#the parallels in this relationship the extremes

[yesbothways]

I do not actually know how to handle how brilliant Arcane is. I had thought so much about how hard it would be to write a sex scene for Vi and Caitlyn that would fit with the excellence of the rest of the show. And the main question on my mind was like, where do you make it happen? The when was obvious to me, like right before the final battle, when everything is so heightened. But where was not. You cannot just use Caitlyn's mansion, because it means the wrong thing. This isn't a rags-to-riches for Vi where a girl who is essentially Piltover royalty falls in love with her. No. We aren't doing that. This is a ship where the extreme class difference doesn't mean anything except constant pressure to be enemies - means being caught in a cycle of violence and retribution. In this world, theirs is what a deviant and by default doomed love looks like. The class divide between topside and the undercity is the primary, structural inequality. And for them to essentially use repetition and parallel to stage that scene where Vi focuses on her one core loyalty and breaks the law to save her sister, then Jinx hits Vi in the wound and leaves her locked in the cell alone, and Vi has essentially an emotional crash over the cycle of failure and tragedy she's locked in... only to find that Caitlyn came down to get Vi and let her out of prison again. The way that communicated a crazy level of true love: I have so much recognition that I know what you're going to do when things get real and choices dire. And I love you, not in spite of this, but for this. And I am on your side no matter what is happening around us. Louder than loss or hate or revenge or duty or society. And then they just have sex right there and turn that prison cell into something completely else, unlocked and unprecedented. Nothing could be more of a clear poetic expression that their love wins in this against countless odds. Like if we weren't getting what their relationship was, if we were doubting it, if we were still thinking this story would be a tragedy piled on top of endless lesbian love stories used as the vehicle for tragedy, they just fucking said what their story was so hard it hit like a shift to another world. Punctuated by the final note of the last scene. And I genuinely fucking love them for this.

[kotonni]

Ok this might be a stretch but after act 2 I was so curious to see why Jayce had looked upon Viktor like that

It wasn't fear, not exactly, upon seeing Viktor in a divine sort of position I could only describe Jayce's gaze as awed.

Of course, before the third act came out, the popular theory of "Jayce is stuck in a time loop and has killed Viktor many times before" explained a lot about his behavior but not about this look. Why would he look so shaken if this isn't his first time seeing him?

Now that the show is over I do believe we might have an answer and of course the answer is given to us in this scene.

When Cait mentions Viktor, forcing Jayce to confront that more than Ambessa, the greatest threat to their lives and Piltover is Viktor himself, Jayce thinks back to that first meeting after the time skip.

Of course we know at this point that there was no time loop. This is indeed the first time Jayce sees Viktor as the herald, and Viktor's reaction to seeing Jayce for the first time after months has been distorted in Jayce's own memories.

In his mind Viktor smiles at him. Although he is about to kill him, from Jayce's perspective, Viktor's first look at him after months of being separated is one of pure affection.

During his time in the arcane he was forced to undergo contidions that directly reflect Viktor's own upbringing, but let's not forget he was also haunted by such visions:

Making Mel's image dissappear only to be replaced by Viktor's is extremely symbolic, this is not Jayce obsessing over Viktor and his actions, instead we are directly told that not only is Jayce's relationship with Viktor of the same sort as his relationship with Mel, Viktor is quite literally replacing his former lover.

We could talk about the constant parallels between Mel and Viktor for days, but I believe my last point is backed up even further by propably the most evident mirror shot of the two of them:

appearing again during Viktor's conversation with Jayce:

This is very clearly a POV shot of Viktor from Jayce's own eyes, although it is Viktor talking, the images we see are from Jayce remembering their first meeting which, of course, was fated to happen.

With this established and going back to my main point, I believe upon seeing Viktor for the first time in months, who is gazing down at him with a smile on his face, and after being forced to confront his feelings for Viktor, Jayce looks up at him with love.

This is his own realization that they are in fact meant to find one another in every timeline.

