#and no it doesn't make much more sense in context

[secriden]

Just going to cry again (see: my previous post about the parallels between the storage room scene and the abandoned factory scene) about parallels and juxtapositions in the store room scene vs the one in Styles bedroom:

Both these scenes have such a tone of desperation and are characterised by an overflowing of emotions, but in drastically opposite directions.

(Note, some of what I say in this post directly relates to concepts and themes I talked about here, so it may not wholly make sense without that context.)

The scene in the storeroom is filled with frustrated desire. Fadel kisses Style because he wants Style's body and also wants to take his frustrations at Style out on his body. He doesn't need to look Style in the eye (and in fact very intentionally only does so only in small snatches) because this isn't about a connection as much as it is about a release. Fadel's kisses come fast, hard, and are intended to bruise more than to adore.

But episode 5's scene is filled with much more quiet and tender sort of desire. Style is kissing Fadel so much more slowly and purposefully. He keeps looking back at Fadel, checking in to see how he feels and whether Fadel is enjoying it. Everything Style wanted in Episode 3, he now gives to Fadel here, pours the secrets of his knowing and choosing Fadel anyway into the way he presses his lips onto Fadel's skin. His kisses linger, they carry a weight but are not gentle, and contain meaning that Fadel's kisses couldn't in Episode 3 because in all honesty they were relative strangers back then.

There's also the way there's such a ferocity and carelessness in the way Fadel starts the encounter in episode 3 that is juxtaposed beautifully by the slow, tender, almost hesitant way Style slides his lips onto Fadel's. Both of them are in such different headspaces, between these episodes and its especially evident in the way they care so much more about the other person's comfort and how intentionally they showed that to the audience.

There's hunger present in both scenes but what this hunger is focused on is so drastically different. In the storeroom, they're both mainly focused on a physical release; its primal and visceral but lacked emotional resonance. Fadel gives Style what he knows Style wants (that hint of danger, with the hand on his neck), but its not because he really cares about what Style wants on anything more than a physical level. In Style's bedroom, however, Fadel is drunk (intentionally and by his own design) and desperate to open himself up to Style on an emotional level. Meanwhile, Style wants that desperately too, but knows that Fadel shouldn't because of his own terrible secret. So this kiss is what they both will allow themselves - an honesty and a hunger for this deeper connection they can only share in act but not in words.

In the storeroom, Style wants Fadel to want more than his body but knows (or thinks) he can't push for it yet, so he remains passive, lets Fadel do whatever he wants, lets him turn and shove and place Style how he wants because at this point, this is all Fadel will give him. Here, Style is passive in spite of what he wants. But in the bedroom, Fadel is passive because it's what he wants; he wants to let Style do whatever he desires to and with Fadel's body. He wants to lay himself as bare as he possibly can, which is only physical, and so he does.

And because the encounter in Episode 3 lacked that emotional connection, the focus is merely their respective releases. There's a sense of two people trying to find pleasure and 'finish' while remaining emotionally disconnected despite actively having sex with each other. Because in some ways, they didn't really need each other in that moment to get there (there's actually a lot of truth in what Fadel says about it being easier to just jerk off alone). In sharp contrast, the scene in Episode 5 isn't focused on the destination but on the journey. Style is taking his time and Fadel is letting him - Style is choosing to worship Fadel's body, with his fingers, with his lips, to respond to his vulnerability with gentleness and tenderness and adoration. The goal has stopped being about finding a release, it's about allowing both these men to revel in the giving and receiving of pleasure.

The point of these scenes is to show to us the ways in which Fadel and Style have grown to care for and, dare I say it, love each other in ways that are so purposefully portrayed by showing the nature of their physical connection. Because the ways in which these scenes are the same and yet so wholly different showcases how their touches are now no longer merely tied to their senses any longer, but also to their hearts as well.

[bdafic]

Ghilan'naelvish II

(This took me much longer than expected, sorry guys)

Once Rook & friends hack Razikale down to a sliver of health, Ghilan’nain snarls, “They take too much,” and commands her to return. Razikale is melted down, reformed, then returned to the moat, emerging as the Eborsisk from [ the 1988 movie, “Willow”. ]

Again, Ghilan’nain has two lines here:

"Essana ellath vallan."

(Spoken as Razikale’s previous form is manipulated into something else)

This one took me forever, not only because the phonemes are so common but also because of how little sense it makes. This line reads more like ‘words’ than ’dialogue’. Eventually I realised that may actually be the point: it's an incantation.

Essana = change/reform

This one I'm pretty confident of. I found multiple, completely different, ways of translating it that all break down to some variation of “become something else”.

e (v. inf. be) + sa (another, again) + nas (soul, self ; from) literally: from (you/yourself) become again

Ellath = Requirement ; force

This sounds like it’s being pronounced with a soft 's' (/s/ = simple, sun) rather than the ‘th’ (/θ/  = thing, thought) that’s shown. That might make more sense, as 'lath' is almost always used for love, lovers, and intimacy. I did find a (canonical, if archaic) reference of 'lath' as “need”, not necessarily romantic or sexual, and if that’s the case, ‘El’ could be the article or superlative rather than a possessive "our".

90% of my time was swapping out various interpretations of this word. Here's a few:

El + lath = The need (as in, ‘there is need for’) ; our needs ; requirement El + ath = piece, small amount (superlative + divide, part, fraction) El + lath = the love ; our love ; obsession ; devotion El + las = force (superlative + give, grant) ; bestow ; gift Elas = can/may, conjugated E + las = become hope ; memory ; ambition e + la + ath = being / become (v. to be + intensifier + noun from verb action - though this is kind of like making a word out of “ing”, “epic” and “ish”).

I trust you see the issue.

In context, “need/requirement” makes the most sense, but doesn't scan as well. As an incantation, the words stand on their own as commands.

Vallan = summon / invite

vall (v. bid/invite/order/summon) + an (suff. location/place) ; an (posessive) vall (same, but conjugated)

Without the ’s’ this is probably val/valla, as it was used by the guardian spirits in Trespasser. If the Inquisitor knows the passphrase, they stand down and invite you through with, “vallem (vall + em “[I] welcome/invite/bid”) as part of the phrase, "atish'all vallem". Somehow I can't imagine Ghilan'nain politely asking Raz to go stand on their marker, pretty please with a cherry on top, but if paired with ellath, it may tie together as "demand" or "order".

