#i hope this one makes sense as well

[jeniffercheck]

interested in ALL your thoughts on the Sexualization of Shiv Roy™️ if you have any to share

So many & it's kind of conflicting at times so I really hope this all makes sense!!! I have been caught in 4k before saying that I adore how the character of Shiv Roy was handled within the writing of the show, I do really think they hit the nail on the head of how a woman like her, in that specific position, would be treated from every angle, even including and bleeding out into to how the audience is supposed to receive and perceive her (very very expectedly polarizing!!!).

So for context for all of this: one of the main things I appreciate about Shiv is how fully realized she is in comparison to her male counterparts (as in, she is just as realized as the rest of them are). Obviously a lot of people who watch the show like to pretend that she's one dimensional (and think the writers missed the mark in some aspects which I can understand those points of view even if I don't always agree, but there is always room for improvement in writing female characters 100% although Shiv is not a standard female character -- she is in many ways, acting and appealing to men), but I honestly do feel like it's safe to say (in that there is evidence to back it up) that we see so much of Shiv's personal character that is wholeheartedly NOT defined by the men on the show (her career ambitions, her sexuality(!!!), her complex thoughts about motherhood, her liberal values, the morally corrupt things she does despite those values, how mean and selfish she is, how she obviously just wants so badly to be loved, etc.) BUT (huge but), at the same time, Shiv's role on the show and her story arcs are so heavily centered around the male characters that most of her character motives & drive ARE defined by the men. Every single thing she does in that show is to win over the support of a giant group of men (starting in s2, but i will get into this)!!

[This is not always in a bad way to me, I think characters like Shiv, Gerri, & Karolina are purposefully portrayed how many women feel in real life, which is that they always have to try harder than their male counterparts to get a fraction of the credit, and there's always a risk of being undermined or overlooked (Roman betraying Gerri --more to that obviously as well-- & Hugo aiming to get Karolina fired -- more to that as well but u get the picture). We see this with Shiv most often; as hard as she tries, Roman and especially Kendall will always land higher on the rung than her (final lesson is her sitting in that car with tom).]

This is where the sexualization of Shiv Roy gets a little contradictory for me, because at certain points in the show I do have difficulty placing her motives and other times I do think it’s a really important part of her character! For added context, Roman’s sexualization is very important to me here because I think it's good to remember that from the very start of the show Shiv wasn't the ONLY character being sexualized; obviously a lot of Roman's motives are centered around his difficulties having traditional sex, and we even get some early suggestive sex from Kendall and Rava although I think that scene is pretty gratuitous (the staircase scene????? I mean I guess we know why rava fell for him<33 and the hospital boner<3) BUT I think for me, Season 1 is the only time where I think Shiv's sexuality is MAINLY (not only, but mainly) gratuitous. I think ShivNate on its own was a very good set up and introduction to Shiv's promiscuity and her inclination towards cheating/non-monogamy, but a lot of her motives and plot in that season went specifically towards all of the cheating, and by extension, sex, with Nate and the growing festering smothering feeling of being with Tom, and it is a time in the show where I felt like she seemed more like a sex object than a true competitor in the 'succession.'

Season 2, I take a lot differently. I think once she's inserted into the game completely, the playing field kind of evens out in a sense. They also stop with the suggestive scenes for the most part, and while I do believe that is in part due to the tonal shift, I think it's also uniquely fitting for Shiv's character coming into a new season. A season where she arrives with a new husband, a second season big chop (VERY professional haircut compared to s1), an updated wardrobe, and receives a brand new role in the family structure, I do play with the idea that they obviously could have kept in a lot of the same suggestive scenes that had in Season 1, yet chose not to, which in part I think has to do with Shiv becoming a 'serious person.'

