#didn't include every frame of that scene but it was very important to me to show that little moment of tension where clary's like.

[buffyspeak]

shadowhunters rewatch 2023:

alec and clary not trusting each other in 1.03 vs. alec saving her anyways

[demon-country]

One thing I think people tend to forget is that, due to how short the episodes are and how few there have been despite the large time frame that's been covered so far, we know very little about the lives of any of the characters. Including Blitz, who is the main character. We've only seen a handful of interactions between Stolas and Blitz and even fewer solo scenes regarding how they feel about their relationship, and they're all important because they set up future plot points, but they're not in depth and thus are functionally taken out of context. We can only speculate about stuff like some of the memory fragments in All 2 U or the exact content of the many phone calls between Blitz and Stolas, using deductive reasoning to figure out what makes the most sense given the clues we have.

There's so much that the writers are forced to only drop hints and subtext about, because they simply do not have the time to explore things more if they don't want to drag the show out forever, so people who don't pay close enough attention or who don't want to acknowledge the romantic feelings between Blitz and Stolas end up saying that things went too fast. It's like, guys, you know they've been interacting for over 20 months, right? Surely you can't think the few minutes of them we've seen on screen is indicative of their entire relationship, right??? It only seems fast now because it was really important to show the rapid paradigm shift that happened as a result of the crystal exchange.

And while we're at it, this is what bothers me so much when people say Stolas probably doesn't know Moxxie and Millie's names. Stolas has, by Blitz's own admission in Oops, been interacting with him on social media and calling Blitz on the regular to ask about his day for about a year and a half, if we don't count the months where they didn't talk after Ozzie's. And note that even though this is part of his rant about how Stolas is only using him for sex, Blitz doesn't mention phone sex, he only says that Stolas calls to ask about his day - meaning that they must actually end up talking about what Blitz has been up to fairly often. When put into that context, do you honestly think that Blitz has somehow never once mentioned Moxxie and Millie by name?

Moxxie, Millie, and especially Loona are very important to Blitz and Stolas would undoubtedly remember their names for that reason alone, but they're also a huge part of his everyday life so they're gonna come up in conversation pretty often, both on social media and anytime Blitz indulged Stolas and talked about his day. Blitz has probably ranted about something Moxxie did fairly often during his phone calls with Stolas, and where Moxxie is mentioned so too will Millie inevitably be brought up. And you know Blitz wouldn't miss an opportunity to gush about how perfect and amazing Loona is. All of which we can infer due to the fact that Blitz does all of those things many times in a variety of settings over the course of the series.

The assumption that he doesn't know their names is ultimately based solely on the belief that, because Stolas has certain unconscious racial and class biases, he must not care about any imp other than Blitz, to the point where he'd have had to intentionally ignore and forget every mention of their names to not know them by this point. Stolas has a lot of shit he needs to unlearn and has said/done a number of harmful, demeaning things to imps (including to Moxxie and Millie in Loo Loo Land), but this is not one of them.

[umeji-writes]

I would like to talk about the Music Festival arc - aka my favorite Mairuma arc until now. I love them all tbh, this is just very close to my heart for several reasons. [cw: non-suggestive discussion of s*x; if you are a s*x-repulsed asexual person you are very much welcome to interact, but this may not be the post for you, take care and proceed with caution ♡ edit: I'm uncensoring the words from here onwards thanks to a kind anon's suggestion] To make it short, I love that the main theme of this arc is pleasure, and the desire for it. Honestly, it's very horny - but not in a slimy or creepy way, which is sadly quite rare in my experience. The appreciation for pleasure coming from love (also platonic love) is there in several layers. First, the plot itself, as Lilith cries out her desire to find "a love that burns like fire". She is not satisfied by most pretenders, and especially this frame spoke to me:

Because... Well... It's so true. I am an adult, and I had my share of sexual partners. The expressions people make irl are not always aesthetically pleasing, but who cares! We are told to strive to be always attractive, but in those moments of intimacy it's really not important, not as much as being fully present and enjoying the moment! Then, can we talk about Kalego please?

I mean, Nishi here went all out and didn't even try to hide her fascination for ...discipline:

(and to be fully clear: I am NOT implying there is sexual tension between Kalego and his students, I am only referring to him!!!) When I saw the whip I couldn't believe my eyes. Of course in that context it's not used that way, but it's very much recognizable as an adult tool... But more on this later. Finally, I really like that the Misfits are growing up and finding out new things about themselves. They are characterized as high school students (even if we don't know how old they actually are), which is when humans tend to have their first experiences and explore their sexualities. They are building together this beautiful show full of emotions and desire, and honestly performing with other people is really an amazing feeling (I am a former musician and theater actor - let me tell you, every performance was fire). Look at their faces: from here...

...to here.

They are shocked, but happy! And definitely feeling ...feelings. And here is my main takeaway: I am really, really sad that sex is a taboo topic in our society, and when there's something about sex, it's mostly treated in a very bad way. This includes sex scenes in generic-audience movies, which I tend to dislike... I hate that sex is handled like a dirty and secret thing. I hate that sex is mostly treated as something that has to do with power imbalance and taking advantage of someone else, usually men that "want to do stuff TO" women (nonbinary individuals like myself not found) - and too often not in a hot and consensual way. I hate that social media are becoming more and more sex-hostile, because investors fear these topics, and use children as a shield to justify limiting contents for adults as well. I hate that sexual education is mainly reserved for talking about pregnancies and, if the students are lucky, prevention of STDs. Solo or reciprocal pleasure? Consent? Treating it as a normal part of life for many people (and not ALL, again, asexual people exist)??? Naaaah, why do that, when you can make people feel shame and embarassment and perpetuate trauma. Again, I am a grown-up now, and while this is legal and everything, I was conditioned to feel some level of shame nonetheless when talking about it irl (which I am working on). The whip I was writing about before (and the kneeling scene afterward)? It was a revolution in my brain. "So... That's a thing we can do...?"

(like that) I plan on doing some adult drawings in the future, but there's a part of me that resists the idea, because adult entertainment usually involves some level of dehumanization... But you know what? I want to take it back and make it about pleasure and enjoyment as it should be. Tbh, I could write a whole essay on the causes for all of the above and how they interact (patriarchy, capitalism, religions as power institutions, etc.), but this is not the place. So I'll just say that I am really, really grateful to Nishi for including this arc in a manga for a young audience, as those are important years to build a healthy relationship with pleasure and one's own body. And as Sullivan said...

I'm very much convinced that Nishi is doing a great job at sending messages for inclusion and social equality in M!IK, taking the role of educator herself. (Other reasons why I love the Music Festival arc are: Soi's story, Clara and Azz becoming closer, Iruma learning the piano, the appreciation of music itself, the immaculate art and more, but that's for another post!!!)

[rythmicjea]

Jeronica Endgame Analysis

I wrote this on Reddit and have been meaning to bring it over here. But commenting on @elizacinnamon's tumblr is what convinced me to do it. Buckle up because it's a long one!

Okay so, looking at all of the easter eggs in the episode, to me, it's heavily coded that Betty and Archie do end up together and that Jughead and Veronica end up together. The first thing that should be acknowledge is that everything in this episode is done with a purpose. They couldn't definitively say who Archie ended up with because Archie comics is predicated on the unanswered question of "Betty or Veronica?" so they had to make things "ambiguous" so people could come to their own conclusions.

When we hear of Veronica's life, Jughead says that she was known for her "impeccable taste" and "produced some of the most iconic movies of our time". So, right there, that's huge. That's a lot of heavy lifting. While he is complimentary and sensitive to everyone else's ending, the way he describes Veronica's life is just more. Take Fangs, he doesn't describe "Pixie Girl" as a "timeless" or "iconic" song. He just says that Midge and their daughter were taken care of and that his gold record will hang as long as there is a Riverdale High. He doesn't mention if Kevin or Clay won any awards for their work, but he says that Veronica won two Oscars. He goes out of his way to note the importance of Veronica's achievements.

The scene at The Babylonium is where I've found the most clues to their shared future. Jughead says "I always loved this theater". He doesn't say that about any of the other places they visit. Throughout the show, they regularly used characters to represent overarching themes. For example, Archie = Riverdale. I take Jughead's declaration to be a euphemism for Veronica. It's not that farfetched to believe that they fell in love while in high school. They were together for a year and a half before graduation. So, in the scene, he says "I always loved this theater. But it had a good run." At this time, in reality, both Veronica and Jughead have passed. Their run ended. He then lifts the seat and HIS CROWN is drawn under it! Why? This is a quick visual cue that he and Veronica are connected. If the Babylonium is a physical representation of Veronica (which is what the episode frames it as) then she essentially has a Jughead tattoo on her (a bit of a dramatic way of putting it lol). But, also this is not the first time something like that is in the show. In season 1 and 2, Betty wears a sweater with a yellow three pronged crown. It's universally recognized as Jughead's crown (she wears it on his birthday and in the Heather's musical episode). So, he makes his statement and BAM Veronica appears. Every time we see a character that isn't in the "relived day", it is a clip of them in the future. Veronica is the only character to essentially be an apparition. They didn't have to include her, but they did. And seeing as it's Narrator!Jughead (the real/angel Jughead is in the Pop's in the Sweet Hereafter, and the show literally ends with typewriter sounds) telling Betty all of this, Veronica's appearance can be taken as a clue that she is ever present in his mind/life.

When we see her in her office, she has four "The Comet" posters behind her. Hanging posters of the movies you made is very common. What isn't common is that one franchise has such a place of honor, so that means it's incredibly significant to her. Her clothing is in the style of the early 80s (the creators had an idea to bring everyone through time with each episode but it wasn't feasible so this is kind of a nod to that. Cheryl is seen in the late 60s, Betty in the 70s, and Veronica is the early 80s). We know that Jughead adapted The Comet into a comic book, and he was the one that introduced her to WEB DuBois' people. The artwork of the posters is the same as the comic he created. Making movies at that time was very time-consuming. Also, franchises like that were not common. The whole "Saga", "Trilogy", and "Universe" collections of today were not done to the same extent back then. So, not only was "The Comet" incredibly popular (because it got four movies) but it spanned over a large time frame (again, she still has the posters up decades after graduation via her clothing style), meaning that there was a consistent dialogue between Jughead and Veronica.

Outside of the Babylonium is a poster for "The Big Sleep" (It's also on the Marquis). This is a direct reference to the episode "The Red Dahlia" (3x14) where Veronica enlists Jughead's help. It is one of the main "Jeronica" episodes of the series. In that episode he says that he'll be her "Philip Marlowe". In The Big Sleep, Philip Marlowe is the main character played by Humphrey Bogart. In the same episode he says "Nice hat... Bacall." Lauren Bacall is the female lead of The Big Sleep. Bogart and Bacall were a huge draw for audiences. They were a power couple of their day (and they were also married... hint hint lol). They were the Bennifer and Brangelina first.

Now, moving onto Jughead. He doesn't talk much about himself. Everything that Betty says can literally be read on screen in his obituary. There are two main takeaways from this scene. The first is he barely talks about himself. When he does, he focuses on talking about his career and there's no mention of his personal life. This is a parallel to Veronica's description. He only describes her career and not her personal life. What is also a parallel is that in his summary of Veronica's life he says that she was known for "taking risks on young, raw talent" ie Jughead. Jughead tells Betty that he "put all of his eggs in one basket". That turn of phrase is to mean that you did the riskiest thing possible. When Betty asks if he ever regrets not getting circled he says 'sometimes'. It's a very ambiguous statement. BH shippers will say that he is talking about Betty. But his relationship with Betty ended in high school (both times) and were never rekindled later in life. It doesn't have to be that regrets not marrying Veronica, but it can be taken that way.

The second is on the artist easel in the Madhouse offices. There is a picture of Veronica. It is not a photograph it is the canonical comic book portrait of Veronica (Pep Comics IS Archie Comics). And it is smack dab in the middle of the easel. This is another parallel to Veronica's future. She has "The Comet" posters and he has her portrait. Remember, his first comic book line that he created was "Veronica: The Teenage Witch". So this is a clue that he has used Veronica's likeness IN his magazine for most, if not all of, the run. There's no picture of Betty or Archie. Why still have Veronica's portrait and use her likeness if they weren't still connected in real life?

Now we come to the final scene. So, throughout all of Riverdale (with a few exceptions) the milkshakes that the core four drink all correspond to their hair color. Betty = Vanilla, Archie = Strawberry, Jughead and Veronica = Chocolate (double chocolate to be specific - which can be extrapolated to represent them. It's a stretch but it can be made). In the final moments, we see that this formula has been flipped. When Betty sits in the booth, Archie is drinking a Vanilla milkshake and he hands Betty a strawberry one noting it's "her favorite". What are Jughead and Veronica drinking? Double chocolate milkshakes. If in the Barchie Endgame theory Strawberry being Betty's "favorite" is to mean "Archie" then we can apply that same logic to Jughead and Veronica. Then there is their seating arrangement. The girls on one side and the boys on the other. Betty is sitting directly in front of Archie and Veronica is sitting directly in front of Jughead. Again, because they had to keep the "Who will Archie choose?" answer ambiguous they use this blocking technique to show the pairings without the pair sitting right next to each other. (Couples either sit next to each other or across from one another.)

That is my analysis of the finale using clues to prove that Jughead and Veronica were "endgame". I hope you liked it! If you have any corroborating theories let me know!

[coffeelovesdramasalatte]

LITA Ep. 4 Rewatch Thoughts Pt. 3

Part 1 | Part 2 | Part 4 | Part 5 | Part 6

Ok Rain, you and I both know you didn't sleep through this honey

Phayu looks unconvinced as well lmao - do you see this eyebrow raise?

Slightly controversial opinion, but I actually love that I occasionally hear fabric rustling and other mic interference. It adds a messy and fun element to the scenes that make them feel more real to me. Here, we heard what is probably Phayu's shirt slide against the mic as he leans into Rain.

The first time I watched this, I had to pause and raise my eyebrows ngl. Supremely unprepared for this relatively simple sequence and in the end highkey felt like I got slapped in the face (but in a funny way).

Boss looks so intense and good here

Taking it from the top

down

down

down

(including this shot bc wow Boss has big hands)

and...

