#egg's meta

[daincrediblegg]

I need all the lore about Lamb and Standish too. When did they become so dependent on each other? Did they ever get drunk together back in the day? Did they ever sleep together? We know he cares about her a lot and feels guilty AND protective over her since Partner, but does he actually love her and is he in denial about this? I have so many questions

OK OK OK SO. I just finished the first book (woohoo) and. I am honestly so thrilled to say that what little lore we got from the first book at least aligned a lot with some of the stuff that I had come to my own conclusions about from having watched the show... way too many times now. And I have to say- real credit to Saskia and Gary and Will Smith for putting it together in the show the way they did because man. I feel like they give us so many subtextual clues and they really capitalize on each and every one of them that it makes doing my job as a film scholar just super fun.

Anways- on the Standish and Lamb situation? I have lots of thoughts. Most of which I wrote down last night in a complete stupor because this is what keeps me up at night thinking about this character dynamic. So buckle up. We're gonna ramble our way through my own thoughts and ideas about all this.

Like to start, to me it seems that they really never had much contact at all back in the day, and that makes sense: considering Jackson's mostly in Berlin playing Moscow rules in the field while Standish is at home holding the fort for Charles, there's not a lot of overlap with each other physically but they did know each other as much as they needed to know at the time: Standish was Partner's drunk PA, and Lamb was the Joe of All Joes (can I make it any more obvious?). What little contact they may have ever had was certainly mostly through Charles, and the show gives us some insight to that giving us that little flashback that Catherine has where she seemingly meets Lamb for the first time after "Berlin's blown" (which could mean either the wall came down as Lamb says to Catherine in his half-confession, or that he's referring to the incident that he describes to Katinsky in season 2, and of these two options, my money is on the latter). That looks like a woman being very confused meeting someone she's never really seen before in her life to me (or perhaps has seen while drunk at one time, but doesn't much remember).

I mean most of the rest I feel like I can glean from the incidents themselves. Both of them getting relegated to Slough House after Charles' death seems natural- Catherine with her near miss of a treason charge and Lamb with the fact that he literally assassinated First Fucking Desk of MI5. And it's easy to see how the co-dependency came from there. Catherine as an alcoholic going through AA specifically, seems to revolve around structure to keep herself in check- the way she talks about Charles Partner in Season 2 helps with this. The fact that he payed for her treatment and in return- probably partially because of this need for structure- she latched onto her job as a way to compensate so that she doesn't end up in the same dark place again. So, then being Lamb's secretary, it's still the same kind of structure that she needs, even though this time it doesn't feel as rosy as it might have done with Partner.

- And this is a point that I think about a lot. She does view her whole relationship with Partner with rose colored glasses, even though if you listen to what she's actually saying in those flashbacks from season 1, she's done his laundry, is planning his outfits, put out his flowers- she was doing nothing more than some kind of glorified paid house wife kind of shit for him (and in FACT! I was fooled my first go around season 1 like I genuinely thought that she was deadass his WIFE or something. I think that misconception on my part says a LOT). And Lamb in parallel to that is a great come down from that mountaintop-that she sees herself and Partner as this idylic Q and Money Penny type of thing that she's romanticized in her head for the last 20 years- an illusion that Lamb on every level shatters and is - at least to his credit- honest about. As much as he inconveniences her and as much as he's his raw unfiltered self around her (which- he certainly is more of that around Standish than anyone else he knows. River gets a lot of brutal honesty from Jackson, but none to do with emotional sincerity- like the way Lamb tells Standish the half-truth of Partner's death, and why he *chose* slough house), as much as he's a bully he's still doesn't give her any illusion of what their relationship is or isn't, and no one would see that as a mark of respect on account of him being an "utter bastard", but is all of that really worse than Charles pretending to be her best friend and all the while planning to have her take the fall for him behind her back? (Personally? It's a different kind of bad but Charles is definitely the worst). And it's extra funny situationally because then all of the things she says about how Partner treated her is much more close to the mark to what Lamb did for her, and things that weren't superficial either. "I know that unlike you, he respected me" ("christ, Standish was right", always updates her on what he knows when appropriate and always has her sit in on debriefs when it's safe), "he showed me friendship"(he always pours out a drink for her that he ends up drinking himself, always when things are going to come down on her deals with it *himself* rather than relegate it to the fuck-ups, always has her up to date on things -unless it means blowing cover), "and he believed in me" (he gave HER the gun and let her delegate the hijacking of the MI5 car from Duffy and Webb, let HER do the cool agent stuff, also lets her do some of the investigative work- especially in season 2 when he doesn't interrupt her at ALL when she keeps up with the camera trail on- but also knows her limits, especially in the house of hell where he stuffs her in a closet knowing she can't be of more use because *he* knew he could kill Hobbs, but "now I won't shoot you dead, Mr. Webb,"), "and he kept me on, when anyone else would have thrown me to the wolves."(which is exactly what he did when Partner died, and all the information came out that Partner was going to peg it on her. It wouldn't surprise me if he took the hit for that too in some way. If him getting her treason charge dropped might also be part of why he ended up in Slough House - which if the op was sanctioned initially by David Cartwright might hold some weight. Maybe that was David cleaning up and covering arse like Taverner would do. Maybe Catherine *was* supposed to take the fall, but Jackson refused to let that happen? But that's just a theory. A Slough House Theory).