One of the most interesting parts about this aspect, is that the sexualization of Shiv Roy from OTHER CHARACTERS does not end!!! The filmmakers themselves lay off on the blatant stuff (save for s2 ass shot you'll always be famous) -- Season 2 is Shiv's big season and they really start to tell her nuances and her wants and we learn so much more about her than we had in s1, yet the characters within the show, the people she's surrounded by, still don't treat her any differently!! She's a slut, she's a cheater, she's cucking Tom, she's giving a speech so let's blast 'rape me', we're caught in a sex scandal so let's use her!!! Shiv Roy is still an object!! She is a woman she is an object!!

That, is what I find most brilliant about the writing. All of Season 1 was spent showing Shiv as all of the things men fear in a woman; abrasiveness, confident, sexy, smart, willing to cheat, and many many viewers bought into this. These viewers took s1 Shiv and placed her into a box and that's all she ever was from s1 to the very last second of s4, which is exactlyyyyy how the characters in the show treated her. Her tonal shift in s2 did not matter to them, she was never fit for anything she tried for. Never. They could not fit Shiv inside their heads, which like....,,,,,,,,,,,,,,she says it to you !! She says it to everyone, the characters, to the viewers,,,,,,,,,,,,,like........amazing and why I am so enamored with her and with the writing. She is so real and so many women feel this way. She knows she's sexy too, and couldn't even use with someone like her husband who just saw her as a vending machine for an heir (gee Tom why do you think she strayed....was it the period tracking???). now i'm just going to rant so i'll stop<3333

[egophiliac]

still ruminating over Lost In the Book With Spooky Skeletons Part 1, so here's a selection of some of my favorite little bits! (...some more loosely paraphrased than others) (I just feel like Idia has no room to criticize in general, okay)

anyway, I'm sure we're just going to have a fun time celebrating Halloween and nothing bad is going to happen whatsoever! :)

[xxplastic-cubexx]

brain please wake up and draw

bonus :

[ochiody]

i think than would be claustrophobic

[haveihitanerve]

batman has trouble telling his family how he feels. So he decides he can write it down in a journal or leave them notes. It's easy to write down the words than say them because the words he wants to say always get lost in translation when he opens his mouth. Dickie when he was robin has a whole box filled with notes from Bruce. Turns out batman can be funny when he writes his thoughts down. Jason writes back to Bruce just as sassy.

i love this

With Dick, the first note appeared after the first fight. A nasty fight, where Dick had screamed

"YOU'RE NOT MY DAD, WHY DO YOU EVEN CARE, I DON'T HAVE TO LISTEN TO YOU!!!!"

Bruce had gone quiet after the words, and isolated himself away. Dick had felt crummy afterwards, but there wasn't much to do about it, Bruce wasn't around to apologize to and... well, it was true. The screams had just been... inner thoughts he hadn't voiced.

Bruce knew it too. And, it shouldn't have to be up to Dick to make amends. So he withdrew to his office, locked it tight, so that he wouldn't say words he'd regret and make things worse with Dick.

The first few drafts... were hard. But Bruce found his rhythm, and it was so much better. He could erase and start again, and reword, and clear up any parts that weren't clear. He could be concise, precise, honest and literate, he didn't have to stumble and rip his way through an uncomfortable conversation where he'd make things worse.

Dick found the note later that night, laying on his pillow, three pages worth of words that told him he was loved, whether or not he wanted Bruce to be his dad, he could just remain a friend, a brother if he wanted, and that he cared, even if it wasn't always shown, even if it wasn't as a father.

Bruce established boundaries, and apologized too, because it was needed, and it was so much easier to say what he needed to through written words, instead of admitting them aloud. Maybe it made him a coward, it made him a coward, but the next morning Dick hugged him and apologized back, so it worked.

The notes became frequent from then on, usually after fights, or misunderstandings, and Dick understood the need, knew that Bruce wasn't as able to concisely share his thoughts and formulate them as well on the spot aloud, so he let it happen, but soon they became more commonplace, left on chimneys on patrol for Dick to find, little love notes and encouraging words that Bruce became better at saying aloud too.