(we just got to the halfway point y'all... whew)

I've never heard of this seduction technique before. Phayu, you might be the only one this works on (I feel seduced but not in a sexy way, more like if I was a cat I'd make biscuits on Rain's tummy)

I don't have a whole lot of commentary on this part aside from they're both adorable and I love the way Phayu likes to drag Rain physically closer to him whenever they talk. I think physical touch is really important to Phayu and I love how Rain basically preens under the attention every time Phayu touches him

I have literally seen this 12 times. Every time I'm like OMFG THEY ARE ABOUT TO KISSSSSSSS

But NO, freaking P' Saifah couldn't wait outside for one more minute. At least he has the decency to give them a countdown do-over. Phayu looks like he considering the merits of ending his twin while Rain is just distressed. I love how they framed these shots of P' Saifah with his body physically dividing the screen between Phayu and Rain's faces which are blurry in the background. This drama uses physical blocking very creatively in my opinion.

P' Saifah I'm going to reach through the nth dimension just to SHAKE YOU I mean seriously how could you not see Phayu and Rain were having a MOMENT

But it does lead to this stellar headpat so I'm not too mad (the 7th one in the series, if I'm not mistaken), plus Rain's praise kink gets activated (seriously, just watch him reminisce about the headpat that just happened)

AHHHH Rain looks SO HAPPY to see that Phayu wrote him a lil note and helped him out - I mean it's no wonder Phayu would bend over backwards just to put that expression on Rain's face from here on out

Including this shot to praise the lighting directors bc it's beautiful, as is our hard at work Rain

I think it could have been really cool if they had Rain use his lucky triangle ruler thing (that Phayu gave him) here, bc that would have been an extra layer of symbolism. I think if they were going to include it as a serendipitous plot point, it would have been better to introduce it this way rather than stick it in a glass case.

GOOD WORK BBY!!! Your reward comes later though

AND the first thing he thinks of after is...

LOOK at him being a responsible student! He's only got two left and then he's doneeeeee (unlike me, I still have so much to do lmao and yet here I am) - (OK I wrote this earlier part two days ago and at the time of writing this sentence I am DONEEE so me *join hands emoji* Rain: done with finals)

My plans for the next 48 hours:

Except this boy gets revived at the thought of seeing his pseudo-bf and runs immediately bolts out of bed 2 seconds later. Ngl if I had a Phayu I'd probably do the same, but since I'm a single pringle it's just me and my clean sheets

Ok, now where have we seen almost this exact color combo before?? Mayhaps you can scroll up a couple pictures...

Basically, I think this is the production crew's way of telling you Rain's about to get smooched by Phayu. Also Rain's changed clothes from the previous scene so he really cleaned up to go to the garage awww

I love that Rain tells himself he should be using this time to sleep, then shrugs at himself and goes to Phayu anyway. Priorities, priorities

Yay, P' Saifah is here to guide Rain to Phayu!! The in-laws are getting a lot of interaction these days hehe. Also look at how eager Rain looks here - full on puppy mode (I met a cockapoo puppy named Molly today so I know my comparison is accurate)

I like that P' Saifah is talking Phayu up to Rain - not that Rain needs any more convincing that Phayu is the coolest mechanic ever. It's the thought that counts though.

For some reason, this shot of Rain and this shot of Phayu make me laugh. Rain's just standing there like some guy when we all know he's thee guy and Phayu is making the "this is so sus" face

The interaction between the three of them right after is so funnyyy - my favorite part is P' Saifah calling his big bro out - this is prime younger sibling behavior. Also Phayu pretending to be a grump - he's just kiss deprived is all (that problem is about to be solved tho)

I also like how I though Rain was going to be the possessive one but Phayu is out here with raised hackles even though P' Saifah is just being friendly to press his buttons (again, prime little sibling behavior). Please observe how pleased Rain looks about this though!

Me + P' Saifah: Phayu you're a SIMP

Ok I like that they included this shot of PhayuRain for no discernable reason (bc it cuts to them walking over to the other part of the garage right after it) other than to show us Phayu looking at Rain fondly with his eyebrows raised

I also love how Rain immediately reports that his work is done (likely so he could get praised) but then Phayu counters with "did you sleep?" to which the answer is no. Rain's like "ahhh we can't win with this one uff" (don't worry bff, your reward is en route)

On to part 4!! I'm hoping it's the last one or none of you are gonna want to read it (this is a lie, there are 5 parts bc I have no self control when it comes to taking screenshots of PhayuRain)

Part 1 | Part 2 | Part 4 | Part 5 | Part 6

[kalispitronhibernation]

Oooooh I'm always interested in peoples structure and outlining process so 👀 22?

ah thank you for this question, i looove talking about structure and outlining! under a readmore bc this answer is loooong

22. describe your writing process from start to finish.

most of the examples here r from telemachus' detachment, bc i am very proud of that work, and i also did a LOT of work for it, because i was going through a slightly insane period and focusing on that really helped me kept going.

usually, the writing process for me starts off with a single piece of dialogue / scenario. i half-remember a tennesse williams quote where he's talking about how he starts off w a single "luminous image", and it's kind of like that. something just occurs to me and sticks. it then has to be sufficiently emotionally complicated / interesting for me to want to write it out. weirdly what became telemachus' detachment started off with a scene of stewy in a hotel room in hong kong watching kendall's s2 finale speech on TV.

i will usually then write down a lot of random scraps of dialogue / tiny bits of action in one word doc, in a vaguely ordered fashion but mainly as they occur to me. then they start to cohere, and that's when i start trying to pull it together into an outline. for shorter stuff, i probably won't outline, bc it can be done in one push - or if i do outline, it's basically a few bullet points to get the structure down on paper. for longer stuff, i find that i need to know where i'm working to or i'll lose focus / enjoyment and drift away from it. usually the outline will morph into a very very loose first draft - including little bits of dialogue, etc.

HOWEVER. this outline is like - never what the actual writing ends up being. i always think 'no this time i really will stick to the outline' and then during writing it massively changes. so, for example, here's an outline of telemachus' detachment during the writing process: everything after the ch.3 bulletpoint was abandoned bc it didn't feel right.

"Ch.1 finished for now

Ch.2, college + Logan forcing K.’s hand; focalise that all through the K. & the fact of hiding: make it about the twin poles of shame & love

Ch.2: Frame it by opening w/ the board meeting, Roman / Shiv; then end with Stewy watching the interview, and then flashback to Stewy’s reaction – just, here, to being broken up with

Ch.3, KenFest + Ken’s wedding – mirrors of each-other; how did Stewy cope with all of the hiding? End ch.3 with the confrontation about the interview; this moment of hope that Kendall will be free.

Then the drowning; Jess calls Stewy and he ends up at the hospital; he refuses to have any part in the siblings’ plots; Roman calls him a parasite and Stewy doesn’t care, he just wants Kendall to be alive.

Flashback; the various times Stewy has waited in hospitals

Ch.4: Logan dies / Dodds confession – Kendall is dragged back in; Stewy becoming an accessory on his side; he keeps loving him, he can’t not, but Kendall is changing – every dream of escape calcifying."

when i know roughly where i want the thing to go, i then have a checklist - this needs to happen, these people need to have this conversation, and i just work through that - not necessarily in order. though, for telemachus' detachment i would basically only figure out what the next chapter should be when i finished the first one.

there are then 3 very important word documents!

1 is simply the draft - i will usually split this up into smaller ones / chapters for ease and manoeuvrability. i tend to have a "Actual Thing" doc, so i can noodle around in other documents & draft stuff out without feeling the pressure of having it contribute to the whole thing, then will assemble it together.

2 is a 'deleted bits' draft. i find this so so important, bc it is a lot easier to simply cut and paste something away than it is to delete it from the face of the earth. also i will sometimes come back and rescue things from this document.

3 is a running commentary - this is where i keep notes to myself, outlines, and also what i'm going to do next. i like to try and follow the advice that you should always stop working in the middle of something that's going well, bc you will want to come back & do it the next day. always leave yourself a clear goal / target for the next time!! i like externalising a lot of my thinking.

this does mean i end up with a lot of word docs for one thing. i just counted and there are a total of 34 docs in my folder for telemachus detachment.

in terms of the actual writing, i tend to write dialogue first, especially if it's fic for a TV show. i find getting the rhythm of dialogue right tricky & v important! i sometimes write random dialogue that's nothing to do with the story just to get into the voices. i'll then go back and fill in everything else. if i'm writing something, i tend to become completely and totally obsessed w it, and think about it all the time, i quite often end up writing scraps of dialogue in the notes app on my phone, and then fleshing them out later.

if it's fic, i tend not to edit massively once it's got to the stage of actually being assembled in that final doc - it's probably already been through a fair amount of revision to get to that spot, and i really only have so much time and energy. i have no idea how to explain when something feels done apart from that it just clicks into place, and feels right. i work very much on a vibes basis, and i think i've read enough that my vibes r fairly well honed!

anyway this is very long but thank you again for asking!! i love to ramble about this

[redrikki]

Now that I've finally finished the Netflix Avatar and have had a bit of time to reflect, I'm ready to share my thoughts.

As adaptations go, it was worlds above the Movie, but not quite as good as the Boy in the Iceberg. It's impossible to say on account of how the original series re-wired my brain, but I think I would have enjoyed it as a stand-alone series if I'd never heard of the original.

Overall, I really liked the casting and thought the actors had some pretty great chemistry together. The folks playing Zuko and Iroh really sold me on their relationship, as did Katara and Sokka's actors. The boy who played Aang did a really good job, but his relationship with Katara and Sokka never came off as anywhere near as close as it did in the cartoon, but I suspect a lot of that came from the fact some of their most touching moments weren't included in the live action.

Over all, the effects were really good (except Momo). Fight scenes were brilliantly choreographed and the integrated the bending effects well. On the other hand, the show runners were a little too focused on showing off in ways that were, I thought, a detriment to the emotional weight of things. For example, the Air Nomad genocide scene felt so focused on the spectacle of the violence and cool bending techniques that the actual horror of it fell flat.

The characters in the live action were very different people than the cartoon, especially the core three. It's like the writers read every internet complaint about Aang, Katara, and Sokka and decided they would be more likable if all of their flaws were removed in favor of more (or different) angst. And, to be fair, they altered their backstories enough that their very different personalities made sense in context, but it still...How do I put this? An adaptation, like any fanfic, is a conversation with the source material. And the conversation the Netflix show runners wanted to have with the cartoon is one where becoming "strong" is paramount, overcoming prejudice is bad because you shouldn't have had it in the first place, and "adult" stories don't have room for whimsy or joy.

Removing Sokka's sexism and changing his Koyshi Island arc might make him more likable than cartoon Sokka, but also erases one of the key themes of the show: breaking false barriers and learning from others. Iroh and Guru Pathik really spell it out in the second season, but it's there from the beginning in Sokka and Pakku's story lines. Sokka is so sure of the proper order of society before Suki shows him that the dichotomy of women and warriors is a false one. In the live action, this message is erased in favor of reassurances that he too can become a strong warrior. With Pakku in the cartoon, he changes his mind about Katara, not because of the quality of her fighting, but because her necklace made him realize that the rigid frame of patriarchy hurts everyone, including him. In the live action, he agrees to accept help from Katara and the other women because Katara fights good. He doesn't end up teaching her because she's so strong she doesn't need to actually learn from others. Over and over again, the importance of strength is highlighted, while accepting the wisdom of others and breaking down barriers is downplayed.

In terms of characterization, I really liked what they did with Iroh and how it impacted his relationship with Zuko. In the cartoon, season 1 Iroh was very much playing up the idea of a wise old man mentor who didn't do chick-flick moments of actual emotional intimacy. Netflix Iroh is still wise, but he's unapologetically vulnerable in a way cartoon Iroh isn't. Cartoon Iroh is with Zuko because he feels guilty over what happened and wants to save him going forward the way he couldn't save Lu Ten (or himself). There's a bit of that with Netflix Iroh, but he also clearly needs Zuko as an emotional crutch. The result is a relationship where both parties are more vulnerable and open with each other and it's not just Iroh lecturing while Zuko shouts abuse.

Katara got done dirty by the changes to her character. Key character-building episodes like Prisoners and the Waterbending Scroll got cut and her character felt flatter as a result. Where was her compassion which drove her to risk it all to help others? Where was her anger about what had been stolen from her culture? For that matter, where was her jealousy with Aang over how easily bending came to him? The Netflix version took a moment to celebrate how awesome Katara was that she didn't need a real teacher, just a scroll that had been kept from her for 'reasons,' but then they had two different moments where 2 boys who didn't even bend her element had to mansplain it to her. The actress did such a great job, but the writers were too busy treating Sokka as god's gift to give her the characterization she deserved.

[alittlefrenchtree]

Ok I'm sending you some of your own RWRB questions: Number 1,2, 5, 7, 10, 13,14, and 19 (i had to stop myself from sending the whole list lol)

Thank you so much! Maybe I'll end up answering every question on my own anyway but it's nice starting with your selection 🥰

#1 What was your introduction to Red, White and Royal Blue? How did you become aware of it, what was your first impression of it?

I didn't know anything about it until @petitmimosa started rambling about it a few weeks/couple of months(?) ago. I think she saw the trailer on prime, read the book then watch the movie? I was only half listening (she rambles a lot about a lot of stuff) because I was pretty sure I wouldn't be interested at all (romcoms aren't really my thing).

Then FREAKING TUMBLR decided that RWRB would be the only thing I'll be seeing on my dash for days and days. So I'd say to myself, if I'm going to be forced to look at pics and gifs of these two guys AGAIN and AGAIN, may as well know what this is all about. So I've watched the movie and surprisingly had a good time. And since Internet (and algorithms) keeps showering with rwrb content (nothing else is happening in the cinema industry anyway), I've decided to roll with it and enjoy the said content. I read the book quickly after and even if it was fun, I think I like the movie better.

#2 Team Alex or Team Henry? (I know you love them both equally but choose anyway. OR choose depending of the circumstances. Like, "I’d go shopping with Alex but I’d marry Henry. Or I’d hug Alex but I’d go karaoke with Henry. I don’t know. Try something.)

Even if I like Henry and find him very precious, I think I'm Team Alex. I like how refreshing he is. You can't really be sad watching him and not only because he looks cute af. But all love to both, obviously.

#5 Choose one scene from the book to add to the movie.

I'm not sure because I don't know the book that well but I know how I felt reading this

“Dear Thisbe, I wish there weren’t a wall. Love, Pyramus”

and I wish they'd found a way to include it in the movie. Maybe not in the way of the book, because that might have not worked as best as it should but in some way. I don't know.

#7 Tell us something you like better in the movie than in the book.

Oh man, so many things. One of the main thing, I like that Alex is more freaked out by being into Henry that being into guys in general in the movie. There are important scenes following, about owning the term bisexual in front of other people but being into guys feels less a big (and long) deal than in the book for him. Which is good. I feel like the "i'm bi, so what?" is a good mood to put out there in 2023.

I know the point has been quite a debate here and there so I hope I put the right words to express my view on this.

