#he knows the influence he knows the impact and he knows the vibes and the girlies love the vibes

[mazzystar24]

One thing Eddie Diaz will never lack is audacity and I love that for him

[uvobreakmylegs]

favorite fic? of yours and in general

I don't feel like picking and choosing between my own fics so instead I wanna share some fics written by my fellow yandere writers (some of which I may have shared in similar asks in the past but idc I wanna share them again):

from @hypnoswrites:

Chrollo vs a blacklist Hunter (I really enjoy how fast and how easily Chrollo was able to handle that situation, from cleaning up the body to controlling reader)

Illumi uses a needle on reader (love the way poor reader's mind is addled in this one and how easily she disregards the violent scene due to Illumi's influence. love the ending as well, it's so chilling)

Uvogin x reader x Franklin (two big men - my greatest weakness❤️❤️❤️)

vampire Razor (idk how to summarize this one accurately there's so much going on and I love it all so much)

apocalypse AU with Pakunoda (Paku my beloved❤️❤️❤️)

from @ddarker-dreams:

Chrollo's birthday (love me some Greedy Chrollo)

third party recognizes reader while she's out with Chrollo (poor reader tried SO hard to keep the guy away AND keep Chrollo appeased😭)

aftermath of Chrollo's darling being kidnapped (all of the conversations that Lock's readers have with Chrollo are always great to read but this one in particular sticks out in my mind and I love it)

Feitan's darling runs away (THAT FUCKING ENDING OMG)

Scaramouche's darling distracts him (I know next to nothing about Genshin Impact but I really enjoyed this fic❤️❤️❤️)

from @cherrysha:

ABO Uvogin (this fic lives in my head rent free)

Uvo's darling has a nightmare (there's something scary about how Uvo is so violent in trying to find her and how it contrasts with how gentle he is after. the anxiety she feels from her nightmare which then turns into comfort when he has her in his arms)

reader tries to kill Hisoka (poor reader😭)

god AU with Franklin (I love love love the buildup to Franklin's true reveal in this fic. how Franklin's presence is there within the temple once reader visits, but it's only when she finally collects the proper materials that he appears for real before her. plus the addition of reader possibly being in danger if she fails at the task he's set for her. there's a lot of buildup and dread in this fic and I love it)

Meleoron x reader (this fic is just cute as hell and I need to share it)

from @after-witch:

Feitan saves reader after she's been kidnapped (I've definitely shared this one before but that isn't stopping me from sharing it again bc this fic is amazing from beginning to end❤️❤️❤️)

one night stand with Feitan (I just love the way reader and Feitan end up connecting and how reader being herself is enough to make Feitan decide that he wants to keep her)

vampire Chrollo x reader (this is another fic that has so much going on that it's hard to get all of my thoughts on it out. it's just such a fun read and I love The Lost Boys vibes)

Chrollo's patience runs out (just Bastard Chrollo at his finest)

Uvogin retrieves his darling (in these kind of fics you just KNOW that Uvo will be getting his darling after they run, but it's always a wonder as to how that happens and what Uvo's reaction will be)

from @absolute-flaming-trash:

Hisoka buys his darling a gift (using bungee gum as a LEASH omg)

Hisoka looking for his soulmate (I really liked this version of the 30 seconds soulmate au❤️❤️❤️ it was interesting plus it offered more opportunities for reader to annoy Hisoka lol)

Chrollo and kidnapped reader (poor reader😭)

Illumi punishes reader (😳😳😳)

Mahito asking about love (anything with Mahito is generally fucked up due to him being.... himself. but this one had some moments that were kinda cute. like the description of Mahito laying on the bed reading a magazine, or the way he's described looking at reader. but all it takes is for one word and the mood feels dangerous again. also it's currently raining rn so reading this fic feels appropriate)

[lavandulawrites]

Except for Sunday, which hsr character do you think would most likely to be yandere?

I think the most obvious answer after Sunday is Aventurine. Aventurine is a man who has lost everything he has hold dear. He lost his parents at a very early age and his sister who took on the mother role died right before his very eyes. His people got slaughtered and his planet destroyed. After he witnessed all these atrocities, he got taken by the IPC and made a slave. Due to his immense luck he managed to kill his master and became a Stoneheart.

After all this he is still lonely and broken. It won’t take much before he becomes a yandere for someone he loves. After he realises the feelings he has for you, he will do anything in his power to make you his. He has luck, power, influence and intelligence (let’s not forget that he is literally one of the smartest characters in the game).

I think Argenti also would be likely to become a yandere. Sure he dedicates his life to Idrila, but that’s not to say he won’t worship his beloved. He is delusional and valises beauty to an extreme extent. With his knighthood, he will use anything in his power to make sure his beloved stayed with him and lives a happy life. He might not be the worst yandere, but his obsession knows no bounds.

And let’s not forget Luocha. His Honkai 3 Impact counterpart literally has canon yandere tendencies for the woman he loves. Luocha is an incredibly enigmatic man with a silver tongue that makes lies sound like the truth. He might not be as obvious as the two other I mentioned, but do not underestimate him.

Edit:

You’re literally so right omg! How could I forget them🤦🏼‍♀️ I 100% agree with them all and I also think Mr. Reca gives of MAJOR yandere vibes.

A yan Sugilite x darling x yan Aventurine would be absolutely TERRIFYING for poor darling

I would love to hear everyone’s thoughts.

[turndecassette2]

Hey don't know if it's a boring ask but how much do you think the wave of "Japonism" and "chinoiserie" in 19th western europe and the subsequent popularity of, like, ukyo-e woodblock engravings influenced drawing in the 20th century? do you think it's very blatant or do you think it's more subtle or something. sorry if the question is unhinged or super specific, I'm just curious for ur response anyways love ur art

I always liked the way mary cassatt used the flatness to do western motifs

which has a kinship to japanese art w/o feeling like a pastiche/imitation from an outsider. (above might be 19th century though). I honestly haven't looked into a lot of vintage faux-eastern things, I guess most of what persisted (or what my brain bothers to register) is the stuff where that was like 1 of several ingredients. like a lot of art noveau/jugend had a bit of that I guess, which in turn is half of what moebius ended up doing by way of Mckay & Mucha

like I come across Thomas Theodor Heine (sp? I keep forgetting his name) online sometimes & I assume these kinds of float-y lines + big flat surfaces have like a 1/4th japanese ancestry but wouldn't count as 'japonisme' in terms of content, vibe etc.

& had a discord conversation abt herriman the krazy kat guy a while ago & how behind the funny animals he was kind of one of those 'indefensibly good early 20th century newspaper cartoonists' kinda like the above. & he had a huge impact on us comics obviously. but I'm not enough of an art historian to build a genealogy here

so I'm just using your question as an excuse to post some nice old art. sorry it's very late

[solitaryandwandering]

A Ramble: Love in the Big City Eps 1-2

I just watched episode 2 of Love in the Big City and I am... reeling. Cried when Kim Nam Gyu died, when Yeong and Mi Rae sang together at the wedding, cried at the crushing ending line. I loved the direction in these two episodes; one of the reasons I was super excited to watch this was because they're switching up the directors for each part. Such a cool way to signal transitions in Yeong's life. Now that I've seen the caliber Son Tae Gyum operated at I'm intrigued to see how direction will affect the next parts. Maybe I'll write up a thing about that in the end, but I'm hopeful others will as well! I am chomping at the bit to read the book, seriously!!

I have to mention first what a BALLSY move it was for them to open on Yeong's tryst with a man who was cheating on someone currently in the military. And he walks in the door, STILL IN UNIFORM. What a fucking slap in the face to hegemonic masculinity!!

