#analysis and breakdown

[girl4music]

I was awaiting the Buffy guide for this episode for such a long time that I think I maybe anticipated it too much because I was left slightly disappointed in the analysis conclusion as I honestly thought TPN would bring up something I’ve realized for quite some time now about it. Something I’ve found to be very profound about it but could never quite put into words in the way I know he could because he is much more articulate than me.

I assumed many people have already made the connection about The Dawn and Dawn in that it “dawned” on Buffy in that moment that she could sacrifice herself over Dawn as they shared the same blood. But it’s not just blood that is the ties that bind these two sisters. It’s also humanity. Human nature itself is represented through Dawn in exploring and questioning her own existence. Her reason for being.

She is human. She may not be born human with being the incarnation of ‘The Key’ that closes the portal. But everything about her goes back to her humanity. The people that love her and the people that she loves back. The way they know her, learn her and care about her regardless of her not really being part of their real lives. The fact they just seem to disregard that information on account of FEELING the way they do about Dawn.

Therefore, when the revelation of this hits Buffy via the thematic visual of The Dawn, she immediately knows and understands what she can do. Not what she must do. What she CAN do. There is a clear distinction in this because Dawn could sacrifice herself and it’d still work. The portal would close. The Universe wouldn’t collapse. They may have to do some clean up of the mess of the realities colliding with each other but otherwise, they’d be relatively safe again. Dawn knew this as her purpose. Not just what she was made for but why she exists at all. Why she even has a human existence in any case. Because she will possess the consciousness to act. To FEEL like she has to act in exactly the way Buffy would. A random inanimate physical object would possess no such quality unless it is wielded by that of which did because a weapon doesn’t commit a crime of violence. That of whom intends to cause violence is what does. Glory. The same goes for the opposite: In healing pain. Administering medicine. That’s why we have doctors. Ben. That duality and dichotomy that gets lost in the confuddle of the back-and-forth switch-arooing them because they can’t share the same space as Ian said in his ‘Weight Of The World’ analysis - that I agreed with.

But Buffy prevents Dawn from fulfilling her purpose knowing how hard and unfair it is to be chosen for something and have no say in it yourself. No agency. No right to self-government and maintenance. To have no autonomy either in a bodily way or in a mentality way. To be just a vessel with which to conceal what has more power within you and leave you to just be the passenger in a flesh vehicle that has been entirely driven for you.

And to just be a martyr for the so-called “greater good”. More than a thing - a thing with self-consciousness and therefore a thing that can also decide its fate or destiny.

Buffy realizes in that moment that it’d work with her too. Therefore, she literally becomes ‘The Gift’ in her death. And she’s ‘The Gift’ in several different ways which all seamlessly work to emphasise each other.

Firstly and most significantly she’s ‘The Gift’ to Dawn by taking her place and allowing her to live a full free human life in a way that she never really got to have.

She’s ‘The Gift’ to her family of Scoobies so that they could cut their losses before more could happen to them. More loss or harm. Especially if it’d all be in vain as the portal couldn’t be closed once it was opened.

She’s ‘The Gift’ to the world or the universe itself by directly closing the portal to all the other dimensions.

But most poignantly and importantly:

She’s ’The Gift’ to herself by letting go of everything. Not just her life. But her destiny. Her obligation. Her burden. Her pain. That of which she gave no consent to ever go through in the first place. ‘The Gift’ to herself is both in her defiance of the Slayer system that she’s been unwillingly thrust into as well as adhering to it. She finds the loophole. The back door. Another way - while simultaneously relieving herself of her suffering.

It’s perceived as self-sacrifice/suicide. It is that. I’m not denying that it’s not. But there’s just much more to it. More nuance and complexity. It’s well thought out. It’s well-written. It’s well-acted. It’s my preferred ending because I have learned so much more from it and all of what leads up to it than I ever could in ‘Chosen’s’ end.

Having that agency in WHEN and HOW I leave the stage matters to me more so in storytelling than continuing to perform when I feel no joy in the many roles I must play.

I love this episode and specifically this ending so much. I love the dark awareness and truth in it. The tragedy. I love how it’s a quick flick of the switch transition from desperation and confusion to complete utter clarity in Buffy knowing what she can do to save the world again.

That is the profundity of “Death is your gift” and as interesting as I think Ian’s points are in this Buffy guide, I feel like he really missed out on explaining that insight. I was really looking forward to him addressing this line and put clear concise logic to how I feel inside about The Dawn. Which is oddly positive and enthralled considering it is literally a death scene. However, a death scene with so much vitality in it. So much life because it both arrives and departs with such grace.

But maybe that’s just the way only my wacky mind works because the way I understand how I perceive ‘The Gift’ is honestly too much for my own words to convey, let alone anyone else’s who have a platform with which to express to thousands of viewers/listeners such tremendous knowledge of the human condition - which is of course why Buffy remains a staple in pop culture TV and why I think the reboot has a lot to live up to if it wants to touch on anything near Season 5 does when it comes to plummeting the depths of humanity through a supernatural/fantasy environment because that’s no small feat to take on. It takes skill. It takes understanding how useful metaphors can be to the ultimate value of storytelling in TV art/entertainment. I mean I don’t ever watch anything that’s clear cut literalism as much as I love fact and logic. It’s not me. It’s just not how I engage with any kind of storytelling. I love philosophy. I love psychology. I love the deep stuff. The landscape has changed so drastically now that despite all the best intentions, I don’t think it’s doable. I think we’ve hit out peak as far as long-form shows go. I hope I’m very wrong about that but I just don’t see it happening now or certainly not as well as the original.

[shellem15]

Thinking about how, out of all the betrayer gods, Asmodeus is perhaps the most incapable of changing. Of redemption. Of becoming better.

Because at least the others are honest. Honest about who they are. Honest about their love for their siblings. They know exactly what they are and what they are here to do, even if it is for ill. And that means they can be worked around. Can be changed.

Asmodeus, however, cannot do this. He is the god of lies. Even his truths are rotten. He cannot be honest. Not with others, not even with himself.

Do you think he knows what he even wants? He says he wants eternity to torment his siblings yet tries to kill them. He tries to kill them, yet (whether he realizes it or not) gives them just enough time to stop him. They are gods, after all. One round is all they need.

He says he hates his siblings yet told trist he loved her when in disguise. He didn't need to do that, she was already going to leave. It's the truth, but rotten.

You cannot change, you cannot become better, if you are not honest with yourself. And Asmodeus is the most dishonest of them all. It's no wonder he is always banished by the light of Pelor's truth. He cannot face it, so he runs and hides and lies.

Always burning, always lying, always turning away from the light. Never changing, never growing, never moving on from past hurts. Lashing out at those who try to help, a dagger in the side of his family.

It would be better to remove him. Kinder, for all of them. But he is their brother, eternal, and they cannot lose him. They will keep him, even if he kills them. And he will keep lying, stabbing, burning, because it is all he knows how to do.

[the-most-humble-blog]

🛡️ WHEN LOIS MADE A GOD KNEEL — The Simping of Superman A Blacksite Literature™ Breakdown of Superman II, Male Frame Loss, and the Weaponization of Female Approval

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It starts with a cape and ends with a crawl. Superman II isn’t just a movie about three intergalactic tyrants trying to take over Earth. It’s a film about what happens when a god gives up his sovereignty to please a woman who never respected the man — only the mask.

And that’s where we begin.

🧠 THE FIRST RED FLAG? SHE NEVER LIKED CLARK.

Let’s get one thing straight: Lois never “fell” for Clark. She investigated him. Suspected him. Tested him.

And why? Because the dorky journalist with minimum-wage energy and awkward posture couldn’t possibly be enough to satisfy her arousal profile.

She didn’t stumble onto his identity. She chased it — and not out of love, but infatuation with power.

“Clark, you seem… different.”

Yeah, because the real man is hidden behind the costume of the weakling she’d never f*ck.

