#unknown the series analysis

[color-beyond-lines]

I have been thinking about the shifting dynamic between Qian and Yuan all week. A ton of people have written really insightful posts about these two, and I can’t get them off my mind.

I’ve said it before, and I’ll say it again and again: the tragic backstory is not used as a shock factor or just to make you sympathetic towards a character. It is ingrained into Qian and Yuan’s thoughts, behaviors, actions, and responses. And it contributes to their compelling relationship.

Qian is hesitant around intimacy of any kind. Yuan is eager to care for the person who saved him.

We’ve seen from the beginning how much of a caretaker Yuan is for Qian. The vast majority of intimate physical contact Qian accepts is from Yuan (and by intimate I don’t mean romantic. I mean familiar, personal, etc.).

Qian rarely ventures beyond surface level relationships with people. His experiences growing up left him in a constant state of survival. He focuses on work as a means of survival and doesn’t consider slowing down as an option.

We see this at work, where he is often separated from his coworkers and rarely interacting with them outside of a professional capacity. He often stays late and arrives early at the expense of his own wellbeing.

It’s Yuan who bridges the gap. Who asks coworkers to take care of his brother. Who makes Qian sleep and eat right. Who is there at work and at home ensuring that Qian won’t overwork and exhaust himself.

But their relationship is not one-sided. Qian takes care of Yuan as well, making sure he’s able to take advantage of academic opportunities and clubs and things that Qian never had a chance to partake in. He gives Yuan a life where survival is a guarantee, not something to earn.

Qian protects Yuan through hard work. Yuan protects Qian through tender care.

When Yuan is sent away to study abroad, the time skip works because it isn’t used at the very end of the series to jump to happily ever after. Too often, time skips force us to miss important character growth and leave us unsatisfied and wanting more. By placing the time skip towards the middle of the series and using it as an actual part of the story and character development, we are able to see how Qian and Yuan live during the separation and the impact it has on their relationship.

And their reunion is more than one scene before the credits roll. There’s still many episodes for them to keep learning and growing together.

Once Yuan returns, the line between them has shifted. Qian actively seeks out Yuan’s care in a way he never did before. He’s always watching Yuan, reaching out for him, and aware of his presence. He had always welcomed it, but the separation forced him to feel what the absence of Yuan’s care was like. He was miserable.

Yuan matured on his own and still knows that he loves Qian. Being away only confirmed what he already knew. And Qian is starting to realize that he loves Yuan too.

Yuan knows exactly where the boundary is between them, but he’ll let Qian be the one to break it down. They have complex relationship, and it is being respected, not rushed. Moments are earned, not pulled randomly from the trope bucket.

[ineffable-opinions]

"Top", "Bottom" Discussion in Unknown ep. 12

The Office Gossip Scene

[Edited on 10th May; changes under clarification headings]

Now that the Unknown has resurrected the conversation about gong shou, let’s talk about it. The what and the why, so to say. Thank you @1serotonindeficientgirl (whose post inspired mine).

I welcome critiques and corrections. So, please feel free to do so.

Scenes and subtitles

The discussion in the episode starts with Wei Qian’s staff gossiping about his relationship with Wei ZhiYuan. One of the staff members comments that Wei Qian is like a little lamb (小绵羊) when it comes to his little brother:

只要遇到他弟弟 就像小绵羊

Someone replies with the following idiom:

羊入虎口

(Literally: “a sheep enters a tiger's mouth”)

It means to enter a dangerous situation where one will certainly suffer [Source: Wiktionary].

The female employee (who witnessed their kiss) asks San Pang:

三胖哥谁是羊谁是虎啊 - Who is the lamb (羊; sheep) and who is the tiger (虎)?

This has some employees confused and they ask for an explanation. They receive the following reply:

就是攻跟受的差别啊 – [it means] between them, who is gong and who is shou?

One of the staff members repeats the unfamiliar terms:

攻受 – gong shou

and the fu-nu (腐女; fujoshi) offers an explanation:

好啦姊姊教你们 – let this elder sis explain

老虎看到羊会 – the tiger upon seeing the lamb…

Before she can complete her explanation, Wei Qian moves into the scene accompanied by the growl of a big cat. The gossipers disband.

In the end our fu-nu expresses their support for Wei Qian’s relationship with Wei ZhiYuan. Before she runs off, she throws him the question:

你们谁是攻谁是受啦 – between the two of you, who is gong and who is shou?

In the next shot Wei Qian is alone. He flexes his muscles and comments:

很明显吧 - It's obvious, isn't it?

[END OF SCENE]

Everyone at that office seems pretty close. The staff calls Wei “Qian ge” 谦哥 (first name + brother) and not as “Mr. Wei” (as the English subtitles suggests). Looks like Lao Xiong (emphasis on Lao = old) is the only one who clearly disapproves of such gossipmongering.

Notice how the terms gong and shou were translated directly into top and bottom in English subtitles. While that’s technically correct, there’s some nuance missing.

While there are tongzhi (同志;queer) people who use the terms gong and shou, these are not the most popular terms for top and bottom in the tongzhi community. This series specifically uses the terms gong (攻) and shou (受). Why? We’ll get to that in a minute.

In a BL, being shou means that character is the bottom in that particular ship. That character could be top, bottom, versatile or neither in another ship. A character is a bottom (as we use the term in English) only when that character is an absolute shou (sou uke in Japanese). An absolute shou is invariably shou. No matter which ship he becomes part of and no matter who he is paired with, he will be the shou. Similar difference exists between the terms “top” and “gong”.

English subtitles use ‘top’ and ‘bottom’ from the get-go. There is no need to explain what those terms mean. But that’s not the case with gong shou – only 腐 (fu) people (BL fans) really knows what those terms really mean and thus warrants explanation.   

Clarification

[Edited. Thank you @abstractelysium and @wen-kexing-apologist for contributing to the conversation.]

As noted in the convo, Wei Qian is pretty ferocious in the office and is only gentle when it comes to Wei ZhiYuan. So, it is normal that gossiping irrespective of topic would end as soon as he arrives. Also, I think Wei Qian didn’t get what gong shou means other than allusion to tiger and lamb. The original language dialogues don’t make it clear that gong and shou means top and bottom (in a ship). [The English subs gives off that impression since gong and shou were simply translated.] Moreover, those terms are danmei literacies that has entered dictionaries but not necessarily public knowledge.

It is like an insider joke for fu-people made possible by Wei Qian’s ignorance. That wouldn’t have worked on Wei ZhiYuan who read danmei while growing up. That wouldn’t have worked if the fu nu (fujoshi) stuck around to explain what that means.

Usually in such conversations in BL, fu-people are shown to be mistaken: they either mess up the ship/dynamic (Love By Chance 1) or the character(s) in the ship deliberately trick them (Counter Attack). It is almost always played out with seme/gong’s approval in BL - not sure if that dynamic between fu-people & seme aka gong character ever appeared in any live-action dynamic. The trigger of this scene is Wei ZhiYuan’s deliberate choice of actions: PDA, kiss in the office right in front of a staff member.

BL literacies

BL is a media genre in itself with different sub-genres, genre conventions and classic works. It sure has a lot of overlap with other genres:

Romance as well as GL – they coevolved. They share mothers and other ancestors.

Queer – Is it really a genre? Even if one were to ignore queer as method in academia, it is still so complex.

Let me quote Taiwanese tongzhi author Chiang-Sheng Kuo:

… what exactly is queer literature? Is it queer literature if queer people like to read it, or is it only queer literature if there are queer characters in the books? Or is it an appendage of the queer movement? If a queer author writes a book without queer characters, does that represent a certain aspect of queer culture?

(You can find the whole interview here.)

Just as danmei (耽美; Chinese BL) has its roots in Japanese BL, so is gong (攻) and shou (受) from seme (攻め) uke (受け).

gong shou aka seme uke dynamics

Mother of BL, Mori Mari, didn’t come up with it, nor did her father Mori Ogai. Both she and her father, among the other dozen tanbi (耽美; same writing as danmei but different readings cause different languages, and different meanings cause different cultures) authors inherited it from authors before them who wrote on contemporaneous and historic Japanese male androphilia.

Spring Pastimes. Miyagawa Isshō, c. 1750 | seme uke dynamics in nanshoku pre-dates BL by hundreds of years.

While there is no dearth of riba (versatile) characters in BL, seme uke dynamics is:

a genre specialty. There are similar words in use in GL as well.

an enduring connection to the past of where BL was born.

remnants of a particular model of queerness; an alternative to LGBTQIA+ form of queerness.

What’s there in the scene

There is something hidden in the euphemistic explanation. On the face of it tiger devouring a lamb would be allusion to tiger gong devouring (topping) lamb shou.

But then tiger is a big cat and lamb is a herbivore. Neko (ネコ), the Japanese queer term for “bottom” means cat (etymology is obscure with this one). The term herbivore (草食) when used to describe a man means that man is masculine in a non-hegemonic way. In the series, Wei Qian embodies the hegemonic masculinity while Wei ZhiYuan is a quintessential grass-eater.

So, the description of lamb being devoured by a tiger would not be associated as simply as with the terms gong and shou especially when it comes from Taiwan which has been historically more connected to Japanese BL than any other BL producers (Sinophone or otherwise). This connection was highlighted during 魏之远 Wei ZhiYuan's naming scene where Le Ge used the borrowed Japanese possessive particle (の; no).

の = 之 (zhī)

The big cat sound effect for Wei Qian in particular adds to this. Wei Qian’s character is best described as a queen shou.

女王受 Queen shou: A shou who is as proud as a queen, and would devour gong. (source)

Wei Qian and Wei ZhiYuan’s ship is best described by Priest (the author of Da Ge, source novel of Unknown):

经典款毒舌女王和屁颠屁颠的忠犬组合 – paring of a classic, sharp-tongued queen and a tail-wagging loyal dog.

BL literacies & Affective learning

BL kind of has its own language (with words like gong shou), which fans use to share ideas and feelings. This secret language is what academics call ‘literacies.’ BL fans are all in on this and have their own ‘ways of behaving, interacting, valuing, thinking, believing, speaking, and often reading and writing’. Through ‘various visual, conceptual and textual literacies’, BL fans weave ‘an intertextual database of narrative and visual tropes which readers draw upon to interpret BL’. BL literacies is learnt through ‘affective hermeneutics – a set way of gaining knowledge through feelings.’ Audience learn BL literacies from BL works ‘which eventually leads to their active engagement’ with other BL fans. (source; Kristine Michelle L. Santos explains it in the context of Japanese BL but it applies to all BL media irrespective of where it is from.)

That scene in Unknown was set up to familiarize audience with BL literacies – not only those specific words but also the larger practice of imagining character pairing and indulging in that imagination. This is evident from the overall jubilant tone of the scene and the camera work. It is a celebration of moe. That is why we have a character who is not only a fu-nu but also willing to be openly fu-nu in that setting, sharing BL literacies and her colleagues interested to learn. 

For other examples, check out Thomas Baudinette’s book Boys Love Media in Thailand: Celebrity, Fans, and Transnational Asian Queer Popular Culture. He has a chapter dedicated to explaining how genre conventions were taught to the early audience of Thai BL through similar scenes.