After this first part what I am really lingering on are two things: queer loneliness and heteronormativity's relationship to misogyny. I'm just gonna put down my half-baked thoughts, I don't have the time or spoons to formulate coherent sentences haha

Though I saw Nam Gyu's death coming just based on vibes in the first episode, its impact wasn't lessened. Its significance didn't really hit me until I saw how empty his funeral was. Loneliness shaped his life - repression, liberation in meeting another gay man, falling in love with him way too fast, forming a dependent attachment, his desperation/obsessiveness in losing it so abruptly. He expressed his queerness in his photography, voyeuristic and seeking closeness with his subjects in the only way he felt was available to him. He had no friends, no relationships outside of his with Yeong. When Yeong breaks up with him and when he visits him drunk in ep 2, he says "falling in love is not a sin." To me, this shows just how removed from a loving community he has been, how nascent his queerness. He's still processing homophobia, it still influences every move he makes, everything he thinks. Clearly he has not had close relationships with other queers, where he may feel free to unburden himself. He falls back on heteronormative performance of romance, searching the best places for dates, not having anyone to ask. Knowing he's older makes this hurt more.

His story brought to mind the futility of AIDS-related deaths in the U.S., to be honest. I lost my gay uncle before I even knew him, and I know no one from his life. I know it's not a perfect parallel, but that funeral... this emptiness carries beyond one queer person's death. And Yeong's journey in these two episodes is about queer loneliness, of course. But his story is not as tragic as Nam Gyu's. He has (amazing) queer friends, and at one point had Mi Rae. He is much more connected to the queer community than Nam Gyu ever was. Despite his immaturity, Yeong is also much more familiar and comfortable with his queerness. I imagine this thread of self-actualization in the face of loneliness will continue in the rest of the show.

@twig-tea and @poetry-protest-pornography also wrote about queer loneliness in this show: here and here

And then we have Mi Rae, a vitally important relationship in Yeong's life, the love this part of the story is about. I met my best friend in college as well, so this part of the story was bringing up a lot of feelings too. To me, their friendship was as much about navigating heteronormativity as anything else, reflected in Yeong's reflection that "she learned that being a gay man sucks, and I learned that being a woman sucks just as much." Mi Rae is impacted by misogyny in every step of her character's journey: male classmates labeling her a slut and claiming her body for theirs, being groped, her challenges obtaining an abortion and mistreatment by a male doctor (where she literally claims her uterus back), her conflict with her parents (I'm assuming her mother had very rigid ideas of what a woman should be, based on her behavior at the wedding), hiding her past from her boyfriend, forced to defend herself when he questions why she lives with a man, shutting herself off from her relationship with Yeong (and thus rejecting her past) after the wedding. I looked up the status of abortion in Korea (a legal gray zone) and was reminded of how badly women there have it, which provided more context for her behavior.

Yeong must also traverse heteronormativity, which is what ultimately drives a wedge between the two and ends their friendship. In the beginning, their mutual rejection of heteronormative scriptures is what brings them together. He stands up for her against those male classmates, in an interaction steeped with assumptions of his heterosexuality. In rejecting her objectification he made himself a pariah for refusing to participate in normative masculinity. And their relationship continues thus, with her promising never to out him. She betrays him in a moment where she feels her participation in normative heterosexuality is threatened (and, indeed, it is a legitimately precarious position to be put in as a woman). Their brief reconciliation mainly consists of Yeong participating in a heterosexual ritual - he has no access to marriage in Korea. Her singing with him and letting go of her inhibitions for one last time was her goodbye to him and her ultimate acceptance of a more heteronormative life. One he can't participate in.

I hope that made any lick of sense. So looking forward to watching the next week. I am holding myself back from watching the next episodes right now. So hard.

[neyafromfrance95]

Galadriel and Sauron mind connection was created by Tolkien himself, it’s part of the lore. Galadriel can see into Sauron’s mind, and he would as well if she hadn’t block him. Actually, I’m old enough to recall when the “Fellowship of the Ring” came out in 2001 (I was like 9 or 10 years old), and when I first watched it I was actually terrified of Galadriel and even thought, at first, she was Sauron’s ally or something, because there seemed to be a connection between the two. Hence the ridiculousness of the “Virgin Mary��� stuff because I didn’t get that vibe from Galadriel at all, when I first watched LOTR. She seemed pretty dark and haunting to me. So seeing this unfold in RoP is pretty cool.

exactly!

i never got the virgin mary vibe from galadriel either. she didn't have a nurturing softness of a traditional womanhood that the incelbros insist she MUST embody, she had a calm confidence and might of a very powerful political player.

and she was so different from the other elves and "good guys" when it came to the whole sauron thing. why you know so much about him? what do you mean he gropes for you like an obsessive lunatic ex? lol. what do you mean you have a kingdom and a family but still feel alone and tempted for something else?

and as i've said, it's interesting that celeborn & celebrian are mostly a npc detail needed to get arwen (who also was ready to risk it all for a hot man, the grandma influence) and don't have much impact on her journey. it seems like she'd rather hang out with gandalf, lol (rip sauron with all galadriel's sidepieces).

it ofc can be explained by her main prerogative being a thirst for power (and tolkien not wanting to "tradwife-ize" her), but with trop context, her desire for power is intrinsically connected to sauron's promise to bind her to power!

and man i love that for her, she is such a messy, flawed and complex female character, it's so very rare in this genre! trop created a perfect young galadriel and gave her relationship with sauron a perfect spin.

it's so telling how the incelbros would rather galadriel be a waifu material with a power of *checks the notes* divine feminine, than be this fascinating protagonist. like, yes, she is amazonian, she is "guy-ladriel"! or did you forget how she was referred to as a "man-maiden"? her being an ambitious brat, a commander who wants to lead, and having an intimately complicated relationship with sauron is canon-compliant!

[kradogsrats]

Revisiting the Arc 2 Opening

So particularly @raayllum had done some detailed analysis and predictions based on the comparison of Viren and Callum's variant arc 2 openings, but I want to return in the post-s6 space now that we have Claudia's opening as a third point of comparison because that addition has an impact on how the original two relate to one another and what each one is saying.

The basic sequence of each opening is the same: from the initial star-map zoom (associated with destiny/time-blind vision of future events) the camera circles the principal character, placed at the celestial Sea of the Castout, as they turn to stone. Aaravos's giant hand swoops down and plucks up the statue, now contextualized by size as a pawn or other game piece, to admire from within his prison with a satisfied smile.

The most important point to understand about this sequence is that Aaravos doesn't personally turn Viren, Callum, and Claudia to stone, but is able to capture and manipulate them as pawns because of it:

This doesn't seem like much of a distinction at all, particularly because the petrification that results in Aaravos's satisfied claim on each mage is a representation of dark magic, which is... what allows Aaravos to influence/control those who resort to using it.

We get the direct link between the heart, dark magic, and Aaravos's influence/control explicitly spelled out by s6, and (as many noticed before)... go figure, in all three openings the corruption petrification begins at the heart.

Now, Callum is actually the only one who knows explicitly about the connection between dark magic and influence/control by Aaravos. Viren has sort of intuited it by the end of s5, in that we can see by portions of his dream that he's aware on at least a subconscious level that he was not in his right mind during at least the latter half of s3. This is why the distinction between the petrification being a factor allowing Aaravos's control, rather than an effect of it, is important—the conflicts and dynamics being represented are more complex than that. For example: Viren's opening, it turns out, isn't about Aaravos at all.

That's a Reach

When the primary arc 2 opening, featuring Viren, was revealed as part of the lead-up to the s4 release, there was a decent amount of speculation as to what it meant—the connection with Avizandum's death was recognized immediately, but what did that signify? Would there be further-reaching direct consequences of Viren's involvement and the archdragon-killing spell? Would Avizandum himself somehow have expanded significance? What is Viren reaching for: Aaravos, redemption, another chance at life?

Mostly, it set the tone for s4 and arc 2 in general, particularly regarding Viren's character arc, with strong mood and themes of helplessness, the past, regret and consequences, cyclic harm, and (of course) death. Not even to mention the looming presence of Aaravos and his relationship with Viren as his pawn. It was a vibe.

It wasn't until after s5 and/or s6 that the opening came into full context: Avizandum, in his final moments, turns his back on the battle with Harrow—the cycle of violence that he, himself, has contributed to perpetuating—and reaches for the child he will now be unable to protect from that violence.

