#acting analysis

[absolutebl]

I just wanna have a brief discussion about 2 BL actors right now:

Bright Rapheephong Thapsuwan - Yai in I Feel You Linger in the Air

Lee Ye Hwan - Kim Ji Oh in Why R U? (Korea - the Saifah character)

Look I talk about acting style lot, especially around chemistry. So if you're watching these two shows here's something:

Bright does 90% of his acting with his eyes. His eye work is INSANE. You can see just from the way he looks and Jom how much Yai likes him (and wants him). It's pretty flipping cool. This is relatively rare out of Thailand, another actor who does this in Nanon.

Lee Ye Hwan does 90% of his acting with his body. He is super physically aware of space and proximity, which is very very rare from Korean talent. You can see in the way he moves, tilts his head, his hand gestures, breath matching and leaning in, how much Ji Oh likes/wants Lee Won.

It's just really cool to have two such clear examples of acting styles that are in contrast to the other actors surrounding them in their respective shows.

So I just thought, if you're watching these 2 shows, I'd point it out and use them as teaching tools for these two different acting styles.

[crimsondinnerparty]

Episode Analysis- “Antipasto” S3 :Ep1

Hannibal's choice to flee with Bedelia Du Maurier rather than alone is an act of mirroring his dynamic with Will. Bedelia, though a reluctant participant, becomes a placeholder for Will—a silent audience to Hannibal's "devouring" of Dr. Roman Fell's identity. Hannibal's actions in Florence, including his meticulous cooking scenes, echo his performance of love and violence for Will. The absence of Will here makes his presence even more palpable, as Hannibal shapes every moment in anticipation of their reunion.

Key Visual Motif:

Hannibal bathing Bedelia in the same golden, warm light that later envelops Will when they meet in Florence (Episode 6). It reinforces the idea that Bedelia is merely a stand-in for Hannibal's true obsession.

Mads Mikkelsen’s performance is a masterclass in restraint. His cold, calculating demeanor is punctuated by fleeting moments of vulnerability—tightened jawlines, prolonged stares—that hint at the emotional void left by Will.

Gillian Anderson’s nuanced performance is breathtaking. Her clipped speech and deliberate movements convey Bedelia’s struggle to maintain control in a situation where she’s perpetually outmatched

This episode is drenched in loneliness. Hannibal may surround himself with culture, fine dining, and intellectual conversation, but there’s a palpable emptiness to his existence. The absence of Will is felt in every frame, from the muted tones of Hannibal’s wardrobe to the haunting music that underscores his solitude.

The episode is as much about what isn’t said as what is—every silence, every lingering glance, every symbolic image tells a story of obsession, longing, and self-deception. This is Hannibal at his most human and most monstrous, setting the stage for a season defined by the inevitable pull between predator and prey, love and destruction.

[fakerobotrealblog]

Ncuti Gatwa's performance in "Sex Education" is widely praised for its authenticity, emotional depth, and contribution to the overall impact of the series. Here's an analysis of his portrayal of Eric Effiong:

**1. Authenticity and Vulnerability:**

Gatwa brings a remarkable authenticity to his portrayal of Eric. He skillfully captures the vulnerability and emotional struggles of a young man navigating his identity, sexuality, and cultural background. Eric's journey is presented with sincerity, making the character relatable and engaging for audiences.

**2. Emotional Range:**

One of the standout aspects of Gatwa's performance is his ability to convey a wide range of emotions. From moments of joy and self-discovery to instances of pain and heartbreak, he navigates Eric's emotional landscape with nuance, creating a well-rounded and empathetic character.

**3. Comedy and Timing:**

"Sex Education" incorporates humor as a significant element, and Gatwa excels in delivering comedic moments with impeccable timing. His comedic prowess adds a layer of lightness to the series, providing a balance to the more serious themes explored.

**4. Exploration of Intersectionality:**

Eric's character represents intersectionality, addressing not only issues related to sexual orientation but also cultural identity. Gatwa adeptly brings forth the complexities of Eric's experiences as a young, queer man of Ghanaian descent, contributing to the show's exploration of diverse perspectives.

**5. Evolving Character Development:**

Throughout the series, Gatwa's portrayal allows viewers to witness Eric's growth and development. From facing bullying and societal expectations to embracing his authentic self, the character arc is enriched by Gatwa's nuanced performance, creating a compelling narrative.

**6. Impact on Representation:**

Ncuti Gatwa's performance is significant in the context of LGBTQ+ representation in media. Eric is a multidimensional character whose experiences resonate with many viewers. Gatwa's portrayal contributes to a more inclusive and authentic representation of queer characters on screen.

