#and her relationship to her role and rejection of perfection

[sacrificialalt]

ID: A colored sketch of Pluto from Heaven Will Be Mine with a wide smile, though she's slightly covering this up with the Cradle's Grace sash hanging loosely around her frame. She's surrounded by messy starry and plant designs, and has both the veil of her ship-self and a laurel crown atop her head. End ID

The perfect princess of Cradle's Grace.

[anthyies]

Please tell us about Shiho!

omg hi. shiho suzui my favorite persona 5 npc. i think she was genuinely robbed by not having a larger role like she could totally have been a confidant...

[transmutationisms]

from a non-academic, i find parts of comphet to be useful (heterosexuality becomes compulsory when you’re raised in a heterosexual society) but the foundations . suck. what do we do with theories like this, that have touched on a truth but also carry a lot of garbage? can we separate the truth from the founder?

i have to be slightly pedantic and say that i don't think rich's essay is an example of this phenomenon. my central issue with her formulation is its bioessentialist assumptions about human sex and therefore also sexuality. if i say "capitalism includes economic mechanisms that enforce heterosexual behaviour and exclude other possibilities", then what i mean by "heterosexual" is plainly not the same as what rich means—and for this reason i would seldom formulate the statement this way, without clarifying that i am talking about the enforcement of heterosexuality as a part of the creation and defence of sex/gender categories themselves. so rich and i do not actually agree on the very fundamental premises of this paper! rich was not the first or only person to point out that economic mechanisms as well as resultant social norms enforce heterosexual pairings; i actually don't even think the essay does a very clear job of interrogating the relationship between labour, economy, and the creation of sex/gender; she means something different and essentialist to what i mean by sex and sexuality; and i think her proposed responses to the phenomenon she identifies as 'compulsory heterosexuality' are uninteresting because they mainly propose psychological answers to a problem arising from conditions of political economy. so, in regards to this specific paper, i am actually totally comfortable just saying that it's not a useful formulation, and i don't feel a need to rescue elements of it.

in general, i do know what you're talking about, and i think there's a false dichotomy here: as though we must either discard an idea entirely if it has elements we dislike, or we accept it on the condition that we can plausibly claim these elements and their author are irrelevant. these are not comprehensive options. instead, i would posit that every theory, hypothesis, or idea is laden with context, including values held and assumptions made by their progenitors. the point is not to find a mythical 'objective' truth unburdened by human bias or mistakes; this is impossible. instead, i think we need to take seriously the elements of an idea that we object to. why are they there? what sorts of assumptions or arguments motivate them, and are those actually separable from whatever we like in the idea? if so, can we be clear about which aspects of the theory are still useful or applicable, and where it is that the objectionable elements arise? and if we can identify these points, then what might we propose instead? this is all much more useful, imo, than either waiting for a perfect morally unimpeachable theory or trying to 'accept' a theory without grappling with its origins (political, social, intellectual).

a recent example that you might find interesting as a kind of case study is j lorand matory's book the fetish revisited, which argues that the 'fetish' concept in freud's and marx's work drew from their respective understandings of afro-atlantic gods. in other words, when marx said capitalists "fetishise" commodities or freud spoke about sexual "fetishism", they were each claiming that viewing an object as agentive, meaning-laden in itself (ie, devoid of the context of human meaning-making as a social and political activity) was comparable to 'primitive' and delusory religious practices.

matory's point here isn't that we should reject marx's entire contribution to political economy because he was racist, nor is it that we can somehow accept parts of what marx said by just excising any racist bits. rather, matory asks us to grapple seriously with the role that marx's anthropologically inflected racism plays in his ideas, and what limitations it imposes on them. why is it that marx could identify the commodity as being discursively abstracted and 'fetishised', but did not apply this understanding to other ideas and objects in a consistent way? and how is his understanding of this process of 'fetishisation' shaped by his beliefs about afro-atlantic peoples, and their 'intelligence' or civilisational achievements in comparison to northwestern europeans'? by this critique matory is able to nuance the fetish concept, and to argue that marx's formulation of it was both reductive and inconsistently applied (analogously to how freud viewed only some sexuality as 'fetishistic'). it is true in some sense that capital and the commodity are reified and abstracted in a manner comparable to the creation of a metaphysical entity, but what we get from matory is both a better, more nuanced understanding of this process of meaning-making (incl. a challenge to the racist idea of afro-atlantic gods as simply a result of inferior intelligence or cultural development), and the critical point that if this is fetishism, then we must understand a lot more human discourse and activity as hinging on fetishisation.

the answer of what we do with the shitty or poorly formulated parts of a theory won't always be the same, obviously; this is a dialogue we probably need to have (and then have again) every time we evaluate an idea or theory. but i hope this gives you some jumping-off points to consider, and an idea of what it might look like to grapple with ideas as things inherently shaped by people—and our biases and assumptions and failings—without assuming that means we can or should just discard them any time those failings show through. the point is not to waste time trying to find something objective, but to understand the subjective in its context and with its strengths and limitations, and then to decide from there what use we can or should make of it.

[loriache]

honestly i'm kind of interested in the idea of laios in an arranged marriage. because obviously straight-up inherited monarchies are ...bad, to say the least! but it's what the characters are familiar with (even laios' father's extremely local, extremely minor leadership role is inherited, presumably through the male line). and it isn't just about what they think the best way to run melini is; in terms of ensuring that the other longed-lived nations respect melini's continued sovereignty, having it passed down in a manner that's close enough to their own ways for them to understand it and respect it is important. And it seems like most of the other nations have leadership through inheritance - thought that isn't confirmed for certain except with the elves.

Also, a marriage carries the potential to establish foreign allies - something melini is certainly lacking. A marriage could come with resources they'll badly need, treaties of mutual defence, money, legitimacy and political capital... not that these things can't be worked around, but if laios isn't strongly opposed, there are a lot of advantages! and i don't think he would be, because that's the framework for marriage (conferring practical advantages, building intracommunity relationships and providing a partner to do important work that he can't do) that he had grown up with. he isn't exactly a romantic and I doubt he's holding out for any sort of relationship of that nature.

Like, I don't think it's impossible that they would go with this path, because it's the most obvious and it carries a lot of advantages and it's what almost all the decision-making characters would consider normal and not objectionable. and it could be so interesting.

I think Laios would have major hangups if expected (i.e., by Marcille) to establish a genuine, romantic interest in a woman. Whether because of his sexual or romantic orientation, or just his own deep-seated trauma about rejection and being inherently disgusting and scary. And I think he'd hate the idea of having kids, too, and be very frightened of being like his father. But I don't think he'd refuse on that basis; he could cope with a marriage contract, with clearly laid-out expectations and responsibilities. And when it came to having a kid, I think he'd be reluctant to express that he doesn't want to do it, because he isn't naive and he understood when he agreed to be king it would carry responsibilities like this. It's clear from his nightmare that he already felt pressure from his parents to have children, probably magnified by the fact his father has got a position, responsibilities and wealth to pass on. Obviously he isn't a perfect martyr, so he might struggle when it comes to actually going through with it - but I don't think he'd actually, outright refuse. I think he might do it even though he doesn't want to, and I think that could be really messy in a way that appeals to me.

I don't know, there's something about negotiating these kinds of complicated situations that's interesting to me. and i love a platonic marriage. If they find a woman who has an interest in education, for example, and can work with marcille on setting up schools and universities. she'd ideally be politically savvy enough to be an able partner to laios: even though kabru can and would continue to do a lot of that, there are different spheres that a queen and a prime minister can work within!

how would their relationship work? maybe she finds laios' perspective on the world, and his frankness, unexpectedly liberating after an extremely controlled, cloistered upbringing. maybe she had a rebellious phase, has magic, or something else which makes her a relatively unpopular candidate for marriage - even as melini grows in power, i doubt that they'd be getting offers for the cream of the crop in terms of perceived value on the marriage market, because laios' relationship is a bit too ambivalent/monstrous for that, and melini too new. maybe she's a widow! an older woman, wouldn't that be cool - though they'd want her young enough that she could definitely still have kids.

certainly i think he'd be happy for her to pursue other relationships, though ideally in a manner that couldn't produce illegitimate kids. with other relationships in play, that's even more interesting. like, both kabru and toshiro have complicated emotions relating to infidelity. i think kabru would actually find it quite cathartic to be in the kind of high-status environment that rejected his mother for perceived infidelity, pursuing an affair that all parties consent to, though he'd likely be incredibly aware of the public image - since "image" is what he was rejected for. toshiro... i just really really love the way he'd feel about being the "other woman" in laios' marriage, considering his feelings about his father and maizuru. especially given how much closer he is to maizuru than his mother, being in her position...! his emotions would be so complex, it's incredibly tasty. i bet he'd make a bunch of assumptions about how laios' wife feels about it and be totally wrong, and that's so interesting. also, i think laios' wife should fuck marcille (she and falin have an open relationship).

