#honestly. i have a complex relationship with my sexuality and relationships

[atomic-sludge]

Do I headcannon Hunter as aro/ace? Yes, absolutely. Do I also absolutely love pairing him up with people via shipping? Yes, absolutely.

[niconebula]

Huntlow?

Star/Tom/Marco?

okay I'm answering this weeks later because I wanted to hijack your ask for my soapboxing sorry <3

now, lowhunt. I'm afraid the ask will already put this in the ship search but I'll just say this backwards term instead because it's not completely positive. I started shipping lowhunt after zeno (the voice actor for hunter) accidentally kind of leaked that they may become a thing before their first interaction, and I thought the oddity of it at the time was very endearing. nobody had thought of it before beyond niche shippers, and it kind of sounded cute. hunter was also my blorbo of the time period.

I'm very neutral on the ship now and that comes from two main reasons; one is the fanbase oversaturation, which is really just exacerbated by my second reason of the show itself not doing them any actual justice.

they just aren't given any actual interactions and more importantly dialogue in the show! I suppose they do interact, but it's always mute and short - willow isn't there or even involed in hunter's main plot beats so it gives me very little to believe in in regards to their chemistry. they didn't even let her say anything to hunter after he died. the confusing bit is that I highly suspect lowhunt was added to the plot post shortening, so it's hard to excuse the writers for being time-pressed when this was seemingly a factor within their control. my definitely mean but completely honest opinion is that lowhunt is so popular because fandom has The Urge to ship the white boy for various reasons. I think there's a lot of better things in the show and it kind of saddens me to see places like twitter devoid of most discussion that isn't about them.

that being said I appreciate the concept of hunter becoming a palisman carver and willow restoring the forests of palistrom wood so much, I wish they were given more things like that in the actual timespan of the show

[wlwmedarda]

I'm honestly just looking to rant and this might be long depending on how fast I get irritated the more I type so if this isn't coherent or well written I apologize in advance. Since it looks like Ambessa will take on a more antagonistic role in arcane season two, I would like to unpack the fandom's antiblackness that you guys are either blind to or aware and too pussy to call it out as my gut is telling me it's gonna increase and if no one is gonna start the difficult conversation then I sure as hell will.

Sevika:

Mel:

Starting off strong with the definition of "you guys want complex female characters but can't even handle her". Mel Medarda is in quite the predicament seeing how she's morally grey, a black woman, AND "gets in the way" of a mlm ship so she was kinda screwed from the start. A cunning politician disowned for her pacifism who acts as a sort of bridge to Noxus' slow introduction, and is THE ONLY CHARACTER IN THE SEASON 1 MAIN CAST SPECIFICALLY CREATED FOR THE SHOW. She's treated like satan incarnate or a Jezebel (highly suggest looking into that if you don't know what that is), GOOD character analysis is rare, and when she is talked about positively, it's so often chalked up to appearances that I'd rather yall not talk about her at all. Oh you love Mel? Then can we talk about her relationship with her mother? Unpack her dynamic with Jayce? Maybe more fanworks centered around her? I've seen yall's fake asses dropping the shittiest fucking takes about her only to turn around and gush over how pretty she is, and yall think you're slick about it and you're not. I would say I prefer the ones who are loud and proud about their hatred but that'd be a lie, they're two cheeks on the same ass; annoying and couldn't give a decent break down of her character if a gun was pointed at they head even she's perfect to dissect. I could talk about her more but we'd be here all day and so many black women even from outside the fanbase have already talked about yall so there's no need for me to add on 🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️🤷🏾‍♀️.

Quick question, have you guys ever tried to talk about her in a non sexual way? Yes, Sevika is undeniably sexy and you could argue that true stans of hers talk about her outside of horny time, but a good half of the fandom is a different story. In a similar case to Mel's, deep dives into her character are rare to find which is crazy when she acts as Zaun's own "kingmaker". She's loyal to her city and the cause, never to a specific person and will not hesitate to betray you. She could be your right hand man one day, and the next she might find a better kingpin to follow and stab you in the back like it all meant nothing. "Were you tempted?" "Not for a worm like him". Simple and subtle and probably my favorite Sevika scene; she comes to realize Silco is no longer the best leader for Zaun, but he's as good as it gets for now and so she sticks by him. I remember a YouTube comment breaking down how she's essentially the quintessential Zaun: a brute warrior molded by her environment, who defied Vander's peaceful ways and embraced Silco's cruelty. Her mindset and goal is interesting and you'd think it'd result in some fascinating meta or exploration of her upbringing when we got a hint that she potentially has some daddy issues right? Obviously, but what do we get instead? White sapphics treating her like nothing more than a sexual object. How delightful!

Ekko:

This might partially be Riot's fault because — and I hate to sound like a league lore nerd — Ekko is quite underdeveloped compared to the richer origins of his former pre arcane self, but I'm gonna hold off on that till the season finale to see how they handle him. Anyways, at this point the fandom clearly sees him as Jinx's trophy husband. When you talk about him, she is brought into the convo 90% of the time. That's exactly why I prefer black timebomb shippers over the nonblack ones because I trust they actually love Ekko as a character on his own. Even though I have my complaints regarding how's been written so far, I still know he's too good to be reduced to Jinx's loverboy. He fights and cares for his city, the only character that you can confidently say is pure of heart, and is the revolutionary leader Zaun really needs. He's just as smart as Jinx too, he is literally going to create TIME TRAVEL. Why does no one wanna talk about that? Can we be excited for his character development and arc not just for the timebomb scenes you'll get out of it?

Ambessa:

Can't even deny this woman is awful but her presence on screen enthralled me after a couple of rewatches and I also love bad mothers in media so I've settled on a love/hate relationship. Yes, she's definitely gonna have some influence on Caitlyn, which makes sense since she has now lost her mother; she's vulnerable and as we have seen, naive. She's practically free real estate for Ambessa. My recent worry though has been how the fandom seems to be willing to put all of Caitlyn's actions on her as if Cait isn't a grown ass woman who can make her own decisions. Of course being grown doesn't mean you're immune to manipulation, but I've seen some Silco and Jinx comparisons and it is NOT the same. Mind you we haven't even seen the first three episodes; we don't know how far Ambessa's manipulation is going to go and we can't really tell what the dynamic is gonna be like based off of clips and trailers that are likely shown out of context on purpose to throw people off. I'll never defend her actions, hell I'll join in on the lashings, but my black ass is also not gonna sit here and let yall talk about her weirdly or pin all of this on her.

Some might say I'm overthinking this, but I've been here since November 2021 and have sat back and observed for 2 years. You don't have to write deep, philosophical conversations 24/7, I'm sure it's not all in bad faith and I won't act like I don't thirst over Sevika or marvel at Mel's beauty. I'm not saying you have to like these characters and that you're racist if you don't. My frustration comes from the lack of nuanced conversations and hypocritical opinions surrounding black characters in this show. When you try to say something about this, you're hit with excuses; it reminds me of how man obsessed fujoshis act when they're questioned for not giving two fucks about female characters. They're either reduced to one character trait, only admired for their looks, or only discussed when it's about the white character they're connected to. Do NOT under ANY circumstance be black and morally ambiguous, you WILL be held to higher moral standards than everyone's wittle blorbos who can do wrong and are defended from all sides when you dare to take the rose colored stan glasses off and criticize them. What's really ridiculous is you hear the "complex characters" bullshit every two to three business days and some of you have the nerve to boast about this series being diverse while simultaneously ignoring the complexities in the characters of color. This is the main reason I took a step back and with season two around the corner I thought "Hey, maybe it'll be better this time!" and it was a mistake. Good to know yall still have an underlying racism problem you don't wanna address but with some extra classism thrown in. "What will we do once Arcane ends?" hopefully get a job, touch some grass, and reflect. Lord knows yall need it. The faster yall sizzle out the better. I'm done that's all I have to say lol goodnight 👍🏽👍🏽👍🏽👍🏽.

