#like her relationship is ass the whole narrative around it is ass

[lorddeathofmurdermountain]

Didn't Tomb Raider (the game) flip the whole stoic bit on its head but like, did it well? Like yes this situation is fucked I'd be freaking out too but Lara doesn't have TIME to freak out if she wants to live.

Or am I misremembering?

Anyway yeah at this point why do people even watch Netflix or any other paid streaming platform. Like bruh. Just. Get cable TV. Cable TV is good. Want more freedom of choice? The internet is chock full of free streaming sites. Pretty sure there are subreddits that even tell you which ones are safe. Best thing about them? They actually show good or popular stuff and don't refuse to stream stuff based on where you live or based on the political ideology the company has to abide by. Literally just "Here's [Show], enjoy :)"

Reasons why the Tomb Raider Netflix anime sucks.

[fuckyeahisawthat]

Fully prepared for this to be a minority position but I am deeply emotionally invested in Paul and Chani not getting back together in Dune Messiah. Not just because I love angst and tragedy (I do) but because I don't think there's a way to do it without undermining the narrative and character arcs that Dune Part Two executed so well.

Paul and Chani's relationship in the Villeneuve films exists on a totally different foundation from what's in the books. It's a political love story and you simply cannot separate out the politics from the romance. Their connection starts with the politics and the love is built on top of that.

It's not just that they happen to fall in love while fighting together in an anti-colonial guerrilla war; that is why she falls in love with him. Because he is willing to take the same risks as her in fighting for her people's liberation. Not by trying to impose himself as a leader (at first) but side by side with her as comrades and equals. Let me fight beside you. That's all I'm asking. He is quite literally willing to put his body on the line for a struggle that's been with her all her life, that she cannot escape, but that he could walk away from if he chose. And in fact he proves himself to be an asset and not a liability in this struggle and they start winning. And yeah that shit's romantic as fuck!! Kudos to whoever on the writing team was like actually direct action solidarity is sexy af because they were right and they should say it! There clearly is some attraction or at least interest in Paul on Chani's part from fairly early on, but it's only after he's proven his political worth, in battle, that she allows herself to trust him on a personal level enough to begin a romantic relationship with him. (And it's only after Paul takes off the Atreides ring, the symbol of the fact that he came there to rule over her, that the narrative permits him to advance to this point.) They could have been comrades but not lovers, but never the other way around, because there's no other version of Paul that this Chani would have fallen in love with.

It's important that they meet in circumstances where Paul has no structural power over her. Chani never would have trusted the Paul who stood in the colonial palace and pledged to "honor" Stilgar by offering him hospitality on his own fucking planet. Because she would have known, just as Stilgar did, that such an offer of fellowship, no matter how genuine and well-intentioned, is not made on equal terms. It's only once Paul has been forcibly separated from his colonial privilege that they have even a chance to approach each other as human beings. (And, in a sort of dark irony, that violence becomes a bridge that connects them. That Paul is driven not by abstract power games among the Great Houses but by real grief and anger over the violent death of people he loves at the hands of the Harkonnens must surely be something Chani understands. And it builds a level of trust and empathy between them, that she doesn't have to explain the stakes of what they're fighting for. He knows it in his bones.)

It's not a coincidence that all their explicitly romantic moments are shot through with politics. Their first kiss is wrapped up in a conversation about what it means to be Fremen and I would very much like to be equal to you. (Yes, he's flirting his ass off with that line, but I do think he is sincere.) Their single post-coital scene has I'm no messiah, I'm a fedaykin of Sietch Tabr--not just a commitment to her people and her home but to her specific form of political struggle in which he is joining her. Throughout their whole relationship, the personal and the political are so interwoven as to be indistinguishable from one another.

This kind of commingling of emotional commitment to a person with political commitment to a culture/people/cause could have very easily slid into something tokenizing or fetishistic, but the writing manages to avoid that by sticking very strongly to a couple of guardrails. One, Chani is not some passive prize to be won, but an active agent of her own liberation, whether Paul is in the picture or not. She is the Fremen liberation struggle within the political allegory of the film; she is its voice and embodiment from the moment we meet her. On a character level, she is doing her thing and it's up to Paul to either follow or get out of the way. Even though we know he is afraid of her dying, he never once suggests she leave the front lines of armed struggle (can you imagine?) because that struggle is such a fundamental part of who she is and what he loves about her.

Two--and this one is important for what comes next--the narrative never trivializes the political side of their relationship in favor of the romantic. The second Paul reaches for any kind of power over the Fremen, over Chani, the trust between them is broken and the romance cannot continue. She might still love him as a person--you don't just turn that off--but she cannot be in love with him as the Lisan al-Gaib, fulfillment of a false prophecy she hates; as the Duke of Arrakis, her colonial overlord; or as the Emperor of the Known Universe, overlord of her overlord. As soon as he pulls that shit he is just another colonizer and she's done with him.

And like, kudos to the narrative for being absolutely uncompromising on that point! That's what makes both the political allegory and the personal tragedy hit so hard! Paul, bro, you fucked that one up good and now you are Experiencing a Consequence! I LOVE that in the end, love isn't enough. All the love in the world isn't enough to keep Chani from walking out at the end of the film, because the foundation that love is built on is broken and cannot be repaired.

(I do believe that by the time he is declaring himself Emperor, Paul thinks he has no choice, that this is the only way to save the people he loves from any number of worse fates. But that, too, is a betrayal, of a kind I don't think Paul fully understands. Because either you think the Fremen are capable of governing their own planet or you don't. Deciding unilaterally that having a "friendly" imperialist in power is the best you can hope for is a profound denial of the agency of the people Paul claims to be doing this in the name of. It's either paternalism or despair, and neither are acceptable modes of thinking for a serious revolutionary. Chani would tell you as much.)

The thing with making a bold writing choice like that is that...you cannot then walk it back in the next film with Chani choosing to forgive Paul or coming around to seeing the world his way and understanding that yes it's politically unsavory and he's manipulating the people he said he was in solidarity with but this was the only way! If you do that then the whole framework of what the first two films are trying to say about power and imperialism and resistance and solidarity collapses into incoherence. On a thematic level Dune Messiah is all about the consequences of Paul taking power the way he did and these are the consequences.

And on a character level...I just don't see any way to come back from such a deep betrayal. Even if some part of Chani still loves him. Even if she's pregnant with his child(ren). (We have like, zero information about how movie Chani feels about family and pregnancy and childrearing that would indicate that she would care one bit about her children's biological father being involved in their lives when he is otherwise busy being a space dictator.)

There are several categories of scenarios I can think of to get Paul and Chani interacting again (she goes back to him as a spy/assassin; she's brought back to the palace under some sort of duress, "for her safety" or even as a political prisoner) but none of them involve them being genuinely together as a couple. I could also see them not interacting at all for most of Dune Messiah. What I cannot see is any scenario in which she genuinely forgives him or ever fucking trusts him again. That shit is over and there's no getting it back.

[physalian]

7 Misused Tropes (And How to Improve Them)

Tropes in isolation aren’t inherently bad, but a lot of them are prone to poor execution. Each one of these probably could have a whole post by themselves. A few of these used to be good but have since fallen by the wayside as their original meaning has been lost.

7. Dramatic Miscommunication

You know the ones. I think it’s worse when the story is otherwise good, the writers just could not come up with a better way to get X alone or send Y off on the necessary side quest than the lowest of low hanging fruit.

Two essential ingredients for fixing this trope: Precedent and consequences

Precedent–have the character doing the missassuming already be prone to jumping to conclusions, already suspicious or insecure, or misled by a third party so this looks inevitable, instead of pulled out of your ass.

Consequences–usually these are big blow up fights that fizzle out without any impact on the plot once they fulfill their purpose, but if it’s a nasty enough fight, characters shouldn’t just forgive and forget. While they might not completely ruin relationships, it should have characters taking a step back and either second guessing where they stand, or using this blowup to fix an underlying issue in said relationship.

6. Love Triangles

Good Love Triangle for the first 3 seasons: Elena/Stefan/Damon (TVD).

Bad Love Triangle for the entire series: Bella/Edward/Jacob (Twilight).

The difference between them (besides time to flesh out both candidates) is that both brothers brought valid pros and cons to Elena’s life, both got the chance to be with her, and Elena’s whole arc wasn’t solely focused on the agonizing choice of which brother she should pick. Regardless of which camp you’re in, Stefan brought stability, that classic cliché high school romance, mostly all good vibes. He never challenged her or talked down to her or got aggressive with her. Damon did the opposite, for better or for worse, and we know which direction the show went.

On the other hand, Jacob never for one second stood a chance with Bella and the narrative wasn’t kidding anyone. They never so much as went on one date (unless you count the motorcycle ride) and it seemed like Bella was only letting him hang on for pity’s sake. Theoretically he brought pros to the table that Edward couldn’t (like, idk, being alive), but the narrative never explored what could be done with him. He just ended up being the Nice Guy friend who then decided it’d be hot to lust after an infant.

5. Agency-less Chosen Ones

These tend to be wish fulfillment characters that bring nothing to the story and have no discernible skills, yet are constantly in the middle of the action, have all the love interests fawning over them, and are Important and Critical to saving the world… because the narrative said so. They don’t make a single choice the entire plot except to move forward or stagnate, chosen by the gods or a prophecy or fate and destiny.

The problem: These characters walk with the crutch of “I’m the chosen one thus I don’t need a reason to exist in the story” and that’s just not a satisfying narrative shortcut. So? Give them agency. Even if they’re chosen by some ancient prophecy, you still have to convince the reader why the Universe wasn’t just talking out of its ass.