And tell us something you like better in the book than in the movie. 

A couple of things :

I would have liked for Bea to have a bit more substance as a character in the movie.

and, and that could have been an answer to the "share an unpopular opinion", I'm not the biggest fan of the parisian night scene. Not by Taylor and Nick's fault because the shots of their faces and how they acted are very delicate but I'm very not into the directing, the blocking and the editing of this scene. If felt too heavily romcom coded for my taste (and for my french person leaving near Paris' eyes), when one of the strength of the movie (for me) is being fresh and fun with the romcom codes.

10- You’re in a difficult situation where you have only one call to get help (or to save your life), who are you calling? Amy, Zahra or Ellen?

Zahra, every day, everywhere. I wouldn't trust anyone more than someone who reminds me that much of Sam Marquez in the tvshow Las Vegas.

13- A detail you feel like it’s not enough discussed. Whether it’s a scene, a quote, a frame, a piece of acting, a decor…) Time to ramble about it!

Oh I have two actually! The first good thing I have said about the movie is how much I like the opening credits. The music is good, the visuals are good, I like it a lot.

The second has probably been discussed over and over (and my recording sucks) but

I need daily screaming about the softest, smoothest, most determined "no." I ever heard in my entire life.

14- Favorites outfit(s) in the movie? (You can pick as many as you want, from as many characters as you want. But if you reply with a screenshot of a naked person, I’m going to put you in horny jail).

I wrote the question with one outfit in mind

My only regret is that he's not wearing matching pants (there must be matching pants, right?) cause I feel like AGCD wouldn't have shy away from them. And that would have been epic.

Honorable mention for the denim look 💙 that was wasted on Miguel.

#19 is going to take me forever to answer so I'll add something later :)

Thank you again for playing with me 💜💜

All the questions here !

[misscrazyfangirl321]

Sanctuary for All, Part 1 Thoughts

*I always forget how different Will is in the pilot compared to the rest of the series. So desperate for someone to take him seriously that he's resorting to rambling to the waitress about his observations.

*Will finding a Russian nesting doll and immediately assuming the family is Russian or Ukranian. Like. Do you know how common those are, my guy?

*Alexi has ADHD confirmed.

*Kinda want to incorporate Joe into The Time Wars, even if it's as a bit part.

*Forever obsessed with the bit where Will narrowly avoids being hit by Ashley on a motorcycle only to IMMEDIATELY get hit by Helen in a car.

*OK but the way Will immediately covered for Magnus. Didn't tell anyone he'd seen the person who hit him or anything. He didn't know who she was, and maybe he didn't even know why he was covering for her, but he knew she was important.

*That's not how lineups work. That's not how any of this works. A lineup consists of more than one person.

*Oh BTW Will's hair was super curly when he was a kid. I choose to believe it still is when he doesn't put four million products in it.

*Eleanor! Hey remember when it was established that Helen Magnus had friends? And hung out with people she saw in her day to day life?

*JOHN AND HIS LOCKET OF HELEN

*John acting almost shy in this scene is painful. Especially knowing what's coming.

*Will desperately trying to convince someone, anyone to listen to him. Also just... The way Joe and Meg really are trying to help Will, in their own ways. They're wrong, but they don't know that.

*Helen is so dramatic, especially in reaching out to Will, and Will just. Doesn't Engage. "Lady, I'm getting soaked here. What do you what?" Just does not let her draw him into the drama.

*Okay but the way he makes her smile, even from the beginning. Her amusement. Her oh, this will be fun.

*One of my favorite things about this episode from a narrative perspective is the way they save the Ashley reveal for so far into it. Through most of the first part, Ashley and Helen are framed as Opposing Forces looking for the boy. (.... Oh hey not like I need another AU, but that would make a great AU.)

*Tbh I really do like Meg. Wish she could have been more of a character.

*Will. Will, what is that book organization? Will.

Will, you're stressing me out.

*EC or not, there's definitely comparisons and contrasts between Meg's relationship with Will and Helen's relationship with Will. (Specifically humor, and also the contrast of Meg thinking he's crazy and him looking at Magnus' business card.)

*Magnus' excitement when Will says he doesn't know why she's looking for the boy is so fun.

*I forgot how HUGE the Sanctuary is from the outside.

*The one time teleporting into an EM shield just bounces him back. Also him laughing as he hits the ground, so fond of Helen... John, you're a DistasterTM.

*"Next time you just want some company, don't give your number out to strangers on the street." Ajdmsjsjdm Helen's sitting here trying to be all dramatic and mysterious, and Will's just like. "I diagnose you with Loneliness." And. He's not totally wrong.

*Ashley knocking out those cops just adds to the perceived contrast. We're so nervous that it looks like she'll get to the kid before Helen.

*Hey wait there's a clock on the wall when Will walks into the Sanctuary lab. We can see what time-WAIT THERE ARE TWO CLOCKS SET FOR DIFFERENT TIMES. ONE SEC. Wait, no, there's at least 3. All different times. Huh.

*Okay it looks like every pillar has a clock set to a different time. Nice detail actually.

*Love that the example for "Other [Abnormals] can't be allowed to run free" shows up multiple times throughout the series running free, including the VERY NEXT EPISODE.

*Flying Person should have been a major character.

*"He's just as unnerved by you." Ajdkfksms Biggie's characterization probably changes more than any other's throughout this show.

*Such a fascinating thing how Helen speaks so highly of Abnormals, but never refers to herself as one unless absolutely necessary. They're valuable, but they're still "Other" to her.

*Why does Ashley sign her texts? Ma'am you're texting your mother. Does she not know your number?

*Obsessed with the fact that it's played as if Helen looks too young to be Ashley's mother, as if Amanda isn't 19 years older than Emilie.

*"What she lacks in refinement, I assure you she makes up for in her field skills." Lines that get painful when you realize how soon Ashley will die.

*Wish there could have been more with Ashley trying to fool Will with stories and Will just shaking his head and laughing.

[serenhiscoxprofessionalpractice]

Final Major Project Week 12

For the final Tuesday class I used the footage I filmed last week to finish my technical tests. The first test I completed was the walking through the field scene. I imported the walk cycle stop motion animation into after effects and keyed out the background. I put a mask around the puppet so I didn't have to key out as much. I also imported the puppet animation into TVPaint and animated facial features on using a textured pencil brush. I exported it as a PNG sequence and imported it into after effects , I used the parent tool to link the two assets, so any alterations I made to the puppet would also affect the facial features. Once I had the puppet sorted, I imported the background from TVPaint and then imported the moving foreground as a PNG sequence. Once I had all the assets in the composition I adjusted the positioning of how the puppet moved through the frame. Once I had the movement in a place I was happy with, I made all of the assets 3d and then adjusted their positioning to make the whole thing less flat and to create more depth. I also had the camera slightly pan across the scene just to make it appear less static. Overall I am really happy with the end result of the test, I recognise that there's a lot of room for improvement however as a first attempt I am pleased with the execution. I then moved onto the lip sync test, I was already confident in how the end result would look as I had used the same process for the walking test. I recorded me speaking a line from the script as placeholder dialogue, and then animated the mouth shapes. One thing i had not anticipated was the model's unpredictability, unlike previous lip-syncs I had animated, due to the fact that it was stop motion, the puppet was almost always moving, even when I didn't intend it to. This added a challenge as I had to go back and make sure the mouth was positioned correctly on the face every time, this was a small detail but made a lot of difference in my opinion and really helped combine the two mediums effectively.

On Friday's class we had our alpha crit, and so to prepare for this I wanted to have my animatic ready. I recorded all the dialogue just as a placeholder so I could work out the timings. On the first pass, the animatic was coming in at 9 and a half minutes...The animation is meant to be 2 minutes so I knew I had a lot of cutting down to do. I had already got some ideas of things to cut and so executed that however the runtime was still too long. I managed to get a version that was 6 and a half minutes, I realised that I could reword some of the dialogue to be more effective, however I couldn't re-record the audio and so instead was cutting down on the audio I already had. With the Animatic as short as I could get it, I implemented some other sounds, I found some medieval pieces of music that fit well with the opening and montage scene. I also played around with the reverb settings in premiere pro and I feel that that helped the audio massively as I was able to create different settings and atmospheres through the sound- the scene in the cave worked particularly well. I also implemented all my camera moves, which I wasn't too experienced with in premiere, however after this I feel so much more confident in the program!

Alpha Crit

On the morning of the alpha crit I rewrote my script so that each scene was around 13 seconds, I then used this new script to make a new animatic which I managed to finish just before the crit. Whilst I am sad I wasn't able to include sound, I was happier that the runtime was a little closer to what it should be. The crit went rally well, I was very nervous about it and definitely in the beginning I felt that I wasn't articulating my story very well, but I got some really good feedback. I think to meet the runtime I need to step back from the story and analyse what's important. One suggestion was to cut out a lot of the exposition and instead use flashbacks more often. I liked this idea as I felt that it could push the idea of Gwaine's internal struggle more. Another way I could cut down the runtime would be to utilise the narrator more, this made me think of Julia Donaldson's animations, and how they will have the narrator explaining the characters actions as the animation occurs, like reading a storybook. I really liked this idea as it brought me back to the idea of 'Bardic Tradition' I had learnt about in my early research, how stories were all recorded and told through word of mouth. I also received feeedback that I could cut out some unnecessary characters as well as push the design for my protagonist further, something I wholeheartedly agree with, as from first glance I don't think his character is very clear. Overall I'm really happy with the feedback, I feel like im progressing rather than being back at square one, and I am excited to build on these ideas over the Christmas break.

[everyonedni]

The framing device is a news reporter (plushy) doing an interview piece with all the members of the up and coming piece of shit industry

Plushy talks to person about backstory

Scene fades to flashback plushy exits and all characters for backstory enter

At climax/dramatic end song

SONGS

-Plankton duo (Just a greasy stove)

-biggering

-into the woods

-jekel and hyde

-outro by Shrek

Partyshark:

Plays plushy axolotl

Interviewer interviewing different characters

Shrek:

kind of a mr krabs character. He has a reason and backstory for this.

Treats Xavier like Squidward, but worse

Xavi:

Two different characters: Xavier and Xavier’s soul

Manager handling reception

Emerald:

Skincrawler

Joke - I come from Emeraldsville, where nothing ever happens, literally

Justin:

Jekyll and Hyde type character

Party plays reflection

Joke - Mr boopkins makes joke about how instead of doing HR things he will turn people into human resources

SCRIPT ROUGH DRAFT

PART ONE:

PLUSHY: 

Welcome to the broadcast. And welcome to our show. Our story’s super scattered, the genre no one knows.

But we offer tales of past. Seen across the years. Of many different people [yelling]. Lets kick it to high gear!

[lights switch on, plushy walks backward]

[All cast enters]

This is our small little town of New Fredrickson, home to industry and invention. The streets are wide, the allys narrow, and you can find just about anything and i mean ANYTHING on these streets. Wink wonk! 

[music beat every one exits except plushy]

And you might be wondering [in deeper mocking voice] “who are you” well my dear viewer who looks dumb talking to your tv screen I am the head writer and reporter for the moss times. And WE (i say we so you feel included but your doing diddly squat) are interviewing the newest and possibly greatest company to come out of this crumby town!

[Sound of glass being broken as plushy enters a window] [screams]

[plushy is beaten out of window]

Plushy: wrong window

[sound of second window being broken as plushy breaks the correct window]

Xavi soul: Door is over there.

Plushy: Your Xavier right?

Xavi soul: His soul! We’re a bit short-staffed so he’s handling management and im-

[Xavi motions around]

Plushy: neat neat, didn't ask, can I talk to your boss slash body?

Xavi Soul: If you have an appointment

Plushy: I do! Not! Which way is he?

[Xavier soul pauses for a long moment before calling out for Xavier]

[xavier come in from stage (left or right depending on the stage)

Xavier: what.

Xavier soul: the fish wants to talk to you!

Xavier: Do you have an appointment?

PLushy: Nope! 

[pulls out mobile office]

But I won't take too much of your time, take a seat take a seat! Im writing a piece on POS industry and wanted to interview only the most IMPORTANT members.

Xavier: [flatterd] Oh, well in that case, interview away

Plushy: You must be very dedicated to your company to separate your soul from your body!

Xavier: Well about that

INTO XAIVERS BACKSTORY

Xavi’s part:

Xavier: *Drags a cigarette* Tell me, you ever heard of a place called Vallesia?

[Plushy shakes her head]

(I imagine there’s an animation playing in the background as he narrates the scene)

Xavier: It was my home before the war. Lived there with an old friend of mine. To make a long story short he pranked me by making me immortal and condemning me to a life of eternal unrest.

Plushy: It kinda be like that sometimes.

[Xavier nods solemnly]

Xavier: Anyway fast forward a couple thousand years the gods all killed each other or something, the world’s been reborn, but I’m still the same old immortal me. So now I'm thinking: ‘Damn, this undeath curse kinda blows.’ So me and my aforementioned friend set up a lab in Handleberg, thinking we can distill a cure y’know? We needed money to fund our research and well… that's when I met Mr. Doc Shrekbot.

Plushy: That’s the CEO of this place right?

Xavier: Yes ma’am. He put me in charge of management and finances. I was feeling a little hungry one day so I spent some company budget on cupcakes, and also some thigh highs, perfectly reasonable purchase am I right?

Plushy: Definitely. Everyone needs at least one pair of thigh highs.

Xavier: Right? Anyway, turns out $17 was enough to plunge our company into crippling debt so the CEO took my soul as payment.

Xavier’s Soul: Oh! That’s me!

Plushy: So people don’t need souls to live?

Xavier: *Shrugs* I think it’s just cause of the whole “immortal” thing. But yeah, I’m kinda stuck in corporate limbo for now.

COMING BACK OUT OF BACKSTORY

Well, that's certainly going to open you guys up to some sort of lawsuit from some sort of player rights group. Thank you for your time.

[plushy starts to crawls back out of the window to come face to face with Emerald

Emerald: Hey, I'm security, I’m here about someone who broke in by smashing a  window?

Plushy: Huh, didn't see anyone doing… that. Oh! But I'm here to interview members of pos-

Emerald: IT STARTED LONG AGO!

Plushy: oh um well I was hoping for something more recent?

