, she would have more friends. And more or less, that's how Phantom Lord worked. She was also able to use her power to its fullest, because nobody cared to use good methods, she could kill and she did it without hesitation, especially when she saw cruel people who reminded her of her parents or the people who they bullied. She felt somehow at home.

She then entered Fairy Tail, and for the first time she saw the sun thanks to Gray, which is why she thought that Gray was her life partner and so she became attached to him.

From here my version completely changes from the canon, or rather, initially it's similar with her becoming obsessed with Gray (but not only with him, also with Lucy and Cana and the other guildmates), then as she goes on making mistakes, understands how to actually build a true and healthy friendship. She learns to love herself and to understand what she really wants other than 'not to be alone', and discovers that she is actually very ambitious, she wants to be strong, she likes to be strong, not just because she likes admiration, but precisely because she likes to be able to protect her loved ones. She's always fucking creepy when someone touches her loved ones, like, you know the scene on Tenrou where she's fucking creepy when Meredy talks about killing Gray? Well, yes, Juvia is like that, only not just with Gray, but with everyone in the guild, touch someone dear to her and she will kill you, absolutely and without remorse.

She also remains a romantic, a person who adores small gestures of affection, a clumsy, she loves children but never knows how to behave with them, she is a very manual girl, she knows how to paint, but above all she knows sewing clothes or building accessories, girls always come to her and she is always happy to give them gifts. She is also a mega emotional and sensitive girl, when she feels an emotion, she feels it to the nth degree. When she's happy she gets loud, and infects everyone with her happiness showing it to the world, when she's sad no one can cheer her up, when she's angry you better run.

She understands that her relationship with Gray is complicated and one-sided, and she tries to act better and walk away from him when he tells her he's not comfortable with her. When she does that, Juvia discovers that in reality she is happy even without him. Like, she's a friend of Gray, a close friend, but she understands that her love was in her head. Then they cultivate a beautiful friendship, which if you want can also become true love (or not, you decide, but there must be that passage of self-understanding first. Actually, I'm a bit indifferent to the ship but whatever).

And then I'll stop here, even if I have things to say about the relationships she could have with other people, primarily with the Thunder Legion (in my opinion she gets along very well with all of them and also with Laxus), with Gajeel (their friendship is complex and that's okay), with Lucy (they are bestie fight me), with Erza (Juvia admires her), with Lisanna (Juvia listens to what the Edo version of Juvia was like and thinks about herself), with Cana (a bestie much more sincere than Lucy, she doesn't mince words when she has to make it clear when Juvia acts like a bitch), with Mira (these two girls are actually more similar than it seems), and that's it, now I stop.

It would have been faster to write a fanfiction.

(However I don't think this version is very far from the canon.)

[s0fter-sin]

i need ghoap frantically making out against a door finally taking the leap on their feelings. need ghost grinding against soap, expecting to find him just as hard as him, only to feel nothing

and in all his wisdom and experience, he concludes soap was tortured and never told him

he’s trying to think of a delicate way to say he understands, that he’s been through it and it doesn’t change anything about how he feels (and who the fuck touched him so he can hunt them down and rend them limb from limb)

meanwhile trans!soap’s just trying to find the best angle to grind his cunt on ghost’s thigh

just it never even entering ghost’s head bc he’s never known a trans person but he has met plenty of people who’ve been tortured - himself included - so of course that’s his logical leap

soap takes off his shirt and he sees his top surgery scars and ghost asks if he wants him to kill the one who did it and soap just hums like, “actually, man did pretty good, they healed real well,” and ghost’s just teary-eyes with awe at how well he’s coping, “looking on the bright side, that’s my johnny.”

imagine he thinks johnny was fully castrated but sees he’s determined to still have a sex life with him so he buys packers and straps to help him bc hell yeah healing and soap’s just like, “holy shit i’ve never had such a thoughtful partner before, such a sweet man, lt.”

[mikesbasementbeets]

ok. look at these.

look. that's the same look. right?

let's take a closer look. to do that, i'm gonna have to zoom in a bit on the first one. because, as you can immediately see, the shots are slightly different. the first is a little farther away, showing both mike and el, walking next to each other, whereas the second is much more intimate, a closeup on mike's expression as he looks at will's face in the foreground. a minor but telling difference about the levels of emotional intimacy in each scene.

so, moving past that first element of contrast, let's look at each shot in full, because in both of these scenes, mike goes on a bit of a face journey before he gets to that final smiling expression, seen above.

personally, i think studying actors' body language and micro-expressions is inconclusive at best, but i won't deny that these look similar. however, it's pretty clear to me that they aren't the same.

toward el, i see confusion, intrigue, maybe pleasant surprise, followed by a glance down (to emotionally process and/or watch his step), and then a nervous but friendly smile.

toward will, i see awe, relief, and overwhelming affection, followed by a shy glance down and a slight schooling of his slack jawed expression into a warm smile.

but, again, that's just my interpretation, and i can't say with any certainty what the intention of all of finn's micro-expressions are. but from my perspective, even a surface level viewing of these two expressions depicts a very different emotional experience. however: there's no denying the connection between these two scenes. they clearly mirror each other, just like a lot of things about mike's relationships with el and will mirror each other. i don't think that's an accident.

whatever you think his sexuality is, mike is undeniably in a romantic narrative with el. beginning in season one episode three, when the concept of their romantic relationship is introduced, the narrative arc mike and el share is heavily focused on that relationship. the first scene above actually happens in that same episode (s1e3), not coincidentally almost directly afterward. and the former scene, with mike, lucas, and dustin behind the baseball field, provides very interesting context for several reasons:

first: bear with me, because we're going back to look at the context behind this context. this is only episode three of the show, but already there's a lot going on, both in text and subtext.

and since we have the entirety of their relationship so far presented to us on screen, when lucas accuses mike of looking at el romantically, we're easily able to go back and figure out where he got that impression: we can examine every time lucas has seen mike look at el at all.