Viren, as it turns out, does the exact same, as we see explicitly in s5 and continued implicitly in s6. Like Avizandum, he reaches for his children, unable to save them from the damage he has already done—all of it through dark magic.

On its own, it's an elegant implementation of the parallels TDP is so fond of to demonstrate that both sides of this long-time conflict have inflicted harm on each other and themselves in very similar ways for generations. Even at the time of s4, however, we had Callum's opening obviously derived from Viren's, and after s6 we have Claudia's, as well—both of which come with their own context that builds off of Viren's in different ways.

Lost Child

So while Viren's opening actually has very little to do with Aaravos (prior to Aaravos's actual appearance grasping him as a literal pawn), Claudia's (and Callum's, which we'll come back to in a bit) is difficult to interpret as not being related to her personal dynamic with Aaravos.

Interestingly, Claudia's opening places her at a very specific point in time, since it's visibly between two major physical changes to her body/appearance—her lower leg is missing, severed by Rayla in the Sea of the Castout at the end of s5, but she still has her long hair from before prompting Terry to cut it off for her early in s6. Even more specifically, she has the half-and-half split of black and white hair, which is already majority-white in s6e1:

This is Claudia in a moment we don't see on-screen—when, having failed to collect Aaravos's prison and not knowing that Viren has been offered and rejected the Infantis Sanguine spell, she turns to Aaravos in the dark of night and is willing to do anything to save her father.

I could do a whole thing here about the nature of Claudia's perception of Aaravos as both a paternal and divine figure, but the relevant part is that her only association between dark magic and Aaravos is a positive one—as far as she's concerned, Aaravos gave humanity dark magic as a benevolent gift, and her main reason (at least that she's willing to voice) for hesitating to give it up is that Aaravos kept his promises to her and it would be right to keep her promise to free him. In her opening, she goes from pained and defeated to looking upward with total trust and hope—looking to Aaravos the way she would have looked to Viren.

Her petrification shares the single tear with Viren and Avizandum, really cementing her place as another loop in the cycle of harm between humanity and Xadia that has dark magic at its heart. That callback to Viren's opening also puts hers in dialogue with him as much as with Aaravos, placing her in the same position as he is in a reflection of his horror and dismay that she has followed his path and example so closely.

Given that Claudia dramatically changes appearance (and, to an extent, attitude) immediately after this opening is introduced, it's possible that we'll see a different variant for s7... but given the end of s6, she actually hasn't really changed all that much. She has doubts about how to proceed with her life after Viren leaves, but as soon as Aaravos re-enters the picture, her conviction is back. She may not have done any dark magic after s6e1, but I don't think that's because she's decided to give it up.

Key Framing

Given the context of Claudia's opening, Callum's opening becomes unusual because it references Viren's without tying back to Avizandum and that cycle of harm. It's still on some level about dark magic, but Callum's relationship with dark magic isn't tied up in family and inheritance like Claudia's and Viren's are—instead it's focused entirely on fate vs. freedom, and on Aaravos specifically.

Callum's opening appears only for s4e4 ("Through the Looking Glass"), where he is possessed by Aaravos and it is established that his single use of dark magic is what allows that control, and for s5e8 ("Finnegrin's Wake") when he uses dark magic a second time. The shared opening puts those two episodes in obvious dialogue with each other, since s5e8 never makes explicit that the danger of dark magic for Callum is control by Aaravos—something he has already asked Rayla to end his life in order to avoid.

The focus in Callum's opening, both by its visual prominence and Callum's own gaze directed at it, is the Key. While Viren and Claudia's petrifications end the way Avizandum's does—with the single tear—Callum's ends with the Key in a blaze of light.

I expect we will see Callum's opening return for s7, possibly even as a primary opening, but it will almost certainly be recontextualized at some point and possibly even changed to a variant that reflects that new context. The Key is an element that will contribute to Callum's doom or salvation—or both, as a key can both lock and unlock—and its prominence in his opening reflects that and will likely be informed by how that resolution develops.

All of Us, Stardust

Speaking of alterations to the openings:

The final, altered version of the Viren opening kicks off s6, acting as a last, fun little extension of the "is Viren dead?" cliffhanger of s5. Aaravos's hand reaches down as usual, but instead of firmly grasping the petrified Viren, he very briefly hesitates before pushing it slightly, instead. The petrified Viren then crumbles and collapses into dust.

We first saw (or rather, had described to us via frantic convention attendee note-taking) this opening at the first reveal of s6e1, which was originally shown without any of the scenes revealing Viren to be alive. There are a lot of ways it could be interpreted, from a straightforward "he'd dead, Jim," to my own kind of fanciful theory from the time regarding Viren, dead or alive, having been made unusable by Aaravos as a pawn.

One way to contextualize this opening is with this old illustration from Patience, which ties in closely with the Aaravos chess/pawns motif (and was a significant part of contextualizing the arc 2 opening as "pawns"):

Now, there are a lot of things about this image that are important, not least the confirmation/reinforcement of the chain of manipulation of dark mages by Aaravos across thousands of years from Ziard to Viren, with the implication of Callum in the future. What I'd like to call attention to is that in chess, tipping over a piece is a gesture specifically used only with the king, and specifically to indicate that you are resigning the game and the opponent is victorious.

I don't think there's anywhere we've seen Aaravos truly lose, except for possibly when he was imprisoned, because his plans have levels of redundancy that mean they don't depend on any given individual—a game of chess hinges on the king, but Aaravos is essentially playing six or eight interconnected games at once, and a loss on one board only reinforces his remaining pieces on another. Losing Viren, deliberately or not, empowers his influence over Claudia... exactly as we see in the sequence of arc 2 openings. It would be difficult for them to have replicated the tipped-over/toppled king imagery with the petrified Viren without having to do some labor-intensive camera work on the existing opening pattern (e.g. do they show the ground when he falls? What even is the ground?)—so I think there's a strong likelihood that him crumbling to dust is meant to have a similar resonance.

Anyway, I'm kind of dancing around some complex theorizing and analysis of Viren's death that I go back and forth on depending on the day, but basically I do still think the important takeaway from this opening variant is that as far as Aaravos is concerned, Viren is off the board. That it's the opening for s6e1, rather than a special use for s6e8 (as Callum's variant openings are handled) is also IMO a positive sign regarding Aaravos's loss of control and direct manipulation of Viren over the course of s6. I don't think we've heard the last about Viren, and between Claudia, Soren, and Kpp'Ar there will definitely be a multifaceted interpretation of his legacy with significance in s7.

Opening the Final Season

Ultimately, given the dialogue between the three (four?) variant openings we have seen so far for arc 2, I think for s7 we can expect:

the Callum variant will appear at least once

at least one new Claudia- or Callum-based variant, OR possibly even an Aaravos variant

a new variant (possibly one of the ones from the previous point) to close out the arc for at least s7e9

That's my fevered ramblings about this 20-second repeated sequence, thanks for coming to my continuing insane TED talks on this and other ridiculous topics.

[athina-blaine]

kb/ms is truly transcendental yaoi, spectacular, amazing, 10/10, no notes ... from the perspective of a mithrun enjoyer

as a kabru enjoyer, however...

I'll start off by saying that of course Kabru doesn't want or need a romantic relationship to be fulfilled, especially not with a white man, none of them do, it's all non-canon, Dungeon Meshi isn't about romance or shipping, yes yes yes, but none of us are here for that right now!! We're here to fruitlessly argue why my blorbos kissing makes more sense than your blorbos kissing!! You know it, I know it, none of us are free of cringe!! Clown on clown violence!!

That being said ... 🤡

I just don't see what Kabru gets out of kb/ms. With Mithrun, it makes sense; Kabru has a huge impact on him and ultimately helps him reaffirm his will to live. That's very exquisite drama and excellent character writing. But with Kabru, I just don't feel that Mithrun's character interacts with his personal flaws and would instigate his growth anywhere close to the same degree. I have to imagine most fics involving them focus more on Mithrun's baggage and how Kabru helps him heal from that ... because that's mostly all that happens between them in the main story, lol!

