#please this is all of my essays

[huginsmemory]

Ideology of Exceptionalism and Gravity Falls; meta and character analysis

I had a whole ago read a post by @icanlife that had a quote by Alex Hirsch on Ford's greatest flaw, and wanted to explore what the flaw is, which is the ideology of exceptionalism; in the exploration, I’ll touch on what it is and how it is used in abusive relationships and cults, as well as how it drives multiple Gravity Falls characters and consequently how it impacts relationships between these characters, and how the show ultimately refutes exceptionalism.

Quick note here; I am not in any way, shape or form a psychologist nor have any formal training in psychology; this is written from my own experiences with this ideology and my own forays into psychology and trauma-informed learning. It is also written with a loose understanding that is likely not broad enough to cover all references to cults, extremist groups and abusive relationships. 

The Ideology of Exceptionalism 

First of all, we have to get through a drier bit, which is… what is the ideology of exceptionalism and how does it arise? Might be fairly obvious, but it is the belief that you are, or belong to, a group of exceptional people, thus more important and worth more than anyone else; ie, those who don't qualify as 'exceptional'. It is often a subconsciously learned ideology. Now, what qualifies one as exceptional can be extremely varied; generally it revolves around something that provides some form of privilege. Thus, it might be, as the main exceptionalist idea in Gravity Falls, 'intelligence', or power, or it can be such things as attractiveness, quantity of money one has, species, nationality, or skin colour and ancestral heritage. The ideology of exceptionalism, being by nature hierarchical, devalues, and at its worst, openly and violently dehumanizes those who do not qualify as exceptional. 

For why exceptionalism occurs is an extremely broad topic, but I've personally found that, for exceptionalism revolving around intelligence, it's a result of a poor sense of self-worth, and having one's self-worth tied to what makes one exceptional. Poor self-worth itself (again, broadly) is a result of childhood trauma from a lack of positive affirmation and unfulfillment of the emotional needs of the child. Meanwhile, self-worth becoming tied to the quality of exceptionalism generally is a result of when positive affirmation was pretty much solely provided around their 'exceptionalism', especially when provided derogatory commentary, or a blatant example of how they would be treated if they aren't 'exceptional'. As a result of the general lack of affirmation, self-worth then becomes often solely reliant on the qualities of exceptionalism, as that is the only way for the child (and later, adult) to get affirmation of their worth, as well as out of fear of being ‘not worth anything’ like the examples of ‘non-exceptional’ people they have been given. 

This is especially likely to occur when the child is a social outcast; the adoption of the hierarchical ideology of exceptionalism, and the devaluation/dehumanization of others often occurs subconsciously as an avoidance/minimization tactic from pain. This is to say, the child, and later the adult (if healthy self-worth is not established) goes 'it doesn't matter what the non-exceptional people say or if they accept me since I matter more than them because of my exceptionality'. It can even be taken further, that being shunned is part of one's exceptionalism, and becomes part of the qualifier of being exceptional. For instance, 'they just can't understand because they aren't exceptional and that's just a part of being exceptional'. This idea also neatly tailors into the part of the concept of being better then others means you are separate from others; this can be taken that someone who is special, needs to be alone to be truly special.

Obviously, exceptionalism is not a healthy coping mechanism for poor self-worth, as often such people constantly feel the need to prove and show off their exceptionalism to gain that affirmation and avoid rejection, which is stressful. As well, it often negatively impacts their relationships with other people as a result of the arrogance of believing that they are better than most others, or even deliberate sabotage due to their arrogance. This occurs as they flatten the complexity of human experience to black-and-white hierarchical categories of exceptional/not-exceptional through constant judgement of those they meet, and often refuse to engage with people who don't belong to their 'exceptionality', or even people they simply don't like, even if they technically qualify. Generally, those that they do like or have close relationships with, often due to being similar, are automatically labelled as 'exceptional'. Those judged as ‘exceptional’ also become privy to the open judgements of ‘non-exceptional’ others, out of a subconscious belief by the exceptionalist that the other believes similarly; something that may strain their relationship if the other doesn’t ascribe to exceptionalism. This all culminates in the exceptionalist being blind or even adverse to the diversity of experiences, which makes it difficult to create relationships and community outside of echo chambers of their own beliefs (if they can even find this), and subsequently, these people are often isolated and have very few to no close relationships with people. 

However, all humans require connections with other people, relationships where one can rely on others emotionally and physically if needed and feel accepted; they also require to feel like they are worth something, that their life has meaning. Lacking meaningful connections and having a crippled sense of self-worth, a deep yearning hole is left in these people. Exceptionalism, especially as it is a narrative constantly pushed by Western society as it validates hierarchies, is then employed as a (often subconscious) trauma response to assuage this yearning hole, with arrogance and denial. And depending on the circumstances, it can be a very strong and definitive trauma response for people.

This isolation and lack of self-worth is catnip to abusive relationships, including cults and extremist groups. These types of relationships often heavily rely on isolating their victims or pulling them into echo chambers of solely the abuser’s rhetoric, to redefine what is healthy through gaslighting; as the exceptionalists are already isolated, this makes them extremely susceptible. They also often provide these people affirmation, and in these cases especially about their exceptionalism, thus confirming their self-worth, their 'specialness', while also providing them the connection they have been lacking, either through the cult community or through the abuser’s own presence. These emotional needs, which haven’t been met in a long time, if ever, begin to be fulfilled; something that abusive relationships and cults hinge on, rather than any form of logic.

Ideology of Exceptionalism and Gravity Falls

The main characters within Gravity Falls which are heavily ascribed to exceptionalism would be both Ford and Bill; this characterization deeply impacts the story and their relationships with others (technically the Northwest are another case regarding wealth, but less directly impact the storyline and thus tangential; Gideon also is an example, but as a mirror of Bill). With each of these characters I’ll go into detail within their sections on the way they began to ascribe to exceptionalism, and how it plays out later in their relationships; I will first begin with Ford, then move to Bill. Then, to cap it off, I’ll go into the characterization of Stan and the way Gravity Falls refutes exceptionalism. 

Ford and Exceptionalism

Firstly, the quote from Alex Hirsch that kicked this whole baby off, as mentioned previously; 

“Ford sees Dipper as someone who’s special like himself. That’s Ford’s great flaw, his arrogance is he believes that there’s special people, and everyone else. That human attachments are actually weaknesses. And the song and dance that he’s giving Dipper right now, is the song and dance that he gave McGucket, back when they were younger… ‘You and me are different, we’re better than everyone else. We have a path that no one else can understand, and only us can do this.’ It’s a very seductive idea for Dipper… Dipper is a smart kid, but Ford’s projecting. Ford loves Dipper because he sees someone who’ll tell him ‘yes’ to everything. Who’ll never challenge him, who’ll do a really insane dangerous mission.”

Very blatantly Alex Hirsch calls Ford out on his arrogance in the belief that he is special, in his belief in the 'lone hero' complex, in his belief in exceptionalism. And really, it should be no surprise that Ford does so, considering the way he's depicted as a social outcast as a child (other than Stan), and the way his parents have been clearly shown to be not particularly emotionally supportive (“I’m not impressed”); they don't provide positive affirmation except for his intelligence (mostly due to the possibility of money making through it…), while also actively comparing him to Stan who is derogatorily ‘not-exceptional’, and ‘worth less’. This all sets Ford’s self-worth up to be fragile, and other than Stan who wholeheartedly accepts him, he is isolated and invalidated; plus, the only other validation he receives is around his intelligence. All very classically fitting the profile for exceptionalism.

Image id: Stand and Ford when they were children, both clearly enjoying each other's company.

Ford’s belief in his exceptionalism catalyzes after the shattering of his and Stan’s relationship. Previously the twins are shown to do everything together, having a very close caring relationship; something unlikely if Ford thought he was better than Stan. Also, when Ford is talked to about his opportunities, Ford looks uncomfortable at the way they talk about Stan as inferior, compared to how he himself is being praised; but in the offer he’s simultaneously finally being validated, he’s being told he’s someone worth something, and he’s going to be someone worth something after this. And then the science fair incident occurs, and Ford loses that validation from his parents, from the judges and a future of more validation; after being promised validation and acceptance, it slips through his fingers. And in his anger of being denied that, it becomes easy to begin to slip subconsciously into the rhetoric the others have been feeding him; that he’s exceptional, that Stan isn’t, and he deserved to be recognized for his worth. So he breaks the relationship with the only person who accepted and validated him for who he is. With that loss of previous support, Ford becomes then deeply obsessed with proving his exceptionalism to the world to assuage that fragile self-worth, to become accepted, or even better, revered, confirming that he is someone of worth, someone special, like he was promised. 

Ford’s obsession also doubly functions as a way to alleviate his guilt over shattering their relationship; if he’s exceptional as he believes, then he’s within the right to respond the way he did, as he’s worth more than Stan, he's better off alone, and he has a right to be angry over being denied that validation. As well, in much the same way as it is used as a way to alleviate his guilt over the end of their relationship, it is also likely used in a way to minimize the pain of being ostracized (although not directly depicted); afterall, Ford’s keenly aware and insecure about his social ineptitude and his six fingers as things that make him different from other people, case in point with his experience visiting Lazy Susans Diner. Thus it wouldn’t be unsurprising if he uses the idea of being worth more than those who ostracize him to imply it ‘doesn’t matter’ what they think. His ostracization by nature keeps him from generally forming close relationships, with the exception of Fiddleford (who much like him, is socially outcast, and intelligent) during his university days. As a result, he's isolated and acutely lonely, having lost Stan.

Image id: One of the missing Journal 3 pages in TBOB, detailing Ford's botched social interaction in Lazy Susans Diner. In the background is the print of his six-fingered hand.

In his obsession over being acknowledged, Ford, like many others who believe in exceptionalism, identifies strongly with the causes of his ostracization (his intelligence, his six-fingeredness) as part of, or wholly, makes him exceptional. It is obvious through his choice of study; with the grant he has been gifted, he chooses to revolve his work around the weird, the outcast, something that you see Ford gravitate towards being an outcast and deemed 'weird' himself (which in Journal 3 he openly talks about). Something that can be, much like him, framed as 'exceptional'. His work is even recorded in a journal that Ford deliberately chooses to put his six-fingered hand on the cover of. Intertwined with the way it becomes adopted into the idea of exceptionalism, is the keen loneliness from his ostracization and a deep desire to be accepted and a wish to find a community of other weird people.

Image id: Two pages from journal 3, labelled 'Myself', in which Ford is open about being weird, and a social outcast, while also noting his ambitions and that 'Gravity Falls, [is] the place that I fit in.'

Ford and Bill

All of this culminates in Ford becoming an incredibly easy target to manipulate by Bill. He’s desperate to be acknowledged (and thus accepted) by an authority figure so that his belief in exceptionalism is justified and his self-worth confirmed. And he knows he’s intelligent, that he's exceptional because people have told him so, but he just needs to prove it with something that shakes the world. And the grant is finally his second chance after the fair, but he's stuck, and the research is going nowhere, and he's in a town where he doesn't really know anyone and he’s so terribly lonely. And sure, he clings to his exceptionalism but if he can't even prove it then is he really exceptional? Is he even worth anything like he thought he was? And what about what he's left behind, rejected, because of his exceptionalism?

And THEN he finds an incantation and he ignores the warnings because maybe, just maybe, this will be his break to get that acceptance/validation he has been chasing his whole life? 

And then it's better than that. 

A god, essentially, shows himself to him, an ultimate figure of authority. And he tells him that yes, he is special, he’s worth more than other people, and Bill’s only showing himself to Ford because he is so much more intelligent than anyone else. Ford is suddenly getting his exceptionalism confirmed by a god of ancient knowledge, an immensely intelligent interdimensional being, and he’s also showering him with affirmations, specifically affirmations around what Ford's fragile self-worth is based on. And even better, he's delighted by Ford's six-fingeredness; he's not put off at all, it even becomes his main nickname for Ford, just like it used to be for Stan all those years ago. On top of it all, Ford's own social ineptitude doesn't phase Bill, another thing Ford is self-conscious about; Bill's own social ineptitude as he's not human probably makes Ford feel comfortable, knowing that's not expected from him.

Through Bill, not only does Ford find someone who validates his self-worth through intelligence and even confirms to him that his weirdness is part and parcel of making him special, he also finds someone who he regularly (generally) is in contact with, who enjoys talking to him and even banters with him familiarly. Hell, Bill even deliberately goes out of his way (literally possessing a whole wack ton of rats, then dream karaoke) to celebrate his birthday with him; how long do you think Ford has simply skipped his birthday since he had no one to really celebrate it with? The loneliness, beneath his arrogance and belief in exceptionalism, is being fulfilled; for the first time since Ford was a teenager, he's fully accepted by someone, social awkwardness, six fingers, exceptionalism and all. 

Image id: One of the lost pages from Journal 3 in TBOB, the 'one thing led to another' page, with Bill and Ford singing karaoke and drinking together, both clearly enjoying themselves; Bill has an arm slung around Ford's shoulders.