Emerald: IT STARTED VERY LONG AGO

[lights dropped except a single green light over emerald]

INTO EMERALDS BACKSTORY

Emerald’s part:

When I left my hometown of Emeraldsville, where nothing ever happens, literally

and encountered a Pig named steve

(Shrekbot enters wearing a war pig skin)

Steve was no ordinary pig, he was a battle hog

“Hi, nice suit of armor you have”

Shrek: “Thanks. My grandmother died making it”

Emerald: “That’s depressing”

Shrek: “That bitch never baked me cookies, I should throw some dough down there and watch it cook”

(Xavier walks in with granny pig skin and burns using fire resistance potions)

Emerald: This battle hog was not very nice, we became friends quickly, but it was short-lived because of the war that happened between the Pigs and the Emeralds due to lack of cookies

I was drafted into this war after a grenade eating contest went ary and killed my father

(A few extras walk in wearing an assortment of emerald skins)

“Cmon guys why do I have to be the negotiator, nothing good comes of negotiators”

All Extras: “Because you lost the Emerald-Diamond-Gold match”

Emerald: “YOU CHEATED!”

All Extras: “L Bozo”

Emerald: I went into the woods to go negotiate

(Modified version of “Into the Woods” plays)

When I finally got there, the Pigs were ready to attack

(Cuts to extras wearing armor ready to attack)

“Oh god, what do I do”

(Shrek goes right behind Emerald)

Steve: Hello, OLD FRIEND

Emer

OUT OF BACKSTORY

Plushy: Well! That was certainly something. I um. Look at page 80 for your story in the next issue

[lights go off and emerald exits]

Plushy: This is an aside! The paper only has 60 pages

[She slowly backs back into the window and comes face to face with Justin]

Plushy: [startled] HOLY HR! YOU! Your the goat hr. Hr goat. I um. Alright mr…

Boopkin: Boopkin

Plushy: Boopkin, walk with me, I'm interviewing people from pos industry and you are JUST the player I wanted to talk to

Boopkin: You wanted… to talk to the HR guy?

Plushy: YES! Hr is the heart of a company, is it not? Anyways, tell me how you got here!

Boopkin: I walked here

Plushy: I mean here in your life, how did you end up as the HR of POS industry?

Justin’s Part:

Boopkins: Well I didn't used to always be like this, I used to be a regular goat just like the rest of them

Plushy: What do you mean by them?

Boopkins: Turn around

[*shot pans in on goats shuffling in from the background that are there for literally no reason. goats shuffle out of view]

 I was even in the world before the war. Granted I wasn't sentient as I am now, annnnd i didn't have this swanky suit. Made from pure goat fur, might I add.

Plushie: …

Boopkins: What don't look at me like that feel how fluffy this suit is

[ grabs plushies hand and brings it to the arm of the suit] 

Plushy: Oooo that is fluffy, how is it so soft but so sleek looking at the same time (starts feeling the suit more) I wanna play with this joke of plushy just getting addicted to the fluffiness of the suit and just more aggressively feeling the sleeve.

Boopkins: That's just one of the amazing things about goat fur, but that's for another time though I guess, back to the story. 

In the world before the war I was, as I said nothing more than a simple mountain goat. (The pack of goats shuffle into view again and quickly disappear once more)

Plushy: wait where do they ke-

Boopkins: I was simply grazing on a mountain, yknow as we do when it seemed like the whole world itself started to shake. I was then swallowed by a bright light but I found myself on the same mountain completely unchanged. Except for you know sentience and now walking on two legs. Yeah never fully got over that not walking on four legs thing. It's a lot harder to ram someone with only two legs y'know. 

Plushy: *perplexed face*

Boopkins: By the way can you stop feeling my sweater.

Plushy: oops sorry its just reeealy soft. Continue, please 

Boopkins: Anyways, I found myself on the same mountain but everything else was different. A questionable amount of snow and dark oak forests might I add. As if the mountain itself was taken and just put somewhere else. Eventually after struggling down the mountain on two legs, which I later learned was called “Sparkle Peaks” I found others like me in this world who were from the last and eventually through that the now owner of POS noticed my uh… unique… skill set.

Plushy: What kind of skills would that be exactly?

Boopkins: oh you know Human Resources

Plushy: ummm, ok then I think that's, uh, thats all i need. Thank you for the words, Bye

[possibly jump out a window again?]

Shrek: you've asked all my employees this question so I think its only fair I ask you

Plushy: please don't

Shrek: How did you get here

Plushy: I walked?

[silence as Shrek stares at plushy]

Plushy: sigh

Plushy: You know of vallesia,

[songforten]

yeah yknow what ok i'll bite. with or without context, this post is extremely fucking racist. i didn't include the rest of it because i did not want anyone to harass anybody, and of all people, i know VERY well that posting publicly about someone you disagree with WILL get both them and you harassed. instead i made a somewhat catty post about a take that made me mad on my personal blog with no expectation of likes or reblogs, and in fact got far more attention than i ever intended. had i known this many people would see this post, i probably would have been a bit less vague. g-d forbid someone makes a post on the internet without fully explaining themself and all of the context every fucking time. anyway. sure, i'll talk about it in context. because the rest of this post doesn't change my opinion at all.

this post starts out by decrying christopher eccleston as a terrible person who hates fans and is really really mean to them, which is categorically untrue. nor is he "disdainful" about the show as a whole. he is open about his struggles with mental health, an eating disorder, and a bad environment on set during his time on the show, which he has every right to be. i personally have never heard of him being anything but lovely to fans, if a little blunt sometimes, but i think that's more just him as a person being kind of blunt. which i really don't think is a crime.

the post then accuses him of "downplaying" an accusation of sexual assault and insulting the woman who accused him and insinuates that he did assault her. this is, well, to put it in your words, classic shit stirring. it took what he said out of context to make him seem like a horrible person. what this comment is actually referring to is an interview eccleston did in january where he talked about the importance of intimacy coordinators on set when sex scenes are being filmed, and about one experience he had with an unnamed actress who accused him of inappropriately groping her during the scene in front of literally everybody on set, and that it's the most betrayed he's ever felt by another actor. at no point does he call her a bitch. he says he would rather put his hands in a blender than touch her or anybody else inappropriately like that. so far this post has framed chris eccleston as a horrible human being for practically no reason. can't wait to see what's next, i bet this will be a really meaningful take on misogyny in fandom.

next up we get a paragraph of good things jodie whittaker has done contrasted with a straw man hater who hates whittaker and wants her to fail and writes rape threats about her -- an EXTREMELY serious accusation here thrown out really nonchalantly in order to make the strawman hater seem even worse. not saying that's never happened, i'm sure it has, but i would hazard a guess that most people who talk about liking eccleston and gatwa are, for the most part, not the same people who act that vitriolic towards whittaker. gatwa and eccleston? those are two actors that are NEVER criticized on false standards by people with very obvious actual motivation for disliking them. the working class politically involved notherner who very adamantly and loudly stands up for the worker's rights of both himself and others in the industry, and the queer black refugee who is very open and unapologetic about these things. never.

this is sarcasm. op chose THE most loaded pair of actors they possibly could have to compare, and i can't imagine why they did that. the people who like eccleston and especially gatwa in the role as the doctor are not the same people who hated that the doctor was a woman.

the final part of the post, and the part i included in my own, again, admittedly catty post made out of frustration, opens by censoring ncuti gatwa's name, which i understand is #hater culture or whatever, but like. in this instance? is horrifically fucking racist. it then insinuates that he's a bad person (?) for jokingly calling the doctor slutty, which.... do you not see that this is a really bad way to treat an openly queer actor. when queer people are called groomers for existing on a daily basis. and on top of that, it flat out accuses him of not taking the role seriously. i cannot imagine what would make someone think this, having watched gatwa in the role. what about him makes them think he doesn't take it seriously? is it the way he talks? the way he acts in interviews? because in that case i don't think you have a problem with how he treats the character. i think you have a problem with him.

i like jodie whittaker. i think she is a fantastically talented actress when given the chance to be (seriously, go watch her antigone if you haven't. funnily enough chris eccleston is in it too.) on top of that she seems like a lovely human being with enthusiasm for her work and love for fans pouring out of her, and i really really admire that about her. i don't think any actor needs to have encyclopedic knowledge of the show in order to play the doctor, because that's ridiculous. they're actors. their job is to act. it's a WRITER'S job to give them material to act with, and that's a job i think chibnall failed miserably at. with a good writer, someone can join the show with absolutely no knowledge of it and do incredibly well, such as, famously, catherine tate. who, last i checked, is also a woman. (interestingly, matt smith had also not watched the show before being cast, but he's not mentioned here.) it's not and has never been whittaker’s fault i don't like the era, and i have never said otherwise. nor has anyone in my social circle.

my post isn't saying it's bad to talk about the misogyny jodie experienced. it's saying that dragging down two other actors, who are already criticized under false pretenses all the time, FOR NO FUCKING REASON to make her look better is bad. being racist towards ncuti gatwa in order to make the misogyny directed towards jodie whittaker seem worse... is bad. big fucking whoop. this post was racist towards ncuti gatwa, which you admitted. your problem is that you seem to be willing to forgive that racism in order to listen to what this person has to say about misogyny, when i would argue that being racist makes me discard the opinion of the post entirely. because they were being fucking racist. to which all i can say is:

you have put a lot of words in my mouth that i did not say, and i don't appreciate it. at no point did i accuse people who like thirteen of inherently being racist. when i say "chibnall fans", as i often do on this blog, i mean people who lick the man's boots and think he's g-d's gift to television and can do no wrong.

i am not trying to "pit fans against each other" -- i am pointing out a pattern of racism that is extremely common in every fan space on the internet, and, as i've noticed over the last five years, often goes practically completely unchecked by people who are hardcore fans of the chibnall era. and a lot of those fans will take ANY excuse to raise up their favorites, even at the expense of being outwardly racist. notice i said often. not all. if you like both thirteen and fifteen and you are not saying this kind of racist garbage in order to make your favorite look good, and none of your friends or the people you follow are saying this shit, then congratulations. this post isn't about you.

on top of that the idea of "profit" is laughable. i could not give less of a shit about the number of notes i get. do you really think if i wanted social capital, i would be posting on tumblr about doctor who. get real.

sorry for taking the original post out of context, since the rest of it makes it so much better and DEFINITELY not way worse. (sorry, sarcasm again. including the context does make it worse actually.) i apologize for being a little flippant on my tumblr post. i should have remembered the number one rule and not accused anybody of pissing on the poor.

chibnall fans when they get a chance to be racist to the young queer black man who took the role after their cishet white woman fav left

[fluffykitteninabox]

The MHA anime is animated weirdly:

ok i just watched the new episode and i have come to a realisation

most of the "ugly" shots of characters are from the front, but the characters look perfectly fine from the side

no no don't leave, hear me out...

ugly

pretty

ugly

pretty

except these 2 shots that are the exact same angle so i don't know wtf happened here:

ugly

pretty

rambling under the cut

WARNING: SPOILERS, NITPICKING & EXCESSIVE USE OF ITALICS

Now this is very interesting to me because most artists (me included) struggle drawing characters from the side and find the front view easier.

And the specific angle that Tenko is shown from here is (for me at least) one of the hardest in general, because you have to show the way the body turns without making it look weird.

In the baby Tenko screenshot the way his shoulders are positioned and how his neck is turned is unclear and a bit confusing. Or at least I can't see it.

In the adult Tomura screenshot these parts are a lot clearer.

It's not just his face that looks weird, it's the entire thing. The face problem mostly has to do with the hair. They made it less... fluffy!

If you look at the original panel too his ear is supposed to be visible and his mouth is supposed to be bigger

but in the very next shot he looks amazing:

look at the details, you can even see how his little teeth are crooked!

Bones really half asses specific parts of episodes and puts extra effort in others..

and that's usually normal for an anime,

but there's no real logic to what scenes get the premium treatment and which don't.

Or, to be more accurate, which characters get the premium treatment and which ones don't.

Take for example this scene from the beginning of the episode:

So I'm ok with how they handled this scene for the most part. Zooming in on his lips with no sound.

cool cool cool..

You can literally read them btw, even though my gif is kind of bad. But it looks like he introduced himself using his first name first and then his last name. (waiting for someone good at analysing shit like this to find what the order is implying 👀)

Hawks' reaction was a bit disappointing however. I was expecting the eye widening to be more dramatic and..

you know... faster

Usually when you're shocked at something your eyes widen at a pace that's definitely faster than this.

I won't pretend I'm an animation expert but i think this has to do with the amount of frames they used.

I usually make gifs from screenshots instead of screen recording, because most screen recorders make my phone really slow. So I have to repeatedly start and pause the video to do that.

Obviously the amount of screenshots i manage to take depends on how fast my fingers are each time, so i might not get every single frame.

But even then the difference in number here seems odd

I managed to get 12 screenshots of Dabi moving his lips, and 17 of Hawks' reaction. And I also miss clicked once and lost about a second of Hawks so there would have been more.

The number might not sound like much, but it's weird when you look at it. Go look at the actual episode if you need to, it's more noticeable there.

Why do we need so many frames for Hawks to react to this??

This sounds like extreme nitpicking but I genuinely think it would have looked better with less frames. Yeah it's cool that it looks smooth but smooth is not always what you want.

He's shocked, this is supposed to look abrupt. It's especially odd when you look at how detailed his face is in that shot.

Why would they choose this part to get the smooth premium animation when that actively hindered the scene

and didn't choose something like... I don't know.. Dabi silently name dropping himself while we see an extreme close up of his lips???

YES I'M FUCKING BIASED BUT I AM OBJECTIVELY CORRECT IN THIS!!

Wouldn't it have been cooler if they had made him enunciate his name and we got to see that in hyper detail?

Because that's the actual important part of this scene. We should be focusing on Dabi, not Hawks' reaction to Dabi.

This is kind of similar to the issues in the Shirakumo reveal scene in season 5. We should have been focusing more on Shirakumo/Kurogiri but because Bones were cowards and didn't animate the Vigilantes flashback chapters, we had to focus on Aizawa instead because that's who the viewers were more emotionally attached to so we needed him as an audience stand in to tell us what we should feel!

I swear if they decide to focus on Endeavor's stupid as fuck reaction during Dabi's reveal instead of him I will lose my shit!!

Also I just realised why the close up shot of Dabi's mouth looks wrong. Scroll back up and look at the gif..

His teeth are too straight!

Apparently someone forgot that humans also have canines!! I mean sure, some people's are less prominent, but his teeth look like they've been drawn with a ruler!

Tumblr posting my drafts again so everything under this point is me editing the post really hastily:

not much else to say

just kind of a conclusion thing i guess

basically i think bones is focusing on the wrong parts of some scenes or focusing on the wrong scenes during an episode in general.

Like Dabi's anger at the beginning of the episode and the dream sequence in Tomura's mind should have been the focal points. That's where the premium animation treatment should have gone.

I appreciate the extra dramatic animation when Tomura wakes up, but that wasn't as important as the entirety of the dream.