And like, that makes sense, because ultimately chapters 61-62 aren't about Kabru and Mithrun; they're about Kabru working through his conflicted feelings in helping Laios conquer the dungeon. I think it's ironic seeing people complain about kb/ms having Kabru be Mithrun's accessory when, if anything, Mithrun's main narrative purpose, outside of illustrating the danger of the Winged Lion, is to serve as Kabru's obstacle. I'd even argue Mithrun represents Kabru's personal bad ending; Mithrun wants him to kill Laios and surrender the dungeon to the canaries, preventing the short-lived races from ever understanding how dungeons function and returning to the status quo that had gotten Utaya destroyed. It's only when Laios practically forces Kabru, straight up puts his thumbs to the screws, to work past his reticence and be emotionally vulnerable that Kabru finally puts himself on the right path to achieve his goals (it's, uh, still a bit of a bumpy ride, but they get there in the end, lol!). If he'd been this way with Laios from the beginning, he might have understood Laios' intentions from the start and saved himself a lot of pain, but it's only because of Laios' influence that Kabru is able to grow as a character and get his happy ending.

(And even if one were a Mithrun enjoyer, ultimately the main source of Mithrun's life affirmation comes from the canaries. In that final scene, Kabru gets the ball rolling because he's outside of the canary hierarchy, but the scene ends with Mithrun being embraced by the canaries and as far as I'm aware the two don't interact with or reference each other post canon at all. Hell, it's Senshi who really drives the point home. Not that it matters when we're all wearing shipping goggles here, but it felt remiss not to mention it.)

At most, I can see how taking care of Mithrun would force Kabru to reexamine how poorly he takes care of his own body and that could make for some good drama. But even then, that change is ultimately instigated by Laios' influence on him, an extension of how Kabru wants to understand how Laios can see the value in monsters in an attempt to better understand his own trauma. If a person were to get into Dungeon Meshi specifically for Kabru and wanted to ship him with someone in a way that's most interesting for him, I'd be hard-pressed to argue there's a better choice than Laios (although who'd be cringe enough to do something like that haha right guys ... [sweating])

(Side note, though, I really don't vibe with the argument that kb/ms "reduces Kabru to a caretaker role" and that's why it's bad. There's plenty of instances where Kabru shoulders his friends' burdens (helps Kuro learn common tongue, listens to Daya's fiance about his relationship troubles, etc) and, more importantly, is seemingly happy to do so. I think Kabru genuinely enjoys looking after his friends and in the story seems to find plenty of personal satisfaction getting Mithrun to eat. I understand it has the potential to be more troubling considering Kabru is a brown man and Mithrun is a white man, but idk, it just feels on the same level as people trying to discount labru by saying Laios wouldn't take enough of an interest in people to want to start a romantic relationship, when his whole thing is that he does want to connect with people and just feels like he can't. It's not a bone I feel like picking, haha)

I honesty don't mind characters being "mischaracterized" in fandom or fic even to a large degree, I know it bugs a lot of people but I respect that ultimately fandom is little more than picking up the vague outline of a doll and playing with it and mashing their faces together. Besides, if I'm really worked up about it I can just write a fic and set the record straight myself, haha. This post is merely inspired by the supremely annoying subsection of twitter that acts like labru is the ship where it's just two dudes sitting in a room together. I'm just saying, Kabru ends the series whispering into the ear of another man as his day job and it's not Mithrun lmao

[fangsforiris]

I've recently checked out your Yui x female headcanons and I wanna know do you actually think Yui falling in love with the diaboys is just Stockholm syndrome? I know they’re just meant to be head canons but I’m pretty curious about it (but I’m pretty sure she genuinely fell in love with them)

I was waiting for this one!! Here’s an analysis on my end!!

TW FOR PEDOPHILIA, STOCKHOLM SYNDROME, DIABOLIK LOVERS TYPICAL ABUSE.

So let’s start off with who Yui is as a character.

She’s supposed to be written as a sheltered, sweet, and overall empathetic girl who follows a strict moral code, mainly influenced by her religious views (Roman Catholicism).

This is heavily implied as in Romania at the time and as of current, Roman Catholicism is the main religion practiced.

It’s canon that her interactions with men have been controlled, as seen with her father— who did neglect her, leaving her to eat meals by herself, always be home alone, and basically only rely on the nuns for some support— but even then it wasn’t enough.

Hence why she can be considered to be a ‘good housewife’ since she has that experience on knowing how to manage a household with chores and all.

Even further pushing it for her previous relations with men, we know she had friends before— a life before— the house. Men? I would assume she was cordial when needed to be, but never was allowed to heavily interact, which is why she’s so out of date with her speaking, and pop culture— as it’s revealed by Yui, herself, that she doesn’t know that much.

But of course, why is that important? It gives the key foundlings to her environment, and also aids in assessing who’s more susceptible to Stockholm syndrome, and any tactics of abuse.

Basically who is the best ‘target’ for abusers to get too.

Her father canonically has given off-hand sketchy vibes, and also has canonically shown borderline pedophilic behaviours towards his own adoptive daughter. Even going as far as to want and attempt to marry her.

(I’m not sure where that is shown again, but in some MB routes— Kou’s, Ruki’s— he [Seiji, Her adoptive father] meets Yui and assumes she’s a vampire and attempts to kill her.)

Basically, it all starts at home. It sets the ground work for what you can take and what a person is conditioned to believe, etc.

In this case, Yui is conditioned to believe that it’s at least normal for her to appropriate these behaviours, and in a sense, still talk good about the men around her because she doesn’t know any better. She doesn’t know anything other than this.

That’s why she still tries her best to talk about her father is a positive light, because, due to her good heart, wants to believe and see the best and people (a core part in her character which allows her to live and persevere all routes— especially HDB with the boys.)

So due to that, we can take the groundwork presented to us as a Player, Reader, or consumer of the games and Diabolik Lovers Media, that Yui’s relationships and viewpoints of men is formed and directly influenced by her father and what rules he set up.

A psychological fact, everyone’s core parts and associations all start at home, with our parents. That’s why many get their viewpoints of how a man should treat you, via your father figure. And so forth.

It starts with discipline, then forming views and opinions, and overall how the treatment you receive reflects directly what you are constantly engaged and exposed to in your home-life and environment.

So for Yui, we can understand the following—

A) Relations with Father figure (which impacts her views/treatment by men) is shifty, but she still speaks in good light.

B) She is used to being alone, and handling everything herself. Bottling it in as she didn’t have that many outlets other than the obvious religious standpoint.

C) Despite it all, she’s raised to be a good person and is high or quite white, on the scale of morality.

So with that being said, what is Stockholm Syndrome?

Stockholm Syndrome is a diagnosis given when:

A) Feelings of trust or affection felt in many cases of kidnapping or hostage-taking by a victim toward a captor.

B) Hostages sometimes develop a psychological bond with their captors. It is supposed to result from a rather specific set of circumstances, namely the power imbalances contained in hostage-taking, kidnapping, and abusive relationships.

That is the formal definition, given by Oxford Dictionary and Wikipedia (Cited from: King, David [2020], and Jameson, C [2010].)

Which are official reports reviewed by psychologists and psychiatrists who are heavily trained in their field.

Now, we can take it from the anime and HDB (the darkest of the games,) that Reiji implicitly states “You are not able to leave.” To which Subaru replies, “Just tell her that if she attempts to escape she’ll die.”

That in itself tells you there’s no escape. And that from that point on, Yui becomes a hostage. In a house with pre-established men who already are high level threats to Yui, and are highly dangerous.

And what is Yui? She’s afraid. Like any sane person who understands the power difference between a man and a woman— more specifically vampires. She learns this instantly, and also faces threats of bodily harm quick into her stay.

Whatever happens later on in any route, is Yui playing the saviour. She’s expected to cater to every boy, and there are heavy repercussions if she disobeys.

There’s a master post of everything in HDB that occurs when the boys attempt to kill her.