Dick kept each one, tucking them safely into his belt, and kept them in a box in his closet, one he had made at school with Bruce during a parent-child fun day, and pulled them out to read every so often, when things between them got hard.

The box moved with him, stuffed in the closet at Bludhaven, and postage was expensive, travel even more so, but Bruce still sent him letters, apologies Dick didn't open, notes taped to his window he tossed away (still into a pile he never threw out, but never read either).

When things got better, Dick would read the notes, but he never touched the letters from before, because for once he needed the words from Bruce's lips, and he had liked Bruce's stumbling, his faltering and chagrin, and did not want to read his well thought out, thorough one instead. He still kept the notes, of course.

With Barbara.... Bruce didn't have a claim to her. She wasn't his daughter. She wasn't looking for a father. She wasn't, quite honestly, even looking for a mentor. But she found one in him anyway, whether either of them liked it or not.

But Bruce still sent her notes. Little letters, facts, information, telling her through a note was easier than in person. Because then he could lay it all out, and maybe she'd see something he'd missed. Because she always did. She completed him, in a way none of the other did. In a way even Dick didn't. But, then again, they all completed him in different ways. Hers was just more noticeable.

After Joker... every day he wrote to her, flooding her phone with messages, her laptop with emails, her room with cards and flowers and notes.

And when she moved to the Clock Tower it didn't stop, maybe slowed a little, became smaller in quantity, but he always sent her something. Let her check over his work, proofread anything and everything. His fresh set of eyes.

She wrote back, sometimes. But she was more like Dick in that regard, choosing to answer his messages verbally rather than write back. She did have the perfect time to do it too, and she always had something to say.

Barbara never struggled with her words the way he did. And he appreciated it. Loved it, even. Even if it usually didn't mean anything good for him...

With Jason... Bruce hadn't done it, originally, because Jason was just so bright, and understood, and didn't need the words because he heard them because Bruce was better, all the mistakes he'd made with Dick cleaned up a bit.

But Jason needed the words, and he had such a spark, so Bruce began writing again, sliding notes under his son's door and leaving them taped around the house, or on patrol. And Jason, Jason wrote back.

Little witty notes, marked up Bruce letters with grammar corrections, book recommendations, questions about what they were eating for dinner, or little stories, scrawled in the margins of notebook paper, stuck to Bruce's cape, or on his pillow, or taped to his mirror.

Bruce still wrote the letters, left them in Jason's room, after his death. Red Hood never mentioned it, but after a trip to the manor to "haunt" them, he became a little less violent.

With Tim, Bruce was ashamed to admit, he just didn't care. He didn't care that Tim winced at his words, he didn't care if he was misunderstood, he didn't care if he neglected the boy.

And it hurt, Bruce knew it hurt him, but he just didn't care, couldn't bring himself to, not when Tim was so much like the boy he'd lost, not when Tim was so different.

But Tim started writing letters, originally just for himself, begging for affection, begging for his parents to love him, begging for Bruce to notice him. Then the notes got angry, rants, screaming, slashes across the page, pencil marks that tore paper and dug groves into the table.

He kept them all to himself, waded up in the corner of his room, but Bruce found them, found them all, and he hated himself, hated the Drakes, but he couldn't even fault them because he, oh he was much worse. (no he wasn't the Drakes owed Tim love and affection those were his parents and a child deserves that from his parents Bruce tech didn't owe him anything but shiii he was awful and-)

So Bruce started writing again, answering all of Tim's pleas, cataloging every single movement and jump and case and file and everything Tim had ever done right and congratulating him, giving him pride Bruce wasn't even sure he was allowed to give anymore, and he apologized, begged for forgiveness, for a chance to start over, because he was better now, Tim had made him better, and he wanted... he wanted to be better. For Tim.