But the bigger question in this is of course: why? Why on god's green earth does Jackson Lamb give a shit, and why is he so dependent on Standish?

The solution to this feels multi-pronged. First: I think that he has a bit of a chip on his shoulder about innocent people getting caught in the cross-fire of the things that MI-5 get up to, and Catherine fits that bill better than anybody he knows. In season 2 when he talks about the women agents whose deaths he was directly responsible for, he describes it as something he "wishes [he] could unsee"- which for Lamb is saying a lot, considering that to most things (heads on tables, faces blown off with shotguns) he doesn't bat an eye, and even says he's seen worse. What happened to those women and the fact that what he said made that happen I think affected him more deeply than he lets on in that scene, because even though Charles Partner didn't know who they were at all outside of a codename, Jackson did, and probably knew them very well. And Charles as their shadowy overlord who was just moving them like pieces on a chessboard never had to pay the emotional price for that, nor did David Cartwright. But Lamb did. Because as much as he denies it to keep people looking the other way, Lamb does have a heart, and it's hard to earn but it's not impossible.

And he always does take the emotional fall for things! He says in season 4 that he "had a heart until he worked for [David Cartwright]" whom he also said "gave [him] a job once". The way those lines conflict in tone but also reveal a lot about how he views his own fall from grace says so much. David Cartwright got him into this business, but under his direction he hardened for it (something that I think connects him to River more than that boy will ever understand. Also is what makes Lamb a better mentor than Peepaw Cartwright, but that's another story) not to mention that for all intents and purposes, Lamb and Partner were actually good friends, and that this betrayal and the fact that he had to do it himself (even though maybe his feelings were mixed on the matter- that maybe he even loved Partner too in a similar way that Standish did at one point in time, but the lives lost from his betrayal weighed on Lamb more- and as we all know, from Catherine's own mouth, he'll do anything to get even for his Joes).

Which brings me to my second point: Jackson Lamb wants to be the hero just as much as his protege River Cartwright does, but the reality of their whole line of work is that there are very few instances in which anyone gets to be, but Catherine is one of the rare exceptions where he did, and all told, it doesn't feel good. Because there's a couple things at play here right? On the one hand yeah- he did save her from being thrown to the wolves after Partner died and framed her for his crimes! Yes he kept her from facing a treason charge, yes he covers her arse time and time again. But she still is the person who had to find the body. And as we know with Lamb, he knows how bad it is to have found the body better than anyone (I mean- I point to how he reacts to Min's death, and then to Bad Sam's in season 4- so enraged he storms out but also so depressed he steals his last bottle of booze). He didn't get to spare her from that, but he is trying to spare her from the rest of it too(an impulse he couldn't help but let go in the last episode of season 3- while still not incriminating himself, mind you), and that's hard! Because he's not supposed to have a heart ("What goodness? What heart?", "Oh have a heart, Jackson!") but he DOES! And he's taken it upon himself to break it time and time again just so he can keep himself at the top of his game- even though, and here's the secret: it's his heart that makes him the best at what he does! Because he does get involved! "I think your attention has been split between finding [Hassan Ahmed] and burning me!"- he does on some level actually give a shit about lives lost! Something Lady Di and Tearney and Duffy and even Cartwright Sr. don't consider when THEY play the game. And he cares about the kind of people that have everything to lose from the actions of the people at the top! And he'll martyr himself about it over and over again because he's got the skill better than anyone to do it and he knows it! And to make sure Standish stays right where she is- out of harms way- he'll fucking go to the ends of... idk England. Probably. To make sure she stays out of harms way where she belongs. And as a thread running co-current to that: I think he understands how much having found Partner's body haunts her every waking moment more than she knows- from his own experience, though he's definitely got a higher body count. They all weigh on him just the same ("By the time I was your age, I'd lost a baker's dozen. It was bad enough when the wall was up, but once they reduced it to bricks and rubble, everything went to shit. Whole networks of Joes, rounded up, blown. I haven't forgotten any of them. And I won't forget Sid.")

And then, on the other side of the dice, I think there's also a bit of a self-torture mixed with sadism that's a part of why he keeps her around too. I mean in a lot of ways it seems that it is absolute torture to him to keep Catherine around, considering she's always harping on about cHaRlEs PaRtNeR (who as we have established- it grates on Jackson that in Catherine's mind Partner is a knight in shining armor when really *he* did all of that way more than Partner ever did for her- though I don't even think Lamb would give himself the credit for that he can't stand that she sees him that way when he was disenchanted and knew all these horrible truths about what he did to his own people for money), and part of that co-dependency is (and I hate to say it) is that he needs to torture SOMEONE other than himself externally for his own friendship with Partner and literally Catherine is the only person with a shred of shared history that he can really do that to. And at the same time, she gets to do it to him. He gets to let her torture him also just a little bit ("What did your last servant die of?" "What did your last boss die of?"). He thrives off of that push and pull of torturing others while actually torturing himself. It's his own fucked up emotional bdsm basically.