And of course, this doesn’t just start at HDB, this also extends all all games, MB, DF, LE, and just any and all games when there’s an introduction in characters or simply just any routes.

In every route there will be at least some sort of implication of abuse or undertones. As that is what Diabolik Lovers is, a dark video game series.

Point is, if it’s Diabolik Lovers, expect some sort of abuse towards the MC/Yui/Player.

With this basis and mentality in mind, it’s heavy and dark. Which is what lead many previous brides to take their own life. They couldn’t handle the constant pressure nor the abuse being presented to them that they underwent.

So where does Yui fit into all of this?

A) She’s one of the many brides and assumed to be the last bride to enter the house due to her complicated relations with her heart.

B) She is undergoing the abuse of the Sakamaki’s, Mukami’s, Tsukinami’s, and Kino.

C) She is quite literally a victim and survivor of what countless other brides have died to. The only thing keeping her alive is her heart, which also goes to make problems for her in the future.

It’s been stated, highlighted, emphasized and understood by everyone— including Yui herself, that all she is worth is her blood. A blood bag. That is it.

Of course, this is where the Adam and Eve Plan would come into play with Yui finding an Adam out of the candidates.

However, she is still in this environnement which tolerates and even thrives off of her abuse.

Which would, in some routes, condition her to become a masochist, thriving off of her own pain, just because the vampires constantly tell her, gaslight her, and condition her to believe that she likes it.

Even after Yui consistently states she doesn’t.

(This is also influenced by Cordelia’s heart, and what Cordelia is subconsciously pushing Yui too aswell, as seen in HDB, one of the scenes with Shuu as he gets jumped in the alleyway. Her thoughts— driven by Cordelia in the moment— reflect sadistic intent. Another scene where she’s pushed to enjoy her suffering, even when Yui fights against it because somewhere inside her knows it’s wrong.)

However, this isn’t to say that the boys don’t get character development. They do. Which is how we as a consumer and player can have fan favourites and like them.

But how do they get to that point? Through Yui. Using Yui as a direct catalyst to project their abusive tendencies into her, leaving her to pick up the pieces with herself, and become an unlicensed therapist to aid in their problems.

This is directly influenced by each of the Sakamaki’s mommy issues, the Mukami’s inferiority complexes and need to succeed, and for the Tsukinami’s— their need for their race to be saved.

And of course, understanding every boys’ underlying complexities of their individual traumas which make up their character as we know it.

Yui has to suffer a lot for her to get what we see it, or what is painted as, ‘love and a good ending,’ with the selected boy and route of each respective game— along with the boy chosen.

She gets here because she’s slowly conditioned to allow these abusers to take over her life, and basically become what they need in that moment.

But she does have her own personality, her own goals, motivations, and whatnot.

However it becomes overrided by the survivor mentality she’s instantly placed in when she’s constantly around these vampiric men. She’s always on her guard, and the moment she drops it, it’s used against her.

Even when she’s seemingly in a good moment with the boys, understand, that one wrong move can send her straight to death. So everything is much more calculated than it seems.

In fact— to further prove the Stockholm syndrome affect— Yui acknowledges that she’s stuck and trapped. In Shuu’s HDB route, DARK 01, she only attempts to get Shuu to go to his classes in hopes that the Sakamaki’s will be greatful to her and let her leave.

So even if she does happen to find attraction in any of the boys, and fall in love, there’s still an outlining of conditioning that gets her to that point.

This isn’t to hate on anyone that ships Yui with any of the boys, this is simply a brief analysis of the facts from a purely psychological approach!! I’d like to think if the boys got therapy and worked through their problems, perhaps then, they wouldn’t have projected their traumas onto Yui.

But thank you for the ask!! This was fun to analyze!!

[quantumhealingava]

Julia Fox

She is a Shravana Sun (gifted) truly, much like Billie Eilish. You can see it in the eyes, that psychic, 'weirdo', 'rejected' 'freak' kid. She talks a lot in her book about feeling 'different' from everyone else, unique and strange. With Shravana natives, we see the gifted child (Harry Potter vibes)

Her Bharani Moon gives her a seductive, hypnotic, sultry, Venusian beauty. She loves fashion, like a typical Venusian, and has a hedonistic, intense, extremist side. We know she was a Dominatrix in her young adult life, which is perfectly in line with sensual Bharani Nakshatra (it's symbol being the literal Yoni)

Her Mercury is in Purva Ashadha, and she does have a very soft, beautiful writing (and speaking) style. Mercury rules over how we speak, write, communicate and think, her mind is beautiful really, and so is her speech.

I can definitely see her sensual Bharani Moon in a lot of photos of her online; lollipops, sugar, ice cream. Venus (Shukra) is oozing out of every pore in her body. She does give off a very seductive energy, and has an intoxicating, Aphrodite-like aura.

Bharani is ruled by Yama, The God of Death, and she does talk a lot in her book about sewersidel thoughts. She overdosed twice. She almost died, she's definitely 'tasted' death. This is in line with Vedic Mythology. This is directly from her book: "My new friends and I hold séances in my bedroom, invoking the spirit of the deceased front man of my favorite band, Nirvana. I tape a picture of Kurt Cobain on my wall and fantasize about dying so I can join him on the other side. “It’s better to burn out than to fade away,” he wrote in his suicide note." -Julia Fox

Her Ascendant is in Ardra Nakshatra (ruled by Rudra, The Storm God, and The Tear Drop), she's lived an extremely traumatic and tumultuous life. She does have a bit of Taylor Swift energy though (Also Ardra influenced), whereby she constantly mentions 'not needing men', and is a radical feminist). Ardra Nakshatra is also very into fashion, due to Rahu here creating obsession and craving, a touch of materialism. (Peep the black and white Fabric - Coco Chanel vibes and the leopard print too!) From her book: "The faces on the missing posters stare blankly back at me. There are so many all stacked on top of one another, each telling a devastating story. At night, I lie in bed and wonder if every plane I hear flying overhead is actually a bomb. I grip my pillow over my ears and brace for impact."

In my humble opinion, she is extremely iconic, and still too underrated. I believe she will continue to grow further into her fame - she's got a very socialite 11th House Moon, (fame, friendships and the spotlight).

Her life purpose (Rahu) is in Shravana (The Moon); a huge part of her destiny in this lifetime was to become a mother. Chandra = Mother / Moon. We know that she writes and talks a lot about her son, and how he changed her entire life and is now her whole world.

A lot of Moon influenced women, Venususians and Rahu girls will fall in love with and greatly look up to Julia Fox. (Shravana + Bharani, Purva Phalguni) as well as many Ardra Natives. Gen Z in particular, I can see a ton of women with those placements feeling inspired by her, feeling like her story is home to them, feeling like they understand her, and she understands them.

Overall, I love Julia Fox and her energy, and just wanted to share this with you all. As a Bharani Sun woman myself, I feel so close to her energetically and spiritually (and I'm sure many of you out there do too!)

[demodraws0606]

Not gonna lie as someone who has kinda changed their opinion on culprit!Eden as I think she's the most likely to have commited atp from the fact that she could've gotten hold of two pieces of evidence (ball of clothes + tape).

There are a lot of arguments that I think about people who don't want Eden to die now, and honestly the only good argument i've found was "killing her would upset the balance of the cast".

Killing Eden would definitely lead to the main source of sunshine on the cast being murdered, however a slight counterargument to that would be that we don't know how Eden's death would change other contestants. The biggest exemple would be Levi, as I can see him trying to take on a role of support if Eden if she ever passed away (he clearly seems to want to be helpful to the cast).

I also think people overexagerrate the amount of characters that are actively antagonistic as most of chapter 2's goal was to show (most of) everyone's darker side. Character like Hu, Nico, Charles, J, Levi and Rose I feel like could be helpful in the future. I don't think we necessarely need Eden to have companionship or light in the cast.

It would definitely damper the mood 100 pourcent but depending on how her death would be executed, I feel like it would definitely leave an impact on the cast that would influence how they act.