In the end the note was twenty three pages long, and ended with the simple phrase, "I love you, you are my Robin, and I'm so sorry"

Tim was at school, so Bruce left it on his bed, and shut himself away in the cave until he got home. He always stopped by his room first, tidying everything up, because he was only a "guest" and all, before heading down to the cave.

Bruce waited for two hours. When Tim finally came into the cave, his eyes were red, tears still falling down his face.

"Oh Timmy," Bruce breathed. "I'm so so sorry." Tim walked to him, and collapsed in his arms.

And from then on, things were better. Not perfect, nothing to do with Bruce's personal life was perfect, but it was better. It was good. And Bruce started sending notes. Slowly, they turned from letters into emails, into texts and shared google docs. So Tim would have evidence in his favored form, of Bruce's love.

With Stephanie... things were different. She didn't live at the manor. She had a father, albeit a bad one, and Bruce didn't want to give her another one of those.

But he still left her notes, information, or clues, things that gave her autonomy for a bit, let her work still "alone" as Spoiler, but kept her connected to him. To Robin. And when she died...

Bruce gave every letter to Leslie. Not because he knew, exactly, but because he knew she was closer to Stephanie, and he couldn't have them at home. Couldn't look at them.

Leslie gave every one to Steph. Who read them. Sometimes. Enough times that when she came back, she wasn't as hard on Bruce. Enough times that she let him hug her. And came over for dinner. And never regretted being Robin. Enough times to admit she loved him too. And that he would never be her father. Because at his core, he was a good person, and Arthur Brown was not that.

With Cassandra, Bruce didn't write letters. Not only because Cass couldn't read, but because she could read him. And no words were necessary. For once, he could love someone in silence.

With Damian, words came easier, somehow. Maybe because Damian needed words, needed the commands to be spoken aloud, needed the reprimand or the praise. He needed the tone, couldn't weed it out of what Bruce had written like the others, needed the verbal confirmation or denial.

Bruce needed the words to. To tell his son it was alright to mess up, to make mistakes. He needed to words to reassure his son that harsh language was the extent of what he was going to get. That punishment wasn't physical in their world. In his home.

He wrote Damian letters too, of course, in the case his youngest might feel excluded, but usually only at special occasions, a card for his birthday, or a quick poem to brighten his day.

And words... words came easier now. After so many. It was easier to tell Damian what he needed, aloud as well as on paper. It was easier to speak, to not stumble over his words, to praise and apologize. A good thing too, because Damian needed it. And maybe... maybe Bruce did too.

[mossy-aro]

ultimately i think my insistence on aro positivity honestly is as much a political stance as a personal one.

when i say aro positivity is crucial and that i dislike doomer-ist posts that express sentiments like 'I hate being aro so much I wish I was dead instead’ it's not because I don’t think there can and should be a space for negativity and acknowledging self-hate, or the many ways being aromantic can really suck sometimes. i find that to be very important!

that being said. there is smth here about how self-hate posts are sometimes just arophobia that we inflict on ourselves. and when we put that out into the ether it (intentionally or not) can become arophobia that we inflict on other members of the community. i think there absolutely needs to be a place for negativity and the expression of anger and frustration and self loathing even - these are all good things to talk about because these are things that we experience. that being said, it can also be genuinely upsetting and triggering to people to have what is essentially arophobia shown to them and then have that be validated by other aspec people. your personal thoughts can affect your wider community on a level you may not anticipate. and i understand it i truly do! it took me so long to be able to recover from accepting being aroace - it threw my entire world off kilter and made me question everything about my place in the world.

but my insistence on aro joy and positivity is because ultimately i do believe that building is at the core essence of it all. that ultimately discussions and the purpose of community should be about construction, not destruction. and this is both a personal and a political stance. talking about how much you hate yourself and cultivating online discussions/spaces where negativity about aspec identity is the main and only theme is destructive - if that’s where we let the conversation end. these thoughts can and should be used as a vehicle to look for a path forward!