Now of course to the biggest question of all: Is it love? Who's to say? Can Lamb ever cut the bullshit and admit to himself that his feelings about the whole Partner situation haunt him like his own shadow? Forever attached to his being? Can Standish ever see beyond her rose-colored glasses about Partner and give Jackson some forgiveness before he farts himself into an early grave for it? I don't know but they're on the fucking clock and I tend to swing back and forth like a pendulum on the notion (like I wouldn't say I ship them, but I wouldn't say that I don't either. Secret third thing: they're just really narratively fucking interesting and that gets me off just as well as anything else so? Yeah I guess).

[metamatronic]

What is William and Michael's relationship like in your AU throughout the story? Like with teenage Michael before and after the bite, and when William is Springtrap?

father-son timeline stuff belowwww

Pre-83: Pretty Standard Father-Son relationship—Mike wanted to be an engineer like him and Will was supportive. Healthy sprinkling of teen angst and rebellion from Mike.

Post-83: Relationship became strained—Will never outright blamed Mike for what happened, but definitely struggled in his grief to fully absolve Mike or to help minimize Mike’s trauma. Mike didn’t tell his dad about his night terrors or his getting haunted by David, as he was afraid his father wouldn’t care or wouldn’t believe him. Will took Mike’s stoicism as a lack of remorse. We loooove miscommunication.

Post-Liz’s Death: Will became singularly focused on solving the MCI and “fixing” the animatronics. Mike tried to be “useful” by helping his father, but William kept him at a distance because he feared losing him too. Michael took it as his father not wanting him around. We loooove miscommunication.

Springlock Incident: Michael—having no clue where William had gone off too and having recently been scooped in an attempt to make his father love him and save his sister—assumed his father had skipped town to avoid the investigation. He villainized his father over the next 30 years believing he’d been abandoned, and worked at the restaurants partly to destroy his father’s work (but mostly to save the dead kids, not that Mike would ever admit to being altruistic) William, meanwhile, has 30 years to reflect on every bad parenting decision he made. Oof.

Fazbear Fright’s: When Mike meets Springtrap, he introduces himself as Eggs to avoid getting clocked by the “former employee” who may know him from the 80s. William, likewise, uses the name Springtrap to avoid getting recognized. The two idiots—being incredibly similar in personality—become very good friends without ever realizing who the other is. It isn’t until the two burn the place down that they come clean and realize who they’d been talking to the whole time.

Post-Fazbear Fright’s: They’re relationship is significantly better, though Michael still sees him more as a friend than a father at times and gets upset when William tries to “parent” him.

[pnfc]

mildly interesting pnf fact of the day: before they came up with the name OWCA in s2 'summer belongs to you' the de facto name for perry's agency was SSSN, the super secret spy network. it only shows up in a few places in the show and never in dialogue - namely the human agents in perry's nightmare in 'p&f get busted' and apparently the tv station hosting the dr. feelbetter show in 'about time'

but it does show up in merch sometimes. also apparently in the 2012 pnf gogurt packets, which have a trivia question that claims perry works for the SSSN. presumably the asset packets they were using to create merch were out of date

[synchodai]

Arcane S2 wasn't as good because it wasn't about air

The common critique of Arcane season two was that "it didn't let the story breathe." I'm going to one-up that and state that season one set up an entire story about breathing and forgot that in season two.

Yes, yes, Arcane was a story about Piltover oppressing the undercity, but unlike a lot of other stories about social stratification, Arcane was very explicit about the methods Piltover uses to disenfranchise Zaun. Season one was clearly a story about eco-apartheid maintained through extractivist practices.

WHAT IS ECO-APARTHEID?

Ecological apartheid (also known as enviromental racism) is a form of disenfranchising and spatially separating a class of people through pollution, exploitation, and abuse of their local environment.

[E]nvironmental apartheid was largely instituted through rural marginalization, the use of rural space as an environmental means of marginalization... - Environmental apartheid: Eco-health and rural marginalization in South Africa

Topside and the undercity are basically one nation state with a blindingly stark fence between them. Piltover and Zaun are simultaneously connected and separated by the Bridge of Progress. Progress unites them and alienates them from one another. Progress is why Piltover is wealthy and clean, and it is why Zaun is impoverished and polluted. It is was on the Bridge of Progress that Silco incited the riot that led to Vi and Powder's orphaning and Vander's betrayal. It's where Ekko and Jinx have their standoff, and where the Hextech core is exchanged. In other words, progress is a border.

WHAT IS EXTRACTIVISM?

Prior to the proliferation of shimmer and the chembarons, industry in the undercity appears to be heavily centralized around one thing — fissure mining. Vi and Powder's parents used to be miners along with Vander and Silco. Jayce and Vi visit one of these mines and she explains the masks the workers use. Oh, and let's not forget the children don't have to yearn for the mines when they're dying in the mines!