Another argument that I find credible against culprit!Eden would be how it would cause regression in Teruko's character.

However I think that depends on how Eden's death is handled and how Teruko just handles it in general. The reason why Teruko snapped the way she did in trial 1 was because of a culmination of multiple things.

In fact maybe Teruko could find that if she trusted Eden or stayed at her side, maybe Eden wouldn't have gone to the road of killing Arei (but were talking about possibilities of a possibility here). If Eden did end up killing someone, it would be because she ended up being isolated.

One argument though I see often but I find is completely wrong though is "It would be like cutting Eden's arc short, every other character would be better for their arc"

That I heavily disagree with because I'd argue Eden kinda is the character with the least amount of developping to do.

She already has a (mostly) good mindset in terms of her positive thinking. In fact she's almost the paragon in the cast, the one with the most morals which makes her the least likely to really need positive developpement. It also wouldn't be fitting for her to have a regression arc afterwards.

The main two flaws Eden has, is her guilt and her not really accepting of her own "weakness" (negative emotions and all that). Both of which would be addressed by her being the culprit.

In comparison, killing another character would definitely cut their arc short.

Whit, he's the one we've seen the less of the uglier side of, we don't know why he acts the way he does and we don't know what is behind his jokester persona. His relationship to his mother and his past would also be left unadressed. We also don't know what his special intuition means despite it being highlighted constantly. Overall, I feel like despite Whit being my 2nd pick for the culprit, he'd definitely be lost potential.

I could do this with almost every character, like Nico with their relationship to Hu (who also really needs her own developpement) and how they deal with almost killing Ace.

J and her relationship with Arturo, as well as her own heavy belief against murder as another exemple just there is a lot

The thing is Eden seems to have been written as Teruko's companion, the one that would allow Teruko to be softer and open up to people. She does give big protagonist compainion vibes, however it could just as well be easily have been something to subvert our expectations

[anarchywoofwoof]

since it's the 21st night of September and i keep seeing all of the memes and gifs including my own, it's in my leftist nature to jump in with a bit of learning & essay material, so let's go ahead and get it out of the way.

to appreciate "September," you must appreciate the group who performed it: Earth, Wind & Fire.

Earth, Wind & Fire was headed by the legendary Maurice White, who wasn't just the heart and soul of the group, but he was also its driving force in so many ways, both literally & metaphorically. Maurice White wasn't just making music; he was making social statements, negotiating and navigating race relations, and tackling the music industry's problematic nature back in the 70s.

Mistah White (sorry, i had to), with his killer jazz drumming background, brought Earth, Wind & Fire into the spotlight at a time when music was getting pigeonholed by race. and they dominated both the R&B and pop charts. but the impact goes a little further than charts and accolades. no Maurice White? probably no "Thriller", no Outkast, no Pharrell, no Drake.

in the 70s, the big music labels that dominated the industry were just targeting white, middle-class youth. Maurice White looked at this scene and thought, "ok den bet" with Earth, Wind & Fire. he blended everything from Jazz in "Caribou" to Latin vibes in "Brazilian Rhyme.” the type of borrowed influence you hear in modern Pop, rap, and Hip Hop music is built mainly on the backs of artists like Maurice White. and he fought for his vision, pushing for his music to be promoted across the board, believing it had universal appeal.

you also can throw in the showmanship that Earth, Wind & Fire had; massive sets, fireworks, magic tricks (yes fucking magic tricks), and super iconic Afrocentric costumes. in a time when Black musicians were very much under pressure from the music industry, White used Earth, Wind & Fire's popularity to push for a deeper dialogue on race. bands like Earth, Wind & Fire also provided the soundtrack to the Black Power movement, which was in full swing around this time. another famous track they released, "Evil,” contains lyrics that hint toward Black musicians’ struggles in the 70s - the choice that wasn't a choice - to either be upbeat or stay silent.

Evil, runnin' through our brain We and evil's just about the same Bad blood through our body flows Where's the love nobody knows Nobody knows, nobody knows, nobody knows Beauty in our face you see Tryin' to hide all our misery Our misery, our misery, our misery

if you listen a bit closer with a racial context in mind, there’s an acute call for change in Earth, Wind & Fire's art, and a plea to make the world a better place. Maurice White's legacy is that he helped drive forward the progress of a cold, hard music industry and spin it into something more like gold.

thas' all. thanks for reading.

[mamadarama]

Just curious on your opinion here do you have any thoughts on the way Madara is being written? Recently I came to the realization that enstars writers aren't all that great,, and I notice that Madara at least in my opinion has had very little development and progression as a character but I'm genuinely hoping I'm wrong but I don't see much difference. And I do hope I'm wrong cuz I definitely haven't read every single story ever in Enstars and it could just really be Madara's character but it feels like he hasn't budged an inch and when DF rolled around it seems like he's gonna progress only for the writers to make him wanna split up literal months after (SS) and it was fine the first time since we explored that part of his character but right after that we got the Spring event and he's?? Back on his bullshit as if whatever happened during Secret Service didn't have much impact. And I do understand his character and all but I often wonder how much of that is just his character (immovable mountain with deep roots that will take years of continuous effort to move) or just the writers half assing because they can't think of a more compelling narrative for double face other than Madara wanting a breakup. It's especially sad to me with Last Mission because as much as I can understand DF being temporary and meant to end, it feels like nothing has changed in Madara during !! Era. I'm hoping that new gen Madara can change that since he's already featured in the new shuffle and scout story, and it does look like he's changing the vibes a little. Idk what are your thoughts and genuinely no hate here I love Madara and I'd love to hear your opinion :)

i think the writers do a pretty good job with the story actually !! i ended up spending a few hours writing like 3 pages of stuff so this one gets a readmore ^^;

theres a tldr at the end though if you dont wanna hear me talk in circles like some kind of maniac (understandable i dont either)

at this point madaras story is a tragedy and hes not really supposed to be a satisfying character . youre supposed to be some degree of frustrated with him like all the other characters are. the story isnt over yet though and maybe he will get a satisfying happy ending someday , but this is all buildup. having madara go through negative character development while the rest of the 3rd years have significant positive character development puts emphasis on one of the main points of his character: you cant help someone who doesnt want to be helped . shu wanted to become more empathetic. eichi wanted to unlearn his bitterness. kaoru wanted to leave his playboy reputation behind. izumi wanted to learn to control his emotions . madara has two sides to him that refuse to coexist— anger and misery. the angry side of him has given up on himself and leans into his perceived role as a villain because he believes alienating his friends is the only way to save them and for once be the hero. the miserable side of him is the sad and "selfish" part that keeps him returning to his friends again and again despite believing hes a bad influence on them, because he still seeks acknowledgment and praise from others and doesnt want to believe its too late for him. he bounces between these like a metronome . (maybe thats another layer of reasoning behind double faces name, idk) so, he doesnt know if he wants to be helped. he thinks he doesnt deserve it. pulling someone out of a ditch that deep requires some legwork on their part too, and if they wont put in that legwork, well... then there's nothing you can do. madara isnt quite a rooted mountain that takes a long time to move... hes more like an injured tiger pacing in its pit , so fixated on looking for a way out that it wont look up and see the entire top is open where its keepers are waiting to take it out and treat its wounds . now suppose this tiger is sentient enough to worry it might hurt someone on impulse when the disinfectant stings its wounds. additionally, lets say the tigers wounds came from falling and cutting itself on something in its habitat while making a risky jump , and it believes it deserves to be hurt for such a stupid misjudgment. so even when it notices the top of the pit is open, it will continue pacing pretending like it didnt. thats where madara is at right now .

madara broke up double face partly out of self sabotage, and partly out of a twisted attempt to "save" kohaku from him. kohaku and madara are an interesting contrast because their characters are set up in a very similar way. the difference between them is that kohaku doesnt hate himself even close to as much as madara does, and as a result he IS getting better. kohaku believes hes always going to be part of the underbelly of society doing dirty work and hes resolved to that like madara is, but he doesnt believe that means he has to do it alone . he acknowledges that hes not alone, he has the rest of alkakurei, the sweets club, jun, his sisters and tsukasa.... and madara. the first part of beating loneliness is recognizing youre not alone. madara thinks no one understands him (which in itself is its own kind of loneliness) and that if his friends understood "what he really is", they wouldnt love him. so in a way their presence eases one kind of loneliness and reinforces another. in his mind the only person who understands him is himself and therefore the only one who can save people from himself is also him.