the first night, after finding el in the woods instead of will, and while insisting that the next day she'd be gone and they could focus on will again, mike's behavior is directly reminiscent of benny's. taking el in, and providing her with shelter, food, and clothing.

the next day, after learning that she's in danger and changing his mind about pawning her off on his mother, mike infers that she might know something about will. when lucas arrives, he exclaims that she recognized him and knew he was missing.

later, when lucas tells her that will is their friend, she asks what that means and mike explains. a friend...

and then she displays that she might really be able to help them find will. and mike looks at her like this:

each and every one of these interactions is directly related to will. but lucas, through the omnipresent lens of heteronormativity that surrounds boys' interactions with girls (especially a group of boys who have no experience with girls... more on that in a bit), only seems to consider the fact that mike's behavior, which is undeniably about will, is being directed at el.

throughout season one (and beyond, in more subtle ways), will and el are repeatedly connected to each other through the trope of mistaken identity. will is abducted on the same night (and due to the same series of events) that el escapes the lab. hopper, in his investigation into will's disappearance, keeps running into clues about el. and mike, lucas, and dustin, sneaking out in episode one to search for will, find el instead.

later in the season, hopper eventually realizes the truth of his own more overt mistaken identity arc: while he was under the assumption that he'd been following will's trail, he'd actually been following el's. interestingly, the realization is triggered by one specific distinguishing difference, which tells him beyond a doubt that he's been looking for two different kids: their art.

though much more subtle (aka hidden in the subtext), mike's arc with his feelings about will and el follows a very similar pattern. the main difference, though, is that in season one, the swapping of places is eventually reversed but never acknowledged as such, and mike ends season one with el now missing and will back in his life, but a lingering sense of something yet unresolved.

second: (i'm not going to deep dive into this one here, because it's a whole analysis in and of itself, but i need to mention it because it is relevant) this scene introduces the recurring motif of superheroes being directly connected to mike's feelings for el, which is an association we see follow them all the way into season four and become a defining metaphor for their incompatibility.

third: lucas is the character who first introduces mike's romantic feelings for el into the narrative. and instead of giving any indication that lucas' interpretation is correct, mike's reaction is... difficult to read. his response is immediately defensive, both verbally ("what are you talking about?" "shut up, lucas,") and physically (leaning away and shielding himself when lucas hugs him). we can infer from the original character descriptions why mike might be defensive about this subject:

obviously, this description is only a vague impression of what Mike Wheeler became, but it's clear that the core elements of his character outlined here did come to fruition on screen. here, mike's insecurity is linked both to the bullying he undergoes, and to his inexperience/ineptitude with girls. and it's presented as key to his character motivation (the original concept of his character arc put forth here is very straightforward: at the start, mike has insecurity centered around bullying and is romantically inexperienced. by the end, mike has courage against monsters and romantic experience.)

in any case, this scene is the first hint of this aspect of mike's character in the show itself (the earlier scene of bullying in the show focusing on mike consoling dustin over what he’s being bullied for (“i think it's kinda cool. it’s like you have superpowers or something!”)... see my last point here… mike holds the idea of superpowers in high regard, and they are consistently connected with his feelings about el. something about the mistaken identity through-line feels apt here: mike mistakes his feelings of admiration for el as feelings of romance.) in this scene, mike is confronted with both romance (in direct relation to himself for the first time in the show) and bullying.

but due to the way this is shot, it's impossible to get a read on what mike is truly feeling. it reminds me a lot of another scene, actually...

in both of these scenes, mike's genuine emotional reaction is hidden from us. in the first, lucas forcibly hugs him, teasing him about how much he "loves" el, and in effect introducing the idea of el as a romantic prospect to mike. in the second, el hugs mike tightly, her hand still around his neck from their kiss and his arm trapped in between them, similar to the way he shields himself from lucas. we're then shown that he's signed the card on the flowers squished between them "from, mike." hm. so... not love, as lucas suggests.

we come to learn over the course of season four that this is something mike is actively struggling with: his inability to "love" el in the way that she wants, expects, and deserves. this scene, introducing that season-long arc, conceals mike's true emotional state and motivations from us, again, mirroring the first introduction to their entire romantic plot line way back in season one.

(an aside: lucas' "if you love her so much, [then] why don't you marry her?" aka the inciting event of their romantic arc, is a based on a conditional statement with the hypothesis that mike loves el. as mr. clarke might posit (in, say, season one, episode one): what's the difference between an experiment and other forms of science investigation? ...well, an experiment is a controlled test of two or more variables against a hypothesis. does that remind you of anything happening in mike's romantic narrative? something about...... [murray voice] experimenting sexually?)

anyway. then, after extracting himself from el's embrace, mike finally drops his bag(gage) and opens his now empty arms to will, before preemptively cutting himself short with a punch to the shoulder.

...did someone say internalized homophobia?

and then immediately upon being introduced to argyle, mike is called out for his presentation here not being genuine. ("it's a shitty knock-off,"/"i really thought it was ocean pacific...") we're being told that something about mike's performance is not what it seems (and may even be a case of one thing being mistaken for something else).

and speaking of homophobia...

fourth (and finally): this scene, of lucas' teasing mike about his "love" for el, which i'll remind you again is tied directly to lucas mistaking mike's behavior regarding will as being solely about el, is quickly interrupted by an onslaught of homophobia, during which mike is specifically targeted (read: tripped) by the bullies.

the juxtaposition is immediate and obvious: mike's friends lovingly teasing him, even embracing him, over a crush on a girl vs. bullies maliciously taunting them about will being killed for being queer and then physically harming mike.