In summary, Ncuti Gatwa's performance in "Sex Education" is a standout aspect of the series. His ability to embody the complexities of Eric Effiong's character, coupled with emotional depth, humor, and a commitment to authenticity, elevates the show and contributes to its positive reception among audiences and critics alike.

[pheracy]

Jinx's traces of make up after she has cried looks like Vi's face tattoo but backwards and they both have it in their left cheek.

Besides, her final look and outfit resembles her sister's in S1 and S2. The bandages covering her chest and the new hairstyle with the shaved undercut on the same side is also similar to Vi's.

After all it seems like Vi and Powder cannot coexist in the same timeline or dimension. When Powder lives, Violet doesn't. When Vi lives, Jinx decides not to. "Always with you, sis".

The parallels, the attention to detail and the design for each character in Arcane is insane. I can't believe this amazing series is over. I'm gonna miss these sisters like they were my relatives.

[ophthalmotropy]

There aren't enough fucking hours in the day to get real good at chess, violin, piano, singing, crosswords, film photography, contemporary dance, literary analysis, writing, film criticism, historical analysis, political commentary, tennis, Latin, French, German, Italian, identification of invertebrates, programming, cooking, musical composition, watercolour painting, philosophy, stage acting, fencing, psychoanalysis, and sickoposting online.

[ratvic]

Havent seen anybody talk about this frame (yes this literal less than one second frame) I love it so much, it's so cute.

[dandelionjack]

that and COVID denialism, obviously, which i somehow managed to miss despite *this* plot point below

UNIT aren’t always cops. they’re a nebulous enough fictional organisation that they can be whatever the show wants them to represent. in Lucky Day, they’re the NHS, the WHO, and they’re climatologists.

[apollognese]

"I was supposed to die..."

[apple-onigiri]

a distillation of adolescent rage within bonnie

as promised, here's a bit of an analysis of bonnie, specifically of how much their character is defined and fueled by anger, where that anger is coming from, and how much exactly of it is genuine and how much is there just to feel a bit more safe and a bit less confused. because man, bonnie is so well-written, it needs to be talked about more, and this aspect of them is especially handled really well

i also love them deeply, there's that. okay let's go team

to establish the facts: bonnie being angry is really the first thing we learn about them, and what siffrin's first association with them is at the point where we meet the party. it's even in their first memory's description. see? right there.

and i mean, they have a full right to be, don't they? the country is in a crisis. and while they've grown close to the rest of the party, the reason they're traveling with them in the first place is because they had to run away from their town, which they probably don't remember ever leaving beforehand, and leave their sister behind because she got frozen in time.

this is some scary stuff, especially for a kid, whose peace of mind relies on stability and familiarity. any turmoil introduced into even something as small as a daily routine can seriously mess them up, much less a separation from their one trusted guardian and a displacement of such a degree. i shudder to think what their thought process was when they were running from the curse before siffrin spotted them and the party took them in - they must've been so scared. i can't think about that too long or i feel like crying tho let's move on ok

bonnie is obviously mad at the king. they're so angry. well, who wouldn't be? he's the cause of all this. they want vengeance, they want justice, they want to help take him down! and doing only things they're limited to by the adults in the group feels like it's not enough.

this is a bit of a sidenote but this conversation hints at just how anxious bonnie's attachment style is. we know nille ran away with them from home and are given not much detail besides that, if only because bonnie was tiny and doesn't remember much of that, but both the fact that you don't have to remember something for it to shape the way you are and the fact that nille is probably pretty busy keeping both herself and her little sibling alive may be the reasons for bonnie's fear of abandonment and need to be useful

bonnie's entire friendquest stems from them needing to feel like they're contributing more, that's why they ask siffrin to teach them how to fight. and they ask siffrin specifically because they, despite their strained relationship at the moment, hold him in high regard and trust him to say if something is actually off-limits because, in their mind, he doesn't baby them needlessly.

that's rare for a kid, to not be overly coddled.

ok, back on track from the attachment style tangent, rise rise rise where is your rage back on

bonnie is even more mad at the king when they finally are facing him. and he's crying and despairing, and having the gall to act all pathetic. and bonnie can't take that. they have been so brave, keeping it together this entire time, and this guy, the cause of all this despair, dares to act like that? what gives him the right?

kids often default to expressing simpler emotions they can fully process and understand when an unexpected feeling corners them or when their defense system kicks in and deems an emotion too harmful to fully experience; they round up to the closest emotion they can and go with that. bonnie is, of course, angry, but they're also full of fear about everything that's happening that's getting tuned out for their own self-preservation, and they feel a lot of indignation and confusion about this adult that doesn't even have the decency to have his shit together to the same degree bonnie does. bonnie doesn't understand him or why he did what he did, and it feels unfair that they were staying strong and the king can just fall apart like that. but anger is easier, so it all gets rounded to that.