Good example: Emmet from Lego Movie literally says he’s useless and has no skills and cannot think outside the Lego box. He’s supposed to be as generic as painfully possible and when he does have creative ideas, they’re supposed to be asinine and stupid. And yet. He might be physically dragged around by the other characters, but he has plenty of choices, plenty of opposition to what’s happening, plenty to say about the state of his world, and his ideas do matter and his intimate knowledge of the instructions and playing by the rules is how they win.

4. Bad Boy Love Interests

These guys were supposed to be counter-culture icons, standing up to The Man for the little guy because he knows the system is broken and rigged. He’s an affront to the stereotypical nuclear lifestyle, he resents a robotic and soulless office job and wants to create art or music or in some way benefit his world and isn’t going to play nice just to get his way. He exists in contrast to the nuclear female protagonist: Conservative, demure, rule-following caged bird who falls in love with him because he shows her that life isn’t meant to be lived in The Man’s cage. He respects the authority that deserves respect, the teachers who actually give a shit, the janitors, the librarians, but probably not the principal or the police or the local politicians, because he knows they don’t respect him and respect is a two-way street. He’s probably a mama’s boy or at the very least loves his parents (if they’re alive) and while he might engage in a little property damage like graffiti, it’s for a good cause.

This dude is NOT SUPPOSED TO BE: Abusive, controlling, aggressive, or condescending to his love interest. He’s not supposed to be an overprotective stalker or plagued by insecure jealousy over any other man in his love interest’s life. He’s not rude to his friends or arrogant about his own smarts and doesn’t think he knows best about every little thing in the world. He’s not sexist or racist just to make himself feel better and he doesn’t pressure his love interest into sex because she owes him or whatever.

Ahem.

Please bring back classic bad boys. That is all.

3. Major Character Death (for shock value)

I remember the implosion of the Walking Dead fandom after they killed Carl, one of the very few characters who was supposed to make it to the end, for… various sketchy reasons and I could never figure out what was true. Some theorized that his actor was aging out of the ‘child actor’ payscale and they didn’t want to pay him as an adult and while I have no proof, it wouldn’t surprise me at all.

Carl died after getting bit in just one of those hectic moments where he got unlucky, while doing something noble and stupid. In isolation, it fits the nature of the “anyone can die” show but man did it just come across in poor taste.

Obviously “for shock value” shouldn’t be the reason you do anything in your story but there is still a way to pull it off without it causing a riot: Make sure they get killed in a non-contrived way. If you plan on killing off one of your heroes suddenly, either make it bitterly ironic, or make it a situation that this character would absolutely get themselves into. The more it “fits” the less likely audiences will see the hand of the author coming in just to break the character’s fictional contract.

2. The Power Inside You All Along

This trope is usually disappointing because it tends to melt a character’s whole arc down into something pointless—this whole adventure was apparently useless if they didn’t actually need to grow or change or challenge their conceptions of the world. They could have got up off the couch as joe shmoe and beat the villain day one.

While that’s probably not what their creator intends, ‘it was inside you all along *wink*’ tends to feel that way, as it discourages internal conflict. Usually, their creator is likely trying to convey the message that one need not change, that it’s what’s inside them already that makes them special.

I present to you once again Kung Fu Panda’s “there is no secret ingredient” i.e. “the power inside you”. The difference is. Po still has plenty of internal conflict: his own self-confidence. He begins the movie eager but inexperienced and a bit oblivious, fanboying it up around his heroes. He and Shifu both insult his weight and his lacking kung fu skills, and his arc is learning self-confidence, learning how to use his weight and the body he has to fight in a way that the villain isn’t prepared for, to where Po can shit-talk him to his face during the final fight.

Most failures of this trope don’t bother exercising their protagonist. They’re pissy and resistant for the entire story and only win when the narrative agrees they were right all along. Therefore, no change, no conflict, no resolution.

1. Strong Female Characters

So many of these read like "slapped boops on a male character". They don’t work for many reasons (usually being very preachy with their agendas), but they especially don’t work when by trying to be pro-feminist, they’re still reinforcing masculine standards. A lot of people, when Captain Marvel came out, said “you didn’t have any issues with Tony Stark being an asshole but now you do when he’s a woman” which. No.

Tony was an asshole, but being an asshole was the whole point of his character, and he got humbled right quick by getting blown up and held hostage. “Proof that Tony Stark Has a Heart” and all that.

Carol was an asshole with nothing to substantiate it, and never got a reality check. She had amnesia so we didn’t get insight into who she was before to understand this transition into dickishness and was so OP, she wasn’t ever physically or emotionally challenged like Tony was.

But the other thing is this: Slapping boobs on a male character with a slew of toxic masculine traits also says that to be a successful woman, you must behave like a man. It swings so far from the femme fatale sexy leg lamp that it comes around and eats its own tail. These characters are just mean and insecure and build themselves up by tearing down the men around them.

So. Calhoun from Wreck it Ralph is this exact trope done extremely well. She’s aggressive, arrogant, loud, rude, and cynical. For about 10% of her arc. The movie immediately throws her into a situation where her strengths are basically useless—she’s stuck in Candy Land and has to rely on someone who is the antithesis of her game and character to make it out. The movie also shows you why she’s cynical via her tragic backstory.

Not only that, she’s more than just a heap of toxic masculinity in a pixie cut. She laughs, she cries, she admits when she’s wrong, she has a soft side, a gentle side, a caring side, and remains a badass through and through.

Or, once again rolling out Tigress from Kung Fu Panda: Proud, aggressive, the snubbed chosen one, cynical, mean, and overconfident in her abilities. Tigress nearly gets her entire team killed in her arrogance. She’s allowed to be wrong, very wrong. She also has her soft moments and, like Calhoun, has a very valid reason for being jaded, and is still shown to be capable of softness and nurturing during the evacuation.

Third example to hammer home that I don’t hate badass women: Andromache. Jaded, overconfident, short-tempered, aggressive, and a little mean-spirited. Tragic explanatory backstory? Check. She is also caring and loyal to her team, allowed to get emotional, allowed to be wrong and fail and lose, and kind of the surrogate mom of the team, who can also laugh and joke around and have light-hearted moments.

Whether the character is a man or a woman, being an arrogant asshole who takes zero accountability and refuses to admit when they’re wrong and never loses, audiences aren’t going to like them.

[craziertogether]

i hate mike wheeler hate.

as a former mike lover turned mike disliker turned mike wheeler defender for life. i have to say it, mike hate is SO forced.

they’re are so many worse characters in the show to hate on but for some reason the GA loves to claim that mike is amongst the worst character’s in the show and their argument is like 3 things.

1) mike is poorly written post season 2. okay so you actually missed the entire point but okay! whether or not mike is queer, which lets be honest, it logically makes the most sense for that to be the case. the duffers did NOT just drop/forget about one of the greatest main characters in netflix history. if we remove mike’s queerness from the equation, the duffers logically forgetting about mike who played the most integral part in the first 2 seasons would be the biggest fumble of the CENTURY. mike was the most loved for his bravery, commitment to the party, and unfortunately being el’s boyfriend. but it’s so clear that mike and will are definitely favored by netflix over dustin and lucas. thus, this decline in mike’s character absolutely MUST mean something huge has to happen for mike’s character. and if we look logically at his blatant queer coding, mike is queer. this is where his story is headed. not down but up as he starts to have self realization. logically this also aligns with will’s story of self acceptance, he knows he loves mike romantically, he doesn’t need any more acceptance of his sexual identity, he needs to either have his love reciprocated or rejected. (likely reciprocated otherwise m*leven is the most lame ending to the show’s ending)

2) mike has been a horrible boyfriend to el/doesn’t deserve her. what gets me about this argument is that it’s actually mostly from actual m*leven shippers who hate mike but like the ship. i’ve already been on a whole ass rant about this here:

but firstly, your perception of love is seriously warped. but also how can you HATE one part of the relationship and still expect them to work out in endgame? this is clearly not a couple worth rooting for as it has a character that you believe mistreats his own girlfriend and lacks depth. and you still think they should stay together for the sake of… what exactly? being together bc they were together from the beginning, hate to say it but your first partner will almost never be your last. i’ve also heard the argument that, they hate him post season 2-3 because he became distant but they know the duffers will magically rewrite depth to their relationship and make them endgame. again hate to say it, but the duffers then suck at writing. why wait 5 whole seasons to give your characters in a relationship actual depth and complexity when you managed to give it to lumax IN ONE? it’s illogical to start doing it now unless you could make mike genuinely a god and somehow manage to not make it feel out of place. (whole rant about this on my page already, but will and mike aside from narratively making sense have so much built up tension and feelings that would literally manage to resolve the errors in m*leven as a couple and the weird behavior of mike for two whole seasons)

3) he’s just so annoying for not being able to choose between el & will. oh my lord. this, THIS is the one that gets me. if you’re able to acknowledge byler and still somehow hate mike. YOU ARE DONE. do you hear me. that is genuinely the worst argument for hating mike by FAR. mike is a 14-15 year old boy canonically in the show. in what universe would it make any sense to manage to force mike to just resolve his entire character arc in 10 seconds. mike’s entire character arc revolves around his queer attraction/feelings, internalized homophobia, & forced conformity. mike’s a survivor, had the most insane case of survivor’s guilt AND internalized homophobia in the show. (robin coming out scene & will admitting his own feelings before mike BEFORE GTA6 is insane work). mike has done quite literally nothing except try to be there for those around him, he’s a brat and has an attitude but if you’re saying you’ve never had one before you’re a liar or you’re a liar bc mike is literally a cutie patootie, he’s got unpacked trauma from years of fighting monsters, society pressuring him to be masculine and straight, his own family making him feel worthless and weird for his relationship with will, watching his love of his life best friend being dragged out of a quarry, chard by federal agents? a girl he tried to save being a annihilated in front of him and she didn’t return for over a year, watched billy die, and so many people i. his town go missing bc they’re not human and are actually just melded pieces of flesh for the mindflayer’s body, shot at by government agents, literally had to bury a dead body, watched his own girlfriend over and over fight for her life and fail to save people and tried to be there for her, saw a completely deformed max fighting for her life, saw YET ANOTHER person come back from the dead (hopper). and you’re telling me you think he should just find time to reject the girl who makes him think he is normal for the person who actually makes him feel that way when everyone and thing around him has been telling him that’s the wrong choice. you think he has time to genuinely just make the choice to drop everything because his heart wants it, he’s not the brave 12 year old he was in season 1, he’s not running after will because this time will is not dead. he’s accepting himself which is scarier to him than will being dead.

in conclusion, STOP THE MIKE WHEELER HATE. he deserves grace equally as much as will does. i love you mike wheeler, if you have 0 fans i am dead.