(there's also something to be said about the later scene in which these bullies force mike to drop his bike in the woods and chase him to the edge of the quarry, mirroring exactly how the cops assume will must have died... and, to be clear, i'm not saying that mike himself is being bullied for being queer in the way will was. no, mike's queerness is invisible to those around him in a way that will's isn't, so his relationship with it and the ways it affects him are hidden in subtext.)

which brings us directly to the following scene in the woods. el asks about mike's injury (sustained from the aforementioned bullying, thereby linking these two scenes even more concretely) and with a little prodding ("friends don't lie"), he opens up to her about what happened, and about being bullied at school. she listens, tells him she understands (this also follows her recent flashback of brenner's abuse in the lab), and they share a "cool," "cool," and a smile.

so... let's quickly jump over from here to the van scene with will. something similar, yet notably different, is happening in this scene, leading up to that infamous smile at the end. mike is sharing his insecurities with will now, but instead of will prodding him to open up, mike, prompted only by will's "she's gonna be okay," begins rambling so much about his insecurities (while speaking in superhero metaphors) that he eventually cuts himself off, saying it's "stupid." instead of letting him brush it off, will guesses exactly what mike is afraid of: "you're scared of losing her." he gives him The Painting (a symbol of his love for mike) and a long speech about feeling lost and different, while insisting upon mike's value (you're the heart, leading us, inspiring us, etc). and then they share a "yeah?" "yeah," and a smile.

so we can see the similarity in the way the shots are set up, the progression of the conversations, and mike's visible reactions. but we can also see distinct differences, all of which together inform a significant difference in emotional weight between these two scenes.

while mike's conversation in the woods with el takes place in the third episode of season one, at which point mike has known her for less than 48 hours, the van scene is in the second to last episode of season four, and is the fourth of five heart-to-hearts mike and will have this season alone (and following three previous seasons and beyond that years of close friendship). it is also arguably the climax of their shared arc this season. on the other hand, mike and el's season one moment is part of the introduction to their storyline, and the introduction to their romantic arc. in this moment in the woods, mike is looking at el romantically (did you think i was gonna argue that he isn't? because no, he definitely is). in fact, this is the beginning of mike's entire romantic arc, which sets out to address the foundational insecurity that is key to his character. we, as an audience, right alongside mike, have just been told (by lucas) that mike has romantic feelings for el. and then we are presented with this scene. we are supposed to view this as romantic. because mike is starting to view it as romantic.

had stranger things been one season long, then the climax of their romantic arc would have been the kiss they share in the cafeteria, followed by the denouement of el's symbolic death (the gay implications of which i could write another whole essay on...). but the end of season one was not the resolution of mike's full romantic arc. by the nature of the five act structure (which is what stranger things has, being five seasons), the entirety of season one serves as exposition for our full narrative. which means, in effect, that the entire arc of mike and el's season one relationship is there to serve as groundwork, a foundation for mike's complete five season arc. season one, starting from before he even meets el, all the way through to when he eventually kisses her and then loses her, is only act one of that arc. the first act of five act structure is when the driving conflict is presented. so in the context of the entire show, for us as the viewer, mike's narrative arc surrounding the romantic aspect of his insecurity begins with his season one "romance" with el.

and we know that this insecurity is an element of the full five-act narrative, rather than being presented and wrapped in the course of the mini "self contained" narrative of season one, because we can see plainly, three seasons later, particularly during mike's heart-to-hearts with will, that this insecurity has not yet been resolved. we know this, on a basic level, from having watched mike and el's relationship struggles progress, but it is still explicitly laid out for us in season four. and will is consistently the only person who genuinely hears mike out, encourages him to open up, and addresses his insecurities, instead of brushing him off, like most other people in his life (including will at some points) have done. will understands him in a way el only claimed to in season one.

looking back to the character outline: mike has now "kiss[ed] a girl" and even "had a girlfriend" and still hasn't resolved his insecurities even remotely. in fact, after the first season arc wraps up, this romantic relationship becomes the main source of that insecurity. his difficulty navigating a real romantic relationship with el is the basis of their arc in season three. and by season four, mike is consciously struggling with being unable to tell el that he loves her. despite will's reassurances that things will be okay (which stack onto lucas' constant relationship advice in season three), mike keeps circling back around to it. because he can't move forward on the path he is on.

he has reached a point of no return, like a “fight you can’t come back from.” he is unable to find the security he is searching for in his romantic relationship with el... and this is where we arrive back at the van scene with will.

if the scene in the woods marks the beginning of the introduction of mike's romantic arc, then the scene in the van marks the beginning of the conclusion of mike's romantic arc. if the introduction of his romantic arc (season one) presents his insecurity, then the natural conclusion of that arc (season five) is security. throughout season four, mike lays out for will the insecurity that his relationship with el still brings him. he is unable to find that security with el, and, in the van scene, finds it with will instead.

or, should i say, begins the journey to finding it. because, especially after the lie that brings them into that moment, and then traumatic pizza dough freezer incident, we're still at the beginning of the conclusion. there's still a lot to resolve, but season four (alongside mike, who now understands what he's been going through) finally began moving the subtext of mike's arc into the actual text. and this moment indicates that season five will take that next step to fully, textually, actualizing it.

so, getting back to the parallel we're looking at here: each of these scenes is a catalyzing moment in mike's romantic arc. in season one, when lucas suggests that mike has a crush on el, and then what follows is a conversation with el where she is (to quote lucas) "not grossed out" by him, he actively begins his journey toward resolving this character motivating insecurity. he looks at el and he sees the possibility of romance.

and just look at him. he looks excited. hopeful. a little nervous. but... i want to remind you again: mike has known el for less than 48 hours at this point. this is the first conversation they've had in which they've related to each other as equals. for their entire relationship before this and afterward, outside of their romantic interactions (and also. often. disturbingly. concurrent with their romantic interactions...), mike's role has been as el's protector, a makeshift father figure, the elliot to her E.T. here, though, el tells mike that she understands him.

in season one, mike is twelve years old (read: pre-pubescent). he has no personal understanding of or experience with romance. dustin starts to comment in s1e2, "you're letting a girl...?" and ted later scoffs "our son with a girl?" and outside of the queer coding, what we can take from both of these (which draw back to the original character description) is that mike has no experience with girls whatsoever. (outside of, you know. family. but that's not what this post is about.)