Everything looked so static. Yes they had some debris floating around, but if you pay attention to the floating parts of buildings where the characters were standing, all the debris around that wasn't moving at all. It was like it was still attached to the building with invisible strings when it should have probably been moving away.

This is the same issue I had with Twice's clones in the previous episode. He's supposed to be replicating them while Hawks is getting rid of them, but all we see is a static image of a bunch of clones.

Anyway that's enough ranting I think

congratulations if you've read this far, and thank you for tolerating my annoying rambling..

[diamondcitydarlin]

all personal feeling/preference aside, I really feel like one of the bigger cruxes of the shipping debates is caused by the confusing tonal switch the show takes around the end of episode 3 (I know this has been talked about to death but this is just my stream of consciousness rn ok). The Loki series starts off establishing the dynamic between Loki and Mobius; apart from Mobius and Ravonna's 'friendship', some interactions with B-15, and some expository moments with other TVA folks (like Casey), there aren't really any other focal characters or dynamics and it stays this way for the first two, rather lengthy episodes. The audience is essentially being told 'these are the two main characters of this story and it will begin and end with them and their dynamic', so this is doubly unfair to people who 1) may not have liked the dynamic bc idk why you'd think after watching the first 2 eps that the show would be about anything else other than this and a character journey for Loki (and time travel), 2) people who did like the dynamic because after the 2nd episode, guess what, it's not really a thing after that. You'd have no way of knowing that from the FIRST TWO EPISODES of a 6-part series.

It's not that Sylvie is inherently a problem- at least not to me, I love the idea of everything she could have been and that's generally how I think of her- it's that the show takes an abrupt turn from not only focusing the heart of the story around a particular dynamic, but it also begins to prioritize Sylvie's pain and struggle at the expense of literally every other character, including the two the show led us to believe were going to be the most important to the narrative. The set up in episodes one and two for this series to be an opportunity for Loki to take a hard look at himself and grow as a character as a result of his new circumstances is just about completely forgotten because it seems enough to the writers that he fall in love with a female version of himself that he met 12 hours prior- character development speedrun!! Once Sylvie shows up, everything in the show seems to readjust to orbit solely around her and the pain only she is justified to have. Which, honestly, would be FINE if they had just established from the first episode that this would be the direction of the show (soidknowtostopwatchinginthefirstfiveseconds). Maybe call it 'Sylvie' instead or make her more clearly the MCU version of Enchantress and give her her own series like Agatha.

anyway it creates endless roundabout arguments of who goes best with whom because...there isn't really a good answer to that in terms of what the show gave us (see: trash). The Loki that later falls head over heels in love with Sylvie and forgets his previous 500 personalities entirely isn't really the same Loki that had scenes with Mobius prior, because Loki was rendered to caricature playdoh that molded around whoever his scene partner happened to be and whatever goals Michael had in mind at the time. There isn't anything very consistent about him in his own namesake show, there is no real arc or linear growth we can track just, 'now he's this' and 'oh but now he's this' when it's not really clear how the character got from point a to point b.

That's not to say I didn't want to know about Sylvie and her pain- of course I did. I would so much rather have heard about and seen flashbacks of Sylvie's time in the palace, what her Thor was like, how deeply she grieves Frigga and how it drives her anger etc etc, I just wanted to see it depicted with the same approach as Loki's was, in that she isn't immune from being criticized by other characters or allowing the audience room to interpret her behavior for themselves rather than manipulating the narrative to frame her as justified in everything. If B-15, Mobius aNd Loki are made to look critically at themselves, so should she so as to be a fully three dimensional part of the ensemble.

This is also why I will maintain for the rest of time the Loki / Sylvie dynamic would have been better served as something platonic / more frenemy sibling-like at least at first...because for as much as the show REALLY WANTS Loki to hate himself, for as many chances as the show takes to make him cringe at his own behavior and that of his variants, they really did nothing in the way of explaining why Sylvie is not only an exception to the Lokis-hate-Lokis rule, she fucking makes one fall in love with her in matter of hours. How? I mean, they had fun banter and there was a suggestion of them eventually getting along better but nothing that would convince me true love happened right there on apocalypse planet, that now suddenly every motive that Loki has is purely, selflessly in favor of Sylvie, a presumed Loki variant that he has already expressed intimidation towards for being more elusive than him. (What happened to him feeling threatened by her...? He just kinda forgot I guess?) The only explanation is that she enchanted him and we'll find that out in season 2, but I'm not holding my breath. It'd be a dope twist tho tbh and would explain so much.

so idk, Loki (tv show) sucked, and that's mostly because it had every opportunity to be something new, refreshing, a show for more marginalized members of the Marvel viewer base, hell maybe even profound, and it took none of them 🙃

[celine-dreamwall]

Event for a cause | Niall Horan

Summary: Niall's been busy for his performance at The Royal Albert Hall for a cause and Y/N has work on that day what will happened to the both lovers?

"Hon! I have great news to you" Niall said. "What is it?" "I'll be performing at The Royal Albert Hall this November" "Really? When exactly? I mean is it okay to people to watch in this pandemic? Will it be like the seats will be one seat apart but that'll make the like only half of the venue? Y/N asked "No silly it'll be a virtual show" " Wow! That's nice! At last love the long wait is over the fans including me of course can't wait to see you perform and I know you too" Y/N said while she hug Niall "I know! I can't wait either I can perform like I used to do in a venue and with the band again It'll be great." Niall said while still hugging Y/N "I know! I'm not the only one whose watching those performance anymore" Niall put his hands to Y/N shoulders and look her in the eye with one eyebrow up and said "Why? You didn't even need to watch me while playing my instruments and singing in the house" Y/N smile and said "How can't I, You're amazing love and your voice soothes me" Niall's frown turn upside down and kiss Y/N "You really know how to melt me down hon!" Niall said.

"Hon! Tomorrow we will be shooting at The Royal Albert Hall for the previews we are going to post and also for the electronic ticket we will be sending would you like to come?" "Yeah! Sure I would love too." "Ok great!

Niall has been busy shooting for the preview Y/N is just in one seat admiring Niall and when one frame and other scene is done Niall goes to Y/N and she fixes Niall's hair and his collar "That's really great love you look so great and your outfit of choice" Y/N laugh "Are you mocking me Y/N? Huh?!" Niall said "No love hahaha! You look actually adorable" Y/N kisses Niall.

Niall post the preview in his Instagram and Y/N. "Thanks for supporting me Hon" Niall said and kisses Y/N forehead "Everything for you my love I hope the fans will response well but I know it will, We can't wait to see you perform" "So am I" Niall replied.

"Y/N Y/N Y/N" Niall runs to Y/N "Yes Niall what is it?" "We already sold like 90,000 tickets!" "Oh love that's really great I'm so happy for you" Y/N hug Niall "Oh by the way I' ll be at work by the time you're going to perform I hate it but apparently we started to start shooting again November 7" Y/N said and Niall face quite frown to her news "but Y/N I wanted you to be there, you're like my only audience there that I want!" "I know love! I know! I don't want to miss it too of course its like a "Super VIP service" Y/N's waiting for Niall to laugh at her last sentence but Niall is serious because he wanted her to be there so Y/N continued "Okay love I'm sorry so sorry believe it or not I wanted to be there but I can't I really wanted to do Y/N's eyes is quite teary for being torn Niall hold Y/N's face and said "Ok love it's okay don't cry I'm sorry too I just wanted you to be there but I guess if your work is resuming it'll be like before,maybe I just used to be with you wherever and whenever I go you are there because of the quarantine." " I know me too, I just hate that the fact it has to start shooting the same day you'll perform in Albert Hall" "If only I could change the date but it'll take time I mean its getting close and it'll be hard to reschedule." Niall said "No worries love you don't have too, I don't want you too, the work will be too much for you when you needed to focus on your rehearsals which will start tomorrow." Niall just look into her eyes and grateful for having an understanding partner "Aweee! I love you so much" Niall said and hug her "You will be there right? In my rehearsals? Please baby even just in rehearsal right?" Niall asked "Yes baby I'll be there, I'll be with you while I still can of course."

In rehearsal

Bands and Niall are discussing to the song list they were going to play, the notes, transition and other stuffs related to the big day, Y/N was just roaming around and Niall found Y/N "Hey baby is there something wrong?" Niall asked "Nothing really its just everytime you sing in your rehearsal I really hate it I'm gonna miss it while you're playing back there I was like its gonna be great and more better cause it'll be in a venue and I don't know like I just imagine cause I'm not going to be there." Y/N said as Niall hug her "It's gonna be okay love. Now come on I need you while you are still free." Niall plays and Y/N stay still watching and just admiring Niall his passion and his love for music and the people in need. Y/N grabs her phone and took pictures

Y/N post it online and also promote Niall's event for a cause fans we're thankful for another Niall content online and happy that she is promoting after Niall's rehearsal and small meeting he go to Y/N "Baby, Are you ready to go home? "Yes baby and I'm also hungry can we stop for a drive thru?" Y/N asked "Yes! Baby anything I'm also starving" "Ok I'll drive give me the keys" "What? Why?" Niall was confused "Cause I know you're tired and don't over work yourself you can relax now so I'll drive." "And that's why you're the best I love you" Niall kisses Y/N and gave her the keys

As they both enter the car Y/N said to Niall to pick a good music on the road while Y/N drives Niall open his phone and sees a notification from different social media usually he ignore it but sees Y/N's username so he open it "Baby, why's the music taking too long? Y/N ask and Niall speaks "Love you post a picture of me in the rehearsal?" "Uhmmm yes?" Y/N replied nervously "Isn't it allowed?" "No it's actually good and cute it emphasize the rehearsal, the instruments and yeah it's good." "Oh! Okay! Good for a moment there I thought I was in trouble" "Well if you want to I can make it you're in trouble" Niall's smirk as he hold Y/N thigh and she gasped in shock "Baby, I'm driving can you stay still until we got home" "Well drives faster going home" Y/N droves fast make stop for a drive thru and headed home.

Niall grab Y/N and went to their room "Why so eager Niall?" "i just wanted some love time, seeing you there in my rehearsals and you being so supportive to me I just can't help myself I almost can't hold myself a while back there but I saw the post and I don't know I can't wait no more" as Niall removed his clothes and Y/N he kisses her from lips to her neck to her body and Y/N response to Niall's every move after the rough sex "Hey, baby tomorrow in rehearsal can you take another picture of me a close up one so I can also put it on my social medias" "Hmmm~ A photographer for tomorrow I better get paid in this" Y/N said while she goes for Niall top "and what do you have in mind?" Niall asked as Y/N kisses Niall and his hands were all over her and make love each other again.

Second day in rehearsal

"Niall I've got to show you something" Y/N shows Niall that she also purchased a ticket for the show "Awee love you don't have too I'll get a copy we can both watch it together in your off" "No its okay this is for a cause, and also maybe I'll have a free time in shooting and maybe I'll be able to watch it even just in virtual I'll be here to support you" Y/N said "You really are the best" Niall kiss deeply Y/N very passionately Y/N stop and say "Ok lover boy hate to stop this making out but you need to go back and probably because maybe this time I'll be the one who can't control" Niall laugh hold her hand and go back to the rehearsal area Y/N grab her phone and took Niall's picture as he requested and post it again she also airdrop it when Niall took a break "Here you go baby" Y/N said "Thank you so muck love" and Niall post it right away.

"I've been busy lately in rehearsal and I'm glad for these moments to perform again, but most of all help me to support the amazing people whose work in touring has been severely affected in this pandemic. Buy your tickets now"

Niall The D-Day

4:00am

Y/N woke up early made breakfast Niall smells her cooking and he sneak behind her "Niall! Jeezz!" "Sorry love its just I need to recharge by hugging you cause I know in a few moments now you'll leave me as he frown "I know baby that's why I'm quite in a hurry slept late memorizing and woke up a little late" "Okay sorry baby you've been busy supporting me I forgot about your thing too" "It's okay I know you'll support me in your own way" Y/N and Niall ate their breakfast and Y/N prepares for her work Niall went back to sleep.

8:00am

Niall woke up and made coffee and also prepare for the show he message Y/N "Good morning love, just woke up again, preparing to work out a little and meeting up the lads for short meeting for the event later, I really hope you're here you take care see you later, I love you so much"

Y/N's still thinking for a very important event for today but unfortunately she is working and every break she has Y/N also message back to Niall

7:30PM

Niall message Y/N for the last time "Hi baby, this is it about 30 minutes we will start the show, I hope you're free and be able to stream. I love you so much hope I can hug and kiss you before I go to stage. See you home."

Niall perform and Y/N struggles on her work lack of sleep and physically tired she keeps looking in her watch but unfortunately she also missed the virtual show.

10:00PM

Niall comes home as fast as he can, Niall was tired and relieved to everything he just wanted to rest to Y/N's arms but unfortunately she is still not around he looks to his phone and read a message from Y/N "Hi my love, unfortunately I haven't watch the stream because of the loaded work but please know I'm proud of you and for this causezmxmxxmxdk" Niall call Y/N but no avail he tried to wait for her until midnight Niall was worried he called and called left a tons of message like "Hey Baby where are you now?, Come home I'm worried I'm not mad please just come home"

4:30AM

Y/N arrived and just head to the couch and sleep put her bag in the table and missed so all the items just made a noise and mess Niall heard and went out of the room and saw Y/N "Baby are you okay?! I was damn worried" Niall looked in the clock "It's almost 5am what happened?" "Love, let me sleep please I'll tell you la-" Y/N muffled and sleep Niall just stare for her in the moment carry her into their room and goes to sleep.

9:00AM

Niall woke up and relieved that Y/N is on his side he silently leave the room to made breakfast Niall has a free day today but will be promoting the second day of the show. Y/N woke up and Niall "Good you're up! Anything you like for breakfast?" "Niall I'm so sorry" "What? Why? Baby wait did you cheat on me? Niall said jokingly "WHAT?! No of course its just I miss the show I've been busy like the whole day and there's this scene so exhausting and-" Niall kisses Y/N "It's okay love I understand I'm really just worried and glad you're here, so what do you want in breakfast?" " I would like some fried rice, eggs and ham I want a heavy breakfast I'm really tired and hungry but first a medicine my head is really pounding, and can you wake me up again I still need some sleep and when I woke up I'll watch the show love" Y/N go back to sleep and Niall cook breakfast she requested. Niall was about to woke her up but thought she needed more rest so he just stay with her "My greatest supporter" then kisses her forehead.

Hope you enjoy it.

[wordsandrobots]

Ah, yes! That is indeed one of the quotes I was thinking of, though it got muddled with some of the ones you'd pointed me to previously.