(p.s. i don’t want to see “mike deserves to suffer the most during s5” content. i.e. making him lose will in real life and/or lose el. i love angst, make him get vecna’d, make him maybe get injured but death/losing will or el or nancy is CRAZY. mike wheeler deserves happiness too.)

[weebsinstash]

Ok no I'm not done being weird yet, here's another idea for the marriage canon event stuff

Miguel and other Spiders are getting on your ass about, "oh, how old are you now? Why aren't you looking for a husband yet? Why are you spending so much time here?" And are, you know, your friends who love you and for your own good are trying to get you to complete your canon so you, you know, LIVE, but the way you see it is, being forced to do something like that and sacrifice yourself like that isn't living. You're not going to actively pursue and seek out a relationship, you want one to happen naturally, and nothing has felt natural to you and you're afraid of being hurt like that, of being rejected, of opening yourself up to someone and not being good enough, but, O'Hara and the Society don't really want to hear that. It's escalating over time. Little comments here and there, people randomly interjecting their personal anecdotes about their family and their kids into the conversation, "oh this is just like when me and Mary Jane--" "oh my kid loves this flavor, she gets so excited, I like to be naughty and get her these as a treat"

So you reach the point where you're fed up. This is so massively fucking inappropriate of them. There's no "set age" for this kind of thing so why are they harassing you like this, acting like, oh, you gotta hurry and pursue shit right now, it's for your own good? It's just pissing you off and pushing you away. You love traveling to different dimensions and exploring new places and experiencing things that are literally out of this world but if the trade-off for that is constantly being badgered with this stupid narrative of having to sacrifice yourself, you'll happily go home and break canon and die, because at least you'll be truly living and making a choice

So anyways to get to the meat of this post: you've decided you're leaving the Spider Society and you're not going to talk to any of these bitches anymore, just haven't fully decided on when, but like, you're literally thinking within the next week, but you're still, there. And one day you're in the lobby, trying to stand around because you're supposed to go on some sort of stupid assignment, Peter B and Jess with you, the parents talking about baby stuff as you roll your eyes and Peter suspiciously needs you to keep holding Mayday until you're literally refusing, "just put her on the ground or something, you let her climb on walls and shit anyways"

And because you're in the lobby, this big open space with tons of people passing through, suddenly in walks Miguel with. Another Miguel, completely unrelated to the mission you and the others are about to do, kind of just bumping into each other as they pass through. Miguel2 just got scouted by his counterpart that he met during chasing an anomaly, and they're getting to know each other, and at some point Miguel2 is like "can my wife come too 🥺👉👈 she's also a Spider and I can't be here without her" and everyone is a little confused because there's supposed to be the whole only 'one Spider per dimension' rule besides like family, like Peter and Mayday, and you'll just never guess whose alternate universe variant is his wife :) another you comes bounding in wearing casual baggy clothes but looks so radiant and happy, all "hubby 🥰" as she kisses her husband, you're just awkwardly sending glances to 'your' Miguel as you two are, understandably feeling awkward because, you're, coworkers, and here are two people who look exactly like you being all lovey dovey "princesa 🥰" "guapito 🥰"

This other you just seems so, VIBRANT and she's introducing herself and shaking hands and she sees Peter B, "oh my god you have a baby, I'm so happy for you, she's so cute!" And she's hugging him, and you watch Peter B's eyes go kind of wide and he looks down, "OH, you're like--" and Other You just kind of laughs and parts her coat, showing off her rounded tummy, "haha yeah, there's a baby in there! Number 3, we're so excited! 🥰" and you're just. Simultaneously feeling some sort of fucked up combination of the most visceral and extreme discomfort you've ever felt in your entire life and also some kind of. Envy. Because she has everything you thought you didn't want and she seems so, SO fucking happy, with a husband who loves her, she clearly loves her babies, and she's being accepted by all of your friends instantly, like they're all gathered around talking as you're just, basically on the outside of the circle, actively putting up distance, only standing around because, uh hey guys weren't we supposed to be doing something--

Your skin is crawling as Other You uses her own watch from her husband to zip back to her own dimension and comes back with her babies on each hip, twins that she's just so happy to introduce to her new friends, who are SUPPOSED to be YOUR friends, "THIS one is Gabriella, and this one is Gabriel. Aren't they so cute? 🥰 theyre both so chunky they almost killed me but it was SO worth it" And once she realizes you're you, or, you're her, she wants to immediately chat you up and be buddy-buddy and goes to hand one of her babies to you and you. Refuse. Absolutely refuse. Suddenly you're the pariah of the group, both Miguels are sending you looks. Why are you being so fucking rude? Just put your arms out??? But you won't. You're just, soul-suckingly disgusted by this entire scenario. Not only is it putting an unspoken pressure onto you, but, seeing this other you be so fucking happy AND accomplishing all the things your "friends" have been badgering you about makes you feel SO indescribably insecure

Fine. Let it be like a revolving door. Another you enters Spider Society, one of you leaves. But you're so bitter and hurt you can't help but get in a jab at her, wanting to tarnish her "fake" happiness, feeling so personally hurt and offended by her very presence and existence in the room. "Hey so wouldn't your babies also be Spiders and have to suffer through the canon events too? And since you don't have any other family members, your kids' canon events might be YOU or Miguel dying? Aren't you glad you gave birth to your kids only to die and leave them without a mom and dad and forever doom them to a narrative where they can never make their own choices and are cosmically destined to be unhappy just because YOU wanted a cute baby? Sorry I guess I'm just built different. Hey remember how when we were little girls and we used to feel like mom only gave birth to us because she wanted someone who would love her and we resented her for bringing us into the world to have such a harsh life, aren't you so happy that's EXACTLY how your kids are going to feel about YOU?"

Mom!You is instantly bursting into tears and holding her little belly for comfort as her husband looks ready to tear you to ribbons, FURIOUS, all the healthy people in the room understandably disappointed and upset with you, like what the FUCK girl, meanwhile you're opening up a portal to your home dimension and just chucking your watch straight into the floor. "Keep this. I won't be coming back" while everyone is kind of dismissive of how truly upset you are, kind of just like "come on, don't be like this 🙄" like you're throwing a tantrum when in actuality you're going home and are seriously considering selling Osborne or Doc Ock all of your radioactive eggs. You'll always be YOU before you're a Spider, and if they want to force you to put The Job above yourself your entire life, they're dead wrong.

Meanwhile after you leave, pulling each other aside for privacy, Miguel2 is asking your Miguel why he's risking breaking his own canon by not wife-ing you up yet and comparing notes from all of the other dimensions where you and him are together as your Miguel is shocked by the sheer number of same occurrences. Miguel is all on about, "what does this even mean, we're from entirely different dimensions", and Miguel2 over here just unapologetically, "so? My wife is also from another dimension, I just took her, she got used to it, it's totally fine bro, it's canon, just do it, just do whatever you want. it's fine bro I'M TELLING YOU--" and maybe even Mom!You is so, sucked into her own "it's ok I was initially forced into this because I'm happy now" world that she's even advocating, "oh gosh if I was her I'd be SO lonely, hearing how you two aren't even that close, especially not anymore, and you've all been avoiding her, and she doesn't even have a baby to care for and give her love 🥺 most 'me's are at least dating right now, so, i bet she's feeling so much pain, she NEEDS YOU right now 🥺"

Peter B is sent to give you another watch and tell you, it's ok, you can come back, they promise they're not gonna bug you about dating and stuff anymore, and you're just all "nah, I'm ok! :) you can keep it :) I've had enough of you guys :) dont let the door hit your ass on the way out :)" meanwhile Miguel 1 and 2 are comparing strategies, "see, when MY wife was refusing to come back to me, what I did was..."