and again, this scene happens almost directly after lucas first introduces the idea of romance between them, both to the narrative, and to mike himself, who, very significantly, up until this point, has shown no romantic interest in el. the sequence of these events is not a coincidence. 1. lucas assumes mike has romantic feelings for el. 2. el and mike have a moment of personal connection and understanding 3. mike "boys only" wheeler puts these two together and assumes the connection between them must be romance. but the expression on mike's face here isn't a representation of already existing romantic feelings. there's no basis for those. again, this moment represents for mike the potential for romance.

which... makes his expression in the van scene hit even harder. because unlike el, will isn't a stranger he barely knows, but rather his best friend of ten years. and it isn't lucas telling mike how mike feels. it's will professing his own feelings about mike, in direct response to mike's self-professed insecurities. (ding ding ding, are your alarm bells going off?) mike's expression at the end of this scene, if we're viewing it as a reprise of his season one expression, is a representation of hope for his romantic future. but this time, heading into the resolution of mike's romantic arc, with all of the knowledge and context we (and mike) have gained over the course of the past four seasons, it's directed at will.

ok. so. with the basic connection between these two scenes established, i'm gonna move a little bit sideways here. at the end of their romantic arc in season one, el disappears from mike's life and will reappears in it, effectively swapping their places (remember that we've been dealing with the mistaken identity trope between these two), and leaving the question of mike's romantic security glaringly unresolved.

and we know why - this is a five act narrative we're watching - but just within the context of the season one arc... the climactic moment of mike finally asking the girl to be his sister kissing the girl was preceded by her locating will in the upside down (leading to his rescue) and followed by a resolution in which she disappeared... and will took her place. at the end of the season, mike is left in the same place he started: playing games in his basement with will, his first attempt to resolve his arc of romantic insecurity, with el, ultimately ending in tragedy.

after season one, this arc picks up again, but this time will is the one present in mike's life. and mike's behaviors toward el in season one, during which they were undergoing a romantic story arc, begin showing up again in his behavior toward will. but unlike with el, mike's particular (read: romantic) behavior toward will happens without outside intervention, and in fact, often in spite of outside intervention. now, this isn't to say that all of mike's behavior with el was a result of others' influence. when el reveals to mike that she is on the run from "bad people," mike is immediately protective and caring toward her. however, as i've already explained, this caring behavior (which, again, we know right off the bat is not romantic because it directly mirrors the way both benny and hopper care for her) doesn't turn into romantic behavior until lucas introduces that idea.

on the opposite side of the spectrum, right from episode one of season one, mike's behavior toward will is fully self motivated, even in the face of opposition.

and as we move through season one and beyond, we can see that mike continues to rely on constant guidance in the way he cares about el (particularly and most consistently from lucas).

stranger things is, at it's horror filled core, a coming of age tale. like many of our other characters, mike's full character arc, romantic and otherwise, is about self-actualization. from the very conception of the show, his insecurity is presented as a central character flaw to overcome, while also being directly linked with his romantic fulfillment. the overcoming of this fatal flaw, the resolution of his romantic arc, and his final achievement of self-actualization are all inextricably intertwined.

the reprisal of this specific expression of romantic hope as we enter the end of mike's romantic arc is not an indication that mike is in the same place emotionally at the end of season four as he was at the beginning of season one, just with a different person now. instead, it is an indication of his romantic arc coming full circle. mike began in a position of hope for his romantic future with el, only to have the actualization of that hope (their romantic relationship) gradually degrade his romantic fulfillment and self-esteem. the longer mike and el are together, and the more serious their romantic relationship becomes, the worse mike's insecurities become. this is, i would argue, directly related to the fact that mike's pursuit of a romantic relationship with el is not due to his own genuine desire, but instead a combined result of heteronormativity (lucas assuming mike's feelings for el to be romantic), compulsive heterosexuality (mike's subsequent assumption that his feelings for el must be romantic), forced conformity (mike's attempt to resolve his insecurities firmly within these heteronormative boundaries, under the assumption that a rejection of these boundaries is unacceptable), and the trope of mistaken identity that has been following will and el since season one.

and of course i don't know with any concrete certainty what season five will contain, but based on the narrative so far, and optimistically expecting a satisfying resolution to his character arc, the actualization of his romantic hope regarding will is going to lead to true romantic fulfillment and coincide with his self-actualization (a big part of which is coming to terms with his sexuality).

now, i'm not going to conclude this whole analysis by saying, "and that's why mike is gay!" because while i think this all is a good indication of that, based on all of the context and my impression that this narrative is being presented in a way that focuses on the subtext and deeper symbolism of each of these relationships rather than being a case of specifically el vs. will, you might still have a different interpretation than me. that's fine. however, i am going to end by insisting (me when i argue with the wall), based on everything i've laid out, that this parallel and others like it (ie parallels between byler & miIeven's romantic arcs) are not evidence of mike's feelings, specifically whether they are genuinely romantic or not. this parallel serves as a narrative device in his romantic character arc... the conclusion of which is mike realizing and coming to terms with the fact that he is actually in love with will, and not el.

just to be very clear, i'm not saying these parallels alone are proof against mike being bisexual, but i am saying that they are not evidence in support of his being bisexual. again: they do not indicate that mike is romantically attracted to el. what they indicate is that will and el are foils in mike's romantic arc.

before i finish, i want to address a couple misconceptions:

1. the fact that mike actively and willingly participates in a romantic relationship with a woman means he can’t be gay. this is straight up homophobia. gold star bullshit. no.