🎯 NIAGARA FALLS: WHERE “NERDY CHAD” STARTS TO LOOK GOOD

Lois throws herself off a railing. She literally risks death — because she’s so sure Clark is Superman. That’s not romance. That’s a test.

And what does he do? He saves her covertly. Classic.

But that’s not the part that should’ve sent warning bells ringing. It’s the moment when, while cleaning in the hotel room, she suddenly starts to see him.

Why?

Because Clark starts leaking power.

Posture shifts. Cadence cracks. She smells something off-brand — and in women, that always means on-brand arousal.

This wasn’t about “love.” This was about the Chad math checking out.

---

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🔥 THE FIREPLACE: THE MOMENT HE F*CKED HIMSELF

He trips. He lands in a literal fire. Doesn’t burn. Doesn’t flinch.

She stares.

He stands up like nothing happened.

And instead of holding frame?

Instead of saying “Keep guessing, Lois.”

He says:

“F*ck it, you nosey broad. Happy now?”

And just like that? The fall begins.

💀 THE GHOST DAD SAID NO — BUT SIMP ENERGY PREVAILED

We get to the Fortress of Solitude. We see Kryptonian ancestors — literal cosmic hologram royalty — tell him not to do it.

“You give up your powers… you will never get them back.”

But what does Kal-El do?

He listens to the emotional pull of a woman who loved the god, not the man.

He surrenders his power. Not for justice. Not for peace. Not for purpose.

For Lois. The same woman who never kissed Clark Kent until she realized he wasn’t Clark Kent.

Let that sink in.

🧤 DE-POWERED AND DISRESPECTED IN A BAR BY A TRUCKER

Now he’s human. Now he’s “equal.” Now he’s vulnerable.

How romantic, right?

Until he goes into a diner and gets his ass handed to him by a truck driver named “Rock” who calls Lois ‘sweetheart’ and backhands him into a pinball machine.

You know what’s worse than losing a bar fight?

Losing one when the woman you gave your powers up for is watching.

He bled in front of her. He got stomped. She comforted him.

But deep down?

Her nervous system disconnected that day. She knew the god was gone.

🧊 THE WALK OF SHAME TO THE FORTRESS — NORTH POLE EDITION

He limps. Literally limps back into the frozen tundra. Bare-handed. Broken. Human. Defeated.

He walks back to apologize to the ghosts of his ancestors for letting pssy override destiny.*

Because meanwhile?

Zod, Ursa, and Non — literal cosmic fascists — just walked through the White House like it was a DMV.

They made the President kneel. They were broadcasting world conquest in real-time. And where was Superman?

On his “I think I made a mistake” arc.

😈 ZOD DIDN’T WIN. LOIS DID.

Zod may have conquered the White House. But Lois conquered the soul. And in many ways? That’s worse.

Because Superman didn’t get manipulated by force. He gave it away with open consent. He chose softness. He chose mortal love over immortal legacy.

And in doing so?

He betrayed the divine archetype of masculine frame — for validation.

👁️ SUPERMAN IS THE MAN. CLARK IS THE MASK.

That’s what Lois never understood. She thought Clark was the “real him.” She thought she was peeling back layers to find authenticity.

No.

Superman is the core. Clark is the containment suit.

Superman is who Kal-El is when he isn’t hiding for your comfort. Clark is what he wears to be acceptable to a species that doesn’t deserve him.

And Lois?

She didn’t fall for the man. She fell for the illusion of taming the man.

🩸 THE LESSON? NEVER LOSE YOUR FRAME FOR LOVE.

He was warned. He ignored it.

He walked into a chamber that removed his genetic dominance. For romance.

He hollowed out the legacy of an alien god king so he could lay in a bed next to someone who only touched him once he could fly.

And the punchline?

The moment he got his powers back? She couldn’t keep him.

🕯️ BECAUSE HERE’S THE UNSEEN TRUTH:

Lois never loved Kal-El. She lusted for Superman. She tolerated Clark. She thought she could make them merge.

But when Clark folded, when Superman gave up his heritage?

She got what she wanted. And it wasn’t what she needed.

And that’s the story of 80% of modern relationships.

🧠 SUPERMAN II IS A CAUTIONARY TALE. NOT A LOVE STORY.

It’s a myth.

A reverse Hercules. A power-to-pleasure downgrade wrapped in red tights.

And what’s worse?

It ends with a magical kiss that erases her memory.

Which means even the screenwriters knew:

No woman could respect a man who gave up godhood for her insecurity.

💣 TL;DR:

Lois never loved Clark.

She loved the status of proximity to Superman.

He gave up his powers for her.

Got bodied.

Came crawling back.

Fixed the world.

Erased her memory so she wouldn’t remember how hard he simped.

And people call that romantic.

No. That’s propaganda. That’s emasculation with a cape. That’s frame loss with special effects.

---

🔥 CALL TO ACTION (CTA):

🛑 Reblog if you’ve ever watched a man surrender power to please someone who never wanted him weak 🧬 Save this if you’ve ever lost something sacred trying to be “enough” 🛡️ Follow @the-most-humble-blog for Blacksite Literature™ posts that turn pop culture into fireproof masculinity blueprints

This is Blacksite Literature™ — Not fandom. Not review. Just the scrolltrap gospel of men who won’t lose their frame again.

[julietcpulet]

LN 5 epilogue: The moment, the aftermath and the anime.

I’ve seen people being concerned for how things will be portrayed if the anime makes it to the LN 5 epilogue where Jinshi and Maomao have their undoubtedly most intense moment of the series. If the anime gets renewed for a season 3 it’ll have to cover this as the first two seasons have done 4 light novels so if we get even one more it’ll be expected to make through light novel 6, which is great material. Do I expect that some people are going to see Jinshi’s behavior as toxic, assault and the like? Yup, probably ramped up 1,000% from the frog scene even. Do I think the anime will tone it down from the light novel? Yes I do. They’ve added things here and there to other scenes and in ways I think it’s helped, with that moment and its nuances I don’t see them going all the way there. Also, there’s lots of fan debate on translation so I wouldn’t be surprised if the animators take a light tone just to keep from siding one way or another on how it was translated. That being said, here’s why I’m not that worried even if the whole scene is shown: because sometimes we need the messy moments for the growth to happen. (Spoilers under the cut)

First, some perspective. An analysis on the moment itself.

People can argue that this one moment in Jinmao history is a bit too messy but I don’t think so. For one, I don’t think Jinshi was truly trying to hurt Maomao. Yes we see him put his hand on her throat and pull her hand behind her back, however he quickly releases both, his one hand to twine in her hair and the other to pull her closer when he kisses her. The point of both was to get her attention. This scene starts out in a somewhat similar fashion to the frog scene but it is much more of a breaking point for the two of them than that. Just like with the frog scene, Jinshi has something vital he wants to communicate with Maomao. The whole reason for her being there is that she’s a marriage candidate, she is even wearing a hair stick Jinshi had made specifically for her, one with a moon and a poppy. (Moon Prince and the girl who likes poison, since poppies represent poison, anyone?) But when they begin talking on this subject Maomao, like before and always, evades and won’t admit she knows she’s his real choice for a wife and this is a proposal. Instead she even has the audacity to suggest he marry Lishu, who at this point even Maomao knows has feelings for Basen and wouldn’t be a good choice for Jinshi given her nature and his. To me it’s this continual evasiveness that gets Jinshi to grab her attention again by putting his hands on her in a more aggressive manner. For Maomao though, we’re finally given a glimpse at why her responses are likely instinctual over emotional and why she appears to almost “shut down” in the face of an advance. It’s because we see that her brain has been taught to view everything from the perspective of the pleasure district, she even later says she was “indoctrinated”. Horrifyingly, her sisters subjected her to sexual conduct when she was young to learn the ways of a courtesan to the point of tears and so when she’s in a situation where anything sexual happens she doesn’t see it as an opportunity to express herself but instead to retreat and only find a way to gain the upper hand.