[aztarion]

20, 22 and 47 🦇

another insane 1.5k ramble... im so sorry... BUT THANK YOU <333

linking a prev ask because there are some callbacks

20. Choose one song that perfectly describes their relationship.

so i have 6 playlists set aside for these two which is ridiculous i know… but they really do go through a lot of different stages; a cringe baby vamp honeymoon phase, a whole ass long term relationship, a betrayal/divorce then estrangement, tense partnership and psychosexually eyefucking your ex you haven’t seen in a decade across the room when you’re both back in the same city, to making good on exactly that while the Camarilla and SI are on your asses… as you go to make even more trouble with Sabbat in Mexico… maybe topple tradition within the next century… like. please can somebody in this narrative chill for a second to at least attempt to establish what’s going on here. there’s just so much

for post-night road active relationship, i think the one that 10/10 hits thematically, symbolically, lyrically, and in terms of the mood/vibe between them at this time, is Deftones’ This Place Is Death. i also love The Spell of Mathematics for a semi sol-centric POV and Digital Bath for a semi julian-centric POV (sorry for all the Deftones), but This Place is Death nails it mutually. how light and floaty the opening melody is, you can almost picture clouds parting, then chino comes in like monsoon season. the lyrics are loyally resigned and desolate and kind of oscillating between vulnerability and evasion, intimacy and detachment, and i love the noise-harsh soundscape combined with the controlled and rhythmic build-release that never really feels satisfyingly resolved by the end of the track. it gets you close and then drops off… and strings you along again — it’s just so good. to me. romance as an instrument of torture... yes god

22. What reminds each of their partner?

Julian:

seeing scorpions or snakes in the wild, in art, in strangers’ tattoos, for probably obvious reasons. he would play with her thumb and forefinger to make the scorpion ink move its pinchers.

muscle cars — especially the classics. or any car that’s been atrociously pimped out, just so he can point to it and offend her

sade, lauryn hill, tupac — they wouldn’t be artists he’d specifically listen to himself, but he would know some of their discographies from sol lol. if they were to play somewhere, or between 2010-2020 if he found an ancient mixtape/playlist from when they were together, he’d clock it and reminisce or tighten his jaw a little.

that specific sensation you get when you spend hours cooped up inside, working or immersed in something, and finally step out into fresh air; that immediate grounding rush, for better or worse — either “awesome im free mood instantly lifted and i can relax now” or “oh god without distraction im alone with thoughts/feelings i dont want to acknowledge”. both sides of that bring sol to mind, the former in their earlier years, the latter from Denver onwards

occasions when he’d pass family-run mechanic workshops on town/city outskirts, still open, light spilling out into the street and a crunchy, crackling radio somewhere inside, which is similar to their very first meeting. he also kept an eye on her whereabouts in the Southwest and her brother’s place back in Sierra Vista while off the radar in Denver, so those updates during that time would’ve been consistent reminders

i feel like anytime he’d be messing around just for fun on a personal laptop he’d probably think of her because that was something they would do together a lot, just really stupid shit

Sol:

i think in the background during the period he was gone, any big tech advancements/announcements or new releases in things he was interested in over those years would’ve brought up niggling little thoughts of him — would he be excited; would he be ranting and raving in her ear about a whole bunch of stuff she only half understood right now?

so julian designated her a personal drive on his laptop in the 2000s, which she rarely used with any sort of serious purpose — either just to mess with him or save their pics — but everything about it was always completely bespoke when she did open it up. he probably had dumb little scripts programmed to run specifically when she logged in. she remembers times they’d sometimes go to yard sales or junkyards when every other avenue was a bust and outright buying wasn’t an option, and she’d hold the flashlight while julian skimmed for whatever he needed for some component. when sol finally got her own laptop in 2011, while setting it up and choosing passwords, how impersonal it all looked…she might’ve started actually using her dried up dead ass lungs to breathe a few times. the cam cracking down on tech probably suited her with how inextricably linked it was to him and them goofing off in better days.

dumb t shirts or absurd phrases and slogans that he would most likely want on a t shirt. star wars, certain manga and 90s anime she would know because of him. things she isn’t herself into but kind of endeared to. she regularly dayslept in his uzumaki hot topic hoodie (lmao) around 2010ish, the time of aila’s diablerie and a few months before julian actually left (he didn’t take it) so that was a bit of a rough reminder for a while because she didn’t trash it :/

i hc purple and teal are his favorite colors so those for sure would make her think of julian. if she spotted any outrageous paint jobs on vehicles or came across slightly uncommon car models, she’d have flashbacks to the crazy lime green geo, or his fleet of hybrid sports cars and SUVs by night road. at this point post-night road i hc he drives an iridescent nebula-purple fisker ronin. basically, sol sees some rich asshole’s flashy clown car on the road now and thinks of one julian sim

cringe memes (she groans but kind of likes them)

sol is into custom embroidery and crafts and she’d be acquainted with onyx — those pitch-dark little stones catch light like his eyes

47. Does either of them have a secret that could potentially ruin their relationship?

i want to say no but it’s not in an everlasting-love positive way; i think there’s a lot of fucked up feelings and codependency going on between them that they’d endure until one of them is mentally destroyed or killed by the other (or diablerized) (or just taken out by camarilla/si/other forces i guess). sol is more likely to be destroyed and end up a husk for whatever julian cooks, and julian more likely to get killed/diablerized if sol were to finally snap.

i mean julian has made sol central to everything’s he built; they will be fixtures in each other’s unlives for at least the next century according to his plans… this shit is long haul let’s not even begin to unpack that or ill be here for another three days

and sol is just a mess on the inside — little sense of self beyond her mistakes and a defining relationship she clinged to because she had nothing else (as both a mortal navigating young adulthood and as a brand new fledgling), so the end of that, plus a polite-kindred-society cardinal sin on top, like it’s not looking good. which even ignoring the guilt complex, she can’t simply detach from the crime either because she feels that presence ripple and stir inside her. i think diablerie gets trivialised as a meme a lot which can make it lose its punch thematically within the context of the setting and its lore, but idk, it’s an unnerving concept to think about imo, at least for my more neurotic characters. and living on your nerves in fear at the fringes of both human and kindred societies for a decade has gotta fuck with your head even more. and wondering what made the only person you really had, who was also your sire and probably the love of your life, abandon you? ahh sol makes me sad to write sometimes but i can’t stop beating her. she is begging me to get obsessed with another oc for a little while to get a break

anyway, all that to say they’re just teetering on the brink of a nuke constantly, and i think what compels me is that i don’t know for sure. what if julian is hiding another hidden agenda with 2100X and sol fucking loses it at more secrecy and lies? what if sol, similar to when she unknowingly lowered her generation and strengthened her blood potency with the serum, discovers a power or something substantial with her mutated vitae that julian possibly hasn’t accounted for, and she keeps it from him out of vindictiveness or trust issues? julian is easygoing most of the time but he’s also wildly hypocritical and there are moments in night road where if you push him something switches and he gets nasty; i feel like despite all he’s kept from sol, and however far-gone he potentially gets with his vision, he would not react well to her keeping even one secret, especially something huge like that, from him. would that be enough, i don’t know but it’s interesting and unfortunately why i can’t put them down and go crazy about anything else

[futchbatman]

i (foolishly) decided to step out of my little side pocket of the arcane fandom to see what people are saying about mel in regards to jayvik... and bruh. i wasted like... a couple minutes of my life reading a jayvik shipper's long ass take dismissing the misogynoir in the arcane fandom and i just need to rant.

there's nothing wrong with jayvik. there's nothing wrong with YOU if you like jayvik.

but having your head so deep up a ship's ass you don't notice the people around you being anti-black? then pretending like black fans are just making shit up to “spite your ship” or whatever bullshit you believe to make yourself feel better after pointing out the misogynoir that the fandom isn't even trying to hide? it's shit like this that prevents me, and a lot of other black fans from enjoying certain media in general.

and i just wanna say i don't think a lot of people are anti-jayvik because they're "butthurt" or whatever the fuck y'all say. IT'S BECAUSE Y'ALL ARE FUCKING WEIRDDDDDD WHEN IT COMES TO MEL.

ntm a couple days ago i saw a goofy ass Instagram reel saying "y'all couldn't even handle jayvik" nigga WHO? WHO IS Y'ALL? let's be so fr, jayvik is the most popular, well received ship in the whole show. go to the arcane ao3 tag right now and you'll see that shit in the top three up there with timebomb and caitvi (we also need to talk about how common it is for interracial relationships in media and fandoms to only be mainstreamed as long as one of the partners is white... but i digress, i digress.)

we can't handle a fandom doing what it does best; pairing the two men together and shitting on the woman? gtf 😭 this has been happening since the birth of the Internet. Hell, probably even before.

And the real kicker is, you don't HAVE to like Mel. I can understand why some people may not like her, and I'm not gonna sit here and say you have to like her just because she's black. But a lot of people are just regurgitating nasty anti-black talking points to justify their hatred for her instead of ACTUALLY having a valid reason to dislike her character.

mel is a colonizer. i won't deny that in the slightest. but the mass majority of the fandom don't care to dig deeper than the surface level representation she's given. it's always "she manipulated jayce!"/"she called them investments!" nigga go bathe.

i knew as soon as viktor appeared on screen the fandom was finna show they ass over that white man. i just KNEW fujo brain worms would takeover and all logic would go out the window. but trust me. you jayvik niggas aren't oppressed for wanting these men to kiss. y'all aren't even a minority. quit acting like you gotta protect yourself from big bad mel medarda and her stans.

and it's not even ALL jayvik shippers, but it's too damn many. they saw black woman near their fave and immediately decided to lynch her character. i'm saying lynch metaphorically and literally because of that disgusting jayvik serial killer au floating around in mel's tag. i have something to say about that to but i'll make another post. i'm disgusted, not shocked, and disappointed that this behavior is so normalized in fandom spaces.

since arcane season two decided to be more ship driven than narrative driven i feel like a lot of y'all feel... entitled, and people feel like they finally have the opportunity to express their anti-blackness in an environment where they can pull the homophobia and ableism card once you call out the weird shit they're doing.

tl;dr i don't wanna hear a jayvik shipper, nay, a NONBLACK person speak on fandom misogynoir ever again because y'all are just loud and wrong every damn time, and stop acting like black fans are fucking stupid for addressing it.

[sephirthoughts]

Unpopular opinion ask game: 💛

(from this ask game)

💛: What is a popular ship you just can't get behind, and why?