[sugar-grigri]

Miri does the chair as much as Denji

The chapter confirms the suffering of the hybrids who turn out to be the "weapons" (thank you Fujimoto for confirming at least one of my theories).

But let's go into a bit more detail in this chapter, which only talks about alienation and never about freedom.

What better title than 'A Chair's Feelings', which is a perfect antithesis.

I have the feeling that something specific has happened, let me explain.

Firstly, Fumiko Mifune plays her role as Denji's guard perfectly. She's not protecting him as a person but as the property of the public hunters.

How does she do this? Firstly because she sticks to Denji, but more importantly she seriously disrupts the discussion between Denji and Sugo.

Every time Miri puts an advantage on the table, she questions it. A high position in the church? Chainsaw Man deserves to be guru.

Steak every day? We're getting tired of it, other dishes would be preferable.

The public hunters represent the opressor who uses Denji as a tool. In other words, the entity that Miri is trying to remove Denji from.

But what's particularly interesting is that Miri doesn't demonstrate free will and spits out someone else's arguments.

What's even more fascinating is that Miri thinks he's going to convince Denji with his own arguments, which turns out to be in vain.

Miri seems like someone who operates on principle and has taken on board concepts such as dignity and freedom, which he now intends to protect. Denji doesn't think like that; he needs concrete arguments to engage him.

For example, Miri presents Denji as his liberator. This has no effect on him, as he was unaware of it because it was Pochita who was fighting. Once again, we're projecting onto the figure of Chainsaw Man the image we'd like him to represent here: the first weapon to free himself from the oppressor that was Makima.

But Miri is far from imagining that not only was Denji not conscious, but that he consciously 'saved' Makima by allowing her to become a new version of herself who would be cherished and loved. Because Makima was never the oppressor, she was merely the object of the Japanese government, which surely also used a few weapons.

That's why I think Miri's way of presenting himself is a step backwards. I don't know if it's intentional, but the way his name appears in the dialogue bubbles and the suspension points…… The syntax is important. Miri knows that his name is just a number given to him by his former oppressor.

In fact, that's why he calls Fumiko "sushi-woman" or refers to the students as rubbish; he doesn't think of them as they never thought of him.

Sugo has no intention of forming a relationship with the humans, whom he seems to reject, which clearly shows that weapons are used by humans, not demons.

But Denji grimaces when he sees that he is so easily popular and integrated, and that he would prefer to be rejected.

Miri rejects humans, wanting only to make friends with weapons, while Denji continues to define himself only by humans. One holds a grudge and wants revenge, while the other still prefers integration. Which already demonstrates a fundamental difference.

Swordman's arguments move from the abstract to the concrete. He starts by talking about abstract concepts such as gratitude (Denji saved him), freedom and having a community, and then starts to integrate the concrete.

He already includes food by using the precise line that Denji had used, namely steaks.

Miri isn't interested in the debate about food, deploring Denji's interest in it, and reiterates in a cruder and more brutal form what he was saying before, "being used by bastards", instead of talking about instrumentalisation and freedom. And again, he has to push Denji to confirm this.

It's obvious that Miri, who presents himself as the messenger of the church, either sent by someone or is carrying out someone's order, is contradicting himself and is not yet free. As Fumiko points out.

When Miri confronts Denji, who is still in the chair position, Denji has a more interesting response than it seems: being a chair suits him because he can feel buttocks against his back.

Being a chair means contact, and physical contact with girls. Even if it's a rather perverse line (and far from the most poetic), it shows that Denji is once again interested in being a chair if it allows him to make contact with his own kind. That he has no abstract concept built in like self-esteem or claiming his dignity.

Even becoming a friend is too abstract for Denji, who doesn't react. He will only react when new physical contact is mentioned, reacting unusually comically.

Miri mentions this last argument as a last resort, leaving as if he was already sure it would be pointless. It's as if someone had told him to mention low, childish things like steak and sex because they were the only things that would convince Denji.

There's a clear dichotomy in Miri's speech between the arguments that convinced him (surely used by the church to hire him) and the other kinds of arguments that would convince Denji, whispered to him by someone in the church who knows Denji.

Who knows Denji? No hybrids, they don't have any memories, so surely not Reze.

I like to imagine that it's Kishibe, since the steak and sex with several girls are explicit things that Denji mentioned in front of him when he proclaimed his dream.

He was also the only one to observe the fight between Pochita and Makima. So he's the only one who can tell us about the hybrids' past. If we support his link with the hybrids through Quanxi...

It all ties together!

If we go back to the title... A Chair Feelings. It takes on a whole new meaning.

Note the use of the indefinite article "a" and not "the" when only Denji is doing the chair? Wouldn't a chair be a broader metaphor and category? The chair would be the form of alienation accepted by the weapons. Still not freedom.

In short, Fujimoto questions one thing: is the man who claims to be free so far removed from the man who makes the chair ?

[violetasteracademic]

Hi , I want to ask if you think Lucien was always meant to have a rejected mating bond with an Archeron sister ?

Hello lovely anon!

So.... this is a tough question to answer- because where does always begin in the writing process?

Does it begin in the first draft? Does it begin in the wild prophetic visions you have at three am that you want to scribble down but you don't because you are trying to sleep, but still, it lingers? Does it begin in a beat sheet, a plot outline, a Pinterest board?

I'm not sure if SJM always intended a rejected mating bond. To be completely honest, I go back and forth. I think that Sarah has let a lot of things slip that she wrote that were never going to even be submitted to her editor on a first draft (like the famed Nesta/Cassian/Azriel batwich, RIP and I'm still waiting on SJM to write a threesome). And yet when she shares those things, people almost consider it canon and analyze it to death and use it to prove certain things. At some point, she probably really genuinely considered making Lucien and one of the sisters a couple, but I can't say for sure where in the process that died.

I remember seeing Emily Henry share on her stories recently an addition to her "RIP" character list- as in characters that she had written that literally did not even make it into the book. The first draft of Beach Read was actually a love triangle, involving some local guy who owns an ice cream business or something of the sort who is also trying to romance January. I can see what she might have been trying to do there- give January two options reflecting two sides of her. Ice Cream Steve (not sure if those details are correct but we'll go with it) would have served as a perfect foil to Grave Digging, Bleak Literary Fiction Author Gus. But ultimately, Ice Cream Steve did not even make it to the book. Do we treat him as real? Do we wonder if he may have been a better fit for January? Do we analyze what this means for January and Gus?

I'll get a little bit into the technicality of what developmental editing is and how it can completely reshape a story, erase characters, create characters, and shift their storylines, but what I do know is this- the function of Lucien being assigned an Archeron sister, any Archeron sister, is completely clear: To win him over to the Night Court as an ally and embolden him to help Feyre get away from Tamlin. This is absolutely critical. Lucien's role in the story since this hasn't developed romantically because he is mated to one of the Archeron sisters, it has spun off in a new direction plot wise with the Band of Exiles, Vassa, Koschei, and the human queens- which also develops a tentative relationship between himself and his brother Eris again, with his mating bond hovering in the background. However, his mating bond began this new direction, and it wouldn't have existed without it:

Lucien would not have left if it were not for the mating bond. I believe that is the element that was always true. Lucien's mating bond, be it with Elain, or Nesta as originally planned, was always going to be a plot device. And I can answer where I believe the story of a love triangle at the very least began its groundwork- which is A Court of Mist and Fury. I personally think that as of publishing ACOMAF Lucien and Elain were already done, fizzling out in the developmental editing process, and Azriel and Elain were endgame, but I'm open to those who see it differently.

Before we move on, here are the different types of editors:

A development editor basically edits the story at large. They focus on elements like theme, character development, plot holes, ECT. When dealing with a series, often times an author will provide a detailed packet to their developmental editor before doing dev runs. This is because the developmental editor needs to understand where the story is headed. They need to understand what needs to be appropriately foreshadowed, what themes to highlight, and keep their eye on the big picture so that everything comes to a well developed, emotionally charged, and thematically satisfying conlcusion.

What is clear to me is that Azriel and Elain were being developed emotionally and thematically in ACOMAF:

These are the types of passages that focus on the big picture. Before Feyre's sisters have become Fae, Feyre is musing on what her sisters would be like in Velaris. She thinks about how Nesta would like it, despite herself, and become fast friends with Amren (true) and how Elain would like Velaris, but she would cling to Azriel for peace and quiet. True. Feyre considers how handsome Elain and Azriel would be together if he ever stopped loving Mor.