2. mike and el being presented in a romantic light means that they have genuine romantic feelings for each other. this is a misconception of the way narrative tools are used to tell a story. going right back to my first point: it is an irrefutable fact that many gay people have romantic relationships with the people of different genders (read “the opposite sex”) before they come out/realize their true sexuality. it is also a fact that many of these gay people fully believe their feelings to be genuinely romantic before realizing that they are not. as i've already gone over, mike is twelve years old when his romantic arc begins. on the surface, his relationship with el is presented as romantic. he participates in (and even initiates) romantic behaviors because he believes that his feelings for el are romantic. in seasons one and two, mike is one of our main POV characters. we can see a romantic tilt to the way some of their scenes are shot because, to mike, while they are happening, they are romantic (keeping in mind what i said before about mike having no experience and therefore no personal knowledge informing his perspective, AND keeping in mind that many of these on-the-surface "romantic" scenes are also consistently subtextually linked (read: paralleled) to familial relationships for both of them... and i haven't even touched the cultural context surrounding homosexuality in 80's. there's so much nuance informing the way this story is being told). and we, as the audience, are supposed to read them as romantic on first viewing, because otherwise the season five plot twist, revealing the truth of mike's feelings, would not work.

it is not a coincidence that the active degradation of their romantic relationship (outside of all of the other context, parallels, symbolism, family coding, etc, that are there to hint along the way that things are not as they might seem) begins full force in season three, at the exact point when the two actually enter a real relationship for the first time, and also when our characters are entering puberty, the time during which a person's sexuality (in a general sense, but also in regard to sexual orientation) begins to fully emerge. after his season one arc with el, mike underwent another season-long romantic arc: this time, with will. it's more subtle, because (i believe) mike doesn't realize yet that it's romantic, but it's there. then at the end of season two, mike makes a choice: he encourages will to dance with a girl and he dances with el, re-writing their tragic ending from season one, but now leaving his romantic arc with will frustratingly unresolved, again mirroring the sense of unresolution from season one: mike has swapped out the end of each romantic arc with the wrong love interest.

and then in season three, now having had the experience of both romantic arcs, and now, for the first time, with both will and el right there beside him, all we can see anymore is the overt contrast between the two relationships, depicted most blatantly through the same type of visual and narrative "parallel" we've been looking at here.

but at the end of this season, instead of making a choice, mike's choice is made for him. he has a romantic moment with will, and then el kisses him, confusing the resolution of these two romantic arcs once again.

mike's season four arc closely mirrors his season one arc (searching for one love interest with the other by his side, mistaken identity trope abound), but with important distinctions: 1. mike is a little older, a lot more experienced, and has a better understanding of both the context of romantic relationships and the scope of his feelings for both el and will. and 2. mike's only real guidance in season four comes from will, and he doesn't simply listen and act based on will's advice, as he did with lucas' in seasons 1&3. now, he fully engages with will's input, pushing back against it when he doesn't agree, and accepting it when he can acknowledge its truth (up until, of course, our fourth (and hopefully final) tragic, incorrectly resolved ending). mike is finally taking control of his romantic narrative in a way he hasn't previously, and the direction it's heading in now is toward security, self-actualization, and will.

so the point of all of this is: nothing is as simple or straightforward as it may seem on the surface. the narrative has always been deeply complex and layered with subtext and symbolism. and most of all, when interpreting the meaning of anything presented directly to us on screen, context matters.

also uh. yeah, mike gay

[serpentface]

may i have the 10 wholly unasked for paragraphs of semen retention belief lore please 🙏

Ok

MEDICAL MODEL:

The philosophical core of Wardi medical model revolves around the universe’s primal dualism- it exists in between the extremes of Sea (cold wet dark female) and Sky (hot dry bright male). These forces are sterile and stagnant when separate, God emerged at their interacting boundaries as their synthesis, capable of creation. Life itself required God’s sacrifice of Its living spirit and the shedding of Its blood, which rendered sterile earth fertile and inhabitable and kicked of the perpetual death-rebirth flow of living spirit that maintains all life. The body is a reflection of this primordial state- it is maintained by the flow of living spirit (contained in the blood), and its core matter is an interactive mixture of primordial Hot Sky and Cold Sea, Warm in balance, with male and female physically differentiated by the presence of primordial extremes- the male has Hot testes, the female has Cold womb, the interaction of these extremes allow for creation.

(I promise this will have to do with semen retention eventually.)

Blood is understood as carrying the body’s living spirit, the animating force whose proper flow maintains life and health by balancing the body’s primordial extremes. Semen is a type of blood, given Hot nature by its isolation in the testes, and also carries the living spirit. It functions as the active seed of the living spirit. It is the Hot element planted in the Cold of the womb, the mingling of these forces allow for creation, and insemination with living spirit creates a living body that can host an immortal soul. (Wardi belief describes two souls- a living spirit that animates and maintains the body and an immortal soul that houses the mind).

Male gender designation revolves almost entirely around the testes, the Hot extreme of the body where semen is (assumed to be) produced and stored. In addition to its procreative functions, the testes are an organ whose function is to masculinize and strengthen the rest of the body. Each organ requires the proper flow of healthy blood/living spirit to function properly, and thus loss of this living spirit must be performed with great care- bloodletting in offering is highly controlled, bloodletting in medicine is carefully selected and done in accordance with balancing procedure. Since testes are regulated specifically by the living spirit in semen, semen should not be discharged with reckless abandon.

SOCIAL SEXUAL NORMS:

Cultural ideals for sexual behavior revolve around moderation and self-restraint. Sexuality itself is not demonized. There is nothing wrong with nonprocreative/nonmaritial sex in of itself (unless it is adultery on the part of a woman (male adultery is ostensibly bad too but is rarely treated as gravely), or a girl losing virginity prior to marriage, or it violates a litany of gender-sexual norms), but sexual RESTRAINT is an expectation.

Having an active but controlled libido is idealized, particularly in men. A man who is an absolute paragon of ideal masculinity has a libido, but is not ruled by it. He does not masturbate and rather seeks a partner for sexual release. He usually has a wife for this, and otherwise is capable of the patience and restraint to attain a quality sexual partner rather than finding the easiest release out of desperation. His partners are suitable to proper male interest, being good looking women or pretty beardless youths (going for 'unseemly' women or older, masculine men (so long as one performs the penetrative role) is not wholly unacceptable but suggests desperation and a weak control of libido).