recognizing the layers of bonnie's emotions and how one is caused by another is key to understanding them as a character. but honestly, the king isn't the strongest example we've got to show this, however - siffrin is a better one.

we're introduced to bonnie with them acting distant towards siffrin. only in act 1 are we able to experience what the natural dynamic between those two has been ever since siffrin lost their eye, and it's genuinely a little heartbreaking. it's a lot of siffrin being awkward and jumpy, unsure how to approach bonnie, and bonnie being huffy and disconnected, not really playing into the conversation.

things are tense and neither of them is equipped to diffuse the situation. it's so, so sad because context clues tell us they used to be close - siffrin was the first one to call bonnie "bonbon" but he doesn't do that anymore, bonnie avoids even just eye contact with him, and the way they're acting is clearly something siffrin believes to be a sign of bonnie decidedly not liking them anymore.

(this "being hated" is a surprise tool that will help us later)

while we don't know why things are the way they are at first, we later learn that it's because siffrin doesn't see getting hurt while protecting bonnie as a big deal. and bonnie is upset that he got really, really seriously hurt to the point of losing an eye and he's just waving it off. there's a few things at hand here that go into bonnie's seemingly simple reaction.

the issue here largely comes from siffrin's avoidance of talking about their internal state. because they waved things off, not wanting to talk about it, bonnie didn't have the chance to talk things through either, and process them healthily. the guilt, fear and sadness stemming from someone you care about getting hurt because they kept you safe all go unaddressed.

additionally, there's a cognitive distortion that kids often suffer from where they think everything happening is their fault, even when they were in no way involved in causing it, may play a part here. because their world is just so small, if kids can't pin the blame on something else (since it may be something they're not aware of or too vague), it doesn't compute, so they immediately place the blame on themselves.

there's of course an additional doom spiral of bonnie acting closed off, siffrin taking it as them hating him, and bonnie taking that as siffrin drifting away, and the cycle perpetuating because no one in the party wants to budge into this. everyone is allergic to communication.

the crux of it is, bonnie isn't really angry at siffrin, not in the way they are at the king. it's just easier for their preteen brain to categorize what they're feeling as anger, as a defense mechanism, and point those emotions outwards instead of keeping them inside. it's easier to lash out than regurgitate those feelings and let them eat away at them. so they act out, and scream, and call siffrin stupid.

and we have one than one example of bonnie lashing out with anger because that's the easiest option. it's certainly easier than figuring out what emotions they're exactly feeling and dealing with them without admitting they're a kid that doesn't understand how to do it alone.

among them is of course the way they act when they overhear the others talking about what to do if anyone dies, and the connected rotten adults event. after that safe room, bonnie is remarkably closed off, and if you go to the poem room, they read the book on funerary rites and then pointedly pretend to not do so when asked what they're doing.

it's an incredibly exemplary interaction, i think. because they're surprised, we get an almost step by step for their thought process, and it goes a bit like this:

i didn't mean for you to see me look at this and i want you to not know about it -> stop talking like you know what i was doing because i don't want you to know about it -> i want you to think it's nothing important so that you're not more interested -> i'll tell you i'm okay because that may make you think you don't need to look -> it's not working, so i'm going to tell you directly to stop looking at what i'm doing, or at me, because, again, i don't want you to know i'm in distress -> i'm feeling a lot of things so i need to expel them in some way, "shut up" -> this is isn't working, i need to deflect and give you something else to focus on

this avoidance and giving over the reins to anger instead of processing anything is something bonnie resorts to a lot when overloaded by a lot of different emotions they can't deal with

in bonnie's mind, talking about it is bad because it's distressing, and scary, and makes them think of awful scenarios they don't want to come true, and not talking about it means not feeling all that, and that's surely better. there's also that defense mechanism at work, the externalizing of negative emotions and pointing them outward instead of letting them hurt the inside. and it kicks in on full throttle when siffrin tries to comfort bonnie.

anyone who's been in an adolescent age in their life can recognize this emotion. wanting someone to just go away, leave you alone, stop talking about something or doing something. to bonnie, if you don't talk about something, it's not real, and siffrin comforting them a. anchors the cause of their state in reality, b. confirms they don't have everything together because they needed comforting in the first place. and that's no good! so they act out. it's like a deimatic behavior, a tactic to scare off something that you would otherwise have no choice but to give in to. they're not unlike a cat hissing and puffing up to seem bigger. you know those spicy kitten videos where they just do firecracker noises at a human hand closing in on them? yeah.