I can't say with 100% confidence what each word in this line means -- the context is doing most of the heavy lifting -- but there's enough to get what it's trying to say conceptually.

~ "Reconstruction is necessary, heed my order"

“Vallasan inall lasa!“

(Spoken authoritatively as Razikale reappears on the battlefield)

Vallasan = place of life ; body

vallas (life) + an (location suffix; possessive suffix)

Vallas as a root word has multiple meanings. We’ve even seen “vallasan” in canon — it’s the name of a unique bow in Jaws of Hakkon — though we have to infer its meaning. What’s weird about Ghilan’nain’s use of it here is that's [ very clearly not what she's saying ]. Whatever word she's using has two syllables; the "lla” has been dropped. That said, I think this is a line read error rather than a captioning error -- the translation makes more sense as shown.

Inall = dwellers / lives

ina (v. to live, to dwell - conjugated) ; + al (may indicate collective grouping)

Lasa = grant/allow/give

= "Bring me the bodies (of the living)"

Ghilan’nain’s Elvish

People seemed to enjoy the psychic bitchfight post so I figured I’d do one for Ghilan’nain’s lines in the ‘Siege of Weisshaupt’, too. Once again, I'm no expert, all glory goes to to [ FenXshiral ], and remember this is a vibe-based language so results vary with context, inflection, speaker and so on.

In the lead-up to the boss battle, First Warden Jowin will show up to take Davrin’s place as final sacrifice, only to be snatched up by Ghilan’nain before he can deliver the blow. After remarking on the quality of his blood, Ghil rips out his heart, turns it into an archdemon strength buff, then drops the used-up Warden like hot garbage. A moment later Wyrm!Razikale emerges from the moat to start the fight.

Ghilan’nain has two lines in this cutscene:

“Lasa hedallin ghellara”

(Spoken either to or about the First Warden as she manipulates his blood/heart).

Lasa = grant/allow/give

hedallin = blood of a noble kill/sacrifice; blood of [your] defeat

1. hel/hell (adj. noble, moral, just) + dala (v. kill, destroy) + lin (n. blood, person m.)

or 2. [hela (v. contest, oppose, fight) + dala (v. kill, destroy)] + lin (n. blood, person m.)

The use of ‘noble kill’/‘blood of your defeat’/‘sacrificial blood’ feels very deliberate here. Just before Ghilan’nain grabs him, Jowin recites the Grey Warden motto, “In war, victory! In peace, vigilance! In death, sacrifice!” . She’s throwing his words back at him, saying his ‘sacrifice’ would’ve been a waste... she'll put it to better use. She even taunts Rook with this later in the fight: “Witness! A Warden’s blood to birth your own destruction.”

ghellara = [my] beast more strong

ghe (n. monster, beast, creature) + elvara (v. to make difficult, hardy, sturdy, complex; from adj. elvar) + el (more, much, many. Used as a superlative) + ara (pron. sb. poss. my)

= “The blood from your sacrifice will strengthen my beast.”

"fenathra mellas”

(Spoken as Razikale’s transformation completes)

The natural assumption is fen = wolf, which would result in: fen (wolf) + ath (embodiment of) + ra (prn. it) or ara (my, possessive), making it, ‘the wolf’ in a kinda roundabout way. More like, “that wolf guy” or even, "my wolf guy" instead of a name or title. But I don’t think Ghilan’nain is invoking Solas or "the wolf” here. He isn’t an opponent at this point in the game, and neither her nor Elgar’nan see him as a real threat anyway. Additionally, the way she says the word ‘fenathra’ is quite soft — almost wistful — especially by comparison to the deep, guttural, delivery of, “mellas”. I think the root word she’s using here is actually ‘fenor’.

She calls Razikale her greatest creation. She mourns her death; pitifully telling Elgar’nan that Rook took her away. Razikale is more than just important to her — she is the very embodiment of the word 'precious'.

fenathra = My Precious One

fenor (precious) + athe (used to change the meaning of an existing word into, ‘physical manifestation of’, or ‘embodiment of’, eg. “the dead” from death) + ara (my)

Mellas = Allow now / Go!

melana (adv. now, in relation to ‘time’ or ‘when’) + lasa (v. grant, allow, give, let - imperative verb form)

= “Go, My Precious One!”

I've been working on her remaining lines for several days now and am currently tearing my hair out about it, but I will add them to this post as a reblog once I finish!

As a bonus I'll throw in Solas' dialogue to Davrin when he briefly joins your party at the end of the game.

Dialogue source: Solas Interaction with All Companions [ x ]

"Mala shivanas ar athim"

mala (your) shivana (to do one’s duty, conjugated) ar (I) athim (humble, humility)

The Elvish scans in Solas’ Hallelujah cadence, so I preserved it for the translation.

= “I am humbled by your duty," or, "Your sense of duty humbles me"

[srslylini]

The thing about Act 1 of season 2 is that, while in context with the rest of s2 it was bad, they actually did set up a good story and continued season 1 pretty amazingly.

There were still some problems but genuinely most of those problems stem from the rest of the Episodes not delivering and not on the first 3 setting stuff up.

Act 1 giving us the tree being sick? Really good idea, perfect set up even the connection between the hextech and it being sick? Nice as fuck. It's what they did with it (nothing) and how it didn't matter (at all) that destroys Act 1.

Caitlyn's set up was absolutely not bad, and a lot of people were praising it. It made sense for her character and it also didn't seem like they thought she was right. Not with all the other episodes after Act 1, though. Contrary to populer believe I like morally not so good (evil) characters if they make sense. Caitlyns narrative was promising to be interesting they just didn't do anything with it and acted like what she did in Act 1 was fine and excusable and alright. It wasn't. Had they actually done something with what they set up with her, well I wouldn't be standing here now.