This is an IDEAL and not strictly enforced- very few people will think you’re a weak failure of a man for jerking off sometimes or bragging about fucking some random tail, and hiring sex workers is entirely normalized (and will only be condemned if deemed notably ‘excessive’ and disruptive to a normal patriarchal role, or truly symptomatic of being unable to get laid without paying for it). Rather, if someone is already identified as a weak or effeminate man, ‘excessive libido’ may be cited as a cause or symptom, or rhetoric to criticize them.

THE SEMEN RETENTION:

Encouragement of semen retention/regulation stems out of both of these forces. Proper masculine social/sexual behavior encourages a limitation to discharge of semen, and medical thought deems it necessary for physical masculinization. A man who does not 'excessively' lose semen via an uncontrolled libido is thought to be physically more masculine- it is assumed to directly make the testes larger since they are Storing More Cum, but also to deepen the voice, assist in the growth and maintenance of the beard, and generally enhance strength, mental acuity, and vitality. Men are regarded as innately physically and mentally stronger than women, with the medical model slapped on as one of the means of explaining patriarchal norms (in addition to spiritual concerns of pollution and metaphysical vulnerability). Regulating semen is one of many behaviors that allows a man to stay this way.

This is also an element in why 'effeminacy' in men is linked to hypersexualization- there is an assumption that men who are physically or behaviorally non-masculine have exaggerated, uncontrolled libidos. Effeminancy or ‘softness’ in men is a failure to perform a wide set of behaviors and not strictly an accusation of receiving penetrative sex, but this is often an element- a man who receives is presumed so desperate and out of control of his libido that he will submit to debasement and shame for fulfillment (an un-masculine man who cannot be a penetrative partner could at least retain his dignity by having enough self-control to abstain entirely).

Some scholars, high ranking warriors, and politicians will (at least claim to) be functionally celibate and refrain from all discharge of semen in order to function at peak performance. This total abstinence is rare and NOT culturally mandated, and is often looked on with a little snide derision as a tryhard performance. More commonly, men will attempt to live a life with a controlled libido, and may temporarily abstain from sexual activity leading up to situations that require physical and mental acuity (combat, debate, sport, etc).

Of most concern to the average day to day person is accidental loss through nocturnal emission. While this is harmless every once in a while, it is cause for concern if it occurs frequently- your body is discharging part of its living spirit completely outside of your control, you are directly weakened by this and you don’t want this happening on a regular basis. Recurrent, frequent episodes may indicate polluted blood, or outright inhabitation by evil spirits.

The only level on which semen retention tends to be actively, directly enforced is with children. Teenage boys are typically discouraged from masturbating (especially during the early stages of puberty)- retention of semen masculinizes the body, therefore will contribute to a healthy and normative puberty and should be preserved at this vulnerable time. It is considered normal to chastise and punish a pubescent boy for masturbation. This is seen as preventing him from harming his health, and to teach him to regulate desire and exercise self control, one of many facets of shaping a boy into a proper man during this critical time. This norm does not contribute to children developing lingering psychological issues AT ALL.

Wardi traditional medicine is a holistic methodology of spiritual/physical treatment, using a base system of items (foods, animal parts, herbs, metals, stones) with Hot or Cold properties and individual Essences to manage imbalances in the body and it's blood/spirit flow and dispel evil spirits. This medical system (and related subdivisions of folk medicine) is commonly used to treat nocturnal emissions, and may also be used to lower libido and/or discourage teenage masturbation. These are largely medicines with Cold properties and noted anaphrodisiac Essence. Eels are a big one- given that eels, obviously, are sexless and emerge from river mud, their bodies are anaphrodisiacs and consumption of eel meat/eel based tinctures can lower libido (this should be done with caution, as it also lowers fertility in humans and animals). Medicines may be directly applied to the penis, this does not interfere with the intended function of the testes but subdues excess lust. Phallic amulets are worn regardless of gender and have holistic nonsexual protective properties, but may also help defend against nocturnal emission. Other medicines are worn in sachets that are tied around the hips during sleep, often weighted with lead. In very severe cases (mostly associated with other dysfunction), the penis or testes may be infected with polluted blood and should be bled.

---

Tangent: If the Wardi community had reddit you would occasionally see threads like "DAE eat their semen after masturbating so you don't actually lose any?" and most responses would be "no wtf" but there would be a decent number of people going "omg yes I thought I was the only one" "I mean that's kind of weird but I guess it makes sense if you really think about it" and then one very angry commenter ranting about how, No, eating your semen DOES NOT suffice as mitigation of the loss, this is why so many boys are SOFT AND EFFEMINATE these days, the men of old NEVER jacked off and NEVER ate their own cum and had MUCH FULLER BEARDS AND LARGER TESTICLES.

[cosmichorrorlesbians]

what's your dissertation about? you mentioned it in the siltcord and i'm really interested

oh my god hey I'm so happy you're interested! broad strokes because I've only been working on it for a few weeks but: the current theme is 'resistant landscapes' (both man-made and natural) in the later writing of Shirley Jackson!

Essentially, my main thread is that Jackson had two parallel strands to her work, which as far as I can tell began kind of interrelated but then diverged quite significantly? She's probably best known now for The Haunting of Hill House and to a lesser extent We Have Always Lived In The Castle, which are these. weird surreal psychological horror novels, engaging explicitly or implicitly with the supernatural, and centred around introspective, strange and sometimes deeply misanthropic female characters from isolated social units with dysfunctional, possessive relationships to each other.

Aaaaand then on the other hand she was known for being a 'happy housewife' who wrote these whimsical, quasi-autobiographical stories about all her children and how hopeless her husband was. These were popular too. Betty Friedan called her out in landmark 1963 feminist manifesto The Feminine Mystique for essentially spreading patriarchal propaganda.