and it works!! to an inordinate degree because the object of it was siffrin who a. is extremely prone to believing people hate him, b. entered a time loop because he cares so much about these people and staying with them. told you that surprise tool would come back. in bonnie's defense, people usually don't rewind time when you do that, and just back off until your emotional state is calm enough that you can talk without feeling like imploding.

it's alright, siffrin just needs enough time to assemble their own thoughts before approaching bonnie again. and when he does, we see how to overcome the obstacle of an adolescent attempting to avoid a conversation concerning unpleasant feelings.

siffrin just gives bonnie space to experience those big feelings safely and explains calmly why something happened in the first place. when they try to avoid a conversation, he just gives them time to think about it instead of giving them any sort of pep-talk, and they talk it out calmly, and make a promise to reassure bonnie that they're both gonna keep each other safe. siffrin genuinely does a remarkable joke here. no one does it better than them nothing awful will ever happen. fans of love and friendship don't think too hard about end of act 3

to drive the point home, we get a bit of an awful reprise of bonnie lashing out as a self-defense tactic in act 5 because they're overwhelmed by just how upset siffrin made them by risking getting hurt on purpose just so they could be stronger. they do the same thing as before, resorting to throwing out hurtful words to scare off the source of all those intersecting negative feelings, and, since they can now, run away.

it needs to be understood that bonnie is not a kid pointlessly angry at nothing in particular and everything around them. their anger is in direct response to too many things happening at once and them having trouble processing all of it, and instead resorting to simplifying their emotions into one very primal one, and expelling it outwards in a form of them lashing out. they're going through an already confusing time of changes you're forced to go through during your adolescence - and a national curse-related crisis is not helping. when given the tools and space to process in an environment they feel is safe, they're not nearly as wrathful.

i guess the tl;dr is this - while they have a bit of a fiery personality and some of their rage is fully justified, bonnie for the most part acts out in anger because it feels like it's keeping them safe and allowing them to not bottle in things that are too confusing to them; it's already a scary world out there for a preteen entering the world of more complex emotions, and being far away from your sister and mid-way through a national crisis is making it even worse.

it might be a bit less noticeable because they spend most of the game upset at siffrin, so we don't see a lot of their sweeter side in one-on-one conversations as much, but honestly, they're such a sweet kid. so cute too, they're extremely endearing. it's no wonder the party is hell-bent on protecting them no matter what.

[greypistacchio]

EPISODE 6.15 "The French Mistake" IS SO VERY DESTIEL CODED

LIKE

it's actually so revealing that Jensen and Jared are staying in-character despite how surreal everything is? this is Dean and Sam in our world, and from the get-go it's pretty obvious that they are confused beyond words. like, Dean's "oh crap, I'm a painted whore" is just?? iconic?? authentic Dean Winchester moment!??? LOOK AT HIS FACE, BABYGIRL IS SO CONFUSED

and this is relevant to my point bECAUSE it's irrefutable proof that this is 100% Dean and Sam from the show, that they are themselves.

sooooooo

can we please talk about Dean eye-fucking Castiel into oblivion (as you do!!) until Misha stops acting the part, and right the hell away Dean figures out that it's not Cas and is just. no longer interested!?? he's like, alright i'm done with whoever this is!??

his face just falls

and he doesn't even look at Misha as he leaves, just like when he met Jimmy Novak and his homoerotic vibe simply vanished - because that's not his autistic soulmate, it's just Some Dude??

mind you, it's quite interesting to notice that Sam doesn't see what Dean means, because "dude, look at him". which is shorthand for, wdym Dean like he's wearing the trenchcoat with the blue tie, he looks like he doesn't know how to spell the word "hairbrush", he's eye-fucked you right in front of my face as he does.

BUT DEAN!! dean is just like, fuck no that ain't cas

not MY cas anyway!!

the destiel of it all, the dESTIEL IS JUST EXQUISITE

also "Hola, Mishamigos" as he tweets with his tie loose has to be peak Misha Collins energy like. that man was being paid to be unhinged onscreen. what a day it must've been for him

[peachtvs]

Hidden Details in Arcane Season 2 Act 3

When Ekko is first introduced into the other world, he's disoriented, and we see him looking at himself confused as hell into the reflection.

Right after, thats where Powder pulls up in that universe. Powder here will be who I refer to as the non-traumatized version of Jinx, who she could've been and who she is in this alternative universe.