They also promised this season being a Vi focused season and while I would say that Act 1 did actually give us a lot of Vi, in context with the other Acts... no. In hindsight there was no need to make her an Enforcer. "But the lore-" I'm gonna stop you right there, they also completely changed Viktors lore, and even Jinx' lore. So?

CaitVi was also something that, in Act 1, I was way more ready to get behind. I was a CaitVi shipper in season 1, I did like their dynamic and wanted it explored. I liked their kiss. I did not like what they did after that. Not Caitlyn hitting Vi and then getting to hit her again and never apologizing. I am a lesbian and here I am telling you: Everything that happened with them was weird.

Act 1 also gave us this genuine good found family between Isha, Sevika and Jinx. It was so moving and well done even in such short of a time (there is still stuff to criticize about it but the consensus is that it is awesome so yk I can overlook certain stuff). And then they turned around and wrote Sevika completely out of the story and killed the plot device that was Isha. When Isha should have mattered.

I didn't even originally dislike how many new characters they introduced because season 1 once mastered characters like this. Maddie seemed promising, until she wasn't. Loris seemed interesting and well thought out until he wasn't. Lest was such a good addition until she was just written out of the show completely. Don't even get me started on Steb.

Ambessas ploy in Act 1 was also something that I genuinely liked. Even Mel figuring out a mystery was good. Until they decided "well that doesn't matter anymore".

In Act 1 I did actually like the subtleties. I liked how Caitlyn saw the Violets and how, in episode 3 of s2 she saw one through her rifles lense (I have no idea what that is called, sue me haha) floating over Jinx. Because it was a nice add on and nothing that would destroy your viewing experience if not noticed, and it wasn't on the nose.

While a lot of directions they took, I was already questioning (the Smeech stuff took up way too much time) I was ready to give that a pass because it didn't destroy anything, yet.

Up until episode 4, it all seemed well enough, and while the prison scene also made me question stuff (that god damn Enforcer pants joke oh my god I will never let that go what was that) it wasn't anything too bad, yet.

The reason Act 1 doesn't work now is because of Act 2 and Act 3. Had Act 1 stood alone or had Act 2 and Act 3 delivered on Act 1, we wouldn't have that much of a problem. As it is the further Acts destroy what Act 1 seemed to carefully build up.

In the end what seemed purposefully and artistically done in Act 1 now seems like something the writers actually believe.

[saintsenara]

Is the rest of the order also a part of the upper wizarding class (other than snape ofc)? Like Lupin, Tonks, Kingsley, etc. ?

thank you very much for the ask, anon.

the context for this question is here, and the answer is... yes, but not in the way you'd think.

with the exception of mundungus, who remains working-class, and snape, who was raised working-class and is something more tenuous as an adult, the order come from various middle- to upper-class backgrounds, the three members of the second order you mentioned - lupin, tonks, kingsley, as well as mad-eye moody - among them.

as with the weasleys, these four characters' class backgrounds can be identified from their class performance, rather than from their financial circumstances. so things like dress, language use, jobs, hobbies, names, manner of living, and so on.

for example, ted and andromeda's house - which we see in deathly hallows - is as much a middle class stereotype as vernon and petunia's. its description - which comes just before harry sees andromeda for the first time and mistakes her for bellatrix - is to hammer home that she made a choice [and, of course, a choice the text considers to be noble] to go down in class-status in defiance of blood-supremacy.

but - while tonks is clearly part of a lower class-bracket than sirius [hence her pointing out to harry at the beginning of order of the phoenix that she's still riding a mid-tier broom, while he has the firebolt which sirius bought for him] - she, like the rest of the order, has access to a shared marker of elite status notwithstanding her middle-class upbringing...

that she went to hogwarts.

it's clear throughout canon that lupin's statement in deathly hallows that "nearly every witch or wizard in britain has been educated at hogwarts" cannot be correct, because we meet numerous characters throughout the series - such as mundungus, stan shunpike, the snatchers, anyone in a service role, etc. - who transparently were not.

and we can say that they weren't because these characters' presentation is as unambiguously working-class, above all, in that they are written as speaking with regional accents which are intended to be interpreted by the british audience as indicating working-class backgrounds and the stereotypes which accompany them, such as unsophistication, irrationality, and a lack of intelligence.

the only person we meet at hogwarts who has a similar manner of speaking is hagrid - who is, of course, supposed to be interpreted similarly. while there are a couple of hints in the text that harry's classmates speak regional dialects - seamus says "me mam" on a couple of occasions, dean says "my parents don't know nothing", both of which are non-standard phrases in british english but which make sense for an irishman and a londoner respectively - none of them are subjected to having their speech written out phonetically. that only happens to the english-speaking characters in the series who are meant to be interpreted as existing on the rung below everyone else on the class ladder.

the distinctions the text draws between hogwarts students seem fairly profound - and fairly rooted in financial circumstances - but they actually exist within a homogenous class performance. hogwarts students identify difference on the basis of things like brand of racing broom, or brand of wand [we learn in half-blood prince that there are various wandmakers working in britain, but anyone going to hogwarts wouldn't consider going anywhere other than ollivanders...] or whether your robes were tailored for you or are perfectly serviceable hand-me-downs. we don't see differences which come cross-class - someone who couldn't even afford a wand, even from an inferior maker; someone who not only can't afford secondhand robes, but doesn't have shoes or underwear or pyjamas.

the only people we meet who seem to stand out from the rest in terms of class performance are hagrid - and, yes, this is to do with his size, but it's also to do with his accent, rough-and-ready physical appearance, tendency to be driven by his base impulses, and fondness for manual labour - and snape. tom riddle - when we see him as a student - speaks and comports himself indistinguishably from the rest of the student characters.