The Zaunites' livelihood being dependant on the extraction of natural resources for the benefit of the Piltovans is what is known as extractivism — the exploitation of a resource-rich land and its people by a separate "global North."

In practice, extractivism has been a mechanism of colonial and neocolonial plunder and appropriation. This extractivism, which has appeared in different guises over time, was forged in the exploitation of the raw materials essential for the industrial development and prosperity of the global North. - Extractivism and neoextractivism: two sides of the same curse

The "North," in this case, clearly being Piltover. The resources being abused and exploited here aren't only the fissure mines, but also the bodies of the workers and those born around them. Viktor's illness, for example, is a product of growing up around the gaseous waste of the fissure mines. The Zaunites take the brunt of the side-effects of the pollution so that the topsiders don't have to. The "dregs" are kept below while materials, both people and things, that are deemed useful get to rise to the top. The processing of raw materials and shipping happens in Piltover, so it's the Piltovans who get a final say on the profits.

Silco and the chembarons establish their power by creating an industry that operates outside of fissure mining that doesn't rely on the patronage of the global North. Needless to say, drug dealing isn't exactly a noble trade, but extraction, processing, and distribution are mainly controlled and operated by Zaunites, which allows them a source of wealth and power that they can leverage against Piltover. To use a more recognizable phrase, they own the means of shimmer production.

I find it fascinating that shimmer is made by killing innocent underground creatures. Cannibalizing your own kind for a temporary boost of strength that eventually turns the user into a monster? It's a poignant metaphor about the infighting of not just the chembarons' gangs but of oppressed groups in general. And while shimmer offers power and brings in wealth, that's not what the undercity truly needs and only corrupts it even further.

Nah, the show has been very clear that what Zaun needs is breathable air.

SEASON 2 FORGOT ABOUT AIR

Even outside of the air pollution caused by fissure mining, the theme of breathing and air is everywhere in season one. Ekko and the Firelights' community is built around a tree — the clean air it provides is the reason they've been able to sustain themselves. It is considered an oasis in polluted Zaun. Jinx's is often heralded by brightly colored smoke, and the way she signals to Violet is through a flare that emits it. Silco's altercation with Vander involves him almost drowning — Vander literally choking the air out of him. Silco, in reponse to this traumatic event, teaches Jinx to willingly submerge herself in a place without air by baptizing her in the same filthy water he was choked in.

In other words, air is life and purpose. Zaun's aesthetics are defined by gas masks and smoke. Meanwhile, the scenes in Piltover are clean and clear. Ekko and the Firelights' tree represented hope and the possibility of clean air in Zaun. Viktor was similarly associated to flowers that grew in the underground, symbolizing how beautiful things can live even in the harshest circumstances.

Environmental degradation, more specifically air pollution, is the raison d'être of topside-undercity conflict. Silco says as much when he threatens the other chembarons and reminds them of why he's in charge.

Have you forgotten where we came from? The mines they had us in? Air so thick it clogs your throat — stuck in your eyes. I pulled you all up from the depths, offered you a taste of topside and fresh air. I gave you life. Purpose. But you've grown fat and complacent, too much time in the sun. We came from a world where there was never enough to go around. That is why we fight. Do you remember? - The Boy Savior, Arcane S01E07

But by the second and third acts of season two, pollution may not as well exist in Zaun. How does Viktor's commune plant its flowers and grow its fruits? Does the Firelights' tree ever get cured of its corruption? Did everyone forget that the undercity is literally suffocating? Seriously, why is Ekko's storyline with the tree never resolved? Why give Jinx that monologue about a wispy goddess of air the fissurefolk pray to and never go anywhere with it?

JINX SHOULD HAVE BEEN ASSOCIATED TO JANNA

The Grey presented an opportunity for Jinx to be the revolutionary hero Arcane wanted her to be. The enforcers have clearly aligned themselves with pollution and poison, and Jinx could have been the herald of their wind goddess come to answer the people's prayers for relief. But the people don't rally behind Jinx because of her association to Janna, clean air, or her repelling the invading cops using bioweapons.

I firmly believe that Jinx being a symbol of the revolution because she blew up a government building is missing a few steps. She'll get radicals who already hated Piltover behind her, sure, but the everyday Zaunite would more likely blame her for causing chaos and bringing trouble to their streets. Because the average person doesn't really care who's on the council or if a politician so far from them dies. But they do care if the cops are suddenly at their door with tear gas because an extremist junkie decided to commit arson.

The first act of season two had me very optimistic that the show was picking up where it left off with its enviromental themes. The enforcers use The Grey, polluted air, to surpress dissent and hunt down Jinx. Jinx fights back under a mural of Janna, the goddess of clean air. Her plan involves her using air to push back The Grey and send the gust up to Piltover. After being actively gassed by the enforcers, Jinx and her association to colorful wind becomes a symbol of hope and revolution to the people of the undercity.