Oh there are ever so many. i usually keep my mouth shut because i don't want to yuck anyone's yums or draw aggro from crusaders, but this is an unpopular opinion game sooooo

WARNING: UNFILTERED OPINIONS UNDER THE CUT

The one that i think burns my ass the worst is Cloud/Tifa, mostly because the game and fandom tries so hard to shove it down our throats. In the FF7 games, there is this blatant assumption all through the narrative that "of course the player is into this girl" which instantly makes me rebel against anything in any game, especially when it's heteronormative bullshit.

cyberpunk was the worst, when they tried to force me to like that leatherfaced blow-up-doll panam, who was so egregiously written by misogynist cismales, that i nearly quit the game. the grossly overt assumption the game made that i the (obviously cishet male) player would automatically be into her led to me abandoning her dirt nomad questline and never going back. i checked later, they just stand around in the desert waiting forever if you don't go back.

the problem with tifa is very similar. hetshippers always like to try and carve out a moral highground for their "canon" ship, by acting like it's misogynist not to like the female love interest in a game. i have news for you, babes, i don't have to eat garbage just because it's labeled organic.

a female character designed and written in a lazy, misogynist way is the same. consuming that fictional relationship uncritically is not something i am required to do, nor will i. the women in final fantasy games, for the most part, are badly written, terribly designed artifacts of a time when women were just objects and that was ok to say out loud. they're hardly even trying to hide it, now, but at least they are a little.

my theory on tifa's design is that the otaku devs had never seen a girl irl and when they tried to make one, what they came up with was a pair of massive tits and the personality of a wad of dryer lint. then they gave her some tossed together martial arts to justify why she's following cloud around taking up a party slot, instead of staying at home minding the children and elderly like a good girl.

also the business with her and aerith seeming to get catty and jealous over cloud several times (which they mercifully cut from remake) is such revoltingly juvenile and misogynist writing, it's almost funny. almost.

honestly the whole romance they are pushing between cloud and tifa is revoltingly juvenile and misogynist, since she's a personality-free prize for the male hero, not to mention homophobic, since it primarily seems to function as a beard, so sephiroth and cloud don't seem too gay (MISSION FAILED).

Cloud Strife is a character with whom i deeply connected and fully inhabited, and he is not a heterosexual neurotypical male in any way whatsoever. and yet i'm supposed to like seeing him shoved into the blandest wish-fulfillment, 'winning the titted-up tomboy hometown girl as a prize for being awesome' fantasy that some chuuni would've written in the back of their school notebook when they were 11. please.

examined fully, there's literally no reason for the pair to be romantically interested in one another, outside the pervasive and poisonous heterosumption of boy+girl=love. and i know what people are going to say about them being friends, but she doesn't like him. she never does. she likes the idea of the person she thinks he should be, and persistently tries to force him to become, throughout the series. she thinks the way he is needs to be fixed, because he's wrong somehow. we can still see it happening in advent children.

that's fine though, because he doesn't like her, either. he kind of remembers her from the past. that's all. he does not have the capacity to form that kind of attachment, when they first reconnect, and by the time he could form a meaningful connection with someone (circa advent children), he's already been fully railroaded into the domesticated role everyone has decided he's supposed to be in, and she is reduced to a nagging wife, by the writers. he is very clearly unhappy, and it's not because of sephiroth.

last but not least, is the lack of any kind of romantic tension between them. there is more chemistry between cloud and biggs, than cloud and tifa. hell there's more chemistry between cloud and those alley cats. it's very clearly a manufactured relationship for the sake of gratifying the decreasingly cishetmale player base of yesteryear.

in conclusion, cloud x tifa is the cold oatmeal of ships and i just want to spit it out yack

[canmom]

dog day

went down to a local queer film thingy today and saw Dog Day Afternoon, in which Al Pacino plays attempted bank robber John Wojtowicz (nicknamed 'Sonny' in the film) who in 1972 ended up running a hostage situation and siege he really didn't intend to be in - someone who's a bit of a cause célèbre in these parts because honestly what's more iconic than robbing a bank to pay for your trans wife's bottom surgery?

(this is the real Wojtowicz during the event)

as a movie it's absolutely really solid. Pacino definitely does a fantastic job giving us a sympathetic portrayal of the increasingly harried Sonny trying to juggle all the competing elements of the robbery - reassuring his partner Sal, negotiating with the cops outside, managing the hostages. on a pure narrative level, it's a great screenplay, both full of escalating tension and capturing the humour of the unlikely camaraderie that forms between the robbers and their hostages. they get a lot out of the contrast between mundane concerns (not swearing) and the extreme situation, and it generally works really well.

the film portrays Sonny accidentally stumbling into being a folk hero - his televised calls in which he mentions the Attica massacre, and interactions with the crowd outside, becoming central the narrative that forms around the attempted robbery. it's compelling stuff even today - indeed the whole sensibility of it, the sympathetic bi and trans characters, the sympathy for all the characters, felt very modern.

speaking of, not really quite knowing the timespan of Al Pacino's career (I've still seen very few of his movies), I kinda assumed this movie would have been made, say, a couple decades after the robbery. so I was very impressed with how well it nailed the 70s period aesthetic... which turns out to be for a very simple reason, this movie was made in 1975, just three years after the events it portrays. which is wild to me, don't filmmakers normally wait a bit for it to be less 'the news' before they fictionalise the events? anyway it was a big deal in its day, scooping up a bunch of oscars.

this makes it quite interesting to look back because it really is a slice of how people felt about shit back in the 70s - as edited by the filmmakers of course, but every sentiment in this film is a genuine 70s sentiment by definition, right? the justified distrust of the police, the highly political gay angle, that's all shit we're hashing out today still. all these characters feel very much like real people out of their depth, and it's interesting to read about the process of filming it involving a fair amount of improvised elaboration.

anyway that all has the fascinating consequence that Wojtowicz was alive and watched the movie made about him. apparently there was a whole campaign to get the film screened for Wojtowicz in prison, which meant he could make a critique of it. as a result, he could write to the newspaper criticising their portrayal (via wikipedia). evidently the filmmakers took quite some liberties for drama - Wojtowicz calls it 'about 30% accurate'.

for example they portray him as still having been with his cis wife 'Angie' (irl, Carmen) at the time of the robbery, and add a fictionalised meeting with his mother where she is dismissive of Angie for weight etc., suggesting that it's somehow her fault that Sonny should go and do something as unseemly as have a relationship with a trans woman. as I took it, it's a portrayal of his mother's prejudice which the film broadly rejects - but in any case, all of that was just straight-up made up for the film, presumably because of the drama that the trans wife vs cis wife angle brings. in reality it seems that Wojtowicz separated from Carmen two years before the robbery, and he disputes her characterisation in the film (he's actually quite rude about the actress who portrays her, who to me looked like a regular-ass woman).

A third scene shows me speaking to my female wife, Carmen, on the telephone. (The actress who portrays her in the movie is an ugly and greasy looking women with a big mouth, when in real life my wife is beautiful and very loving wife.) I did try to call her, but the F.B.I. cut the phone lines and air conditioning before I could get to speak to her on the line. I did not like the horrible way they tried to make her the blame or the scapegoat for everything that happened, especially because of the Gay aspects involved. (...) First, the actress playing my wife, Carmen, made her look horrible and inferred that I left her and winded up in the arms of a Gay man because of her. This is completely untrue, and I feel sorry for the actress for having to play such a horrible role.

this is perhaps something of an aspect where values drift between when the film was made and the present. to us the idea that 'cis woman is ugly/unloving so guy is gay' is just laughable homophobic nonsense, something that the mother or the unfortunate estranged wife might believe but clearly not true - but Wojtowicz apparently felt that was a plausible editorial angle being suggested by the film, which he needed to correct.

but honestly it's Sonny's partner Sal who truly gets the short end of the portrayal stick here. he is pretty much set up with death flags from the early on - he's got greasy hair, he's taciturn, glowering, religious, kinda ignorant, and the one who's actually willing to go through with killing the hostages - in contrast to the charismatic, beleagured Sonny who definitely is framed as being in over his head and not likely to actually do it.

so when Sal's killed abruptly at the end of the film it's essentially framed as tragic but kinda inevitable, the only way they were going to get him to stand down. according to Wojtowicz, he was actually already immobilised when the FBI killed him, and Wojtowicz disputes that it was necessary to kill him.

the only photo I have of the real Salvator Naturile is a grainy police mugshot which is inevitably far from flattering! in this portrait he has somewhat similar hair to his film portrayal but the actor in the film is 39-year-old John Cazale.

the film has the main FBI goon (truly the most FBI looking FBI goon you've ever seen) warn Sonny that they're going to kill Sal; Sonny hides this from Sal as the group make their way to the airport in the bus he demanded, allowing Sal to be tricked into lowering his weapon so the FBI can suddenly kill him and arrest Sonny. the way the film suggests it played out, Sonny implicitly figures out that flying to maybe Algeria was not really on the cards, but makes an effort to keep the ball rolling all the same, to stop Sal from killing anyone and perhaps from some delusional doublethink hope they'll all manage to fly away in the end.

the real Wojtowicz was pretty appalled at this implication. he writes:

Now to one of the most despicable parts of the film. In it they hint very dramatically that I made some kind of a deal to betray my partner, Sal. It hurt me that the same F.B.I. who cold-bloodedly killed an 18-year-old boy can be depicted as having me help then. This is not true and there is no human being low enough in this world who would let the F.B.I. kill his partner in order for him to survive. It can be labeled as just Hollywood trying to sell a movie or just to increase the drama, but I call it sick.