So it's really no surprise at all that Ford fell for this, hook line and sinker. Hell, if I was in Ford's shoes I would fall for it just as hard. And I've seen a few posts floating around talking about how Bill is bad at manipulating, and no, he's not. He was able to pinpoint exactly what Ford wanted and needed, and provided that, was charismatic enough to provide that. Again, manipulation isn't about logic. It really isn't; it's about the emotional core in people, what people lack and what you can give them to slowly reel them in to sing your dance and song. And people will ignore vast swaths of red flags when you're finally being accepted, when you're finally getting your emotional needs met at least in some way or form. It's better than not having them met at all, such as previously. So Ford worshipping Bill is really not a surprise, especially as Bill deliberately stoked it.

All of this is part of why you see Alex Hirsch call Ford's belief in his exceptionalism his greatest flaw; because it allowed him to be very easily manipulated by Bill, and by its nature kept Ford isolated from others, evident by his arrogance in assuming he knows best and refusing to see other people who aren't as 'intelligent/weird' as him as worth getting to know, listen too and even reach out to ask help from, it's him believing he has to be the lone hero as someone whose 'special'. It's something that blinds him to the danger of his work around the weirdness of gravity falls because he’s desperate to seek a place where he and his weirdness belong, and it's something that plays out in each and every relationship he has because it's something he clings to so deeply. It's what cost him his relationship with Stan, who previously accepted him completely, and, as he's disinclined to form new relationships and as Bill actively strokes his paranoia (Trust No One…), ultimately further increases the hold Bill has over him. It's only Fiddleford’s presence as he works with Ford that allows him some form of outside reference and reprieve from solely Bill’s influence, something that Bill resents deeply and is clearly jealous and angry about, even if Fiddleford is helping create the portal. And it's ultimately Fiddleford, once he was aware enough of what was happening, calls Ford out on it, seriously jeopardizing Bill's influence over Ford; but Ford is too invested in the portal, in chasing his own ambition and caught up in Bill’s manipulation to take him seriously, until the incident with the trial, and Ford beginning to hear other voices then Bill.

Ford’s Exceptionalism and Wider Relationships

Now back to how it plays out in all Ford's relationships; we've already gone over it with Bill's influence, because it made him extremely easy to manipulate, and with his disregard of Stan in favor of validation of his exceptionalism. But Ford, as pointed out by Alex Hirsch, also exerts the ideology's seductive rhetoric to both Fiddleford and Dipper (who look up to Ford) in a similar way that Bill does with him (although there is a difference of it being used intentionally and maliciously, compared to subconsciously and earnestly, even if it is problematic). Ford, with his black-and-white view of exceptionalism, sees both Fiddleford and Dipper as people who are like him; 'exceptional', and so he treats them as such, and uses this rhetoric to coerce them into helping him.

For Fiddleford, the lure is how he can change the world, how he can be finally acknowledged if he helps Ford with the portal. And it works well; he willingly chooses to leave his own work and his wife and young son, to work with Ford. Much like Ford, Fiddleford himself is also a social outcast and regularly presumed less smart than he is, and he’s got a chip on his shoulder to prove himself, to gain acknowledgement and recognition from the world at large. Although Fiddleford has a family which presumes he’s not entirely lonely like Ford is, he also clearly has deep feelings for Ford, some which are hinted to be more than just ‘friendly’ feelings; it is likely the combination of the lure of validation and spending time with Ford, a kindred spirit that accepts him and an old friend/crush, that causes him to agree (afterall, it was Ford who made Fiddleford feel accepted and choose to stay at Backupsmore). And Fiddleford’s not even considered a partner, but rather an assistant to Ford due to Ford's arrogance, and he still drops everything to go! It’s more about their relationship and connection rather than validation, but that doesn’t stop Ford from espousing exceptionalism. And this is a distinguishing difference, because although Fiddleford would like recognition, he’s not there solely because of it; he’s not a believer in exceptionalism nor arrogant about his skills, and so, unlike Ford who is blinded by his obsession, he’s much more aware of the dangers of the weirdness of Gravity Falls. Thus, he's actively calculating the risks involved, and when he realizes there could be potentially devastating consequences of the portal, he attempts to talk Ford out of it; this fails due to Ford’s own denial and obsession over the portal. In the end, it all goes terribly sideways, and Fiddleford ends up losing everything he had; his wife, his son, his friend, his memories and himself to the trauma he had experienced at the invitation of his friend with the lure of validation and company, due to the memory gun he had created himself. 

As for Dipper, much like Ford, he also has issues with self-worth (many of the episodes deal with Dipper finding self-worth; ie, the manotaur episode), has a physical oddity (his birthmark) and by far the trait he relies on most for worth is his intelligence (for example, in one episode he rubs it into Mabel's face over and over again in beating her in games). He's also extremely desperate to be recognized by authority figures as someone intelligent, case in point when he summons the dead after being made fun of by the government agents to try and show them that the information he's gathered is important after Stan dismisses his knowledge. This desperation to be seen as someone of worth from Dipper, much like Ford, extends to the need to be a hero, something he even says at the end of the zombie episode; yet, due to Mabel, unlike Ford he's not a lone hero, and Mabel also half the time acts as the hero.

Image id: Zombies crawling out of a crack after Dipper summons them; Dipper and the two agents look on in horror.

It all culminates in Dipper hero-worshipping Ford when he returns; really, no different than Ford worshipping Bill. And Ford clearly finds it extremely flattering; Dipper's attention and amazement of him feeds his exceptionalism. Exactly how Ford responded to Bill, Dipper is willing to do anything for Ford, excited too, in an attempt to impress Ford and be validated and accepted. And for Ford, that's an extremely heady feeling, especially as someone who has been constantly alone the last 30 years, especially when he had one previously confirm his exceptionalism all those years ago and stopped, and now someone is once again affirming that idea. And Ford doesn't have to be alone again, because he's found a kindred spirit in Dipper as his assistant, someone ‘just’ like him, someone who is exceptional. Because he sees himself in Dipper, he begins to espouse exceptionalism unconsciously, by praising Dipper's own intellect and adventurous spirit, assuaging his feeling of self-worth, while also telling him he's more important or better than others because of it. 

And it's seductive to Dipper, because he wants to hear those affirmations of his self-worth, especially as he hero-worships him, but Dipper isn't sold on it, because it means leaving Mabel behind, it means believing that he's worth more than Mabel (and also, Stan, and all his friends he’s made in Gravity Falls). It's ultimately because of his relationship with Mabel that he rejects the ideology; he's not isolated the way Ford was with Bill, and he's not willing to break that relationship for that acknowledgement, because his relationships matter more to him.

Bill and Exceptionalism

Now of course, that's only on the Pines; what about Bill? 

While it's obvious that Bill uses exceptionalism as a main manipulative tactic, it's not just an ideology he sprouts emptily; it's also an ideology he believes in, just like Ford, although it's less based on intellectual exceptionalism, and more on power and 'weirdness'. 

This most distinctly can be seen in Bill's denial about what happened to his home dimension; Bill's belief in his exceptionalism occurs as a pain avoidance tactic from killing his whole dimension. Bill was clearly a social outcast within his dimension due to being able to see 3d; he's not accepted, and not trusted, to the point that there is medical intervention to make him blind. That's a deeply traumatic experience that completely erases one sense of self-worth, where one’s sanity is called into question by your parents on something that is not harmful, that's beautiful and you just want to share with them. It's a deep and clear rejection of who Bill is, and his ability. As a result, out of a desperate bid to be understood and accepted, he ends up trying to show them the stars. And it ends up killing everyone. 

Image id: Page of TBOB, on 'The Early Years' which notes that Bill was an oddity for seeing 3d, something that was illegal to speak about. Bill frames it as something that made him 'special' and better than all the others.

Traumatized, and originally rejected by the dimension, he instead weaves an excuse of exceptionalism; that it doesn't matter what he did to them because he's exceptional and he's worth more than all of them because he can see 3d, because he's powerful, so he shouldn't/'doesn't' feel any remorse about it. With such a traumatic result of trying to be accepted by people, he rejects the idea of trying to be accepted for who he really is; instead adopting a facade of a monster that he believes he is (and eventually, becomes).

Even if he clings to the delusion of exceptionalism, and shuns attempts to find true acceptance, he still wants it; and that's where his henchmaniacs fit in, as they're all, as Bill's noted when trying desperately to get Ford to join him, weird; each has something 'wrong' with them, which is why Bill accepted them as his lackeys (although it's not like we know the context around these). It's a surface-level acceptance however, one more predicated on fear than emotional acceptance. He's taken his 'weirdness', much like many do who believe in exceptionalism,as ‘part of what makes him exceptional'.

In the same way that Ford wants to show the world that he's smart and intelligent by building the portal, Bill does so by wreaking havoc and taking over existences as a way to show the world that he's powerful, that he's someone to be reckoned with, that he's not someone to be ignored because he's someone who's worth more than others. If you can't be loved and accepted, then being hated and feared is better than being ignored; acknowledgement at least approaches acceptance, it's validation of some sort of worth. It also functions as deliberate self-sabotage of his morals, by proving that he is the monster that killed his entire dimension; if that's what he is, then that's who he's going to be, because if he wasn’t, then he has to come face to face with his remorse over what he did to his dimension and his whole house of cards around his exceptionalism and not caring collapses. So instead he keeps feeding the delusions the denial, and lies and lies and lies and keeps lying to ignore all of it, to wrap himself in this shroud of exceptionalism and brutality as a way to function. And it somewhat works, because he's mostly deluded himself about it all, even if subconsciously he knows. 

And of course, this display of Bill's exceptionalism is what brings Bill to earth, to Gravity Falls, and to manipulating humans. In meddling with earth and humanity, beyond Bill's goal of taking over earth and fleeing his own unravelling dimension, he also enjoys reaping the benefits of being worshiped by humans, who find him awe-inspiring. Their amazement of who he is, and Bill's own posturing and manipulation of people leads to Bill literally forming cults (ie ciphertology) or having apprentices that worship/find him (to varying degree) inspiring; all reinforcing his feelings of exceptionalism. 

Of course, Ford numbers among these people; he praises Bill and worships him, as he's played like a fiddle by Bill, because his self-worth and belief in exceptionalism is fucked up in a way that perfectly resonates with Bill’s. Because it's the exact same types of issues around self-worth, around being an outcast, being weird and wrong physically, and yet at the same time gifted. And Ford clearly is incredibly lonely and yearning for acceptance, but so is Bill; since the beginning he's been trying to find someone who would accept him, even if he's given up on it. And for his song and dance to entice Ford in, he pretends he's not crushed dimensions for fun, that he's not a 'monster'; a version of him he buried after he had tried to show his parents the stars, one that he occasionally resurrects and puppets around for manipulation (all lies are better when they have a grain of truth). And this version of him is worshipped, but above all is accepted, is loved by Ford. The softer parts of Bill, even if they are still weird as fuck, the parts that were never far beneath the surface for all his deluding, become loved by Ford. Much as Ford becomes hooked on Bill’s praise, Bill also becomes hooked on Ford's genuine love and care. It becomes personal, unlike any previous ‘inspirations’ and Bill over time gets to the point that he feels accepted, safe enough with Ford to share about his dimension much more close to the truth then he did with any of his henchmaniacs. He becomes vulnerable with Ford, in response to Ford’s own vulnerability with him. He’s finding acceptance for the first time in his life around the softer parts of himself, not just the feared acknowledgement that comes from his dimensions conquering; much like Ford is finally finding companionship and acceptance with Bill, not just only intellectual validation. Bill's also for once, not just self-serving; he cares, and goes out of his way to take time with Ford, even celebrating Ford's birthday (in the unique way he does things), both with the rats and the karaoke.

Image id: One of the lost Journal 3 pages in TBOB. Ford recounts Bill talking about the destruction of his dimension, and calls himself by implication a monster.

They're both fulfilling each other's emotional needs, needs which both of them have struggled with most, if not all of their lives (although their relationship is certainly not healthy, considering it's codependent as fuck, riddled with exceptionalism and oodles of power imbalance issues). And suddenly, against Bill's plans, Ford's no longer just a disposable pawn, but someone Bill wants as part of his team, someone by his side, closer than his henchmaniacs are. He's unwittingly fallen for Ford, and so when everything goes sideways in his plan, and Ford swears it off, suddenly cutting off their relationship and that acceptance Bill had finally felt, he spirals into grief and anger from the rejection. As a result, he becomes extremely abusive to Ford in desperate attempts to continue their relationship, and ultimately he becomes obsessive over Ford joining him again as Ford continues to refuse, as evidenced by both Weirdmageddon and the Book of Bill.

Stanley Pines, and the Refuting of Exceptionalism 

Exceptionalism, being a negative driving factor behind many core character dynamics, is ultimately refuted by the show. This occurs multiple times over the show, such as with Mabel in the Pioneer Day episode, especially compared to Pacifica, but mostly through Stan's characterization. Stan is someone who has been since the beginning characterized (if lovingly so) as someone who is a failure by societal standards; he’s an older man running a run-down tacky tourist shop to swindle gullible tourists out of their money, has multiple divorces, has an ongoing feud with a literal 12 year old, clearly has had multiple mishaps with the law (some ongoing), is generally pretty self-serving and is extremely lonely and really had no close relationships until Mabel and Dipper showed up. He's not exceptional; he's not even what we would consider 'decent' enough to have a 'typical, hard working job’. In short, he’s a failure, a stark difference to the idea of 'exceptionalism' that characterizes Ford. If he's gifted in any area, it would be charisma (debatedly), not anything else.