But, before we even get to see Powder, Ekko sees her reflection:

This isn't Powder's reflection, this isn't even her character model. This can be seen when we do actually see Powder:

Powder is smiling, her eyebags aren't as defined, her skin has these warm undertones, the front of her eyebrows aren't furrowed, and her sclera show under her iris isn't visible. But, in the reflection, we see what Ekko sees her as—the "deadpanned"master criminal", dangerous Jinx in his universe, the Jinx with cool, almost sickly skin, a frown, sharper eyes that show the sclera beneath her iris, and her eyebrows knit together like she's always disturbed.

And the craziest thing is, this scene only plays for 3 whole seconds in arcane.

THREE SECONDS

The attention to detail in arcane to show the audience the difference between the Jinx Ekko knows and the Powder he's meeting here is astounding, and the animators include these tiny details that they don't even know if people will ever appreciate, but they're still added.

that's the beauty of arcane.

[izzys-bluebell-woods]

I feel like people have been quick to dismiss Mimzy's importance in Ep. 5

I've been seeing a lot of Mimzy hate, mainly on Reddit, where people are genuinely REALLY hating on Mimzy because she was annoying, interrupted Hell's Greatest Dad, and served no purpose in the episode.

Whilst the previous two points are down to personal taste, I feel like considering Mimzy's role in this episode nonexistent, or that she just exists for fanservice here, is greatly overlooking what this episode is about. There are two focuses to the episode, one of course being Lucifer and his relationship with Charlie, but it's also the deepest look into Alastor's actual character that we've gotten so far, I'd say significantly more than the finale. We see two sides to Alastor that both Mimzy and Luficier bring out, and I wanted to kind of highlight my thoughts and what the episode was trying to show us about Alastor that we wouldn't have gotten if Mimzy wasn't there.

Alastor's instant hostility towards Lucifer makes it incredibly clear that Alastor can't keep his cool all the time - his two biggest flaws is that he is power-hungry and incredibly petty. From what we know - and what is likely to be true considering Lucifer is shown to have no idea who he is - Alastor has never met Lucifer before this. If the theories that he belongs to Eve/Lilith in some way are true, there is reasonable ground to say that this immediate hatred towards him could be justified, maybe it was in some way Lucifer's fault that he's caught in this deal and this is his way of taking it out on him or trying to uphold his end of that deal.

But look how much his mask slips, look how annoyed and angry he is. If this was a font that he was doing to somehow make Lucifer intentionally mad at him for some sort of personal gain, he wouldn't have looked so murderous. Him just leaning down and hissing 'fuck you' right in his face was so shocking for the audience purely because no one has done that to him before, no one has pushed him so much.

This indicates that Alastor isn't just playing some sort of game, Lucifer genuinely got under his skin, because he is so obviously more powerful than Alastor and he HATES that. He hates being reminded that he's not the biggest meanest in Hell - this was explored more in his showdown in Adam, but at the time of this episode's release, this is the most flawed and 'human' Alastor has ever felt. He's dropped from this force of mysterious evil, to randomly picking a fight with the Devil himself because he was so catty about being shown up.

As further reinforced with him snapping at Husk when he also reminded him he wasn't as all-powerful as he sees himself to be, Alastor will lash out at those who make him feel like he isn't the one in control and pulling the strings of everything - we finally see a hint of motivation for him sticking around at the hotel at all.

But then there's Mimzy.

We immediately go from seeing Alastor at his worst, at his most aggravated and petty, to seeing him literally melt into a hug. The demon who, according to Viv herself, hates physical contact so much that he would distort and melt himself to get away from it. We so quickly go from being shocked that Alastor is behaving so spitefully to now having to take in Alastor being ecstatic to see someone who he considers to be a friend.

Having this be so directly after his massive tiff with Lucifer is so important. If this wasn't included in this episode, our only insight into the person Alastor actually is would be that he's an asshole. Picking fights with people just because he wants to stay on top, that its the thing he cares about the most. But Mimzy does come along, and we see that it isn't true at all - and its confusing, and that is so perfect.

You think you're getting somewhere with the person Alastor is, but you see that, hold on, there is actually a semblance of heart in there, here he is actually caring about someone. But what is so important about this being a relationship he shares with Mimzy, and something that couldn't at all be explored with, say, Rosie, is the kind of person Mimzy is.

Mimzy double crossed Alastor. And, according to Husk, this is a somewhat regular occurace. We can see that Alastor is annoyed at her, and I think most of us were prepared for him to do something to her like he was doing to those loan sharks a few seconds before this confrontation.