Remember too that Maomao admits from the beginning that Jinshi “isn’t the type who would lay a hand on a young woman” and this doesn’t make her change her opinion. She even says out loud when he says “I wasn’t actually going to hit you”, “I know.” She can jump around his actions but knows whatever he’s doing isn’t about hurting her, it’s about getting a reaction out of her, which is why she denies him that satisfaction. We see once Maomao takes any kind of initiative Jinshi backs off, showing his only real goal was to have her show any reciprocation towards him at all. Especially when we see his perspective at the beginning of LN 6 where he’s looking back on the interaction and realizes Maomao’s detachment, we understand what he wants from her is not simply sexual engagement. He wants her to feel something and not be “like trying to shove a curtain…simply roll with it.” To me this expresses why it’s not “assault” in that Jinshi wasn’t trying to harm, harass or have sex with Maomao. He releases her when he thinks she’s kissing him back and his excitement over the interaction is over when he sees her face and realizes that she was completely devoid of feeling like usual and just playing along to whatever end she thought was expected of her.

Why is this pivitol for Jinmao? Understanding them. Growth.

Because it’s where we finally get to see why these two cannot seem to get on the same page about love or mutual feelings. Without it they’d just keep doing the same old push / pull song and dance forever. The quote before he reaches behind her head gives us a clue to all of it.

“That word, that simple four-letter word with its o and its e, was sometimes called vulgar, and sometimes turned out to be nothing more than a game- but some people said it was impossible to live without.”

Maomao is talking about love, what she sees in Jinshi’s eyes, what she’s trying to avoid and how we’re supposed to see them both playing it as a game because right now they can’t see it as anything else just yet. If you read on into LN 6 we see that Jinshi’s whole goal was basically to “triumph over” or to get a rise out of Maomao in some way, which he miserably admits he failed at. She remained unmoved and defeated him soundly. But that’s the whole point of this moment between these two is to show that they’re both still viewing love this way, as a “game” where one side has to win and have the upper hand to be successful. It’s why Jinshi tries to push Maomao to show him emotion and then Maomao is the one to have “victory” in the end by using what her sisters taught her but with absolutely no feeling behind it. Even during their interaction we get a glimpse that Maomao seems pleased Jinshi was jealous she had been dancing with Rikuson, “So he had been watching them!” (To me meaning she wanted him to notice.) So there may not be complete lack of feeling on her part, just a twisted sense that it has to be manipulated. Jinshi’s view of love comes from watching palace women and men play political games for affection and status. Maomao sees love as dangerous and deceptive, many times the only form of it leading to harm and abandonment in the pleasure district. So both of them have no real concept what it means to love someone other than to try and get one over on the other, it’s about power, control and hiding what you actually want. Without this understanding on our part, as the readers and audience, that Jinshi and Maomao have troubled histories and a distorted view of love, we would just see the way they handle one another as abusive. You need this scene and others like it to get a glimpse into how they actually operate, what they're hiding and what the aftermath does for them.

From the moment to the aftermath, where change happens.

It's in the aftermath we see real change for the two of them. Jinshi realizes he was conceited and a part of him believing that because others respond to him favorably he could get Maomao to do the same. Maomao doesn’t evade him in the same way as before either. Yes when they reunite in LN 6 Jinshi still offers her an antler and they engage in their typical back and forth complete with Maomao trying to reason herself out of being Jinshi’s choice but it’s lighthearted and both are far less intense. Maomao’s want to rationalize Jinshi’s choice as purely political without feeling helps her reason why he might want to pick her. It gives us a glimpse at her self esteem being so low that she has to say “He’s got strange tastes, though” to understand why Jinshi would pick her over other women she’d consider more desirable to him. It’s telling too that Maomao is quoted as thinking,

“Maybe he was hoping she would come right out and say she loved him, but quite frankly, Maomao wasn’t at a point where she could bring those words to her lips. The best she could manage was that she wasn’t without a certain affection for him."

It’s telling because 1. It says she isn’t at that point she can bring the words to her lips, not that she doesn’t feel love for him. 2. It still states clearly she has affection for him. This goes to show that Jinshi’s prodding can have an effect on Maomao. Being the kind of shut down person she is due to her background, she in effect can almost need someone like Jinshi who’s willing to push her outside her comfort zone to get her to admit to feelings she’s unwilling or even at times unable to fully voice. Even in the next moments where he tickles her and she lightly objects but lets him, it allows even more walls between the two to be bridged. It’s not aggressive like what happens in the LN 5 epilogue but more like what two true lovers might do in playfully getting to know one another. And it still proves the most effective way in getting Maomao to open up because their conversation here leads to the first real confession Maomao makes about her true fear and it’s made as clear as it can be that it’s not marrying Jinshi himself but that in doing so she doesn’t want to become Gyokuyou’s enemy. This revelation by Maomao sets off a lot of what happens in the next novels for them and it wouldn’t have happened had Jinshi not pushed Maomao to stop ignoring she was a marriage candidate and instinctively shutting him out. By letting Jinshi in, not hiding what she’s actually thinking, even this little bit, he takes that knowledge and tries to do all in his power to keep her from being afraid of a future where they’re together. But without the moment in the garden of the LN 5 epilogue there would be no Maomao opening up and no Jinshi realizing he needs to do what he can, not to prove his feelings to her but to prove it’s possible they can work and she won’t be in a tough position.

"For you, I will remove every obstacle that keeps us apart. One day. Just know that." - "I won't let what you fear come to pass. I swear it."

An important detail: star crossed lovers.

I think this quote that occurs just before the LN 5 epilogue moment is important to mention because it ties into a theme that becomes relevant with Maomao and Jinshi going forward, that of the star-crossed lovers.Maomao is looking up at the dark sky and it’s possibly one of the most romantic observations she makes. Some may say I’m reading too much into this but if you’ve read Hyuuga’s novels you’ll know the details are where are the goodies are.

“The sky seemed so vast. There was no moon, making the stars to shine all the brighter. Three of them shone brightest of all. Perhaps those stars were the two lovers, and the river that separated them.”

This is likely referencing the myth of Altair & Vega, those are their western names but it’s a Chinese ancient myth about a celestial princess who falls in love with a mortal and they end up being placed as stars in the sky, separated by the Milky Way only able to see one another on occasional days (that’s my brief description, worth looking up if you want to know more). So I don’t think it’s coincidence at all Maomao references the stars being two lovers (Jinshi & Maomao) and the river that separates them (likely the empire or even Gyokuyou because she keeps requesting Maomao at her side.) I don’t think it’s that far a stretch to make. And this comes before they have this intense, highly charged moment in the garden as almost lovers. Completely misunderstanding each other yes, hence the river between them they have yet to cross but I think that’s why nothing can be taken at such face value here because even a quote like this can add such depth. Hyuuga does this again with the star-crossed lovers motif in LN 6 where in the same antler scene she has Maomao notice Jinshi looking at the book that falls and it’s Romeo & Juliet. How this relates to the LN 5 scene is that the star-crossed lovers are mired in tragedy, misunderstandings, missed opportunity. But as we see in LN 6 with the moment Maomao & Jinshi speak about Romeo & Juliet is they both agree about wishing for a different ending (I talk about this in another post). So my thought here is without the LN 5 epilogue, without having them be the stars separated by the river, having them face these difficulties, we also wouldn’t get the ending they’re both working so hard towards.

Finally, the anime: striking a balance.

So why should we actually look forward to a moment like the one in LN 5 being shown in the anime? Because it's not just about that moment but about everything it represents and leads to for these characters. Without this singular moment that's fraught with so much unresolved tension, feelings and decisions, Jinshi and Maomao would've never been pushed to discuss what needed to be between one another. They've both had too messy of upbringings to do so in any natural way. Maomao almost needs Jinshi to needle her to get her out of her self-imposed shell and he likewise needs Maomao to shut him down sometimes to prove his conceited notions aren't always on course. But without a moment like this we wouldn't have gotten a truth from Maomao that leads to down the road her admittance that she's merely afraid her feelings are too lukewarm compared to Jinshi's.