joy and positivity create a space where the focus can become on forging a path forward, on construction, on community building instead of tearing ourselves and others down with negative thoughts. it’s not productive or healthy when it stops at a place of negativity - it becomes actively destructive to the essence of community.

and i do think that this is especially poignant considering the fact that being any kind of queer, but especially aromantic (and/or asexual) means forging a path for yourself and making your own happiness where there is no obvious way forward. our communities exist mostly online (right now, anyway), there is little recognition of our existence in the real world, the effects of amatonormativity are both pervasive and actively dehumanising, and there are legal, economic and social structures in place actively making our lives more difficult. yes that all sucks! it’s good to acknowledge that. we need to in order to change it. but more importantly, that’s not the end. we are still here and our happiness, our future is for us to determine. even if we can’t change the laws or society, loving yourself and understanding aromanticism as a political identity (as well as personal), as a radical worldview, and as a protest against amatonormativity is essential for both community and personal well being. the personal is political.

tldr. i guess my point is that as a community, we should focus on building, improving, and nurturing ourselves and each other (construction) as opposed to destruction. we should recognise aromanticism and asexuality as political identities as well as personal ones and rely on community and self-love in the absence of anything else as a form of protest and political power. destruction (the recognition of everything that is wrong) is essential as a starting point - but where do we go from there? we rebuild.

[poorly-drawn-mdzs]

My Lawyer is going to Get Your Ass.

[First] Prev <–-> Next

[chappellcastiel]

The envy Arthur and Lancelot would have had for each other must have been insane.

Because Merlin is secretive with Lancelot. He tells him things he would never tell Arthur, he opens up to him and Arthur knows he can never have that trust. Never have that closeness not while he’s king and Merlin a servant.

But to Lancelot he’s been secretive about protecting Arthur. It all resolves around Arthur, opening up about protecting Arthur, giggling over using magic to please Arthur. Lancelot knows it will never be him on the other side of the devotion not like this.

just like he will never be Gwen’s because she loved him once yes but at the end of the day it’s Arthur she chooses.

and in Arthur’s eyes Lancelot is Gwen’s first love will always be known as such and will always be looked at as such even if she loves him she loved Lancelot first and Arthur can’t help but think if she could have him she would.

Anyway I’m so sane about them and at the end of the day how they still understand why it’s like this because they would choose the other as well.

[storytellering]

Torn apart. Inspired by Romeo and Juliet by Sergio Cupido

[pestercide]

Decided to revisit my Minecraft spooky guy designs

Old designs here

[wired-heartbeats]

For the record I think Vox is being effected and possibly swayed by Val’s poison just like Angel is, the pink signifying it on Angel shows up on Voxs screen during and after interacting and being influenced by Val directly, when Vox is operating independently it isn’t an actual normal feature of his

This paired with an earlier moment from episode 2 when Val first mentioned something had happened with Angel Dust, Vox seemed happy about the idea of Angel quitting

“He quit? :D”

It’s interesting for sure, makes me wonder what Vox actually thinks about Angel, and more importantly, actually thinks about Valentino. He’s a business man, and clearly the Vees all teamed up (at least initially) because it helps elevate their status and power spread, they may be friendly with each other but we as an audience don’t actually know if there’s more to it as of now. But still, interesting

[formulanni]

Genuinely Williams switching Logan out for Franco feels personal and petty. I haven’t been following f2 super closely this year but from what I’ve seen Franco is just.. fine? I mean, he’s good, but he’s not Kimi or Paul. To replace Logan at this point would only make sense if they swapped him for someone with loads more experience, someone more likely to score points. At this point they’re swapping him for someone who’s probably gonna have his same level of performance, if not worse. It just feels almost petty? It’s like a weirdly personal move and it just makes me think about all of the reports of JV’s alleged mistreatment and silent treatment towards Logan.