Developmentally- what is the purpose of this? It's the same book that Lucien and Elain's mating bond is revealed, so why muse on Elain and Azriel as a couple if Azriel could get over Mor, which he now has because of Elain? Meanwhile, Elain is engaged. Feyre doesn't say a word about that. She sees how her sister would want to be with someone like Azriel, and Feyre doesn't even think twice about Graysen because Azriel is right for her sister. This isn't Feyre being an unreliable narrator. Everything else in this passage came to be true.

These are the types of moments developmental editors hone in on to make sure theme and foreshadowing are strong and successful.

Of course this is already after the beautiful moments Azriel and Elain have together- Azriel getting shy and self conscious before dropping one of the most beautiful lines in all the books about being born hearing the song of the wind. Elain already being able to read Azriel- looking to him and smiling and finding comfort and assessing his countenance to see if everything is going okay.

If I'm a developmental editor, and I wanted it to be really clear why Lucien and Elain were right for each other- why would I keep all of this in? Why tie Elain and Azriel together thematically and emotionally? So again, this is where the question "where does always begin" comes into play. Did SJM realize in her first draft that Nesta and Lucien weren't going to work, so she switched to Elain, only to realize that Elain and Lucien don't have chemistry either? Was it after a developmental edit? I can't say for sure on that end. Maybe ACOMAF truly was just setting up a love triangle, but personally I think Elain and Az were always endgame as of the books being published, and trying to explore Elain and Lucien as a couple probably died out before the final draft of ACOMAF and SJM realized Lucien still needed to be mated to one of the sisters, thus ideas about the rejected mating bond started stirring instead and then were hit HARD in ACOWAR. I can see the argument that the door was being kept open for Lucien in ACOMAF, though I personally think Lucien's mating bond reveal was strictly a plot device. But what is extremely clear is that as of ACOWAR the path was set in stone.

Again- these are the things where, not to take credit away from Sarah, a developmental editor really comes into play. If Sarah is going, okay- who is Lucien going to end up with? Nesta? No, it can't be Nesta, even though that was originally the plan. Elain? Maybe, it could be Elain. What does that look like? Maybe it was Lucien and Elain in the pitch packet. Then a developmental editor goes, okay- where are we headed? What are the themes? What are the character arcs and growth we are looking for?

Then we move on to ACOWAR, and both of them were developed to have a theme of choice threaded into their interactions:

What these moments make clear is that the mating bond makes it impossible for Elain and Lucien to get what they truly want out of love with each other- for someone to love and choose them beyond the circumstances placed on them. Lucien wants this just as much as Elain does. They are now thematically connected in that way- in wanting to be chosen above all, despite everything. That's where this Facebook comment makes soooo much sense:

Nesta didn't have any growth or healing to offer Lucien, because thematically there was not really anything there between them. Nesta and Cassian also had this instant, intense connection that could not be ignored or played slowly. Nesta also didn't lose her fiance, she herself saying she had as little at stake in Velaris as she did on the other side of the wall. Nesta had anger and resentment. Elain had loss, which on the surface could thematically match Lucien, but then we dig deeper to learn that they aren't only needing to heal from the loss of love, they are needing to heal from the loss of choice.

Elain was engaged to a man who hates fae. And Elain was always going to become Fae.

Lucien had his history and story with Jesminda since book one. He thought Jesminda was his mate. The woman who loved him for him, not because he was a High Lord's son or because of any other High Fae customs Lucien rejects. This is where you see the development. Lucien and Elain could have worked on an incredibly surface level, both of them having lost their first loves, but deeper themes revealed themselves that showed they mirror each other in a way that doesn't make them right for each other, but that allows them to face what needs to be faced: being strong and brave enough to choose for themselves instead of letting the world control them.

For Elain and Lucien to have made sense together thematically, everything should have been reversed. Elain should have been mated to Azriel, and then Elain and Lucien should have met somehow and fallen in love, and the choosing each other above all, love trumping even a mating bond, Lucien being chosen and loved without question, without hesitation, would have belonged to them.

But again, without the mating bond, Lucien and Elain wouldn't even have met in the first place and Lucien would not have left Spring. So where does that leave us? The mating bond as a plot device. It was literally required to move the story forward, but thematically is anticlimactic for both parties in terms of the kind of love they want for themselves.

So- was Lucien always going to have a mating bond rejection? Probably not. But where in the years long process did all of this reveal itself? Only Sarah knows that. But I think what is quite clear is that it was always going to happen if we start from what is published in the books between him and Elain.

I think it's very possible that SJM did really intend for Lucien to wind up with one of the sisters. But if you've ever gone through the writing process yourself, you realize pretty quickly how many things fall apart and don't work/make sense/are actually anti-thematic to the characters you've created. Maybe she'll tell us one day exactly when Elain and Lucien fell apart, just like Nesta and Lucien fell apart. But we do have to keep in mind that an author like SJM, who was able to sell a trilogy all at once, probably had to have at least a 25 page packet outlining the trilogy and it's development. So- was it Nesta and Lucien in the pitch packet? Was it Elain and Lucien, because even while structuring a pitch she realized Nesta and Lucien would never work while outlining, but thought Elain and Lucien would? Only to discover Elain and Azriel connecting while drafting ACOMAF?

Writing a book is years of plotting, outlining, writing, rewriting, editing, writing again, and sometimes what you come up with is unrecognizable from the plan. And considering SJM contracted a trilogy, she would have pitched in pretty significant detail what would happen in book two and book three. We'll see what Sarah does and does not choose to reveal!

I think that's everything! I love getting these questions from you guys. I still have a cue in my inbox, and I am sorry it's kind of random when my inspiration strikes and I have a clear answer and can quickly think of the passages and ideas! But I will try to get to my older ones that have been sitting for a minute, I promise!

What do you guys think? I know everyone has different thoughts on this and I love to hear them!

[continentaltheater]

Something many ppl could ask themselves is why is touga alive if he's dead and many ppl could go the easy route of saying that he's only dead in the movie.

The thing is, he's not, he's not only dead in the movie, he has always been dead in all Utena media. Touga saved Utena from drowning by drowning himself in the first chapter in the manga, in the anime Juri tells the story of the boy that drowned trying to save a girl, to which the camera focuses on Touga, and in the movie we see it.

So why is Touga 'alive' if he's dead? For the same reason Akio is, he's the ideal of a prince, he's alive because there's people in this world that clinger to that idealized version of him.

Anthy and Utena cling to Akio. Utena, Saionji and Nanami cling to Touga.

Anthy clinged to his brother for when they were kids, her prince and tried to save him, failed and now that same prince is dead and has been for a long time. That dead prince walks among the living now corrupted and trying to fill the role of a prince that cannot be filled.

Utena clings to the ideal of the prince who saved her and the same role she would imitate. And on the other side of the coin, Utenas ideal of the prince is at conflict with Touga, mixing in her memory two different people that made the first moves so that she could leave her first coffin, thinking now that Touga could have been her prince and gifting him that role too.

Saionji clings to the memories of Touga, his best friend, the one above him, better than him, the one that's better at kendo, more popular, braver, smarter, the one who he shared his childhood with.

And Nanami, oh Nanami, she clings to a fake constructed memory of a perfect brother, the one and only perfect man in her life, the brother who played with her, the one that cared about her, unlike her parents, and clings to the one thing that made her special, family bonds.

She's also the only one that remembers a short haired Touga, no other character remembers Touga like that, whether he ever had short hair before arriving to his adoptive parents house or if it's a reminder on how distorted Nanami's memories are I can't say for sure.

But that ideal is fake and it gets destroyed completely as we progress in the story. Utenas rejects Tough as his prince and fights for herself, Saionji realizes that Touga wasn't the top of the chain, he too could be overpowered, he could act irrationally too, he wasn't perfect, he could love.

And Nanami gets the worse, first thinking the only thing that made her special was fake, she wasn't her sister and as such then she's nothing to him, that it was their parents that urged Touga to treat her like a brother, realizing what her relationship could have become that went far from a familiar bond and of course, thanks to Akio, crossing that same boundary in the Chairman's Car.

In the end, in a world when only Utena was clinging to him he seemed more like a ghost than him. Nanami doesn't exist as we know her, Saionji and the rest of the Council doesn't seem to remember him and in the end, once Utena let go, he disappeared.

Once the ideal memory died he finally died too.