[oriley42]

Serious question but no need to answer if you don’t want to

I see a lot of talk about Amber’s portrayal being sexist in the show, but I’m not quite sure why? To me her motives always seemed really well-defined (high pressure = “I’m only worthy when I’m successful”) so she puts on this sharky mask with a feminine facade so she is feminine enough to get a certain amount of approval but never shows how much she cares (which could be used against her but also could be used to undermine her “oh you’re too soft”). I thought the show did an excellent job of showing a mask for her

But a lot of people talk about 00s sexism and how it impacts her characterization. The sexism… Is it that she gets called a cutthroat bitch? Or how her story revolves around a man after she leaves House’s team? Is it the fridging?

Any of those could be it I guess but it just sounds like you and others are talking about something a little more fundamental to her personhood so I thought I’d ask if I’m missing anything.

Very interesting question! I think you're getting at exactly the trickiness of the issue, which is that sexism always operates systemically. It's not that any key aspect of Amber's character "is" misogynist, it's that every aspect of her character is automatically filtered through a lens of sexism.

In today's world where "bitch" has been very de-clawed, turned into a more casual and way less gendered insult that's used without cruel intention in queer slang, I think it's hard to understand just how violent the term was--and was meant to be--in the aughts. House in canon is not calling Amber a bitch in a cute, almost self-deprecating, friendly way (though I think it's valid to re-write it that way in fic to defuse the term!). He is calling her a bitch to contain and belittle and dehumanize her. We see the term mobilized this way against Cuddy in 5 to 9 as well: calling a woman a bitch was an extremely powerful rhetorical tool to turn any dangerously competent, brilliant, threateningly accomplished woman back into a harmless, debased, controllable object. So, "CB" reflects how easily the fact that Amber is the "female House" gets turned against her--it doesn't mean she's an eccentric genius like him, it means she's an evil copycat who needs to be put down. And this kind of structural logic applies to her whole characterization--it doesn't matter that House does it all more frequently and worse, if she does it, it's unacceptable because she's a woman. (There are parallels here with how racism means that when Foreman acts like House, he also gets the axe instead of the narrative bending over backwards to make what he did alright.) That's why she was fired, after all!

And her death. Woof. Classic case of killing a woman for man-pain. Everything supposedly about her death is actually about how her violent destruction can be used to fuel Wilson and House's character arcs. The narrative is occasionally conscious of this, for example, Wilson saying "none of you even liked Amber" is an almost metatextual reminder of how cruelly she was disenfranchised in every way (including the sexism of her trying to "defect" to the men's team early on, having no female friends, because unlike House who has so many people orbiting him, she is truly alone). Comparing her death to Kutner's is instructive: Kutner gets a whole episode that's about characters desperately trying to know him better. They trace their relationships towards him. Amber, on the other hand, is nearly absent from her own death. The characters trace away from her and towards the way male characters feel (Wilson's loss, House's guilt). Amber becomes just an imagined figure of House's guilt. Even her ghost is not her own. (Though I think many fans do a more feminist read and reclaim the way she haunts the narrative--but imho that would be a negotiated if not fully oppositional reading, to use Stuart Hall's decoding/encoding terms.)

One easy way to see that gendered difference is in how the show refers to these characters after death. Kutner is always "Kutner," never just "House's dead fellow" or rarely "our dead colleague." Amber is often referred to as "Wilson's dead girlfriend." Kutner is his own person, Amber rhetorically gets reduced to an object belonging to a man.

In conclusion: sexism operates structurally, which can make it hard to identify! And one of the funny effects of contemporary fandom doing so much good work to un-fridge women and give marginalized female characters richer personalities and more chances to grow is that canon's intended message of sexism gets obscured. Which, is awesome? Keep up the good work! Let's make misogyny unintelligible 🎉

[vaya-is-dead]

Hour two of my delusional city

Let's talk about Timebomb

* arcane act three spoilers under the cut don't read it if you haven't watched it you have been warned*

HOUR ONE HERE FOR YOUR VIEWING PLEASURE

*Note* I am not personally a Timebomb fan. I don't really care for it, but I think there is a lot of nuance that can go with it, especially considering that it happens in an alternate universe.