[flowerakatsuka]

" just know that i'm always here for you, okay? "

i'm finally finishing up my s2 rewatch and getting to the 24th episode awoke a beast in me. so i wanted to make a fake screenshot based on some of their lore that takes place during that episode. i think they'd end up having a heart-to-heart moment since kuroba went through similar struggles after their grandfather's own hospitalization...

also have a bonus doodle bc i need to even out the balance between serious & goofy with these two.

[a-loose-collection-of-ants]

A true and 100% historically accurate account of Hamilton's first meeting with Andre

+ Bonus Lafayette

[tapestryundone]

constantly thinking abt the long quiet and the shifting mound and their relationship w humanity. because the two are very much not mortal and even in the what happens next ending its very ambiguous if they ever WILL be or Can be. but even still they have both felt what its like to be mortal

i feel like its vague if the entity the two used to be even percieved its own existence. the way the narrator talks about it makes it seem like the two only existed conceptually and as a result lacked a complete sense of identity, and didnt need to, and wouldnt want to. but in the same way a thought cannot be unthought, the narrator gave them a glimpse into what it felt like to be mortal and the two can never un-know it, even if it wasnt exactly the same

the long quiet in particular seems especially tied to humanity and in some aspects seems to want to BE human (which feels so potent given how decidedly Not human he is). the game tends to imply that every option you get is a thought he DOES have, and in the spaces between, the choices dont seem as influenced by a given voice, which highlights even more how much he feels conflicted on his own nature that he gets Multiple options to express discomfort with himself being a god

it just gets to me how one of the options during the fight is literally "appeal to your shared humanity". because even if the two are gods, their separation and reshaping has given them humanity that they can never un-feel. for how much the shifting mound grieves what she once was, she cannot will her humanity away. shes mourning what the two of them once was and is desperate to have it back at any cost, even though they can never be together how they once were.

even if the long quiet goes with her, theyre still apart and lack balance, because the two once just Were and werent two parts. they werent both halves, they werent two concepts, they were just one concept that happened to, by human eyes, consist of two halves. and the narrators insertion of humanity into the mix in order to separate them, separating them into concepts that humans understood, manually put into existence a struggle for equilibrium where that balance had simply Existed

but theyve already perceived what felt like reality and can never un-see it. they were separated and Need the other to feel whole and for reality to BE whole but the moment that either of them realized their own free will, the moment the two fully came to feel like people, they could never be together the same way once again

im struggling to come up with a metaphor that isnt silly but its like if you took a piece of fabric and cut it in two and made them both into shirts. youve added a piece of humanity into them and doing so cost its original form. to take them apart and try to put them back together would never get you the original, whole piece of fabric back, because theyve been completely changed by their own unique destruction and reconstruction

they were separated in a way that gave them humanity that they have such conflicting feelings on. both seem to have a deep love of humanity but vastly different ideas on what humanity needs to thrive, because its in their natures

in order to get one to kill the other the narrator let the long quiet interpret the both of them as mortal. and for a being of perception and an god thats being lied to, this became part of their limited view of the world, on top of all the other reasons that the two gained humanity. the long quiet couldnt be told what to do if he didnt have the ability to potentially act on the narrators desires, and the shifting mound could never die if the long quiet didnt believe her to be capable of death

the narrator gave the two humanity and the shifting mound is very reasonably distressed by this. because the two of them never asked for this but they cant undo it. it is her OWN subtle desire for things to be the same as they used to be, her own piece of that stagnation that also led to her experiencing humanity, that makes her so adamant during the fight. she misses the long quiet and wants to undo a change that cannot be undone in search of a constant state of being that was taken from her

and the long quiet felt so closely tied to mortality, both its existence and absence, that no matter what, he wants to aid humanity. but hes been lied to and denied autonomy to the point where he doesnt know what that entails. but he wants to be a part of it. he was given fake mortality and cant seem to figure out how he feels

the shifting mound is set in how she feels it best to aid in the existence of life. she is stagnant in her feelings because its all that feels right to her. the long quiet is ever-shifting in how he feels it best to aid in the existence of life. he is changing in his feelings because its all that feels right to him

getting to the heart of the shifting mound allows them a moment to discuss it as the closest they can get to mortals. the two care about their impact on life and what it means to be alive and what better way for the two of them to truly decide what they want to do about it, outside of the conflict thats been forced between them, than as the mortals they never were?