theres a scene in last mission where madara says his reason for disbanding double face is something along the lines of wanting kohaku to live where he can feel the sun on him , and kohaku asks "what about my feelings?" . that pretty much sums up madaras entire thought process and why he isnt making any positive progress .

tldr; madara does have character development between es! and es!! , but its not positive. to have such a stubborn self loathing character make positive progress without a slow burn of warring with themself and dragging their feet would soften those traits. they want him to stand out and make you to go "ohh ok so this guy is MISERABLE miserable" .

so anyways i dont think its lazy writing its just character loyalty. but the fact that you noticed all that means youre reading him the way hes intended to be read. so congratulations!! you now understand what its like to be kohaku oukawa :) if he does get positive character development i hope its really slow though cuz if its too fast it would feel kinda abrupt. it needs to feel like hes fighting the writers for it to truly be madara

[moonshynecybin]

please give me all your thoughts about the Academy boys in this world, I am thinking about two of them right now :

— Pecco (who definitely knows he’s attracted to Luca, might be starting to realize he has feelings for him as well, maybe they’ve fooled around or maybe Pecco has been too scared to do anything yet) : I can’t decide which way he would take the whole thing and what he would focus on (either the good things and how that might mean he could have what Marc & Vale have in the open one day or the bad things and how the world sure isn’t ready for talented™️ gay motoGP riders so there is no way it would ever be okay for him) which has a direct incident on how he treats his relationship with Luca

— Bezz : 17 yo Bezz who obviously doesn’t hate Marc because this is 2016 but he’s heard Vale complain about him a little through 2015 and heavily through the 2015-2016 break and it might have influenced him a little but I think he would genuinely feels really bad and sorry for Marc (and how he was the most negatively impacted/compromised by those photos) and could tell him so, and also go quietly ‘I don’t know if I could ever do that’ [the whole going public thing] and Marc telling him he doesn’t have to, not if he doesn’t want to

forced coming out au and the academy boys.... my white whale.... no but literally!!! since its set in the 2016 season the academy is full of sensitive little gay teenagers at this point (pecco's like 19 luca is 18ish bezz is 17) and like.

pecco and luca were around for the good times initially but also the entireeeee divorce, so like it IS insane to them to see marc and vale making out in the paddock tbh. buttttt !!! theyve also seen how they were when they were friends, so they have the groundwork. its not ENTIRELY out of left field.. actually bc of this i think luca knows rosquez arent actually together (he sees he perceives he can tell vale is being weird) and he has um. inklings that things are unresolved and tense, while pecco (who is young and newer and doesnt know vale as well) thinks they are 100% together for realsies... which means LUCA is very aware of how this is a PR thing that his brother and marc have been forced into, while PECCO thinks the power of gay love is saving the day... so its a reversal of their usual dynamic a bit... like luca sees the pitfalls/violence of the situation and pecco is coming out of his shell, testing the waters, being cautiously optimistic for the future of gay riders in the paddock... i think once luca tells pecco that its fake it is. AWFUL for them ! pecco thinks its rejection (its nottttt) and all of that careful scaffolding of hope collapses. truly takes them way longer to get together here as a result. pining for MONTHS luca thinks he blew his chance and doesnt ask again...

and for BEZZZZZZ like. truly all i think about. i think without the years of escalating and calcifying rosquez tension to be absorbed by him he gets on with marc like a house on fire i really do. sublimated into the werewolf pack really fast they VIBE they are very SIMILAR they are insanely LOYAL they like their PEOPLE! so in my mind (like you say) bezz has some realizations and instead of repressing it, he decides to talk to marc (a lil less fraught than his HERO valentino i think) and marc nearly cries lol. it is honestly a very healing experience for them both ESPECIALLY marc after the trauma of coming out. like. marc thinks if he cant have his privacy and everything is awful with valentino at least he can do this for a young racer who reminds him of himself... very sweet imo

[waitmyturtles]

THE MORNING AFTER: ONLY FRIENDS, EPISODE 10 EDITION -- WHEN THE HOES CAN'T CATCH A BREAK

I wrote about the hoes yesterday in response to my reaction to the Atom/Boston scandal. But really, my thoughts on hoes not being able to catch breaks in Only Friends, I think, extends to.... maybe to this entire show itself.

I thought yesterday's episode was fantastic. The acting was SPARKLING. I finally felt like I appreciated having both First and Khaotung acting together. Good LORD, Khaotung. The scene in Sand's apartment, the wailing meditation in the rehab triage. Khaotung out-Gaipa'ed himself. Utterly amazing, and First rose to the occasion as well. I also thought Book carried himself more strongly than I had seen in previous episodes -- him and Force carried their tension well in this episode.

But I wrote to @lurkingshan yesterday -- maybe typifying myself as an international fan -- that I feel a little unsettled about the direction of where this show is either going, and/or where I thought this show was going to go.

In my ask to Shan, I indicated that through ALL of the preliminary material we had available to us about OF, from the initial promos, to Jojo and team interacting on social media, the actors and the entire artistic team dropping hints -- that I had a relatively strong sense of where this show was going.

I will be honest and selfish! I was particularly excited about a potential vision from Jojo et al that having lots of sex on the part of an individual would be a decision that would possibly NOT be judged by others. I was damn excited about potentially seeing a meditation on that. It was certainly a vibe that had been easily reached in Jojo's early work in Gay OK Bangkok.

Shan wrote in her answer to me (thank you, dear friend!) that so much has shaped and likely changed the trajectory of Only Friends from its original gestation to the current editing process. This includes observations made by Jojo et al about how the fandoms have spoken about the show on social media.

Our amazing mutual, @bengiyo Sensei, went even further in separate conversation with Shan, noting even more of the various factors that have likely impacted the original vision of this show as had been proposed to us in the fandom last fall. Ben notes that the process of a show changing trajectory within its airing time is common practice. Both Shan and Ben did not hesitate to note that the presence of the shipped pairs of FirstKhao and ForceBook -- and the influence of the large fandoms surrounding these two pairs -- has very likely impacted the Only Friends storylines, to the extent of possibly demanding that the show have more linear, monogamous, and romantic stories and conclusions than were originally expected (at least, as expected from fans like myself, who were already familiar with the boundaries that Jojo usually likes to push).

While MewTop and SandRay continue to flirt with, to toe the line of more traditionally romantic conclusions (okay, maybe not MewTop as much, I'll get there in a bit) -- I feel like I've been caught by a bit of surprise that BostonNick have also been bitten by this current romance bug.

While I really did love this episode (and I'll explain why down below in a bit, besides Khao's stellar acting), I'm just feeling.... a little saddened and bogged down that Boston's ass was handed to him like that. So, Atom lies. Cheum stands up for Atom. I cannot expect Cheum to do less in that moment as a big sis, although I have very much questioned her judgment in the past (like inviting Mew's ex to their hostel Halloween party, what the fuck).

I'm sighing with a bit of regret, because in this episode, the framing of a resolution for Boston is that Nick comes back to Boston. Boston admits to Nick he's acted like an asshole, as I screenshot above, and we know that -- filming RayMew, sleeping with Top.

But I don't know, in the summation of his saying that he's done "awful things," if he's also lumping his life of engaging in casual sex, as he unwinds to Nick. I just -- I don't want Boston judging himself for having casual sex. (To @respectthepetty's point! Let the sluts slut. Why judge?)

Don't do shitty things to your friends, for sure, but if I were your mom, Boston? Have the sex. If someone's gonna judge you, it ain't me.