But it's still Stan who rebuilds the portal from literally only one journal (not all three!) and gets it to work. It even seems like he only needs some codes from the other two journals when he does get them, suggesting that he was able to extrapolate from what was left and the first journal’s blueprints to fix it entirely, something that is extremely difficult and technically complicated (Ford, Bill and Fiddleford all worked on it together!). Stan's able to do it, even if it's been shown he's not 'naturally' gifted in that area. And it's something he does as a result of his deep care for Ford; because even after their fights, he cares about Ford and wants to right his wrongs, believes he should, because of his whole life of being defined as a failure and even worse than that, screwing up his ‘exceptional’ brother’s life. And he’ll do it even if that means learning how to build an interdimensional portal, even if it takes up thirty years of his life doing so, and he doesn't waver. Much of this is connected to his own complexes around being deemed a failure compared to Ford, having failed to succeed in his life, and how he feels that he needs to atone for screwing up Ford’s life, now for the second time; but beneath it all, he also cares. Much like Ford, he's extremely lonely, but he's not blinded by Ford's arrogance, and as a result he wants to make sure Ford's safe, because that's what he used to do, they’re twins, they grew up together, they once they had fully accepted and cared for each other, and dammit that still means something, and Stan hasn't found that depth of emotional connection since. So if possible, he wants to rekindle that closeness they had, but first, he needs to bring Ford back. 

And in the end, it's not Ford's own special gun he built using his intelligence that 'kills' Bill. It's Stan, someone who Ford had long ago broke it off with in search of validation of his exceptionalism, someone who both Ford and Bill labelled as 'not-exceptional', who defeats Bill. It's exceptionalism's devaluation of people who are 'not-exceptional' that causes Bill to underestimate the Pines beyond Ford, and it's only when Ford put aside his exceptionalism and his refusal to accept and trust 'non-exceptional' people, that is, trust Stan once more, that causes Bill to end up defeated by Stan.

In the end, it's not about who's 'smarter'; it's a reminder that everyone has different skills and are better at different things, but that doesn't diminish one's worth or value, and that just because someone isn't naturally 'gifted' in an area doesn't mean they can't learn or use different ways to get around obstacles. Ultimately, it comes down to that no one is worth more or less than other people; exceptionalism is a lie. It’s a lie and an excuse, and it's certainly not a healthy way to assuage one's poor self-worth. What does matter is creating positive healthy connections with other people, and caring about them. This creates a community where you can be yourself and be emotionally fulfilled through these connections; and when opposition does arise, you become able to fight it together, and fight so much stronger than if you are alone.

And by the end of the show, you see that. Ford begins to let go of the ideal of exceptionalism and its black-and-white categorization; finally recognizes his own faults around prioritizing validation of his intelligence and exceptionalism over his relationships, and finally, after all the years, chooses to create and rekindle positive relationships with people, trust people, and make amends. And in the end, he goes sailing with Stan, prioritizing their relationship, finally fulfilling their childhood promise.

Image id: One of the pages written by Ford into TBOB. Ford refutes Bill's idea of happiness, and says he has finally found his own happiness, and it looks like the photo taped in, of Stan, Ford, Dipper, Mabel, Soos and Wendy, all smiling together.

TLDR: Exceptionalism, an ideology of categorizing people into being special and worth more vs plebian and worth less, is a trauma response and subconscious ideology that characterizes Ford and Bill’s lives, deeply impacting all their relationships as it is used to coerce people into doing what they want, makes Ford easily manipulated, and breaks relationships through their arrogance. It is ultimately denounced through the way Dipper chooses to reject Ford’s offer and his rhetoric of being exceptional, and through the way it's not Ford’s intelligence, but rather Stan, who has been labeled as 'not-exceptional' and a failure at life, that defeats Bill through trickery. It's a reminder that everyone has worth, and no one is worth more than other people, even if one may be gifted in certain areas; the ideology of exceptionalism is fragile and a lie. In the end, creating a caring, loving community around oneself is where strength truly lies, as is seen with the deep care and love the characters have for each other, and the repairing of Ford and Stans relationship.

Thanks to the lovely @eshtaresht who deigned to beta read this monster of a post for me

If you enjoyed this meta, (first of all if you read all this you're a champ!) I've also done another gf meta post! (It's shorter I swear)

[antennabot]

I drew this in an "II season 1 remaster comes out in 3 days" induced fervor

[medicalunprofessional]

never change, man !

[yawping-poets-society]

we don't talk enough about cameron's first real scene, where he talks to neil outside his dorm before todd arrives. in case anyone doesn't know what i'm referring to, here's the dialogue from the scene:

Cameron: Hey, Neil, study group tonight?

Neil: Yeah, sure.

Cameron: Business as usual, huh? [turns to leave, then] Hey, I heard you got the new kid. Looks like a stiff. [laughs at his own joke] [Todd enters] Oops. [Cameron leaves]

so let's talk about it!!

cameron opens with the study group question. this is pretty straightforward to me-he knows he's none of the poets' favorite, and certainly not charlie's. neil is his foremost supporter, pretty much the only one who sticks up for him, so this makes sense. he's checking with neil, his 'in' to the group, to make sure he can hang with these guys. he wants to be part of their circle so badly, and that's pretty clear from the get-go.

and then he hits us with this whole "stiff" business. this is a major thing i've seen people use to justify their hate of cameron and i really struggle with that.

because, well...this is SO undeniably awkward. neil tells todd just a moment later not to mind cameron because he was "born with his foot in his mouth." so off the bat, that's not something you say about someone who's consistently rude or who you don't like. that's neil sticking up for cameron. he's saying, sorry todd, he means well, or at least, he doesn't have any ill intentions. cameron's just not got the best grasp of social cues, that's how he is. this is a pretty valid explanation in and of itself, but if you'll walk with me a little further, i've got a deeper theory about why cameron makes this comment.

more than just it being awkward, this casual friendliness, haha, new kid, a mild insult said with much bravado...this isn't really cameron as we see him for the rest of the movie. though he does remain relatively awkward, it doesn't really match his character of being cautious and trying to not stand out, to fit into the group (as we see in his first line). so how to explain this action (because i don't believe the explanation is just: cameron is being an asshole/being awkward)?

to me? this is what cameron thought charlie would say. isn't that almost exactly how charlie always talks about cameron, after all? for a great example, see later in the same scene:

Charlie, about Cameron: What's his specialty, bootlicking?

so maybe cameron believes that this is how friends treat each other. or at least, how they talk about other people to entertain their friends. charlie, while not a stellar student and clearly not liked by the administration, is the class clown, which makes him popular with students at welton. thus, cameron is probably jealous of charlie. he probably wishes he was more like charlie-confident, funny, well-liked, etc. and again, he clearly wants to be friends with neil, and part of their larger group, very, very badly. all of this to say:

i don't think cameron meant what he said about todd.

he's trying to get a laugh out of neil. so what does he do? he does what he thinks charlie-neil's funny best friend-would do. it's not a nice thing to say, but to me, it really just reads as someone who is trying to guess what the appropriate, funny thing to say in a situation is, but doesn't actually know. cameron might not have even really thought the 'stiff' joke was funny. but he thought neil would find it funny, which is really the whole point. cameron is, at the most fundamental level, an unpopular kid who wishes he was well-liked, and is fumbling around blindly trying to find his way there.

[starrycassi]

VERY old and uncooked au I have where Viktor (and eventually jayce) end up working for Silco.

(Edited on December 17th, 2024. Added Sky to the plot, edited the way the heist happens, explained a bit more about The Herald, generally added some other details)

PART 1 - VIKTOR (childhood, adolescence, survival)

Singed actually takes the child in. Yeah I know Viktor technically HAS parents but we've never seen em in the show so I'm ignoring them

So Viktor now lives + works for singed. He gets over his morals real quick when faced with a fully equipped laboratory. He's a child, okay? He gets excited and is eventually groomed (I don't mean romantically, just like molded) by singed into agreeing + obeying all the things the older man tells him. Silco joins in on the part later and toys with his brain as best as he can

Singed uses him as a bargaining chip with Silco. An investment, if you will.

A bit of a "future promise" thing. Viktor actually agrees to this because he knows it's the best shot he's got. All the years living alongside Singed have made him into a more cynical/realistic person. He's 13 and already grumbles at "kids these days"

And Silco is an opportunistic man. He looks at this young, blooming genius and goes "yeah, why not? He is your problem, though. Have some money and make me a bomb"

Viktor also gets a pretty decent gun and shooting lessons. His aim is decent enough. He also hangs around sevika A LOT. He recognizes her as the strongest, safest individual if a fight breaks out and tells her ad much. She won't admit it but the praise feels good. She allows him to hover around and he helps her with small things like lighting hee cigarettes or refilling her flask. It's a symbiotic relationship where they both look at each other dead in the eye when someone is saying stupid shit.

So Viktor is like 15 and suddenly faced with even MORE power and recognition, even MORE fundings and accomodations.

This boy pours his life and time into making weapons. His dreams of being a scientist are slowly forgotten as both Singed and Silco effectively turn him into their perfect little genius.

They turn his desire to help against himself, telling him that the only way the under city will ever get better is if they go against piltover and win (which yeah I mean it kinda makes sense) and just general promises and such

Silco is genuinely surprised by how inventive the kid can be, and in return Viktor appreciates the man's offers and words for what it is: a trap he's wilfully walking in.

Silco does NOT feel any affection for the kid. At least not a lot more than he does for sevika or any other loyal worker. He is amused by his intelligence and somewhat entertained by his ideas. He seems Viktor as more of a small dog he's raising, expecting him to develop sharper and sharper fangs. He does care for Viktor in the "one of my youngest workers is more efficient and savvy than five of yours" way

Viktor doesn't feel any affection for Silco, either. He's a really down-to-earth kid, has lived in the fissures all his life and has been coached by singed into how to navigate the under city. He knows singed doesn't really trust the man and doesn't plan on doing so himself. He does love the opportunity he's given, but knows damn well that it's all done for a higher reason.

He does feel a connection with singed, though. It's mutual in a way. More of a mentor-mentee thing than any paternal/familiar relationship, but they're both satisfied with it. Singed respects Viktor and treats him as an equal, which also means he can a bit too harsh on what is essentially still a fragile teen.

They are protective of Viktor only in the way one is protective of their own gun

PART 2 - VIKTOR (last of his teen years, young adulthood, rage)

EVENTUALLY Viktor manages to worm his way into the academy (in the same way he did in canon) while hiding from Silco, Singed and Sevika, and is, instead, rejected. Heimerdinger is too weary of Viktor and his general attitude (for a good reason) and plans on having him interrogated. When he tries to get Viktor to walk alone into a room with him, Viktor panics and starts stuttering out explanations. He knows his position in the under city is conditional. Knows the leash that Silco has around him. The academy could be his safe haven and now he's losing it.

He's also fake-dating Sky while this goes on. Except she's fully convinced they're gonna get married and Viktor is a Homosexual™

Heimerdinger does his best to try and calm him down, however, every word he says makes the situation worse. He's so clearly out of touch, promising things that could never be done.

Viktor is under a lot of pressure and just starts spiraling. Everything the yordle says makes things worse and worse. The commotion calls the school guards attention and Viktor gets almost thrown in jail, all while heimerdinger tries to tell the guards to let him go. Viktor eventually manages to sneak out but fucks his leg up even more in the process.

Sky tries to help, they have a horrible fight and essentially roast each other until they're both kinda crying. Sky cries the most.

He returns "home" and, refusing to be taken back for such a thing, turns his sadness into bright, burning indignation. Silco might be an idiot, he realizes, but he's right about some things. He burns down the uniform after ripping it into shreds.

After all of this, he abandons any dream of ever getting out. Singed looks at him knowingly, tells him that sneaking around is a fine art he hasn't mastered yet, and leaves. Silco welcomes him back with a satisfied smile, and a "see, boy? I was right"

Silco isn't killing Viktor for his betrayal because he smells the heartbreak and KNOWS that this is the time to attack if he wants that boy to be on his side for the rest of his life. Sevika isn't even mad. Just kinda disappointed.

And it WORKS. Viktor is devastated and isolated, and Silco effectively positions himself as the only current logical option. Viktor knows that this is all a shit show but decides that there's nothing to lose by working for the biggest kingpin in the city

This is what begins his transformation as The Machine Herald, or "Herald" for short. His leg is Fucked Up and Singed goes "hey how about I do an unsupervised surgery on you" and Viktor just kinda goes "yeah well why not". He wakes up with more wires than veins in that leg but it hurts a lot less so. Can't win them all can we?

Years go by, Viktor becomes part of silco's inner gang, since Silco is finally sure that this boy has nowhere to run, no one to ask for help. He develops what could be seen as a friendship with sevika. They drink together every so often, trash-talking the rest of the henchmen in hushed whispers in between assignments. She tries to give him life advice in cryptic ways. He kinda gets it. Most of the time.