Except that's not what happens. The Grey is only shown affecting targeted criminals with no collateral damage to civilians despite it being deployed all over the trenches. The gusts of wind Jinx pushes up to Piltover don't make topsiders experience the air pollution Zaunites suffer. Instead, it just midly inconveniences them with paint splatters. In the end, The Grey is forgotten and has nothing to do with their fight in front of Janna's mural. Caitlyn gets a promotion despite gassing the entire underground with nothing to show for it, and the undercity idolizes Jinx despite her being the reason they were gassed in the first place.

ECOLOGICAL RESTORATION IS INTERPERSONAL RESTORATION

Unlike in the game, Arcane chose topside and the undercity to be originally established as one city — and I don't think that was done without reason. The nation of Zaun and its identity is established as a reaction to the suffering of those underground. A community developed centered around helping one another cope and survive through the pollution. In short, Piltover created Zaun.

Thus, the interplay between Piltover and Zaun extended to all plotlines and the relationships they explored and developed. Jinx and Vi, Vi and Caitlynn, Viktor and Jayce, Ekko and Heimerdinger — these are all relationships that reflect the tension between Zaun and Piltover. Family torn apart by civil war, bitter ex lovers, different ideological approaches to scientific advancement, intuitive inventiveness and practiced genius. Their relationships are born from a common desire and degrade because of that looming border inflicted by the pursuit of progress.

Piltover and Zaun is a single house fractured because of how it threw all its detritus in the basement as it sought to build a tower that will reach the skies. The whole building is threatening to crumble, especially now that someone threw a bomb at it like in the finale of season one. The status quo Arcane and we as a globalized eco-apartheid have is extremely precarious as is any foundation built on abuse and exploitation. A lot of people will cheer on the Jinxes who don't care so much about fixing it than they do burning it all down to express their understandable rage and grief, but that doesn't really fix the problem of having breathable air, does it?

Unfortunately, we'll never know how the show will wrap up the Zaunite plight because it was all but forgotten in season 2. The problem of Zaun was never that they needed to evolve or be perfect — it's that their environment and the people by extension were being suffocated.

In my perfect world, the finale would have addressed the lack of light and clean air in the underground. It would have mirrored how some bodies and relationships can never truly fully recover the damage that has been done. As in real life, restoration is not a substitute for not doing harm in the first place. But it could have ended with a hopeful message that burning it down and running away isn't the answer either.

When Viktor was healing Vander and decided that, despite the unprecedented effort and time, his natural, non-weaponized humanity was worth saving because of how much he means to his local community, I thought that was what they were going for. Alas, they didn't let the show breathe.

[nenoname]

Details in Stan's letter that still haunt me

(how long will I continue thinking about a two page letter that's technically not even that long because Stan's handwriting is fricking large? .....you don't need to worry about that.)

The bro code only shows up in the Lost Journal pages, and to me Stan's message feels like it purposely echoes Ford's "miss you" in the college photo (and for some reason the message doesn't appear in the website version of the photo?) ....or alternatively Stan simply noticed how distressed Ford was about this entire thing and wanted to support him in a way so he can be sappy but without the kids knowing, or both!

Stan's claim about the Oregon lottery contradicts what the Lost Legends website said about Tate McGucket's ability to predict the winning numbers!! ...but also breaking into the Lottery HQ is definitely a very Stan thing to do and it's not the first time small gags have been retconned

Despite spending most of his letter nonchalantly destroying him, the taunt about ripping a dollar bill in half is the only part where Stan is directly responding to Bill. Maybe it's the two of them having similar ways of thinking but it's rather specific considering Bill taunts the reader about it...

And after Bill spends an entire book calling Ford Sixer despite normally using a pretty wide range of nicknames for him, Stan then spends his letter mainly referring to Ford as Sixer, even though post-Weirdmageddon he tends to use a mix of nicknames. And it's not like he'd gotten to see Bill himself for long, let alone see him steal that childhood nickname (that is only used twice in the actual show btw!). Did Ford tell him what happened or...?

With all this and the website's "still on your mind" message, what I'm getting at is my tinfoil hat theory of Stan somehow seeing some of the pages the irl readers saw, even when it should be personalised to the specific reader, and he's been lying about it for some reason. Considering that the book flat out doesn't make an attempt at convincing Soos, I find it a stretch that whatever Bill was telling Stan via the book was an attempt to convince him either.

Wouldn't be the first time Stan's skimmed through a book and lied about what it meant to him.

(...Now I kinda wanna see a story about the family reading their versions of the book and making fun of it while Stan is improvising every single one of his pages and blatantly ignoring Bill's attempts to mock and taunt him)

But also I'm fascinated by the letters that only showed up on the website (aka the Soos+Wendy+McGucket+Pacifica ones). I'm assuming that Mabel had stuck them on after Stan's letter... but they were basically eaten by the book itself because seeing Stan's letter kick-started Bill's breakdown which takes up the rest of the book

[starflungwaddledee]

participated in a "species swap" challenge with starstruck a little while back where i took some prompts to see what she might look like as a few other familiar faces!

once again posting this one as @kirbyoctournament propaganda...! trying hard, it's the final push in the final round!! can she do it?? you can vote here to help! aaa!!