The interrelation between the two is really jarring, because in one family is a source of horror and tragedy and in the other it's a source of, like... laundry. And Jackson's home life wasn't everything those stories made it out to be-- her marriage was unfaithful, her mother could probably be fairly called emotionally abusive, and as I talked about on the siltcord, she developed severe agoraphobia which often left her housebound.

So, yeah. My plan is to explore the depiction of families as constructed social units in dialogue with the environments they are constructed in in that work. Obviously a lot of that is relation of house to family, in the context of which Hill House is especially rewarding to consider, but I also want to look at relationships with nature and urban environments (especially in the context of settler colonialism and how that has had an enduring legacy in Jackson's particular part of New England), xenophobia (largely in regard to class, though racism and anti-Semitism are presences in her writing), domesticity and the idea of the housewife, and how horror relates to All Of This. The ideal of making a home within a hostile environment and of that environment turning on you, essentially.

I don't yet have particular areas of focus within that broad umbrella, but I might update with bits and pieces about it as I work? I don't really talk about academic stuff on here but I am very much Critical Literary Analysis Guy and I do also post relentlessly about haunted houses as a concept so if people would be interested in it maybe I will

anyway if you've read this far I recommend Horror in Architecture: The Reanimated Edition (2024) by Joshua Comaroff and Ong Ker-Shing which is a book about how horror movie tropes can be mirrored in built environments! I'm reading it right now and it's conceptually fascinating plus fairlyyy comprehensible by academic standards (if a little dense) if you, like me, are a Fool who knows nothing of architecture. very good also for getting to look at pictures of some of the most Fucked Up Buildings (affectionate) you've ever seen.

[magicwhiskers29]

Day 5 – messages

AU where for some reason they both get stuck in the barn anyone?? I think it would help to highlight some interesting parallels

Happy PL Yuri Week and Flora Friday!

[saints-who-never-existed]

Gore's death being overshadowed by Franklin's is one thing but Franklin also completely overshadowing Bryant's death is another thing entirely, and I want to talk more about it.

Our bright brother, Lt. Graham Gore

vs.

It took Bryant. He weren’t no best man.

Like, damn. The only posthumous mention he gets and it's not even a kind one...

[wutaijiemei]

後世人再會......

[quaranmine]

I did a CPR certification class yesterday at work (my first ever) and my conclusion is that if someone drops dead in front of me, they're probably gonna stay dead because I am so. bad. at it. I'm just not strong enough lol. I have real trouble delivering the compressions at a consistent high quality and going deep enough. Good news is that if this ever does happen to me, they're already dead, so there's not much WORSE I could do for the situation.

Anyway the more insulting part of this is that I literally bruised my hand doing it, so I was going at it hard enough to hurt myself but not hard enough to actually save a person LMAO

[carnivalcarriondiscarded]

ccan you share any facts about the lights out au :3

i can try!

one thing i'm trying to incorporate that they get a Lot more puppety once the lights go out - their expressions can no longer change! Frank's frown is fixed! i've been holding off on this a bit since trying to imagine like... Barnaby getting mad but it's just this fuckin blank muppet face kills me but. hey what if they all had eyebrows that were built to move- also it's Important to the "Plot". and if i need expressions to show emotion, i'm failing as a writer

Wally gets a skin cardigan

as time goes on the Goop™️ kinda gets a mind of its own. it finds spare puppets - or puppet parts - to use as a shell. mix'n'match, horror style!

my original design for butterfly Howdy was made for this au. do with that what you will

over the years, Wally reads a lot of books - they teach him quite a few things that he would have never known about otherwise, even if he can't fully understand half of what he reads. how does one know what whisky is - beyond a drink - if they don't know about alcohol is?

Wally makes "friends" with some critters that start living in the studio. though he thinks there's one rat - he doesn't know to call it that - and like... one roach - he also doesn't know to call it that. so he thinks the same few strange creatures are around, when in reality it's a bunch. they keep getting consumed by the Goop

Poppy sets up the post office to be more liveable / pleasant. both for a sense of normalcy and it's just something to do! she makes it nice and homey <3 to the best of her ability <3 she can't really see what she's doing <3

[sssaturnsnake]

uh oh guess who’s getting (back) into starkid

[the-judicial-assistants-notebook]

I see your tags on the Wocky and Alita art, I would love to hear your thoughts on Alita actually!

I only need one person to show interest in what I have to say for me to talk forever and ever, thank you. HAHA Okay, in seriousness, this won't be as thorough/long as the Klavier post because... there really isn't much to her, but I find it extremely interesting how Alita falls into the same category of witnesses as April May and Dahlia without being — and I mean no offence to her when I say this — stunning? Like, with April and Dahlia, there's a very clear mass appeal to them which most people point out. Contrariwise, Alita's appearance is really only commented on by Trucy, and just glancing at her portrait, you can see that, without her slightly outlandish fashion, she's frankly nothing to write home about.

So why am I discussing this? Surely it's a little reductive to analyse female characters beginning with their appearances? Usually, yes, but that's the thing about this category of witnesses: their pretty faces aren't just pretty faces.

For April and Dahlia, their beauty is part of their arsenal. It functions as both their defence and their weapon of choice; they know how to wield it to bring people under their heel. Alita being ordinarily pretty instead of drop-dead gorgeous deprives her of that weapon and leads you to wonder how she became a mafia heiress to begin with. It also parallels her to Mimi Miney in a way that goes beyond the 'murderous nurse who worked for and killed her awful boss' comparison you get on the surface. Presumably, Alita, like Mimi, only got to where she was because she managed to fool the people around her into believing she was less dangerous than she actually is. Mimi did this by feigning stupidity and inviting people to underestimate her. Alita seems to do this by showing them what they want to see.