But...he doesn't. Not at all, he doesn't even snap at her. Perhaps scold her a bit, but other than that, he is so nice to her and just politely tells her to leave and that is that. He does more shit to Lucifer, who literally hasn't done nothing but exist in his presence, than someone who just trampled all over his ego by using him, both as a shield and, well, somewhat emotionally.

In this episode, Alastor is shown to lash out. Easily. All you have to do is be more powerful than Alastor, and he won't like you - that's the impression you'd get from his scenes with Lucifer alone. But we have his scenes with Mimzy as well, and you're being told, hold on, no, that isn't quite correct, because he's not acting the same here. What has Alastor got to gain from letting Mimzy get off of this with no repercussions? Mimzy, someone who has probably sold her soul to someone else and has absolutely no power at all.

Nothing. He does it because Alastor cares about her.

I don't think I would have considered his friendship with Rosie to be genuine at all if it wasn't for his friendship with Mimzy. Rosie is so powerful, and Alastor has so much to gain from being in close cahoots with her, but it's so clear that he doesn't care about that, but he sees her as an equal. If all we saw from Alastor in that episode was him lusting for power, it would render the way we see all his relationships with people to be of some gain to him somehow. ESPECIALLY Rosie and other Overlords like Zestial.

This makes Alastor and Mimzy's relationship arguably one of the most interesting in the show. Someone who is so powerful and unpredictable, who hardly cares for anyone other than himself, caring about this absolute gremlin of a woman. He likes Mimzy purely because she's fun to be around, a sentiment you might expect from Alastor, with his stated reasoning for joining the hotel being to laugh at people, but he's in no way laughing at Mimzy. You can tell that he doesn't intimidate her at all, because she has the absolute balls to pull off the loan shark thing with him.

Mimzy and Lucifer's interactions with Alastor has made him to be one, if not THE most interesting character in the show. Because you're exploring two contradictory sides of the same coin at once. One where he gets so worked up and angry over not having the power he sees himself as having, and one where he's visibly hurt that his long time friend used him. In one instance you have him pulling out all the stops to be as hostile as he could be to Lucifer without actually hurting him (even though he clearly wants to), and another where he has full range to hurt Mimzy as much as he wants to, but he doesn't.

Alastor cares about people. But also disregards people like playing cards. He is such a mixed bag, so far from being one note, and you wouldn't have gotten that insight without Mimzy.

[rabid-invertibrate]

Um actually Vander isn't fully gone (the complete proof) (HEAVY SPOILERS)

spoilers for the entirety of arcane s2 obviously watch it if you haven't or don't if you care about your mental health

Although we see his memories/emotions get acetoned away in s2e7s final scene, and the following battle with his kids has him attacking them pretty rabidly.

But wait...

Tumblr compressed this image to hell, so you'll just have to trust me.

If you look closely as he lunges at Vi and Jinx, a tear appears in his right eye (not previously seen)

We can see it better after Jinx hits him with her rocket.

After Vik gets Jayced we see these tears on full display. The size of the tears is significantly larger, so we can assume they were spilled as Warwick corrupted the girls with void magic, indicating some amount of awareness.

Of course immediately after the screencap above Warwick attacks Vi, Jinx does a side slam and the father daughter duo barely get caught by Vi's gauntlet

Jinx and Vander plummet to their presumed deaths (they are both alive, but for drama’s sake, let's pretend). Vander/Warwick doesn't attack Jinx despite her being entirely in his grasp.

He could shred her right then and there. A mindless beast would, he doesn't.

Vander holds Jinx gently, he doesn't dig into her flesh, he just holds her and lets Jinx cup his face.

We see a flashback of Vander watching the girls sleep. Since he is the only conscious one in this situation this implies is that it is not Vi's or Jinxes memory, only Vanders.

Reader, you might think, well how the hell does he remember anything didn't he get mind wiped an episode ago. To that I respond I don't fucking know, but arcane is VERY intentional with its details and nothing else makes sense.

Jinx escapes, this isn't even subtle. She does so BEFORE the bomb blows. In no universe would Jinx break Warwicks grip, hell, she's toast if any stronger character grabs her (fe. Ambessas bodyguard). Do you know what that implies??

Since Warwick wasn't incapacitated at that point, HE WILLINGLY LET HER GO. He used the last shreds of humanity to give his daughter a second chance at life.....

I AM NOT OK

Below there's the more speculative part I'm not sure of.

Warwick, unlike Jinx, didn't escape into the air ducts. But we've seen him survive significant explosions in the very same episode, moreover he survived Isha blowing him up with the force of 3 magic orbs, and yet he lived.

This can only imply that Warwick/Vander survived. Of course the previously mentioned flashback shows Vander blowing a candle out which can symbolize his life ending, but I'd say it's more likely a subtle way of showing the destruction of their family unit as it was.