[forsworned]

It’s said canonically that simon riley has trauma around intimacy from torture 😔 If you feel comfortable writing it, can I please ask for a short fic of an Afab reader body worshipping/lovingly pleasuring Simon after they both work through his trauma and he’s getting all soft and emotional and babbling about how good reader is making him feel and how much he loves them and can’t believe someone cares about him this much? I always liked the idea of Simon being portrayed as vulnerable and soft and not this dom sex god a lot of people portray him to be. I really love your work and would love to see your take on this request :)

Soft ft. Simon 'Ghost' Riley

Author's Note: So I do recall someone making a post about this and I have to say I do not agree with everything. Men definitely process trauma, specifically sexual trauma a lot differently than women do. While women experience guilt, men experience anger. And maybe it's not all men who experience it that way, but after reading the comic and making my own assessment, I can say that Simon does have lingering anger. Of course, he is hell-bent on avenging his dead family, but all that pent-up energy could be going toward trying to even the score. He is pretty level-headed and able to compartmentalize. He has support from his comrades as well as undergoes mandatory rigorous mental health assessments because that's military protocol. He needs to be able to perform his duties on the field without putting himself or others at risk. He also most certainly gets mandatory counseling. Although he may be reluctant, his superiors are very much aware of the possible impact that it has on his mental health. So all that to say that Simon is not without help. He is not as "damaged" as people may perceive him to be. He's not a broken individual. As seen in the remastered MW's, albeit reluctant he can clearly put his trust in others. He develops relationships with the people who he works closely with meaning he is capable of change. SIGH. I just wish people would break this down a little more, but I do get what you're saying. His masculinity, trust issues, and the type of secret operations he goes on can lessen the effectiveness of the therapy. He's definitely a very complex character with layers to him, but I just don't think he's as weak as you may think he is. It's also important to note that it hasn't been confirmed that this current Simon went through the same thing. He could have a completely different background. Honestly, Activision is so fucking inconsistent but ANYWAYSSSSSSSSSSSSSSSSSSSSSSSS I hope you enjoy this. Also if you read this all the way through, I applaud you. But thank you for enjoying my work, I didn't mean to critique you and your request, but I just couldn't let it slide LOL

Warnings: PnV sex, AFAB!Reader, Some Canon Simon Lore, Sexual Content, Mentions of Sexual Trauma

"Si—Simon..."

You sigh out in pleasure with every roll of your hips as you grind down on him. Your clit grazes against his lower abdomen, and his cock stretches you out pliant. Fingers dig into his shoulders, marking half crescents into his pale, scarred skin. But something feels off.

His hands loosen their grip on your hips, and upon opening your eyes you find him his half-lidded gaze distant in a familiar haze. He isn't present.

"Simon." You halt the rutting of your hips, cupping his stubbly cheeks. "Are you alright?"

His onyx hues fixate on you. He is clearly readjusting his withdrawn eyes to refocus on you. You didn't want to say it yet, but you had felt him go a little soft a few seconds prior. "We can stop."

"No, no." His fingers squeeze your middle as he sits up a bit. You shake your head, but he's not letting up. "Why stop?"

You firmly grasp his face and his blonde lashes flutter up at you with a seemingly unreadable expression, but you're no stranger to Simon's detachment. Although he loathes to admit it, it happens. The relearning of being intimate is tumultuous for him.

"Because you're not mentally here, my love."

He frowns. "But I want y'to finish."

You exhale sharply. He doesn't even deny it. "No, Simon. I'd feel disgusted with myself if I finished while you weren't here with me."

He struggles to reply. In all honesty, he doesn't know what to say. It's not exactly a common occurrence, but he's not too keen on having a conversation about it. You never pry though. His therapy sessions are his own, unless, of course, you join him if he so desires.

Couples counseling is mandatory. A rule you established when you first decided to tie the knot. If you had problems that were beyond just a sit-down talk, a professional would have to intervene. And Simon agreed. No fuss, no muss. To preserve the sacredness of your relationship, he'd do anything.

He sighs. "'m sorry, dovie." He caresses your sides, feeling the gooseberries on your skin rise. A small smile adorns his lips and you giggle at his smugness.

"Stop it." You begin to get off of him, but Simon holds you firmly. You feel his dick harden inside of you, now kissing your cervix. A little gasp escapes your chest as you readjust yourself.

"Y'like tha'?" Simon's grinning now. It's his confidence gleaming through the abysmal darkness of his mind. The life in his eyes feels revitalized, and you now feel his vigor—literally.

"Yes, but..."

"'m here, love." He reaffirms, squeezing your waist again. "'m here. Please, 'm achin' for you."

He groans a bit and bucks his hips when he feels you pulsate around him. You return your own moan, leaning forward but his fingers thread through your hair and he brings you into a sloppy, heated kiss. His hips thrust into you slowly and deeply, earning a guttural moan from him.

For a moment as you withdrew from the kiss, your gazes meet and Simon's eyes soften and become glossy with tears that brim over his oculars and spill over the corners of his eyes.

"Oh, baby." You coo, holding him close as you kiss his face. His sadness is silent, yet palpable. You're now babbling sweet, sweet words to him as you pepper him with kisses, and Simon holds you as if you're going to slip away. You gently guide him through the double inhale technique you learned from your therapist, and with the sweetness of your voice, the kindness in your eyes, and the tenderness of your touch, he feels at ease.

"I dunno how y'put up with me."

You grin, kissing the corner of his lip. "It ain't easy."

"Oh?" He flips you over on your back, pressing you firmly against the mattress and you giggle into the nape of his neck. "Wanna say that again, love?"

You thread your fingers through his sandy blonde hair and kiss the tip of his nose. "You're not hard to love, Simon."

His eyes soften once more and he kisses you deeply. Simon has never cherished anyone more in his life. You were always so patient and kind from the jump. You were truly the "greater woman" behind the "great man".

He rests his forehead against yours and closes his eyes as you gently card your fingers in his hair.

"Thank you, lovie."

[secretmellowblog]

Jean Valjean's Canon Toxic Unhealthiness around Romantic Love

( alternate titles: “Does Jean Valjean is Gay?”, or “Does Jean Valjean is Asexual?” Or: “Why is it so difficult to slap an identity/sexuality label onto Jean Valjean?” Or “LGBTPTSD+”)

I was looking at the responses to this poll about whether people interpret Jean Valjean as gay/asexual/straight or something else….and it got me thinking again about Jean Valjean’s canonical intense, complex, awful, toxic, and overwrought emotions around identity/ romantic love. I want to talk about that for a bit because I think it often gets overlooked in fandom!

I've noticed that Les Mis fandom/analysis often tends to interpret Jean Valjean as being far more content, more "at peace with himself," and more "comfortable in his own skin" than he ever is within the novel. This is also a common change in adaptations. The musical's version of Jean Valjean is great-- but he also seems a lot more self-actualized, more like he's gotten himself completely "figured out" by the end of the story. Other, bad, Les Mis adaptations — the adaptations that generally portray Jean Valjean a worse more violent person — also usually make Jean Valjean more confident in himself, more confident in his own feelings/desires, more certain that he’s entitled to certain things, and more willing to demand or take what he wants.

But one major aspect of book Jean Valjean's personality is that he does not have a healthy relationship with anything about himself. He has a tortured broken relationship with his own identity. He repeatedly thinks about ��Jean Valjean” as a person outside of himself, a person who he finds frightening, repulsive, savage, and horrible— like a wild animal he needs to sedate, or beat into submission. He is obsessed with self-denial and self-repression. He is fixated on the idea that he is subhuman, that he is not allowed to want things or to pursue having any kinds of relationships with other people-- and that the most heroic thing he can do is "grab himself by the collar” and violently force himself to stay away from the things he wants. He is desperate to be loved and fixated on being unworthy of love and on denying himself love. He is absolutely not at peace with his identity: to paraphrase Jean Valjean in one of the later chapters, he believes he can only gain inner peace by “eviscerating his own entrails.”

He is never truly content with who he is, what he wants, or what kind of love he wants— and he never learns to be. The novel ends with him cutting himself off from his only family, breaking ties with the only person who loves him, and essentially slowly killing himself out of self-loathing.

There are other characters in Les Mis who seem very content with who they are and what they want. Enjolras is self-assured in his identity, and doesn’t appear to feel like there is any kind of love that is missing from his life. Whether you interpret him as gay or ace or trans or w/e, book!Enjolras is written as someone who is extremely self-assured and has a loving support system that is enough to keep him happy. But I don’t think that’s true for Jean Valjean at all XD.

And that’s why it's hard to apply labels like “aromantic” or “ace” or gay/straight/etc to Jean Valjean, when talking about his canon characterization. Those labels imply the person has a basic level of comfort with acknowledging their own desires/lack of desire/identity. And Jean Valjean never achieves that level of comfort. What “label” do you give to someone whose relationship with their identity is “I do not belong in a family, I have no right to want things, I have no right to be happy, I am outside of life, and I will never be at peace until I eviscerate my own entrails?” Is there a “self-disembowelment" pride flag? XD I've seen a lot of interpretations that go "Jean Valjean never expresses any interest in romance, he's perfectly content just to have his relationship with his daughter" but I honestly don't think that's true. Jean Valjean tries to content himself with having only Cosette. But part of why everything explodes so catastrophically in the end of the novel is because he needs more than just a paternal relationship. He doesn’t try to have a “normal” father-daughter relationship with Cosette, he tries to force his relationship with Cosette to be literally everything and everyone to him, for her to be his entire world: and it doesn’t work.

There’s a passage in the novel that talks about how all the love Valjean is capable of ends up being suppressed/sublimated into his relationship with Cosette. The love of a brother, of a friend, of a father, of a husband, the love of everything he is capable of, gets repressed so that he can throw every part of himself into being a father. There are Bad les mis adaptations that incorrectly misinterpret that passage to mean that Jean Valjean is incestuous/grooming Cosette. But in context, that’s not what the passage means at all.

The passage specifies very explicitly that Jean Valjean “did not love Cosette otherwise than as a father,” that “no marriage was possible between them,” that his feelings for her are absolutely paternal. But the passage does show how Jean Valjean is doing a very different unhealthy thing: he’s relying on Cosette to fill every single emotional void in his life.