Wojtowicz's trans wife Elizabeth Eden is portrayed in the film with a male name 'Leon', by Chris Sarandon. As I read it at the screening, the film portrays a time the line between 'gay' and 'trans' was far less clear-cut; Sonny is declared a 'homosexual' for his relationship with 'Leon', and refers to her with male pronouns despite calling her his wife. This appears broadly to be accurate: in Wojtowicz's letter, he refers to Eden as Ernie, and calls her his 'male lover'. He praises Chris Sarandon's performance, writing:

I feel he did it perfectly. If in real life Ernie had said those things and done those actions, he would have done them exactly as Chris did them. In the telephone scene between Pacino and himself his performance was unfathomable and a tribute to his mastery of an unbelievably difficult role. I was moved to tears by it because the realism was there and so professionally done.

the film paints 'Leon' as not supporting the robbery and actually wishing to escape from the increasingly erratic and violent Sonny - there's a compelling scene where they speak on the phone while the cops tune in. but is any of that actually true? Wojtowicz doesn't defend himself from any of that portrayal in the letter beyond briefly saying that 'some of what they both said ... were true statements of facts', even though they weren't discussed during the actual robbery.

all these inaccuracies notwithstanding, some good did come of the film for the main couple. consistent with Wojtowicz's stated intent, the film portrays Sonny as motivated in large part by paying for Leon's bottom surgery (in the film they call it a 'sex change operation', and the suggestion seems to be that Leon will only be a woman after that), and a scene near the end sees Sonny dictating. in reality, the filmmakers paid Wojtowicz $7500 for the use of his story (though he says they had agreed to give him more and did not honour that deal), and he used some of that money to pay for the real Elizabeth Eden's bottom surgery so... in a sense robbing a bank does pay, if you do it in a stylish enough way to get a movie made of you!

looking back on this whole thing nearly 50 years after the event... both the main characters portrayed in it are dead. Elizabeth Eden died during the AIDS crisis in the mid 80s - by that point Wojtowicz was out of prison and was able to give her a eulogy. Wojtowicz himself made it to 60, dying of cancer in 2006. both seem to have lead pretty regular lives. and now what remains is this movie, which found in their lives a suitably dramatic 125 minutes of screen time, where they could both come to represent something bigger.

most films I tend to watch depict entirely fictional events, so it's interesting watching a film which purports to portray something real. I end up thinking about all the ways in which turning it into film makes it artificial, simplifies people into characters. the way camera angles and lighting are arranged to inform us of a character's emotional state. the way the chaotic events are organised into a series of arcs of rising and falling tension, the rhythms of tense confrontations on the street and quiet moments inside the bank, the sense of space it creates between the outside (full of crowds and cops with guns where every movement is risky) and inside (where people can, ironically, play around with guns or have mundane medical problems). everything gradually escalating as new problems arise and their consequences play out - and all the boring hours of the robbery are elided, but still suggested by the changing costumes and lighting.

sifting through the chaos of life and making narrative out of it is what films do of course, and this film does it better than most, but it's weird to think about that. to try and imagine what it would be like to have a film made out of me, what dramatic choices they would make. biopics of 'great people' are well established, but this is a film about pretty ordinary people who did something kinda crazy once, and about the systems that they acted within.

very interesting movie, definitely holds up very well, much to think about. big shoutout to Small Trans Library for screening it, really looking forward to whatever they have for us next in a couple weeks.

[aihoshiino]

So I actually only just found out that OnK ended and I think I only read up to where S1 of the anime finished, so imagine my horror when I learned that not only did AquaRu happen (technically? I know there was a kiss, at least), but that Aqua dies after coming up with what's probably the stupidest plan I've ever heard of. I'm going off of this from the wiki, btw, so feel free to correct me if I'm missing anything, but I thought this story was going to be a critique on the entertainment industry mixed in with a "catch the killer" plot when I first started, yet it just looks like nobody learned anything by the end of it and the villain's defeat was underwhelming.

Good news! AquRuby did not really happen.

Bad news! AquRuby did not really happen.

Honestly, to this day, I have no idea wtf Akasaka was cooking when it came to the AquRuby stuff... my best guess is that because Oshi no Ko was influenced pretty strongly by Mengo's past works & Aka was trying to emulate some elements of it (to good effect, sometimes!) the AquRuby stuff was inserted to appeal to her and it actually playing out on page was them being like "lalala, playing with our toys" and wasn't ever something the two of them took really seriously.

By coincidence I ended up rambling about this off tumblr the other day, so I'll just grab what I said and slap it here so I'm not just repeating myself;

I'm gonna be so real, I don't think an AquRuby ending was ever something anybody on the series including Mengo ever took all that seriously as a direction the series was going to take. Despite what a lot of people will try and tell you, Ruby and her relationship with Aqua were just never really written remotely in the sort of way you would build up your endgame heroine. Prior to 123 it wasn't really something the series tabled in any meaningful way and even past 123, Ruby's apparent attraction to Aqua is largely just played as shallow brocon gag fodder. It's only when the manga talks about her love for Gorou that it takes her remotely seriously and even then that's dropped like a rock past 150 and never addressed again. The biggest red flag for me though is that the series never actually addresses the concept of incest in the context of Aqua and Ruby's relationship. It is the one big major roadblock to a hypothetical romance between them but the roadblock that is actually, textually floated by the narrative is Gorou and Sarina's past life age gap which is, as Ruby repeatedly asserts, no longer an issue. It's honestly bizarre to see a series have a whole ass subplot about a character falling in love with their blood related twin and pursuing it to the point of forcing a kiss on them and just... never ever address the concept of incest??? It ends up feeling kind of deliberate - like, Akasaka knew that the second the obstacle that is the social taboo of incest came up on-panel it would be the death knell for being able to shiptease AquRuby (and thus, get clicks and attention from hyping it up for better or worse). So we get the... whatever the hell he was cooking that happened on page.

[In response to a comment asserting that Ruby was "absolutely written as the main heroine" as refutation to the above;]

When I say that Ruby was not built up as the main/endgame heroine, I mean moreso in the sense that for over half of the manga, she and Aqua just... don't really have a relationship that is given weight and consequence in the story in comparison to their individual relationships to the other characters. Even before the story was seriously teasing the idea of a romance between them this was always a point of critique in the fandom - hell, if you go back and read comments on it from around 2022 onwards, Ruby's sidelining and the lack of meat to her and Aqua's relationship is always something people have (imo, rightfully) had issue with. And like, sure, maybe Akasaka just wanted her status as the final/true heroine to be a surprise but even if that's what he was going for, there were tons of opportunities in the first 120+ chapters of the manga to properly sow those seeds. I know this is The low hanging fruit to point at and I know we're all aware that Aka deliberately orchestrated this moment to make sure Aqua and Ruby wouldn't discover each other's past identities before he decided it wanted to happen, but it's still characterization that Aka chose to put on the page and informs Aqua's character - Akane and Ruby found a literal dead body and instead of checking in on his sister, Aqua chose to spend time with (and kiss!) Akane. It would've been extremely easy to include Ruby more prominently in moments like chapter 68 when Aqua thinks about living a normal life free of revenge, or when Gorou confronts him in 65 about his 'happy life filled with love'. Even in the anime which makes a point of emphasizing Ruby more in Aqua's 'happy memory' montage from chapter 50's material fails to do this. Or hell, maybe even have it be a point of conflict during the AquAka 'real dating' period, that he ends up prioritizing Ruby more than Akane to a degree that it causes conflict in the relationship and clearly betrays where his real feelings lie. But none of that really happens. Hell, even after 123, Aqua and Ruby still barely interact and all the newfound intensity in that relationship comes primarily from Ruby doing brocon gag bits every time they make eye contact. Even the kiss is difficult to really take seriously because it has absolutely zero impact on Aqua and Ruby both individually and as a duo. It does not affect any change in the series whatsoever to the point where I legit don't even know whether it's been retconned out of continuity or not. That just doesn't feel to me like a 'main heroine' whose feelings and relationship to the main character are being taken seriously by the author. That's why the whole "btw i was reincarnated to be ruby's attack dog them kms" resolution at the end of the series feels so jarring and would have done with or without any AquRuby ship teasing. It was the story trying to cash cheques vis-a-vis the twins' relationship it hadn't bothered to write.

[snickerdoodlles]

headcanons behind fic: Chay's allowance and KimChay zero baht dates mentioned in long & short

Kim chokes trying not to laugh. “Seriously Angel?” Chay looks at him, lips pulled into a pouty moue like what? “You only take me out on zero baht dates, but you’ll pay people to draw us as cats?” Chay sniffs primly. “I only use my allowance for education and fine art,” he says, haughty.

Korn giving Porsche and Chay a large allowance comes up in a lot of my fics I think, because I see him giving all of his sons and his wards a large allowance. And for once, it's not actually a part of his usual manipulation and control tactics.

(Well. It's not not about manipulation and control, because everything Korn does involves manipulation and control. Korn absolutely monitors their accounts and purchases, not to mention he's absolutely the sort of person to always have a mental ledger of favors given and owed for everyone, especially family.)

However, he doesn't need to control any of the boys' finances to have control over them and he's so present over all of them that giving them access to their own money (vs having them request it from him directly) doesn't give him any more advantage over them or could even run counter to it.

No, I see Korn giving all the boys a hefty allowance as a personal push back against the ghost of his father.

We don't know anything about grandpa Theerapanyakul beyond the fact that Gun invoked his name while yelling at Korn and the mere comparison of them rattled Korn more than the literal gun war happening in his own home. Of all the terrible fathers in this series, the grandpa takes the cake apparently!

Alongside Korn's deep-seated control issues, he also has this weird...thing where he really, really wants to be seen as a caretaker and good provider. He never outright denies his sons and is seemingly very supportive of them-- Khun was allowed to fall back and be taken care of, Kim was allowed to live separately to become a musician, he paid off judges in the name of Kinn's childhood dream, later he supports Kinn and Porsche's relationship-- and the whole fucked thing with Nampheung and the narrative he's constructed around him taking care of her. Even Korn's relationship with Gun is a little bit weird given how much he talks about competition. Like, he desperately wants to be seen as a good provider and caretaker, he just also can't stop being Korn and has that stupid-ass metaphor with the knife and the apple. It's a very crunchy contradiction.

Anyways, Korn's issues aside, I see Korn giving his sons and later wards personal allowances as a part of his personal image of himself as a good provider.

And Porsche and Chay hate it.

(Porsche reminds Chay they're very grateful. Chay mutters where was this help when Porsche took out an informal loan too young. Porsche hisses and whips his head around for any walls that are listening.)