Edit: some people are calling this theory copium I'd agree at first but now that I thought about it more Vanders fate is objectivelly worse than death so i dont know if me being potentially right is a good thing.

(COMPLETE COPIUM BELOW)

I am aware this is complete copium yet maybe Jinx took him wherever the fuck she went on that airship to heal him up while sparing Vi from fighting their unkillable werewolf dad over and over again. Vander is still in there are proved by this long ass post, and I think Jinx knows that. I don't think she could give up on Vander like she wanted Ekko and Vi to give up on her.

□

Cool additional fact pointed out by commenter:

[undoing-daughters-blog]

I'm going to explain the theory that Jinx is not actually dead

(I know this is long, I promise it's worth it)

This starts in chapter 8 of season two.

We see Jinx in the prision, she's devastated, lost, defeated, and wants things to end. And we see the first interaction she has with the voice of Silco. In this interaction Silco tells Jinx that "killing is a cycle" and that it would continue. But Jinx says she's "done running in circles", meaning: she wants to stop this cycle. To which Silco says:

And later, when Vi goes to visit Jinx, and Jinx tricks Vi and escapes the prison. Vi then asks her what she will do, Jinx answers:

And now Jinx knows the way to break the cycle, is by leaving.

Next time we see Jinx is in episode 9. She is still in the same mood as before, and now she cuts most of her hair off and burns The Last Drop

Burning down The Last Drop and letting go of her hair shows this closure. Later, she tries to kill herself, which is her way of "walking away" to "break the cycle".

But then Ekko shows up, saves her, and they go to save Vi and the others together.

At this point, Jinx wants to stop the killing and wants to leave, but she will always want to save Vi ("I'm always with you. Even when we are worlds apart").

But she still wants to break the cycle. She still needs to let go.

So, as she saves Vi from Warwick with the monkey bomb explosion, she escapes and leaves Piltover.

And we get a hint of that in the final scenes of the show when Caitlyn is going through her mother's database. She finds a blueprint of the hexgate tower and finds secret air ducts in the place where the explosion happened.

We also see her holding a part of Jinx's bomb.

And after seeing the blueprint she has this look. Like she's thinking "is it possible she survived?"

And in the very last scene we see one of these things that is flying away from Piltover.

Which reminds me of Season 1 Episode 1:

She has always wanted to ride one of them.

Maybe, this is her new way of walking away, instead of dying.

And the two frames are almost exactly the same, it couldn't not be a reference to that s1 moment.

And I know this theory may sound dumb but, why would they show us Caitlyn looking at those blueprints then? Every scene, every frame in Arcane is carefully designed. The team is very good, they wouldn't just show it for no reason. It wouldn't make sense. Especially because they have only 9 episodes of 40 minutes each (except 9 which has 50) to develop everything that happens in season two. And there are A LOT of things going on, they don't have time to spare. If they chose to show us that, it had a very important meaning.

Also I think it's kinda bad If Jinx just dies, I wouldn't like that ending, at least not like this.

[weirdero]

I want to talk about Helena’s performance as Helly and her deep rooted misunderstanding of who Helly is as a person. And just in general how I think she perceives her especially after yesterday’s episode.

Helena is incredibly attentive, almost to the point of being terrifying. In the short moments she interacts with anyone, everything in her head is already scripted, calculated, and premeditated. She’s also a great method actress, reacting based on the energy around her. It’s like a stand up comic, constantly adjusting their performance to make sure their actions land. If something doesn’t click, she shifts.

Throughout the past couple of episodes, Helena spends most of her time just trying to go with the flow move with the water, trying to fit in without standing out, constantly monitoring the group and their reactions at every turn. And so far, she was good at it. She can play the part, until her own emotions towards helly start to blind her.

In these two pics she does a quick scan of Irving’s and Marks faces trying to analyze their reactions

Helena knows the group loves Helly. She knows Mark loves Helly. And honestly, I’d bet every dollar in my bank account that it genuinely makes her want to kill herself. She has zero respect for Helly, and she doesn’t need to. To Helena, Helly, and by extension, the group, are low value. Insignificant. At her highest, Helly is just a worker, a cheap extension of herself created with the sole purpose of just being a good employee to be displayed to the public as a little shining lumon puppet. But shit, the bitch can’t even do that. She’s done quite the opposite. So yeah, not a person to be respected or valued.

This particular disdain (and fuck it, I’m just gonna say hate) that Helena carries for Helly spills into the bonfire scene with Milchick.