He’s relying on parenthood to fill the grief/emptiness left behind by all the other kinds of love that he has wanted, but never been given.

To quote a bit of that passage:

Jean Valjean did not love Cosette otherwise than as a father (…) Let the reader recall the situation of heart which we have already indicated. No marriage was possible between them; not even that of souls; and yet, it is certain that their destinies were wedded. With the exception of Cosette, that is to say, with the exception of a childhood, Jean Valjean had never, in the whole of his long life, known anything of that which may be loved. The passions and loves which succeed each other had not produced in him those successive green growths, tender green or dark green, which can be seen in foliage which passes through the winter and in men who pass fifty. In short, and we have insisted on it more than once, all this interior fusion, all this whole, of which the sum total was a lofty virtue, ended in rendering Jean Valjean a father to Cosette. A strange father, forged from the grandfather, the son, the brother, and the husband, that existed in Jean Valjean; a father in whom there was included even a mother; a father who loved Cosette and adored her, and who held that child as his light, his home, his family, his country, his paradise.

Jean Valjean reminds me of a Failmode I’ve seen in a lot of different real-life parents? There are parents who cope with their own hard lives by telling themselves that parenthood is their sole reason for being alive, and who obsess over their child’s success as their only source of purpose, meaning, love, happiness, community, and validation. But it’s a bad idea to rely on one child to provide the emotional support that should be shared by friends, parents, siblings, every possible loved one, etc etc—- One child can’t actually heal you from your trauma, be a replacement for your broken relationships, pull you out of your grief, save you from your adult loneliness, etc etc etc etc.

When I see the common interpretation that Jean Valjean is perfectly content just to be the father of Cosette, I think of this line:

Thus when he saw that the end had absolutely come, that she was escaping from him, that she was slipping from his hands, that she was gliding from him, like a cloud, like water, when he had before his eyes this crushing proof: “another is the goal of her heart, another is the wish of her life; there is a dearest one, I am no longer anything but her father, I no longer exist”; when he could no longer doubt, when he said to himself: “She is going away from me!” the grief which he felt surpassed the bounds of possibility. To have done all that he had done for the purpose of ending like this! And the very idea of being nothing!

On one hand, the terrible Les mis adaptations that portray Valjean as Incest Creep are incorrect and wrong. On the other hand, though, Jean Valjean IS unhealthy about Cosette— just in a different and actually sympathetic way.

He has made fatherhood his only purpose, to replace every other purpose he could have in life. So he can’t be “just Cosette’s father.” He can’t imagine her becoming an adult and leaving the nest, like children do. What does he have if he’s not taking care of her? What is his purpose in life if she doesn’t need him to be her parent? He's not just being her father, he's relying on her to be his entire reason to exist. He hasn't been allowing himself to have things outside of her.

And speaking of things outside of Cosette: segue time. This post was supposed to be about Jean Valjean and romance, so let's switch gears and talk about his canon 'romantic experiences' more:

We’re told that in his youth he “never had a sweetheart” because he “never had time to be in love.” There is no indication that Jean Valjean never wanted to be in love. The opposite is implied. Hugo frames it as a tragedy that Jean Valjean’s does not experience young love; it’s the horror of poverty taking yet another thing from him.

Within prison, Valjean is “gloomy” and “chaste;” when he traumadumps to Montparnasse about it, he talks about women looking on galley slaves with horror and disgust. Romance, at least “normal” heterosexual romance, is no longer something that is permitted for him. Jean Valjean knows very little about romance/love/sex and it repeatedly messes up his life. He spends 19 years in the all-male environment of prison, then about a decade in the almost-all-female environment of the convent. He has very little experience with how men and women are supposed to interact. The oppression Fantine faces as a sex worker, and Cosette's relationship with Marius, are both two big 'blind spots' that he struggles with.

At one point romantic love is described as “The only misery Jean Valjean had not yet experienced, and the only one that is sweet.”

In his massive confession to Marius, he agonizes over how he is not allowed to be part of a family, and is incapable of being part of a home. He compares himself to someone sick and diseased, that poisons good and normal people with his presence, and cannot be allowed to make himself part of their families.

So Jean Valjean doesn’t frame Romance as “a thing he doesn’t want:” it’s a thing “he is not allowed to want,” it is one of the many things he is banned from wanting. It's impossible to tell what kind of things he would want, if he were allowed to want them.

One of the most interesting things to me, however, is his general attitude towards Marius/Cosette.

Obviously his first reaction to Marius snooping around is fear and resentment— he doesn’t know to interact with romance, having never experienced it, and immediately begins catastrophizing. He views Marius as a privileged booby ruining his life for something as frivolous as a love affair: it reads to me as partially envy, envy of the fact that Marius lives the kind of safe comfortable life that allows him to experience young love.

Jean Valjean added: “What does he want? A love affair! A love affair! And I? What! I have been first, the most wretched of men, and then the most unhappy, and I have traversed sixty years of life on my knees, I have suffered everything that man can suffer, I have grown old without having been young, I have lived without a family, without relatives, without friends, without life, without children, I have left my blood on every stone, on every bramble, on every mile-post, along every wall, I have been gentle, though others have been hard to me, and kind, although others have been malicious, I have become an honest man once more, in spite of everything, I have repented of the evil that I have done and have forgiven the evil that has been done to me, and at the moment when I receive my recompense, at the moment when it is all over, at the moment when I am just touching the goal, at the moment when I have what I desire, it is well, it is good, I have paid, I have earned it, all this is to take flight, all this will vanish, and I shall lose Cosette, and I shall lose my life, my joy, my soul, because it has pleased a great booby to come and lounge at the Luxembourg.”

But, even though Jean Valjean views romance as something he isn’t allowed or have or to want, views it as a threat and catastrophizes over how it will ruin his life……he seems to also put heterosexual romance on a pedestal.

The way Jean Valjean idealizes marriage is one of his weirdest character notes for me.

He views marriage as Cosette’s “happy ending.” It’s her “happily ever after” point where she won’t need him anymore, where she won’t need anyone outside of her husband. A Man And a Woman Are Meant to Get Married, It's Fate, and It Means They Will Live Happily Together Forever. Marius is “the goal of her heart, the wish of her life; her dearest one.” Nothing outside of that matters anymore.

He treats her marriage as if romantic love is inherently always more important than any kind of platonic relationships, and always takes priority over them. He later dismisses the unconventional family structure he has with Cosette, saying that despite his love for her he was only a "passerby" and was not actually her real father, because they were not biologically related.

There's a moment where Jean Valjean is described as someone whose ideal is to be angel on the inside and a bourgeois on the outside. Jean Valjean's worship of bourgeois social norms, norms he can never truly be a part of, is one of his character flaws. He has a similar "guard dog" energy as Eponine does when she defends Rue Plumet from her parents.....Eponine and Jean Valjean both become the guard dogs of a kind of romantic relationship they believe they are banned from having. Jean Valjean believes that getting Happily Straight Married in a Middle-Class Home with a Picket Fence(tm) is the ideal path for life....but believes himself broken/incapable of ever following that path. And so he instead throws his entire life into securing that future for Marius and Cosette.

In what manner was Jean Valjean to behave in relation to the happiness of Cosette and Marius? It was he who had willed that happiness, it was he who had brought it about; he had, himself, buried it in his entrails, and at that moment, when he reflected on it, he was able to enjoy the sort of satisfaction which an armorer would experience on recognizing his factory mark on a knife, on withdrawing it, all smoking, from his own breast. Cosette had Marius, Marius possessed Cosette. They had everything, even riches. And this was his doing.

TL: DR:

Jean Valjean's gender/sexuality label is “idk but he’s super fucked up about it.”

[alice-after-dark]

Vox as an Abuse Victim

So here is that massive Vox post I promised, a day late for...reasons. I swear I have been working on this post for days, even before that StaticMoth discourse influx in my inbox.

After making my post about Vox and Angel and reading @deeply-unserious-fellow's post about a similar topic, I thought it might be finally time to make this post. Most people who have seen my content know how I typically portray StaticMoth. I have mixed feelings about Valentino at the best of times and outright dislike him at the worst. But frankly this post isn't actually about him (well, mostly). It's about Vox and why I am really hoping that Viv keeps the angle of Vox being an abuse victim.

TW for domestic abuse, physical violence, implied sexual abuse, abusive relationships, gaslighting/victim-blaming, and other canon-typical triggers. Contain abusive StaticMoth.

Honestly? The primary reason I hope she keeps it is because it would make him an even more complex character and bring attention to a criminally underrepresented group: abuse victims who are also bad people.

As pointed out in the post I tagged above, the world has become obsessed with this idea of a "palatable" victim, the poor suffering cinnamon roll. An abuse victim is expected to look like a victim. You're supposed to instantly feel sorry for them and want to protect them...but that's not so easy when the victim is someone who also hurts people, is it? It's not so easy to pretend they didn't do bad things too...but they are still a victim. That does not change just because they are a bad person. And thus it becomes complicated and interesting. Because it's not so easy to root for the victim when they're also victimizing others, especially when those others are people we care about...like Angel Dust. At the bare minimum, Vox is doing nothing to stop Valentino from abusing Angel or any of his other employees. Having Vox be a victim of the same abuse that Angel Dust suffers (at the hands of the same abuser no less) and yet also being someone who enables Angel's abuse creates a very complicated situation.