[the eleven-year-old riddle very much does not.]

while we never actually learn whether the school is state-funded or not [although even if it is, it requires a colossal financial input from parents in terms of buying all the equipment], hogwarts is an elite institution. it's the main [and, apparently, only] source of new employees for the state and its institutions - such as st mungo's, gringotts, etc. it is considered shocking that one of its graduates would end up working in retail.

it exists to maintain the class system by which the wizarding world is governed. and, therefore, it exists to inculcate its students in the class performance which signifies being an upright citizen of the wizarding state.

and lupin tells us clearly what that means:

"I am not complaining; it is necessary work and who can do it better than I? However, it has been difficult gaining their trust. I bear the unmistakable signs of having tried to live among wizards, you see, whereas they have shunned normal society and live on the margins, stealing - and sometimes killing - to eat...  I cannot pretend that my particular brand of reasoned argument is making much headway against Greyback's insistence that we werewolves deserve blood, that we ought to revenge ourselves on normal people."

the language here is so instructive! "normal society"! "normal people"! no suggestion that werewolves have been deliberately made an underclass by the wizarding state! no suggestion that lupin's "unmistakable signs" of playing the wizarding class game aren't correct or admirable! lupin's attempts to win his fellows over to dumbledore's side being described as "reasoned" arguments, which fail to work against the base and violent greyback!

one of the things which is really interesting about the series is that voldemort is - by far - its most radical character. even more strikingly, voldemort's radicalism has a clear populist element - despite the fact that he's set up as the champion of a posh, pureblood elite whose aims are violent oligarchy.

it's fascinating how many working-class-coded characters are in his service - the doylist text clearly intends this to suggest that his ranks are full of idiots, but we don't have to accept it! and it's also fascinating how almost all non-humans we meet in the text either openly support him - he has huge support among goblins and werewolves, for example - or clearly regard him as no worse than the current system - hence the centaurs' policy of non-intervention in the war.

the order, in contrast, are profoundly unradical. the thing they oppose is voldemort's revolution. the thing they're working in defence of is the status quo - the homogeneity which hogwarts teaches and maintains.

[that's what the series understands as the "all" in "all was well".]

and they therefore all exist in a world where the class performance they learned at school becomes a shared language which can be used to establish common ground with someone across age, gender, and [certain] class lines... but only if that other person also went to hogwarts.

[the best analogy for this is what it's like to be a graduate of oxford or cambridge. where this benefits a person isn't so much down to the quality of the education they would have received from either university, it's because every time they meet someone who also went to oxbridge they have a shared language they can use to establish a rapport, making it vastly easier to network at the upper levels of almost every british profession.]

the order is an elite organisation, then, but it's not elite because it's members were all born into elite families. it's elite because they were offered access to an elite institution and gradually came to see that institution as the default.

[snailsgoingdowntown]

Help, I Reincarnated as the Female Leads Sister-in-Law!

1  2  3  4 

Chapter 5

'Slight' Yandere! Dion x Fem! Reader 

Arranged marriage AU

  Warnings: implied depression, guilt, implied coercion, implied toxic family (not yours), please tell me if I missed anything. 

DISCLAIMER: I DO NOT CONDONE ANY OF THE HARMFUL AND/OR DANGEROUS ACTIONS AND/OR BEHAVIORS THAT MAY TAKE PLACE IN THIS PIECE OF FICTION. THESE ACTIONS/BEHAVIORS SHOULD NOT BE NORMALIZED NOR ROMANTICIZED AS BOTHY ARE EXTREMELY TOXIC AND DANGEROUS. 

MINORS/BLANK BLOGS/BLOGS THAT DO NOT REBLOG FANDOM STUFF/FICS/FANART DNI, AND PLEASE DO NOT SPAM LIKE MY POSTS

NOTE: The amount of time I spent on google to look up words is embarrassing.

Overall chapter summary: two memories that resurfaces and the odd, concerning actions and behaviors from two of your in-laws…  this night only gets stranger and stranger.

===

The fluorescent lights flicker above you, a sign that they needed to be changed. But it doesn't bother you as you look down at your phone, admiring the art of the new manhwa your friend recommended you. It was all you could do really, enduring the cold air filling the room. 

The T.V in the background also doesn’t catch your attention despite playing your favorite show.  Usually, you would abandon your phone in favor of watching the images that play on the screen, the volume just loud enough for you to hear. But the story of this novel-turned webtoon is more captivating, especially with the beautiful blond and cunning female lead scheming ways to free the silver haired male lead. 

Must be nice, to be rescued.

“It’s good, isn’t it?” your friend’s voice draws your attention, grinning as they sit on the chair they pulled up to your bed. “But remember, the content is dark.” they warn for the nth time. Like that would bother you. 

“Oh please, I’m not that sensitive,” you refute while rolling your eyes. “Besides, if I was, you wouldn’t have recommended it to me. We both know that.” A playful pout forms on your face as they ruffle your hair. 

“Yeah,” they say, “but sometimes people change their minds, you know?” 

“Like you?” 

“Hey! You can barely handle gore so good luck with it.” 

“Gore,” you snort. “Doesn’t bother me as much. But since I love you, I guess I’ll listen.” 

They hum, retreating their hand from your hair. “You should also read the novel once you’re done with the current episodes. It adds more context and includes the stuff the webtoon left out.” Yawning, they look at the clock on the way. A mumbled complaint rumbles in their chest. “Sorry, but I have work in the morning.” They linger on the uncomfortable bed before getting up to stretch. 

“Alright.” You hope they can’t hear the disappointment in your voice or the way your eyes become dull. “Make sure to text me once you get home, okay?” 

They reply with a thumbs up. 

It doesn’t take them long to gather their things and walk to the door, opening it. However, they don’t leave the room before looking at you. “I’ll bring your favorite snack tomorrow. As a gift.” You pretend that their grin is teasing. 

“Good. I would kick you out otherwise.” 

With a wave of their hand they disappear into the hallway, the door closing behind them. The room feels empty. Adjusting yourself to get comfortable, you lay on your side, leaving the T.V on.

The noise lulls you to sleep despite the gnawing loneliness pulling at your strings. Pulling the cover over your head, you close your eyes. 

- - -

The dream you had the day before your engagement announcement was what made you realize you were stuck in a fictional series.

Everything was normal when you woke up a month before it. No drama, no unfortunate accidents. The cup of tea you were enjoying that day was the sweetest you ever had, rare tea leaves that were a pain in the ass to find. But your father searched long and hard, wanting to give them to you as a happy little sweet gift. It only made sense, since it was your birthday and all. 