"It was a heat like molten metal. She wasn’t sure what to do with it all for the temperature she could return was no more than that of lukewarm water."

In effect showing that it's her sense of inferiority keeping them apart more than it is a lack of actual desire on either side. With the anime, I expect them to strike a reasonable balance. There's too much internal monologue that I don't think they'll be able to capture it all. The frog scene for me showed they were able to walk that tight rope between intense behavior and romantic advancement like the scene is meant to convey so if it would be the same team handling the garden scene I'm not worried at all. I think the anime's that are willing to stick to the canon, regardless of plots that may seem a bit edgy or not fit within modern standards, tend to be the best ones. So far Apothecary Diaries anime has stuck closely to the light novels and I would be surprised if we got to this moment and they deviated too much, they've handled much darker topics than this. I worry more about people's reactions to it but even then I anticipate the arguments that will coming along, hence this long winded explanation haha.

In truth, were this reality, would I recommend a girl friend stay with a guy like Jinshi, no I wouldn’t but I also wouldn’t recommend and guy friend stay with someone like Maomao who never listens and eats poison. Sometimes people take the fun out of watching two characters who are close to reality but don’t live in it play out an interesting story. I fully expect people won’t get the nuance in that scene and even I could read too much into it myself but I’m just looking forward to more seasons if we get them. However the anime decides to portray it should be good if we get there and I hope my analysis has made sense, even if it’s a bit long as always 😂.

[thieves-never-say-die]

Leverage Redemption Season 3 Trailer Breakdown/Analysis

I'm going insane over this trailer (if you haven't seen it yet) and wanted to break down all the little things we see (and also what we don't see)

It seems like the opening heist is just Parker, Hardison, Eliot, and Sophie in Paris. It's unclear if Breanna and Harry will join them there or if the team will meet up back in New Orleans.

I also noticed that the trailer heavily features Parker, Hardison, and Eliot. They get a lot more lines than any of the other characters (including Sophie!)

Based on the number of outfit changes we saw, I don't think Hardison is going to be in all of the episodes. I think he'll be in more than the previous two season, but I don't think he'll be in all 10.

Yes, I did count the number of outfits we saw per character. Give or take one in some cases where it's unclear if an outfit was a repeat, the totals are:

Sophie, Parker, and Eliot with 11. Harry with 9. Breanna with 6. Hardison with 4.

We have confirmation of scenes taking place in Paris and Mumbai.

The globe map of bad guys include locations of: Paris, France; Montreal, Canada; Karachi, Pakistan; and what looks like the Louisiana area. (If I am missing any other locations please let me know!)

Guest stars that have been confirmed include: Jack Coleman, Drew Powell (Hurley!!), Alex Boniello, Cedric Yarbrough, Mary Hollis Inboden, Sam Witwer, and Rachael Harris.

We also see Alexandra Park as Astrid in the trailer, and Noah Wyle has confirmed that his daughter Auden will return as Harry's daughter Becky.

This season will have 10 episodes, the first three dropping on April 17th and the rest airing weekly after that.

[overdressedcarp]

I've been thinking for a while about the optional Magatama dialogue in The Cosmic Turnabout where you can prompt Fulbright about what's bothering him, and for both of the wrong answers, he acts like you got it right, and actively leans into the bit. For example, if you suggest that he's exhausted by life, he agrees and claims he's thinking about quitting his job and going to space. (Honestly, mood.)

(AA 5-4 and 5-5 spoilers below the cut)

It's a good line on its own: funny, and definitely relatable. With 5-5's context, though, it brushes up against a deep-seated desire to disappear, to run away and start over, something the Phantom hasn't been at liberty to do in years. He's shackled to a seven-year-old assignment, strangled by loose ends that he can't tie off. For maybe the first time in his life, he has to wake up every day and live with the effects of his actions, made blisteringly real in the form of the people he hurt.

(Do I think he's walking around harboring deep, profound remorse for UR-1? Not really, no. But the self-protective lie of "my choices don't matter because I'm not really a person" only goes so far when you're clocking into work every day to hang out with the guy who's on death row because of you, who's grieving because of you, and suddenly you're the only person he trusts to hear about the monster that ruined his life, and you planned for this but you didn't plan for this and honestly at that point I'd want to quit my job and throw myself into the vast expanse of space, too.)

Also worth noting, during this entire scene, any time Fulbright goes to answer a question or make an assertion about himself, the tinted glasses go up like a shield. Eyes hidden, hand obscuring the lower half of his face. It's something he does pretty regularly throughout the game, but it's egregious here. My man is on the defensive and he's giving absolutely zero ground.

But the big thing for me is the other "wrong" option, where if you claim that Fulbright is troubled by love, the Phantom's knee-jerk "yes, and," response is to tell a story about a carp named Love who ate a bunch of goldfish because he put them all in the same tank.

In the moment it's supposed to be absurd and comical and one more example of how hapless this guy is, but in retrospect, it's kind of telling that when the Phantom tries to conceptualize love in relation to himself, the first piece of Fulbright-flavored bullshit that comes to mind is about a creature that brings pain and death through mere proximity, not out of malice, but out of nature. As though, subconsciously, he's fixated on the notion of a foreign element that's been dropped into an otherwise peaceful space. A fish that seems like it belongs there until it devours the others.

He really could have said anything—he could have made up a story about a bad breakup, or a really sad movie, or a family member who died. He could have jumped to talking about Blackquill, and how he's concerned for his emotional state given the nature of the current case. But instead, his mind instinctively gravitates to a Love that consumes everything around it: a Love defined by its capacity for violence. There was never a world where the carp could exist alongside the goldfish without hurting them.

And idk. I feel like if he wasn't feeling some kind of way about that, then it wouldn't be bleeding into his Olympic-level improv gymnastics routine to convince Phoenix that he doesn't have any secrets and you can put the supernatural lie detector away now, thanks.

[spider-mandaily]

This scene had my jaw ON THE FLOOR, and the GREEN GOBLIN SETUP?!? PEAAAK!

I understand why this immediately got renewed for two more seasons—the little details within the storytelling are meticulously woven together!

But also, I think that the animation here is raw and absolutely stunning, especially with the inclusion of blood, which is a bold move for a Spider-Man animated series. It adds a whole new layer of intensity and realism, making the stakes feel higher than ever. This sequence was so well made, literally reminded of Tobey Maguire's Spider-Man too!

The action sequences are beautifully choreographed, with fluid motion, dynamic camera angles, and weighty impacts. Every punch, web-swing, and dodge is visually striking, making the fight scenes feel raw and visceral. The lighting and color palette also enhance the tension, creating a cinematic atmosphere.

What truly makes this jaw-dropping is how it pushes boundaries. Spider-Man has always been about balancing heroism with personal struggles, and this scene doesn't shy away from showing the consequences of battle. The inclusion of blood signals a shift in tone, acknowledging the brutal reality of Spidey’s world while maintaining that iconic comic-book style.

Seeing Peter battered and bruised in this scene is absolutely gut-wrenching. It’s one thing to watch Spider-Man take hits in battle, but seeing actual blood—cuts, bruises, and the sheer exhaustion on his face—adds a whole new level of emotional weight. It’s rare for animated versions of Spider-Man to show him this physically broken, and it makes the fight feel far more intense and personal.

This version of Peter feels more vulnerable, more human. He’s not just the wisecracking hero swinging through the city; he’s a young man pushing himself beyond his limits, getting hurt, and still refusing to back down. The visual storytelling here is incredible—his torn suit, the blood dripping from his face, the way he struggles to get back up. It’s a reminder that Spider-Man’s greatest strength isn’t his powers, but his resilience.

Emotionally, this scene hits hard. It evokes that classic Spider-Man No More feeling—the idea that being a hero comes at a terrible cost. It makes you worry for him, root for him, and feel the weight of his struggles. This is what makes Spider-Man different from other heroes—he gets beaten down, but he always gets back up.

This is truly peak Spider-Man storytelling—gritty, emotional, and visually breathtaking. If the series keeps up this level of quality, it might just set a new standard for animated superhero shows!