Why must they do this? Why break the fourth wall like this? To get more people interested in the intricacies of BL and to get them to participate in the culture. BL is created by fu-people and BL literacies are their tools and source of joy. BL must draw in more people to keep BL culture going. Commercialized BL we have today is the result of an affective culture formed over the years. It is built on years of labor of authors and their audience. I mean, look at the Unknown. This BL employs the well-developed Loyal Dog gong x Queen shou dynamics. Apart from that which the series took from the novel, it also drew upon other common BL beats to tease the relationship between Dr. Lin and his senior.  

Teaching BL literacies is political. When Mainland Chinese government gets dangai productions to change names and relationships of characters (among other things), it is to prevent live-action audience from discovering BL as a genre with it disruptive potential. It is not only character's names and relationships that are changed. There are entire sub-genres of danmei (such as 高干) that got wiped out by censorship.

When a Taiwanese BL not only retains the character names & relationships and shows relatively explicit intimate scenes but also actively promotes BL literacies, it is an act of resistance. Discussion of gong shou, being genre specialty, manages to do so. Interestingly, they are doing it in an adaptation of a novel by Priest who has a particular reputation with self-censorship. That scene is not part of the source novel.

Heterosexual & gong shou

Association of bottom with the feminine (female or otherwise) has its roots in medicalization (and pathologization) of homosexuality in the west (such as through theories by scientists and doctors like Richard von Krafft-Ebing). This “knowledge” subsequently spread across the globe and was adopted to varying degrees and forms.

Moreover, the terms gong and shou applies to heterosexual pairing too.

BG (boy girl) ships have male gong and female shou

GB (girl boy) ships have female gong and male shou. [If this is interesting unfamiliar territory, check out the series Dong Lan Xue (2023).]

Moreover, if one is willing to look beyond LGBTQIA+ form of queerness (which is born and brought up in America), one can see other queer possibilities. For example, Kothi-Panthi queerness in South Asia which is characterized by explicit presentation of top bottom dynamics. There are very many similar forms of queerness in other parts of Global South.

In many cultures, sexuality doesn’t inform identity but sexual preference does. That’s why is you are to ask a kothi-panthi couple which one of you is the bottom, the kothi would tell you without hesitation: “I am.” Might even asked you in turn, “Couldn’t you tell?” For them, sexual preference (being kothi) rather than sexual orientation takes center stage. This is the inverse of how LGBTQIA+ form of queerness looks at it. While LGBTQIA+ model of queerness focuses on sexual orientation (being pan, ace, gay, etc.) as something that can be freely discussed but sexual preference (top, bottom, versatile, side, etc.) is considered private.

*Just to be clear, “kothi” is a term of self-identification. It means that the person is a bottom. Panthi is not self-identification. That’s how kothi address the men who top them. 

While thanks to westernization LGBTQIA+ form of queerness enjoys more visibility, I think it is better to consider it as one type of queerness rather than the only model of queerness. Gong shou dynamics doesn’t fit into LGBTQIA+ form of queerness because it comes from another, much-older nanshoku model of queerness that made its way into Japan from China, hundreds of years ago. Friction between different models of queerness is common where ever they interact. In 1970s, Japan was witness to public debates between a younger, westernized Japanese queer activist Itō Satoru and other Japanese queer activists such as Fushimi Noriaki and Tōgō Ken who were rooted in indigenous tradition of male-male sexuality.

[Itō Satoru’s] insistence on the necessity of adopting western models of gay identity and coming out have brought him into conflict with other activists such as Fushimi Noriaki and veteran campaigner Tōgō Ken.

Interpretation and Orientalism: Outing Japan's Sexual Minorities to the English-Speaking World by Mark McLelland

Clarification

[Edited. Thank you @wen-kexing-apologist for contributing to the conversation.]

Under the LGBTQ+ model of queerness, it maybe considered inappropriate to have conversation about “top” “bottom”, especially in the office, going as far as to ask that to Qian ge. From that perspective, the BL audience (especially those who are unfamiliar with the terms gong and shou) are fair in their assessment of that scene being out of place or outright offensive.

I think things might have been a bit different if the subtitles retained the terms gong shou instead of “top” “bottom” since they aren’t exactly the same thing. That would have had the desired effect (of introducing BL literacies - gong shou in the context of 强强 (strong gong x strong shou) pairing) without unintended consequence.

What is considered rude under the LGBTQ+ framework is an essential part of fu culture. It is like addressing Wei Qian as just Qian – that could be considered rude in the original language but pretty normal in English. Different cultures, different norms, so to speak. It is only polite to be mindful of the cultural differences and avoid discussing about sexual preference where it is considered inappropriate.

As for the normalization of fu culture (especially discussions of gong shou), in my opinion the didactic scope of Unknown is undermined by the very fact that it is primarily a gǔkē danmei (via adoption (收养)) with tongyangxi vibes (highlighted multiple times by San Pang in the novel) associated with Wei ZhiYuan.

Somehow fu-culture gets judged by those who consume products of that culture. Everyone is happy with fu-cultural products as long as fu-people don't discuss who is gong and who is shou.

Why are fu-culture and BL always judged based on a culturally alien lgbtq+ form of queerness? Why must BL be arm-twisted to fit into norms of lgbtq+ form of queerness just because that is the most mainstream form of queerness?

-

That’s not much a conclusion but this is already so long. I really hope it gives you something to think about.

If you are interested, here's more.

[springgg-anddd-alll]

I’m not sure any drama from now on could top this scene

Episode 10: The Couch

Wow @lurkingshan, it’s like you really know me! This scene is exactly what I was going to talk about for Episode 10 because the fucking TENSION put so much weight in to the air when I was watching that I could hardly breathe. 

CHRIS CHIU

THE ACTOR THAT YOU ARE

Scene Breakdown time!

First of all, I love the little couple dynamic moments we get between Lili and San Pang, where Lili has to tap San Pang in to Yuan and Qian’s fight. San Pang arrives and in a very strategic move informed by knowing Qian and Yuan for a significant amount of their lives, he arrives with food he knows will go over well with Qian and will test Yuan’s ears (he comes down the stairs from his room to throw the food away after all). 

Which, let’s just acknowledge that when Yuan comes downstairs and takes all the alcohol and greasy food away, the moment Yuan approaches the coffee table, Qian looks back towards the TV screen pretending he is disinterested in the situation at hand. But his eyes give him away because he keeps glancing at Yuan when he thinks he can steal a second. And stealing is what he is trying to do because he keeps his head pointed directly towards the television, while looking for half a second at Yuan out of the corner of his eye when Yuan leans over to collect the food. After that moment, Qian does not look towards Yuan again until Yuan has turned around and Qian can stare at his back. 

It must be said. Chris is a phenomenal actor, because even without seeing his face, just the top of his head, you can kind of tell the mood that Qian is in as Yuan walks away, because he turns towards Yuan. We see Yuan look in Qian’s direction, Qian moves his head further back to look at San Pang, then looks away shaking his head. I acknowledge I’m probably reading too much in to it, but I can feel the incredulity radiating off of that head shake. 

Yuan heads up the stairs, and Qian looks towards the staircase only after Yuan has disappeared. His head movement is so much more obvious than his previous motions that it literally looks like Qian is breaking character, or like he was previously frozen and had only now been allowed to breathe. Qian’s eyes look up towards the staircase (towards Yuan’s absence), then downward as he thinks about his next move, then back towards San Pang, then down once more as he makes a decision about whether or not he wants to Start The Conversation. 

gif by @wanderlust-in-my-soul (my savior)

Qian here is trying to check that Yuan is out of earshot because he Will Not have the The Conversation about His Feelings if there is a chance that Yuan will know about it. 

With the heaviest of sighs, Qian gives San Pang an opening: “Did you buy those for me, or for him to throw away?”  Qian asks, and once again looks out of the corner of his eye, getting serious “Or for him to throw away?” 

And there is no doubt in my mind that it is the latter. San Pang bringing food that would trigger Yuan’s care instincts towards Qian, cause Yuan to intervene, and San Pang to bear witness to the tense and angry energy from Yuan towards Qian and force the issue. I think it’s partially why Qian does not deliberate for long in starting the conversation despite his hesitancy. 

San Pang scoffs and says in response “He wouldn’t have done that if he didn’t care about you. Xiao Yuan can’t bear to leave you alone.” holds up the salad as a physical example of the care that Yuan has for Qian. 

gifs by @wanderlust-in-my-soul

Qian gives another giant exhale and looks contemplative. Something that I do find really important in good acting is the use of internal monologue. Qian always has something on his mind that he is sitting with. And the benefit of a scene like this is that the production team, and the camera trust the strength of their actors to hold the silence that settles over the room as Chris runs the gambit of Qian’s internal thoughts. 

Qian is well and truly sitting with the acknowledgement of Yuan’s feelings from San Pang. Maybe I am wrong because I am not an actor, but I do not have the kind of intentional and conscious control over my face to have the kinds of lip twitches that Chris has when Qian is thinking about Yuan’s care for him. They may have twenty seconds of silence on screen, but that does not mean the scene isn’t still in motion. There are so many little things happening in the span between San Pang’s comment about Yuan and his next reflection on sending Yuan away. 

“Xiao Yuan can’t bear to leave you alone,” Qian turns that over in his mind, to me it’s like he’s feeling the weight of it on his tongue, in his body. Qian looks up, and then around, and tosses the remote to the side, breathes heavily again. That feels like a begrudging acceptance of the statement. At the very least it is permission from Qian to proceed with the difficult conversation. 

“Before I had Yuan leave the country, I had been thinking I was doing the right thing for you two. But seriously, be honest, did you feel empty when Yuan was away?”

gif by @wanderlust-in-my-soul

Qian blinks twice and we cut to a flashback of a lovely little isolated frame of Qian feeling Yuan’s absence. We cut back to a close up of Qian’s face and his lip twitches. Which I love because it feels like an involuntary admission. We know Qian, we know that boy is stubborn and stoic, that he muscles through all the pain, that he does not let many people see his weaknesses. San Pang asks Qian if he felt empty and Qian does. not. move. He holds exactly the same position, lounging on the couch with his hand behind his head like he is unmoved, unaffected by San Pang’s question. But that little twitch of his lip gives him away. San Pang has struck a nerve. San Pang has forced Qian to hold a spotlight to the feelings he’s been trying to numb for the last four years. 

“Let me tell you something. When Lili and I first got together,” 

I don’t know about anyone else, but I snorted at the way Qian turned his head to look at San Pang in warning. We still have not seen Qian approve of that relationship. And San Pang knows that he’s staring at the precipice of some truly hot water, which is why he follows up with a “hear me out.” 

Qian relaxes and once again turns to look away from San Pang. From San Pang’s position very little of Qian’s face is visible. So Qian keeps holding a position that will give San Pang as little of a chance of reading him as possible. 