He makes up with sky and become Best Friends™. In a way. When they're not trying to get each other to come back to Zaun/Piltover

He keeps sky a secret from them all in fear of... Well, of whatever the fuck they could try and do to her if they got mad at him.

He's also a bit of a slut. I mean he's young, hot, kinda part of Zaun's elite, smart... yeah he's getting around. This part is important I swear. No it's not I just want Viktor to get it on. He's constantly sneaking pretty boys in and out of wherever he's staying at that week which is why no one really questions Jayce (see, it was important) the first few days he's in his house after The Trial (idk where the fuck sevika sleeps. Do silco's henchmen just sleep in his house??? Does he provide apartments?? I need to know)

People in the under city actually start talking to Viktor as he gets older, realizing that he's a bit less violent than the rest of silco's thugs and they have a 50/50 shot that he will actually help them in their pleas. This is always weird to him but he endures it for the sake of staying on top of what's being said in the city. And he's also generally a kind soul deep down

He buys from benzo frequently, and Benzo tolerates him because once, very slowly and in a hushes tone, he heard Viktor tell Ekko to never work for anyone with a shark aquarium.

Viktor is quite fond of Ekko. If Silco didn't basically own his soul, he would definitely take the kid in. Which is why he eventually becomes the biggest timebomb advocate.

PART THREE - MEETING JAYCE.

He's in Benzo's shop when he meets jayce.

He goes "yeah I could get him to suck me off probably" and tries to approach

And then jayce pays in GOLD and DOESN'T HAGGLE

And he realizes that this idiot is a piltie. He also realizes that whatever the fuck he just bought and the whole projects he's talking about could be useful for him and silco will not like it if a PILTIE out of everyone outsmarts him in weapon creation. He literally gets in between him and the door with absolutely no idea of what he's going to do (there is absolutely no way he's upping that payment sorry silco you are no match for the Kirammans)

There is no time and he defaults to "oh this is not my bedroom!" mode.

Cue him saying something like "I've never seen such a pretty face in this store. Are you from around here, darling?"

Ekko is gagging in the background.

They flirt yada yada I have the scene but it's too long to write here. U get the idea. I'd anyone wants to read that ask me but for now just use your imagination

Viktor offers Jayce to come back with him to his house for "protection" because "these streets are sooo cruel for foreigners" and Ekko hypes him up. "Oh Yeah Herald here is So Strong and Everyone Respects Him" which is technically not a lie. Jayce gets overwhelmed and accepts. As this is happening the kids are staging the heist but it has not happened yet. Don't ask me about timelines idgaf

They make out a bit, Jayce tells Viktor all about his theory (which is arguably hotter for Viktor) and shows him his notes (because obviously he carries his journal with him)

Viktor is BLOWN AWAY by this. He gets all worked up. Never felt this horny before. They discuss for a while, and Viktor decides that THIS is something he can stand behind. Actual discoveries, not just drawing blueprints after blueprint of the same fucking thing

Really how many ways can one design a weapon in

Anyways

Viktor sort of mildly drugs jayce and steals three of the shiny orbs and then wakes Jayce up and tells him that this was delightful and such.

PART FOUR - Hey Silco Can We Adopt This Boy. For Science

The heist happens the very same way. Viktor hears about it, about the trial, and decides that all these years of work should get him some privileges

He goes "If you're going to change the world, don't ask for permission" and just goes to save Jayce. Originally I had him argue with Silco and Singed to allow him to do this here but yk what? This man is too impulsive to do that. He's breaking his man OUT with two bribed bodyguards and Janna on his side. Sky is 100% on board because she kinda knows Jayce and he's really nice so she doesn't want them to banish him.

Viktor breaks jayce out do NOT ask me how #thepoweroflove and Sky's blessing or whatever. The henchmen get to punch enforcers so they're happy about it.

The "am I interrupting?" Scene happens. It's also too long so.

It takes Viktor a while to convince Jayce to, yk, betray his country and leave everything he's ever known behind, but Jayce was literally about to kill himself and Viktor is talking about change and help and people who actually need it (lies) and he looks so beautiful under the moonlight and he remembered him. So. Really what can one realistically do in this situation if not agree with the criminal who's trying to save you from exile.

They rush back to Zaun, Jayce leaves a hasty suicide note and says he will drown himself in the river and not to search for him (he leaves a slight clue for him being in Zaun as an alibi in case they eventually find him and want to blame Viktor for kidnapping. Which is such a hot and clever thing that Viktor almost kisses him right there), they break into heimerdinger's room via Sky giving them the keys, steal all the equipment they can carry (henchmen & co brought some bags okay??)

When Mel arrives they're gone. She calls for the guards to come but they're waaay out of her reach and Sky is there all beaten up and crying (she agreed to it)

There might be a motorcycle involved. Cyclists Viktor... Yeah. Hot.

When they arrive, he has his very first actual screaming-match kind of fight with Silco and Singed about keeping A Piltie in their territory, but they eventually and very reluctantly give in. Also Jinx is there. So Silco isn't really that preoccupied with who lives with Viktor and more with how to make this child stop wailing.

Silco knows that even a worm will turn. If Jayce does agree to work for them and stays loyal, then they get another good worker. If not, they can always kill him. He's never heard Viktor this adamant about someone before, and damn he's seen the boy walk around with some pretty faces. Maybe this Jayce fella truly is smart.

PART FIVE - JINX AND JAYCE

When Viktor shows up he finds out that silco has adopted a child. Also Sevika doesn't have an arm. Also Vander is dead. So is, presumably, that child with the bad haircut. So is Benzo. Which is a bummer. He liked the store.

Ekko is nowhere to be found. That's a bit sad. Really sad. He sheds a few tears.

Jayce hates everything that's going on around him buts this man is SUICIDAL, basically homeless, penniless and his one and only lifeline is Viktor. Even if he stayed in Piltover no one would've been able to help. He's just kinda going with the flow. Having him gives Viktor his backbone and morals back. Slowly. Very slowly.

Hextech develops WAY slower. Like they're working in a drug den in the middle of what is basically a hastily put together lab there's absolutely no way there's the same conditions. They're doing their best though.

Jayce Is actually really impressed by shimmer and how it can "help" people. He's gaslighting himself ATP and everyone else is enabling him. No Jayce you're just creating an army of drug addicted zombies what do you mean giving power to the people.

Also eventually Silco gives Viktor a laced brace that makes him mildly addicted to shimmer. Viktor is clever enough to realize what's going on but also experienced enough to know that refusal would be seen as an offense. He takes the brace on and off with his own prototypes. Sevika and him both know they're just digging themselves into a deeper hole. With time he just goes "yeah fuck it" and starts regularly using it on his wires for the better performance of his leg. Glorious evolution or something.

Silco actually tries to kill jayce once because he was getting too fucking annoying and self-righteous, but Jinx steps in. He reminds him of claggor (in a bizarre way). She claims that they're both her friends and she loves them and silco just seethes in silence because Why did he become a father.

They help raise her. Kinda. Not co-parenting. More like co-uncling. They're both horrible influences but they aren't worse than Silco's enablement so it's just a very fucked up raising strategies cocktail.

I wrote all of this so I could successfully say that they have a tea party with her.

THEY LOVE LIL JINX OKAAAY. Specially jayce. He takes all his emptiness and sadness and anger and tries to fill it with love for her and Viktor, the only two people he feels are kind of honest to him. He tries to befriend Sevika. Doesn't really work at first.

Also Jayce being jealous of the fact that Viktor got around, specially when he has the audacity to give powder boy's advice (sevika is a STONE TOP LESBIAN you can NOT tell me anything else) right in Jayce's face. Yeah. Miscommunication. Falling in love. Devotion and guilt. Feelings of owing. Hesitant kisses and never said words. YEEES. I know it's a bit tropey but I like it so. Yeah.

Also both Jayce and Vik have long hair. Jinx insisted they let it grow like hers. Jayce's actually reaches his shoulder plates/mid back while Viktor keeps it shoulder length, just long enough to tie it. I think. Still haven't decided since long hair Jayce is too hard to mentally picture but I know he would look GOOD

Yes this also means that Jayce and Vi meet even earlier. They take a look at each other as they both try to calm down jinx and Become Best Friends™

Caitlyn always has a heart attack because YOU ARE SUPPOSED TO BE DEAD. She, like Vi, goes "yeah silco is definitely keeping my sister/brother captive" and they're both like You Will Not Believe This.

Viktor doesn't join them in their adventures because he is Not jumping around the roofs. He uses a cane. Leave him alone jinx no he can't climb the stupid ass tower.

Jinx and Jayce become a sort of "ground control" thing. Jayce is BUFFED that man can stand his own in a fight. He's not as quick or flexible but he makes up for it in pure absolute brawn. They're not actually doing anything useful they're just entertaining Jinx every so often.

Idk guys this au is consuming my brain.

I have more ideas but this was way too long already

If u read this far u can actually ask for a small scene on the au or add an idea and I'll write it for u

[myokk]

my first attempt at digital art (never again🥲) for mctober💘

Eloise Babbit✨

slytherin

5th year

favorite subjects: arithmancy & ancient runes

least favorite subject: beasts (animals make her nervous🥲)

hobbies: reading & thinking (IT’S A HOBBY OKAY??)

[taradactyls]

So I could be totally wrong but, I believe it was sort of expected that men/gentlemen lose their virginity before marriage in regency times. But I also there’s some fandom ‘debate’ about whether or not Mr Darcy would’ve had sex before getting married. So I was just curious about what your canon for Mr Darcy in T3W is. Is he a virgin or not?

I knew someone would ask me this eventually, haha. I've actually had really long conversations with my beta reader about this trying to figure it out. It sounds like this might all be stuff that you’ve already seen discussed in the fandom, but I’ve never thought about it deeply before and so these are new thoughts to me.

I keep going over the historical real-world likelihood, the authorial intent, and the text itself but I’m still not 100%. I’ll explain my thinking and what I find most likely, but here’s your warning that it’s not a clear cut yes/no.

Because on one hand, at that time period it was most common for men in his position to have seen sex workers or have casual encounters/mistresses with women from their estates. Though I do absolutely believe not all men did that, no matter how much wealth and power they had. To go back some centuries, William the Conqueror seemed to be famously celibate (no hints of male lovers either according to the biography I read) until his marriage, and there's no evidence of affairs after it either. The best guesses as to why are that it was due to his religious devotion and the problems that had arisen from himself being a bastard and not wanting to recreate that situation. Concerns over religion and illegitimate children would certainly still have been applicable in the regency to men who thought that way. And in modern times I've seen sex workers say that when an 18/21yo is booked in by his family/friends to 'become a man' often they end up just talking and agree to lie about the encounter. After all, it’s not like every man wants casual sex, even if they aren’t demisexual or something in that vein. But, statistically speaking, the precedent of regency gentlemen would make Darcy not a virgin.

On the other hand, just how aware was Jane Austen, the very religious daughter of a country rector, of the commonness of this? There’s a huge difference between knowing affairs and sex workers existed (and no one who had seen a Georgian newspaper could be blind to this) and realising that the majority of wealthy men saw sex workers at some point even if they condemned the more public and profligate affairs. The literature for young ladies at the time paints extramarital sex - including the lust of men outside of marriage - as pretty universally bad and dangerous. This message is seen from 'Pamela' and other gothic fiction to non-fiction conduct books which Jane Austen would have encountered. Here's something I found in 'Letters to a Young Lady' by the reverend John Bennett which I found particularly interesting as it's in direct conversation with other opinions of the era:

"A reformed rake makes the best husband." Does he? It would be very extraordinary, if he should. Besides, are you very certain, that you have power to reform him? It is a matter, that requires some deliberation. This reformation, if it is to be accomplished, must take place before marriage. Then if ever, is the period of your power. But how will you be assured that he is reformed? If he appears so, is he not insidiously concealing his vices, to gain your affections? And when he knows, they are secured, may he not, gradually, throw off the mask, and be dissipated, as before? Profligacy of this kind is seldom eradicated. It resembles some cutaneous disorders, which appear to be healed, and yet are, continually, making themselves visible by fresh eruptions. A man, who has carried on a criminal intercourse with immoral women is not to be trusted, His opinion of all females is an insult to their delicacy. His attachment is to sex alone, under particular modifications.

The definition of a rake is more than a man who has seen a sex worker once, it's about appearance and general conduct too, but again, would that distinction be made to young ladies? Because they seem to simply be continuously taught 'lust when unmarried is bad and beware men who you know engage in extramarital sex.' As a side note, Jane Austen certainly knew at least something about the mechanics of sex: her letters and literature she read alludes to it, and she grew up around farm animals in the countryside which is an education in itself.

We can also see from this exert that the school of thought seems to be 'reformed rake' vs 'never a rake' in contention for the title of best husband, there's no debate over whether a current rake is unsuitable for a young lady. And, from Willoughby to Wickham to Crawford, I think we have a very clear idea of Jane Austen's ideas of how likely it is notably promiscuous men can reform. This does not preclude the possibility that her disparaging commentary around their lust is based more on over-indulgence or the class of women they seduce, but it's undoubtedly a condemnation of such men directly in line with the first part of what John Bennett says so it's no stretch to believe she saw merit in the follow-on conclusions of the second part as well. Whether she would view it with enough merit to consider celibacy the only respectable option for unmarried men is a bit unclearer.