Well, you wish it just that; a birthday gift. Instead, it was an apology gift, him refusing to look you in the eye. At the time you had just assumed he was embarrassed, not that he was being eaten away by guilt that threatened to swallow his entire being whole. The sad part was that he didn't tell you the plans for your future until after you sat down for teatime. 

“...How’s the tea?” his voice had trembled but you didn’t notice it. You should have, especially with how small his voice had become, nearly a whisper. You were too caught in your jolly mood.

“Oh, it’s sweet - like honey!” placing your cup down you raise up from your seat to hug your father who sat across from you. He became stiff before returning it, his embrace tighter than usual. You thought it was out of adoration a father would hold for his daughter. Not of the father who was signing her death papers. 

“I’m glad.” when you stepped back he followed, bringing himself up to his feet. A heavy sigh that came from his chest before he finally looked into your eyes. You mistook the look of regret and horror in his for the uneasiness of your reaction towards the news. Still, he allowed himself to grab you by the shoulders. 

You misplaced the trembling for excitement instead of fear. 

“(Name), my daughter…” your father closed his mouth and shut his eyes tight. His grip on your shoulders tightens. Now you realize he did that so you wouldn’t run out. “I have some important news for you.” 

“Oh?” you cock your head, somewhat excited and somewhat worried. You wait for him to finish. 

“I…” opening his eyes he’s unable to meet your gaze. “I…found…a  fiance for you. He’s from an extremely well-off family.” he finishes but it sounds incomplete. You should have questioned him more. 

“A fiance?” you asked, blinking while your mind processes the information. “Did you find him recently?” truthfully, you didn’t like the news, but you knew it would happen eventually. But you can’t deny the slight bitterness you felt, the news slightly dampening your mood on your birthday. 

You got over it pretty quickly. Too quickly. 

“Well, yes? Kind of. His father would talk to me sometimes, insisting that the marriage would benefit us both." He left out the part where it only meant for your father-in-law and possibly yours, too. Not for the soon-to-be bride and groom. 

“I see.”

Your father looks at you in shock, asking “aren’t you upset?” 

You shrug your shoulders, hiding the annoyance. “Well,” your hands grab his wrists, squeezing them to comfort him - despite how it was your future married life and not his. “I knew it was going to happen eventually. It wasn’t a matter of ‘if’ but ‘when.’ 

He shakes his head, releasing a low and forced chuckle. At the time you just assumed it was from astonishment and not self-hatred. “You’re too forgiving,” he lets go of your shoulder and pulls his arms back. “But rest assured that the wedding and engagement party will be grand.” 

He never mentioned how your married life would be. That you would be in good hands. That your husband will take care of you and how you’ll grow fond of him as time passes. Or how your in-laws would be lovely. He couldn’t force himself to lie to you.

Your father couldn’t tell you how the marriage would chain you to your husband’s family. 

“Father, I don’t really care about that.” you laugh, softly hitting his shoulder. His expression didn’t become playful as usual. Instead it was grave and your heart painfully rattled at the sight. 

“I know you don’t - but they might.. Just endure it, okay? I promise the party and ceremony will be decent, at least.” 

You never thought to ask what he meant by that. Decent? Right after he called them grand? 

“I’ll trust you, then.” 

Little did you know that your trust would crumble away the moment you laid eyes on Dion Argece, his face stoic and eyes glued to something past you. 

-----

….why were you remembering that now? While Jeremy is running his mouth about his brother and Roxana wiping your mouth with a rag. Hana had given her the rag once she returned, stepping to the side at her orders.

Roxana offers to bring you to her room to freshen up, and your heart nearly leaps out of your chest with bliss. “It’s fine, lady Roxana,” you reject the offer, knowing that you’ll be caught in her web. Seems she’s already thinking of ways to use you. That or she genuinely felt bad. 

You couldn't tell. Her facade was always perfect. 

“I insist,” she smiles sweetly but it doesn’t reach her eyes. Does anyone else ever notice this? Aside from Dion? 

“Just accept it already.” Jeremy cuts in, stretching his arms above his head. Odd. The boy was nearly codependent on his sister, not willing to share her attention. Yet he’s sharing it - her - with you. “Besides, it’ll give you more time to avoid that asshole.” 

His words should have sounded playful, teasing, but they were filled with pure venom instead. Dion’s number two hater truly worked hard for that spot. 

“I’m flattered that you’re considerate of me,” your hand raises to pat his hand only for you to swiftly bring it back down. What were you doing!? He wasn’t your brother. Nor a friend. Just someone who happened to be related to your husband. 

That and a little murderous punk. 

Though, you couldn’t miss the disappointment in those blue eyes. Why was he acting like this?

Jeremy stays quiet for a bit, lost in thought. Your legs start to become weak the longer he doesn’t say anything - was he going to mock you? Lash out? Turn to Roxana and say that you’re not worth anything after all? 

“You deserve better than him. That’s all.” your mind blanks. To say that so bluntly and in the open… 

You just notice that Roxana stayed quiet in the background. Observing. Weighing the options. 

“I…” do you agree with him? You don’t want to be with him - that much was obvious. But you’re not sure if you deserved a happy ending. Maybe a slightly better one than this, though.

You stare at him like a deer in headlights. What answer would be the best one? Agree with him only to find out it was a test? Reject his view and say that he’s the one who deserves better? Wait, why was he so involved with this in the first place. 

And why did he look at you so sincerely?

You’ll get the answer for that later, or so you tell yourself. Frankly, you’re scared to find out. But curiosity always kills the cat.

“...it was a marriage arranged by our parents. If they saw that we were the best for each other, then we’ll listen. That’s how it is.” indirectly saying you agree somewhat could be a bad idea. But you also don’t want him to think that Dion was your ideal husband.

“‘Best for each other,’ huh? Well sometimes they’re - “ Roxana cuts him off. 

“Jeremy,” she says, “don’t you need to get ready for practice?” She lovingly pats his head. The boy beams at her before becoming petulant - not wanting to leave his sister’s side but was obligated to. 

“Right, right… it’s nothing more than free labor though.” he complains while starting to leave. If he lingered for even a bit he wouldn’t be able to drag his feet to his destination. “I’ll see you later?” 