[jojo-schmo]

I'm updating my personal ref sheets and it's really hitting me just how SMOL Kirby, Bandee, and Elfilis really are compared to the rest of the cast.

[mewguca]

Something's missing.

[waitineedaname]

putting aside being sad about binghe for now, I was looking for the first time sqq directly compares binghe to a maiden, and as far as I can tell, the first time he calls him a maiden is this part:

To push him away during this moment would be like giving a young maiden -- one who'd finally worked up the courage to call and brokenheartedly weep to an older sister for comfort and encouragement -- a face-turning slap. It was really a bit cruel. (Chapter 11 in vol. 2 of the English translation)

this stands out to me because this is shortly after he finally realized binghe is attracted to him, while he's still grappling with the fact that he's "turned binghe gay." it's yet another example of sqq equating being gay with femininity -- he knows binghe is into men now, and thus begins him repeatedly referring to binghe's behavior as that of a maiden's

but the other thing that stands out to me about this quote is that sqq is also making himself a girl in this metaphor. I know the translation is probably lacking here and he's probably using jiejie to mean generic older female friend as opposed to jiejie meaning older sister, but still. shen qingqiu, why are both of you girls in this mental metaphor. hello. shen qingqiu are you aware that making both of you girls does not make it any less gay. shen qingqiu are you listening to me. shen qingqiu yes it's still gay when you're both girls

[composeregg]

"Yona is being selfish"

have you considered that she has no assurances that any promises being made will be upheld?

from her point of view, the dragon gods have only hurt her friends and threatened everything she loves, she has NO reason to trust them!

The dragon gods are acting like her father did, denying her the agency to make her own choices even when she states what she wants loud and clear. The threats to her country are being made BY THESE DRAGON GODS, these threats are not some immutable fact, they have a place of origin, and she refuses to accept ANY of this.

Because she's not the spoiled selfish princess her father sheltered from everything anymore

She's a woman who has seen the world at its best and its worst, and is determined to forge a path ahead with her own hands, with the people she cares about, for the country she cares about

Yona is choosing to have agency, even when gods are trying to strip her of it. Their threats are threats, and she will see this mess they have made and fix it.

The dragon gods are being selfish.

Why do you want Yona to give in to these demands? To bow her head to the ones proclaiming to know what's best for her and her people? Who keep adding threats to what she loves JUST TO MANIPULATE HER INTO DOING WHAT THEY WANT?

The point of Akatsuki no Yona is not that "Soo-Won has always been right to discard all emotion and focus solely on saving the country" OR that "Good emotions are all you need, you must never face any hardship and it will all work out okay"

The point is Yona's journey into finding a 3rd path, a balance.

She can love her father and think he was not fit to be king. She can still care deeply for Soo-Won, and think he makes a better king, and yet be hurt by his actions.

And she can mend all the pain of the past, and stop the cycle of revenge, and stop the cycle of pain and hurt for EVERYONE. Her country, her dragons, her people, her friends.

It's not being selfish to refuse to give in to these demands. It's simply refusing to play by rules others have made which state there are only two paths, when you can see three.

[daincrediblegg]

Because I was re-watching silence of the lambs earlier, and the scene came where Clarice was being stared at by all male police officers whom were not receptive to what she said, regardless of the fact she was there to do a job, let alone fbi, in addition to information purposefully being kept from her, despite being tasked to help in solving the case, I was of course reminded of what u said abt Lady T. and how the men on board the ship were not at all keen on having her with them, if not frightened of her presence due to superstition, save for Blanky and Francis being some of the few that treat her with the respect she deserves yknow.

With that being said it did make me curious as to whether or not she would b included in the meetings Sir John has with his team (Francis, Jfj, Blanky, etc) not to mention how her presence would b perceived by those at the table as it is very much something that was unprecedented at the time.

oh man it's REALLY funny you mention that movie in particular- I just watched that again recently for this Gothic Novels Seminar that I took just this past semester( and I'd be remiss to say that it didn't heavily influence a lot of the thought-work I did initially for her- among other things). And actually I did a whole essay on gothic couplings (romantic and not so much- and the lines blurred between them)- and argued why it's one of the few literary genres that affords women agency when it's written with a strictly romantic lens in mind (sorry my dear EAP, on whom I gave the lecture of my fucking life, but you don't win at this actually).