In a most media, the discovery of a mean/bad person being abused is frequently portrayed in a "well, they were abused so you can't be mad at them anymore" kind of light. Like "see? They're just an asshole because they were being abused! Now that we know, they're suddenly a good person!" Except that's not how it works. Someone can be a bad person and also be a victim. And even if them being an asshole was the result of their abuse, those behaviors and the consequences of those behaviors don't just vanish. They still hurt people and frankly I would riot if it came out that Vox was being abused by Valentino and then everyone in the show just up and forgave him for being an asshole. Like...no? He would still need to make up for his own shit and actually work towards being a better person. I like this character because he's an unapologetic asshole. If making him a victim takes that away, then that would be such a missed opportunity.

In fact, one thing I find interesting is that I definitely believe that Vox would have no problem admitting to being a bad person, but would rather fight an exorcist alone than admit to being a victim. His ego won't allow for it. He would probably laugh in your face and call you delusional while literally having a broken screen. Because he can't admit it, even to himself. He would see it as a sign of weakness and that's not acceptable to him (side note that being a victim does not make you weak, that's just what Vox's toxic mindset tells him). While I am fairly certain that he would have moved on from most 1950s mindsets since he is all about the future and progress and moving forward, toxic masculinity is still very much a thing today and I can definitely see him embodying it in some aspects, like needing to appear strong and in control at all times (and Hell's power hierarchy definitely encourages this mindset, so...). Fuck, even now in fucking 2024, men still have a hard time being taken seriously as the victims of abuse. Unless of course you fit a certain mold.

Angel Dust is the perfect example of this. He is a palatable male victim. He's effeminate, he's funny, he's friendly, he's caring, and we actively see him miserable in his suffering. Despite being in Hell just like the rest of them and having been a former mafia member and clearly able to stand on his own two feet it combat, his victimhood is constantly on display and the audience wants to protect and save him. On the opposite end, Vox is shown in a position of power that is constantly reinforced. He's an Overlord, he's manipulative, he's cruel, he's greedy, and he enables abusive behavior from others. He is not a palatable victim, which is why it's perfect.

Now let's get into what I believe is the actual evidence that this dynamic could still be present.

Something I see people commonly say is that Vox being abused by Valentino doesn't make sense because why wouldn't Vox just fight back? He could just shock Valentino into next Tuesday? And to these people I kindly say fuck you. Because while physical strength can be a factor in abuse, it is very rarely the thing that keeps the victim from leaving. Abuse, even when physical, is heavily psychological. It's like telling a victim "well, why didn't you just leave?" It's not that easy. Abusers tend to target those with low self-esteem and it's made pretty clear that Vox is a very insecure person (I feel the need to point out that having an ego and having high self-esteem are not the same thing, in fact having a big ego is typically a side effect of very low self-esteem). It's entirely possible that Vox makes the conscious decision not to fight back because he's afraid of what will happen if he does. He's afraid Valentino will leave. We know Valentino is just as mentally and emotionally abusive to those around him as he is physically abusive and we have actively witnessed him playing into Vox's insecurities and mentally messing with him (specifically in the events leading up to "Stayed Gone").

So let's talk about the scene leading up to "Stayed Gone," because I also see Vox's behavior towards Valentino here used as justification for why it's not possible for Valentino to be abusing Vox. Full disclosure, I myself in the past have even thought that it demonstrated them being mutually abusive towards each other, but have since changed my opinion after reading more takes and doing further analysis. Having rewatched this scene many times now, I have some observations.

There's a small moment that always caught my attention when I watched this scene because I wasn't sure what it meant, but looking at it in the context of this post, I think I can see a possibility. When Vox goes to see Valentino, he approaches the doors and they are opened for him by Valentino's servants. Vox pauses in the doorway, glances at them, then continues on inside.

What was the point of this moment? It seems out of place. Surely Vox has gone to Valentino's room before? Surely this door opening thing isn't new? And looking at Vox's face here, he looks...concerned? Like...they might hear what goes on inside? And he maintains that expression even as he enters the room, like he doesn't like that those two are out there and might hear them.

It also makes the entire situation feel so routine. Like Valentino is upset and these girls just expect Vox to show up and take care of it. And the scenes prior to this also sets it up as a normal occurrence. Vox rearranges his entire schedule to deal with Valentino, like he absolutely expects this situation could take up the rest of his day. And Valentino clearly doesn't listen to Velvette in this regard as she had to call Vox to come deal with Valentino despite him wrecking her department. Her comment even further establishes this as normal when she tells Vox that Valentino is "up in his tower, waiting for a flat-faced prince to calm him down." And when Vox arrives? "FUCKING FINALLY!" All of this sets up a standard situation: when Valentino is upset, it is Vox's job to calm him down and make him feel better. Valentino is a full grown adult and yet he has made it someone else's problem to manage his emotions.

Then of course we have the classic moment of Valentino literally throwing his glass at Vox only seconds after Vox has arrived. And this has to have been a conscious decision, because right before that, he throws his first glass on the ground before demanding another. So if he wanted to just break something, he didn't need to throw it at Vox, but he did. And I definitely don't think he cared if Vox got out of the way or not. But how easily Vox moves aside tells us that he fully expected to have things thrown at him and was ready for it. Now, I do believe that Valentino would throw shit at literally anyone when he is mad, but the key here is that Vox, his supposed friend, on-and-off lover, and business partner, is not exempt from this behavior. He even breaks Vox's phone when he realizes Vox is not paying attention to him. He has no qualms breaking Vox's property just to soothe his rage (I would also like to point out that he fucking obliterated that thing; just how hard did he fucking throw it?!).

Something in this scene that did initially throw me as I was writing this is that Vox doesn't seem particularly afraid of Valentino. Not the way we see Angel is when Valentino gets angry. We also see him actively get angry with Valentino, get in his face, and manipulate him. In the past, I believed this behavior from Vox to have established their relationship as mutually abusive. However, after reading yet another post from @deeply-unserious-fellow, I realized that everything Vox does here is only in direct response to Valentino's tantrum.

So let's go through some things here. When Vox initially tries to tell Valentino he can't go to the hotel, Valentino straight up ignores him. Does not respond to Vox's words, completely carries on like he didn't even speak. From this point on, Vox takes an entirely different approach to the situation. He manipulates Valentino into thinking that not shooting up the hotel is his idea and even offers further appeasement in the form of shooting his own employees as a method to satisfy Valentino's temper. I admit to initially viewing this as Vox being abusive, but frankly, when your options are being manipulative or letting your business partner go shoot up a hotel that houses the literal Princess of Hell, yeah, I'd take the manipulation route. Because, as I pointed out above, Vox cannot actually control Valentino. He tries to give him an order and is completely ignored. And even when he does successfully manipulate him, he still has to appease him in some capacity.

Now, there's also something here that is often played for shits and giggles, but I'm taking it 100% seriously right now. Many people point out that Vox's screen gets brighter when he gets in Valentino's face. Valentino is a moth demon and after Vox does this, he seems to be dazed for a moment, enough for Vox to rapidly switch back into manipulator mode and does his thing. It seems to have snapped Valentino out of his rage and I literally can't help but think that Vox has learned this as a defense mechanism. Valentino can't see very well, so it's very likely Vox's hypnotism doesn't work on him, so Vox had to find other ways of manipulating him and calming him down when he's in one of his rages.

Something I also want to point out is that it is made very clear through a single solitary moment that Valentino is in no way afraid of Vox. When he tells Vox about Alastor, Vox screams in his face, manhandles him, and Valentino just...pushes him off and saunters away, grinning like the cat that caught the canary. He doesn't even look upset or concerned when Vox grabs him. He just...laughs it off...like he knows Vox won't actually hurt him. Because I genuinely think Vox won't. Later in the episode, we hear Valentino's voicemails to Angel Dust and how he's emotionally manipulating him, telling him he can't really get better. I wouldn't be surprised to find that he's given Vox a similar treatment, especially considering that it's obvious Valentino knew what kind of reaction he would get out of Vox by bringing up Alastor. And sure, he brushes it off with a kink joke, but in all seriousness, why did Valentino keep Alastor's return from Vox? We know Angel has been at the hotel for a little while and Alastor has been involved with it as of a week prior to the beginning of season 1, so why suddenly bring it up? It's almost like he was specifically holding onto this information, waiting for the perfect time to use it that would be the most beneficial to him.

There's also another little scene that always caught my attention. It's when Valentino is getting pissed about the shadow construct that Angel Dust is flirting with.