“I’ve struggled too. I…I always wondered what happiness could I bring her? Was I doing the right thing? How could I face you? And then…I felt it wasn’t right. Life is too short.”

gif by @wanderlust-in-my-soul

Again, I just have to say. CHRIS CHIU IS A PHENOMENAL ACTOR. He does not move a muscle, but you know Qian is locked in on what San Pang is saying because of how he moves his eyes. When San Pang says “life is too short” you can actually see the moment where Qian starts paying more attention to San Pang’s words, because he looks away from the TV and more downward in thought. 

“Getting hung up over it for years, would it be worth all the lost time?” 

Chris changes how he breathes here. You can see Qian take in a deep breath, but he holds it for a few seconds, he lets his nostrils flare, and then you see a large release of breath in the movement of Qian’s chest. This is really really getting to Qian. That nostril flare was not because he was breathing in. Because he’d already taken a breath. It was not because he was breathing out, because we see that happen a few seconds after the nostril flare, without his nose moving again. When Qian flares his nostrils, he is holding his breath, for a rather noticeable amount of time too. 

I love Chris because he embodies Qian so well, I can almost feel the way Qian is feeling internally in all the subtle little ways Chris plays with how Qian holds and releases tension and attention. 

“Who’s been good to me?”

Qian blinks twice, letting the question hit him, and only then does he finally release his breath. 

“Who put me before themselves?” 

San Pang looks at Qian after he finishes asking these hypothetical questions. But Qian is still looking ahead towards the TV, trying to come across as disengaged in the conversation as possible. And San Pang notices that, and that is why he continues to talk. Because Qian is hearing him, he’s listening and processing, but he isn’t engaged. He hasn’t put his body in to the conversation yet, he hasn’t responded to anything that San Pang has said to him. So San Pang keeps pushing. 

“A lot of things are only between you and Yuan. Unless you really have something against being with a guy, Yuan’s the only one who will be by your side, no matter what. Are you really not going to confront it?”

And I love that we pull away from that question to Qian looking like he is lying in a therapist’s chair. And Qian holds that position he has been maintaining throughout the conversation for a few seconds longer. The number of times he blinks the only indication that what San Pang has said is getting through and that Qian is mulling it all over. 

And only then, after San Pang has said all these things about Qian and Yuan’s relationship, in a way that is not judgemental or against the idea of these brothers becoming romantically involved. Only after San Pang has said that Yuan would be by Qian’s side no matter what does Qian set his jaw and push himself up in to a sitting position to continue the conversation. 

San Pang does not know what happened at Le’s gang beyond them being beaten up. So while it is highly likely that he is aware saying that Yuan would follow Qian anywhere is opening a can of worms, he does not understand how much ammunition he has just given Qian to talk about the danger that loving him too deeply has put Yuan in.

We do not give enough credit to film actors for maintaining continuity across scenes, because this man sits up and the first thing Chris has Qian do is massage the back of his head, where the pain of his blood clot sits. I could probably sit here all day trying to talk about all the little facial expressions he does as Qian sits up and starts preparing himself to be vulnerable with San Pang. But we can leave it as merely that. Qian is getting ready to talk to San Pang about some deeply personal stuff.

Personal stuff that Qian usually does not typically get in to. Like, San Pang says he knows what Qian went through, but I do not think he does. I do not think Qian has told him about the sexual assault, or San Pang would not have been trying to throw women at Qian. 

gif by @wanderlust-in-my-soul

“San Pang.” He pauses, and you can see the way he is still noodling, thinking about whether or not he wants to talk to San Pang about all this. And notably, he does not meet San Pang’s eye when he begins “Do you know…” Qian looks to the side, he frowns a little bit, he taps the palm of his hand against the top of the couch arm. It feels so childish and small of him in a way that really struck me. Qian is nervous, he is redirecting that energy in to his motions. In to the tapping, in to looking away, in to not having to reveal deep personal truths sitting that close to another soul. “Do you know what my biggest wish in life is? My biggest wish in life is for them to be happy,” 

Ohhhhhh how that breaks my heart. Qian has suffered so much, he has done so much, he has survived so much. If you were to ask me, I would bet that Qian has never been happy. He was forced at a very young age to take over the role of caregiver. He is both a brother and a father to Yuan and to Lili. And it is a testament to Qian’s love for his family, and the pain he is willing to put himself through that Lili is so bright and vibrant and naive about some of the workings of the world. I believe that Lili is happy. I believe that Qian has succeeded in at least that much. But that is not something he has had a chance to do. “Even if the world comes down, I’ll hold it up.” I have not forgotten that line from last episode. Qian would hold the world together if it meant ensuring his sister’s happiness. 

I do not know what it is, but there is something in the way Chris moves his mouth after he says “My biggest wish in life is for them to be happy,” that just absolutely destroys me, because he makes himself look like this is such a huge confession. 

“Mine is the same.” 

gif from @wanderlust-in-my-soul

“I just want them to grow up healthy and happy, because I’m their big brother.” Qian’s words become so breathy and he’s jabbing his finger straight in to the arm of the couch to drive home his point. These are the words that matter, this is the wish that matters. Qian’s feelings, Qian’s happiness have nothing to do with it. If he’s empty so be it, as long as his siblings are happy and healthy he will wound himself a thousand times over. His fucking face here, once again is just…When Qian takes in a breath, it is shaky. You can tell by the movement of his jaw, which looks like it is moving from side to side a little bit. As he approaches the end of his sentence, it feels like he is trying not to cry. 

gif by @wanderlust-in-my-soul

Yuan’s life might be summed up in two words: Wei Qian 

But Wei Qian’s life is summed up in five: 

Because I’m their big brother. 

“We grew up together. You think I don’t know how hard life’s been on you? But you know that Yuan’s feelings for you are different.” 

Qian looks away incredulously, and there is something else there too, I think. Something in the way that Qian’s eyebrows furrow, the way his mouth hangs open, the way he breathes out. I don’t know that he can really believe that this conversation is happening right now. That San Pang would let these words reach the light of day, that he would acknowledge them so openly, so matter-of-factly. 

“We’ve tried everything. We even sent him abroad for years. You were miserable every day. You love him and he loves you.”

We get more of Qian’s thinking face here as San Pang says these words, his mouth agape, his breath quickening, his eyes moving back and forth as he sorts through his own thoughts. 

But I need to acknowledge San Pang. He has such an intriguing connection to Qian and his family. San Pang has power of Qian, because his parents are Qian’s landlords. He and Qian have been best friends for a very long time, and even though I think it is true that San Pang likely knows the most about Qian’s life history, he does not know it all. He is still, in many facets of his life, acting like a kicked dog and backing down every time he tries to push back against Qian now that Qian knows that he and Lili are together. But when push comes to shove. When Qian’s happiness is impeded, when Qian’s health is at risk, he will tell Qian what Qian needs to hear. 

Whether or not Qian is truly having a hard time parsing through his feelings for Yuan doesn’t matter to me as much as Qian getting permission from multiple people to actually pursue the relationship. In acknowledging all of this, San Pang, the man who at one point told Yuan he could like anyone but Qian, the man that sent Yuan away for four years, is telling Qian that it is okay for Qian and Yuan to be together. He is the external judge that is finally accepting this taboo relationship, because he knows that if he does not show Qian that it is okay for him and Yuan to change from brothers to lovers, that neither Qian or Yuan will have any chance in hell of long term happiness. 

“Even if you’re not together, he’ll be sad to see you sad.” 

Off come Qian’s glasses. Shit is getting serious now. Qian rests his head on his hand, he looks away from San Pang. He really sits with it, you can see the emotions rising up in him, in the way he breathes, in the way his nostrils move, in the way his lips tremble for a second before he speaks. 

gif by @ueasking

“I’m scared, you know?” he turns to look at San Pang, and he sucks in a huge breath through his nose. It’s the first time we’ve seen him breathe so obviously that way throughout the entire scene. GOD, QIAN KILLS ME. 

“You haven’t even tried. What are you scared of?” 

And this is the fascinating thing for me, right? Outside of Yuan, San Pang is Qian’s best friend, but they do not have conversations like this that often. San Pang has tried time and again to start the more serious conversations, to act as an emotional support for Qian, but Qian brushes those conversations off as much as he can. San Pang knew the medical issues, he knows the history, he knows about the pieces of Qian’s life that Qian can’t hide. But he does not know everything, Qian does not usually let himself be this vulnerable with San Pang, hell he hasn’t even told San Pang everything that happened with Le’s gang. He’s about to, but that is only because he is trying to make a point. 

I think he is only having this conversation with San Pang, only admitting he is scared, and confused about his feelings for Yuan because he has literally no one else to talk to about it, and he’s starting to break down to the point that he can’t hold it all in by himself. And San Pang keeps pushing. 

“You know he went to find Le by himself that day?”

“I know.” 

“He was surrounded and beaten by six people, and in the end…”

gif by @wanderlust-in-my-soul

He sucks in a breath. It takes him a moment to find the strength to form the words, so he forms a gun shape with his hand, which he points quickly a few times to fill the silence and the stillness in the room as he finds the shape of the admission on his tongue. He accentuates the severity of the memory with one final large motion. 

“...they pointed a gun at…” 

Ah, and there it is. The real reason behind Qian’s comment about wanting Lili and Yuan to be happy and healthy because he’s their big brother. Qian will not act on his feelings for Yuan, especially not right now because he is feeling guilty. Not just for sending Yuan away, not just because of the letter, but because Yuan’s unwavering loyalty, protectiveness, and love for Qian got Yuan hurt. Nearly got Yuan killed. Again. 

Qian’s whole world, his entire drive was shattered the day Yuan confessed, when Yuan told Qian that he was suffering. Yuan’s love for Qian was hurting him. But Qian just wants Yuan to be happy and healthy. The chance at having that world again was nearly destroyed with the realization that Yuan almost died abroad. His world was made complete again when Yuan returned home. And it was very nearly destroyed once more when Yuan walked in to that gang in hopes of protecting Qian. 

There is pain in witnessing the kind of love someone would die for. 

Qian can put himself in danger for the sake of his siblings, because from my perspective, Qian never thought his life had much worth. His formative years were filled with horrific abuse, assault under the guise of love, pain, suffering, doing terrible things just to survive. But this is all because he cannot see the forest through the trees, of the life that he has built, of the home that he has built, of the safety that he has built for his siblings. 

Yuan is not allowed to believe his life is less important than Qian’s because no one has ever thought that Qian’s life was more important than theirs. 

“Fuck, you- you’re telling me that now? Then, you…Right now, you…So, you’ve lost…”

Another quick shout out to San Pang, and moreso to the writing for San Pang that they don’t always let him have these brilliant speeches. He was able to navigate the beginning of this conversation because he knew mostly what he was walking in to, but with the reveal of Yuan and Qian’s near death experience, he is fumbling. 

The camera cuts back to Qian. I’d say Qian is listening to San Pang, but not fully present. Chris is doing so many things with his face in that moment. His nostrils are flaring, his lips are tightening like he’s trying to hold something back, he’s rocking his jaw from side to side. 

gif by @ueasking

“So, this isn’t a decision I can make so lightly.” He is almost crying now, he won’t cry, I think the only time we’ve seen him cry is when he was staring the prospect of Yuan’s death directly in the face during Russian Roulette and when he was hugging Yuan afterwards. But you can see the growing frustration and the threat of the tears very clearly on his face. Qian emphasizes the statement by once again jabbing his finger into the couch. 