With respect the the wider presence of queerness in Gundam, yes, definitely. What I wrote was not intended as an exhaustive overview but rather a brief synopsis covering the (to my awareness) earliest example and the most recent one. I ended up including the cross-dressing in 00 purely because it seemed too obvious a connection to make regarding the 'otherness' of the characters involved and how I'd noticed that tendency in contrast to the more normalised examples in IBO and G-Witch. That wasn't meant to dismiss other instances -- they just lay off topic for something already 9000 words long!

(That said, what were the examples from 00? It's been a couple of years since I watched it and I'm drawing an embarrassing blank . . .)

As for Shino . . . OK. This is tangential, but you've prompted me to think about something my partner brought up while we were discussing this essay. They mentioned how some people didn't see the explicit gay overtones in Aziraphale and Crowley in Good Omens despite it being a fairly straightforward recreation of a realistic homosexual dynamic for the time and place the story was originally written/set. That's an understandable disconnect, caused by shifting norms, but it doesn't mean Good Omens does not intentionally depict a queer dynamic.

Something similar can happen if you do what Iron-Blooded Orphans does and treat a character's sexuality as a twist. Because they absolutely did. Shino being bi is deliberately obfuscated even down to little details of his design. They did *not* want him to carry stereotypically gay markers and the only reason to do that is so the could have those moments before and after he dies, where he finally responds to Yamagi's yearning. I joked about straight-baiting, but his plot line was shaped around making him 'plausibly straight' up to the very last moment, because that's how you get the emotional impact to land. I'll stick by the claim it's not melodramatic, since Yamagi's anxieties are largely underplayed throughout. It's still drama.

And that inevitably creates space for the intention to be missed or willfully misread. I've had the motivation to pour over every frame with the knowledge of where it's going. You don't necessarily get to do that the first time around, especially when the writers aren't showing their hand until the correct moment. Through no fault of the audience's, being equivocal always carries a risk.

I strongly believe it's important for writers and artists to be allowed to convey things without stating them outright (it makes me twitchy when people insist on things being spelled out with e.g. specific statements about character sexuality). But there are pitfalls to trying to be subtle and especially with trying to get clever about it. On balance and knowing what I do of the behind-the-scenes stuff, I am prepared to defend IBO on this score. I think Shino and Yamagi's final scenes together are something they built up to well and pretty damn blatant, all told. There are still a lot of places they left themselves wide open as a result of plotting decisions (and most likely what they thought they could get away with for their genre, broadcast requirements and political climate, too).

Which sort of cycles around to the ending and the treatment of Atra and Kudelia's relationship. As I've attempted to square the circle between exactly what's on screen and believing it is absolutely the correct choice to read them as lovers, I've leaned on the fact Eugene is a chronic sufferer from foot-in-mouth syndrome who can be a right prat at times. Because I also would have liked a more definitively married take on those final scenes. That would have been really nice!

I'm just not sure it's something we could have realistically expected, and I see the whys of doing it the way they did. For all the reasons I broke down in the essay, I think it's both a fitting conclusion and a technically correct one. Plus they gesture towards the queer interpretation strongly enough, I never feel I'm 'fighting canon' when I write fanfic that treats these two women as a romantic couple. That's far more than I can say about a lot of stuff I like. (I also just plain don't get angry over media that doesn't deliver queer outcomes where it might otherwise have done so -- part and parcel of what I grew up with, I suspect.)

I still get it. I'm not about to claim 'this is perfect queer fiction' or anything of the kind; I hope I was clear about that. IBO's ending isn't explicit about Atra and Kudelia being married and it does focus on the male protagonist's son, in what is ultimately a very traditional approach for the genre. The bait-and-switch with Akatsuki is something I would have softened precisely the way you suggest, had I been writing it.

In the end, though, I've found I'm happier focusing on what's actually present and meeting it where it's at. There's a wealth of things to be excited about in IBO as a queer person, and it's the Gundam show that's executed queerness in a way that most chimed with me. Hence, well, those 9000 words, which I am most grateful to you for reading!

IBO reference notes on . . . queerness

How has it taken me this long to write about this aspect of the show? (He asked rhetorically, staring at the enormous amount of fanfic that basically stands as a thesis statement on how very queer this part of the Gundam franchise is [as opposed to all the other terribly straight parts, he added, sarcastically].)

Anyway, let's do it. Full spoilers up to the end of the show will follow, together with discussion of child abuse and exploitation, since that is what IBO is all about.

Special thanks to @lilenui and @prezaki for their invaluable assistance in locating sources.

Statement of caveats: this work is an amateur analysis of the English-language localisations (subtitled and dubbed) of a piece of Japanese media. I do not speak or read Japanese. I am myself bi, which qualifies me to be attracted to more of the cast than the average viewer, and have a working knowledge of LGBTQ+ history in the UK and USA, which tells me nothing about the cultural and historical context in which this anime was made. As such, I will not be addressing the behind-the-scenes production or the corporate mandates surrounding it but will focus narrowly on what I perceive to be present in the text (hereafter meaning both the script and animation, and any additional fictional details provided elsewhere).

Queerness in Gundam

Some background before we dive in. To my knowledge, the first character in the Gundam franchise to be intentionally depicted as LGBTQ+ is Guin Sard Lineford from Turn A Gundam (1999). An ambitious young aristocrat who spends the series on the line between hero and villain, he is infatuated with protagonist Loran Cehack and the show makes little attempt to play this as anything other than one man falling in love with another.

This is entirely one-sided and not appreciated on Loran's part, although that seems to have less to do with it being homosexual attraction than with Guin's high-handed and entitled attitude to life, filtered through heavily gendered social norms. For plot reasons, Loran spends several episodes cross-dressing as 'Laura Rolla', corsets and all, and Guin continues referring to him as 'Laura' long after the deception is no longer required, saying it 'suits him better'. Guin is eventually called out on this by a third character, who accuses him of forcing an idea of feminity on the other man rather than stoop to place himself in the position of a 'wife'. Objectifying Loran is presented as of a piece with Guin's overall flaws as a person, to whit, putting his own views about how things should be above the material reality and desires of those around him.

Guin is also the only explicitly gay character in the show (I'm honestly not sure how to classify whatever Dianna Soreil and Kihel Heim have going on, but it's certainly not labelled in the text). Therefore no counterpoint is provided to demonstrate healthy queer relationships. I don't state this to dismiss his inclusion: he forms part of a smart, nuanced plot thread, and Gundam creator Yoshiyuki Tomino had to fight to get Guin's homosexuality clearly included. But even so, Guin is a palpable step forward rather than a watershed moment, and the end result veers close to some nasty stereotypes about queer people imposing their desires on others.

There are other examples of characters transgressing gender norms in Turn A, most especially Loran's aforementioned cross-dressing. He is comfortable playing the part of 'Laura', in ways that mitigate viewing this situation as the extended joke it might be in another production. Funny moments do come up – particularly in the lead-in to his 'debut' as he acclimatises to the female attire of the show's pseudo-Edwardian setting and takes posture lesson – but he and the concept of a man in ladies' clothes are never made a subject of mockery. The same cannot be said for the character of Sochie Heim, whose attempts as a young woman to fulfil a gung-ho masculine role often turn comedic. This is part and parcel of her assaying militaristic modes of action, which are soundly mocked across the board. It nevertheless stands out next to Loran/Laura.

Further, Loran's status as a literal moon-child carries implications for his attitudes. His dismissal of existing social standards on Earth is very much presented as correct, and in keeping with what I know of Tomino's other writing and stated beliefs, but it dovetails unfortunately with a treatment of queerness as otherworldly, not something that may be found among an average population. We get another example of cross-dressing in the next-but-one series, Gundam 00 (2007, not a work Tomino helmed), where the usually male-presenting artificial lifeform Tieria Erde switches to a female presentation (in a ball-gown, no less) during a covert mission. This sufficiently parallels Loran's case, I assume it was a deliberate call-back, being as it is a disguise enacted by someone even less typical than a boy from the moon.

What I am driving at is that while Guin, Loran and Tieria may be characters who are queer or perform queerness in some manner, they do not necessarily represent an outright embracing of queerness as a mundane facet of everyday life.

Fast-forward to 2024 and the latest mainline Gundam show is a lesbian romance.

If you have been following my blog for a while, you will know I do not hold The With From Mercury in especially high regard. I think it is annoyingly messy, frequently half-baked, and, broadly-speaking, exactly as frustrating as I'd expect from the guy who wrote Code:Geass. It's still an explicit love story that opens with a clangingly blunt statement about the acceptance same-sex relationships and ends with the two female leads happily married to one other. For all its flaws, I genuinely think the central relationship between Suletta Mercury and Miorine Rembran is a nice piece of story-telling, not to mention admirably open about what it is doing. Like it or lump it, Gundam is gay now, properly, with a protagonist and co-protagonist who can be definitively labelled queer and whose romance appears entirely unremarkable for the setting (in terms of being same-sex; clearly there is a lot to remark upon otherwise).

I would be remiss if I did not mention that the conclusion of the series was accompanied by a certain amount of corporate arse-showing, with hollow attempts to walk back the ending seemingly for the sake of appeasing homophobic elements within and without the companies that produce Gundam. The frankly laughable nature of these actions stands testament to how unequivocal G-Witch is. It is flatly impossible in my opinion to interpret as anything other than flagrantly homosexual, and that's great.

Between this interesting but limited start and the full-throated present lies Iron-Blooded Orphans (2015), my absolute favourite and the show that got me writing slash fic after years of… not doing that. So: what is the deal with queerness in IBO?

Natural for a human

By my count, including all present spin-offs, there are three characters stated in-text as being attracted to people of the same gender (Yamagi Gilmerton, Iznario Fareed, Deira Nadira), two who are at the least open to the idea (Norba Shino, Mina Zalmfort), two whose mutual attraction is stated within the context of polyamory with a third person of the opposite gender (Atra Mixta, Kudelia Aina Bernstein), one whose sexuality is briefly hinted at (Chad Chaden), and one male character who is possibly not attracted to women (Orga Itsuka).

Let's get Iznario out of the way first, because the less time we spend on the actual paedophile, the better.

Lord Iznario Fareed is a rich, powerful aristocrat who sexually abuses young blonde boys and inadvertently sets large parts of the plot in motion as part of quasi-villain McGillis' backstory. In a lesser show, Iznario would be the embodiment of the 'predatory queer' stereotype Guin skirts the edge of. Here, however, he is very much not the only 'gay' character present and his proclivities demonstrate one of the many ways the world exploits vulnerable children, a core theme of the series. Early on, we see fleeting glimpses of young girls being pimped out on the streets of Mars. Iznario shows this social failing extends to the much richer Earth and although he is portrayed as the worst among the Gjallarhorn elite, they all abuse their power for personal gain. Thus, as much as the reveal of what he has done carries a certain shock value, it is not present purely for cheap impact. (This isn't the essay to discuss it, but the flashbacks to McGillis being abused as a child are a masterclass in how to frame such things around the victim, clearly communicating what's happening while avoiding gross voyeurism.)

I don't know how deliberate it is the canonical gay character who is shown in an entirely positive light fits the profile of Iznario's victims to a T, but it does underscore we're looking at a case of power allowing people to get away with hideous things, not a stand-in for queerness in general. To an extent I resent having to spell this out, since it seems so obvious Iznario is not fulfilling the role of a homophobic cliché. Sadly, the cliché exists and the point is worth discussion.

Moving swiftly on: Yamagi and Shino.

Yamagi Gilmerton is a small, quiet teenage boy with a somewhat withdrawn and acerbic personality, who spends much of Iron-Blooded Orphans nursing a hopeless crush on mobile suit pilot Norba Shino. Like the majority of the cast, Yamagi is a child soldier, but a mechanic rather than a combatant. Additional backstory commentary reveals that he struggled on joining CGS mercenary group due to his physique. Indeed, while this detail is not directly referenced in the anime itself, he is indeed drawn noticeably thinner than the other boys.

Again, we veer towards stereotypes, where a queer character is portrayed as weaker and more effeminate. Yet in spite of leaning this way in looks, Yamagi is an eminently capable person, never treated as lesser for fulfilling a support role rather than being a fighter. If anything, IBO goes out of its way to highlight how vital good mechanics are to mechanised warfare, and we see multiple examples of Yamagi being both assertive and kind of badass. At one point, he scales, unaided, an 18 metre tall mobile suit that's collapsed to its knees. When he and Shino are revisited in spin-off game Urdr Hunt (soon to be some form of animated production), he pilots a spaceship within an active battle-zone, flying escort for a damaged freighter as it retreats. In Season 2, he's comfortable ordering Tekkadan's new recruits around and is the first person to properly chew Orga out for his failings as a leader. Far from being an outlier among the protagonists, Yamagi is equally brave and dedicated to the cause, irrespective of his sexuality.

To be fair, he does tend to clam up and grow more awkward around the object of his affections. To be equally fair, he has the misfortune of having fallen for the most oblivious himbo on God's red Mars.

Shino is a big, boisterous warrior, the polar opposite of Yamagi in personality and physicality. He embodies Tekkadan's machismo, eagerly anticipating the chance to prove their strength and generally being a standard bearer for becoming the biggest, baddest group around. Things are not as straightforward as they seem on the surface, however. He shows a good awareness of when the group is in over their heads – going so far as to suggest retreat in the face of bad odds several times – and he is not nearly as sure of himself as he might first appear. He displays a wide streak of insecurity about his abilities as a soldier, reacting badly to people questioning his dedication or competency. And he crumbles completely when some of his comrades are killed as the result of a split-second mistake on his part, stating a wish to have died in their place. Thereafter, he acts in ways that read as choosing to take all the risks on himself rather than go through more loss. It makes him an interesting mix, someone who acts as a cheerleader, boosting everyone else's morale, while swallowing his own doubts and personal fatalism.

He is also presented as one of the most sexually active members of Tekkadan, using his wages to visit brothels to sleep with women. Indeed, he is frequently found extolling the virtues of the opposite sex, referencing collections of pornography (at least in the English dub), and generally being a very typical teenage boy about such matters.

Given this, you might assume Yamagi is longing hopelessly for a straight man. That is indeed the idea the show teases us with for much of its run (can something be straight-baiting? I feel if anything ever earned that title, it's this). OK, Shino's fond of Yamagi as a friend and frequently relies on his assistance in improving his fighting ability, and per ancillary material, is the one who got Yamagi transferred to the mechanics corps in the first place, rescuing him from struggling in the infantry. And sure, Shino spends an awful lot of time in very close proximity to Yamagi, including literally pulling him into the cockpit to assist with a mission. And yes, Shino is absolutely a flamboyant creature, sporting gold ear studs and an attraction to the colour pink, ensuring his mobile suits are painted all over magenta in order to stand out on the battlefield. And certainly, Shino is extremely empathetic, adjusting his attitude depending on his impressions of other people, such that he dials his boisterousness down in Yamagi's presence, displaying a far more gentle affection than he does with his other friends.