Valentino starts getting pissy again, demands Vox's attention, gets annoyed when he doesn't get it, then immediately switches to mocking and confident when Vox starts bitching about Alastor. Like...he's so fucking proud of himself for getting Vox all worked up over Alastor. Like it's some kind of game for him. Riling Vox up and messing with his emotions is fun for Valentino. Alastor dredges up some real shit for Vox and Valentino exploits it. And from here on, he just keeps egging him on. Now, I'm pretty sure "Stayed Gone" would have happened with or without Valentino, but the point here is that he is definitely playing with Vox's emotions here.

As for the not being afraid aspect, again, Valentino hasn't actually threatened him with something that truly scares him. I don't think he's afraid of what Valentino could physically do to him. It's more likely to make him mad than anything else, even if he doesn't fight back (he'll probably go take out his anger on someone else). The thing about Vox is that we see that he does not like to appear weak in any capacity and I think this extends well into his own psyche. If he admits, even to himself, that he's a victim...to him, that's admitting weakness and he just can't do that. So Valentino's not abusing him, they just had a fight. He didn't hit back because he's in control of himself and he knows he could totally toast Valentino. It's Vox's own fault for pushing his buttons when he knew Valentino was mad. It wasn't rape cause he never said "no".

TLDR: Vox can be both an asshole and an abuse victim and it would be a really interesting aspect to his character as long as the show does it right and doesn't scrap his assholeness to make him a more palatable victim. Show him being a victim and also victimizing others. Show him not wanting to accept that he has been abused. LET PEOPLE BE UNCOMFORTABLE WITH FEELING SORRY FOR HIM.

(that's all for now, I have literally been working on this post for days and I'm exhausted)

[buddieism]

tommy's character, bucktommy's inherent flaws, tommy & eddie as mirrors and buddie endgame; a (lengthy) meta analysis

honestly, what's really confirmed my feelings about tommy (and the imminent bucktommy bones -> buddie pipeline) is that there have now been multiple opportunities for the writers to actually make tommy a likeable/serious love interest for buck and they just…haven’t. because while fans are naturally going to overanalyse every little thing, the vast majority of the show's audience are regular viewers who consume the show at face value and don't think twice about it -- so if tommy was intended to be buck's endgame or anything remotely close to it, they'd absolutely want to make the most of his (very limited) screen time to present him in the best light they could. think about karen, the only non-main LI, and how she was introduced to us -- despite hen's cheating, we can see how dedicated karen and hen are to each other and how karen is a complex character in her own right who is immediately easy to root for and love.

comparatively, when we look at tommy's s7 appearances and specifically his interactions with buck, it becomes abundantly clear that there isn't really much depth to their relationship at all. which is fine! it's just... you know. fine. let's get into it.

following the cruise arc, we watch tommy through buck's eyes in 7x04 where he's basically wining and dining eddie -- flying him to vegas, getting them front row tickets to a fight, sparring with him in muay thai, playing pick up basketball with him -- tommy and eddie are so similar (which we'll come back to later), and we even get that line from eddie about how well they "click." as the audience, we are being subconsciously told to align tommy and eddie together -- and furthermore, we are told that tommy can easily make grand gestures when he wants to. now let's compare that to the bucktommy moments of the season.

bucktommy's first date: tommy makes a shady comment that would have outed buck if eddie or marisol caught onto it and then proceeds to abandon him on the sidewalk because he thinks buck isn't "ready" for a relationship with a man

i'll be objective here -- i understand in a show like 911 there's always going to be "unnecessary" relationship conflict for the sake of drama and i can also see how buck trying to play off their date as platonic to eddie might have put a bad taste in tommy's mouth. but we hear from tommy himself that he struggled with being open about his sexuality when he was at the 118 so he could have absolutely extended some sympathy towards buck for not wanting to come out on the spot to his best friend -- especially when tommy fully knows how important of a role eddie plays in buck's life. at the very least, he didn't have to leave buck alone on the curb. this isn't me trying to woobify buck because yeah, he's a grown man, he's fine -- but that doesn't mean it still isn't a bit of an asshole move.

the bachelor party: tommy doesn't dress up for the theme and dismisses buck when he's clearly disappointed about him doing so

tommy showing zero interest for the bachelor party buck planned is practically the writers waving a massive red flag in front of the camera -- him having to leave because he's on call is an understandable 'conflict' plot point but why not have him show up in an 80s themed outfit? it wouldn't have changed anything except that he and buck would have had a positive interaction; buck would have been happy that tommy cared enough to make that small gesture and it could have been a cute way to establish their relationship as one built on mutual effort. (btw, the bucktommy hospital kiss could be seen as a big gesture, sure -- but from a more practical viewpoint knowing how rushed this season had to be, it was also just an easy way for buck to "come out" to the rest of the 118 without having to spend too much episode airtime on it.)

the medal ceremony: tommy says 'enjoy it while it lasts' (which, LOL) and also is not shown reacting to buck receiving his medal. he also has a conversation with henren in a deleted scene.

again, i'm going to try to give tommy the benefit of the doubt -- i'm not saying he has to be sunshine and rainbows all the time and i have no issue with a character having a snarky/sarcastic side. but when his screentime is so minimal, every line of dialogue matters. and it's pretty damning that the writers aren't taking those few chances to give us something to appreciate about him. with buck, tommy makes a dismissive comment for literally zero reason, and with hen and karen, who are rightfully looking out for their friend, tommy refuses to take them seriously at all.

bucktommy's dinner in the finale: buck displays some vulnerability about losing bobby, and tommy... really doesn't seem to care.

honestly i refuse to rewatch this part of the ep because it really icks me out on another level but iirc: buck says he's glad bobby's okay because bobby is like the father he never had -> tommy says "your father's alive" -> something something joke about daddy issues. ignoring #that joke entirely, it's really insane to me that they have tommy even acknowledge the nuclear bomb that is buck's relationship with his parents. yes, we had a bit of a ham-fisted 'redemption arc' in s6 but that doesn't negate the buckley parents being absolutely heinous and the fact that buck verbalises how bobby played the role of the father figure because philip didn't -- all for tommy to basically deny that to his face -- is absurd. tommy has expressed on multiple occasions that he's jealous of the 118 family bond, so this line is just... very interesting to me.

now, let's recap all these events and bring eddie back into the mix!

post-bucktommy's first date, buck is more torn up about the fact that he lied to eddie than the actual date to the point that he has to vent to maddie about it. he then comes out to eddie, who is incredibly supportive (and oliver and ryan make some very curious acting choices indeed). eddie is reiterated as one of buck's most significant relationships.

pre-bachelor party, eddie is the one to suggest he and buck dress in matching (queer-coded) costumes. he then stays by buck's side at the party when everyone else leaves and although we'll never get to see it (tim minear i'm inside your walls👹), they sing an absurdly romantic karaoke song together. eddie is reiterated as one of buck's most significant relationships.

during the medal ceremony, when the camera pans to each member of the 118's love interest/family, it is eddie we are shown smiling at buck, not tommy. this is especially interesting considering we get buck reacting to tommy. i honestly can't get over how a reciprocated tommy reaction would have been an easy yet significant moment to cement bucktommy as a relationship, but they gave us eddie's instead (with chris in the background and marisol conveniently obscured, mind you). eddie is reiterated as one of buck's most significant relationships.

in the final episode, when eddie is experiencing his personal worst nightmare, buck is the one at eddie's side every step of the way. buck talks to christopher, buck reassures eddie (without judgement), and it's made clear that buck will be there for eddie, whatever he needs.

at every possible opportunity, we the audience are being implicitly told that eddie is buck's person. he is his place of support (buck having his more vulnerable coming out scene with eddie rather than his sister); he has buck's back (the bachelor party); he is his family (medal ceremony reaction), and ultimately, this goes both ways (finale).

some other things worth noting: when buck has his coming out scene with maddie, she tells him he's confused about his feelings in a way that seems to indicate she's talking about his feelings towards eddie ("if you there's something you need to tell eddie, you will"). in bobby's conversation with buck in the firehouse, he's verbally supportive of tommy and even asks if buck is going to see him, but buck goes to eddie's house instead. these were deliberate choices made by the writers; eddie has been consistently intertwined in bucktommy's relationship both overtly and subtextually throughout the entirety of s7. and let's not even get into the whole 'evan' thing, because that could be a whole other post in itself.

from the first moment we start to learn about tommy's character (beyond his... coloured past), we find out that he and eddie are practically mirrors. why not make tommy and buck share similar interests? why not give them something to bond over? why present tommy and eddie as almost identical in every way? because tommy is a placeholder for eddie. buck's initial bisexuality journey can't happen with eddie when eddie still hasn't come to terms with his own feelings. so, in the meantime, tommy is the "safe" choice in buck's mind because buck has nothing to lose with tommy whereas he's got everything to lose with eddie. buck can't confront what he truly wants yet because the risk factor is far greater and it's been repeatedly asserted that buck has an issue with people in his life leaving -- he would never do anything to jeopardise his relationship with eddie.

but ultimately (and in my opinion, fairly soon), we are going to get that moment where it "clicks" for buck and he realises that it is eddie he has feelings for. and when that happens, there's basically only one way it can go. we know buck can't keep secrets from eddie; we know eddie is going into s8 feeling "isolated"; we know tim loves making his characters suffer before they can be happy. in my mind, the narrative is going to go something like this: buck feelings realisation -> pining buck era -> eddie healing journey and a reevaluation of what buck means to him -> some insane life-threatening situation that really doubles down on how buck and eddie care more about each other than anyone else because it is 9-1-1 at the end of the day -> love confession induced by their dramatic near-death experience -> #BUDDIE_CANON !

when we factor in how there was a possibility of eddie having the sexuality arc this season instead, how tim has said buddie is one of his favourite dynamics of the show, and how supportive both oliver and ryan are of the ship, i really can't see how everything isn't building to buddie endgame. every other main pairing of the show has had seasons of development, of conflict, of bonding moments. buck and eddie have gone through that with each other time and time over (tsunami/lawsuit/shooting arc etc), which is why every other random love interest that's introduced for either of them falls flat in comparison. they quite literally are exactly what the other person needs; buck wants the stability of a home, a family, and unconditional love; eddie wants someone he can trust, a caretaker for his son but also a partner. buddie is the ship the audience wants to root for, because we know they work! now that we have canonically bisexual buck and eddie finally having to face his complicated feelings about losing shannon, buddie isn't just the logical conclusion -- it's the inevitable one.