Are we getting an indirect judgement against Boston’s casual sex with a resolution that Nick will come back to Boston’s life? Is the show telling us that, vis à vis Nick's return, that Boston will be redeemed by.... monogamy? Is that what Cheum's and Mew's presence at the confrontation telling us? Is Boston’s ultimate resolution that he’ll have either a relationship or an LDR with Nick?

If that’s what works for the narrative device of Boston, then — okay. I will have to trust Jojo and team with that. I do NOT want to question Boston’s reaching a point of queer joy by finding love in a relationship with Nick. If Jojo and team are telling us a story that people-judged-as-sluts can find love in a relationship, then... I wasn't expecting Only Friends to go in that somewhat puritanical direction, but I'll go with it, because I trust Jojo.

But I think I am feeling a little bummed about how we may have gotten there. Because, goddamn: for once, give me a world in which casual sex is NOT judged. For heavens' sake, Cheum and Mew. Khai and I’ll sit in the corner with tears in our eyes.

My ho heart is pining for what could have been (chaos leading to a summation judgement AGAINST monogamous purity). But, anyway. None of this is ACTUALLY resolved, I need to tell my damn self; we still have two episodes left, and I’ll stop being so mewdy about it.

The other question I have floating about this episode is: what’s Mew’s motivation to get revenge against Top NOW? If he wanted to team up with Boeing to get back at Top — narratively, that may have made more sense two or three episodes ago, no? During the last episode, we saw Mew very much teetering on the edge of what he should do. His moms LOVED Top, and they missed all of Mew’s confused signals. We ended episode 9 with Mew stating to Cheum that he thought he was still in love with Top.

I appreciate a good state of confusion. Mew might still love Top. Mew might still be damn angry at Top, too. As I’ve written before, the wise Daniel Tiger has taught my kids, and so many more, that having two or more feelings is okay.

But I’m wondering about the timing of this arc. Mew plans something out with Boeing seemingly AFTER he's chosen to resolve his issues with Top. What was it about Boeing’s presence that triggered another revenge reaction in Mew? Mew’s….already been there with revenge. With Ray. And that’s done now. I don’t think I’m clear on Mew’s motivation on revenge AGAIN. Unless? Unless... I'm rubbing my hands together....

.....unless it’s to actually just SLEEP with Boeing, because come AWN, let me get to what I actually, really LOVED about this episode.

Shan indicated in her answer to me yesterday that OF was originally supposed to be constructed with GMMTV’s stable of supporting actors — your Neos, your Marks, your Papangs, your Monds.

For me? Man, Papang’s and Mond’s ENERGY was fresh to watch. I totally squealed at the possibility of BookMond. Mond is just so…..THERE, in a “why yes, look at my manly muscular shoulders, why yes, my gym membership comes with towels and high-end shower products” kinda way.

I liked Mond’s THERE-ness. I like that plants are the new Netflix.

I liked the spice of newness and curiosity in this episode. I liked seeing supporting faces, people that we know and love in Papang and Mond, doing something bold and totally different, and I love the ideas that they bring with their characters -- that Daddy Dan is very obviously in "like" with Nick; and that Boeing is truly around to fuck some damn shit up with Top, and maybe Mew.

Am I demanding this show BE ABOUT curiosity and newness? Unfortunately, that's what turned me on in this episode, and I admittedly would loooove to see more of it as this series winds down.

No, I do not have the right to DEMAND where this show goes. Westerners demanding things of queer Asian artists is an absolute NO for me.

But I think, as I look back at the trajectory of the last few episodes, that I had hoped the show would be less about the branded pairs. I honestly didn't think Only Friends was gonna be about the shipping. I thought loose lips were gonna sink the ships, and I was standing on the beach, cheering my ass off. To see SandRay approaching change and commitment in a romantic and positive way -- the acting was PHENOMENAL, but the outcome was a little to-be-expected-for-a-BL-in-a-non-BL-show kind of way.

And as for MewTop -- while I'm confused about the timeline of Mew's vengeful waffling, should I just go ahead and expect them to get together AGAIN? I'd like to ask for contextual clarification. But, at this point, that's how I know Mew to be, so I think my answer is yes -- I will be expecting Mew and Top to get together after all of this.

As I wonder how the ships kinda took over this whole joint, I think the answer is obviously in front of my face. FirstKhao and ForceBook are the first two GMMTV ships to travel out of the continent for fan meets, with FK going to Brazil, and FB going to Italy. If storylines in a fictional drama upset the fantasies of ship fandoms that these couples may not get together in their drama commodities, GMMTV's wallets, and the fanbases, may not like that very much. If FB’s and FK’s characters don’t get together — and that has a demonstrable economic impact? Jojo and team may have no choice but to hand over some happy endings to some shipped dudes for Jojo's future at GMMTV. Jojo's had to toe lines before. We KNEW what he was indicating by putting Joss, Mild, and Tay together in certain ways in 3 Will Be Free. But he couldn't go so far as to actually show a throuple in intimacy. That would have been too much for GMMTV in 2019.

To Shan’s very apt and accurate point at the end of her answer to my ask — my hope for purely uncommodified art from the Only Friends team, art that doesn’t leverage a judgement against sex in its potentially romantic conclusions, may very well be a pipe dream. If Jojo and his team were pushed to keep the ships together -- and to create happy-ish endings for as many characters in this show as possible, AND to be forced to leverage monogamy IN those storylines -- then how can I judge the artists for needing to toe an economic line? I can't. We are damn lucky enough that Jojo makes art as progressive as Only Friends, as 3 Will Be Free, as Gay OK Bangkok. Only Friends is still a great show.

But.... there was a moment where I think more than a few of us thought that we'd see something truly experimental with the ships sinking. There may still be time to see something nuts happen. But in the end, if Jojo and team have to keep the ships sailing, I won't begrudge the artists. But I will hope that GMMTV can keep allowing for more progressively progressive art over time, maybe even for the sake of letting a ship sink every once in a while.

(Ephemerality…my hope that we’d see intrigue beyond the ships was perhaps ephemeral. But we still have two episodes left! Let’s see! @ranchthoughts @twig-tea @chickenstrangers @lurkingshan @neuroticbookworm @distant-screaming @clara-maybe-ontheroad @thatgirl4815 @slayerkitty)

[nalyra-dreaming]

I think there's probably more to the tower scene than we saw, but I don't think the whole scene was just a fiction from beginning to end. If so, it was a weird choice to drop in that crucial info about Akasha's blood and Lestat being immune to fire. Mind you, just because he couldn't die by fire doesn't mean he couldn't be harmed at all. And if he and Armand did have some big final confrontation before Loumand left Paris, I wouldn't be surprised if Armand would just stay quiet about that, exactly as he did in the book. Overall that scene had the same off-kilter vibe the Loumand reveal in the s1 finale did, where everything felt off because there was clearly so much missing context. I'm most interested to know what happened between Lestat and Armand around that time actually, what the dynamic was, what their exact motives were for the trial, and how much true agency either of them had. I really hope the show clarifies this in s3, because most of my nitpicks about the s2 finale boiled down to certain story beats not being as impactful as they could be because the characters' motives weren't properly fleshed out. I mean, Louis' motives were clear, and I guess that was the main thing, but you kind of had to just speculate about everyone else!

True.

There is a LOT of context missing, was just talking about that in the previous ask as well, because on of the main puzzle pieces - Armand's and Lestat's relationship and how it was influenced/influenced what happened with Gabrielle and Nicolas - is missing. Armand omitted all that in his little fanfic version, and I do think the tower was a similar .... not quite "fanfic" level but definitely not as shown.

Maybe there were parts missing, context - maybe it was all edited.

I mean, Armand's time at the theater eating proverbial dirt didn't happen either - that was all just tale. Because if he directed the play, always in charge... why would he?

As such I don't trust that scene either. Armand has clearly planted whole memories and phrases into Louis' mind, has fine-tuned the responses and memories.

That scene is a key element. I think he might have edited it after San Francisco, because Louis' reaction when Armand reaches out to Lestat initially is very interesting as well.

Something happened in that tower... but not what we saw, imho.