But clearly he hasn't noticed Yamagi is head over heels for him.

Right?

Well, towards the end of Season 2, during another moment where Yamagi is literally sitting on Shino's knee, Shino proposes the two of them drink together all night long once the fighting is over. Not only is this an unambiguously romantic overture (he's asking while pushing aside the fringe that normally covers half of Yamagi's face, in order to look into his eyes properly), it comes after a joke several episodes earlier in which Shino has to explain to a less worldly comrade that a girl inviting you for a drink is not a request to go out with the whole gang but a far more intimate gesture (I say explain, it's more expressing incredulity Akihiro didn't realise Lafter was asking him on a date). Later, it is revealed Shino did indeed work out that Yamagi 'likes' him (to his friend Eugene's exasperation that it took him so long to notice), and he reacted with amazed delight to discover there was someone in Tekkadan who'd fall in love with 'a guy like me'.

He'd assumed because Tekkadan is a family (a description provided by their ally Naze, which everyone just kind of runs with), romantic love wasn't possible between them. Having worked through this mental block and finally realised the blindingly obvious, he renews his desire to protect Tekkadan as long as he lives, refuting his previous view of himself as an expendable human shield and heading out with every intention of surviving all the way to the end.

And because IBO is an exquisitely-written tragedy, he is promptly killed while attempting a futile one-man attack against their enemies, his advances on Yamagi forming part of a long build-up whereby the boy who loves him provides the tools he needs to charge into a suicide run.

Right then. *drags out the reading comprehension soap-box* I have seen some people refer to this as an example of the 'bury your gays' trope, and there is nothing more likely to get me manifesting behind you in the form of an irate shoebill than to do likewise. 'Bury your gays' refers to a tendency for queer characters in fiction to disproportionately suffer tragic fates. This is a writing choice usually rooted in the idea queer relationships are inherently tragic, either because they are viewed as a perversion of 'correct' forms of love, or because of some misguided idea the prevalence of homophobia means queer joy is impossible. I am going to be charitable and concede this is indeed a case where one half of a budding homosexual relationship dies horribly. But, as always, the context matters.

All but one of the romantic relationships established prior to the epilogue of Iron-Blooded Orphans end in death. Of the two that survive in some capacity, one is a heterosexual background romance between two older characters and the other is a pair of women I shall be covering later. IBO is a story about child soldiers that does not shy away from the fact these are teenagers being fed into a meat-grinder. That the director's original intention of killing every named character was toned down (to the series immeasurable benefit, in my opinion) dos not change a narrative arc towards doom.

Within this, Yamagi and Shino aren't singled out for being queer. The coyness around Shino's eventually-evident bisexuality serves to generate an instant of hope and relief right before the rug is pulled from under everyone's feet. Where Shino's death does differ from those of other characters is in presentation: he dies alone and does not get any form of farewell or the passing-on moment afforded to others. But that is only to be expected, since we're talking about the point where it becomes clear there is no saving the situation. It's a cruel, abrupt moment of bad luck, puncturing the heroic idea of scraping victory at the last second. Shino flew out intending to live and he died anyway. A queer relationship forming part of what he was fighting for is an almost incidental detail.

(As an aside, I am aware of two other examples in Gundam fiction where a pilot and a mechanic have a doomed love affair. One is in Char's Counterattack, where a male engineer's romance with a female pilot ends with them both being abruptly killed, and the other is from Gundam AGE, where a female mechanic sacrifices herself for the greater good, leaving a male pilot to mourn her loss for the rest of the series. Shino and Yamagi reiterate this same concept.)

Stepping back from the tragedy, Yamagi's love for Shino is as delightfully underplayed as the other relationships in the show, with little emotional melodrama being wrung from the romance itself. Yamagi can't bring himself to declare his feelings, frequently turning cold instead and perpetuating Shino's misunderstanding of where they stand. Yet Shino ultimately proves enthusiastic for the idea, rendering moot any concerns Yamagi had over getting turned down (going beyond the text, a Q&A with the series' director confirmed Shino was written as bi). Equally, in the aftermath of Shino's death, Eugene comforts Yamagi by relating the truth of Shino's earlier realisation and even going so far as to rebuff Yamagi for implying there's something wrong with him for grieving. This and other interactions in the same episode imply those nearest to the pair were well aware of Yamagi's desires and had absolutely no problem with them. The prevailing attitude within Tekkadan is one of complete acceptance for its members and this is no different.

Indeed, for me, the most important part of how queerness is represented in IBO is that it is treated as just another aspect of the diversity of the cast. I've seen it stated that viewing homosexuality as a natural part of human existence was Tomino's motivation in making Guin gay. IBO presents us with the same idea, far more seamlessly and far more positively.

Now, let's leave the anime proper and look at the same-sex pairing from spin-off manga Iron-Blooded Orphans: Moon Steel.

Deira Nadira and Mina Zalmfort are part of the Gjallarhorn nobility and their marriage was arranged to strengthen relations between their two families. We see an example of a similar political match in the main show, where the heir to the Fareed family, McGillis, is betrothed to the second child of the Bauduins, the much, much younger Almiria. That this can take place regardless of the gender of the participants has big implications for the functioning of a bloodline-focused aristocracy. Presumably it indicates they are happy to use medical technology to ensure the Nadira family continues into the next generation, and if same-sex marriages are thus permitted, that means fewer factors to worry about when it comes to perpetuation. Whether male-male weddings are allowed too remains an open question; given the existence of real-world double-standards, it is possible Deira and Mina represent the only acceptable form of homosexuality. Nevertheless, that it is accepted speaks volumes. Gjallarhorn is not an especially progressive organisation, built as it is on rigid class structures and notions of human purity. Yet here we are.

Perhaps we should have expected that the norms around gender in this system don't correspond to strictly patriarchal patterns from the real world. Carta Issue, a key player in Season 1 of the anime, is the only child of the Issue Family's current leader and positioned as his sole heir, irrespective of the fact she's a woman. The logical inference is that any children of hers would count as Issues, rather than belonging to a potential husband's family. Deira is similarly the heir to her father's position, although intriguingly, it's not outright confirmed if she is his only child or simply the oldest. The possibility exists that gender is a non-factor in determining inheritance.

With respect to sexuality, Deira seems pretty obviously intended to be a lesbian. Her relationship with Mina is presented as one they are both happy with, despite it being an arranged by their parents, and Deira is depicted in the manual for Gundam Gremory's model kit as favouring the clothes of 'a handsome man'. She doesn't present that way within the manga' story, first showing up wearing the standard unisex Gjallarhorn pilot-suit, then wearing a formal gown for a meeting while in an official capacity. But she is depicted wearing masculine clothes in silhouette when initially mentioned and in a post-story panel at the back of the final volume.

(Another aside: the fan translations I use for this part of the manga refer to Deira using male pronouns when she's introduced. However, that could simply be down to the poor quality of said translation; she's consistently referred to using female pronouns in official materials and the game adaptation of this scene has her named as simply 'Lord Nadira', the standard appellation for Gjallarhorn family heads.)

Whether Deira's code-switching is the result of institutional expectations around her role or personal preference, it adds extra texture to her depiction. While civilian garb was designed for the adult version of Carta and closely matches conservative gender expectations for a woman, she's never shown wearing it, so we don't have a point of comparison to judge what's required of a character in Deira's position.

Regarding Mina, you'll notice I grouped her with Shino rather than the characters whose sexuality I consider to be stated outright. With Shino, the nature of his sexuality is not put absolutely beyond question in the text. This is splitting hairs due to the overt nature of what's on screen but the fact remains, the anime doesn't clarify if his being open to Yamagi's love means he already thinks of himself as bisexual, or if this is something he hadn't considered before. With Mina, it's more a case that I'm unwilling to label her one way or the other based on the available information. Deira carries sufficient signifiers, I find little room for doubt over the intention. We also have an outright statement that she holds great affection for Mina regardless of being obliged to consider her an eventual romantic partner. Indeed, she becomes so upset by believing her fiance dead, she runs off to Antarctica in a Gundam. But the exact depth of Mina's feelings in return is not discussed.

In addition, Mina is considerably younger than Deira. McGillis and Almiria's match takes place when he is (probably) somewhere in his late twenties and she is nine, with plans for the union made four years prior. This is not great, to put it mildly, albeit fairly typical of how such things have historically worked for nobility. Based on appearances and how they are treated by the rest of the cast, I would assume Mina to be in her mid-teens, and Deira to be in her early twenties (annoyingly, exact ages are provided for several characters in Moon Steel, just not these two). A less dramatic gap (and I don't believe Mina is meant to be quite as young as her appearance perhaps suggests), yet still significant when one of the people involved is below what we'd consider adulthood.

There is no indication of anything untoward going on, within the confines of the situation, similar to how we're given no indication McGillis is abusive towards Almiria. Any comparisons with Lord Iznario's activities lie purely along the axis of how children are exploited by adults even without suffering directly. All indications are that Deira and Mina have made the most of something they have little choice in. Regardless, I still feel more comfortable describing Mina as open to being in a relationship with another woman, rather than pinning her to a specific preference.

Continuing the theme of things where doubt or ambiguity exist, let's discuss some characters were there shouldn't be any: Atra and Kudelia.

I don't know about you, but I find it extraordinarily hard to read this as anything other than a three-way love-confession. Still, in the interests of fair play, let's review the wriggle room for declaring this something else.

Kudelia Aina Bernstein and Atra Mixta are love interests of nominal protagonist Mikazuki Augus, in an iteration of another tried-and-true trope, that of a male lead inexplicably being attractive to the female characters in his orbit. Or rather, it would be if the show didn't take such pains to demonstrate why these girls fall for him, setting up a long-established crush on Atra's part (rooted in him being the first person in the world to be nice to her) and a mutual respect on Kudelia's that gets spurred to more when Mikazuki randomly decides to kiss her because she 'looked cute' (Mikazuki has the manners of a feral stray raised on the streets, because that's precisely what he is).

Justification aside, this has the makings of a traditional triangle, that is, one without a connecting base, which we might expect to be resolved by either Kudelia or Atra 'losing out'. For a few episodes, this does indeed seem where we are headed. Then Atra discovers the concept of polyamory via the polygamous Turbines group and all bets are off.

Having realised it is perfectly possible for a family to consist of multiple romantic partners, Atra proceeds to work towards ensuring everyone gets everything they want. Strictly speaking, this doesn't mean she is attracted to Kudelia as well – even if she clearly recognises Kudelia as an attractive person from the start and…

You know what? Acknowledging that the information about their eventual marital status was only stated in interviews at live events with no official record and seems to have been framed around raising the son Atra has with Mika, I'm going to abandon the pretence of both-sided objectivity and go straight for the throat. Turns out my patience for soft-footing this lasts about as long as it takes to say 'bi-erasure'.

Over the course of Season 1, Atra not only decides the end-game is some form of three-person wedding, she also:

Shows no jealousy over Mikazuki and instead chides him for not providing the correct emotional support to the girl he kissed.

Spends a great deal of time with Kudelia and enthusiastically throws herself into furthering Kudelia's goals, without necessarily understanding the technicalities.

Covers for Kudelia by pretending to be her during a confrontation with Gjallarhorn soldiers, getting herself soundly beaten up in order to prevent them from chasing after the real deal.

Drives an armoured car through a battlefield for Kudelia's sake, safely delivering her to a vital rendezvous.

Leaps in front of a massive mobile suit to push Kudelia out of its path, physically shielding the other girl with her body.

As much as it pains me to resort to the 'if this were a man and a woman, would it read as romantic' crudity – yes! Yes it would! Especially since in Season 2, Atra presents Kudelia with a good-luck charm bracelet she has woven, something she previously did for Mikazuki explicitly out of having a crush on him. I'm all for embracing platonic love (which is why Takaki and Aston are not featuring in this rundown) and there's nothing in the above list necessarily entailing attraction beyond deep friendship. But when Atra consciously repeats her actions towards Mikazuki (someone she goes on to definitely have sex with) with Kudelia and it leads to the scene between them where they declare how they feel about each other and Mikauki, looking for non-romantic angles takes more effort.

After all, if we are to read Shino's openness to Yamagi's affection from the things he says and how he looks saying them, we can certainly do the same for Atra and Kudelia's use of the word 'like' in reference to one another and their reactions to hearing it said of them. (Obligatory note that if there is some nuance in the original Japanese the translation doesn't capture, I'd love to hear about it. The English scripts, however, leave little to the imagination.)

It is indisputable that Atra feels a strong affection towards Kudelia and while I have been focusing on her a lot (she is by far the most proactive member of the triad), Kudelia reciprocates at every opportunity she is presented with. Even if there truly wasn't an intention to portray this as exactly equivalent to Atra and Mikazuki, the end result manages to be on par with Yamagi and Shino. Consider Kudelia and Mikazuki, for example. In terms of portrayal and the two-girls-one-guy trope being explored here, they have the same level of chemistry and the same absence of overt consummation as Kudelia and Atra, and it would hardly be a serious position to claim the show does not place the two of them in romantic conjunction, now would it?

You may at this point be wondering why I am getting so defensive of reading Kudelia and Atra as romantic partners. Honestly, I am too. On reflection, I think it's because IBO is playing around with such a worn-out and insipid means of wringing drama from characters who should know better, I keep searching for the catch. And yet there isn't one. This show really did respond to a nascent love chevron by having the mousy, homely girl tell the governor's beautiful daughter to shut up and get in the polycule, and turned it into a true triangle.

That's wonderful. I cannot properly express the wave of joy and relief that came over me when I realised this was the direction they were taking. It ends in tragedy, of course, Mikazuki giving up any chance of a peaceful life to die in battle, far away from the women who love him. But their lives continue because of his sacrifice and by all appearances they remain together. In some ways, for the overarching message of hope persisting on the back of heartbreak, the precise details of that arrangement don't particularly matter. So why not take the gayest reading possible?

What an excellent segue into a blink-and-you'll-miss-it, probably-stretching-too-far, nonetheless-compelling potential bit of queerness: Chad in the series epilogue.

One of the many tertiary characters in Tekkadan, Chad Chaden has minor speaking parts throughout Season 1 and a larger role in Season 2. He initially appears during a particularly dire early moment when it looks like everyone is about to be killed by attacking mobile suits. His obvious resignation to this fate sets the tone for a rather dour personality, at least while on the clock. Chad starts out as human debris, a person enslaved after a space battle and sold to the CGS military group as free labour. This gives him a very matter-of-fact attitude towards fighting and the kill-or-be-killed nature of being forced into it – he voices the sentiment that even when facing other human debris, they can't afford to show mercy.