[pigidin]

OKAY. Am I the only one fascinated by how much Alastor in s1 has interacted with other demons and built a potential for considerable amount of different, broad and unique relationships? With All of them being non-romantic/sexual?

I really don't wanna dive into the discourse of shipping coz honestly, I do think that erasing Al's aroaceness is not cool at all. Personally, I don't see him wishing any romance/sex at all, and well. Considering how platonic he actually is throughout the season, it kinda seems like people forget that friendship (or basically anything non rom-sex) exists in the first place.

Coz, like, let's see what we got::

Vox -- probably one-sided (psychosexual) crush from Vox with possible past friendship between them, them hating on each other yet having (used to have) some respect as well. The ANGST, the drama (for both of sides). Insert aroace troubles (possible aphobia from Vox? Or not? He may be biggest ally as well!) and Vox's petty feelings that are insanely interesting to explore (and laugh at).

Lucifer -- immediate hate that (with a course of events) can turn into forced bonding. The potential of queerplatonic parenting of Charlie is HUGE here. Insecurities from Al? Forced care? Banters? SHENANIGANS? Luci patching up Al after battle, prolly discovering his deal and them slowly bonding on shared interests? Hey.

Rosie -- literal established queerplatonic partners, married for tax benefits, spending their evenings gossiping, hating on Susan and Al rolling his eyes on another romance-rel drama Rosie was trying to help sb with. Rosie can have insane influence on him whether it is understanding modern things or just being with him when he needs it. It also gives off mom/son to me.

Husk -- fucked up master-pet not-friendship with probable care rooted since they were closer in past. Is it toxic? Yes. Is it giving off some problematic dynamic? Sure. Yet it's fucking complex on its core considering pilot, bits and pieces of their interaction and how easily Husk used to insult Al until he overstepped. Them two are quite similar if you think about it and if Al got over his ego it could benefit him a lot.

Niffty -- daugther/father dynamic with them sharing one sadistic-psycho braincell and genuinely enjoying each other's quirks. Protective Al? I just need more Niff and them two being partners in the most outrageous crimes.

Mimzy -- friendship going since they were humans, with them having an amazing (potential) backstory of sharing evenings on two. Al enjoying her company as well as being protective and helpful to her with nothing in return.

Charlie -- manipulated into trusting you as a dad figure? Don't tell me there is nothing below Al's creepy plans or that he wouldn't grow to care for her. He already is proud of her and finds amusement in her inspiration-skills (also, performance is his thing for a reason)

Angel -- I was honestly kinda upset we didn't see any interactions between them except one sex joke, coz my past era of Hunicasts was a fuel to their duo. Them bonding over how different they are is the best description of their dynamic. Also banters and body-puns.

You can't just erase Alastor from interacting with people, but putting him inside boxes of allonormative relationships while he has such a fucking huge potential for everything beyond just that - is quite.. disappointing. People turning a blind eye to a wide variety of relationships he can have (potential to which is set in canon) for the sake of just romance/sex is low key sad.

It's AWESOME to see ppl actually understanding it and.. damn THANKS to everyone who explores Al's relationship with others without it involving final wish to stick tongues into places. Dynamics can be interesting and exciting without it.

I really don't wanna project my romance-aversion onto Al, but when romance and sex is one thing you see everywhere.. it's hard to just let it slip.

You are allowed to do whatever you want, exploring physical intimacy is fun as well, and having Al, well, there are bunch of ways to show it with respecting his orientation and the fact that IT AFFECTS RELATIONSHIPS/ATTRACTIONS but please just don't make it the center of your attention, the one thing relationship revolves around, coz sadly it's just exactly how it looks like from some folks.

[liyawritesss]

ᴊᴀꜱᴏɴ ᴛᴏᴅᴅ + ᴄʟᴀꜱꜱɪᴄ ʙʟᴀᴄᴋ ᴡʀɪᴛᴇʀꜱ

-> synopsis: there's no denying that Jason Todd Is the intellectual boyfriend we all crave - so let's take a peek into his repertoire and see what are some of his favorite black artists, authors, and philosophers!

         -> characters: Jason Todd | Red Hood

-> from: batman universe

         -> contains: can be read as either pre- or post lazarus pit, 3rd person

-> a/n: here's the first hc post from the batman poll i did! currently taking an intro to black writers class, and I wanted to make a spin on some classics I think Jason would like, specifically from black contemporaries from the like late 1800's to the 1990's. And yes, I know these authors and stories dont necessarily tie in to the canon timeline of things - I honestly just wanted to have fun with this, so please take it with a grain of salt, and if you don't like it or find yourself wanting to comment something mean, just scroll! Save us both the commotion.

         -> join my taglist!

-> tags: @mbakuetshurisprincess @shuriszn @writingintheshadowsforever @cafehyunji @niyahwrites @marsfunzon22 @briology @asensitivecookie @moon-bo-young @flo-milli-shit-hoe @romiantic @shuinami @badass-dora-milaje @uranometrias @insomniac-jay @punkeropercyjackson

      -> Paul Lawrence-Dunbar

             -> dunbar was a young novelist, writer, and poet during the 1880's and 1890's. His writing style is distinct with dialect, which earned him a lot of criticism despite his much popular portrayal of black life in southern America after the end of slavery. A lot of the tone in his pieces depict that of the African Americans struggle for survival post-slavery, as without adequate resources to gain their footing into society, the formerly enslaved were left to fend for themselves. What a lot of people at the time missed in his writings - and what Jason actually gravitates towards - is the fact that his particular style is actually intentional. It acts as a reclamation of what was mocked and dehumanized, reinstating power into it in a way that seems regressive, but is more powerfully progressive in retrospect. ‘Sympathy’ was a poem he didn’t know he needed until he read it, and now he either has the poem taped on his wall somewhere or it’s written/screenshotted in his notes on his phone. Similarly, he finds that the poem ‘We Wear The Mask’ is an allegory to the path he himself has taken.

      -> “Passing” by Nella Larsen

  -> this novel tells the story of two colored women - Irene and Clare - and how they navigate the world with the ability to pass as white women. There’s so much that goes into this novel, from the question of race as a moral ground, sexuality in the form of envy, the loss of community when one crosses the racial lines…. I feel like jason would love this book DOWN, the complexities and intricacies are right up his alley. While the book is not in production, Jason definitely finds some way, shape or form to get his hands on a copy….don’t ask a fanboy his methods okay!

       ->Toni Morrison

             -> Toni Morrison is one of my favorite black authors and by extension it is now Jason’s favorite. The way she writes is just so raw and passionate yet delicate and it really speaks to your soul. She’s one of those authors that’s in a completely different league of her own. I feel like Jason would really love Sula and A Mercy from her. He definitely cried while reading Beloved (everyone cries while reading Beloved). The Bluest Eye is his number one favorite book ever in life and I will die on this hill!!!

       -> “Sonny's Blues” by James Baldwin

             -> I honestly think anything by James Baldwin, Jason would like, but I choose Sonny’s Blues because of the struggle with brotherly love. There’s no secret that Jason has a tumultuous relationship with the rest of the Batfamily, and although for the most part the majority of it has been reconciled, tension lingers. Jason has his reservations, hes brash, and he’s the one that often clashes heads with people. This dynamic reflect that of the narrator and his brother, Sonny, who are constantly at war with one another because of Sonny’s desires and dreams, and the narrator being unable to see them. I feel like this is one of Jason’s comfort novels; it’s bittersweet, heartbreaking, and truly a testament to what people do when they think they’re doing what's best for those they care for.

       -> Other Books and Essays Include…

             -> “Letter to my Nephew” by James Baldwin, “Native Son” by Richard Wright, “Incidents in the Life of a Slave Girl” by Harriet Jacobs, “Sweat” by Zora Neal-Hurston, The Parable Duology and “Bloodchild” by Octavia E. Butler

If you enjoyed, please leave a like, comment, and reblog for others to see! And don't be shy to send in a request!