I did consider that perhaps Jane Austen consciously treated this as a grey area where she couldn’t possibly know what young men did (the same reasoning is why we never see the men in the dining room after the ladies retire, etc) and so didn't hold an opinion on men's extramarital encounters with sex workers/lower-class women at all, but I think there actually are enough hints in her works that this isn’t the case. Though, unsurprisingly, given the delicacy of the subject, there’s no direct mention of sex workers or gentlemen having casual lovers from among the lower-classes in her texts.

That also prevents us from definitively knowing whether she thought extramarital sex was so common, and as unremarkable, as most gentlemen treated it. But we do see from her commentary around the consequences of Maria Bertram and Henry Crawford's elopement that she had criticism of the double standards men and women were held to when violating sexual virtue. Another indication that she perhaps expected good men to be capable of waiting until marriage in the way that she very clearly believed women should. At the very least, a man who often indulges in extramarital sex does not seem to be one who would be considered highly by Jane Austen.

She makes a point of saying, in regards to not liking his wife, that Mr Bennet “was not of a disposition to seek comfort for the disappointment which his own imprudence had brought on, in any of those pleasures which too often console the unfortunate for their folly or their vice.” This must include affairs, though cheating on a wife cannot be a 1:1 equivalent of single young men sleeping around before marriage. However, the latter is generally critically accepted to be one of the flaws that Darcy lays at Wickham’s door along with gambling when talking about their youth and his “vicious propensities" and "want of principle." Though this could be argued that it’s more the extent or publicity of it (but remembering that it couldn't be anything uncommon enough that it couldn't be hidden from Darcy Sr. or explained away) rather than the act itself, or maybe seductions instead of paying women offering those services. I also believe Persuasion mentioning Sunday travelling as proof of thoughtless/immoral activity supports the idea that Jane Austen might have been religious enough that she would never create a hero who had extramarital sex.

So, taken all together this would make Darcy potentially a virgin, or, since I couldn't find absolute evidence of her opinions, leave enough room that he isn’t but extramarital sex isn’t a regular (or perhaps recent) thing and he would never have had anything so established as a mistress.

I’ve also been wondering, if Darcy isn’t a virgin, who would he have slept with? I’ve been musing on arguments for and against each option for weeks at this point. No romantasy has ever made me think about a fictional man's sexual habits so much as the question of Darcy's sexual history. What is my life.

Sex workers are an obvious answer, and the visits wouldn’t have raised any eyebrows. Discretion was part of their job, it was a clean transaction with no further responsibilities towards them, and effective (and reusable, ew) condoms existed at this time so there was little risk of children and no ability to exactly determine the paternity even if there was an accident. It was a fairly ‘responsible’ choice if one wanted no strings attached. In opposition to this, syphilis was rampant at the time, and had been known to spread sexually for centuries. Sex workers were at greater risk of it than anyone else and so the more sensible and risk-averse someone is (and I think Mr Darcy would be careful) the less likely they would be to visit sex workers. Contracting something that was known as potentially deadly and capable of making a future wife infertile if it spread to her could make any intelligent and cautious man think twice.

Servants and tenants of the estate are another simple and common answer. Less risk of stds, it can be based on actual attraction more than money (though money might still change hands), and is a bit more intimate. But Wickham’s called wicked for something very similar, when he dallies (whether he only got to serious flirting, kissing, or sleeping with them I don’t think we can conclusively say) with the common women of Meryton: “his intrigues, all honoured with the title of seduction, had been extended into every tradesman's family.” And it isn't as though Wickham had any personal duty towards those people beyond the claims of basic dignity. Darcy, who is shown to have such respect and understanding for his responsibilities towards the people of his estate and duties of a landlord, would keenly feel if any of his actions were leading his servants/tenants astray and down immoral paths. Servants, especially, were considered directly under the protection of the family whose house they worked in. I think it's undoubtable that Mrs Reynolds (whose was responsible for the wellbeing - both physically and spiritually - of the female servants) would not think so well of Mr Darcy if he had experimented with maids in his youth. It would reflect badly on her if a family entrusted their daughter to her care and she 'lost her virtue' under her watch. Daughters/widows of others living on the estate not under the roof of Pemberley House are a little more likely, but still, if he did have an affair with any of them I can only think it possible when he was much younger and did not feel his duties quite so strongly. Of course lots of real men didn't care about any of this, but Darcy is so far from being depicted as careless about his duties that the narrative makes a point of how exceptional his quality of care was. Frankly, it's undeniable that none of Jane Austen's heroes were flippant about their responsibilities towards those under their protection. I cannot serious entertain an interpretation that makes Darcy not, at his current age, at least, cognizant of the contemporary problems inherent in sleeping with servants or others on his estate.

A servant in a friend’s house would remove some of that personal responsibility, but transfer it to instead be leading his friend’s servants astray and in a manner which he is less able to know about if a child did result. That latter remains a problem even if we move the setting to his college, so not particularly likely for his character as we know it… though it wouldn’t be unusual for someone to be more unthinking and reckless in their teenage years than they are at twenty-eight so I don’t think having sex then can be ruled out. Kissing I can much more easily believe, especially when at Oxford or Cambridge, but every scenario of sleeping with a lower-class woman has some compelling arguments against it especially the closer we get to the time of the novel.

Men did of course also have affairs with women of ranks similar to their own, though given Jane Austen’s well-known feelings towards men who ‘ruined’ the virtue of young ladies we can safely say that Darcy never slept with an unwed middle- or upper-class woman. Any decent man would have married them out of duty if it got so far; but if he was the sort to let it get so far, I think it impossible Jane Austen would consider him respectable. Widows are a possibility, but again, the respectable thing to do would be to marry them. Perhaps a poorer merchant’s widow would be low enough that marriage is off the table but high enough that the ‘leading astray’ aspect loses its master-servant responsibilities (though the male-female ‘protect the gentler sex’ aspect remains) but his social circle didn’t facilitate meeting many ladies like that. Plus, an affair with a woman in society would remove many layers of privacy and anonymity that sex-workers and lower-class lovers provided by simply being unremarkable to the world at large. It carries a far greater risk of scandal and a heavier sense of immorality in the terms of respecting a woman’s purity which classism prevented from applying so heavily to lower-class women.

I think it’s important to note here that something that removes the need to think about duties of landlords towards the lower-classes or gentlemen towards gentlewomen is having affairs with other men of a similar rank. But, aside from the risk of scandal and what could be called the irresponsibility of engaging in illegal acts, it’s almost certain that Jane Austen would never have supported this. For a devout author in this era the way I’m calculating likelihoods makes it not even a possibility. But if you want to write a different fanfiction (and perhaps something like a break-up could explain why Darcy doesn’t seem to have any closer friend than someone whom he must have only met two or so years ago despite being in society for years before that) it does have that advantage over affairs with women of equal- and lower-classes. I support alternate interpretations entirely – it just isn’t how I’m deciding things in this instance.

I keep coming back to the conclusion that, at the very least, Darcy hasn’t had sex recently and it was never a common occurrence. It wouldn’t surprise me if Jane Austen felt he hadn’t done it ever. Kissing, as we can see from all the parlour games at the time, wasn’t viewed as harshly, so I think he’s likely made out with someone before. But in almost every situation it does seem that the responsible and religious thing to do (which Jane Austen values so highly) is for it to never have progressed to sex. I also don’t think it conflicts with his canon characterisation to say that he wouldn’t regard sexual experience as a crucial element of his life thus far, and his personality isn’t driven to pursue pleasure for himself, so it’s entirely possible that he would never go out of his way to seek it. So, I’m inclined to think that the authorial and textual evidence is in favour of Darcy being a virgin even if the real-world contemporary standard is the opposite. (Though both leave enough room for exceptions that I’m not going to argue with anyone who feels differently; and even if you agree with all my points, you might simply weight authorial intent/textual evidence/contemporary likelihoods differently than I do and come to a different conclusion).

Remember that even if Darcy is a virgin this wouldn’t necessarily equate to lack of knowledge, only experience. There were plenty of books and artwork focused on sex, and Darcy, studious man that he is, would no doubt pay attention to what knowledge his friends/male relatives shared. Though some of it (Looking especially at you, 'Fanny Hill, Memoirs of a Woman of Pleasure') should NEVER be an example of appropriate practice for taking a woman's virginity. Darcy would almost certainly have been taught directly or learnt through exposure to other men talking to make sex good for a woman – it was a commonly held misconception (since Elizabethan England, I believe) that women had to orgasm to conceive. It would be in his interests as an empathetic husband, and head of a family, to know how to please his wife.

Basically, I’m convinced Darcy isn’t very experienced, if at all, and will be learning with Elizabeth. But he does have a lot of theoretical knowledge which he’s paid careful attention to and is eager to apply.

[lovesickeros]

☆ even the gods bleed [ pt 2 ]

{☆} characters furina, neuvillette {☆} notes cult au, imposter au, multi-chapter, gender neutral reader {☆} warnings none {☆} word count 1.9k {☆} previous [ 1 ]

This had to be a punishment of some sort – some kind of divine punishment.

She was bored out of her mind just watching the sleeping body – she hadn't blinked once in the past five hours, her eyes were really starting to hurt. Yet they still hadn't moved so much as an inch since she sequestered them away to the only place she had known to be safe.

But it'd been almost a week since then.

The only solace she found was that Teyvat had seemed much less hellbent on collapsing in on itself like a dying star.

That counted for something.

Not much, but something!

..Even if their position was no better then it was a week ago.

There was, after all, still the issue of what to do about the false Creator – the actual imposter – and the Archons following them like blind lambs. The other Archons wouldn't listen if she tried to reason with them, and it would only risk the life of Divine One if she spoke of their location to anyone else.

She also was pretty fond of having her head still attached to her shoulders.

So she avoided them all together. Partially because she wasn't sure she wouldn't have a breakdown at the sight of them..she'd never been a fighter, and fighting an Archon? Easy pass.

Instead she was forced to babysit the sleeping Divine until they woke up while Neuvillette handled taking care of the nation and dealing with the other Archons – and by extension the false Creator.

Really though, she would almost think them dead if not for the subtle rise and fall of their chest.

Though..this also left her with a lot of time to herself. A lot of time to think.

She really didn't like it.

There wasn't a lot to occupy her mind and what little there was only distracted her for a scant few moments before her eyes drifted back to the Divine like she was locked in their orbit, unable to escape.

She closed the same book for the twelfth time – she kept count – and returned it to it's meticulously designed place within her bookcase. A low, barely audible huff of frustration escaped her lips before she could bite it down, her stare boring a hole into the body of the Divine One with a sharp intensity she rarely showed.

She was tired, bored and constantly on edge, fearing that at any moment someone would find out about their presence here.

That, at the drop of a hat, she would be powerless to stop the greatest tragedy of her time play out before her eyes.

Neuvillette would have scolded her for being so petulant, especially around the Divine One, if he were here.

But he wasn't.

He was out running her nation, instead.

And what was she doing? Nothing!

She grit her teeth, nails digging harshly into the palm of her hands as she took a deep breath – now was not the time to think about that. She had..much more pressing matters. Sulking and letting her thoughts spiral helped no one, least of all herself.

Yet her attention was caught by a harsh inhale, the rustle of fabric – were they finally waking up? She was exhausted, but it all vanished at the sudden drop of life within the otherwise deathly still body of the Divine.

Her eyes followed the subtle twitch of their fingers, watching as their brow furrowed and their features twisted in something almost like..pain.

..She wasn't ready.

What was she supposed to say?

Should she even say anything? Would that be considered impolite? Does she wait for them to speak first? Should she kneel? Bow?

She doesn't get much time to find her own answer before their lashes flutter, chest heaving with every strangled breath. Every single thought vanishes from her mind the moment she meets their eyes.

For a long, silent moment she thinks that her heart must have stopped.

Their eyes glow like the cresting of the sun over the horizon, painting the world in hues of gold – yet it also reminded her of the dipping of the moon below the waves, casting the briefest, most gentle of lights upon the world engulfed in darkness. In the depths of their eyes was the birth and death of stars in the infinite cosmos – glittering stars in a sea of empty, blank space that left her feeling lightheaded and breathless.

Beneath the splendor is a spark of recognition in their eyes so vibrant it was like a shooting star piercing through the dark night sky, leaving nothing but the wonder in the eyes of the observer as the only proof it ever existed – brilliant in it's beauty, however brief.

It is the most beautiful thing she has ever seen.

"Focalors?"

The lilt of their voice nearly made her knees buckle beneath her – euphoria so consuming it left her feeling she was starving swallowed her whole, her mind blanking in a moment of utter bliss. It was..an indescribable feeling that she doubted she could ever hope to put into words – not in a way that could properly express it, try as she might.

She swallowed the words that threatened to spill from her lips – she couldn't make a fool of herself. Not in front of them of all people. She'd never forgive herself.