“I have to consider the future.”  

“Do you want him to have a future without you?”

Let me tell y’all the way I collapsed under the weight of that question…it is no wonder Qian, notoriously quiet Qian, immediately shuts his mouth. I appreciate how much San Pang is willing to be the sacrificial lamb, because that is exactly the question that Qian needed to hear. That is exactly the reality that Qian, Yuan, Lili all face if Qian does not get his blood clot treated. A future without Qian in it. 

Qian needs to know exactly what he is doing to the people he loves by continuing to delay this medical treatment, but San Pang had to know that in asking it, it would only make Qian retreat back in to himself. Which is what Qian usually does. It was a miracle in it’s own right that San Pang was able to get Qian to voice this many of his concerns, to tell him the entire truth, to talk to him about the fear. 

gif by @ueasking

Qian closes his eyes, he lets the blow of the question absorb in to him, and he nods his head. Which, in my opinion, is a brilliant choice because the way he nods does not read to me as a confession that yes, Qian does want Yuan to have a future without him in it, and more so is an admission of defeat from Qian. But because we don’t get verbal confirmation either way, we do not, San Pang does not, Yuan does not get any confirmation one way or the other about what Qian is thinking. 

Qian just nods, lets the silence hang one moment longer, and kicks San Pang out. 

“Go home.” He says. But there is a more promising follow up “Let me think about it.” 

Which feels like the only thing Qian has really been doing for the last four years, but we’ve already established, that boy is about as moveable as a brick wall, and he and Yuan both serve to lose a lot if this goes wrong. 

And there you go @lurkingshan! 4103 words on the mouth twitch, nervous body language, and tears in this scene :D

[iguessitsjustme]

Qian: I give so much. I love my family. I will give my life to them. I will protect them and feed them and provide them with shelter. My life belongs to them.

Yuan: I will give my life to Qian. I love him. I will make sure he eats and rests and takes time for himself. I will make sure he stays healthy and well. My life belongs to Qian.

Qian: Wait hold on now wait a minute that doesn’t seem right

Yuan: Get loved…idiot.

[certifiedlurker]

Why is Daniel Molloy's tag less about his character and more about his relationship with Armand. Who is he outside of it? Full disclosure I am not part of this fandom (AMC TV) but I am interested and that's why I have been looking at stuff on different characters for some weeks...but for Daniel, he seems to begin and end with Armand.

[spookierdeer]

OL EUA YUGQ G XGOYOT OT MXGVK PAOIK, OZ ZAXTY OTZU G MXGVK. NGVVE NGRRUCKKT! 🎃⚠️

(costume talk and yapping under the cut)

starting from back to the front:

stan and ford are handing out candy this year, stan dressed in his vampire costume and planning to scare kids and ford is wearing a mabel (turtleneck!) pumpkin sweater, about as festive as he's willing to dress up this year. ford was originally planning to hole himself up in his lab and work on data analysis or whatever nerd shit he has going on but stan invites him to help scare the hell out of kids. ford declines initially, better things to do, but after checking to see how stan's doing (badly), ford decides to help by bursting out of the bushes with a glowing laser gun, face cloaked in shadow. it's more fun than he expects or admits and he eventually fully joins stan.

soos and melody are trick or treating in a couple costume, soos as zelda and melody as link. melody wanted to cosplay link for awhile and you cannot convince me soos wouldn't jump at the chance to dress up as a badass anime elf princess who can fire lasers.

mabel, pacifica, and waddles are dressed as utena, anthy, and chu chu respectively. i have a headcanon that post working at the diner and slowly getting used to normal kid things, pacifica discovers anime. specifically shojo princess anime. she finds utena and loses her mind over it in private, with mabel eventually breaking down her walls and getting her to admit to the sin of liking anime. mabel gets pacifica to show her her favorites and mabel immediately insists they need to cosplay as utena and anthy for halloween, pacifica is a princess after all! (said in jest, but baby gay panic ensues on pacifica's end. mabel is pretty oblivious to her plight and doesn't realize why being pacifica's knight makes her feel so giddy until later on.)

dipper sees pacifica joining mabel as an excuse to flake out on trick or treating without being a total jerk, especially since they'll be joined by candy and grenda later. i know he's working on not trying to grow up too fast by the end of the series, but kids and teens are full of anxiety and doubts and i figure he would be pretty awkward about a lot of things still, even after learning otherwise. wirt doesn't want to dress up since the previous halloween ended with him in the unknown then waking up in the hospital, but greg still wants to go trick or treating. dipper tags along to help babysit greg despite it not really being necessary, wirt's just glad to have someone to chat with while he takes greg, especially someone who doesn't leap to finding him strange. greg is going as a ghost elephant and wirt assumes it's just the weird kid tradition of layering costumes over the years, but greg's logic is that he "died" as an elephant last year so now the elephant is a ghost. if wirt heard this he would probably end up freaked out, but kids are often more aware of things than expected. dipper is wearing wendy's hat since she traded with him at the end of the series.

putting wirt and greg in there could feel a little random, but these are my two favorite shows to watch during autumn and i associate them with each other. plus, it's otgw's ten year anniversary and it's so perfectly halloween, i think it makes enough sense to put them together. idk i love joy and whimsy, i am cringe and i am free.

i initally wanted to include other characters, candy, grenda, and wendy for sure but i was also considering coraline, wybie, and norman. felt way too complicated so maybe i'll draw something with those characters some other time.

[ineffable-opinions]

Now that the Unknown has resurrected the conversation about gong shou, let’s talk about it. The what and the why, so to say.

Before I start, I want to make somethings very clear:

I am only discussing about one particular aspect of the post.

I don’t mean to disrespect or invalidate. It is perfectly understandable for anyone to find that scene offensive, out-of-place, etc.

I welcome critiques and corrections. So, please feel free to do so.

Scenes and subtitles

The discussion in the episode starts with Wei Qian’s staff gossiping about his relationship with Wei ZhiYuan. One of the staff members comments that Wei Qian is like a little lamb (小绵羊) when it comes to his little brother:

只要遇到他弟弟 就像小绵羊

Someone replies with the following idiom:

羊入虎口

(Literally: “a sheep enters a tiger's mouth”)

It means to enter a dangerous situation where one will certainly suffer [Source: Wiktionary].

The female employee (who witnessed their kiss) asks San Pang:

三胖哥谁是羊谁是虎啊 - Who is the lamb (羊; sheep) and who is the tiger (虎)?

This has some employees confused and they ask for an explanation. They receive the following reply:

就是攻跟受的差别啊 – [it means] between them, who is gong and who is shou?

One of the staff members repeats the unfamiliar terms:

攻受 – gong shou

and the fu-nu (腐女; fujoshi) offers an explanation:

好啦姊姊教你们 – let this elder sis explain

老虎看到羊会 – the tiger upon seeing the lamb…

Before she can complete her explanation, Wei Qian moves into the scene accompanied by the growl of a big cat. The gossipers disband.

In the end our fu-nu expresses their support for Wei Qian’s relationship with Wei ZhiYuan. Before she runs off, she throws him the question:

你们谁是攻谁是受啦 – between the two of you, who is gong and who is shou?

In the next shot Wei Qian is alone. He flexes his muscles and comments:

很明显吧 - It's obvious, isn't it?

[END OF SCENE]

Everyone at that office seems pretty close. The staff calls Wei “Qian ge” 谦哥 (first name + brother) and not as “Mr. Wei” (as the English subtitles suggests). Looks like Lao Xiong (emphasis on Lao = old) is the only one who clearly disapproves of such gossipmongering.

Notice how the terms gong and shou were translated directly into top and bottom in English subtitles. While that’s technically correct, there’s some nuance missing.

While there are tongzhi (同志;queer) people who use the terms gong and shou, these are not the most popular terms for top and bottom in the tongzhi community. This series specifically uses the terms gong (攻) and shou (受). Why? We’ll get to that in a minute.

In a BL, being shou means that character is the bottom in that particular ship. That character could be top, bottom, versatile or neither in another ship. A character is a bottom (as we use the term in English) only when that character is an absolute shou (sou uke in Japanese). An absolute shou is invariably shou. No matter which ship he becomes part of and no matter who he is paired with, he will be the shou. Similar difference exists between the terms “top” and “gong”.

English subtitles use ‘top’ and ‘bottom’ from the get-go. There is no need to explain what those terms mean. But that’s not the case with gong shou – only 腐 (fu) people (BL fans) really knows what those terms really mean and thus warrants explanation.   

BL literacy

BL is a media genre in itself with different sub-genres, genre conventions and classic works. It sure has a lot of overlap with other genres:

Romance as well as GL – they coevolved. They share mothers and other ancestors.

Queer – Is it really a genre? Even if one were to ignore queer as method in academia, it is still so complex.

Let me quote Taiwanese tongzhi author Chiang-Sheng Kuo:

… what exactly is queer literature? Is it queer literature if queer people like to read it, or is it only queer literature if there are queer characters in the books? Or is it an appendage of the queer movement? If a queer author writes a book without queer characters, does that represent a certain aspect of queer culture?

(You can find the whole interview here.)

Just as danmei (耽美; Chinese BL) has its roots in Japanese BL, so is gong (攻) and shou (受) from seme (攻め) uke (受け).

gong shou aka seme uke dynamics

Mother of BL, Mori Mari, didn’t come up with it, nor did her father Mori Ogai. Both she and her father, among the other dozen tanbi (耽美; same writing as danmei but different readings cause different languages, and different meanings cause different cultures) authors inherited it from authors before them who wrote on contemporaneous and historic Japanese male androphilia.

Spring Pastimes. Miyagawa Isshō, c. 1750 | seme uke dynamics in nanshoku pre-dates BL by hundreds of years.

While there is no dearth of riba (versatile) characters in BL, seme uke dynamics is:

a genre specialty. There are similar words in use in GL as well.

an enduring connection to the past of where BL was born.

remnants of a particular model of queerness; an alternative to LGBTQIA+ form of queerness.

What’s there in the scene

There is something hidden in the euphemistic explanation. On the face of it tiger devouring a lamb would be allusion to tiger gong devouring (topping) lamb shou.

But then tiger is a big cat and lamb is a herbivore. Neko (ネコ), the Japanese queer term for “bottom” means cat (etymology is obscure with this one). The term herbivore (草食) when used to describe a man means that man is masculine in a non-hegemonic way. In the series, Wei Qian embodies the hegemonic masculinity while Wei ZhiYuan is a quintessential grass-eater. So, the description of lamb being devoured by a tiger would not be associated as simply as with the terms gong and shou especially when it comes from Taiwan which has been historically more connected to Japan and Japanese BL than any other BL producing region (Sinophone or otherwise). This connection was highlighted during 魏之远 Wei ZhiYuan's naming scene where Le Ge used the borrowed Japanese possessive particle (の; no).