While Milchick is reading the story, enunciating every word like a second grade elementary school teacher, showing pictures like they’re in a reading circle, I kept wondering to myself if Helena ever experienced something similar to this as a child. How many times has she heard this same story? Or hell, any other old Kier mythology? Lumon, Kier, the Eagan legacy, it’s all she’s ever known. This world is nothing new to her.

Even though I believe Helena is a loyal servant, she probably didn’t love all the weird shit she had to put up with in her childhood. The weight of the Egan legacy probably suffocates her. But she accepted it either way because that was the life she was given. Unlike fucking helly. Fucking helly who’s forced her into this situation to begin with. In my opinion, all of these particular feelings make their way into Helena’s reaction to the story as Helly, which could only be described as a middle schooler who suddenly thinks they’re too old for camp.

I saw this post someone made about this scene, and like shit, yeah, that’s probably right. Helena had one chance to shit on the weird religion that’s been shoved down her throat since birth and she took that chance.

Helena, in this moment, settles for crude, mocking jokes. She probably does this partially out of her own selfish need for Mark’s validation, as well as playing her role trying to fit into the group but I also think it’s a great reflection of her own personal feelings toward Helly. Helly, who would’ve never acted that way. Helly, who is many things, but never cruel. Helena doesn’t seem to understand that. For the moment, Helena takes a step back, flanderizes Helly, reducing her to this cheeky, crude, disruptive little jokester. That’s how Helena views her. With no respect. No nuance. Helly has layers Helena does not care to see. Helly doesn’t just break rules; she actively causes chaos, subverting everything around her. She’s purposefully, and happily, malcontent. A bitch, dare I say, an ungrateful bitch, most likely from Helena’s point of view.

Irving, who keeps testing her, makes her slip a little more. I talked about this a little bit in my last post about severance, but Helena doesn’t take well to being disrespected. She shifts from wanting the group’s (and mostly Mark’s) validation to just wanting to put Irving in his fucking place. These people aren’t equal to her in her mind. They aren’t cut from the same cloth probably not even made from the same fabric. There are levels to this shit, and they are not on her level.

She says what she says. It’s cruel. Mostly, it’s stupid on her part.

And just like Irving said later, and what I said earlier Helly was many things, but…

What Helena did at the bonfire was a fuck up. An especially surprising one coming from a woman as controlling and calculated as her. I’m fully convinced all those little mistakes came from a deep frustration within her. Much of that anger, in my opinion, is stewing from the realization that Helly, someone created by her, literally the source of all of Helena’s recent problems, someone who will stop at nothing to take her down, that person, the woman who’s literally locked up inside her, is more free than she will ever be.

Yes, Helena has no respect for Helly. Yes, she most likely hates that bitch. But when she herself is acting as Helly, it gives her the opportunity to almost let go. She gets the chance to essentially kill the bitch that’s been fucking up her life whilst simultaneously getting a chance to talk to this man who cares so deeply for a version of herself she hates, Even if it’s not the most ideal of situations (it’s not), it’s still something. I think, at the bonfire, she reflects on the ridiculous situation she’s found herself. All this shit caused by some other version of herself that she created, that situation plus all the other shit going down at Lumon is probably alot. And it just all bubbles up inside her. And when she’s given even the smallest opportunity to let anything out, she’s going to take it.

Idk it’s therapeutic in a way I guess.

She’s unfiltered, blunt, and almost carefree in a way that’s shocking almost unsettling. It’s clearly how she sees Helly to some degree, but also her own need to scratch an itch she’s never dared to before. And even though it’s an act of “Helly”, it still leaves a clear aftertaste of Helena.

Keep thinking about these two little moments whilst she’s making her jokes she not only keeps checking on mark’s reaction but also seems to laugh at her self in a way that just seems so genuine almost self deprecating. She acknowledges the ridiculousness of her situation and this dumb ass story she’s probably heard a million times

In my last post about Severance, I mentioned that Helena is the master of speaking her truth without outright saying it. She hides behind walls, but as Helly, she’s free to speak without restraint.

(Also her having sex with mark is a clear way of her expressing this new found freedom with in her role as helly but ima talk about that later)

[ronanlynchusurper]

i don’t think we talk enough about declan being equally as down bad and ‘all or nothing’ with romance as ronan is. like yes ronan said he would start wars and burn cities for adam’s true smile, begged god for adam after he first saw him and fortuitously had all his objects of worship were in one downtown block etc but ronan had known adam atleast 18 months at this stage. whereas declan really risked it all to get tyrian purple overnight for a first date gift after ONE conversation…the man was discussing their marriage as a ‘when’ not an ‘if’ before we even saw them kiss like what’s his excuse lmaoo