"Divine One," She rasps, clearing her throat and covering her mouth with a hand to mask both her nervousness and the small smile that creeps across her face. She quickly regains her composure, hand resting on her hip as she puffs out her chest with every bit of pride she can manage. "I am sure you must be confused, but worry not– your most loyal acolyte has seen the truth!"

The silence is deafening.

She opens one eye, peaking at the bewildered and almost distraught expression of the Divine.

"What the hell are you talking about?"

That..she was not prepared for. Surely they knew who they were! Surely they knew. They had to– she's been praying to them for as long as she's breathed, she's dedicated every hour of her life to living up to their ideals, they can't just–!

"Lady Furina?"

Neuvillette, thankfully, spares her the embarrassment of having a meltdown in front of the Divine, the gentle rap of his knuckles against the door making her and the Divine pause, the soft lull of his voice soothing her nerves and yet setting her on edge at the same time.

"Neuvillette." She clears her throat again, her steps hurried as she marches to the door and pries it open none too gently, a forced smile pulling at her lips. She wastes no time tugging the man into the room, shutting the door behind him with a short huff. The silence is, somehow, even worse then before as the three of them stare at each other in absolute exasperation.

Neuvillette, for his part, manages to get his act together with a sharp clearing of his throat, bowing so low even she looks unnerved. She steals a brief glance at the Divine, and she's taken aback by the uncomfortability twisting their features into a grimace.

Their expression is schooled back into one of empty apathy when he stands back to his full height, but she saw it – she knows she did! Did they not like their worship? Were they not respectful enough? For a moment, she feared the Divine would smite Neuvillette down on the spot..but they just stared at him like he was a ghost.

"Why aren't you killing me?"

The defeated, resigned tone combined with the way their voice cracks makes her heart ache in her chest – it feels as though her entire world is crumbling down at her feet, and she cannot explain why she feels such emotions so strongly, but it is suffocating. It is almost as if Teyvat itself is weeping, bearing down upon her shoulders like a heavy weight.

She feels the urge to weep herself, but she powers through, gritting her teeth long enough for Neuvillette to take his place at the side of her – though it feels more like their – bed, kneeling like he was going to pray.

"Divine One," He offers a hand with a quiet rumble of his voice, the words slipping off his tongue like honey. It's like trying to soothe a stray cat..though she'd never voice such comparisons of the most Divine out loud. "I..we mean you no harm. I swear on my authority as the Iudex of Fontaine and Chief Justice that you are safe with us."

The skepticism she expected, but the reverence in which Neuvillette must convince them – or perhaps they are simply so tired that they simply did not care any longer if it was all some ploy to drive a knife between their ribs. She didn't expect them to actually place their hand in Neuvillette's.

He didn't either, judging by the way he visibly brightened – not that they'd notice, but she did.

..Not that she could really blame him, her heels clicking against the floorboards as she shifted her weight to the other foot with a nervous energy that was practically bursting at the seams, more then a little jealous of the attention he was receiving. She was the one who found them, she was the one who stayed with them the entire time..but he gets all the attention?

How unfair.

"O-of course! We would never lay a hand on our creator," She adds, her voice a little higher pitched then she would have liked as she placed her hands on her hips, puffing out her chest and brushing off the sting of jealousy. "Least of all I– your most loyal, most devout acolyte!"

She felt baffled when she heard the sound of their laughter, her shoulders hunching and her cheeks flushing on mere instinct – she was expecting mockery, but the look in their eyes, still dulled by a pain she cannot even begin to imagine, made her hesitate.

..It was, perhaps, the most genuine thing she'd heard from them ever since before the hunt began.

She wasn't sure why her heart hurt at such an idea, but it was enthralling to see the beginnings of a half hearted smile on their lips.

For a moment, her mask of theatrics was forgotten as she stared at them in a mixture of awe and adoration– and though she didn't look at Neuvillette, she could imagine he must've shared such an expression.

Had she any doubts that they were her Creator, that they alone were the most Divine..they would wiped clean now. There was no mistaking the way the world itself seemed to grow clearer as they glanced up at her like she was worth something.

For a moment, she realized how cold the false Creators gaze had been now that she has felt warmth so gentle it almost made her knees buckle beneath her. It felt like a pale imitation, now.

Nothing could compare to the warmth that spread through her body at the mere semblance of a smile upon their lips. She didn't even mind if it was her they were laughing at anymore, she just wanted to hear them laugh again.

She'd make a fool of herself, if she had to.

She'd never felt so..ravenous for such a thing, but just the briefest glimpse was addictive.

She simply couldn't help herself from striding across the room and clasping their free hand in her own, her smile wide enough to unnerve as she leaned her weight onto the bed. For a moment, she considered pulling away at the way they startled, but her mind was made up by then – there was no going back.

"Again."

[ducktracy]

PIG AND DUCK MANIFESTO #1: Intro to the Classics, Bob Clampett

WELCOME TO MY LATEST OUT OF CONTROL PROJECT! read this ask for context! this is going to be a very long post--one of many--and i want people to read it, so let's just dive right in.

The Classics

THE CLASSICS ARE WHERE IT’S AT. nothing will ever top them in my opinion. you’re getting the characters and their intentions straight from the source. these characters were made up of the life experiences and sense of humor and and contexts of their creators and directors, and everything that has come after that has just been a game of telephone… and not always a very good one. i’m a purist for the classics, i know and don’t even care how snobby that may make me sound. there’s nothing better than seeing these characters in their proper context. they are products of their time, and not even in the typically negative connotation that seems to come with (but it can certainly apply… sigh). i always have and always will be unflinching of this opinion.

but that’s the exciting part: they vary from short to short. with TDTEBU being your gateway, i’m going to lay some things out just as security because I LOVE GETTING TO EDUCATE NEW PEOPLE AHHHHH!! so i’m sorry if this is stuff you already know, but you can never be too careful (and i can never be too eager to play teacher AHHH I’M SO EXCITED.) BUT. 

Porky and Daffy are unique in that they’re some of the only characters who receive the benefit of being passed from director to director. most of the time, a director who debuts a certain character will be the only director who works with that character. Yosemite Sam was Friz Freleng’s creation (and modeled after himself!), and there are only two or so shorts that feature the character that weren’t by him… and one of those was directed by an animator in his unit. same deal with Bob McKimson and Foghorn Leghorn–Foghorn’s a McKimson exclusive. same with Chuck Jones and Marvin the Martian. by the time of the ‘50s or so, everyone kinda kept their own characters to themselves. the mix and match nature of the ‘30s and ‘40s was no longer really present

Porky, Daffy and Bugs are happy exceptions to this rule. it’s amusing, too, in that Porky and Daffy have both sort of been “abandoned” by their “fathers”--Tex Avery, who made Daffy, only directed three shorts with him. Friz Freleng directed a considerable amount of Porky shorts, but the last time he touched him was in 1952–Porky’s last short in the golden age was released in 1965 (1966 if you wanna count reused footage). likewise, Porky and Daffy have long been established as a pair essentially since their conception (which’d be 1937; Porky’s Duck Hunt, the first Daffy cartoon made, was obviously the first to have the star together, and they were recurringly established as sidekicks as early as 1938). they often travel together! so, because their dynamic was so set in stone, this meant that many different directors got to lend a hand in showing us how they portray Porky and Daffy. some directors portray them as best buddies, whereas others portray them as mortal enemies. sometimes they’re like a vaudeville act, with Porky playing Daffy’s second banana. sometimes they’re buddies who wanna kill each other! there are so many unique flavors and variations of their dynamic, and that’s also why i’m so huge on them: through them, we get to see the individual identities of the DIRECTORS, how THEIR individual voices compare… and considering my favorite thing about the franchise is its history and the people behind it, well, i love it HAHA. 

SO LET’S EXPLORE THOSE DYNAMICS! let’s put some relationships to some names.

Bob Clampett

Bob Clampett is my greatest artistic inspiration of all time, so this PROOOOBABLY isn’t a surprise to most of my followers HAHA. he’s always been my favorite director–i find our sensibilities are very similar, his shorts elicit these visceral and emotional reactions out of me like nobody else, and i love his stuff. i very much gravitate to his portrayal of the characters. 

it’s almost unfair to nominate him as #1, because he has the benefit of having so much history with the characters. i mean, ALL of these guys do! but he was really the first to consistently pair them together and establish them as a dynamic duo. much of the understanding of Daffy and Porky as characters, together or separate, were helmed under his direction in the late ‘30s. it’s genuinely very sweet getting to watch them “grow up”--in any sense, but, again, this was largely felt under his shorts. 

i love both the early and later Clampett pig ‘n duck joints for different reasons. the early stuff, i love because there’s such a fondness and innocence about them! which seems REALLY funny to say, because some of the shorts i have in mind when referring to this are about “Daffy tries to cut a very conscious and unwilling Porky in half with a handsaw to prove that he’s a reliable surgeon” or “Daffy gets so drunk that Porky has to save his kid in part due to Daffy’s negligence”. 

but there’s such a sweetness about these early shorts. i always point to the opening of Porky & Daffy as an example; Daffy is still at an incredibly early stage of his lifespan and is still rather incoherent. at this stage, he’s moreso a bundle of nerve endings and noises–very out of his gourd and juvenile. but whereas most modern interpretations have Porky being annoyed by this, he’s ENDEARED by this! he radiates this fondness for Daffy and it’s the sweetest thing ever. you get the sense that he just sees him as his silly little friend who can do no wrong–aw, shucks, sure he’s a bit out there, but isn’t everyone? (mentally ill duck breaking things in the background) < i stole a friend’s wording on this because it’s just stuck with me for years at how correct and true it is.

and it’s funny, Porky’s a bit of an enabler even in these shorts!! in Porky & Daffy, he’s Daffy’s manager and signs him up for a boxing fight in hopes to get some prize money. he enables a lot of his esoteric behavior, and it actually leads them to victory–i love it because it’s very cute in a funny way, it’s nice that we get to see Daffy and his daffiness celebrated rather than shamed. it reflects an innocence on both characters that’s very fitting for the time and i just… i love it! in a world of shorts that are most well known for their adversity and cynicism, there’s something so special about seeing these two goofballs join up and enjoy each others’ company, even if it’s for the use of the very warped context that they may be put into. i still like thinking that Porky was the one who decided to stuff Daffy full of bags of flour to make it seem like he’s more muscular than he really is, sort of hinting at this bit of doubt towards Daffy’s capabilities (that isn’t entirely unwarranted) and it’s just such a funny little commentary, y’know?

the opening of Wise Quacks also really scratches this itch of demonstrating a similar fondness. as alluded to earlier, Porky actually refers to Daffy as his childhood friend (“why, we were kids together–!”) in this ADOOOOORABLEEEEEEE monologue that i think about all the time. again, there’s just this… innocence feels wrong, but it is kind of innocent! compared to how their dynamic would get later on! warmth, maybe? there’s a clear kinship between the two characters, and this is unique WHOLLY to them in how genuine that kinship feels. you have characters like the Goofy Gophers or Ralph and Sam who are friends (more, in the case of the gophers lol)... but that’s the whole joke of their existence. the whole joke is that they’re buds in a world surrounded by murderous, cynical cretins who want to kill each other. which Porky and Daffy can sometimes fall into as well, though this is largely on Porky’s side… 

GETTING AHEAD OF MYSELF. anyway, i love the earnest of the early Clampett pig and duck shorts because no other character dynamic or even characters, period, have that benefit. it offers a very unique glimpse to these characters that gives them some versatility and room to work with. and i just really love how they play off of each other! i like that Porky is probably way more fond of this clearly unstable and not all there duck than he probably should be. and in these shorts (Porky’s Last Stand specifically), you get the feeling that he doesn’t really fully… understand him? and he doesn’t try to? because he just assumes him to be this silly little guy. AND, again, like in the case of P.L.S., that ends up having dire consequences (Daffy tries to warn him against a raging bull approaching him, but Porky is still stuck in “this is my silly friend who is crazy and can’t think for himself so he’s probably just up to his tricks. he’s silly” mode, is COMPLETELY oblivious to Daffy’s frantic gesticulating and pointing, and just assumes that there’s a salesman at the door. as if this is how Daffy would react to a salesman). 

this sense of innocent condescension on Porky’s part is still even present in some of the more “transitional” Clampett pig and duck shorts, like the end of A Coy Decoy–this is a short that debuts a bit of a more fleshed out Daffy. trying not to go into the entire history of the characters here–i’m sure i’ll fail–but he’s become quite a bit more lucid at this point; still hasn’t really entirely hit “puberty” yet, but he’s close to it, he can show a wider breadth of emotions and this short rides out on a lot of what P.L.S. establishes, but was limited by Daffy still being a bit more incapacitated by his neuroses. so, basically, it’s PORKY who’s in the wrong and has underestimated him! Porky basically says to his face that he’s an idiot for falling in love with a duck decoy and that he’s wasting his time. and then we see that Daffy has gotten busy in his spare time and proven Porky wrong. i love when Porky has a bit of an innocent ego like this–it’s Porky’s world and we’re all living in it, his obliviousness can often result in some unintentional condescension and i LOVE this about Clampett’s pig, and it’s just so funny to watch paired up against Daffy. especially in these moments where, for a change, he’s actually in the right! you get the sense that Porky is still stuck in the days where he’s Daffy’s boxing manager and having to sneak his robe full of flour bags to make him seem stronger, and not in the current where we now grapple with the horrifying possibility that DAFFY is the one making the most logical sense! horrid!

i’m about to move onto the later Bob Clampett pig and duck shorts (not very many 😢) but going back to my previous points about the fondness and innocence of it all… i mean just c’mon. this is cute. what other LT characters have this benefit. AT ANY POINT IN THE FRANCHISE! played completely straight too!!