の = 之 (zhī)

The big cat sound effect for Wei Qian in particular adds to this. Wei Qian’s character is best described as a queen shou.

女王受 Queen shou: A shou who is as proud as a queen, and would devour gong. (source)

Wei Qian and Wei ZhiYuan’s ship is best described by Priest (the author of Da Ge, source novel of Unknown):

经典款毒舌女王和屁颠屁颠的忠犬组合 – paring of a classic, sharp-tongued queen and a tail-wagging loyal dog.

BL literacies & Affective learning

BL kind of has its own language (with words like gong shou), which fans use to share ideas and feelings. This secret language is what academics call ‘literacies.’ BL fans are all in on this and have their own ‘ways of behaving, interacting, valuing, thinking, believing, speaking, and often reading and writing’. Through ‘various visual, conceptual and textual literacies’, BL fans weave ‘an intertextual database of narrative and visual tropes which readers draw upon to interpret BL’. BL literacies is learnt through ‘affective hermeneutics – a set way of gaining knowledge through feelings.’ Audience learn BL literacies from BL works ‘which eventually leads to their active engagement’ with other BL fans. (source; Kristine Michelle L. Santos explains it in the context of Japanese BL but it applies to all BL media irrespective of where it is from.)

That scene in Unknown was set up to familiarize audience with BL literacies – not only those specific words but also the larger practice of imagining character pairing and indulging in that imagination. This is evident from the overall jubilant tone of the scene and the camera work. It is a celebration of moe. That is why we have a character who is not only a fu-nu but also willing to be openly fu-nu in that setting, sharing BL literacies and her colleagues interested to learn. 

Moe is the excitement or a sudden outburst of affection one feels for one or more characters.

For other examples, check out Thomas Baudinette’s book Boys Love Media in Thailand: Celebrity, Fans, and Transnational Asian Queer Popular Culture. He has a chapter dedicated to explaining how genre conventions were taught to the early audience of Thai BL through similar scenes.

Why must they do this? Why break the fourth wall like this? To get more people interested in the intricacies of BL and to get them to participate in the culture. BL is created by fu-people and BL literacies are their tools and source of joy. BL must draw in more people to keep BL culture going. Commercialized BL we have today is the result of an affective culture formed over the years. It is built on years of labor of authors and their audience. I mean, look at the Unknown. This BL employs the well-developed Loyal Dog gong x Queen shou dynamics. Apart from that which the series took from the novel, it also drew upon other common BL beats to tease the relationship between Dr. Lin and his senior.   

Teaching BL literacies is political. When Mainland Chinese government gets dangai productions to change names and relationships of characters (among other things), it is to prevent live-action audience from discovering BL as a genre with it disruptive potential. It is not only character's names and relationships that are changed. There are entire sub-genres of danmei (such as 高干) that got wiped out by censorship. When a Taiwanese BL not only retains the character names & relationships and shows relatively explicit intimate scenes but also actively promotes BL literacies, it is an act of resistance. Discussion of gong shou, being genre specialty, manages to do so. Interestingly, they are doing it in an adaptation of a novel by Priest who has a particular reputation with self-censorship. That scene is not even part of the source novel.

Heterosexual & gong shou

Association of bottom with the feminine (female or otherwise) has its roots in medicalization (and pathologization) of homosexuality in the west (such as through theories by scientists and doctors like Richard von Krafft-Ebing). This “knowledge” subsequently spread across the globe and was adopted to varying degrees and forms. It is that knowledge that motivates critique of seme/uke aka gong/shou dynamics - particularly those which directly assumes that it is mirroring of heterosexual pairing, hence perpetuating heterosexism and is ignorant of the actual queer cultures that produced the said dynamic.

Moreover, the terms gong and shou applies to heterosexual pairing too.

BG (boy girl) ships have male gong and female shou

GB (girl boy) ships have female gong and male shou. [If this is interesting unfamiliar territory, check out the series Dong Lan Xue (2023).]

Moreover, if one is willing to look beyond LGBTQIA+ form of queerness (which is born and brought up in America), one can see other queer possibilities. For example, Kothi-Panthi queerness in South Asia which is characterized by explicit presentation of top bottom dynamics. There are very many similar forms of queerness in other parts of Global South.

In many cultures, sexuality doesn’t inform identity but sexual preference does. That’s why is you are to ask a kothi-panthi couple which one of you is the bottom, the kothi would tell you without hesitation: “I am.” Might even asked you in turn, “Couldn’t you tell?” For them, sexual preference (being kothi) rather than sexual orientation takes center stage. This is the inverse of how LGBTQIA+ form of queerness looks at it. While LGBTQIA+ model of queerness focuses on sexual orientation (being pan, ace, gay, etc.) as something that can be freely discussed but sexual preference (top, bottom, versatile, side, etc.) is considered private.

*Just to be clear, “kothi” is a term of self-identification. It means that the person is a bottom. Panthi is not self-identification. That’s how kothi address the men who top them. 

While thanks to westernization LGBTQIA+ form of queerness enjoys more visibility, I think it is better to consider it as one type of queerness rather than the only model of queerness. Gong shou dynamics doesn’t fit into LGBTQIA+ form of queerness because it comes from another, much-older nanshoku model of queerness that made its way into Japan from China, hundreds of years ago. Friction between different models of queerness is common where ever they interact. In 1970s, Japan was witness to public debates between a younger, westernized Japanese queer activist Itō Satoru and other Japanese queer activists such as Fushimi Noriaki and Tōgō Ken who were rooted in indigenous tradition of male-male sexuality.

[Itō Satoru’s] insistence on the necessity of adopting western models of gay identity and coming out have brought him into conflict with other activists such as Fushimi Noriaki and veteran campaigner Tōgō Ken.

Interpretation and Orientalism: Outing Japan's Sexual Minorities to the English-Speaking World by Mark McLelland

-

That’s not much a conclusion but this is already so long. Since you have read through to the end, I really hope it gives you something to think about.

If you are interested, here’s more.

I believe it's high time for us viewers and the screen writers to exclude the top-bottom discussion. I watched unknown and the discussion between their co workers was absolutely worse. The whole discussion regarding it is ridiculous. Like what do you even get from knowing it? If you get to know about a couple, why do you wanna know about their sex life? It's their privacy. Why do you have to intrude into it?

The top-bottom agenda is a kind of hetrosexualisation of homosexual couples. I know there are people who clearly enjoy having such division. But does it really matter? Why do other people care? It's their matter. Stop poking your nose where it doesn't belong.

Homosexual couple can have top or bottom, or versatile or whatever they want. It doesn't concern you. You don't have to imagine their sex life. You don't have to fantasize about it. They themselves can if they wanted to. Unless they asked, you are not needed in their sex life. Why is it so hard to understand?

The way they made the whole scene as a comedy is actually tragic. Though BL can be controversial (well, I'm basing my whole discussion on a bl which is about a love story between found siblings. Anyway whatever) it did raise serious awareness over the course of time. It's time for us to push the "making people care about LGBTQIA+ people" a bit further. People are learning. Let them learn to be respectful

[herpsandbirds]

Two new species of freshwater goby (Teleostei, Gobiidae) from the Upper Youshui River, Chongqing, China

Lingzhen Li, Chaoyang Li, Weihan Shao, Suxing Fu, Chaowei Zhou

Abstract

Two previously unknown species of Rhinogobius have been discovered in the streams of the Upper Youshui River, within the Yuan River Basin, Xiushan County, Chongqing, China. These new species are named as  Rhinogobius sudoccidentalis  and Rhinogobius lithopolychroma. Phylogenetic analysis based on mitochondrial genomes revealed that R. sudoccidentalis is genetically closest to R. reticulatus, while R. lithopolychroma shares the greatest genetic similarity with R. leavelli. Morphological distinctions allow for the clear differentiation of these species. Rhinogobius sudoccidentalis sp. nov. is characterized by having VI–VII rays in the first dorsal fin and I, 8–9 rays in the second dorsal fin. The longitudinal scale series typically consists of 22–24 scales, while the transverse scale series comprises 7–8 scales. Notably, the predorsal scale series is absent and the total vertebrae count is 12+17=29.  Rhinogobius lithopolychroma sp. nov. can be distinguished from other species by the presence of 13–15 rays on the pectoral fin. Its longitudinal scale series ranges from 30 to 33 scales, with no scales in the predorsal area. The total vertebral count is 30, with 12 precaudal and 18 caudal vertebrae. The head and body of this species are light gray with irregular orange markings on the cheeks and opercle. Through morphological and molecular analyses, it has been confirmedthat R. lithopolychroma and R. sudoccidentalis represent novel species within the Rhinogobius genus.

Read the paper:

Two new species of freshwater goby (Teleostei, Gobiidae) from the Upper Youshui River, Chongqing, China (pensoft.net)

[shadowed-dancer]

Villains and Their Fates - A Tragedy Would Have Been Fine By Me

I've seen a lot of people who try to write off frustration with the league's fates by saying "you just wanted them to survive" or "you're just upset your favourite character died". And while that may be true for a few people, I know that it's at least not true for myself (which must mean there are others who feel the same way). So today I'm here to share my thoughts. Despite liking the villains and wanting them to be redeemed, I was also willing to accept a well written ending if they died. I just wanted to ramble a bit about the three main villains (mostly Toga) and how I felt a tragic ending could have been improved.

The only villain I felt should have lived is Dabi, but that's more because of the awkwardness his unconfirmed death caused for Shoto (read this beautifully written analysis for more). If Dabi had to die, he should have died on the battle field OR in the hospital surrounded by family where he gets a few last words in. Leaving his fate unconfirmed leads to the ruined Shoto arc, but is also just weird for a character who has existed for so long. You're telling me that even Overhaul gets a confirmed ending but DABI doesn't?

I've also talked a bit about how Endeavor's survival ruins the subplot, and in 426 he continues by making Touya's final appearance about him (rather than the two brothers) but that's something I've talked about too much. If Endeavor has to be alive and hogging screen time, the least Hori could do is imply Touya will survive rather than die, so at least Enji isn't literally stealing time from his other family members to have some interaction with Touya.

If Touya has to end up in that machine, an ideal ending would have been the doctor saying "it will be a gruelling and near-impossible uphill climb to recovery" and then Shoto can smile and say "he's done it before". Boom. Simple as that. Leave it open, but at least on a positive note so we can assume that the family will have plenty of time to reconcile, as opposed to an unknown (but limited) amount of time that Enji vows to use to talk to him (yeah I know it's supposed to be a sweet gesture but even Touya calls bullshit on it). Let Shoto and Touya eat their soba, damn it!

For Shigaraki, my grievances extend to the writing of the entire final battle between him and Deku. As such, I don't have much to say aside from that because it really is just a product of poor writing. Neither were really allowed to talk before the big moment (hell, the vestiges were narrating Deku's emotions half the time like "he must be upset, this quirk meant so much to him". Why not let him tell us???) and the back-and-forth of Shigaraki being destroyed and then not only to be destroyed again was too much. It felt sloppy and hard to follow, and once you figured it out it just felt dumb. It's as if each chapter needed some massive reveal, but the story had done it so much at this point that it just felt tired and like it was happening "because Hori said so", and that should never be what drives a story.