[dat-lil-shark]

I found more TFP Characters Stats and they are VERY Interesting

So over a week ago I found out that in the Japanese airing of Transformer Prime, they put up these commercials in between episodes that displays the characters stats. Back then I only found Soundwave’s, but now I’ve found almost everyone.

Again, I have no guarantee that these are canon enough, cause it's made by Japanese, who made Airachnid a yandere.

But it’s fun to assume they are.

(SPOILERS ALERT)

First of all. MEGATRON ACTUALLY HAVE HIGHER INTELLIGENCE STATS THAN OPTIMUS!!!??? (Op got 8 and MT got 9)

Not only that but also higher speed and firepower TOO (OP got 7 speed and 9 firepower, and MT got 9 speed and 10 firepower).

Sure Optimus got bigger courage and skills but in battlefields if MT is not so dr**ed up he might just win a lot more.

And speaking of unexpected intelligence.

Compared to Arcee, Airachnid also got WAY higher intelligence (AH 9 and RC 7) and slightly higher strength (AH 5 and RC 4) AND FIREPOWER (AH 5 and RC 4).

I was at first surprised how Airachnid could be so smart but then it did made sense since she was able to always lure Arcee into her fun cave to beat her up and was able to easily kill Breakdown.

(And I know technically this was supposed to be the Japanese yandere Airachnid but— let’s just ignore that— maybe let’s pretend it’s the normal Airachnid okay? Please?)

But Arcee got 9 on courage.

Airachnid might got the cunning but at least Arcee got the feral.

And the way Arcee only got 7 on the intelligence out here is breaking stereotypes that the only girl in the group has to be smart.

Luckily not all Autobot and Decepticon rivalry ends in a Decepticon topping the Autobot.

For example.

Bulkhead is a lot— AND I MEAN A LOT better than Breakdown is.

He’s got higher strength (BH 10 and BD 9), intelligence(BH 5 and BD 4), courage (BH 8 and BD7), rank (BH 6 and BD 4) AND firepower (BH 7 and BD 6)

Bruh Breakdown is competing with Bulkhead just because he is insecure 😂😂😂😅😅

Bulkhead can actually sweep the floor with Breakdown if he wanna!

also I think Breakdown got the lowest stat in intelligence and rank than any other characters here.

This actually does explain how Breakdown could be killed so easily by Airachnid, honestly, since Airachnid got more than twice as much intelligence as him.

Well at least we know Knockout married him for true love.

And speaking of Knockout.

He’s SO WEAK!! 😂😂😂😂

Dude Knockout is an absolute LOOSER!! (At least according to the Japanese)

He LITTERALLY GOT 5 SKILLS, ENDOURANCE, AND 4 COURAGE!!

THAT IS ALMOST THE SAME ENDOURANCE AND ALMOST HALF THE COURAGE AS ARCEE (who is about only 1/2 of his body size btw) (his buff armours are just for shows) AND HALF THE SKILL OF RATCHET!!

HOW DID KNOCKOUT EVEN MANAGED TO BE A MEDIC!!

He is only a bit good on speeds. Now no wonder he loves racing ITS THE ONLY THING HE IS GOOD AT!! Bro litterally covers himself in makeups cause he’s too self aware 😂😂😂!

I wondered how he managed to lie so perfectly on his job resume.

And speaking of medics.

Ratchet is WAY better in everything than I expected.

He’s more than twice the medic Knockout would ever be.

He actually got EIGHT endurance which is surprising, cause that is only one star lower than Bulkhead!

The doctor might be old but he’s still got armors and bones as strong as boulders.

No wonder he kept getting beaten up in this serie but just got up fine and never snap his back once like my own grandpa after standing up from his chair.

Wheeljack on the other hand is also not bad at all.

He got 9 skills. I guess that’s what got him to be able to make all his terrorist toys.

Also it’s funny cause he’s only got 8 endurance, that’s 2 stars lower than Ratchet.

Could you just IMAGINE Wheeljack and Ratchet fist bumping as hard as they could but it was Wheeljack who ended up having to grab his fists in pain??

Also he only got 6 intelligence?? That’s honestly far lower than I excepted tbh. That is only one star higher than Bulkhead.

No wonder Ultra Magnus has such a bad time.

(it’s also funny how Arcee criticized Wheeljack for impulsively going to avenge Bulkhead when she herself is only like, one stat smarter, and does that with Airachnid on a daily basis (sure she didn’t drag any humans in but she is still barely better).

(Also by the way, speaking of Ultra Magnus, he doesn’t have a stat page unfortunately cause the Japanese TFP never got a season 3, it just ends at Optimus breaking the Alpha lock and that’s it, which means Ultra Magnus never appeared, and neither did Shockwave (beside that one Arcee flashback) and Predaking unfortunately).

Oh and the Dreadwing Skyquake twins are over powered.

Just look at them!

They are almost the exact same in stats except Skyquake got more endourance and Dreadwing got more fire power.! If Megatron had both of them at the same time they could just deep fry the Autobots in episode 10!

RIP Skyquake you had SO much POTENCIALS man. And to think that even the PRIME HIMSELF ALONE can’t take you out without major help from Bumblebee.

And speaking of Bumblebee.

HE MAXED OUT ON COURAGE.

Listen no one else in this whole list got courage 10 except Bumblebee.

Not Arcee, not Optimus, not Ratchet, not Smokescreen, and not even Wheeljack.

HE IS FERAL!!

Damn it man now thinking back I don’t think I recall a SINGLE MOMENT in the entire show, although it wasn’t obvious first time through, that Bumblebee actually considered for his own safety before doing anything. And it’s not even in an “I am willing to sacrifice my own safety for the greater good” way but a “Oh I’m gonna lose a leg for this but it’ll be nice? Sign me up!” Way! “Psyc link into Megatron? Count me in!” “Jump on top of Skyquake? You bet!” “Run straight toward Silas when you can litterally wait for 5 more minutes but then you can get your t cog back for five more minute earlier? I’m coming!!”

If it’s not for the fact that Bumblebee got a good dad that he’s happy to listen to he will be a bigger disaster than Wheeljack is.

The other kid, Smokescreen, is just a tad bit weaker. But he’s way better than I expected since he only just joined this war. (*cough cough* way better than Knockout).

However,

on the other servo.

Starscream is OVERPOWERED.

Bro has got EIGHT STRENGTH despite his skinny arms (same as Skyquake & Dreadwing), NINE SPEED (faster than Megatron), NINE FIREPOWER (same as Optimus) and TEN FRAGGING SKILLS (same as RATCHET)

Honestly. If it weren’t for the 3 courage, DUDE COULD ACTUALLY HAVE A CHANCE TAKING OVER MEGATRON!!! He

is

strong.

He honestly doesn’t even need the apex armour tbh! And there are countless times he got defeated probably only because he froze in fear or else he could have absolutely fought back and won!!

That 3 courage ruined him.

Also they don’t have Cliffjumper too and that is very unfair tbh cause Skyquake also appeared for only one episode but got his, and pretty unfortunate cause I really wanna see how strong exactly Cliff was before his death.

[shitouttabuck]

buckley-diazes in 7x01 abandon ships

[bekolxeram]

I'm usually very block happy, but sometimes a couple of hot takes from the opposite side of the fandom manage to slip through. I'm no saint, I admit I do get quite worked up at first, but after some time, I realize they give me new perspectives to scenes I've watched countless times and discover things I didn't pick up before. So this one is for all of you, staunch Tommy haters, thank you for enriching my viewing experience.

In 7x04, when Tommy goes to Buck's loft to talk things out, this line gives some people the ick, because it echoes what Taylor said in 5x05. In that episode, Buck thought his team was off because they blamed him for Chimney leaving. He talked to Taylor about it, she shared her own experience with her boss being sulky around her, and it turned out her boss was just in a lot of physical pain, she ended the conversation with "maybe not everything is about you". While what she said was absolutely right, and she made an effort to make Buck feel appreciated at the end of the episode, but I can also see Buck not feeling supported emotionally at the time the conversation occurred. In a fashion true to her profession, Taylor delivered it in a very blunt, direct and advisory way. Her being right did not cancel out Buck feeling insecure about everyone acting weird around him and him not knowing why.