As a sidenote to the whole jinx might be alive thing. I wanted to touch upon the now sort of canon ship TimeBomb. I say sort of purely because it became real in an AU.

I see a lot of people complaining about it, becoming Canon, but I think this is a good demonstration for Ekko and Jinx as characters.

Think about it this way, in the AU there is no jinx, there is only Powder. Everyone but Vi lived. This means, specifically for Jinx, she didn't have to go through some of the most traumatizing events in her life. This allowed her to fully become who she was probably meant to be. A brilliant young woman named Powder with ideas that would change the world.

In the main timeline, Ekko and Jinx are at odds there is no room for the relationship that could've developed to be there. Even after the fact, after Ekko talking to jinx and convincing her to do one final strike with the fireflight (think the name might be wrong. Please excuse it.) Jinx is still extremely traumatized and at this point, her goal is to make sure her remaining family, Vi , to be happy. in her mind that means without her.

So I think Ekko and Jinx would never work, at least not with an intense amount of therapy or self-discovery for Jinx.

But as we see in the AU, it works with powder.

Powder is what jinx could've been, had given the chance to live a normal life. She still has the same sass and charm, but instead of it being a coping mechanism, it becomes just something that naturally is a part of her personality. She is still deeply hurt by the loss of her sister, but she has the network to cope and to heal while still remembering her, which gives her the room for a romantic relationship in her life.

And as for Ekko, there is a flashback to a time where he actually killed jinx on the bridge but he rewinded time (it might've been a hallucination too, so correct me if I'm wrong)was this just reaffirm that he still cares for her and hasn't given up on her like he's so claims to. It is a show of his compassion for others and for the cause that he fights for. There is also the parallels between season one episode seven "boy Savior" which gave us the fight scene of The fireflight against Vi and jinx which gave us older Ekko, and episode seven of season two which gives us an explanation for where he's been for majority of season two.

On a sidenote, I also wanted to add that I think the talk with Ekko, made jinx realize that Isha sacrificed herself for her to live. And I like to think that maybe somewhere in her mind, she thinks that it would've done a disservice to Isha's sacrifice for her to die. (yes this is relating back to my delusional our number one theory.)

[lostyesterday]

I’m generally a Star Trek femslash person, especially when it comes to rarepairs, however, I do have a few het rarepairs that I like and think more people should give a second thought to:

Guinan/Picard: They have an intense and unique dynamic in canon and most of their interactions have such an enjoyable tension to them. Their mysterious history and the refusal of canon to ever entirely define what their relationship means to them is also very appealing to me. Also, have you seen their interactions in Time’s Arrow?

Deanna/Worf: I do like Deanna/Will (and especially Deanna/Worf/Riker), but I think Deanna and Worf together have such an underrated dynamic and canon really fucked them over by primarily ignoring their established dynamic when they actually got together. I find the idea of their relationship beginning in connection with Alexander interesting, but even aside from that, they have such fun interactions and genuine respect for each other and the actors have great chemistry in my opinion.

Jadzia/Quark: This is number one on my list of ships I liked until canon ruined them. Quark being obsessively in unrequited love with Jadzia all along was a bad writing choice. Clearly they were friends with benefits. To me, neither of them was ever in love, they’re literally just weird friends who have sex sometimes.

Janeway/Tuvok: It’s about the loyalty and devotion regardless of the circumstances. It’s about the intensity of their love for each other, the softness in Janeway’s eyes when she looks at him. I admit I like to consider their dynamic more with Chakotay in the mix (JCT forever), but Janeway/Tuvok alone is very underrated.

Harry/B’Elanna: I shipped them from the time B’Elanna first called Harry Starfleet (affectionate). I love a ship with characters who both contrast and parallel each other – they have seemingly opposite relationships with Starfleet and extremely different life circumstances, but they both work really well together and connect deeply anyway. Also best friends to lovers <3.

[jack-of-heartstrings]

Some of us take it very seriously. There are a few things you have to accept if you want to enjoy Miraculous Ladybug, is all.