Speaking of "because Hori said so"...

Oh Toga. Out of all the villains, I actually liked her confrontation the most. (Lies. If Dabi vs Shoto was the end of Dabi's fight, THAT would have been the best. But the Endeavor fight ruins it). Despite having limited screen time, Toga and Uraraka had a surprisingly well-built dynamic. Their few interactions were actually meaningful and created a strong foundation for a fight, and at the very least they had more of a personal connection than Deku and Shigaraki ever did. I think that Toga giving her blood to someone she loves (as opposed to drinking/taking their blood like she had said the whole series) is a beautifully tragic end to her character, but still something that could have fit.

To me, the problem comes with how she died. Let me replay the scene for you: Toga stabs Uraraka in the stomach and Uraraka bleeds too much because she keeps moving around. Toga then realizes she doesn't want Uraraka to die. To save her life, Toga has to do a blood transfusion with herself as a donor and she dies because she has to give ALL her blood.

Now... sure. Ok. Fine. Yeah. Maybe by real-world logic this makes sense. I guess. Whatever. But within the world of MHA, this setup is laughable.

Here's a list of things characters survived (or at least, they survived LONG ENOUGH to get to a hospital rather than dying on the battlefield): Deku shattering his bones with 1 million percent, whatever happened to Best Jeanist when AFO attacked him, Nighteye getting a massive spike through the torso, All Might with "his entrails strewn across the ground", Bakugo becoming Swiss cheese, Grand Torino being punched so hard a crater forms beneath him, Touya being a literal flaming skeleton, Bakugo's heart exploding, Edgeshot becoming a worm. Mirko getting a limb ripped off and then running full speed at Shigaraki. That's just off the top of my head, I know there's probably more.

But you want to tell me that Uraraka getting stabbed and then moving was a fatal wound that required ALL TOGA'S BLOOD? ALL OF IT? The reason Toga's death bothers me is that the setup cheapens the actual moment of sacrifice. It feels preventable, so when she tells us that Uraraka is going to die without her blood, all I could do is roll my eyes because I'm not allowed to use critical thinking skills, I have to just accept what Hori says and take it at face value.

If the author wants you to live as Edgeworm despite saying you were gonna die, you can. But if the author needs a stab wound to be fatal and require ALL of someone's blood? Well tough luck bud, that's just how it goes. Mirko can run and move all she wants after having a limb ripped off, but moving a bit after one stab wound is fatal. Why? Because I say so.

If Uraraka's wound was actually serious then this ending would have been a beautiful tragedy. But as it stands now, the ridiculousness of her wound makes it all feel preventable.

Oh, there's also the fact that Toga switching blood types when she transforms was never established, but I've rambled enough.

That's it. Thanks for reading!

[morethanroommates]

What's coming AFTER Arcane? I have some thoughts...

ACT 3 SPOILERS! The show is out, but I know not everyone has been able to see it yet. This post is a long one, but I have a bunch of images inline with my analysis to support my hypotheses.

....

In the episode 9 epilogue, we see a three-eyed raven pecking at some arcane-corrupted rubble.

This raven is almost certainly one of Swain's Demon Ravens, which serve as his eyes and ears. Who is Swain? Oh, just the warlord leader of Noxus.

Meanwhile, the next scene shows us Caitlyn and Vi after an unknown amount of time has passed since the attack.

Caitlyn is sporting a fancy eyepatch. Fetch!

She's reviewing and adding to the Kiramman archives. As she does so, she gently holds part of one of Jinx's detonated monkey bombs. Her expression looks pensive and reflective.

A few of the archive's frames show documentation and schematics for Hexgates. I think Hextech isn't totally out of the picture for Piltover in the future. But Caitlyn isn't rash. The writers are showing us the info in the archives so that we know the technology isn't lost, even if its creators are missing or presumed dead.

Edit: After reading others' analysis, it's possible Caitlyn is looking at the schematics and seeing the ducts that Jinx could have hidden in to escape the explosion. The monkey bomb and Caitlyn's smile could indicate that. It's at least hinted that Jinx might not be dead. There's another edit lower down on the same topic.

Caitlyn overhears Vi's solemnly humming and is drawn to her.

And we cut to see Vi sitting by the fire in an expansive, dimly lit room.

Caitlyn joins Vi by the fire and remarks on her singing. Vi tells her it's a tune her mother used to sing... She appears to be at the beginning of her healing, embracing the beauty in the things she's lost. And she's lost so much.

And then Caitlyn rests her head on Vi's shoulder and asks her, "Are you still in this fight, Violet?" She calls Vi by her full name... This, plus the other reciprocated physical closeness in this scene, shows a deep level of intimacy, trust, and realism that we haven't yet seen between them until now.

Vi reassures her, she's here and she's not going anywhere, using a very Vi metaphor.

And then Vi rests her shoulder on Caitlyn, reciprocating the physical gesture Cait did to Vi earlier in the scene.

But what fight is Caitlyn alluding to? Sure, it could be a metaphorical reference to the dedication to their relationship. I think the writers intentionally implied that.

However...I think there's a -real- fight coming. In the last frame of Caitlyn and Vi together, Cait looks emotionally touched by Vi's reassurances and trust. AND...she looks determined. She's committed to Vi and to whatever is coming next...

WAIT... WHAT... WHAT'S COMING NEXT?

Well...let's go back to Swain's three-eyed raven and newly introduced antagonists: Mel's sister and the Black Rose organization. What do Swain, Mel's sister, and Black Rose all have in common?

Noxus.

With one of Swain's Demon Ravens appearing and Mel exposing her sister's duplicity in the last episode, we have a solid setup for a future installment of a League of Legends story arc. It's very likely that Mel's sister is a woman named LeBlanc, a very powerful and manipulative magic user from Noxus that can impersonate anyone.

In League of Legends lore, Noxus is regularly invading other nations. Caitlyn's father is originally from Ionia, so perhaps Cait, Vi, and Mel will go there to investigate.

In the fancy airship, because they're not using Hexgates.

OMFG... Does this mean we might get more Cait and Vi???

Let's GOOOOO!!!!!

Thanks for making it this far! What do you think? Are we getting more Cait and Vi in a new series?

Edit: Some have speculated that the airship could signify that Jinx is still alive and that's she's on it and leaving Piltover to go somewhere else in Runterra. That doesn't rule out the story continuing in Ionia or Demacia nor Cait and Vi being involved. I stand by my analysis of Caitlyn's comment about "this fight" being more than asking Vi if she's committed to their relationship.

[dekaydk]

Grumbling to myself about shows that don’t quiiiiiite live up to their potential. I didn’t know that the novel was RIGHT THERE so this fumbled climax is really inexcusable. I can practically hear the justifications about “film is a different medium so we have to do it differently!” No; you don’t. And in some cases you absolutely should not.

Unknown Episode 11

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

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

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

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

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

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

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

[ineffable-opinions]

Unknown - Review

An adaptation that worked better for me than the source work, to an extent.

Priest is a highly regarded danmei author. When I discovered the author through fans, I really wanted to partake in all that awesomeness too. But time and time again, Priest’s writing style failed to resonate with me. I could never immerse myself in any of her works, truly get into them, be moved by characters and their action. Nothing Priest ever wrote seem to impact me. I always felt like I was at bus stop waiting for a bus that would take me to a destination that everyone else seemed to be able to reach and praise so highly about. I would board every bus that said it would take me to my destination but somehow, I couldn’t reach there.

When live-action adaptations came out, I chased them, in multiple languages (I tried Mandarin, Tamil, Hindi, Malayalam in that order; Indian language dubs can be found on MX player). But then even Malayalam dubbed version of Word of Honor was a chore and I gave up.

When I heard of Unknown based on 大哥 (da ge; Big Brother) (a work I found reprehensible at certain points due to pretty normalized racial and heterosexist psychological depictions) I had no interest in checking it out. Things couldn’t be so simple. I heard Huang HongXuan (Kurt) was going be in it. Now, I must watch it for he had rizz in spades in VIP Only and I wanted more of that. (Spoiler alert – I think the Unknown by focusing on Wei Qian missed out on cashing that sweet charisma except for glimpses of it in the last few episodes.)

That’s how I ended up watching Unknown in the first place. It is safe to say I am glad I did. I never thought Da Ge will become something like this. I am impressed by the meticulous cultivation that source material underwent. That little carp really crossed the gate to become a dragon.

Da Ge is a popular and critically-acclaimed work. IMHO, it was for most parts a classist, 金手指 (golden finger) plot with half-baked versions of then popular danmei tropes. For context (I don’t want to say comparison), 弟弟 (didi; younger brother) by 人体骨架 came out in 2011, two years before Da Ge. In BL, newer don’t necessarily mean better. 

What Unknown managed to do was tone down the golden finger bits and keep things realistic to an extent.

Wei Qian got the funds he dearly needed not from killing and snitching on gangsters but from gang-boss Le ge who was Dr. Lin’s senior. Le ge defied some gang codes and sorta wronged his own underlings to that the plot can turn in favor of Wei Qian. The whole triad bit was decent enough that I didn’t mind the snitching part much – I chose to ignore it.

Removed three female characters who were there for man-pain purposes in the novel. Instead gave Wei Lili, pavam xiao baobao, time to shine.

Did not airlift Wei Qian into the waiting arms of a benefactor with sufficient connections in Mainland who would rescind everything in grief, right when Wei Qian could take over and reign. Instead, Unknown let Wei Qian build a company with San Pang and Lao Xiong which fits right into Taiwan’s SME-heavy capitalism.

Didn’t include anything that I found reprehensible in the novel.

Gave relatively explicit intimate scene.

Toned down novel Wei Qian’s Valliettan-aura to build a warmer, more sensible relationship between the Wei siblings.

Made passing mentions of novel events, in ways that was more connected and believable.

Didn’t make villains into caricatures who loose brain cells to benefit Wei Qian. Instead fleshed out Le ge and his relationship with both his underling and his junior. Made him interesting.

Got us a character with blacked out tattoos. I have listed this one at the last but this is the best thing about Unknown for me. Here’s why…

While organized crime is a popular setting in BL, it is rare for BL characters to have visible evidences of their criminal pasts after leaving it for a civilian life. Usually, they either hide it with full-sleeves and what-nots. But here’s a character in a BL with blacked out tattoos trying to make a living through street-vending. Tattoos are customary, ceremonial and meaningful in the context of organized crime, triad in this case. While involved in the triad, tattoos signal trust and loyalty, etched into skin. But it is a burden too. It is part of the cage that leaves no way out. As Le ge’s underling emphasizes, it is not easy to get away having once involved oneself with the triad. Moreover, the tattoos evoke fear among civilians – so ex-gangsters can forget prospects of finding jobs. Even if one is to be self-employed, tattoos doesn’t signal anything good and are effective in scaring customers away. In Unknown, the blacked-out tattoos signal a dark past he has shut door to; all symbolisms that meant something in the context of triad has been wiped out by ink.