What Tommy says here though, is in a a completely different context.

Before all of this, Tommy has already reassured Buck that he's not trying to replace him, that his place in Eddie and Christopher's life is irreplaceable.

Look at Buck's smile, he's apparently in a better mood than before. It's like a weight has been lifted off his shoulders.

So going in this next part, Buck is more receptive to what he frankly needs to hear: Eddie isn't hanging out with Tommy because Buck did something wrong, he just enjoys Tommy's company.

We've witnessed Buck's growth over 7 seasons, now he can recognize that getting jealous easily is one of his character flaws, he tends to overthink and make other's action personal when he's feeling insecure in a relationship. He's telling Tommy this probably to signal that he understands he messed up and he understands what he did wrong. He never expected Tommy to validate his feelings.

But Tommy does empathize with his predicament.

Buck doesn't understand what Tommy, the cool, confident (and hot) pilot would be jealous over. And he almost can't believe Tommy gets what he's been feeling.

Tommy tells Buck that he's envious of the ride-or-die familial bonds within the 118 nowadays, as if he didn't also put his career and life in danger just to save Athena and Bobby (probably Hen's career as well), after one phone call from Chimney.

Now it's Buck's turn to reassure Tommy.

Another hot take I've seen from the other side goes like "if Tommy was nicer to Hen and Chimney back in the days, he wouldn't have to be jealous over what the 118 has now". You know what? Judging by Tommy's face here, he probably would agree. This is not the face of a man who is proud of what he did. This is the face of a man who is burdened by guilt and regret, this is a man haunted by his past, this is a man who doesn't think he deserves the praise.

Buck even cites fake mouth static as an example of Tommy's effort in aiding the 118's clandestine rescue mission, and they naturally fall into a flirty dynamic. I have no explanation for that, except, your honor, this is exhibit A against the "no chemistry" allegation.

Buck then spells it all out for Tommy that he also put everything on the line just for the 118, without hesitation. Tommy looks like he still has a hard time accepting it as an act worthy of redemption for his past behavior.

We've all made mistakes, and we all know we can't go back to the past and change what we did, so the best way forward is to change ourselves and be better. Judging by Tommy's "and [Gerrard] didn't make me a better person" line in 7x10, he quite possibly reflected on this a lot. Yet, sometimes you still can't help but doubt yourself over if you've learned enough from your past, if you're a good enough person now. I can't imagine how good it feels hearing Buck say out loud that he actually likes the person Tommy is now.

Apparently Buck likes Tommy so much that he came up with excuses just to hang out with him and get to know him.

Tommy is pleasantly surprised, because he did tell Buck to call him when he wants to go up. In fact, Buck can call him for whatever reason, Tommy accepted the Harbor tour request, there's nothing indicating that he would feel weird just hanging out with Buck. Tommy just doesn't know how much of a overthinker and bi disaster Buck truly is yet, but that's the story for another time.

Buck and Tommy really don't know much, if anything, about each other at this stage, as you can see in 7x05, but they're already validating each other's feelings. We've seen Buck get his feelings ignored, hurt, dismissed and kind of fetishized for 6 seasons, now this is something he's been looking for the whole time, for someone to understand what he's going through. At the same time, this interaction must also be quite freeing for Tommy, who's been haunted by demons from his own past.

[lunabug2004]

Honestly my one biggest fear about s5 isn't Byler not being canon (even tho it's a close #2), it's all of Mike's "issues" being centered around his internalized homophobia.

Do I believe it's real? Yes, absolutely. Do I believe it contributes to how he acts/thinks? Yes, absolutely. Do I believe it's great representation? No doubt about it!

However, I do not believe it is the one and only cause for the things we see him do and the actions he chooses to take.

His character is much deeper than just int. homophobia. He has massive amounts of PTSD, survivor's guilt, abandonment issues, depression, family issues, probably anxiety, and I'm most likely missing even more things.

I'm just terrified that they're going to blame all of his actions on this one single part of his character, even though he is much more than that.

[absoluteocellibehavior]

I saw an ask on @potato-lord-but-not and now I've gone down a rabbit hole. There's currently a trend going on depicting Oscar, Arthur, and John as the Star, Moon, and Sun respectively. Now! What is Noel? He deserves to be in this. I personally interpreted this as tarot and not just the symbols themselves. Due to this, I'm making the pitch that Noel is Judgement! Here's a breakdown of each boi and their corresponding card: Oscar - The Star XVII - The Star is one that comes immediately after some of the roughest cards in the deck. It represents guiding yourself back to your true purpose and finding meaning in it. It's a pouring into both in inner wisdom and outer. I think this fits Oscar really well considering his turbulent spiritual past and finding a new mission through Arthur. Arthur - The Moon XVIII - OUGH! This one is fun! The Moon represents quite literally "being in the dark". It is the unknowable. It is the trusting of instincts and inner voices. There are things that cannot be known, and you are being pulled around by other sources and motives. Now if THAT doesn't sound like Arthur, I don't know what does. John - The Sun XIX - Now this one I struggled the most with relating but I think I've got it. The Sun itself represents overwhelming goodness and things looking up. Now, I think the meaning that it more applicable in this case is the concept of the "inner child". Especially in recent seasons, John is being able to grow into himself as a separate being than the King in Yellow. He's starting to enjoy things, find his likes and dislikes, and find meaning. Maybe there is not a present state of optimism, but John is beginning to display hope and positivity, seating him nicely with The Sun. Noel - Judgement XX - Judgement is the second to last card in the Major Arcana, representing a nearing of completion. It is taking both the past and the present in order to make the right choice and move forward. It is a renewal and a rebirth. Noel was left with mystery and pain from his past. Now, he is confronted with it with Arthur and things are beginning to come full circle. Additionally, Judgement has depictions of vulnerability in it which is present in both Noel's reveal of his alias and the acceptance of John being the King in Yellow. It should be noted that all of these cards are back-to-back in the deck representing their closeness in meaning and reliance on each other. Have fun with it and let me know your thoughts!

[mimokome]

She Didn’t Want a Choice. She Wanted to Be Chosen.

Arcane S1 Ep. 9: Jinx’s Table Test — Emotional Breakdown File #1

Core Emotion: Trust, Identity, and Needing to Be Chosen Time Stamp: 24:30–35:00 (Netflix)

I’m not claiming this is canon or fact. This is just how I read it. What I felt. What landed — and what didn’t. Everyone brings their own scars to a scene like this.

To whoever’s reading this — thank you for your time.

Scene Setup

Jinx starts the scene loud and messy — same as always. But it’s not just chaos. It’s a setup. Everything she does has a purpose, even if it looks unhinged.

She drags Vi and Caitlyn to the table and lays out the two chairs: “Powder” and “Jinx.” And without directly saying it, she’s begging Vi to make the one call no one else ever has: Choose me. All of me. Not the version you miss. Not the one you want to fix. Me.

Vi tries to play it soft. Keep it safe.

She says the right things, but not in the way Jinx needs to hear them. She won’t commit. She won’t pick a side. And Jinx can feel that hesitation in every word.

Caitlyn’s gagged — present but powerless.

Jinx messes with her, sure, but it’s not really about her. Caitlyn is the test. She’s Vi’s new world. The part of her that isn’t Zaun anymore.

Jinx sets her up under the tray and waits. Lets the silence build. Lets the pressure rise.

Then she lifts the lid. Vi lunges. Jinx looks for a reaction — and gets a half-baked one.

She pulls out the Hextech gemstone — her wildcard — but says nothing about it.

Caitlyn breaks free, grabs Jinx’s gun, and turns it on her. Vi pleads, caught in the emotional middle — begging Caitlyn not to shoot, begging her to see reason.

Jinx watches them both. Still. Quiet. Testing with every word, every glance, every twitch of her smile.