Chay mostly just tries to ignore the supposed pile of money apparently just...sitting there, for him, and spend no differently than how he usually would (it doesn't feel real, digital money is never real to him). However, after so many years of Porsche sacrificing to save money for his needs and future, Chay can't bring himself to ignore the account completely when it comes to things like school or food. He never actually looks at his account, he mostly just squeezes his eyes shut whenever he uses his card for essentials and waits for the system to deny him, except it never does. That does not make Chay feel any better about the situation.

The only time Chay's close to breaking his "no treats" stance is shortly after he and Kim get together. Chay wants so badly to treat Kim to something really special, but. Money. He frets. He makes a pros and cons list. He paces. He has an entire argument with himself in the mirror. He angsts. He takes one look at Kim's happy face over a candlelight dinner and decides fuck it, that's a guy he's going to spoil to the moon and back, stupid blood money allowance be damned.

Except, as established, Chay's never looked at his actual account, so he goes to Cash the accountant to see what his options are for spoiling dates. Like, he's been paying his tuition and the card always goes through at the grocer or noodle house, and Korn does keep telling him his school allowance includes some extra spending money, but Chay wants to spoil Kim. A band they like will be on tour in Bangkok around Kim's birthday, Chay's gunning for special VIP tickets and some extra money for merch and dinner. Surely stupid rich mafia has plenty of money to spare for that.

Chay: would I, uh, be able to get a little extra money? tickets are 3000 but they're for a really special occasion and-

Cash, thinking about Kinn's 3000 dollar helicopter tickets: I don't care, let me just pull up your account details

Chay: thank you so much 🥺

Then Cash turns his screen around to ask Chay how much money he needs and. That is. A lot of money. So many digits. The decimal certainly in the wrong spot. Then Chay looks to the top of the corner and nearly screams because that's his name on the account, what the fuck?

Cash: Khun Korn said to have enough money to cover your tuition

Chay: [does not point out the initial balance was 3x his four year tuition]

Chay...leaves. He thinks. He doesn't know how he got from Cash's office to his room but his next stop is his bed to scream into his pillow until his throat hurts. Fucking rich people.

In protest, Chay takes Kim out the next evening on a zero baht date. They walk along whatever part of the river's nearest to their university to watch the sunset, have to jump a fence and duck two railings to even find a private sitting space away from any other river goers. The view's passable at best, at least free of most industry stuff thanks to the proximity to school but hardly the most inspiring. Chay spreads out his flannel for them to sit on, and feeds Kim dry packet ramen and stale shrimp chips he got free from a university event. He didn't even buy a drink, they survive off a mostly full bottle of grape soda Chay stole off a friend.

(It's a magical evening for Kim, obviously. Ferreting out little hidden spaces hand-in-hand with Chay, enjoying the nighttime air curled together, eating terrible cheap food that somehow tastes good? This is DOING things to him. He will be bringing a guitar and minimum two water bottles with him next time tho.)

[is-the-character-aroacespec]

Is she aroace?

🧡    💛     🤍     🩵    💙

(Requester asked for whole Forger family, I will split Yor and Loid in two separate polls, Anya feels too young to include)

Reasoning under the cut due to lenght!

The entire premise of the show kicks off because Yor didn't realize that dating was something she was expected to do and had to get into a fake relationship to cover her ass. Many fans run along with this and act like the use of that trope means that she and the other guy must Fall In Love For Real eventually, but Loid/Twilight literally thinks that at one point and brings it up in the show, asking if she's attracted to him and wants to legit become a couple, and Yor's response is to freak out at his misinterpretation and kick him in the head. She cares deeply for the Forger family, as does Twilight, but it's never shown in a romantic/sexual light for either of them. (Funnily enough, the same goes for Anya, who doesn't understand her peers' interest in romance and/or why Damian acts the way he does around her because of his crush. Aroace family baby.)

There's so much sincerity in how their relationship is written and it feels so reductive that people are like "oh yeah, it's because they're Totally Dating :TM:" in a way that goes blatantly against the text just because they care more about shipping than the story. Yor has so many worries about the ways she doesn't fit society's idea of "normal", trying her best to live up to what she sees as her role in the family - and her family isn't normal! It isn't! They're a spy and an assassin and a psychic, who all have identities that the rest of the world can't know. But it's never considered a negative thing by the narrative, and in fact much of the theme of Spy x Family relates to how they make it work and have something precious between themselves anyway. She's a wonderful character, and I just. Have FEELINGS about this cast. Argh. We stan the silly aspecs forever.

[gingergofastboatsmojito]

Don't read this. You've been warned.

SO THIS IS WHAT MOTHERFUCKING HAPPENS WHEN YOU FUCKING DEPRIVE THE FEMALE LEAD OF SCREENTIME OVER THIS NEW COMPLETELY FUCKING UNNECESSARY CHARACTER LIKE THIS MPDG

Full article in the RB notes

AFTER THIS:

IF YOU WANTED TO SHOW US WHAT HIS PERSONAL LIFE LOOKED LIKE THE RELATIONSHIP HE NEEDED TO FUCKING ATTEMPT WAS NOT OUTSIDE WORK!!! FUCK YOU, ALL! YOU TOO, CALO!

HACKS'LOVE STORY IS PERFECTLY WRITTEN AND THE FANS ARE NEVER GASLIGHTED, THEIR INTELLIGENCE IS NOT INSULTED ON A PERMANENT BASIS. THEY ARE NOT SPOONFED EITHER, THE BALANCE EXISTS AND YOU COULDN'T FUCKING WRITE IT, YOU WENT FOR THE FUCKING CLICHÉ INSTEAD:

AND THEN THIS HAPPENED:

And don't get me wrong, I ADORE JEAN, I LOVE HACKS and I even have a blog exclusively dedicated to that show I am a fan of, so having watched all 3 seasons and believing in it from day 1, IK exactly what I'm talking about. Lucia is nailing the love story because she has the ovaries to tell it, and doesn't use her writing, direction, and executive production efforts to gaslight those who tune in to see how Deborah & Ava's love story unfold. She even writes other characters who play love interests for both but does not string that along, it has a beginning a middle, and an end because she ALWAYS SUPPORTS THE ENDGAME COUPLE NARRATIVE, SHE DOESN'T TRY TO PUSH ANOTHER BECAUSE SHE KNOWS WHY THE AUDIENCE TUNES IN AND RESPECTS THAT.

And I don't think that at this point I have to make a stronger case about how much I fucking worship Sydney Adamu and will always defend her, but hey! being truthful, objective, and realistic is MY way of protecting her. Unpopular opinion? Maybe. Do I give a fuck? HAHAAAAAAAAAA GIVE ME A FUCKING BREAK!

So, Deborah's character is a lot more complex than Sydney's.

Deborah re-discovers her sexuality and re-defines herself as she falls in love with a subordinate and rebuilds her career after everyone left her for dead in the dust of it, and turns a cancelation around at the age of 100 years old in a world that is no longer the world she knew and made her bitch, which made her filthy rich but also cost her EVERYTHING.

Sydney, on the other hand, is this nuanced character, with a dead mom we know NOTHING ABOUT, a potentially recovered alcoholic father we know nothing about either, a past we know almost nothing about, a love life and sexuality we can guess but WE KNOW NOTHING ABOUT EITHER, with a "platonic romance with a white boy who gave her his life long dream and heart on a fucking plate" THAT NO ONE WANTS TO FUCKING EXPLORE BECAUSE THEY TRY TO SHOVE THIS MPDG WHITE GIRL CHARACTER DOWN OUR FUCKING THROATS and a bunch of other motherfucking layers that remain completely unwritten and off-screen. No screen time whatsoever for character development in S2 for Sydney, BUT THIS ONE? I EVEN HAD TO PUT UP WITH HER MOTHERFUCKING ASS!!!

So summing up: This award was taken from Ayo, not won by Jean, because Jean had a whole team having her back, Ayo was RELEGATED BY HER OWN TEAM TO PRIORITIZE A FUCKING MPDG UNNECESSARY WHITE CHARACTER, AND IF I COULD FUCKING SUE THE RESPONSIBLE ONES, FOR THIS, I 10000% WOULD.

FUCK YOU, ALL AT DISNEY WHO LET THIS HAPPEN AND DON'T EVEN GET ME FUCKING STARTED ON S3, THE NEXT AWARD SEASON WILL BE EVEN WORSE BECAUSE WE HAVE BEEN LOUD AND CLEAR FOR 2 FUCKING YEARS NOW, BUT STORER AND APPARENTLY DISNEY DON'T FUCKING LISTEN AND THEN THIS HAPPENS:

[loverboy1717]

I don’t want to call some of the new romantasy books “bad” literally anywhere on the internet anymore cus inevitably somebody will pop out of the ceiling and tell me I’m an elitist snob or a prude and like…how did we get here?

How did we get to a place where me calling books with formulaic (and sometimes straight up stolen) plots and FMCs who are vague and generic specifically so they appeal to the widest market possible “bad” is such a wild thing?

I like romantasy a lot. I think done well, romantasy is one of the best genres out there. The problem is people don’t consider anything but like sexual tension and fucking to be “romantic.” Romance is not only sex. Romance is slow building a relationship. It’s pining. Its awkward moments and feeling vulnerable and self doubt and risks.

I’m sorry I want good dialogue and world building and a complex and compelling plot and well written characters to be the focus of a book? Like I’m here for the smut too, but why is it eating the entire narrative? Why is it so poorly woven into the rest of the plot?

You’re telling me that a girl who is the chosen one and “not like other girls” cus she’s so smart and tough is also dumb enough to have super rough/experimental sex all night the night before a battle??? Babe, how is she gonna walk let alone swing her sword? Please be so for real.

People are not elitist cus they don’t like the trending smutty faerie book of the week. People are not prudes cus they think the romance in a fantasy should be a garnish and not the whole meal. Or that the smut should fit into the plot in a way that makes some damn sense.