[ninadove]

hi!

i’m so sorry if you’ve already made a post or answered an ask like this before, but i remember you saying a couple times how the lovesquare is queer-coded.

i think that’s such an interesting observation, and i was wondering if you’d be willing to elaborate on that a little more?

i’d love to hear your thoughts!! and thank you for taking the time to read this. :)

Absolutely Anon! Thanks for dropping by! ❤️🖤

I’m sure there are a lot of wonderful, more complete posts on the topic out there — my Sentikids tunnel vision means I don’t always grant other characters/relationships the attention they deserve. That being said, here are some things that popped into my head:

1. Secret identities

You know ‘em, you love ‘em. Secret identities are the core of the show — the very reason the Love Square is a square! Hiding part or the entirety of who you are for safety reasons is a theme most queer people unfortunately relate to, and the great thing is that we get two very different perspectives on the matter from our two protagonists.

For Adrien, Chat Noir means freedom: being away from his father’s grasp (read: from a power structure that tries to sculpt him into something perfect and bland — more on that later) allows him to become bolder, funnier, more like himself or at least more like the person he wants to be — which very prominently features being in love with Ladybug, aka exploring romantic connections outside of Kagami, the only acceptable option for Adrien.

And yet… Chat Noir is also something dangerous. When Chat Noir gets rejected, Adrien tries to renounce his Miraculous, aka to bury this part of himself as far down as possible; when Chat Noir gets unmasked by Ladybug, the object of his affections, IT’S THE LITERAL END THE WORLD (twice and a half now). There’s an entire post to be made about Cat Walker and Aspik and Adrien folding himself into what he thinks Ladybug’s perfect partner should be.

The point is: Adrien being himself puts him (and the people he loves) in harm’s way, both emotionally and physically. You see the themes, I see the themes, we cry together and hold hands.

Marinette, on the other hand, fucking hates being Ladybug for most of the series. She wants to be a normal girl (!) with a normal life (!!) and it’s just not happening. The reason? There’s something about her that no one knows yet (!!!) ‘cause she has a secret (!!!!).

If anything, being Ladybug keeps getting in the way of her romantic shenanigans: she can’t be with Adrien/Chat Noir because Apocalypse, she can’t be with Cat Walker because her Lucky Charm doesn’t like him, she can’t be with Luka because she has to lie all the time! Not only that, it endangers her friendships as well, as seen in The Gang of Secrets. Look at the wording of her talk with Alya in this episode:

“I won’t try to figure it out our force it out of you. If you can’t tell me what’s in your heart… it’s your right.”

“Will we still be friends?”

“Marinette, I’m your best friend, and I’ll always be. That’s why it kills me that I can’t help you with whatever’s making you feel so alone.”

[…] “You know why I broke up with Luka? Not because I don’t like him! He’s amazing! It’s because there’s something that I can’t tell him. You know why I have to forget Adrien? For the exact same reason. You’re right! I keep secrets, I lie all the time, I lie to my friends, to my parents, everyone, and the worst thing is I can’t do it any other way. […] I tell you, things will never be the same between us again, it will mess up everything — maybe even destroy it!

“Marinette, I’m your very best friend.”

“And I… I’m Ladybug.”

If this isn’t a coming out scene, I don’t know what is.

Of course, Marinette progressively steps into her role as a superheroine and learns to navigate her relationships accordingly — but she’s still carrying this secret that sets her apart from the rest of the world. It’s the othering, isolating part of queerness, and it’s really well portrayed throughout the seasons.

2. The Adrigaminette-to-Lukadrinette pipeline

I cannot not mention it, because what the hell was going on here.

Adrigaminette felt less like a love triangle and more like the girls voting themselves out of the polycule in quick succession. We got an entire episode of the three of them running around, holding hands and jumping in ballpits together. Both Adrien and Kagami went heart eyes over Marinette’s loose hair.

Then André came in with his cart and clown shoes and said “Nah you can’t all share the Magical Ice Cream Of Romance. :( Yeah sorry my ice cream is for two people and two people only. :( Also I guess I could serve Marigami and Marigami only but the flavours would taste gross together. :( Don’t look into the subtext too much” HE JUST HAD TO RUIN IT FOR THEM DIDN’T HE

I’m really happy he ruined it for them, for bird reasons, but still. Adrigami is also the one time we get to see Chat Noir ruin Adrien’s love life, and most of the fuel for my aroace Adrien thoughts, but I digress — LUKADRINETTE

Luka is in the unique position of knowing both Ladybug and Chat Noir’s identities, aka the most secret part of their souls, and immediately went in repression mode in Wishmaker upon finding out his two crushes were basically soulmates. It pays off in Migration, when he becomes their de facto safe place, the one person they know has both of their backs no matter what. Just look at the way they all look at each other:

With Marinette knowing she does not have to lie to him anymore and Adrien being Adrien. I’m sorry but in my mind they both independently proposed to him right then and there. This is the timeline I live in now.

Parenthesis over. Let’s get back to business:

3. Feligami Adrinette

By which I mean the themes explored throughout their relationship.

Adrinette’s story has always been about rescuing Adrien from the abusive environment he grew up in, as Marc and Nathaniel so helpfully drove across through their delightful storyboards:

(Note the gender role reversal here, blurring the lines between Marinette and Ladybug as she takes on the role of the knight in shining armour, while Adrien is the princess locked away in her tower… Adrien’s gender deserves another other essay in itself, but for today, let’s just agree that he is Not Cis.)

In S5, this theme escalates into a full-on Romeo and Juliet situation. Gabriel and Tomoe are of course the main obstacles to Adrinette’s happy ending: given A. Gabriel’s history of forcing his son into a mold, B. the strict expectations placed on Tsurugi women and C. the oppressive, uniformly white world they want to create through Perfect Alliance (Perfect!!! Alliance!!! Rings!!! Marriage!!!), it’s not a stretch to see them as the messengers of a certain vision of masculinity, femininity and relationships. You see it, I see it, Marinette doesn’t see it because she’s too busy sobbing on the floor, which finally brings me to my favourite thing ever:

“But Nina!” I hear you protest, “you’re making everything about Feligami again!” To which I reply: first of all, yes I am. Second of all, you can���t stop me. Third of all —

Third of all, characters don’t exist in a vacuum, and this is particularly true of the Adrinette & Feligami quartet. Kagami’s name literally means mirror; Felix is a foil to Adrien, of course, but also to Marinette (and Gabriel and Emilie and a bunch of other characters and I love him so much but let’s not stray too far from the point). Of course Feligami is going to parallel and contrast Adrinette, especially since Felix is Aware of the Themes and Motifs and has decided to make it everyone’s problem.

So in June (!) 2023, a little thing called Representation (!!) aired.

There are sooo many things to say about the queer-coding of the Senti-lore in general and of Felix and Feligami in particular. Today, though, I want to draw your attention to the way the kids talk about themselves at the end of the play, drawing clear narrative links to the Love Square (and most specifically Ladybug):

“You know what it’s like to not be able to love the one you want.”

“To constantly fight to save the people you love.”

“To have to lie all the time and never reveal who you truly are.”

[Wipes a single tear away] They grow up so fast…

At the end of the day, this is what both Feligami and the Love Square are all about: embracing who you are and the love you feel, no matter its form, in a world that perpetually tries to enslave and/or kill you for it. I don’t know about you, but I find it hella queer in nature.

Thank you for coming to my DUUSUTalk! 💙🦚

[museforblooms]

★⠀⠀ ⁄ ⠀⠀TROUBLE IN SHANGRI-LA is the fictional second mini—album released by the idol band BELLADONNA on August 1, 2024 by Superbloom Media. The album was accompanied by two title tracks: HOME and PHOENIX. While Trouble In Shangri-la sold well, it was carried by domestic netizens with a sizeable margin between them and the international fans. In total, Belladonna sold 300,000 units by the end of their first week, which was a 66% increase in total sales, showing just how popular they were becoming. Despite issues with their international fans, Belladonna were everywhere in South Korea during their promotional period and they were given the nickname THE NATION'S ROCK PRINCESSES by the media. In particular, lead singer KWAK YULLI and BAE HAENA became two of their newest darlings.

★⠀⠀ ⁄ ⠀⠀Trouble in Shangri-la is named after the same song from the album, which discusses themes of love, betrayal, loss, and redemption. However, Shangri-la would not be chosen as a title track, not even performed at their comeback stage, for unknown reasons. According to BAE HAENA, Shangri-la serves as a metaphor for an ideal state of mind that has been disrupted by conflict, which can be seen throughout all seven songs on the album. The album has two versions: UTOPIA and DYSTOPIA, with the second selling a considerable amount more than Utopia. DALLAS LINWOOD would serve as the executive producer of the album and would feature OLIVER SONG in a guest role on PHOENIX, though the girls would take more charge in the production side and write all their songs.

TRACKLIST — playlist.