And when it’s clear Vi won’t choose — won’t make the call — Jinx knocks Caitlyn out.

She was measuring. Who’s flinching? Who’s posturing? Who’s trying to fake their way out?

Silco starts talking. Tries to hold the room with words. Tells Jinx she meant something to him. That he wouldn’t have given her up.

But she remembers what he said. She’s not stupid. He already admitted he would’ve traded her.

And when he reaches for the gun — that’s it.

The illusion shatters. All the talk about family. About choice. About trust. Gone the second he goes for control. Just like everyone else.

So she pulls the trigger. Not because she wants to. Because she’s tired of not being chosen.

Silco was the last one she thought might actually ride for her. And he failed. Like Vi did. Like everyone else has.

When it’s done, she doesn’t scream. She doesn’t break. She just makes a decision.

Fires the Hextech into the council. Not because it’s strategic. Not because it’s smart. Because she’s done begging for answers from people who keep hesitating.

She gave them a choice. They didn’t make one. So she did. "She didn’t want to be fixed. She wanted to be chosen — as-is."

This scene isn’t just chaos — it’s Jinx cracking open. She’s trying to figure out if anyone actually sees her, not who she used to be or who they want her to become.

She’s not looking for a fix. She’s looking to be chosen — for someone to look her in the eye and say, “I still want you. As you are.”

The whole setup is her final test. One last shot to see who’s real, who folds, and who’s still lying to themselves about what they’re willing to do for her.

What Was the Intended Emotion?

Everyone at that table thinks they’re doing the right thing. That they’re handling Jinx the way she needs to be handled.

But none of them actually see her — not in the way she needs to be seen.

Vi thinks she’s protecting her. She’s soft with her. Careful. She won’t say “Jinx” and she won’t say “Powder.” She’s trying to let Jinx feel safe without committing to either version.

But Jinx doesn’t need safety — she needs certainty. Vi’s gray area just feels like another rejection. Another person who can’t pick a side. Can’t pick her.

Caitlyn thinks she’s staying out of it. But she doesn’t get it. She’s used to rules, structure, clear outcomes.

So when Jinx starts playing with her, Caitlyn doesn’t know how to respond emotionally — only tactically.

She’s smart, but she’s blind here. She doesn’t see the trap Jinx is setting, and that makes her look weak. To Jinx, Caitlyn’s not a threat. She’s a stand-in for everything sterile and distant about Piltover.

Silco was never gonna make the “right” choice, because betraying her was never on the table.

He’s been watching over her since she was a kid. He doesn’t know how to be a father — he knows how to lead, to control. That was his version of protection.

But even then, you can see it: he had a soft spot. He gave her freedom when it wasn’t required. That wasn’t strategy. That was care — just twisted by the only language he knew.

Even when he said he’d “give her up,” I don’t think Silco truly meant it. I think he had a plan — some twisted hope of saving her after the fact. That’s the kind of love he showed: warped, selfish, but real in its own way.

His bond with Jinx is unshakable because he gave her structure when no one else would.

He thinks his love — twisted as it is — is still enough. But love that comes with conditions? With expectations? With control? That’s not love to Jinx anymore. Not after everything.

And the second he reaches for the gun, he proves what she feared most: Even he doesn’t trust her.

They all came to that table thinking they could save her. Fix her. Reason with her.

But all she wanted was for someone to look her in the eye and say, “You. I choose you. No rewrites. No hesitation.”

None of them could do it. So she burned the whole table down.

Why Does It Hit?

This scene hits because it’s not a villain moment — it’s a heartbreak moment.

Every move Jinx makes is calculated. She’s learned from Silco after all these years. She’s not spiraling. She’s setting up emotional traps. She’s testing everyone in the room:

Will Vi commit?

Will Caitlyn flinch?

Will Silco try to control her again?

Here’s the part that gets missed a lot:

When Jinx shoots Silco, it’s not just because he reached for the gun. It’s because she believed he was going to choose control over her.

She’s projecting. That trigger pull isn’t based on what Silco actually does — it’s based on what she thinks he’s about to do.

Her fear. Her trauma. Her constant sense that everyone is just one second away from turning on her. That’s what she’s firing at. Not Silco. Not really.

This isn’t the first time she’s done it.

Jinx has been trained — by loss, by abandonment, by silence — to expect betrayal. To brace for it. So even when someone might not hurt her, she assumes they will. Because they always have.

Vi left. Vander died. Silco lied. Every person who’s said “I care” has followed it with “but…”

So when Silco reaches for the gun, it’s not the motion that matters — it’s what it represents.

Another choice she didn’t get to make. Another person deciding who she is and what she needs. And even if Silco wasn’t going to shoot, the damage was already done.

Her fear had filled in the blanks.

The sound design? Underrated.

It’s not loud. It’s tense. The way the lighter clicks, the crows outside, the kettle boiling in the background, and that eerie quiet when everyone’s holding their breath — you feel it more than hear it.

The average viewer might just see a wild girl with a gun. But if you’re paying attention?

It’s Jinx begging someone to finally pick her. Not to fix her. Not to calm her down. Just to say: “Yes. You, right now, are enough.”

Rewrite That May Have Hit Harder

Silco should’ve slid the gun toward her and said: “It’s always been your choice.”

That line. That moment. That gesture — giving her the power without control — would’ve made her final decision feel like ownership.

She wouldn’t be reacting. She’d be choosing, fully. And that would’ve crushed us.

Final Thought

Jinx didn’t snap because she’s unstable.

She snapped because she was cornered — again. Because the people she loved most couldn’t give her the one thing she needed: To be chosen. Without conditions.

She gave them a chance. Put everything on the table — literally and emotionally.

And when they hesitated — or tried to control the outcome — or couldn’t just say what she needed to hear? She made the choice for them.

That’s what this scene is. It’s not about chaos or madness. It’s about what it does to a person when they keep reaching out and no one ever reaches back.

That feeling of having to be your own answer when no one else will give you one.

That’s why it hits.

Disclaimer

All rights to Arcane, its characters, and related imagery belong to Riot Games and Fortiche. This is a non-commercial analysis intended for educational and commentary purposes.

About Me

I’m not a polished writer. I’m not an industry name. I’m just an emotional dude trying to figure out where the hell he fits. I feel shit — deep. I pay attention. I watch people. The way they move. The way they speak. The pauses they don’t mean to make.

I care about what’s underneath — what’s real, even when they don’t say it out loud.

I value emotion — raw, unfiltered, ugly, honest. The kind most people hide. I want to bring that out. I want people to see the parts that get ignored.

Because whether it’s on purpose or not, most people only look skin deep.

You don’t know what someone’s been through. But if you actually understand where they’re coming from — even for a second — it changes everything.

That’s why I’m here. That’s what this is for.

Written by: Jordan Waltz

[rainbow-sunshine-unicorn]

The entrance scene to Lady Danbury’s ball is one of my most favourite scenes from Season 3 because there’s so many little details, and interesting tidbits that show the dynamics between these characters beautifully.

But I feel like a lot of these small but important details are missed, simply because this scene is a really quick one. So, let me breakdown some of my personal favourite bits from this scene:

Starting with, Anthony entering, proudly with his Viscountess on his arm. His head is held high and there’s even a spring in step. He’s so freaking happy to be walking in with Kate!!

But, besides being Kate’s proud husband, he’s also Francesca’s worrisome big brother and so he turns around check on her and when he sees that she’s feeling apprehensive, he holds her hand and tucks it into the crook of his elbow to remind her that he’s right beside her, to support her

While, Anthony comforts Francesca, Kate keeps the attention off them by dealing with all the polite courtesies and by complimenting Lady Danbury’s skills as a hostess.

Which distracts Lady Danbury from Anthony and Francesca long enough to preen at her Ball and also gives Anthony another convenient reason to keep falling deeper in love with his wife

Benedict and Colin are on their best behaviour because they are in Kate’s direct line of sight and she’s smiling sweetly at them and they absolutely will not be the reason she’s disappointed.