When she first meets Apollo and Trucy, Alita stays quiet and spends more time listening to them than she does talking. Once she has a hold on who they are, then she slips into her persona, and I find it interesting how she doesn't even attempt to come across as particularly delicate or lovelorn? Instead she goes for the relatively typical role of a distressed, indulgent loved one earnestly entreating Apollo for help. I'm inclined to say she does this because her read on Apollo makes her realise that he'd likely be exasperated or annoyed by such a person; but it's also almost as if she knows she doesn't have the disposition to pull off that frail, damsel-in-distress archetype and has resigned herself to being ordinary. Like how she looks. The next time she has to reapply her persona, Alita's appearing in court, and again she makes subtle adjustments that best suit her situation. The judge is old, so she takes a chance on expressing her dedication as a wife while balancing her dedication as a righteous citizen, which works. But oddly enough, despite her successes, I don't think Alita is actually good? At donning disguises? Everyone I've seen discuss this case has been able to guess almost immediately that she's the culprit, and maybe we're just prepped by past characters like her that have appeared, but I don't think she's even that convincing in the game.

Both the identities she assumes are risky manoeuvres that happen to fall in her favour, and she's not particularly dedicated to maintaining the front. When she asks Apollo to be Wocky's defence, she admits that marrying him is largely a chance at a more exciting life than some great love story; Plum Kitaki straight up says that there's a darkness in Alita she doesn't like, despite how docile Alita behaves in front of her; and Wocky has moments where he slips up and calls her things like, "imposter" and "fallen angel", implying that at least subconsciously, he knows she's not what she makes herself out to be. Even her general mannerisms don't greatly differ between her actual self and the mask who's blunt her claws — nothing is ever overtly coy or cutesy — and when Apollo brings up the fact she was Wocky's nurse, she drops the facade almost immediately. There's no waffling, no, "Whatever do you mean?"s or, "You're scaring me"s, just the statement, "I don't know what you mean by 'meaning', Mr. Justice!" delivered in a sudden cool, frosted steeliness.

And I think that steel is what really makes her different.

See, the other women are all driven to crime by some defining trait in themselves caused by their circumstances. For Dahlia, it's her desperate need to be free of the Fey clan; for Mimi, it's grief over her sister's unjust death; and for April, it's her fear of Redd White. You don't really get that with Alita. Instead of there being something dark in her life that leads her down this path, she just seems... tired. Tired of being "pretty enough" but not "gorgeous", tired of being the obedient nurse to the corrupt doctor, tired of being ordinary. There's no predatory external force pushing her into a corner, there's no abusive family beliefs pinning her down. There's just an ordinary life, lived dull and ordinarily, and she had had enough. So what does this girl, who's tired and ordinary in every way except the steel that lines her spine, do to get out of this?

She gambles.

Marrying into the mafia was a gamble, seeking Apollo as council was a gamble, shooting Dr. Meraktis was a gamble. Every decision she's made since she met Wocky has been a series of high-stakes gambles that leave her life on the line all so she won't be second-best anymore. This time, she was going to be the one on top. No matter what.

... And I'm sorry for loving evil women, but girlboss?? Girlboss???

I've heard people say they're disappointed that her "breakdown" is just an extension of her usual damage sprite, but it's honestly one of my favourite "breakdowns" in the series ever? Just because it isn't really one? Everything Alita has done up till now has been reckless, calculated risk, of course being convicted for murder is no different than losing in any other aspect of her life. Of course you're not going to get more than her damaged sprite, because this doesn't warrant a more dramatic reaction. She's lived this whole time knowing it could all come crashing down around her, and it finally did.

She made a bad bet. You caught her. Oh well.

The frosted girl of steel, standing tall to the very end. It's kind of sad that, even after all that, she's still seen as only second-best, incomparable to mimi, dahlia or any of the other women who've stood in her place.

[cluescorner]

Canto 6 was incomplete

Literally why are we there? Like, we just go to a manor that's in t-corp I guess. But why are we there? We've got another Heathcliff and he's cool but he just shows up pissed off for no reason and then we leave? Weird af. Nelly, Linton, and Josephine were cool and Hindley...existed. But it's a weirdly low number of supporting characters, and I guess that 1 really important and cool one could have made up for it but that didn't happen. Even the Mili song felt incomplete, like only 1/2 of it was there! Such an odd choice to make at the halfway mark for our 12 sinners. It just feels like a lot of stuff was missing and it's really sad because I was excited for Heathcliff's canto.

[gwensy]

not to say this during pride month but can i be emotionally vulnerable. i do not give a fuck about e65 mattfoggy i think he has more interesting dynamics with other characters

[guinevereslancelot]

applied to a bunch of jobs! 😅🙏

[aleisters]

Regarding your Locked Tomb comments, I completely agree (even as a fan of the series). It's in the same vein as when people are like "Go play xyz game, no I can't tell you anything about it" and then you play it and it's the distinct genre that you don't enjoy. Like, there are plenty of ways to describe the Locked Tomb that isn't just "necromancy and lesbians" but people are so fandom-poisoned that they think that's a good enough description.

Summaries are good! And helpful! Use your fuckin words!!! Ahhhh!

yeah! precisely. and it goes for anything, not just TLT, i just picked on TLT because i see it fairly frequently to the point that i still don't have a clear picture of what TLT is about. which is fine, i don't think TLT is for me from what i do know, so i'm not overly concerned to be honest.

i think people just need sometimes to take a step back and say "what are the themes of this piece? the overarching plot beats? how do i recommend this to someone?"

like, there's a tv show called in the flesh that means the woooorld to me, and i could describe it as "gay zombies". instead i might talk about the basic premise (it's a drama set post-zombie-apocalypse where the zombies can be 'cured' so that they're 'normal' again, and the main character kieren is a zombie who is returning home at the start of the series).

i might talk about it's themes (zombies-as-a-metaphor, mental illness, grief and associated trauma, prejudice and ostracisation, being queer in a small town).

i might then eventually get around to 'the main character is bisexual and his boyfriend(s) are central to the plot of both seasons'. eventually. which i can also summarise as 'gay zombies'

but you can see how i would be doing a disservice to in the flesh if i only ever said it was about gay zombies