Anyway I digress- the shortest answer I can give without getting too terribly long-winded about telling all without actually writing the damn thing - is yes, she's included, but BARELY, and not given much thought despite her earned (and it was EARNED, but also HAD to be given) position. And actually, from the start it's one of the things that draws Francis and LT to each other- because actually (and this would be part of a larger essay on Crozier, had I less brain fog and more time), I see a lot of Clarice in Francis. In a very similar way, the way the anti-Irish sentiment towards him in particular manifests in the way a lot of characters treat him, is very similar to those very scenes in which Clarice is surrounded by men who dismiss and discredit her. Francis has to face a lot of the same stuff- even though we only really know with the benefit of hindsight that he was actually 100% right about what their strategy should have been, but regardless. He's dismissed by Sir John as speculative and alarmist (and a drunkard- which is another byproduct of Irish oppression under imperial rule) when he actually does have better credentials for arctic AND antarctic survival. James dismisses him as melodramatic. Hickey (as well as a good laundry list of others) don't even fully take his orders as seriously- and it could very well likely be because of this, reinforced by the dismissive attitude that his other two commanders took. And at least where my line of thought with Lady Terror is concerned... seeing someone else go through the same thing... tends to light a fire under people. Make them want to support each other in spite of potential consequences. And there are really only two other people on these ships that I feel would be able to understand that it's just the same imperialistic mindset projected onto another arbitrarily and unjustly perceived by said imperialistic mindset as lesser. One of them by direct understanding, and the other because he's a wise old goat who has seen this happen to people he adores before and understands.

[hellamorte]

another interesting piece of exchange between mhin and leander that caught my eye 👁

indeed, it seems baffling that leander, our reliable man, our nice guy, the nicest of the nicest, just forgets to warn mc about such a tiny little detail, easily forgettable for sure — that eridia's streets are unsafe at night 💀

he quickly covers it up by flirting — and boy, can i wait (can't, need this game right now) to see more of such instances, because he seems to master this craft, and it is working on most people, — hinting at mc's beauty and/or the intimate (and it is intimate for mc, whether you like leander or not) moment they shared.

but do you know the most important, tasty nuanced thing this tiny, blink-and-you-miss-it dialogue reveals? leander doesn't care about mc, about their life and safety; he's niceys, it's all just an act. sure, cap, you might say, we already know leander is a manipulative titty shit, what's new? but look at it another way: we know this because rss kindly backed us up with all this additional info and content so we don't starve to death while waiting for the release (rss, i would have gone through content drought anyway. this is not a shade, take your time, i love you). now imagine playing this game for the first time without a pile of lore stacked at the back of your mind and seeing these discrepancies in his behaviour (check out my previous post on this), foreshadowing that he's not as good as he seems and his path might be dark and gritty as hell.

and now, my fellow leander girls/gays/whoever else is there, imagine how it would feel when leander cares (faints).

[winterdaphne2]

Gay Easter Eggs in BBC Sherlock

(I trust the above requires no explanation.)

Perhaps someone has done this before, but I wanted to put together a compilation of gay easter eggs in the show that I’ve seen other people point out and/or have thoughts on myself. So here it is!

When I say “easter eggs,” I’m thinking of small clues that the show creators included in the set designs, music choices, and other details of the show to reference that Sherlock and John are in love. I’m thinking of things you could miss at first, especially little clues that often require a bit of extra information or require observations across episodes to understand.

Of course, there’s also lots of subtext woven into the show, moments where interpreting the dialogue or visuals in a certain way tells us something about Sherlock, John, and/or the state of their feelings for one another. I’m not sure if I can clearly define “subtext” versus “easter eggs” and explain what distinguishes them, but at least to me, several of the things I’ve listed here seem a bit different from what people often refer to as subtext. Maybe subtext is about uncovering the layers to a piece of dialogue or an action that takes place in plain sight and seeing how that impacts our interpretation of the story, but easter eggs are about spotting smaller, hidden details. I’m not trained in literary or film studies, though, and I’m not trying to be doctrinaire about this at all! This list is just for fun, anyway. (The above image might not actually count as an easter egg, but I couldn’t resist including it here. Indulge me.)

The more I read about this show and the harder I look, the more I think that hardly anything is there on accident. All these easter eggs must have been included on purpose. The creators knew they were telling a love story all along.

I’ve linked to the posts where I initially saw people point these out or to other good sources, and for some of these I’ve added my own commentary/observations/interpretations. I’m sure there are many other easter eggs that I’ve missed! What have you spotted?

John’s PIN in TBB – When John tries to pay for his groceries at the beginning of the episode, we see that his PIN is 743. In ASIB, Irene’s code to unlock her phone is SHER, which would be 7437 on a phone keypad. So, John’s PIN is a clue that he is or will be in love with Sherlock. Source: @loudest-subtext-in-tv, here.

Shaftesbury Avenue, 20m from Piccadilly Circus in TBB – While investigating in Chinatown, Sherlock and John bump into each other at what used to be a cruising spot for gay men in London. Source: @the-signs-of-two, here.

Archer the American in ASIB – In the scene where the American CIA agents try to get Sherlock to open Irene’s safe, the head CIA agent pressures Sherlock by threatening to have one of his men shoot John. The agent says: “Mr. Archer, on the count of three, shoot Dr. Watson.” Ordering someone named “Archer” to shoot John could be a reference to Arthur Conan Doyle’s poem “The Blind Archer,” which is about Cupid and describes Cupid shooting two men who sound an awful lot like Sherlock and John. Source: couldntpossiblycomment, here.