[spaceorphan18]

In defense of Season 2 Polin

@somedayillbepeterpan I hope you don't mind, I'm responding to your post, but also making one of my own, because I'm diatribing a bit.

I think -- season 3 makes way more sense after watching season 2. I mean - I enjoyed season 3 without remembering anything from Season 2, but I think Colin's story, in particular, works a lot better with the foundation that Season 2 gives it. Because it's there. (Did I want more of it in season 3 -- yes, yes I always want more, but they had limitations.)

But I mean, Pen and Colin's friendship is solidified in Season 2, in a way that it wasn't in Season 1. Season 1 they had a connection, yes, but it was a lot more like the book(s). There's a distant familiarity there. There's a kindness and respect there. But Season 2 really dug into the friendship, and thus a friends to lovers story. The fact that Pen wrote Colin while he traveled? Huge thing (that wasn't in the books). The fact that they discussed their life ambitions? The fact that they showed character growth in both their individual story arcs? All of this is the foundation for Season 3. Season 3 doesn't work without Season 2.

And it's one reason I really, really love their story because it's not - bam, struck by lightning, now we're in love. It's an evolution. The characters have spent time developing together and on their own. They've grown and matured and had experiences and have learned from those experiences. They've developed a relationship that's built around more than sexual arousal but eventually managed to figure out those romantic feelings on top of the friendship ones.

There's a complexity and multi-faceted story there that is working on a lot of different levels. And Season 2 just does so well to portray that. And honestly, I'm looking forward to Season 4, because we'll get to see a different side to these characters in a post-center piece world. Their romance didn't start in season 3, and it doesn't stop in season 3 either. Something that is unique to just them is that they'll (most likely) get the opportunity to have their story shared over a multitude of seasons. Because (and I mean no disrespect when I say this - the other romances are unique to those stories) their story is not just one story, but does what TV shows do best, and is an arc where the characters have been growing and developing since day one, and will continue to do so until the show ends or Nicola Coughlan pronounces she's done (and hopefully the two will coincide.)

[witchofthemidlands]

honestly bless agatha all along for being completely & unapologetically lgbtq+, the main titular character is attracted to women & has a complex, well written wlw relationship that has so much tension, so much glorious history that we haven’t even seen the entirety of yet, another main character is a gay teen with a (off screen for now???) boyfriend & characters fluid with their sexuality “do i hate her, or do i want her phone number?” ~ (the gorgeous) jen. this is a show young teen me could have only dreamt of seeing when i was questioning my sexuality & trying to deny i was a lesbian, so it makes me so happy to think that lgbtq+ teenagers are getting to grow up with a show like this (& shows like heartstopper) to watch agatha all along is a show that gives me hope for the future of mainstream shows having multiple & main lgbtq+ characters that the stories revolve around because i remember being told by someone in my family when i was sharing the details of the novels i was writing, that it was “unrealistic” not because of the ghosts, the demons & the post apocalyptic nature, no, apparently it was “unrealistic” & probably “wouldn't sell” because it had “too many lgbtq+ characters” so i, as a lesbian, am really grateful for agatha all along because it gives me hope that maybe one day my own writing could be successful regardless of the amount of characters i have that identify as lgbtq+

[metalichotchoco]

Honestly what I’d like to see in more ihnmaims media if we ever get any is the relationships between survivors, here’s my take, picking and choosing from each version of canon.

Ellen is the most stable so her relationships will be saved for another part

In the triangle that is ted, Gorrister and Benny it’s a vicious cycle

Ted and Benny have a complicated mutual hate towards one another they both play to their most deep insecurities. Ted already believes that everyone hates him due to being “better” or not broken the way they’ve been so it’s not hard for him to antagonize people anyways. For Benny’s part ted provokes his complexes about sexuality, animalisticness and the difference between the weak and strong. For as much as ted is a lying narcissistic criminal, he’s shameless about it, about his nature he cares about the consequences not the actions. Benny cannot own his actions at all, there’s a disconnect between the educated, handsome former general and professor and the aggressive,almost feral war criminal he is. Ted is very self centered but doesn’t handle slights to his ego well, Benny in his non mutated form is much more successful and traditionally attractive than him. God he even deludes himself into thinking am changed Benny’s “size” in the book. Both of their moralities are twisted and it’s not hard to imagine them being snippy when they both have the mind to think properly. They are also coincidentally am’s favorite victims.

I do think it would be in character for both of them to make snide remarks about gorrister’s former hippie status, he’d be seen as an extreme liberal since this book takes its characters from the dawn of the Cold War, just after ww2. Most of Benny’s pride and identity came from being in the military so that’s obvious to see how that’d pan out, whereas ted seems like the type to not care about politics unless it directly relates to him. His problems come from the idea of people not centering their lives around money or power.

Individually there’s some fun dynamics to be had. Ted in general would think gorrister is a bore. For a person who likes stories, ted finds non fiction exhausting. Gorrister likes talking about history and politics even though his spark has faded out. It’s a bit funny that Ted believes am has changed Gorrister too despite his symptoms sounding much more like being worn out and becoming depressed. It’s not like he’d really consider that a real condition though. Gorrister just finds ted to be a bit annoying. An attention seeker but he figures ted was always just a weird kind of guy.

Gorrister is mostly ambivalent to his forever roommates, though he would consider Benny a war dog past his prime. A key example of what happens to soliders, men forced to kill and then given power. Then as soon as it’s given, it’s taken away and you’re left with an unstable pitiable person. How could they go back to living a normal life after that. With am being a literal war machine made by the government Benny put so much trust in, he finds it poetic in a sober way. Benny finds Gorrister very confusing, he never understood protesters before anyways. He would’ve found him preachy if he had met him beforehand. Gorrister does threaten his masculinity though, like ted he’s a brand that’s not the ultra traditional that he’s built himself around. Gorrister freely admits that he’s had queer experiences while still carrying a traditional masculine job, a truck driver. He can’t be put into that stereotypical box that’s nice and safe for Benny. It’s also good to mention that Benny is soothed by gorrister’s stories even if in that scene he wasn’t fully there.

Both ted and Gorrister see the clear closet case that is Benny but they don’t act on that knowledge. Both of them believe that being a solider sucks but for different reasons. Ted thinks it’s for suckers who get caught up in manipulation tactics going on about morals. Gorrister also believes they are manipulated but also sees the horrors of war as that, horrors. Basically he takes a more empathic view. Gorrister and Benny both agree that Ted is annoying but not in the way ted himself thinks everyone hates him. He’s very loud and shows off his now eternal youth. They are not even sure if the man did or did not graduate college. Gorrister doesn’t mind breaking laws but he does care about people’s wellbeing whereas Benny’s stricter about following the script but he’s done worse so he doesn’t have room to talk.

[poisonheiress]

Vivziepop's ability to decay any women and fem-aligned characters she creates has always haunted Helluva Boss, and as a result, limits them to being one dimensional characters that fall into a "with them or against them" mentality when it comes to her male characters; they only exists to prop up other (male) characters or to serve as morally bankrupt villains.

From Verosika to Stella to Loona and Millie, this trend is clear from the beginning of the show and likely will follow it to the end. However, for this post I will discuss the recent victims of this trend: the lovely Glitz and Glam.

To be honest, I adore Glitz and Glam (to the point of writing fan fiction for them) and they have become my favorite characters in the entire show so this discussion will show some bias towards them. While some may say its too early for this call as they will be seen again, but from what I've seen on twitter from fans and even creators of their song alike, I do not have the hope this will occur.

From the beginning, Glitz and Glam are looked down on for their desire to win and for doing anything they can to get that position. When confronted with Fizz's kind words of support, they look down on him and further emphasize how they are going to win against him even gaining the title of "snatches" and "sluts" by Blitzo. From this moment forward, its clear the narrative doesn't want us to look kindly upon the sisters. After all, they are being "bitches" to Fizzarolli and competing against him in a manner that pushes him further and further into a breakdown. The fact that Fizz's relationship with Mammon and self esteem issues are not their fault is shown as irrelevant to both the audience and their creators.

This isn't made better by their song writers' commentary on twitter on how the glam sisters are perverting the true nature of clowning and that their song shows how they are simply wanting to get Mammon's attention by feeding into the financial and sexual exploitation (even saying that they want this to happen). This commentary solidifies the idea that they are not someone we should root for especially since they are allying themselves with Mammon, a horrific, abusive asshole.

While I expect this level of dismissal and honestly misogynistic writing from Helluva boss, I can't help but be extremely agitated by it and the reason why was made clear recently: the narrative acts as if the Glam sisters are doing this for out of selfish desire alone, as if they are terrorizing Fizz for no good reason. But that's simply not true, and even Vivzie's canon supports me here.

The Glam sisters are hellborn demons, only one rank higher than the imps. This means that while they may be treated better, they still are not treated as full citizens like sinners are, and in a dog eat dog world like Hell, kindness is not something they can afford.

Getting this position with Mammon is a life changing deal, something Fizz is proof of. Yes, it is as exploitative as it is lucrative for the individual, but this is Hell (as Vivzie likes to claim) and opportunities like this are something many would die and kill for.