There are points where I felt Unknown was rush through the plot, some others which I felt drag. But overall, it was a good BL and a surprisingly enjoyable adaptation of a source novel I didn’t enjoy at all.

[ultr4vjolence]

@ULTR4VJOLENCE MISC RECS .ᐟ

𖥔 ˑ ִ ֗ ִ AARON HOTCHNER

ᥫ᭡ a joyful future

a criminal minds big family!au where aaron gets the love and security he deserves.

ᥫ᭡ agents and asphodel

you hand in your resignation to the BAU.

there is no fanfare, no warning. one minute you’re there, and three weeks later, you’re gone, ousted at the insistence of strauss. but an unknown past holds the key to your personal horror story, one that you thought ended years before and is back with a vengeance — one set on taking you far, far away from the people you call your family.

ᥫ᭡ of terrible coffee and late-night rides

he watches you. maybe the two beers are going to his head, despite his infamous reputation as a heavyweight — all he knows is that his eyes follow as you slip through the crowds, sending beaming grins to some people you know from the office, and... you don’t know, do you? you don’t know how you make people feel. how you make every person you lay eyes on feel like they’re the only one you see; like they’re one in a million. important. you capture their attention with just one look and you keep it, too. you never go away — you burrow yourself into his brain and make a place for yourself there and—

their brains. that’s what he meant.

or: moments throughout your relationship with one aaron hotchner.

ᥫ᭡ moments

agent aaron hotchner, your boss, absolutely hated you. he was suspicious of your true intentions. but you were determined to prove yourself to him, no matter how long it took. or— the long, painful, winding road it takes for you and aaron to get your happily ever after.

ᥫ᭡ intelligence & issues

you’ve been working for the BAU for almost a year now. you know how you feel about your supervisor, but you also know it’s a lost cause. when the next case the BAU is assigned takes the team to your hometown, will it bring the two of you closer, or rip you apart for good?

ᥫ᭡ a hard day’s night

after graduation from the FBI Academy, all new agents go through a year of new agent training before becoming official agents of the bureau. by some stroke of luck, you get assigned to complete your training with the department you’ve always wanted to join— the behavioral analysis unit. you signed up for a year of profiling, case work, and catching serial killers, but you’re in for more than you could ever dream of…

ᥫ᭡ wanna be yours

professor hotchner’s criminal law class has a reputation. professor hotchner has a reputation. on your first day, you manage to draw his anger. he seems to hate you. what happens behind closed doors... that’s a different story.

ᥫ᭡ accidents

as the newest member of the BAU, you had nothing but professional respect for your boss, ssa aaron hotchner. sure, he was an attractive man, but your mind had never strayed even close to considering him as anything more than a capable and accomplished unit chief. this changes drastically through a series of “accidents” and in the end, there is nothing professional about your relationship anymore.

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𖥔 ˑ ִ ֗ ִ SPENCER REID

ᥫ᭡ 3

is it okay to do wrong things for the right reasons? they say the road to hell is paved with good intentions (feat. unsub reader). this is not a love story. there will be no happy ending.

ᥫ᭡ phoenix

it’d been 10 weeks since spencer died in your arms. at least, that’s what you thought. (rewrite of the emily/doyle arc with spencer taking emily’s place)

ᥫ᭡ be a rebel, be bad, stay here and cuddle with me

“i love you, i love you,” he murmured between pecks. tangled in the sheets, his long arms still enveloped your form as he peeked up at the small clock on the bedside table behind you, a heavy sigh promptly escaping his lungs as he read the time, “but i really gotta get up and go to work…”

ᥫ᭡ here to misbehave

spencer spots you at a nightclub and quickly becomes smitten. only problem is he’s an FBI agent and you’re under 21.

ᥫ᭡ domesticity

reader gets worked up watching spencer with kids. he notices.

ᥫ᭡ santa’s gift

reader asks her husband what he wants for christmas.

ᥫ᭡ sunscreen & statistics

reader asks for spencer’s help putting on sunscreen (and washing it off after).

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𖥔 ˑ ִ ֗ ִ AEGON II TARGARYEN

ᥫ᭡ when the world is crashing down

your family is house celtigar, one of rhaenyra’s wealthiest allies. in the aftermath of rook’s rest, aemond unknowingly conscripts you to save his brother’s life. now you are in the lair of the enemy, but your loyalties are quickly shifting…

ᥫ᭡ north to the future

the year is 1999. you are just beginning your veterinary practice in juneau, alaska. aegon is a mysterious, troubled newcomer to town. you kind of hate him. you are also kind of obsessed with him. falling for him might legitimately ruin your life… but can you help it? oh, and there’s a serial killer on the loose known only as the ‘ice fisher.’

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𖥔 ˑ ִ ֗ ִ AEMOND TARGARYEN

ᥫ᭡ the pawn in every lover’s game

when you’re ten, your father sends you to king’s landing to befriend a princess and woo a prince. a lioness growing up amongst dragons is a dangerous thing indeed.

ᥫ᭡ children of the empire

you are the eldest daughter of rhaenyra, princess of dragonstone, and twin to her heir, prince jacaerys. when your younger brother assails your uncle in a childhood squabble, your grandsire, the king viserys, offers your hand in marriage as payment for aemond’s lost eye. plighted in a match that is beheld by many and desired by none, you find yourself alone in a nest of vipers, forced to watch as your mother and the queen maneuver and vie for influence within the court and the realm. despite your youth, fears, and insecurity, you know you must apply your will and wits to one claim or another, but this choice becomes more and more difficult as you find yourself further entrenched within the family who would see your mother and siblings fed to the flames.

ᥫ᭡ studious

your marriage to the one-eyed prince is not as romantic as you hoped. the wedding night is beyond awkward and confusing, and afterward, your husband seems more than content to ignore you. but you keep finding yourself drawn to him, and the strange way he makes you feel.

ᥫ᭡ to make them love me (and make it seem effortless)

you clutch the collar of his shirt. “why do you want to marry me, aemond?”

he looks down at you, and his hands twitch by his sides, no doubt wanting to feel your warmth permeate through your clothes. he can feel your heart hammering underneath your ribs, and he’s sure that if you slide your hands lower, you could feel his racing similarly. your body melds so perfectly to his, and you breathe in sync, as if engaged in a dance of their own. every molecule of your body thrums to life underneath his fingers, every second that passes between you is charged with a tension that threatens to push the both of you over the precipice, and still you do not see.

he hates that, even with one eye, he does.

you await his answer with bated breath, but he sees the way your eyes briefly flicker down to his lips.

ᥫ᭡ take me to the lakes (where all the poets went to die)

you and prince aemond hadn’t seen each other for years since you left the red keep. now, you’re back.

ᥫ᭡ comet donati

sex, drugs, boy bands. you are a kinda-therapist recruited (via nepotism) to help comet donati through a recent crisis. things are casual with aegon, very not-casual with aemond. loosely inspired by one direction.

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𖥔 ˑ ִ ֗ ִ JOEL MILLER

ᥫ᭡ i know it when i see it

it’s the golden age of porn. sex and sin are the national pastime. you fled your suffocating small town to make dirty movies in the big city. you’re paired with joel miller for your first scene.

pornstar!joel miller AU

ᥫ᭡ allowed to be happy

while snowed in on a scouting mission, you tell dina the story of how you and joel met.

ᥫ᭡ mercy.

in a dog-eat-dog world of sliced throats and broken bones in exchange for primal survival, begging for mercy should have been the very last resort.

especially when a certain survivor was holding you at gunpoint.

ᥫ᭡ mr. rattlebone

settled in at jackson, joel and reader avoid their feelings for each other for their own safety.

ᥫ᭡ guard duty

guard duty was absolutely the worst, you thought to yourself with a bitter sense of resolution, but at least it meant some peace and quiet. the watchtower was set directly above the main entrance gate to jackson, a closed off wooden structure with stairs leading to the inside and an outer catwalk circulating it.

sometimes, the town could get on your nerves with how full of life and bustling it seemed to be; but you wouldn’t trade it for anything in the world. that sort of thing was a hidden oasis in a world like this, almost too good to be true, and you knew you were lucky to be part of it, even if it meant never ending guard duties at the early hours of morning, when the sun still wouldn’t be out for quite some time.

you sighed again.

“if you sigh one more time,” joel muttered in a monotonous voice, “i swear, i’m gonna throw you outta this window.”

ᥫ᭡ too early, too cold

early mornings are always slow, specially during winter.

█████████▒ 90%

𖥔 ˑ ִ ֗ ִ BELLAMY BLAKE

ᥫ᭡ sub rosa

it’s easy to think that you’re swimming in the sky. floating with the stars, weaving between them, part of the sky, the way you always dreamed you could be.

or, a clarke griffin!twin, bellamy blake x reader rewrite for the 100. complete.

ᥫ᭡ in this new light

slow, soft and sleepy morning sex.

ᥫ᭡ pretty fixation, wicked temptation

you and bellamy had spent a one-hundred-and-twenty-five years in cryosleep. a century of not touching each other catches up to both of you but finding somewhere to satiate your urges undisturbed is quite difficult. maybe a new planet will be just the place. but first, what’s a little challenge to heighten the tension?

██████████ 100%

A C C E S S G R A N T E D. . .

ultr4vjolence © 2023 .ᐟ

[evermoredeluxe]

there’s this guy on tiktok who has done studying in marketing and discusses downfalls of different celebs (or sometimes positive takes), and he did a “downfall of TS” series (which is ironic to make in the current economy even if you believe in it fully), and i do think he has some great insight in general and ofc he knows what he’s talking about, but it’s just wild to me that people analyze taylor’s relationship with us as one-sided. yeah i have a parasocial rs with her, but that woman has a parasocial rs with us too and people don’t realize that. idk how to explain to people, but she literally talked about eras tour and us being her everything last summer when… you know… yeah. and i feel like so many people think she’s being fake, but you can’t fake a connection. he talked about her being business-savvy and how that takes away from the authentic feel, but to me at least, it just makes me feel proud of her for getting her worth and being smart, like i actually want her to do well and be happy. he talked about fans feeling like they’re one message away from her, and ofc i feel close to her and like i know her because she shares herself so openly, but i highly doubt any fan genuinely believes that (even young fans) esp post 2020.

i feel like people analyze her by thinking that her authenticity is fake when that’s not true at all. she’s untouchable, but she manages to be grounded and honest to her fans and be generous through it all. i feel like lil things that connect us to her are unknown by the public, which i actually like and prefer btw. most recent example is red herring, and her, as always, letting us know before the world. and im not even go into everything she shares about herself as a human and her struggles via her music (which obviously are accessible to everyone, but are not being analyzed by everyone, and she knows we love analyzing). or how she is currently telling us stuff about her life via mashups that, again, she knows we will analyze and the general public won’t. this missing component of people’s understanding of her and her relationship with us truly hinders analysis of her as a person or even as Taylor Swift (the brand).

[justanapplenothinghere]

MEPHONE4 (PERSONALISED ) CHARACTER ANALYSIS.