Off the clock, Chad displays a more sensitive personality. He seems studious, learning about interplanetary communications from Kudelia's maid Fumitan and later being promoted to leader of Tekkadan's Earth branch. He has some difficulty acclimatising to being treated as a free person, proving unsure about the concept of wearing a smart suit instead of his normal fatigues. And he grows anxious when he returns to Mars to discover nobody told him two of the few adults in the group (Yukinojo and Merribit) had started dating, worrying that he's no longer 'one of the guys'.

The most we learn about his relationship preferences prior to the series epilogue comes in a comedic sequence about a third of the way into Season 2, when Shino suggests a trip to a local brothel. Eugene responds by proclaiming that he's realised money will not buy him true love. This prompts Chad to ask Merribit if this is true and, on her saying she supposes so, opts out of the trip as well. Judging by his body-language in the next frame where he appears, this is possibly a decision he regrets – perhaps owing to his anxieties, since he just passed up the chance for some team-bonding.

None of this is directly relevant to the topic of this essay. If anything, the scene I just described suggests that, like Eugene, Chad has previously gone along with Shino in paying for sex with women, only to discover he wanted more than just physical intimacy. But then we get the exchange in Kudelia's office during the last episode, following a time-skip after Tekkadan's defeat and dissolution. Now working for Kudelia as an assistant of some kind, Chad notes that Merribit is shortly to give birth to her and Yukinojo's second child, saying he and Yamagi intend to meet up later to plan a celebration. Eugene reacts with amused disbelief, accusing them of just wanting an excuse to go out drinking, to which Chad retorts, 'what's wrong with that?'

And the thing is he's blushing when he does. Which may simply be because Eugene is accusing him of slacking off – IBO characters blush all the time and their embarrassment is frequently to do with being caught acting immature or otherwise against how they want people to see them. But given the weight that 'drinking the night away' carries in regards to Yamagi following Shino's actions shortly prior to his death, it is easy to speculate this represents something more specific.

As far as I can recall, Chad and Yamagi do not interact at all over the course of the show's two seasons, meaning these lines present a rather unexpected combination of characters. Eugene would have seemed a more likely candidate to associate with Yamagi. He's positioned as Shino's closest friend, he comforts Yamagi over his grief, and they are together for much of the climax to the series' plot. So what has happened in the years since, that Eugene's teasing should elicit a blush from Chad instead?

If we put on our shipping goggles, it's far from a nonsensical pairing. Chad goes through an arc not too dissimilar to Shino's. He is knocked into a coma while protecting an ally from a bomb blast and subsequently the Earth branch gets swept into a war orchestrated by one of the factions within Gjallarhorn. On recovering, he blames himself for the many deaths that result, echoing Shino's line about thinking it better if he'd died in place of his comrades. On returning to Mars, he jumps head-first into mobile suit training, determined to make up for his perceived failure as a leader and cheering himself up through rigorous activity. Different though their personalities appear on the surface, there are clear commonalities here. Further, Chad's responses to his traumatic experiences have a more measured quality to them than Shino's. He is not nearly as reckless and provides clear directions to his comrades even while acting as a decoy against a dangerous enemy, rather than abandon any attempt to be an effective leader. Taken together, and coupled to a more long-term view of romance, these qualities might make him a 'safer' version of things Yamagi loved about Shino, creating space for them to be drawn together.

Or perhaps they're simply the most logical points of contact between the ex-Tekkadan survivors at the Admoss Company and Kassapa Factory and intend to make that an excuse to get companionably plastered for no greater reason than it being a nice time. I am speculating over a couple of lines and an animation choice. Nevertheless, it does not feel like unreasonable speculation. When we already have a veritable gaggle of characters who are queer or may trivially be read as such, it's hardly a stretch to assume one more.

Chad/Yamagi doesn't appear to be a thread the fandom at large has pulled on much, likely because the pairing of Shino and Yamagi is so prominent, it eclipses a mere throwaway possibility. But I'm glad it exists within easy reach. And even if we take off our goggles, these lines demonstrate life for the characters has not stopped. The ex-slave and the gay kid are not stuck, trapped by the tragedies of their past. They have instead grown in both confidence and happiness and now have peaceful, stable lives where they're on going-out-drinking terms. That above all is why I wanted to explore this exchange: it reinforces Iron-Blooded Orphans' rejection of the idea the suffering people like Chad and Yamagi go through is perpetual or inevitable.

OK, one more character to look at. Let's talk about Orga and asexuality.

Orga Itsuka, leader of Tekkadan and instigator of the series' events, is notable for his charisma, his drive to provide a safe home for his comrades, and his complete unsuitability for the grown-up activities he attempts. Trying to party all night leaves him puking up his dinner. He forces himself into a suit and tie to handle the administration of a break-out paramilitary company, despite finding it stultifying and bewildering. His goals spin like a weather-cock, as he's surrounded by older characters possessing strong convictions while unable to stick to his own. And he is ultimately undone by an unwillingness to ask for help, having assumed that, as leader, he must decide everything alone.

I suspect his expressed lack of interest in women is intended to help convey overall immaturity. Orga is a good soldier and tactician, but he plainly isn't prepared for adulthood, lacking the grasp on the complexities of life that implies. Making him uncomfortable about sex serves to heighten the impression of a teenager trying to navigate circumstances for which he's not yet ready.

Relatedly, it should be stressed Orga stating he 'doesn't care' about woman is a response to Eugene asking if he agrees love and kindness are what's important, as opposed to Shino's endorsement of boobs. On hearing this response, Eugene proceeds to mock his commander for inexperience. That he himself has only just had his first sexual experience with another person and previously said much the same about not caring about sex simply proves hypocrisy is a fundamental aspect of Eugene's characterisation. The whole scene is very teenage.

Matters have not improved much when Orga and Eugene's dynamic is revisited in one of the side-stories released via the Iron-Blooded Orphans G mobile game. A year and change later, Eugene continues to act superior about having 'experience' where Orga doesn't.

Orga takes this rather poorly.

(Subtitles by @trafalgarlog)

Eventually Merribit has to shout at them to stop being brats, shaming them for behaving like argumentative children. It's funny – and then you remember they basically still are children and this is headed towards more carnage that will not spare them for being young. Such it is to engage with Iron-Blooded Orphans.

What does any of this tell us about Orga's sexuality? In principle, taking it as a device to convey immaturity, nothing. Orga's persisting virginity could simply mean he's not worked out this aspect of himself yet. He is a busy young man who likely hasn't had the time to try.

Alternatively it could mean he is gay. Mikazuki/Orga is an extremely popular ship in the fandom and we might take Orga's professed lack of interest in women as 'evidence' of him swinging the other way.

Or we could take my view, that Orga is asexual and his embarrassment is rooted in just not getting what the big deal is.

To immediately clarify, I don't think he is ace because he 'hasn't worked out what he wants', I think he's ace because he blushes on admitting he doesn't care about women and does not try to prove otherwise once he's in a position where he could easily do so. In circling back to the same joke for the side-story, the writers portray Orga as continuing to be uninterested in sex and sensitive over being needled about it. Again, a feasible interpretation is that he's into guys. Yet this is an argument with Eugene, whose response to the idea of Yamagi being in love with Shino is basically 'you mean you didn't notice?' Eugene is a dork and jerk; he isn't bigoted. None of the Tekkadan guys are. It's unclear if homophobia is even a factor in the setting. Sexism is, but when someone as superficially macho as Shino is comfortable with male/male attraction, and there are same-sex weddings inside Gjallarhorn, we cannot assume stigma exists around being gay. So why should Orga be worried, unless it goes beyond a question of who you're attracted to and into the answer being 'nobody at all'?

When you're surrounded by people who happily wax lyrical about how the joys of sex make you a real man, the absence of a libido might easily become a sore point.

Again, I'm supposing. Again, there is room to do so. As I touched on with Chad, it is easy to read queerness into the text when the assumption of straightness has been taken away, which is something this show does wholeheartedly and deliberately.

Orga Itsuka is one of the first characters I looked at and realised, not only shouldn't I assume heterosexuality, I shouldn't assume sexual attraction at all. I cannot credit Iron-Blooded Orphans alone with this. I do credit it with being a piece of media that applies itself to inclusiveness in ways quite remarkable for a show about giant robot fights, produced to market toys.

The word we want here is 'normalisation'. IBO has a lot to say about what constitutes 'normal' and a lot of it accords well with my own views, particularly those that have me twitching whenever anybody demands we 'be normal' about something. Normality is horrible. It is cruel and it is callous. 'Normal' is a world run on exploitation, on slave labour and on police savagery. Normal is children forced to risk their lives to earn the money required to feed themselves, because it is normal for their parents be gone, or incapable of supporting them. War is normal. Corruption of political systems is normal. Death coming more rapidly for those deemed expendable by society is very, very normal.

But so is protest. The drive to do something, to change things. The capacity for caring about each other. Love. 'Normal' is just a statement about what surrounds us every day, for worse and for better. In too many pieces of fiction, normality is narrowed, rendered a neater, cleaner picture, often excluding the kinds of people we might run into on the street, or walk past, or see on the news, distant and dehumanised.

Queerness is normal, yet for a long time it has been one of the first things to be cut out of fictional worlds. And when it is present, it's a big deal. An object lesson or a cry of triumph over breaking free of unfair strictures. I love stories about queer joy and victory. Heck, I'm a sucker for a good, soppy gay romance. But these aren't the only kinds of stories we tell. Sometimes we need to reflect the worst aspects of the world and what it does to normal people.

In attempting this, Iron-Blooded Orphans commits to an idea of 'normal people' that includes those who are gay or bisexual, those of colour and those we'd call white, the polyamorous, the illiterate, the desperate, the powerful, those who throw themselves into the fight with everything they have, and those who are simply kind. Those who are accepting, understanding and compassionate. Those who need to be accepted, who struggle to be understood, who suffer for a lack of compassion.

There are all sorts of people in IBO and – as a certain cheery, violent dumbass once said – man do I love it. I don't believe it is reading against the spirit of the thing to imagine more diversity than gets outright stated, to interpret one of the leads as ace or suppose another side character is bi or pansexual. It would seem entirely natural if they were.

Everyone's welcome here, down among the debris and the bloodshed, where hope is precious and fleeting and still somehow endures. So why shouldn't we raise a few extra pride flags?

Queer as in 'fuck you'

This all said, taken as a whole, Iron-Blooded Orphans is not a story about queerness or queer romance. Nowhere is this clearer than in its ending.

I skipped over the framing of the final scenes of the anime when I discussed Kudelia and Atra. They form a striking contrast with the ending of The Witch from Mercury, where the conclusion is directly focused around Suletta and Miorine's love for one another, their bonds of wedlock, and the happiness they have found together. This follows from the show being primarily about their relationship. In Iron-Blooded Orphans, the ending focuses not on Kudelia's feelings toward Atra, but those she has for Akatsuki, Mikazuki's son, with Eugene even saying she's eager to go see 'the man she loves', setting up a brief moment of uncertainty over who the character with Mikazuki's outline actually is.

The nature of Kudelia and Atra's relationship post-time-skip is implied rather than stated: in the English versions of the script, they do not refer to each other using terms suggesting they are married, although Atra has dropped her habitual 'Miss' from the front of Kudelia's name. They do not have wedding rings (redundant as those would be alongside the charm bracelets) and Akatsuki does not call Kudelia 'mom'. That they are raising him together is suggested very strongly, in line with Mikazuki asking Kudelia to be guardian of his child if he died. There are non-romantic ways of taking this idea, though, and none of these are closed off as viable interpretations.

But why should we expect some definite statement about romantic status when the point being conveyed is how Tekkadan's legacy continues to shape the world? This is a story concerned with the exploitation underpinning the world and the effort required to make even the smallest wide-scale change. It is about how people trapped at the bottom of the pecking order are still people, still human, messy and complex. It is about their pointless deaths, they ways they struggle on until those deaths come for them, and why they matter, even if the world forgets them.

Mikazuki, the living weapon, the human sacrifice for Orga Itsuka's reckless ambitions, leaves behind a child who will grow up in a more peaceful time, in a society slightly better off than when he and Orga were starving on Chyrse's streets. He doesn't live to see it; Akatsuki does. For all the failures, the attempt wasn't a waste. Don't you dare disrespect the people who died by saying it was.

This is where the epilogue centres, on Akatsuki and on Kudelia's cherishing of the world Mikazuki and everyone else built. Atra and Kudelia's relationship is there, a part of the gentler life they now have (Atra's desires were always towards the version of her existence where Mikazuki retires to a farm; here she fulfils the dream with Kudelia alone). It just doesn't need to take up space for the ending to land.

Yet, as I pour over how queerness is incorporated into Iron-Blooded Orphans, I find myself considering the struggles queer people face in reality. The victims of the AIDS crisis, dehumanised by indifferent institutions. Section 28 and the attempted destruction of knowledge around non-heterosexual forms of love. Riots and campaigns, voices raised loud and proud. How we are equated with dirt and corruption, reduced down to facts others find disgusting. The name-calling. The petty, pathetic posturing that makes everyday existence pointlessly harder.

So it goes for space-rats and degenerates alike.

I am lucky. My life is about as far from that of a child soldier as it is possible to get. My sexuality has been largely invisible. My gender matches the one most favoured by my society. I still have more common cause with those born in poverty on the other side of the world than I will ever have with the aristocrats and billionaires who shape the direction of my country. Because we hold many causes of misery in common. Because we share the same capacities for joy and suffering. Because our humanity is so easily cast aside by those we will never be able to touch.

There is always a place for stories uncomplicatedly about queer love conquering all. Equally, it is important to recognise the places queerness overlaps with stories about the many other ways the world casts people out. It is vital to be able to explore loss, futility and heartbreak. It is essential to capture why we strive onwards despite how heavily tragedy might weight us down.

We may be doomed. Our lives still matter. To ourselves, to each other and, whether they remember or not, to those who come after us.

So, no: for all the queer characters it contains and the many more we might trivially imagine queerness into, Iron-Blooded Orphans is not gay in the vein of The Witch From Mercury. It is not a happy story.

But it is a tenaciously hopeful one and, from certain angles, that alone looks queer as hell.

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Happy UK/US Pride Month – in honour and memory of Marsha P Johnson and everyone else who refused to go quietly.

I shall leave you with one of the least straight things ever to be included in any Gundam show.

[Index for further writing]