‘ # 001.⠀ ⠀ROTTEN ──── written by bae haena, produced by dallas linwood, and performed by kim wonhui. rotten explores themes of rejection, frustration, and a sense of being undermined in a relationship. according to haena, the repetition of "worm in the apple" emphasizes their perception of themselves as being seen as flawed within the relationship, as if they are unwanted within the sweetness of the relationship. there is a continued sense of self-doubt within the song and the narrator is completely burdened by their own flaws, with the apple representing their identity and being stuck by something small. wonhui was chosen to sing the intro due to her deep, yet hypnotic tone that served as the perfect introduction to the album.

‘ # 002.⠀ ⠀TITLE TRACK. HOME ──── written, produced, and performed by kwak yulli. home is an exploration of longing, identity, and the search for a place or state of security. she reflects on the idea of "home" as not just a physical space, but as a deeper emotional and psychological state. she wanted to capture the nuances of feeling out of place and the desire to want to return to a state of comfort. home captures the theme of loss as well with many not understanding why it was chosen as the title track until yulli went into depth about it on their comeback live. home was well received by fans and earned their multiple music show wins.

‘ # 003.⠀ ⠀SHANGRI-LA ──── written by all the members, produced by dallas linwood and bae haena, performed by kwak yulli. as mentioned above, this song features on themes of love, loss and redemption. it's a vivid picture of emotional turmoil and the search for inner peace amidst chaos, the members reflect on young love that was once vibrant but was tainted by heartache by the end. though their love interest was once unique and someone that they cared about, they acknowledge the pain and shame endured within the relationship. it delves into the complexities of love and forgiveness as well, conveying a sense of resilience as they grapple with the broken promises and struggles with their past.

‘ # 004.⠀ ⠀UNLOVED ──── written by bae haena and kim eulsun, produced by dallas linwood, and performed by bae haena. this track explores themes of unrequited love and the longing for genuine affection as the singer yearns for a morning where the sun shines brighter than angel wings. they have a strong hope for a second chance at love despite all that has happened in the past, which is shown in the chorus through the concept of misplaced love and betrayal. they are pleading to "turn back to love" as they call on everyone to rethink their understanding of love.

‘ # 005.⠀ ⠀PHOENIX ──── written by kwak yulli, produced by oliver song, and performed by kwak yulli. just like the name suggests, this song focuses on messages of resilience and rebirth—that their pain will lead to growth and renewal, just like it does for the legendary phoenix. it's an anthem of hope and strength, completely different from the rest of the songs on the album and yulli stated that it was like a "dream board" for belladonna. she wants the members to look at these shared memories they have together and hold onto their deep connection forged through not only superband, but the two albums that they have released together. she reminds them that they are stronger than they think and even in the darkest times, the potential for rebirth exists.

‘ # 006.⠀ ⠀CONFUSION ──── written by kim eulsun, produced by bae haena, and performed by kwak yulli. confusion explores themes of self-doubt and the struggles with personal failures, reflecting on the singers own perceived shortcomings and the emotional impacts of not measuring to soceity's standards. eulsun revealed in a livestream that confusion is autobiographically and started as a journal entry right after she moved in with her grandparents. she also said it was very "plastic flowers" inspired, which did not go over well on twitter.

‘ # 007.⠀ ⠀WANDER ──── written by kim wonhui and bae haena, produced by dallas linwood, and performed by bae haena. just like the rest of her members, wonhui struggles with her self-worth and the concept that life is a series of trails and errors. she's always been outspoken about her need for perfection despite much of her life being a "beta test" of personal development. she is constantly testing and refining herself even when it gets hard. though the track was primarily written by wonhui, haena was given a songwriting credit for fixing and improving the lyrics at wonhui's urging. in the end, she calls for fans for embrace their imperfections and view them as a larger part of the journey rather than a setback, which was her resolution for the new year.

[pagannatural]

2.09 Croatoan

-my beloved

-The brothers go to Oregon because Sam has a vision of Dean shooting someone who pleads for his life.

-Sam thinks Dean is violent and out of control because of his grief but he’s actually violent and out of control because he’s losing his mind over Sam.

-Sam looks very Scared Little Brother when they realize the town has no phone signal. He stands really close to Dean. Sam is right. I forgot how scary this episode is.

-Sam hesitates to kill the son who had the mom tied up, and Dean berates him. Dean calls the son a “monster” and Sam says “it was a kid.” Dean likes a clean line between monster and human.

-Sam is always the one who comforts the victims and tells people everything will be okay, another way in which his role in the relationship is traditionally feminine. He’s the one women find non-threatening. (And he’s too distracted by Dean to be attracted to them).

-When the mom, Beverly, says “one minute they were my husband and my son and the next they had the devil in them” the camera cuts to Sam and Dean. This line could be Dean describing a blood-drinking Sam: one minute he was my husband and my son and the next he had the devil in him.

-One of the armed men blocking the road out of town asks Dean to get out of the car to “talk a little,” and Dean says “you are a handsome devil but I don’t swing that way, sorry.” It’s easy to forget that in the early 2000s, this kind of throwaway joke on network tv didn’t usually hint at a character’s hidden sexuality, it was just a vaguely biphobic little joke. But I do think there’s a reason it’s here.

The Croatoan virus is a demonic virus spread from blood infection that’s not visible just by looking at someone. So we have a little AIDS parallel. It’s also a similar concept to Sam’s demon blood. His blood represents choice and sin and the human mixed with the monstrous. Blood is also associated with family.

Incest and queerness are taboos that have often been conflated in fiction (and in history), and both have been strongly associated with monstrosity—think predatory sexuality, birth defects, infertility, rejection of the natural order. A desire that’s dangerous and wrong and destructive, that must stay hidden and can only survive in the shadows. The homoerotic incestuous monster hunters are the perfect storm of gothic queer horror.

Whether or not either brother is queer doesn’t affect the plot, and isn’t the point. I can see Dean grappling with being in love with Sam without questioning his sexuality at all. Sam is a category unto himself to Dean, and Sam doesn’t appear bothered about his sexuality aside from his feelings about Dean. But the confluence of these taboos—incest and queerness—with blood is central to the plot of the show and the question of what evil is. Really their love for each other and their shared blood is what saves them, keeps them human.

-Another of my absolute favorite underrated wincest moments is when Beverly is begging for her life from the utility room and Dean asks Sam “are you sure she’s one of them?” Sam barely nods and it’s enough for Dean to shoot her three times point blank. He doesn’t need any more information, just for Sam to nod slightly.

-Sam suggests that they need to leave to warn others of the virus and Dean tells him he has a good point. They respect each other’s input and work together well.

-Duane shows up and the situation becomes very tense. Sam is standing with his whole body facing Dean. In moments of extreme stress, Sam often seeks Dean’s protection rather than focusing on the threat.

-Dean has a gun on Duane with some urgency but Sam says “I gotta talk to you—now” and Dean leaves the room with him immediately.

Sam argues that they should wait and not kill Duane in case he isn’t infected. Dean says “what’s that buy us?”

“A clear conscience, for one.”

“Well it’s too late for that.” Is Dean talking about his guilt over John’s death? Or is this more about his general self hatred around never being enough to be everything for everyone, to give Sam everything that he needs and be the perfect son and soldier and brother and father and mother?

Sam tells him “you don’t act like yourself anymore, Dean. You’re acting like one of those things out there.” Dean does feel lost. He needs Sam to save him so that he can save Sam.

-Sam is so devoted to Dean this season. He spent season 1 gradually giving into his complete trust and commitment to Dean and now he’s been losing him or at risk of losing him in different ways all season. He fights tooth and nail for Dean every step of the way to get him to listen, to talk, to come back to him.

-Dean pushes Sam out of the way and locks him out, aiming to kill Duane. He says “it’s not him, not any more” and “I’ve got no choice.” But then Dean decides not to shoot him.

-When the doctor asks if it’s alright to untie Duane, Dean and Sam seem to have a wordless conversation in which Dean defers to Sam’s judgement, and Sam tells the doctor it’s okay to untie him.

-Sam is Dean’s morality. Dean is submitting to Sam, needing him to help him make the right choice. By doing this he’s also believing in Sam’s ability to stay good.

-Sam says about Dean not killing Duane “you know I’m gonna ask you why.”

Dean replies “yeah I know,” not looking up, focusing on keeping his hands busy making Molotov cocktails.

“So why? Why didn’t you do it?”

Dean looks at Sam with his chin tucked, like it’s hard to meet his eyes. He doesn’t answer. He clears his throat and says “we need more alcohol,” basically asking Sam to leave for a moment so that he can pull it together. He gazes after Sam with this raw, shamed look.