[commsroom]

as an extension of how hera reads as trans to me, hera/eiffel resonates with me specifically as a relationship between a trans woman and a cis man. loving hera requires eiffel to decentralize his own perspective in a way that ties into both his overall character arc and the themes of the show.

pop culture is baked into the dna of wolf 359, into eiffel’s worldview, and in how it builds off of a sci-fi savvy audience’s assumptions: common character types, plot beats, or dynamics, why would a real person behave this way? how would a real person react to that? eiffel is the “everyman” who assumes himself to be the default. hera is the “AI who is more human than a lot of humans,” but it doesn’t feel patronizing because it isn’t a learned or moral quality; she is a fundamentally human person who is routinely dehumanized and internalizes that.

eiffel/hera as a romance is compelling to me because there is a narrative precedent for some guy/AI or robot woman relationships in a way i think mirrors some attitudes about trans women: it’s a male power fantasy about a subclass of women, or it’s a cautionary tale, or it’s a deconstruction of a power fantasy that criticizes the way men treat women as subservient, as property. but what does that pop culture landscape mean in the context of desire? If you are a regular person, attracted to a regular person, who really does care for you and wants to do right by you, but is deeply saturated in these expectations? how do you navigate that?

I think that, in itself, is an aspect of communication worth exploring. sometimes you won’t get it. sometimes you can’t. and that’s not irreconcilable, either. it’s something wolf 359 is keenly aware of, and, crucially, always sides with hera on. eiffel screws up. he says insensitive things without meaning to. often, hera will call him out on it, and he will defer to her. in the one case where he notably doesn’t, the show calls attention to it and makes him reflect. it’s not a coincidence that the opening of shut up and listen has eiffel being particularly dismissive of hera - the microaggression of separating her from “men and women” and the insistence on using his preferred title over hers. there are things eiffel has just never considered before, and caring for hera the way he does means he has to consider them. he's never met someone like hera, but media has given him a lot of preconceptions about what people like her might be like.

there’s a whole other discussion to be had about the gender dynamics of wolf 359, even in the ways the show tries to avoid directly addressing them, and how sexual autonomy in particular can’t fully be disentangled from explorations of AI women. i don’t think eiffel fully recognizes what comments like “wind-up girl” imply, and the show is not prepared to reconcile with it, but it’s interesting to me. in the context of transness (and also considering hera’s disability, two things i think need to be discussed together), i think it’s worth discussing how hera’s self image is at odds with the way people perceive her, her disconnect from physicality, how she can’t be touched by conventional means, and the ways in which eiffel and hera manage to bridge that gap.

even the desire for embodiment, and the autonomy and type of intimacy that comes with it, means something different when it’s something she has to fight for, to acquire, to become accustomed to, rather than a circumstance of her birth. i suppose the reason i don’t care for half measures in discussions re: hera and embodiment is also because, to me, it is in many ways symbolically a discussion about medical transition, and the social fear of what’s “lost” in transition, whether or not those things were even desired in the first place.

hera’s relationship with eiffel is unquestionably the most supportive and equal one she has, but there are still privileges, freedoms, and abilities he has that she doesn’t, and he forgets that sometimes. he will never share her experiences, but he can choose to defer to her, to unlearn his pop culture biases and instead recognize the real person in front of him, and to use his own privilege as a shield to advocate for her. the point, to me - what’s meaningful about it - is that love isn’t about inherent understanding, it’s about willingness to listen, and to communicate. and that’s very much at the heart of the show.