First is just that it's built like this:

You have to accept that watching it means dealing with the extremely over-the-top aspects, the stupid and the absurd, whether funny or frustrating in a given case. You have to accept that the world as a whole is heavily exaggerated, that Marinette memorizing Adrien's schedule for three years is this world's equivalent of an awkward teenager learning her crush's class schedule and going out of her way to bump into each other a few more times a day in the hall, etc.

You have to be willing to accept that everyone is frustratingly stupid. There are like four characters who own 98% of the world's braincells, and Marinette is only allowed to use most of hers when she's fueled with overwhelming anxiety on the behalf of others rather than her love life. Everyone else is surviving by passing around the last 2%. In that regard, yeah, maybe you've gotta not take some parts too seriously, be willing to groan or laugh or both at the absurdity.

But if you can deal with that or are the sort of person to find it fun more often than frustrating, then what Miraculous does well, it does really fucking well.

It's not always right away, and I feel like a lot of dissent in this fandom comes down to impatience or lack of faith in the ability to achieve a satisfying payoff when things aren't going like people wanted Right Now. (Ex: Chloe was set up for failure from the start, Marinette made numerous bad choices discouraging her progress and encouraging her to backslide, s3's finale explicitly said she lost hope, the most comically "evil" parts in season 4 follow a distinct pattern, and now she's finally had lasting consequences and been removed from the easy comfort enabling her behavior, but rather than think breaking down the world around her could be room to finally rebuild something new, all I see anyone take from it is a "bad ending", as if they don't think she's coming back, as if she's not living in the city where Felix, now a part of the team, also lives, and as if Audrey's words didn't hauntingly echo Tomoe's to Kagami. Like.... There's potential here guys. Yes this was a whole tangent mini-essay, I digress.)

But the themes? The symbolism? The subtle background worldbuilding from the very beginning? The rewatch value when you realize how long Adrien has had A Weird Relationship With Feathers, or you see the statue outside his house and how it differs from its real life counterpart, or you look into the painting Emilie's portrait is based on, or you've watched long enough to develop a Pavlovian chill down your spine when anyone says the word "Perfect" anywhere near Adrien or Kagami? The direct acknowledgement that Marinette's romantic fantasies are straight up turning her anxiety into a form of escapism so that she never actually has to DO the things she's Too Worried About and thus can escape the risk of rejection, and the fact that she's aware of what she's doing?

The way they've built Lila/WHATEVER-her-name-is up slowly but surely over time, starting with the chronologically last episode of season 1, and the first of the series to REALLY say, "Hey, this won't always get resolved in 22 minutes, actually"? The way her whole thing is LYING, and that's treated as horrible, and at the same time, a literal requirement for all heroes? The degree to which Marinette lies all the time? The bad excuses world champion? To the point that Luka, whose entire character was so deeply tied to truth and openness, experiences one of his biggest moments of character growth via embracing a bold-faced lie? The way season 5 set The Big Liar up as the new main antagonist while simultaneously setting up the biggest and most soul-crushing lie Marinette has ever told?

And yeah, to OP's point, the way characters parallels interact. Gabriel and Marinette, the humble tailors who fell for the beautiful rich blondes who never actually cared about being rich, but wanted to be free and loved. Gabriel and Adrien, the only two Agreste Boys to ever exist (with Gabriel's name change reveal and all), and the way Adrien's love for Ladybug was often all too much like his father-- obsessive, needy, prone to angry outbursts-- never on the same level, but something that might have gotten there, given time. Marinette, who has been desperately trying to stop overplanning for every single thing, but has been validated for doing so again and again, and punished numerous times when she didn't account for enough. Marinette, who wants so desperately to ensure that everyone and everything is okay that she ends up trying to control everything, precisely the kind of thing Gabriel spiraled from.

And yeah, Nathalie seeing those tendencies sounds like exactly the kind of thing we can hope to see, and dear GOD I hope you're right OP in that she'll oscillate between enabling habits and trying to do better as a mentor than she did as a peer.