“Tomorrow,” Roxana respondes. “I have something to do.” Jeremy reminds you of a puppy with the dejected look in his eyes and small frown. But with the promise of staying with him tomorrow, he brightly grins - you could almost forget his brutal personality. 

“Well then, I’ll be off.” he groans at the thought of the bothersome chore. 

But before leaving, he leaves you with ‘adivce’ :

“You should escape before this place digs its claws into you. Dion included.” You’re left speechless as his figure gets smaller and smaller, watching his back as he leaves. Why were you given advice anyway? First, by Dion, now Jeremy - was this a test?

Then, you realized that it’s only you and Roxana - without your noticing, Hana had left. Ordered by Roxana, perhaps?

What was she going to add to this strange night?

“Jeremy means well.”  She doesn’t acknowledge what he said.

“Yes. Of course.” You refrain from asking her why. “It’s… a bit cute.” for now you silently add, turning your head to look at your sister-in-law. 

“Mhm, he is, isn’t he?” The blond toys with a strand of her hair, dainty fingers twirling it. “Although, I must admit that he still has a lot of growing up to do.” Yes, yes he does. 

“I think it’s the same for everyone at that age; even for me.” she titters with you. It was faked on both ends. Yet it was mutually accepted. 

“My offer still stands.” 

“Oh, but I’m fine - I'm all cleaned up.” you lie. But her offer puzzles you - what would she gain from it? And while you would love to avoid your husband for a few extra minutes, you didn’t want to owe Roxana anything. Being in her debt was the same as signing a lifetime contract. 

You held no emotional importance to her. It’s only reasonable to think that she’s doing this for Jeremy’s sake. And you really, really need to find out why these characters - people were acting so weird. 

“Besides, I’m sure that your brother is waiting for me.” 

Her pointer finger taps against her chin in thought. Her ruby eyes look towards the side and you can’t read her expression. Beads of sweat threaten to slip down your face. You hope she doesn’t notice. 

“After some thought, I realized something.” she brings up once she looks at you again. You tilt your head, confused. 

“You never once referred to Dion as your husband.” 

[hexefreya]

I find this particular scene crucial to their potential romantic relationship that just didn't quite happen. This very obvious little disappointed scoff from Viktor as he leaves Jayce to stare after Mel:

I bet that our brilliant Viktor, a disabled outsider from the Undercity, could never even imagine having this instant connection to someone, left alone from Piltover. The sheer delight of their intellectual compatibility must have felt absolutely magical - they complemented each other's thoughts! And this effortless understanding and easy rapport probably caught Viktor off guard, making him much more open and genuine with Jayce: he is joyous, playful, even a bit awkward this first night with Jayce.

But Jayce pushes it even further by casually initiating physical touch. And Viktor lets him.

I believe this very touch was enough for Viktor to start entertaining the thought about there maybe being something more behind it. Probably because he's just not used to physical affection being so freely given outside of romantic/sexual context.

And a scientist that he is, he is immediately testing this theory. Not even subtly, mind you.

I believe this very suggestive joke, which hints at his inclinations, was meant to tentatively gauge a reaction out of Jayce specifically, since Mel is barely aware who Viktor is. And we are shown in the next frame that Viktor is so perceptive and observant, he doesn't even have to look at Jayce's face to sense his feelings.

Genuinely, I believe this was it for Viktor. He probably decided upon Jayce being straight, and finding out later how touchy Jayce is in general most likely solidified this for him.

I have no doubt that in Viktor's mind this partnership already seemed almost too good to be true even with his misplaced infatuation - they literally created magic together, granting Viktor a chance to finally fulfill his dreams and ambitions. And I see it as a real possibility that Viktor dove into their Hextech work completely, resigned to keep his feelings to himself, probably becoming more apprehensive with each passing year to not disrupt their vital partnership with longing, as his health was gradually declining.

It's understandable how Viktor could disregard Jayce's own developing romantic affections as nothing more than becoming best friends and ever closer lab partners under the given circumstances, particularly because Jayce was most likely unaware of romantic connotations of his feelings for the longest time, till the timing was just off for him to act on them.

I’m curious how you think Jayce and Viktor’s romantic/sexual relationship most likely unfolded within the context of the two Arcane seasons. Do you think it would have looked something like the trajectory from Distinguished Innovators or were they just pining for each other but entirely oblivious of the other person's feelings until the very end (especially with what you said at some point about the possibility of Mel being Jayce’s first)

Hmm, so there's fanfic and canon to consider here. I think with fanfic, it can be anything the author desires.

Technically, I think the most canon-accurate romantic read of what's happening on the page is that Jayce and Viktor have feelings for each other but neither is totally aware of their feelings until Jayce has his moment staring into the fire in 2.07 when he "chooses" Viktor. Then Jayce basically confesses during their big final scene and we get a lot of hints that Viktor has felt the same way or been silently and hopelessly pining for him and now they're finally together.

But that never quite works for me because it requires a little too much "carrying the idiot ball" like... these guys spent the entire time skip between 1.03-1.04 in close quarters at all hours of the day creating Hextech together. That's before Jayce becomes the "Man of Progress" or any of that stuff and was just a regular and possibly crazy researcher who almost got banished, so it can't always be a status difference. And Jayce is so affectionate, and he falls for Mel so quickly, I really truly struggle to imagine that with no barriers to a relationship (Runeterra canonically does not have homophobia) they wouldn't have gotten together sooner if something else wasn't in the way.

So, personally, I think that they've tried to or come very close to a relationship in the past, but something prevented them from going all the way and now it's that near-miss is still there in their physicality with one another, and both might still long for it, but one of them is holding it back from happening while the other just thinks it's hopeless and I honestly think after S2 it's Viktor holding back because of his declining health, while Jayce is the one thinking he hasn't got a shot so he might as well, tragically, look elsewhere.