WELL… it is LT, and LT is bent on cynicism and violence, and these guys certainly have it. the arrival of the war prompts these shorts to become a lot more brash and raucous, as these cartoons reflect so much about their current eras. and, with it, the characters adapt! everyone is made a bit more abrasive, bold, perhaps mean and fierce. the innocence of the ‘30s is pretty far gone… but not completely. and that’s again why i love Clampett’s pig and duck so much. they have balance.

and that’s why Baby Bottleneck is my all time favorite pig and duck short. directed by–you know who–Bob Clampett!

it’s the perfect short to me for their characterization because it has both sides of what i want from them. it has them working as an established duo, it still has those little subtle, funny themes of condescension from Porky in the tasks he assigns Daffy and way he regards him, and, most importantly, it has them trying to kill each other. 

it’s just such a great escalation and sampling of everything you could want from them. i love that they’re working together as a partnership, i love the history that it implies. there’s also a great subtle commentary of Porky giving the unceremonious task of answering all of the phones for their bottlenecked delivery service–i can just so imagine him thinking “well, Daffy never shuts the hell up, so he’ll be perfect for the job of answering all these phones while i go do my quiet, secluded job elsewhere. this’ll keep him occupied”. like having the talkative never-shuts-up guy in charge of answering all these lines.. it’s so funny at how backhanded it is!!

or Porky’s reasoning that ends up being the catalyst for the short’s conflict: there’s an unhatched egg that needs to be hatched so they know who to send the unclaimed egg to, as they run a baby delivery service. Porky’s thinking is simple: Daffy = duck. Duck = hatch eggs. Daffy = hatch egg. 

and he just asks him to do this so courteously, he’s so confident in thinking that Daffy will OF COURSE hatch out the egg because he’s a duck!!! it’s just simple facts and logic! not at all processing how unintentionally patronizing and even offensive that can come off, like “hey you’re a duck, you’ll hatch this out without objection. do this for me, egg-hatcher” LMFAO. 

and, of course, Daffy takes GREAT offense to this (despite agreeing to it at first), and Porky gets. So. Pissed. no escalation, one shot he’s smiling, seems to vacantly register Daffy’s refusal, and in the next shot he grabs him by the neck and yells at him to sit on the egg. and when he won’t he just immediately starts shoving him. no tact of any kind from either party.

AND I LOVE IT! because these guys are immature pissbabies. said lovingly. at their best they are immature pissbabies. or maybe not. i like when they’re immature pissbabies. and it’s especially made funny because we’ve seen how smiley and happy they were to work together JUST MOMENTS BEFORE. Porky is batting his eyelashes at Daffy and Daffy’s all quick and subservient, appearing at a moment’s notice… and all of the sudden they’re literally wrestling over this stupid egg. at one point Porky grabs Daffy’s hand and tries to force it on the egg–what kind of warmth is a hand gonna give the egg??? it’s not about the hatching of the egg at all, but getting to prove Daffy “wrong”, winning this pissing contest by showing “haha you touched the egg, now you have to sit on it, nyeh nyeh”

and you may be thinking, Eliza. i think you’re going a little far with this. Porky is a sweet and kind little gentleman. maybe a bit esoteric perhaps, but surely he’s not that petty, right?

WRONG! the first short they directed together, What Price Porky, literally has Porky sticking his tongue out at Daffy and going “NYEHHH” in the most wonderfully juvenile way after he “beat” him (got him to stop leading a ducktatorship–sorry–against his hens and stealing their corn). and so Porky’s behavior here is just such a wonderful little callback to that. it’s the last short Clampett directed with them, but a lot of the back and forth fighting and pettiness parallels the first short he directed with them, and there’s just something about that that gets to me!! 

and the best part of Bottleneck is that THERE IS NO WINNER. they’re both petty little idiots who brought this upon themselves, and that’s represented by having them get lodged into their own deathtrap inventions and smushed into this awful, horrifying, disgusting and wonderful pigduck baby hybrid that a mama gorilla immediately adopts without question. at least until we get a Classic Clampett “Innuendo” (in quotes because his sophomoric sense of humor is not subtle at all. i would say 60% of his shorts AT THE ABSOLUTE MINIMUM have some sort of dick joke in them, this being one of them) where the mama thinks Porky is Daffy’s talking genitalia and freaks the hell out. understandably so. they both are at a tie and doomed to live this horrible pigduck baby life for the end of time… or at least until the iris closes out. and i just love how balanced that is. we’ve gotten so many shades of their dynamic, packed in 7 minutes of mayhem, and it’s just. AUGH. a little taste of all their different shades and capabilities. also, i should mention that TDTEBU references this short very heavily–everything with the factory is a reference to this short! so, all the more fuel to the fire!

i also feel it necessary to reference The Great Piggy Bank Robbery–the source of my username! and online alias! and icon! and also my favorite cartoon of all time! it’s a Daffy short, but Porky makes a brief cameo in it as an inconspicuously disguised trolley driver and just. HOW I LOVE THAT. 

the context for the short is that Daffy accidentally knocks himself unconscious, thusly dreaming about being Duck Twacy–”the famous duck-tec-a-tive!”. and Porky showing up, i’ve always thought was so cute–like a friend of yours showing up in a dream! it implies a history with them! it’s a testament to their dynamic that they’re good enough buds for Porky to show up in his dreams. i just love how casual and real that feels, very observational and gives their dynamic and history a nice bit of depth to it. 

considering it’s the last time Clampett would work with either character, it feels like a very fitting send-off to all the years of service he put into working these characters from the ground up. i really think he was hugely influential to the trajectory of their dynamic. all of the directors were–it’s a collaborative effort! but Clampett definitely worked with them very frequently at some of their most amoebic(?), doing a lot to establish their dynamic. Tex Avery was the first to pin them together, but Clampett was the first to establish it as a running dynamic.

and that’s why his interpretation is my all-time favorite. i borrow my interpretation and understanding of these guys from ALL the directors, as we will see in coming posts, but his hits a lot of what i want out of these characters. i wish he did direct more shorts of them paired together in the ‘40s, as i’d love to see what he would have done with a more mature and perhaps explosive Porky and Daffy (a la their dynamic in Baby Bottleneck, though they’re kinda anything but mature in that, aren’t they…?). but he is largely responsible for the friendship angle and giving them an exceptionally unique dynamic that no other LT character can live up to, full stop. there’s a lot to treasure about the way he portrays them. and that’s why i’m so adamant about advertising his earlier shorts, as his black and white cartoons seem to get slept on compared to his later works… they’re so charming and formative! you can feel the history! and most importantly, you can just… feel the fondness. fondness for these characters, their dynamic, these cartoons. 

and fondness is important. i’ll probably get into this more in another post (likely the LTC or TLTS post), but a lot of modern adaptations miss that Daffy has a genuine fondness for Porky. even when Porky is shoving a gun in his face and saying he’s gonna blow his head off (real quote! real happening!), there’s this sort of infatuation from Daffy with his persistence in following Porky around–even if it’s just to heckle him for his own satisfaction. if he was that disinterested, if he really hated or was annoyed by him like so many modern adaptations can have a tendency to show, then he just wouldn’t stick around and be as persistent as he is! he could just amuse himself elsewhere! because that’s all he does–tend to his impulses! but i think there’s a real sort of infatuation–even if it doesn’t manifest in him being super smiley or happy all the time about it–he has with Porky, and this is often very misunderstood or overlooked and breaks my heart. “Daffy hates Porky like he hates Bugs” should be on Mythbusters, because not once in the originals is this ever true. i can say that with my full chest. 

and yknow? typing this, i’m realizing Clampett never did a “Daffy heckles Porky” short, maybe beyond What Price Porky. there’s The Daffy Doc, where he tries to perform non consensual surgery on him, but there’s no malicious in his intentions. he’s just batshit insane. he thinks he’s doing a good thing and is following a very warped, but nonetheless present logic. he’s not trying to hurt Porky, but thinks he’s doing him a favor. i LOVE the shorts where Daffy heckles Porky. this is why Bob McKimson is right behind. but i love that, even if Porky doesn’t understand or may very fleetingly get annoyed with Daffy in these shorts, Clampett is maybe the only director (next to Frank Tashlin, who only directed one–but a holy grail of a short, which i’ll mention later–short with them together) who doesn’t have Daffy heckling Porky. there’s a real unity with their dynamic and, well, partnership, that’s unique to Clampett’s direction. i genuinely find that touching and perhaps a little necessary. 

WHEW! AND THIS IS JUST PART 1. thank you for making it this far! i’ll be ending off each post with a list of recommendations: shorts (or episodes, for modern stuff) from each director/show that i think would be good homework viewing to get an understanding of how they’re portrayed. i’ll also be linking my in-depth analyses to each short that i’ve written one for, so if you want to learn more and dive even deeper, you can.

BOB CLAMPETT PIG 'N DUCK SHORTS YOU SHOULD WATCH (links included):

Baby Bottleneck

Porky & Daffy (CLICK HERE to read my breakdown!)

The Daffy Doc (CLICK HERE to read my breakdown!)

Wise Quacks (CLICK HERE to read my breakdown!)

Porky’s Last Stand (CLICK HERE to read my breakdown!) < this is one of my favorite reviews i've ever done, so... worth a read!

Tick Tock Tuckered (so this is actually a remake of Porky's Badtime Story, the first Clampett short he directed--this isn't one of my go-to's since Daffy's role was originally for another character, all hail Gabby Goat, but it's a rare '40s Clampett color cartoon pig 'n duck joint and i think is still nicely indicative of their dynamic. it's not one i watch often, but first timers will likely appreciate it! i've grown to take it for granted, admittedly...)

and if you still want more.. these aren't great, like, at all, but i did some commentaries on the fly of Baby Bottleneck and Porky's Last Stand back in March 2022. i highly recommend reading the review for Last Stand since there's SOOOO MUCH i packed in there that i couldn't in this, but since i haven't been able to do a formal writeup of my favorite pig 'n duck short of all time, hopefully this is a good little substitute.

ideally, my answer is ALL OF THEM, but that seems like a cheat. there's only one Clampett pig 'n duck short i'm iffy on, Scalp Trouble--can probably assume from the title it's troublesome, but, also, Porky and Daffy are incontestably the best part of the short. the gif of Porky holding Daffy comes from that short. i'll also drop a link to my analysis so you can read and enjoy the good pig 'n duck bits and ignore everything else. but they really are all worth watching!

[fan-a-tink]

Personal post, but seeing this gif loose in the tournament brought up some stuff and I just needed to get it out of my system.

This moment right here is the reason why this show has come to have such a hold on my soul. Before I watched a single minute of the actual show, I came across the YouTube video where Jayden & George break down the confession scene and it includes this snippet where Charles says "there's no one else, no one else" and I knew then I had to see this show and that I was going to love it.

A few years ago, I fell in love with my best friend and having carried this love quietly for a long time, I finally told them how I felt. It was one of the scariest but also bravest things I've ever done. I had realised that I was ace earlier that year and it took me a long time to work out where I fell on the aromantic spectrum. It was because of my friend that I could understand what being "in love" meant. For me, romantic attraction is all about that secret third thing, that incurable hope to mean something to the other, to be allowed to love them and care for them and be a part of their life not matter what. So when I told them about my feelings, I wanted to acknowledge how important they are to me. I wanted them to know how much they are loved, how important their presence and friendship is in my life. And yes, I guess what I was hoping for was to be just as important to them as they are to me. I was asking them whether they wanted to go through life with me, and let me go through life with them. And although their answer was similarly to Charles a "not yet" rather than a definite "no", it caused a hurt I have still not recovered from and I'm not sure if I ever will. At the end of the day, I was not a priority to them enough that they wanted to figure out what the rest means together.

So hearing Charles say that "there's no one else, no one else" does something to my heart every single time I watch that scene. Having been the Edwin in this moment, I cannot tell you how much Charles' response to Edwin's confession is an affirmation of their friendship, of the importance of their relationship, no matter how they define it. No matter who Charles has a crush on at the moment, there is no one else he would go to hell for. Edwin is the most important person in the world to him and that will never change. It's exactly the response I was hoping for from my friend, the response I didn't get, and hearing Charles say these words tore my heart in two and healed it at the same time. The entirety of the confession scene still does all sorts of crazy things to my emotions, but this is the moment that I cannot let go of, that I will never recover from.

Edwin and Charles mean the world to me because their relationship is the definition of the secret third thing, so devoted that the distinction between romantic and platonic looses some of its significance. They are "it" for each other, they choose each other over heaven and hell over and over again. They care about each other so much that being apart is the only thing they cannot endure. They can deal with whatever happens to them, as long as they are together. The one thing that they are both completely sure of is that there is no one else for either of them. Their relationship is what I had hoped to build with my best friend, and to see these two ghost boys get there has healed something in my heart and made me feel incredibly seen.