So at the end of the day, I cannot help but be confused why the narrative punishes and looks down on Glitz and Glam for taking some crumb of control back from the system and accepting their objectification with open arms as long as they are rightly compensated for it. Why does even their (albeit catchy) song look down on them for doing whatever it takes to survive in Hell? After all, they would be exploited anyway, right? It's what Hell lives on.

In a class system like Vivzie claims to have, the glam sisters are a prime example of the kind of oppressed vs oppressed the system creates, but instead of trying to understand them or even see them as morally complex, they are simply the slutty female antagonists who are corrupting the sanctity of hell clowns simply because they don't clown for the sake of clowning. Whatever complexity they could have, even if it is beneficial to the entirety of the show, is worthless compared to their narrative propping for Vivzie's favored characters. But it doesn't surprise me. After all, what else is a women is Helluva Boss good for if not to support the main male cast.

[lurkingshan]

Unknown Episode 11

Well, let me get this out of the way upfront. This episode brought us to the big moment we've all been waiting for, the final turn in Yuan and Qian's relationship--and unfortunately, it didn't quite land.

I've been sitting with this episode, contemplating my disappointment with the first sequence, and I think it comes down to this show that has been so assured and confident through most of its run faltering at the crucial moment and seeming to lose faith in its own storytelling to the point that it used editing tricks to compensate. The choice to chop up and sequence this narrative lynchpin of a scene out of order is baffling, and it's a choice that significantly stepped on the most important emotional climax of the story. I was confused to go from the conversation outside to a sudden kiss, then disappointed when we cut back to a very short exchange between Qian and Yuan that was supposed to provide the basis for this turn with only some thin dialogue that didn't connect the beats of the scene, and then into an intense sexual encounter (that was constantly interrupted by repetitive flashbacks) that should have felt like a triumphant and revelatory moment but didn't because of the way we got there.

I know I'm not the only one feeling that way, since folks have been creating and distributing reedited versions of the scene, and Youku actually uploaded a new version free on YouTube with all the flashbacks removed (a clear move toward fan appeasement after the show received a lot of negative feedback on the scene). The editing and the flashbacks were annoying, but honestly the fundamental problem was the scene they wrote did not sufficiently sell the change for Qian--he goes from saying he is still not certain what he wants to being ready to be dicked down in a couple minutes' time, with nothing in the exchange providing any new information or impetus for the shift. The performers did great work but unfortunately the writing and directing and editing decisions around this sequence were just bad; it's frustrating for this to happen with arguably the most important scene of the romance.

A note about the novel: the way this final turn happened there was quite different and, candidly, better in just about every way, from the impetus for the change to the beats of the revelation to the progression of physical intimacy on a pace that felt much more attuned to the emotional complexities at play. I do not know why the show did...this when they had better source material content to work with, but here we are. I absolutely recommend that anyone who loves this show read it!

So, with that disappointment expressed, on to the rest of the episode, in which Yuan and Qian settled into their couple era. I was deeply amused by Qian taking to their sex life like a moth to a flame to the point of daydreaming in meetings, but I do wish the episode had focused more on the natural tension and role confusion that should have resulted from this huge shift in their relationship. They touched on that a bit in the scene where Yuan asked Qian if his hug was from his brother or his boyfriend, but they didn't delve into those complexities in the way I hoped they would. I enjoyed their date at the local restaurant (and loved their friendly neighborhood gangster helping to set the mood) and how much it felt like they were surrounded by their history as they moved through all of these familiar locations where they've had important moments. I didn't much care for the insertion of the health scare plot or the time spent on Le and the doc, though I'm always happy for more Sam Lin even if it comes in the form of a weird late stage and wholly unnecessary ship.

My favorite scene between Yuan and Qian in this episode was far and away the discussion on the stairs with Qian reflecting on his fears of becoming more like his mother and Yuan biting him to snap him out of his fatalistic attitude (this felt like such a classic Priest tribute, she always has biting in her romances). It was a helpful re-centering of what they do for each other and why Yuan is an important presence in Qian's life. I didn't think we needed the health scare for Qian, but I did love Qian choosing to go to this place where he found Yuan to contemplate his life and what matters, with Yuan in turn reflecting that even though he's seen a lot more of the world now, he still prefers to come home to this street. I found that exchange so moving and I think it was important for Qian to hear that.

And that scene led to my other favorite thing in this episode, which was everything to do with Lili and her bond with her brothers. I teared up to see her standing against the wall where Qian has measured their growth talking about the sneaky ways she would try to care for Qian when they were younger, with San Pang listening attentively and gazing at her adoringly. It was such a small moment, but a really lovely window into their relationship dynamic and the shared history they also have together. And when Yuan and Qian came in hand in hand and she just ran to them and offered up her love and acceptance, I felt so much warmth for this family and everything they've survived together.

[gwenllian-in-the-abbey]

Hi! thoughts on Alicole? I won’t lie not a fan + it’s character assassination to make Alicent a hypocrite in regards to Rhaenyra. I will still be an Alicent fan after but c’mon we know why that scene was added and it was not to benefit the Green faction.

To be honest anon, it doesn't bother me that much? At least I'm willing to see how it plays out. I can see a lot of reasons why Alicent, who was a child bride at 14 and who has never experienced consensual or enjoyable sex, might turn to Cole now that she is a widow. As someone who was primarily a book reader first, show enjoyer second, I was not as attached to Rhaenicent as a ship as some people were, so that probably influences my view. That's a relationship I always viewed as something that would always remain subtextual, and Alicole happening doesn't influence my feelings about that. Alicent has not really explored her sexuality at all, she sort of shut it down at age 14, and it makes sense to me that she might have this period of awakening now that she is free from Viserys. I'm certain that she and Cole are going to have a lot of guilt about it, and that it will probably drive conflict within the green faction going forward, and that Olivia Cooke will act her heart out. It's sure to be messy and for that reason I'll give it a chance.

As for hypocrisy, just keep in mind, being a hypocrite doesn't make a person wrong! Hypocrites are annoying, but arguing that someone is a hypocrite is an attack on the person making the argument, not the argument itself. If I am cheating on my spouse and tell you cheating on your spouse is bad and you shouldn't do it, I'm a hypocrite, but I'm not wrong about cheating on your spouse. And besides, team black fans have been saying since season 1 ended that Rhaenyra should be able to sleep with whoever she wants even while married to Laenor, so what is the problem with Alicent sleeping with someone consensually in her widowhood? If it should be a problem for anyone it should be a problem for Cole, who is breaking his vows. Alicent also isn't putting illegitimate children in the line of succession, which is the actual problem with Rhaenyra's affair with Harwin, not the sex itself. And honestly, hypocrisy is really the least of anyone's problems in the Dance. We're getting to the part of the Dance where small children get murdered, cities get razed, and hundreds of women are carted off by reavers, among other atrocities. Hypocrisy is the least of anyone's problems.

I'll also say this. One of the few early criticisms of S2 is that it seems like team green has most of the juicy storylines and more complex characters, and team black's storyline is kind of bland by comparison. Now, fans of the greens have been saying this for two years now, and mostly agreeing that it's a good thing. I don't know about anyone else, but if I'm watching a show, above all I want to watch quality television. Of course, I want team green to be presented fairly, but I don't think watching with mind to how many discourse points you'll have to cede to team black or vice versa is really going to be a satisfying or enjoyable way of approaching the show. So watch the episodes and decide if the decisions are in-character, serve the narrative, make sense, and improve upon the source material, rather than judging based on whether or not you'll have to fight with clowns online who will call Alicent a hypocrite.

[chaifootsteps]

A little sympathy for stoliz shippers today.

They’ve become a little, cornered. And denial is hitting them like a wall.

I sense a bit of a persecution complex…believing that “antis” are creating “completely untrue” allegations that the plotline was actually sexual assault and a romanticised depiction of an abusive relationship all along. So they block all of these people and call them “bigoted antis” since they can’t make actual points other than “well vivzie said it’s endgame so.” Or “your media literacy bad mine good” “just say you don’t like complex characters!!” “Stolas can change!” “Viv wouldn’t do that!”

One stolitz stan said antis and haters make all of this up “out of nowhere” all because they want to make vivzie, her show, and her fans all look bad. -> would love your opinion on this strange allegation. But to me it seems like a lot of guilt.

They say sinsmas is their last saving grace from a deep depression…so how are they gonna feel when stolas runs out of blitzs arms and says to Octavia “you have been the only good thing in my life” in front of him? When there’s a Vassago love triangle or a fizz love triangle? Not to mention, she apparently said "stolitz shippers will have to wait until the end of season 4."

After the coming Trump presidency ends.

Honestly, I don't think you're wrong. I think this is a big part of it, and that it's sad fandom culture has come to this.

Stolitz shippers (and all shippers), if you feel that canon is making a horrifying shitshow of your beloved comfort ship, you don't have to stop liking it and you don't have to try and rewrite reality either. It's okay to just rewrite the ship. That's the point of fandom.