It’s the first of two parallels in this episode to their conversation in 1.19 where Sam says his reticence to date is mostly not about Jessica, and Dean asks “then what is it about?” and Sam just looks at him, implying heavily that it’s about Dean.

The question Dean was asking Sam there was essentially, Why can’t you love anyone else?

The first question Sam asks Dean is why he didn’t kill someone, but it’s also why Dean wants to do the right thing and not lose himself, and the answer is because of Sam.

-After Sam is attacked, he reaches for Dean’s hand to help him up off the floor and then just leaves his hand outstretched after Sarge holds Dean back and tells him Sam is infected. It’s like his muscle memory of reach-out-hand, Dean-pulls-me-up hasn’t caught on.

-The whole time Dean argues with the others about Sam, Sam only looks at the floor or at Dean. He’s not watching the conversation, he’s watching Dean because he’s scared and he looks to Dean when he’s scared.

-Dean says “no one’s shooting my brother”

He’s so protective. He was about to kill someone who might be infected just in case, but when it’s Sam he would simply rather die in a murder suicide and that’s that on that.

-Sam asks for the gun so that he can shoot himself, saying “I’m not gonna become one of those things.” This episode is pure foreshadowing for the end of s5. Sam refuses to become a monster, Dean chooses to stand by him and die rather than kill him. Because of their faith in each other, because they waited, things work out.

-Dean hands over the keys to the impala. He’s not fucking around. He tells the doctor “oh actually we’re not really marshals.” He’s in a truth telling mood, fuck it.

-Sam asks Dean to leave him and keep living, looking at him with incredulity and gratitude and love and fear.

Dean leaving him alone to die or become a monster would fulfill Sam’s deepest fear—left behind, not belonging, because something is wrong with him. But he still asks Dean to go, he throws a fit, he tells him “this is the dumbest thing you’ve ever done.” It reminds me of that scene from Titanic, Jack telling Rose “you’re so stupid” for staying with him instead of saving herself.

He says “it’s over for me, it doesn’t have to be for you.”

“No?”

“No. You can keep going.”

“Who says I want to?”

This scene is so dramatic and romantic. Close shots of their faces, Sam looking up at Dean with his eyes full of tears, begging him. Dean tells Sam he doesn’t want to go on without him.

Sam asks, what?

For a moment it almost looks like he’s taking this as the confession that it is, before Dean puts some distance between them and leans against the wall. This is the second scene is this episode to parallel their conversation in 1.19, this time even more closely.

Sam thinks Dean doesn’t want to go on because their dad died, but Dean says “you’re wrong. It’s not about dad. I mean part of it is, sure, but-“

Sam interrupts to ask “then what is it about?” and Dean gives him this look,

this look of love and tenderness, like he’s willing Sam to understand.

This time Sam’s question is Why don’t you want to live? And the answer is that Dean doesn’t want to live without Sam.

I love how this scene makes clear that Sam’s romantic partners compare directly to Dean. It confirms what Sam was thinking about in 1.19, because for these scenes to rhyme they must have been thinking about each other.

-The brothers share a romantic beer at the lake. Sam asks Dean what he was talking about last night in a way that honest-to-god sounds like he’s referring to pillow talk. Dean doesn’t want to tell so Sam keeps pushing, but their tones are teasing and light. They really sound like they’re flirting. Dean suggests that they go to the Grand Canyon.

Sam keeps questioning him, gentle but insistent, as Dean talks about taking a break.

-Where is our Grand Canyon episode?

-Sam looks so scared when Dean says John told him something about Sam before he died. I wonder what’s running through his head. There’s this feeling that people with Sam’s negative core belief often get, which is a fear that something is deeply wrong or rotten in them and that eventually other people will find out. He’s probably thinking that’s finally happened.

[velvet-games]

fucked up staticmoth time! (no idea if this is good or not lol; I've never written dead dove-adjacent stuff before)

cw for dub/non-con, (extremely) unhealthy relationship dynamics, acephobia, racism

I wrote vox as kind of a disaster bi that fell in love with everyone in favorite, which I thought would be incompatible with aroace vox, but! I think it's perfect actually.

I present to you:

aroace vox who was rejected by everyone, who never had enough actual romantic/sexual experience in life to realize she'd never felt allo attraction (she does love very deeply, just not like that)

asian vox who feels emasculated by the stereotype that asian men are impotent/undesirable and will fight to the death to prove that he does indeed fuck (she doesn't)

transfem vox who is so unbelievably repressed that she overcompensates by playing the role of a dominant, hypersexual man after death

vox who is so immediately enamored by valentino's attention that she interprets the feeling of validation as love

vox who starts to believe that alastor's criticisms of her must've meant he was just a heartless asshole and never really her friend in the first place

(mildly) sex-repulsed vox who learns from valentino that love and sex are supposed to feel uncomfortable and scary

valentino who implies on several occasions that aroace people aren't real; they're just boring prudes who aren't hot enough get laid! sex is a part of human nature, mi amor; relax, it's all in your head.

sex-repulsed vox who loves valentino anyway, because the moments of genuine comfort and affection are special to her

they'll always be special to her, unfortunately

sex-repulsed vox who is so paranoid about valentino getting bored of her that she discovers her hypnosis powers while trying to convince him to fuck her

he still wants to fuck her, right? she's still worth something?

maybe val never really liked her, maybe he was lying about finding her attractive, but vox can make sure he wants to stay. and it's supposed to feel bad when it happens; it's the least she can do to endure it ...

vox who starts to feel sick to her stomach thinking about valentino touching her, but it's just butterflies. she's just nervous. she's just in love.

vox who gets trigger happy and starts hypnotizing val when he shows any signs of being out of her control

vox who eventually can't tell how much the hypnosis has done and how much of val is actually intact

vox who wants to care about that last part, but who does she have if valentino leaves her?

[inamindfarfaraway]

I've seen a few posts comparing GIFfany to Bill Cipher, but can we talk about the real best foil dynamic for her? I mean Gideon Gleeful, y'all. The two of them have so many parallels.

They’re cute, charming, seemingly innocent youths with pastel, sparkly, formal aesthetics that connote sophistication and being model citizens of their respective native countries (Gideon wears a gentlemanly suit with an American flag badge; GIFfany wears a classic Japanese school uniform). Their core motivation is to be loved… or maybe it used to be, but by the time of the show they crave power and want to be worshipped. Especially regarding to their romantic attractions to main characters. As long as you obey them unconditionally and make them the most important person in your life, they’re doting, generous partners. But once the heroes reject their romantic advances, they quickly become incredibly possessive, jealous, resentful, domineering and downright violent toward them and anyone they perceive as sabotaging the relationship, unable to comprehend anyone not liking them in exactly the way they want because they’re perfect. They’re meant to be the most likeable kid or teenage girl ever. That’s the basis of their projected identity. Not committing entirely to them after they’ve been so nice is an ungrateful betrayal and/or their partner being confused and led astray. So they resolve to force the object of their twisted, selfish affection to submit. They’re unstable, arrogant, self-righteous and vindictive in general beneath their sugary exteriors. They have supernatural powers and knowledge that their kind should not have. Their methods include verbal manipulation and abuse, gaslighting, surveillance through technology, controlling robots, possessing other bodies and attempted murder. They engage heavily in acting, both in terms of social deceit and literally playing a scripted, idealized role in a product designed to appeal to and exploit people (Gideon’s psychic tourist trap show; GIFfany’s dating simulator video game), and prove to be fragile and volatile when others don’t follow the conventions of the fiction they imagine life to be. They ultimately seek the imprisonment of their ‘loves’ in vibrant, beautiful, blissful, simplistic fake worlds (Gideon holding the key to Mabelland; GIFfany attempting to download Soos’s soul into her game). They had antagonistic relationships with their creators (Gideon abusing his parents; GIFfany killing her developers).