And I'll go into a bit more detail on why I believe that for a romantic read of these two:

(Obviously you can just go the boring old "cuz they're not romantic" but I think that's dull and reductive and presumably not why anyone is the Jayvik tag)

I also don't totally buy the idea that they hadn't figured it out yet? These are two young men in their 20s, who basically instantly connect with one another, share everything, and are openly physically affectionate with each other from the first. In my fic Distinguished Innovators there's a certain amount of shyness and the fact they're just busy to deal with but they're still young men, it's why the fic postulates a physical relationship between them that isn't exclusive or official and thus doesn't change their status as "partners".

But in fics of mine like Parley I first floated another possibility that with time I find more convincing argument: Viktor knows he doesn't have long to live, so he's resolved to keep a certain distance from Jayce and not interfere with any sort of love life he might have (even if it destroys him with jealousy) because he doesn't want Jayce to be totally destroyed by his death, which given how openly affectionate Jayce is, seems inevitable.

This one works for me increasingly because it means the characters don't need to carry the idiot ball. Viktor can have his own strong reasons for not wanting to involve Jayce in that kind of relationship and Jayce can read that Viktor doesn't want to be involved with him in that way, and maybe they even got close and he was pushed back, and he's just respecting that now because he's just happy to have his soulmate in his life in any way he can have him (which I truly sincerely believe is a canonically supported read of Jayce no matter how romantic you see their relationship).

Then the tricky thing about a disease like that is... how much time does he actually have? If it's months, he should focus on leaving a legacy, which Viktor does. If it's years, in theory, they could work on a cure for him, but what if that doesn't work? Then you run into the tragedy of the longer he lives, the more he comes to regret not being with Jayce anyway. Then there's the question of a Hextech cure. I can see Viktor resolving to himself that if he's ever cured, then he'll confess to Jayce. Which feels all but impossible at the end of S1 when Sky dies, but then in 2.08, in the Council chamber scene, it really feels like Viktor finally feels like he's allowed to openly pursue Jayce because he's "perfect" now, and that to me is a linchpin of the idea that Viktor was holding himself back from pursuing Jayce openly because of his health.

Oh and I still think it's possible that Mel is Jayce's first as a result, or very near his first if him and Viktor maybe fooled around a bit or if Jayce had other relationships before that. But there is something very innocent in the way Jayce approaches sleeping with Mel that to me feels very much like he's had only a couple partners or fewer at the very least, if he hasn't been outright "saving himself for marriage" levels of hoping Viktor will notice him someday, which is my Jayvik romantic read of that moment he pauses before returning Mel's kiss, he's thinking, "Do I realistically have a shot with Viktor?" and concluding sadly that, no, he doesn't so he might as well stop denying himself a possible relationship over it anymore.

[milfweirdal]

comedy bang bang season 5 is just "Put Weird Al In Situations: The Show"

[poorly-drawn-mdzs]

Wardrobe Woes

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[epiphainie]

i can't with all these "the show is highlighting tommy's jealousy, they're planting seeds that it will cause problems" takes like bffr. he mentioned being envious over the 118's dynamic twice, sure, but in what world (literally how?) would that cause a relationship problem? do yall expect him to be in cahoots with gerrard behind their back and murder buck to take over his life or something?? like even with the hyperbole aside, i genuinely cannot see how they can turn this into relationship drama without going against everything they showed us with tommy so far

[brucie-baby]

genuinely can't get over the way the end of under the red hood parallels death in the family, with the only difference being that the parts they play in their own destruction are so much more explicit.

ditf has jason being deeply wounded and then dying in an explosion that consequently signs the unfulfilled death warrants of bruce and the joker.

this exact thing happens in utrh, but this time bruce is the one that wounds jason, and it's jason that plants the bomb that literally kills him, bruce and the joker.

it's all just about two people who are so very different from who they used to be, who cannot move past who they used to be. it's about two partners who have learned new tricks but cannot rid themselves of their reflexes. it's about a father and a son who try to reach for the other only to find their hands forming fists. they know each other too well. they do not know each other at all.

[hi-i-just]

Idk, I actually kinda disagree on a whole bc tfone did kinda dodge majority of the problematic stuff that IDW introduced — like context matters in the movie

Because like Orion, who led the revolution against Sentinel? That wasn't peaceful — Orion DID use violence considering they literally engaged in battle as soon as they hit the tower (heh). Orion is not above fighting Sentinel or his forces because it's necessary, but when it's clear there's another way to resolve things that would accost less lives and damage, he took it! And he did by discrediting Sentinel throughout all of Iacon.

Whereas the scenes depicting the citizens running away from Megatron after he orders the High Guard to "burn it all down!" — it's there because it shows how Megatron's violence at that point was... Pointless. No one is standing in his way. Sentinel is already dead. Orion dumped into a hole. Heck even the Death Trackers no longer show up. If he's looking for Sentinel's supporters, he could have launched an investigation and have the High Guard hunt them down but he didn't — the first thing he does after naming himself is to destroy idols of Sentinel, and before Elita interrupts him, you can straight up see he's not shooting at any enemy that was threatening him or the citizens, but rather at nothing and anything. He used his anger at Sentinel's injustice as a blunt weapon — anyone unfortunate to be in its way innocent or not be damned.

Also, the narrative isn't saying Sentinel's life matters — on the contrary, they literally had a train crash into the guy. Orion already says it himself — "Rebuilding Iacon cannot begin with an execution". They're not saying Sentinel didn't deserve what he got, but the message of anyone with a gun can shoot someone who can no longer fight back because they're in a fit of emotion instead of having the criminal undergo any due process sends a message that "you can be executed anytime if we think it's justified enough instead of having a trial" — which just screams UNCHECKED POWER. Which doesn't bode well for a society in need of reformation. I wished every billionaire would drop dead nightly, but even I am aware that society can NOT be governed by our worst impulses. D-16 killing Sentinel when the latter no longer has any power is one such example.

Also, people may debate me on this, but apparently, the Death Trackers are drones, not Cybertronians. They may be advanced enough to emulate "sentience" but they're not really living beings by transformers standards.

Also, not sure if you know this, but like, "Rise up!" came from "Decepticons, transform and rise up!" was used as their like, slogan when Transformers Animated (2007) came out and the used in other iterations since (like Transformers Prime), coined by Animated Megatron, who mind you, was voiced by a white guy (Corey Burton).