[smal5504]

bleeesuashuhfg im still not over it can you tell

yapping down beloe :>

as a wise kikuo once said "search!!! search!!! where are you enemies!!! search!!! search!!!" (in reference to la la la rasen no naka RHSFJSKGDHCFJ)

la la laaaaa so first of all many elements of this are based off of my cool cool bfdia pin imaginings animated series the link takes you to the tumblr upload of part 5 to the series!!! because it best pertains to this episode and drawing YAY YAY YAY i dont know what else to yap im jus really really REALLY proud of this ♡♡♡ /vvvvvpos /silly red pushpin attempts to counter debiliating anxiety and self hatred by putting on a whole show affirming that shes utterly unlovable, lives to regret it

also pleek obserb my bin beefydie-yay hyperanalysis video presentation it would be quites the appreciating

okay goobeye eid mubarak

[psychopomp-namine]

yingdu episode 5 spoilers

ohhh my god this is everything I want from cheng xiaoshi. yes. perfect. sorry, but I'm a cheng xiaoshi whump liker and link click always brings out the best of them in episode 5 of each season.

there's just something cathartic about how when cheng xiaoshi becomes an emotional mess, it's also when he's most disconnected with the people he knows (physically, as he's diving in a photo and his only link to his home timeframe is a disembodied lu guang in his head) but it's also when he's most connected with strangers (when their own personal trauma lines up with his). to me, it's a showcase of empathy and a strange manifestation of his own agency. something about how the disconnect gives him the space to blow up, and the connection heightens it and grants him permission, almost, to express his anger more freely for his own sake and for another person's behalf.

like. listen, okay, I'm gonna ramble now because cheng xiaoshi is my favorite character in this entire show, but listen. sometimes some fans will conflate adjectives to his character that are usually associated with his character archetype, but they aren't necessarily true about him as a character. and I don't mean it in a, "he's not like that because he grows out of those traits" kind of way. I mean it in a, "he was never like that" kind of way.

one of those adjectives, for me, is when people call him immature. he isn't! to me! imo! he's got big emotions, yes, but I personally don't think the presence of big emotions indicates anything about maturity. because you know what? as long as his primary trauma (feelings of abandonment) isn't touched, he is very good at handling interpersonal conflicts, and that's what's interesting to me.

qiao ling hides relevant information from him? he removes himself from the situation to give himself space and sort out his feelings. he tells her he's fine and that he'll be back.

post-earthquake arc? I'll just copy paste what I already said in a previous ask:

what initially got me was when I was first watching S1, I thought the earthquake arc would have devastating effects on [shiguang's] relationship. listen, I didn’t know what I was getting into with link click, but I thought that was expected. it’s ripe for drama! but how do they handle the fight? they put their side business on hold but they still keep being roommates. they still do their day job. they still talk. they’re still upset but they give each other space but not to the point where they can’t stand existing in each other’s spaces. that’s when I realized that oh, they really trust each other. they have a very solid foundation for their relationship that not even the earthquake arc can break. they’re pretty level-headed about this, actually, all things considered? all the doomed yaoi stuff came later, but that’s just the cherry on top. it’s the way they handled conflict and disappointment in S1 that got me.

okay, protect-namine, why go through that whole tangent? BECAUSE! circling back to yingdu episode 5, we finally, finally get to see cheng xiaoshi let out some of his anger. and it's precisely because his primary trauma point was on the table. he can forgive a friend lying, and he can forgive being told not to change the past. because at the end of the day, qiao ling and lu guang stayed. they never left him.

but he cannot handle abandonment. he cannot understand why people leave. he cannot understand why he's been clinging on to false hope this entire time. and more importantly, he cannot understand how someone can be such a hypocrite about it. "a man who'd rather be kind to strangers than face his own son" like fuck man. cheng weimin you fucked up so bad.

it's the disconnect/connect thing again too. thematically, it makes sense. when does cheng xiaoshi blow up? when he's alone, far away from the people that ground him. alone, the feeling he hates the most. he's not even in his own body. he blows up when he's inhabiting a stranger's. he doesn't even get to be angry as cheng xiaoshi.

how fucked up is that. man. I love him so much.

also I'm going crazyyyy over the family themes going on in link click. much to say about the show itself across all seasons (the twins, qiao ling and cheng xiaoshi, even the liu siblings), but for this episode... god. okay this is slight speculation territory now and I'll try to keep this very short, because this is only tangential to the post. but. imagine xia fei getting the good parent figure in cheng weimin that cheng xiaoshi never had. and he doesn't know!! he's bitter inside about his dad and he's having hotpot with xia fei and he doesn't know he was in that school!! fuck that's so good. that's so juicy.

okay, sorry, I have a lot of feelings about cheng xiaoshi. he's my link click blorbo of all time, and I love when he experiences The Horrors™ because it's also when other sides of him gets to shine.

on a brighter note:

VEIN AND CHENG XIAOSHI MEETING AGAIN!!! their greeting was so cute. also omg does xia fei know? that his boss is maybe possibly a cannibal? actually, wait, I don't think I'd be surprised if he does know.

ah and finally. finally:

I've been having many thoughts on how yingdu approaches "friendships" and their transactional nature (mostly with regards to liu xiao) but I mostly thought they're headcanon stuff. but now. I'm so so happy that episode 5 is bringing out more of the quid pro quo theme. liu xiao with the gift giving. wang qing's "friends" (bullies) demanding her to cheat on the exam for them. and now, vein and cheng xiaoshi having a friendly greeting but also exchanging favors. so good. so good. it goes along with how there's so much handshakes and handholding this season (not just with lu guang and cheng xiaoshi, but with cheng xiaoshi and the the antagonist trio too, who have all met him by "helping" him in some way). something something trust and favors. probably something that deserves its own post though, but I wanted to point this out because I am soooo here for that. it's goes hand in hand (ha!) with the whole fraud/lies vs innocence/honesty theme this season, and deals/contracts being an equalizer to the two. very good. very tasty.

edit: ooh they also point to this in the YE6 trailer too. nice, nice. if you knew someone's true colors, would you still be their friend?

man, I love episode 5. it just hits all the stuff I personally wanted to see. the only flaw is that we still haven't seen the older version of wang qing, but yeah I kinda expected that they'll hide her until episode 6. they're giving her the liu xiao treatment from season 2. sigh. really wish she'd keep showing up in S3, we need more female characters in this show 🙏

[cabinette]

I consistently think about OG sasha being a tgirl and NotSasha being a cis girl. Isn't that so interesting genderwise. It's that change, that yearning, something that means to invent yourself and become something other but it becomes entirely flipped on its head when the rest of the context is taken into account. All her gender goals suddenly realised but its not HER whos reaping that euphoria. And the people who remember her are so confused when people say "Well she's always been this way." and it's just. oh hey sasha did you get top surgery. i didn't know you started E. thats nice. something feels different about you for some reason. oh it must be the new makeup. Then when the realisation hits you've been celebrating this caricature of her. this creature that doesn't even understand how much this would have mattered to her. In a fucked up way it presented as this idealistic version of her that she never got to experience. Thats not HER maybe at some point in time this is what she WANTED to be. but thats not her. She couldn't have that.

[haveyoureadthistransbook]

Trans/Rad/Fem by Talia Bhatt

goodreads

Second-Wave feminism is, today, nearly synonymous with ‘transphobia’. Any mention of this era or the movement of ‘radical feminism’ conjures images of feminists allying with right-wingers and the authoritarian state, providing legal justification for outlawing gender-affirming care and spreading deeply evil caricatures of trans women to rationalize their exclusion as feminist subjects. In the ensuing struggle to reconcile trans rights with feminism, the specter of the trans-exclusionary radical feminist has often reared its head in opposition. One may be tempted to conclude that the Second Wave, as a whole, has done irreparable harm to feminist, queer and trans politics, and must be discarded entirely.

But is that truly the case?

Radical feminism also is responsible for repudiating bioessentialistic notions of gender with theories that place it as a firmly social phenomenon. It gave us the language to describe patriarchy as a regime of mandatory heterosexual existence and dared to dream of a post-gender existence long before anyone spoke the phrase “breaking the binary”. Modern transfeminism owes much to radical feminist theory, and despite all propaganda to the contrary, the two schools of thought may be far more allied than believed.

This series of essays aims to reconstruct and reintroduce the radical feminist framework that its misbegotten inheritors seem determined to forget and in doing so boldly makes the claim that transfeminism, far from being antagonistic to radical feminism, is in fact its direct descendant. It shows how a comprehensive social theory of transsexual oppression flows almost naturally from radical feminist precepts and dares to declare that a materialist, radical transfeminism is the way forward to seize the foundations of patriarchy at the root.

Mod opinion: I haven't read this series of essays yet, but it sounds like it could be really interesting.

[turtleblogatlast]

Thinking about the Don Suave scene and what it means in terms of LGBTQ+ representation because my brain does nothing if not torment me with random topics to ramble about on the regular.

Anyway, I just wanted to ramble about why I like the scene but to get it out of the way - the scene can very easily be interpreted in so many different ways, and all of them are valid. I personally see it as Leo having at least some attraction to a man. And the following is an explanation of my own interpretation and thoughts on it and what it means especially for Leo’s portrayal in the grand scheme of things.

Long-winded interpretation under the cut!

Now, to start with, it’s important to me that in the scene Leo looks at Don Suave in the very beginning and then for the entirety of the rest of the time the man is on screen, Leo’s eyes are closed. Yet, in the end, he is still visibly enamored with Don Suave, happily cuddling up to him as he’s being carried away.

You can very easily interpret this as Leo being spellbound and that’s honestly super valid and I believe he likely was at least somewhat in the beginning, but considering how fast he looked away and how he never looked again, I personally think it makes more sense to read it as Leo just finding the man attractive, at least somewhat. (For the record, I personally headcanon Rise Leo as bisexual with a heavy preference for men, but I want to be blunt when I say that any interpretation is valid. Literally any. Ace, pan, gay, bi, none of the above or a mixture of something new literally all of it is more than okay and fair. Hell you could even interpret this entire scene as more romantic attraction than physical and it would still work. Anything goes!! Don’t bother people, guys, really.)

The main reason I take this scene to be at the very least LGBTQ+ adjacent isn’t just because of how it’s portrayed, but because of who Leonardo is. Not in terms of Rise of the TMNT, but in terms of the entire Teenage Mutant Ninja Turtles™️ franchise.

Leo’s a character who, while changing with each iteration, has still at his core been around for decades upon decades as “the blue one”. One fourth of the team. He’s the one most are going to look at as the Leader, and oftentimes he is the one closest to having the title of Main Character. Not to say the others aren’t just as important, but Leo’s presence in the A plots of basically all TMNT media is often something very main character-esque.

And that’s very, very important to note. Here we have a Main Character of a prolific and decades long-running franchise distributed by a children’s television network. You can play around with his and his brothers’ characters all you like, but there is always going to be challenges to dodge around, especially since this was still in 2018-2019.

For example, you can play around with their designs so long as they’re color coded turtles, but their sexualities? Now that’s tricky.

“But what about Hypno and Warren?” Not main characters and also they’re Rise originals. They have a lot more room to play around with than a character like Leo does. But even talking about main characters in the franchise, you could arguably have an easier time playing around with Donnie or Mikey’s sexualities than Leo or even Raph, as (unfortunately) the former two tend to get more B plots, so they’d likely have had a little more leeway (still not a lot though.)

So, where does this leave us?

It leaves us in a place where outright stating and/or showing undeniable proof of Leo’s attraction to men is very, very difficult. So, workarounds!

Workarounds like the entire Don Suave situation.

To be honest, as left up to interpretation and lowkey and deniable as it is, this whole scene means a lot to me because of who Leo is as a character. It’s just nice when we get so see even the bare bones of representation with characters that have been such a large part of pop culture for decades, y’know? Even if more would be so much nicer, this is better than I thought we’d ever get for these boys.

And, again, literally nothing I’ve said is the only way to interpret it, I’m more than happy when people interpret media on their own honestly, it’s just something I’ve been thinking of lately and I was wondering if others felt the same way.

Whatever you think when you interpret this scene or Rise Leo as a whole, I just thought this would be interesting to think about, even if it was ramble-y, haha.

[somewhere-in-the-rain]

“Violet is a truth-sayer because Xaden can’t lie to her”

Yeah, whatever. Xaden has lied to her. When he told her he had no intention of falling for her over and over again. When he said she was the last person he’d want bonded to him. When he said he was perfectly in control of his emotions around her. Call them exaggerations if you like, but technically they are lies.

“Well the signet hadn’t manifested yet” Ok, well tell me why Xaden saying “I can’t lie to her” in the Fourth Wing bonus chapter is apparently foreshadowing, then? Why can the evidence suit your theory, but not my counterargument?

Don’t even get me started on the constant lying by omission. Not telling her about the venin or his second signet or the deal with her mother. He didn’t lie, but he also did not tell her the truth. The signet is called ‘truth-sayer’, not ‘lie-preventer’.

If you couldn’t tell, I am not a fan of the truth-sayer theory.