I was debating whether to post this after the whole movie was finished however, due to the recent episode I am really scared of all you coming after me because this character is a heavy kin. Please bear that in mind. This work has taken me months to type and analyse. I didn't do everything due to how long this post would end up being. So just the major points were discussed.

Mephone4’s generalised overview:

MePhone4 is one of the main characters in Inanimate Insanity, a popular YouTube object show created by AnimationEpic. As a sentient smartphone, MePhone4 serves as the host of the competition, a role that places him in a position of authority and power over the contestants. His character is defined by a mix of ambition, arrogance, and emotional complexity, which is what makes him one of the more dynamic characters in the series. From a first glance, when watching, some may view him as just a rude and arrogant host with no mental well being of concern for his contestants.

Whilst that might be somewhat true from the start of early episodes into Season 1, he progressively begins to change his character through the course of the other two seasons.As shown for example in Season 3 his attitude begins to change, from a distance the show makes it obvious to us that he DOES CARE about his contestants, just has a hard time expressing such emotions.His character is complex, especially as the series progresses, revealing deeper layers of psychological trauma and emotional conflict.

Mephone4’s background (TW: mentions of abuse/manipulation. As a victim myself of these, this part maybe very detailed.):

MePhone4 was created by the character Steve Cobs (a parody of Steve Jobs), who represents a father figure to him. However, the relationship between MePhone4 and Steve Cobs is strained and toxic. Cobs is demanding and controlling, treating MePhone4 as nothing more than a tool for his own ambitions.The trauma begins with MePhone4's creation, where he is given life, his identity is defined entirely by his purpose to serve others (In other words just Cobs and the Meeple company alone).This lack of agency and the constant pressure to meet Cobs' expectations contributes significantly to MePhone4's psychological issues.

Cobs created MePhone4 with a "highly-advanced emotion emulator," allowing him to experience emotions deeply, unlike other Meeple products. However, instead of focusing on the tasks assigned to him by Cobs, MePhone4 became enamoured with reality TV, which led to disappointment and tension between them. This foundational conflict likely left MePhone4 feeling inadequate and rejected, contributing to his later insecurities and anxieties. His love for competition and showmanship can be seen as a coping mechanism—a way to channel his emotional energy into something he enjoys and excels at, perhaps in an attempt to gain the approval he never received from Cobs.

Most evident in his anxiety and insecurity, which are central to his character. He is often portrayed as anxious about the show's progression and its eventual end, indicating a deep-seated fear of failure or losing purpose.This being evidenced in seeing Mephone3GS.That experience alone caused a sense of realisation he needed to finally leave Meeple.The way Mephone3GS is..that could end up being him in his place. Whilst it is unknown how 3GS gained his scars the best bet to assume it was from / or somehow Cobs did contribute to it himself (Back in typing this before ACT 1 CAME OUT). If that is the case that would explain Mephone’s sudden urgency to leave the company.However, a fascinating factor is Mephone took MEPAD, WITH HIM. That within itself is noble, Mephone could have just left by himself. But he didn’t. That’s the thing. This already shows Mepad’s and Mephone4’s deep level bond to the point Mephone could’ve taken any other Meeple products with him, yet again he specifically took Mepad. He saved him. He saved him from the possible future abuse that could have been inflicted exactly like Cobs has done to Mephone4.Even if Mepad seems somewhat not exactly aware of all the details.

Mephone’s competitive nature may also stem from a need to prove himself, reflecting an internalised pressure to meet expectations that were never fully articulated by Cobs.

Furthermore, MePhone4's "out of sight, out of mind" mentality is a clear indication of his avoidance coping strategy. Instead of confronting his past, especially the painful memories associated with Cobs and Meeple, he chooses to erase them from his system. This physical removal of memories symbolises his desperate desire to escape from the emotional burden they carry. His consideration of re-erasing these memories after they resurface suggests an ongoing struggle with his unresolved trauma. It highlights his inability or unwillingness to process these emotions healthily, leading to a continuous cycle of avoidance and emotional suppression.

Impact on Relationships:

His trauma significantly affects his relationships with others, particularly the contestants and his assistant, Toilet. His lack of regard for the contestants' well-being and his blatant bias during eliminations suggest that his trauma has warped his sense of empathy and fairness. By showing favouritism and making shrewd comments, MePhone4 exerts control over the game in a way that might make him feel more secure or powerful, counteracting his underlying feelings of inadequacy.

His treatment of Toilet, whom he sees as an "unhelpful menace," further illustrates how his trauma manifests in his interactions. MePhone4's disdain for Toilet can be interpreted as a projection of his own insecurities. By belittling Toilet, MePhone4 may be attempting to distance himself from his own perceived flaws and weaknesses. This dynamic reflects how his unresolved issues with Cobs influence his behaviour, leading him to replicate similar patterns of emotional neglect and dismissal.

Mepad:

Relationship between MePhone4 and MePad is characterised by a clear hierarchical structure. MePad is the professional assistant, always respectful and subservient, referring to MePhone4 as "sir" and fulfilling his tasks with precision. This dynamic reflects a classic power imbalance where MePhone4 holds the authority, and MePad exists primarily to serve and support him (Though I do not believe Mephone does so with any malicious intent). MePad's professional demeanour and lack of overt emotional expression reinforce this power dynamic, as MePhone4's emotional volatility is contrasted with MePad's calm and measured responses.

MePhone4's authority over MePad is not just professional but also emotional. MePhone4's insecurities and anxieties often lead him to rely on MePad for solutions and advice, placing MePad in a position of subtle influence despite his ostensibly lower status. This creates a complex dynamic where MePad, though subordinate, becomes a critical emotional anchor for MePhone4, helping to manage his chaotic emotions and the stress of running the show.

Despite claiming that he "can't feel anything," MePad's use of sarcasm and his occasional concern for others indicate a deeper, more nuanced emotional landscape. This suggests that while MePad may not experience emotions in the same way as MePhone4, he has learned to navigate the emotional environment of the show, adopting a dry, ironic tone as a coping mechanism or a way to fit into his role.

MePad's emotional suppression is most evident in his calm and composed demeanour, even in situations where others might express frustration or concern. However, his growing concern for the contestants, particularly Marshmallow, reveals that he is not entirely devoid of emotional response.

The relationship between both of them revolves from one of strict professionalism to something more complex and personal. While MePad starts as a loyal assistant, his actions later in the series suggest a growing sense of independence and moral judgement. His willingness to challenge MePhone4's decisions, as seen when he lies about Marshmallow's whereabouts.

Truth or Flare (ii 15):

MePad's conversation with MePhone4 about quitting the host position of Inanimate Insanity II is a pivotal moment that causes the shift in their relationship. This conversation suggests that MePad is not only concerned with the show's logistics but also with MePhone4's well-being and the overall direction of the series. MePad's ability to confront MePhone4 about such a significant decision reflects a deepening of their relationship, where MePad moves from being a mere assistant to a confidant and advisor, someone who can influence MePhone4's major life decisions..

CONCLUSION:

Whilst many claim and point fingers at Mephone4’s behaviourisms after such a pivotal moment. There is something that must be addressed that I noticed as I am writing this analysis. In this episode, he struggles with handling the pressure of hosting and maintaining control, revealing his insecurities. His tendency to put his own desires above the contestants is a key aspect of his character, as seen when he prioritises entertainment value over fairness. Throughout the episode, MePhone4 becomes increasingly panicked as the game show format starts to unravel, whether that being even something simple as Suitcase trying to reassure Mephone about his past trauma.A pattern I have noticed is that people will try to justify themselves that they hate him because of how he doesn't care about his contestants or his co-hosts. When he clearly does! It is shown subtly throughout the season 2 and 3 he does care, just isn't sure how to show it. The only way he knows is by doing what he is doing. He learnt everything from TV, his views on things will be skewed.He's going to have weird views on what is considered care. Because this man hasn't HAD a single OUNCE of it in his life. He doesn't KNOW what care is, properly.There's a reason why he was suddenly rude and dismissive,there's a reason why he didn't keep answering suitcase,despite suitcase, trying to reassure him that it's okay to talk about it and that she's there for him if nobody else is. Mephone doesn't know how to respond to that. How would he anyway?

If you don't agree with me. Please do NOT come after me. This is just MY personal analysis because he is a heavy kin for me, for a good reason. And It makes me really anxious and REALLY uncomfortable when I see people hunt him down as a character,I am not excusing his actions but I am explaining it.

[feralplantwife]

Erzsebet Bathory- Thematic Character Analysis

I've seen a lot of posts about Erzsebet Bathory, and the general sense is that while her design is cool, she's not very well-developed or impressive from a character standpoint. I agree... Somewhat.

I'm going to get into it below, but the TL;DR version is that from a characterization standpoint, she is weak, but from a thematic standpoint, she is Everything.

Disclaimer: I have not been fortunate enough to play any of the games, so this analysis will focus solely on the show. <3

First, what do vampires mean in storytelling?

A vampire can symbolize many things, but here are the big three: they're a representation of the Other, the unknown (kind of like Frankenstein's Monster), but they can also be a manifestation of carnal, sinful, or deviant desires (think Dorian Grey). The one I'm going to focus on here, as it's the most relevant, is the third main type: the Parasite. Vampires are bloodsucking, gluttonous, selfish starving monsters that consume and consume until there is nothing left (think Robert Baratheon).

This was a theme that was explored in the first series with the Church's opulence and their desire to sacrifice innumerable human lives for the sake of their image and power. Carmilla is the same, but in contention with the Church.

This theme is expanded upon beautifully in Nocturne, with the French Revolution bourgeoise and American colonization and slave trade building upon the themes of the first series. Olrex talks about his home being destroyed, his lover's people being exterminated but holding onto his identity even in undeath. Annette holds onto her Yoruban faith and her Creole heritage taught to her by her mother and fellows even after generations of cultural genocide at the hands of her masters- a combination of more than one old indigenous faith and newer conglomerations of the same. (In this way, one could say that Erzsebet Bathory and Annette are foils!)

How does Erzsebet Bathory fit into this thematically?

Let me explain it like this: Erzsebet Bathory is a white woman dripping in stylized opulence who swallowed an Egyptian god. The truest enemy in this series is colonialism: the consumption of everything and everyone that isn't white and Christian to expand white and Christian ideals and desires using God as a face for their misdeeds- the consumption of people, land, culture, religion, knowledge, kindness. What could not be consumed was destroyed.

In this way, Erzsebet Bathory is the manifestation of all the greatest evils people of color and minorities have ever faced, and continue to face today: that of homogenization, exploitation, and destruction.

The fact that this is expanded by her vampiric elitism builds upon this idea by including all human beings. It's open knowledge among many anthropological circles that colonization destroyed a lot of technology, culture, and knowledge, has held society back, and continues to lead to unnecessary and painful struggle among society (largely due to that fact that many developed nations' governments are still being run by vampires today- how are all my fellow Americans doing as we barrel toward a government shutdown for this very reason?).

Erzsebet Bathory signifies the consumption of the human spirit and the death of mankind, wrapped up in a beautifully terrifying amalgam of every single sin the colonizers ever committed. She's not the ultimate character of Nocturne by a long shot, but she is the ultimate monster.