And also like, D-16 being a villain and then being voiced by a black man is something akin to "demonising" BLM activists or whatnot just.. Doesn't make much sense because like. Jazz is voiced by a black guy and Bee is voiced by Key who is half black and they're both Autobots, or like Alpha Trion who is voiced by Laurence Fishburne and AT is solidly one of the good guys. Whereas there's like, Sentinel and Starscream, who are both voiced by white people and they're both bad guys.

Like, D-16 is straight up my favorite character because how understandable and relatable he is —I can definitely see my younger self in him and I had the same anger he did for the same reasons (it def hits harder bc I'm not white either). But also like, I don't think him being a villain despite all that makes him a problematic depiction — if anything by giving him understandable and sympathetic origins providing him complexity and depth but STILL fall into his worst flaws made me appreciate him more. It's a caution story, it's a sobering "wow that could easily have been me" story. And I love that it doesn't matter how sympathetic your backstory is — you can STILL drop into the pitfalls of being fascist if you don't choose to rise above your worst impulses. Self-awareness is an important theme in the movie too.

IDW Transformers’ take on the war and the origins of the Decepticons was one of those things that was rly thoughtful and interesting to read as a kid (so as the target demographic I guess lol) only as an adult to have some rly troubling implications like the ones you pointed out. I was EXTREMELY relieved that TF One swapped it back so that the Autobots are the low-class miners and the Decepticons were the military (closer to the original cartoon anyway) while still using the IDW comics as inspiration in other ways.

Transformers One is such a strange case for me because on the one hand, it's propaganda. I'm sorry but it's transparently propaganda, it's executives embracing IDW's attempt at "maturity" that well-intentioned or not, inevitably paints the revolutionaries as villains by having them arbitrarily blow up an orphanage, because we gotta demonize revolutionaries who use violence.

We gotta warn kids of the dangers of the violent revolution, because revolution is only permitted if peaceful! Let's just ignore what we were taught about the American Revolution... Seriously, look at the elites' response to Brian Thompson's assassination!

That being said. This is like 95% speculation. But there are clear differences between IDW and Transformers One. So to me, personally, it feels like the writers —Eric Pearson, Andrew Barrer, and Gabriel Ferrari— were aware of the issues of the IDW premise. They were given a basic outline by executives. And so they opted to smooth over the issues as much as they could, work with it, while still being stuck with that basic problem at the end of the day.

So as you've said, I appreciate Orion and D-16 being working-class bots, that they're both coming from the same place. I appreciate the framing of Orion's opposition coming from the concept of Anti-Death Penalty, that no government should have the power to execute people. I appreciate the implications of D-16 siding with disgruntled military soldiers, whose only idea of fixing society is to destroy enemies.

There's something to be said about people who fantasize purely on committing violence, without any of the actual work of rebuilding and keeping things running! That's why Orion's rebellion consists of his fellow miners. I can see the implication, that even if D-16 hadn't gone off, there would inevitably be friction between the High Guard's jingoism and the civilians when Orion reformats things, and bans the death penalty.

...But again, again! D-16 is a black man. Not literally but he's voiced by Brian Tyree Henry, anyone can hear his voice. And his chanting of "Rise up" is juxtaposed with Orion Pax, who is voiced by white MCU star Chris Hemsworth. It feels ridiculous how the movie bends over backwards to paint D-16 as evil with shots of civilians running away from the convenient collateral of his shots, but nothing like that is ever shown with our protagonists and their damage!

B slicing up other Cybertronians is treated as a gag, but Sentinel's life and death matters more than his guards' which is uh. A weird way to frame things. I guess maybe it's because D-16 is doing it out of "reckless anger" whereas B isn't trying to...? But ultimately, the violence of our protagonists is meant to be framed as out of strict necessity, which is something I have to acknowledge.

I can't say for sure what Pearson, Barrer, and Ferrari were thinking. I appreciate Transformers One for smoothing out the edges. But I can't help but see D-16 as a pastiche of BLM activists, of the UHC shooter, because he's willing to be angry and violent towards his oppressors. He's a black man who gets branded and his violence is treated as exceptional and unique because of his anger, meanwhile B's kills are a gag.

There's an irony in that Sentinel's higher-class life is treasured by the narrative, but the lives of his comparatively lower-class bodyguards are worth nothing. The pervasiveness, it felt insidious; It genuinely kept me from enjoying the final battle between Optimus and Megatron, how the narrative wants to be triumphant but the dark undertone can’t be ignored. Call me a buzzkill.

I know people think this sort of trope is meant to be 'nuanced', that it makes for a more 'interesting' villain, one you can relate to and sympathize with. See yourself in. But in the end, you can only go so far in "reclaiming" a stereotype. You can't be in utter denial of the subtext and intention behind it. You can't claim this is actually good writing, I thought we were liking these villains out of spite, not in support of a narrative we think is secretly on our side too!

That executives need a revolution story where the ultimate villain who causes even more violence in the long run is, GASP, a revolutionary who shows people like them no mercy, is telling. There can only be a revolution in media if it shows the elite being deliberately spared at all costs, even to the point of Orion sacrificing his own life (Even if for D-16’s soul), while their own workers like those bodyguards are just fodder.

G1 was not the pinnacle of Leftist media but it was also inoffensive and knew what it was. This is… different.

[bacchuschucklefuck]

the boy-but-not-that-way-ism of riz gukgak send tweet

[icewindandboringhorror]

examining a seemingly normal image only to slowly realize the clear signs of AI generated art.... i know what you are... you cannot hide your true nature from me... go back where you came from... out of my sight with haste, wretched and vile husk

[brionysea]

phoebe's greatest fear is losing a sister -> prue actually dies (permanent) -> phoebe's greatest fear is suddenly that she's evil, which she has to talk out with piper over paige's body (not permanent)

i see the implications and they're making me SAD

[fragmentedblade]

Goodness, apparently Argenti's One and Only is named in Chinese after Rocinante, which is so fitting for him, especially with Himeko's words about him in mind

[hermitsdump]

I wish all jujutsu kaisen fans a very media literacy and manga reread