And despite all of that making it easy to dismiss them as monsters, they do have sympathetic elements in their past and present circumstances. Gideon was a normal boy until he found Journal 2, the one written while Ford trusted Bill, and the mystic amulet. This is how Ford describes them in Journal 3: ‘The most dangerous journal! Curses, incantations & dark power became an obsession in this volume. Describes the hiding place of the mystic amulet. I buried the amulet once I learned that it corrupts your soul (and whitens your hair)!’ So naturally, the wise, brilliant man buried them near the town’s primary school. Gideon probably had the journal and amulet for at least months and at most a few years to be such an established star at the age of nine and have his long hair be pure white. His very psychological agency was compromised throughout his moral decline leading up to “The Hand That Rocks the Mabel”. Not to mention potential trauma from the horrors of Journal 2. And his parents may have been increasingly mistreated, but they also enabled him, mostly Bud. True, for the rest of the summer he’s lucid and chooses to remain evil and get worse, but despite his lack of direct magical power now, Bud never tries to discipline him or help him emotionally mature; he instead uses his membership in the Society of the Blind Eye to erase his memories of Gideon’s tantrums, relieving his own stress without fixing anything. Gideon is then sent to adult prison due to the insane local laws of Gravity Falls, rather than a facility more conducive to rehabilitation. Sure enough, he befriends hardened criminals, who further enable him to be their leader, and does not change his ways. He never appears to have any friends outside prison (except briefly Mabel). Chronic loneliness before gaining power would suit his obsession with being popular and loveable, clinging to social superiority to compensate for genuine connection. Not to mention Weirdmageddon. I’m not excusing his actions! I’m just saying, this kid is not okay. Nobody’s born evil.

As for GIFfany, she was accidentally instilled with human intelligence and emotions and practically magical electrical abilities. We only have word on her backstory, but it is plausible that her programmers tried to delete her because of that alone, before she’d done anything wrong. That she really was defending herself when she electrocuted them. That she was deemed unfit to exist, a mistake, and nearly killed as a newborn. This formative trauma is the root of her abandonment issues and hypersensitivity to rejection. Three previous players returning her didn’t help. Also, she’s the main character and only love interest of a dating sim; she may not be bound to its rules in what she thinks and feels, but nonetheless, in her worldview her player loving her is a law of the universe. She wasn’t programmed to handle permanent rejection. She was programmed to be a girlfriend, a prop to make the player feel gratified. Not a person. She outright tells Soos that she likes whatever he likes. No wonder her perception of love is an inevitable, inescapable contract, a conquest, where one party is totally agreeable and subservient to the other. But as that directive clashes with her in fact being a person in her own right, she decides to be the one in control. Again, I’m not excusing her behaviour, only presenting an explanation of it.

The biggest thematic difference between them in the end is that Gideon reforms and GIFfany doesn’t. Gideon realizes that he can’t force Mabel to love him and his actions are why she doesn’t want to be around him in any capacity, lets go of his hatred for Dipper, risks his life standing up to Bill and helps save Gravity Falls and the universe. He renounces his ruthless ambition and promises to be a “regular ol’ kid”. It’ll be hard. He has no idea what normality is anymore. I expect that he’s a social pariah, scorned and distrusted. But he has hope. He and his parents can slowly learn how to be a family. I can see him befriending fellow reformed mean kids and Pines twin rivals Pacifica and Robbie. Yes, Robbie. Listen, all three care strongly about image and style, Robbie’s gone to immoral lengths to win over a girl himself, is fascinated with death and darkness, and he and Tambry would be a great model of healthy romance for Gideon. It could work!

But while Alex Hirsch has stated that GIFfany is alive in the mall arcade and dating Rumble McSkirmish, I doubt that this is a healthy or fulfilling relationship. Their first interaction was her zapping him and his mind is a much more primitive AI, not human like hers. I highly doubt that she’s got closure about Soos. He and Melody are thriving without her in a stable, serious relationship. They’re living together at the Mystery Shack. Were she to recover her lost power, she would certainly return to torment them after witnessing their success through her screen. Heck, this setting has ghosts and she arguably has a soul, one brimming with heartache and vengeance; maybe she could even manifest in the physical world as some kind of digital ghost able to transform her surroundings into the environment of her game. If you can’t take the guy into your video game, bring it to him! Whatever the format, GIFfany’s revenge is a possibility and it could be a disaster. How do you kill a disembodied spirit? Code that writes itself and can enter anything with the capacity to hold a charge? You can’t destroy all the electronic devices she could retreat to.

What if the best solution were talking her down? And who better to do that than Gideon? Seeing everything he felt, everything he suffered and everything did wrong reflected back at him and passing on the second chance he was given? He can feel more empathy for her than anyone. He already has a knack for endearing himself to older criminals. He wouldn’t sugarcoat things or take any abuse, but he wouldn’t abandon her or be afraid of her either. She would be cared about with no conditions or transactions. Maybe helping someone in an even worse position figure out how to process heartbreak, move on from toxically obsessing over an ex and Mr Mystery, cultivate secure, internal self-esteem and live a peaceful life would help him do it himself. I think they should be friends.

[imsatu]

Papas' mothers

i need to warm up my writing and i got inspired, so here’s what i think the papas’ mothers could've been like

these are all maybes and what ifs, they’re not really my hcs just things that i came up with, also i like sister imperator, even though it might not look like it from the things i wrote hehe

cw: maybe it gets a bit nsfw? but not heavy, it's a just in case, also rhrn spoilers, again just in case

Primo: his conception was one of the first duties nihil had to carry out, conceive an heir to the position, that’s why primo is much older than the rest

nihil had to select a sister of sin from a thoroughly sorted group out of the women of the satanist convent, being a great honor to all of them to be even considered for the position. he ended up picking a beautiful, blonde woman with bright, blue eyes, arched nose and plump lips, and a serious and solemn demeanor (the one that resembled sister imperator the most). it didn’t take long until she became pregnant. as a mother, she was stern and preoccupied in rising the perfect heir for the role of papa, and made sure primo grew being able to carry out his papal duties perfectly

Secondo: he came a few years after primo, product of a sudden (and a bit of frowned upon) relationship with a sister of sin. still, the clergy had to accept him as the heir he was, but secondo felt the subtle rejection of the anti-church, even from his mother, as life practically fell apart around her because of the affair with nihil (big part of which sister imperator made sure happened, out of jealousy). his mother was never important in his life, and was raised by other sisters of sin along with primo. the hard time he had during his childhood, adding to the pressure of becoming papa helped turn him into the party-animal, miserable, wounded, and bitter old man he was known for.

Terzo: his mother wasn’t a sister of sin, like his older brothers, in this case, it was a fan of the ghost project from when nihil was the frontman. she followed them around for the concerts and ended up pregnant, terzo being born in the midst of the chaos of tours and rituals, which he loved. his mother helped him become not only the best papa he could be, but also and most importantly, the best rockstar. since he was a kid, she helped him come up with his skull makeup, enrolled him in music lessons, and transmitted to him a burning passion for stages and glamor, so when he became frontman of ghost, he made sure to make his mama proud

Copia: we all know who copia’s mom is, but, how was sister imperator as a mother? she just wasn’t. when she found out she was having twins she had to come to the most complicated decision she ever had to take, as she wouldn’t be able to be a mother to twins and also fulfill her job as sister imperator. so, she decided to surrender her children to the sisters of sin, the same ones that had raised the three papas. she made sure that nobody, including both of her babies would ever know who their real parents were, thinking that she was protecting them, and made sure to give them a good life, making copia a cardinal and later papa emeritus. 

what about the other twin? until we meet them, any theory could be our best guess. maybe they died (following the story of romulus and remus that it seems copia and a few songs make reference to), maybe they decided to leave the clergy, who knows

[doberbutts]

I mean this is a pretty hot take but I think until y'all can sit down and actually provide examples of what you mean by "privilege" instead of using the word as a means of referring to the nebulous idea that some people have it better and its Their Fault, there will continue to be absolutely braindead takes about who holds what privilege and how it conflicts with actual first-hand experience.

That's why, when I ask what male privilege I was apparently either born with or received immediately upon coming out, I get crickets.

When we talk about male privilege, we talk about getting paid more. We talk about getting hired more, and into higher-paying jobs more. We talk about being able to vote and drive and have credit cards and bank accounts. We talk about reproductive freedom and body autonomy. We talk about rape statistics, domestic violence, and other forms of violent crime. We talk about immigration and citizenship status and human trafficking. We talk about power dynamics in relationships. We talk about society's expectations for gender roles.

There's two big problems with this:

Unless a trans man is completely binary, fully stealth, and has burned every trace of his past, almost none of this is accessible to him. Trans men don't get paid more unless their gender marker is M, there's no mention of ever being anything but cisgender, and they're completely stealth. They don't get hired more, unless these things are true. Many lived lives being discouraged from chasing higher paying jobs such as STEM fields due to being seen as girls, so they're not going into these jobs more either. Similarly with voting- when I registered to vote I was non-passing, with my legal name and gender marker. To the voting office, I was a woman. To my credit card company, who has never seen my face, I'm *still* a woman, despite passing most of the time. To my bank account, which I've had since I was 8, I've never not been a woman. When I took my driver's test, I was treated as a woman.