People are allowed to critique popular things. I’m allowed to say I think most of the trending books these days are derivative, spend way too much time describing outfits, and have some of the cringiest white feminism girl power I’ve ever read. I’m allowed to say that. If you don’t like that take, find one you do like? Idk what else to suggest.

But we are not going to do is throw words like snob and prude around as a gotcha cus somebody doesn’t like Sara J Fuckin Maas. I’m so tired of these pseudo-intellectual Ted talks online talking about how not liking smut it a stepping stone to conservative Christian nationalism or fascism or what the fuck ever.

I have read and still regularly read filthy god damned smut. I have found some books who do it well, but mostly I read it on ao3 where they say things like “cock” and “balls” and “pussy” and “clit.” Not cute little filler words. Jesus wept, save me from having to read the words “manhood” or “apex of her thighs” or “core” ever again.

So yes, you can like/love smut, and still have standards for the books you read. And if wanting exposition and world building and plot makes me a snob then I guess I’m a fucking snob. My question is, why aren’t you?

And while I’m fucking raging, if we are gonna throw around words like fascism let’s talk about how anti-intellectualism is a huge god damn strategy of fascist movements? How people who are curious and have standards and want to think about things complexly are less likely to fall down a fascist rabbit hole? And speaking of, how many of the characters in these books you’re defending with your whole chests are queer? How many are people of color? How many are disabled? Don’t come to me about how I’m the one with rigid thinking until y’all read smut that isn’t just penetrative straight sex between two boring ass generic white people.

And that’s how I feel about that.

[suzukiblu]

I know it's totally wrong for what you're shooting for but your stories make me feel bad for Clark. All these folks judging him, when as far as he can tell Kon doesn't even want to be around him. And honestly, he's had clones before. No one expected him to mourn when a Bizarro degraded

. . . okay, friend, first off I apologize, because I def got carried away with this response and it turned into a bit of a rant, hah. Please don't take any of this the wrong way or get the impression I'm annoyed by this ask or anything, I just fundamentally disagree with SO many things about how Clark's relationship with Kon has been handled in canon and apparently I had to word-vomit a lot of that out here and now in explanation of why I tend to write Clark as being Objectively Wrong about Kon/how he treats Kon.

A) There's no convincing reason I can think of that Clark should think Kon doesn't want to be around him, and if he DID, why would he have given him permission to wear the El crest to begin with, much less offered him either the name "Superboy" or "Kon-El"? Especially Kon-El, because that's a name that originated from a specifically ADOPTED member of his birth family, and Clark offered it to him while CALLING him family, but also . . . lying to him about having a secret identity? And whole-ass other life??

and also

B) I actually WOULD expect Clark to mourn a Bizarro degrading. That's like his whole deal, in my experience of him across various media: Clark Kent is a person who thinks that every person matters and is undeniably the kind of guy that would be upset by someone suffering from genetically-inevitable degradation. Especially if the people suffering that degradation only exist to suffer it because HE, Clark "I Am Personally Responsible For This Whole Damn Planet, And Yes That IS A Threat" Kent, exists.

Like, Clark always takes way too much on himself. So it doesn't really make sense to me that a dude like that would take one look at a kid with his own face who is actually at best about a month old and just decide "yeah, this person doesn't need me ever involved in their life at all" and STICK with that assessment even through repeated problems, near-death experiences, and straight-up disasters. ESPECIALLY because Clark already knew Matrix, and she was ALSO a genetic experiment who'd been made in his image by someone he didn't have any reason to trust. But he still took Mae to his parents' farm and let her live there pretty much immediately, trusted her with SO many of his secrets and even trusted her living with his parents without, again, having to jump through ANY of the MULTITUDE of hoops that Kon did to earn a similar level of trust, and she eventually started dating literal LEX LUTHOR and Clark still trusted her after THAT!

( I mean, I think everyone thought Lex was his own son at the time or something weird like that, Because Comics, but still! STILL!! )

Shit, Clark still trusted Mae after she had a mental breakdown ON HIS PARENTS and tried to attack him and had a severe enough psychotic break that she thought she literally WAS him! Mae very quickly proved herself to be WAY more dangerous and hostile than Kon has EVER been outside of being directly mind-controlled, but from the jump Clark is way more invested in her and her life and CARES way more about her and her life. And later he responds to Kara just as differently as he did Mae, despite her ALSO debuting as both a more dangerous and more hostile person than Kon. So like . . . there's a bit of a double-standard going there, it kind of feels like? Like, at least on a meta-level. And I'm sure most of it's editorial nonsense and the kind of narrative problems that lie inherent in like . . . what, thirty-plus years of comic history and about eight bajillion different writers and the like, obviously, but it just is REAL hard to justify that behavior in the actual narrative when Clark Kent is meant to be the moral paragon that the entire damn rest of the DC universe is meant to set its metaphorical watch by.

Either way, though, I'm usually trying to write Clark as either sympathetic or at least understandable in his logic, even when it's flawed, so I wouldn't really say it's "wrong" if you feel sympathy for him while reading my writing. Like, I'm not saying he's in the right in those specific fics, but I do still want to be empathetic to his point of view. It is again just REALLY hard for me to explain a lot of Clark's canon relationship with Kon in any way other than "benign neglect due to just deliberately assuming that all Kryptonians are always Perfectly Fine, Thanks due to his own personal issues about what 'Superman' represents", and that's the KIND option.

Long story short, I really just don't care what DC says, It is NOT on the brand-new teenager with zero life experience who Clark deliberately LET put an S-shield-shaped target on their back to single-handedly foster a relationship with the perfect superhero idol that most of the damn world looks up to. I genuinely cannot think of a single significant occasion where Clark ever does anything for Kon that involves CLARK having to put in any kind of recurring effort, but we're supposed to accept that KON has to earn scraps of Clark's attention and the right to be considered a part of his family over and over again--while Clark, again, doesn't have to do anything to earn Kon's attention or the right to be considered a part of HIS family? Ever? Even ONCE??

Relationships are two-way streets, DC! That's just how relationships are, DC!! Otherwise it's just parasocial bullshit or someone taking advantage of someone else, DC!!!!

Don't get me wrong, I really love Clark, I think he's a great character in a lot of fascinating ways and that he is VERY interesting and affecting when he's done well ("you can do anything you want, and all you want to do is help people" HELLO CRYING IN THE CLUB RN), but like . . . come on, DC, what the fuck and WHY?

[jams-sims]

I wrote a whole ass essay for Philza now Im gonna do it for Jaiden. In defense of the lack of content with Jaiden in it (real quick). Being an old goat of fandoms I can explain it (don't worry this won't take long and also it plays into her character's overarching narrative of a grieving mother.) Plain in simple women in Minecraft are notorious for getting shit on by the collective fandom. (Everyone has to take part in making sure that it stops happening.) She is mainly a YouTuber which makes a dissonance between mainly youtube viewers and Twitch watchers. So it's harder to catch her just because you have to go to another site. Also, she doesn't stream as often as everyone else. This makes for a lack of content, just because Jaiden is just a low-key person. This is the recipes for a lack of content BUT that does not excuse people who are being weird to her or think she's in the way of any ships etc etc.

BUT

Narratively speaking all of those things above make for perfect storytelling. (below the cut I go deep into Jaiden character I mean I go DEEP)

Even though Jaiden has the support of the whole island. At the end of the day- she goes back to that same house. Climbs to the very top and she fall asleep on the chair facing the sunset. This means that everyone else has moved on, especially Roier. She is forever stuck in that same place.

I can't be the only one who noticed every single stream, she logs out at the house. BY HERSELF (I think Roier built? Someone corrects me if I'm wrong.) It's so subtle that you wouldn't even notice it at first.

When asked where she was living by Etolies. She doesnt say her and roier house, she doesn't even say where bobby use to live. She specifically says " I am squating in Roier old house". She puts herself on the outskirts of what is further from the truth. Shes not squating in roier house im 100% sure Roier shares everything with her. It is her home too!

Next when it came to the marriage between cellbit and Roier. She was surprised that she was even invite. Its as if as soon as Bobby died all her friendships and relationships died with him. No matter how many people are around her she has this ice wall of isolation and deep lonely-ness.

Her grieiving is less theratical than Charlies its so sudtle that you can miss it. While Roier throw himself into drink and into a relationship. (Which has admitedly worked out in his favor. He gets a husband a new son, a world of love. Something that can lessen the sting of Bobbys death.)

Jaiden on the other hand threw herself into a a impossible task, "protect the eggs." She doesn't know anything about any group or fractions. That is her only wish and the federation saw that and picked her to use. She has nothing everyone else has seemingly moved on of course. They haven't stopped investigating but they death of Bobby mostly everyone has moved on. Besides Jaiden this is her driving force so no one will suffer like she did. (on a side note her and Charlie should team up for lore and to both work for the federations.)

ITS PREFECT! Oh are you greiving has everyone else seemingly moved on? Your friendly neighborhood bear has a book full of instructions. Don't think, I'll guide you.

Before it fell apart the federation was going to secretly use Jaiden and she was going to do everything alone. But because Jaiden can't keep a secret to save her life. This leads to everyone realizing how at risk Jaiden is at being used. They are all with her in an instant. But part of her character is now that she sides with the Fedration and no one sees it yet. While everyone else think they are the bad guy. Her story is shifting because cucurucho is there, because cucurucho is nice to her, because Jaiden is cucurucho favorite.

She is being drawn in whether she knows it or not to be om their side. Think of it this way-

Fit is team: Spy thats off the island

Cellbit and Crew are team: AntiFederation

Jaiden the one that is left alone is the perfect choice to slowly pull her onto the federation side. It's perfect! The self isolation, the want to connect but feeling like she can't. It would be so easy for someone to take advantage of that.