“¿Dónde Estás, Yolanda?” in TEH – The song that plays during the scene with John and Sherlock’s disastrous reunion at the Landmark restaurant is a cover of the song “¿Dónde Estás, Yolanda?” performed by the band Pink Martini. The Spanish lyrics to this song are about searching for a long-lost lover, which is fitting for the scene where John sees Sherlock again for the first time since his fall. Notably, the creators didn’t use the first of the two versions of this song that Pink Martini has released. The band’s first version appears on their 1997 studio album Sympathique and features a man singing about a woman. Instead of using that version, the creators used the version from Pink Martini’s 2011 compilation album A Retrospective, in which China Forbes performs most of the vocals. So, the creators deliberately chose a remade version of the song in which a woman sings about a woman. They chose a gay song about searching for a long-lost lover for Sherlock and John’s reunion. abrae (@tea-and-liminality on tumblr) has a meta with more to say about the use of this song here.

John’s “oscillation on the pavement” in TEH – In TSOT, John observes a potential client standing outside 221B and trying to make up her mind as to whether to come in. Sherlock tells John “I’ve seen those symptoms before. Oscillation on the pavement always means there’s a love affair.” In the previous episode, John came to visit Sherlock at 221B but hesitated on the pavement outside, staring at the door and trying to decide whether to go in. Sherlock’s comment, “I’ve seen those symptoms before,” is a hint that we, the audience, have also seen those symptoms before—with John in the previous episode. Source: @bidoctor, here. (I saw someone else point out that last part about Sherlock’s hint to the audience, but I can’t find that post, sorry!)

Lilac dresses in TSOT – While planning John and Mary’s wedding, Sherlock chooses lilac-colored dresses for the bridesmaids. When John tells Sherlock that he likes the bridesmaids in purple, Sherlock pointedly corrects him by stating that the dresses are lilac. Apparently, “In Victorian times, giving a lilac meant that the giver is trying to remind the receiver of a first love.” So by dressing the bridesmaids in lilac, Sherlock is trying to remind John of his first love: himself, Sherlock. My heart breaks. Source: @asherlockstudy, here.

Putting the horns on Mary and Janine in TSOT and HLV – In TSOT, there’s a shot where Mary gives Sherlock and John a thumbs up before they head out on a case. The way Mary is standing, the horns on Sherlock’s cow skull thing on the wall behind her are placed right over her head. (I always thought this shot looked pretty weird, but now I see that it must have been intentional!) In the HLV scene with Janine at 221B, there’s a moment when Janine steps in front of John in the frame to kiss Sherlock, and her movement positions the horns right over her head. “Putting the horns” on someone means cheating on them. So in both cases, placing the horns right above Mary’s and Janine’s heads indicates to the audience that Sherlock and John are the real relationship in this show. Source: this post from multiple users on the @sherlockmeta blog.

The architecture of Sherlock’s mind palace in HLV – In the mind palace scene after Mary shoots Sherlock, the architecture of Sherlock’s mind palace is based on locations from ASIP. Sherlock literally built his mind palace out of places from his first case with John, illustrating that his relationship with John is what grounds him and that it means everything to him. abrae has some very helpful screencaps of this here (and I would recommend that whole meta, btw!)

The glasshouse scene in TAB – In TAB, the Victorian John tries to ask Sherlock about his sexuality and sexual history while they’re sitting in a glasshouse. In Victorian Britain, “glasshouse” was another term for a military prison. So John, a military veteran, asks Sherlock about his sexuality in a setting that represents where he would have been sent if he had acted upon his homosexual desires at a time when homosexuality was criminalized. Source: @haffieliesel, here.

What do we say about coincidences? The universe is rarely so lazy.

[disfrutalaisla]

I miss when someone would do something illegal and chayanne would suddenly disappear and cucurucho would appear and point a gun at someone and we would all pretend like we canonically didn’t notice

[metamatronic]

Ok so I very rapidly went through your William was framed AU, and I noticed that your Micheal is making himself look young again.

Like he should be about 50+ by the time of VR

So either he just stopped aging after being scooped or the sadder alternative that he feels like that portion of his life was ripped away from him and he deserves a bit of it back via the illusion disks

The moody answer is that Michael’s always been dysphoric about his own age because he was so detached from the world and single-minded in his goal to Solve Every Problem™ between 1987-2020. So he feels too jaded to be twenty-something and not worldly or mature enough to be in his fifties.

The funny answer is that if he made himself older he’d look even more like William than he already does, which despite their father-son relationship improving significantly post-Fazbear Fright, is still the bane of his existence.

[biceratops7]

I feel like we don’t really acknowledge the absolutely unhinged levels of moral superiority people hold over fans of ofmd. Like I’m not gonna get into specifics but it’s so completely bonkers to me that people will see enjoyment of MUCH more problematic media and skip along their merry way… But then when a show with a diversity of skin tones, sexuality, gender, ability, AND writers gets popular, suddenly you’ll have people practically telling you to get a red hot poker up the ass if you dare to still like it when it’s not the most virtuous bastion of media to every exist.

Yadada yada yada that Sarah Z video asking why we hold diverse media to a much higher moral standard than we do anything else