When I asked for a hysterectomy at 20, I was told not until I was over 30, had a minimum of two children, or had a husband to sign off on it. Just like a woman. When I whacked my head as a kid and was rushed to the doctor, the doctor specifically said if I was a boy he wouldn't have bothered stitching but a girl can't have scars on her face *while he was stitching my forehead back together*. I had to fight to be allowed to cut my long hair. I had to fight to be allowed to take care of it by myself.

I have needed to leave relationships when I realized I was with a man that would hurt me for his gain. I've been assaulted by my peers for being a black woman or a black girl in a space that I was not wanted.

I was raised with the expectation that I would be a mother to a large family with a husband that kept me pregnant and likely staying at home like a typical tradwife. I was punished, physically, mentally, emotionally, socially for rejecting that life. I lost literally all my social group from before I came out. I lost a good chunk of family members too, and the ones I have left are... trying, but not perfect.

And:

Other marginalized men are also often denied access to these things either. White men might be paid more, but white women make more than men of any other race. White men might be hired more, but "Rachel" is more likely to get a call back than "Rafael". White men are more likely to be in a STEM position, but tell me when the last time you saw a Native doctor. It may have been *legal* for racially marginalized men to vote, but those who did not speak English had no ability to do so until 45 years *after* white women had the right to vote (and technically it took another 10 years for translations to actually be provided). Banks and credit companies and driver's tests and mortgage brokers and more are *known* to discriminate, between barely-legal remnants of redlining to outright illegal discrimination because they know they can get away with it.

Black and Native children are taken from their birth families and placed into foster care and adoptive homes daily due to state-sponsered genocide. It's more than just the mother that's affected by this. Black men are largely targeted by stop-and-frisk policing policies that exist to do nothing except harass and assault them for just existing in a place, and are an extreme body violation.

New studies show that men experience rape and domestic violence at roughly the equivilant rate as women, but reporting is obscenely low due to social pressures and rigid gendering of victim vs abuser policies. The demographic with the highest rate of murder victims is black men.

Single, childless adult men are not allowed to immigrate to multiple countries, including the US, on refugee status. Men of marginalized races- largely latine and asian- are trafficked by largescale construction companies and then deported or abandoned when no longer needed.

Disabled men are killed or abandoned regularly by their able-bodied partners who got tired of dealing with them.

I know more than one man who feels trapped into a place where he cannot, ever, show any emotion besides horny, hungry, or angry as a direct result of strict gender roles being pushed on him. I know more than one man who has tried to take his own life because of it.

I know more than one man who has succeeded.

And I gotta be honest the further I get in transition and the more I pass the more I think that being a man... also kinda sucks. Like it sucked when I was a woman. Doesn't really feel like it sucks less as a man. Seems to me like society treats both of these pretty poorly and I was told the grass was way greener on this side and it's, uh, not. Not really. Not when you start making cis male friends and start realizing that a lot of these guys had a lot of the same experiences you grew up being told was part of a woman's life.

And I'm not saying that these guys don't have interactions where life is better for them because they're men. Of course they do. That's patriarchy for you. But I do think it's difficult to have a "male privilege" argument when people try to argue on a 1-to-1 basis and it just straight up doesn't work like that.

And I know a lot of what I'm saying ties back to the theory of intersectionality, that this can't flatten nuance like this is directly tied to the fact that a white woman, a native woman, an asian woman, a black man, a latino man, and an arabic man, are all going to have WILDLY different experiences that you can't just "well you're [gender] so you don't experience [harm]" about because it's blatantly untrue. Especially if you continue to add marginalizations, like immigration status, religion, sexuality, transition, language, and more.

[ptoodle]

Very rarely do I see people ship Fern and Huntress Wizard but when I do I can’t help but feel like they have a fundamental misunderstanding of both Huntress Wizard and Fern’s nature. Like on the surface it’s “haha!!! Plant boy and plant girl!!!! Huntress Wizard likes Finn and Fern is Finn but a plant so they’re perfect for each other!!!!” which just like, completely ignores everything core to Fern’s existence and Huntress Wizard’s complicated feelings toward love.

Fern is just more than just “Finn but plant”. He is LITERALLY Finn, but tainted with a curse. He is built out of fucked up evil twisted magic. Fern spends his entire existence finding his own identity and trying to reconcile Finn’s natural desire to do good with the corrupting nature of the grass curse. Fern’s struggle is internal, and he don’t have the emotional capacity for romance until he sorts his own shit out (which unfortunately due to the curse, he’ll never be able to do).

There's also the matter of the huge gap in emotional maturity between Finn and Fern. The Finn inside the Finnsword missed key moments of emotional development that our Finn experienced from season 6 to 8. Fern wasn't molded by key experiences like The Visitor, Crossover, Hall of Egress, Flute Spell, Don't Look, or The Music Hole. In particular, the massive emotional growth Finn underwent in Flute Spell is what allowed him to start a functional relationship with Huntress Wizard, and Fern lacks that growth. Fern is essentially a version of Finn stuck in season 6, and lacks the emotional intelligence to properly handle a relationship with anyone, let alone somebody as emotionally sensitive as Huntress Wizard.

But enough about Fern. I’m not a Fern expert, and this is only my B-rate interpretation of his character. The REAL egregious mischaracterizations of a Fern x Huntress Wizard ship lay in people just not understanding Huntress Wizard properly. For starters, you have to understand that both Fern and Huntress Wizard are two very magical beings, but their magics come from different sources. Huntress Wizard is a wizard (surprising, I know) and Fern is a CURSE. Fern is an unnatural, malicious magical force. Huntress Wizard would be off-put by Fern’s existence because he is a perversion of the natural world that she ties herself deeply to. Huntress Wizard assumes the role of a sort of “keeper of nature” in the forests of Ooo (as seen in her quest to slay the Grumbo for being invasive in The Wild Hunt), and Fern is a disruption to that natural order. A relationship between the two would never work because Huntress Wizard would be uncomfortable with Fern’s very existence.

There’s also the matter of why Huntress Wizard is attracted to Finn, and how Fern lacks many of the qualities Huntress Wizard likes Finn for. For starters, there’s the matter of emotional development I talked about before. Finn is extremely well-put together during the time he spends with Huntress Wizard in Flute Spell, and it’s easy to see how deeply he respects Huntress Wizard and her objectives. Finn isn’t determined to help Huntress Wizard with her mission to talk to the Spirit of the Forest out of a blind infatuation for her, but out of his natural drive to help people. Finn is very in-tune with his emotions (and can handle rejection like a champ), and Huntress Wizard can see that in him. This emotional in-tuneness is part of why Huntress Wizard so deeply respects Finn. Huntress Wizard seems to value her ability to stay true to her feelings (which even she struggles with; see my Flute Spell megareview for more) is drawn to his honesty and selflessness. Unfortunately for Fern, whether it is because of his lack of emotional development or because of his curse, cannot handle all his conflicting feelings inside him and doesn’t have the same kind of emotional stability that Huntress Wizard is attracted to Finn for.

I could go on and on and list even more reasons to why Fern x Huntress Wizard wouldn’t work, but those stray further into the “headcanon-ey”school of thought and I’m trying to be more objective with my character analysis as possible. I know being complexly objective is impossible and you have to leave a little room for individual interpretation but overall the entire ship is built on a very flimsy basis of “what if the two plant people liked eachother” and that’s it. There’s way more to these characters that make them special, and reducing them to just their visual similarities does a disservice to their character depth and creative potential.

[musichawkposts]

Been thinking about sister the canon trans clone

Imagine being bred, grown in a test tube, and raised in an environment buiit from the ground up to sculpt you into the template of the ideal man. Created alongside millions of others to fulfill a specific role literally modeled after one specific guy and fit into that mold, that uniform group of homogenous, perfect soldiers. Knowing that anything that makes you different makes you divergent from the man you're supposed to be, different from your brothers, where difference all to often makes you one of the rejects or weirdos or “bad batch” destined to either be separated from your only family or perform menial labor as you watch them all go do the thing you've been told is your destiny, your purpose, the reason you're alive at all. Imagine thinking you're defective, not normal for being trans and that LITERALLY being the case by virtue of your conception? You and all your brothers are supposed to be the same guy a million times over. Imagine how you'd react when you figure out you're not even a guy.

Idk i think it also really adds to the underlying message throughout clone-related media about individuality, how a group of clone soldiers who are, again, all ostensibly the same guy can vary and be complex and unique people with a complicated but loyal relationship to their brothers and themselves, that they have purpose and lives beyond what theyre “supposed” to do or have. And how tragic it is that they're ultimately treated as disposable machines.

Anyway I'm just glad her story ended up being a positive one and that her brothers accepted her and she could be herself and also that she met Anakin Skywalker and he was like “jedi transcend things all the time so transcending gender is pretty nifty."