Yeah man. Miraculous Ladybug has an insane amount of stuff that can be taken very, very seriously. It's not everyone's cup of tea. The writing in early seasons is very different than later ones, and if people would like the later ones but can't get through the earlier ones (or lack the same investment for trying to skip them) that's fair, and if people liked the more light-hearted silly adventures and don't like the show taking itself so much more seriously, that's fair, and if people like the serious parts but find the remaining absurdity too tone-clashy for their taste, that's fair! It's not flawless. But for what it is and what it's trying to do and be, for those who like the things it's trying to do and be, it's really, really good.

thinking about how Marinette and Gabriel are the same

and how Nathalie is going to be uniquely positioned to be able to see that from within the narrative

i wanna see season 6 Nathalie project Gabriel onto Ladybug. i wanna see her fall in to old habits to both her and Marinette's detriment.

and i wanna see her recognize the worst aspects of Gabriel in Marinette and guide her away from them

[coleramse]

i will meet you on another planet if the plans change

be on your own way, daughter.

[alxastrx]

When you're one of the most selfish mc who only saves people because it's part of a job you never wanted and did not get to chose or you would've died, who took your co-workers' morals and ideals because you didn't have any and desperately wanted to fit in somewhere, be it with the heroes or the villains, who's activelly haunted by one the most tragic past to have been created and suffer from a psychosis so bad (dare I say schizophrenia) that even your enemies acknowledged that you are mentally ill and objectively flawed in your judgement, never hesitated to try to kill anyone and has the most egoistic reason to be a good person but the fandom still thinks you're just a kind crybaby "I don't know what a gun is" homosexual twink.

[diddlesnap]

joniss for the soul

[panncakes]

stuck thinking about when day gets crowded and overwhelmed on his birthday he calls out to gee of all people there to remove him from the situation; and how when day tells her he wants to be alone she makes sure he knows she wants to understand him and he can talk to her (not to help him or to fix things for him; simply to understand him) and when day reaffirms a boundary she accepts this and doesn't press further. he's her friend and she cares for him but he's still an adult and she has no problem treating him as such and i think that at the moment she is the only one from day's past who is actively able to do so

[y-rhywbeth2]

Something-something: parallels; trauma bonding with your horrific parent-figure deity; something about being stolen from your family and left to rot in deliberately engineered misery (or believe you were) so that you'd be grateful to your kidnapper when they swoop in and "save" you from it*; Sceleritas taking Durge to the temple and Viconia taking Jenevelle; god I love Durge/Shadowheart, platonically and romantically; *endless incoherent overemotional screaming*

*I seem to recall that EA Shadowheart had the urchin background and was led to believe that she was abandoned or an orphan or something, and I'm keeping that in my headcanons for the released game.

Astarion is probably judging them in the background during this conversation, because somehow he alone has the clearest view and understanding of abuse in this fucking party. Everybody else is nodding along with him while failing to grasp the nature of their own abuse.

All of you go to therapy.

[starlooove]

Duke should have a chain with a lil bat on it and that’s all I can really say about fashion

[slverblood]

Not to mention — Kettle is a fantastic character who does love his daughter, but there's this undercurrent of disrespect toward her as well. He loves his daughter, but does he respect that she is her own person outside of that role? He places the entrance to the Gauntlet in her very burial chamber. He uses a mural depicting her entombment as part of the key. He bought Marcus' allegiance with wings hacked off her beloved, and he sent him to kidnap her using those wings. He infects her with the tadpole and robs her of free will so she will betray her beliefs (she, who is a cleric) and stay at his side. He also frames her love of Aylin as Aylin stealing her from him.

[autumnalwalker]

A thought that’s been stuck in my head lately: Can two relationships be literary foils for one another the same way two characters can be?

[knightwithahundredkings]

Lancelot is to arthurian legend as Logan is to x-men. do you see my vision?

[empyreasheart]

i feel like theres a lot of argument over who soras most important person is - kairi or riku - and it kind of stumps me because i think the point is that BOTH of them are equally important to him. sure, depending on how you intepret it they can be important in different ways, but that doesnt make one less than the other. the games might as well be titled "sora loves riku and kairi so freaking much" because hes not shy about it