And for once, Violet Bridgerton is simply looking forward to a Ball

[raven-at-the-writing-desk]

I feel like Unparalleled Aeons and Far Out songs stands out to me is how both members were given equal screen time (Given they are two). Because I guess the issues with the songs is how they have small amount of time for some. Well I don't blame some not just the number of members but also how some of them aren't professional singers like

Notice how the rest of the songs, the way housewarden sings like being the main singer (make sense on who is twisted version they are) the rest being like back-singers but still have some good solos. Meanwhile, the way Idia and Kalim sings doesn't feel like Jamil and Ortho are back-up singers nor them being main singers but like partners with equal parts. When I listened to the other songs, I can't tell who's who while the Ignihyde and Scarabia I can tell.

I don't hate the songs, but you can't help but notice that makes it interesting. Overall, I love all songs that have their motifs, themes, and lyrics. It's kinda sad these songs couldn't be use in modern Disney that much.

[My personal ranking(s) of the dorm songs here!]

I definitely feel like Far-Out and Unparalleled Aeons had the most evenly distributed lyrics of all the songs. As you said, maybe it was more challenging for the composer to balance larger groups, or maybe the composer was limited in how he could write the songs due to some VAs being less skilled with singing. However, I also have to wonder how much of this was intentional??

These are dorm songs, right? And the VAs are singing in character. So to me, it feels like the songs are storytelling too, telling us about the dynamics of the group through their performances.

Looking back on it, the two most balanced songs belong to the dorms where its members are the most deeply intertwined with one another. Kalim and Jamil are locked into a toxic codependent relationship due to their families' history. Kalim relies on Jamil to do practically everything for him, while Jamil is stuck in a servant position he wants to break free from and always forced to play second-fiddle to Kalim. Idia is constantly haunted by Ortho's death, and Ortho plays a huge role in providing support for his older brother's mental faculties (encouraging him to get out of his room and mingle with peers). Ortho is very reliant on Idia for much of his own identity and presence at NRC (prior to book 6), only allowed to be there because he was registered as Idia's + Idia provided tech support for the school. Idia also designed many new forms (gears) for Ortho.

Many of the songs are structured to feature the dorm leader--which I'd argue is thematically appropriate, as I will soon get into. I have a pretty bad ear too, but I was surprised at how many of the voices I could distinguish. The card soldiers, Silver and Sebek, and Epel and Vil were the only ones I couldn't quite make out. There was enough variation for me to tell the others apart, especially Savanaclaw (no way would I mistake Ruggie for Jack or even Leona for Jack).

Every song not only has its own genre, but also its own vibes. I like that Twst can be its own thing and not necessarily kowtow to Disney's more traditional musical roots. I personally wouldn't want these to be incorporated into modern Disney film or TV productions. When Disney tries to do this, it ends up sounding so tonally dissonant or mismatched with the rest of their OST(s). ... Anyway, here's a very brief analysis of each song's arrangement + some lyrics and how they're divided up-- (MVs not taken into consideration; I unfortunately don't have the time to analyze every frame and how it lines up with the lyrics.)

Heartslabyul's Obedience is interesting in that it is very symmetrical with its vocal pairings. Cater and Trey sing with one another while Ace and Deuce sing with one another. The third years are deliberately paired with each other, while the first years are deliberately paired with each other. Trey and Cater, the original loyalists, have lines about "[playing] your cards right" and how their ruler is looking righteous and smug. Meanwhile Ace and Deuce, the rebels, sing about not being "caught" by their dorm leader's gaze. It's not until the second half of the song where they mix things up (Deuce with Trey, Ace with Cater), but it's still very predictable with the blends (always a third year with a first year). Trey and Deuce, the more level-headed duo, bring up setting the table, while Cater and Deuce, being more of the "hide your true feelings"/"avoid responsibilities" duo, "[hide] behind a smile" and warn to not "get caught with your tongue sticking out". This goes along with the song's theme of following the rules to a T; all the card soldiers are in place! You can even say that the song starting off with the rhythm of a military band indicates the song coming up will be regimented and structured. The only part I would say outright "breaks" this rule is when Adeuce sing with Riddle (around the middle of the song?) but in a way, that also makes sense given that those first years rebelled against Riddle in book 1, but eventually come around in book 7 to become his supporters. Then they of course all chant together for the English portions ("Yes, your Majesty!", "My pleasure, my Queen!", "As you wish, my Queen!") where they express their devotion to the Queen, indicating that these phrases are something "[the Queen wants] to hear". (Riddle chants with them too, to show respect for the rules.)

I think the true chaos of the song comes in the second half. Trey and Cater mention running through a maze and how the Queen's righteousness breaks at that moment, then Adeuce elaborate it scatters like cards. Riddle remarks how this--the twisting maze--"[hides] the true colors of [his] heart". This parallels how there was an elaborate chase through the rose maze in the depths of Riddle's book 7 dream, obscuring his loneliness.

You definitely get the vibes that although everyone has their little solo, Adeuce, Cater, and Trey are there to support their dorm leader. Riddle gets about the same amount of lyrics as the others, but his parts are more embellished and have more vocal flair to them. The lines specifically assigned to Riddle also feel like he's the Queen welcoming you to his territory full of his followers ("This is the path to the Queen's rose garden", "The cards are lined up and awaiting their (next) orders", etc.). The lines assigned to the card soldiers seem intentionally designed--as if the cards are reminding you of the rules so you don't upset the Queen.

DIADEM is reflective of the relationships between its dorm members too, but the relationships are very different than Heartslabyul's. The song begins with Jack singing, followed by a line in which he and Leona sing together. Then Ruggie has a solo line, which is also followed by a line in which Leona joins him. It's only AFTER Leona has already shared lines with Jack and Ruggie that he belts out his own solo, which stresses that they will continue to roar, no matter how many times it takes for their message to be heard. This gives the impression that he swooped in to support Jack and Ruggie with their own parts, just like a benevolent king or mentor figure/senpai might do for his people or mentees/juniors. This is also what Leona essentially does for his dorm in book 2. Then once Leona makes his own declaration, they're all able to sing together, united as one. It's like he uplifted Jack and Ruggie to join his rebellion.

There's an interesting part in the chorus where Ruggie and Jack break away to sing (without Leona) about fate and laughing through the hard times which. Has some heartbreaking implications when you consider that Leona expressed as late as book 6 (and is strongly implied in his book 7 dream as well) that he sees hope in others, but not himself. So??? Him NOT joining Jack and Ruggie in singing about laughing through difficult times seems pessimistic. Around the middle of DIADEM, Leona shouts out commands ("howl" and "roar", respectively), each of which is punctuated by Ruggie and Jack joining him with the English phrases "BEAT DOWN" and "DO MORE". These come off like a leader rallying his allies, and those allies responding with chants for their cause. This is especially the case because right after we get Ruggie declaring that his blood is boiling (ie he's pumped now) and he's eager to destroy a future that has already been decided for him. Then Jack enters, saying that he, too, wants to tear down an unjust world. There is NO Leona in this part, it's ONLY Jack and Ruggie, who have been newly emboldened by his words. The song really highlights how much the juniors are motivated by their strong leader.

In Heartslabyul's song, you get the sense that everyone else exists to prop up the Queen/Riddle and try to keep each other out of trouble by reciting the rules. In Savanaclaw's song, you can see how Leona encourages his dorm members and they react by taking to the words that lift their spirits. Both dorms' members are showing deference to their dorm leaders, but in different ways.

Entanglement opens with Jade imploring the listener to spill their secrets to him. Then Floyd comes in, continuing the charade. Azul takes over from there. This framing makes me think of Octavinelle's usual schemes--that is to say, the twins advertising Azul's "services" and then finally introducing us to him, this supposed "wish granter" (a procedure described to us in book 2). The order of the characters' presentation slots in nicely with this: we start with the more polite and unassuming twin luring us in. Once Jade has set the bait, Floyd, the more conspicuous brother, feels safe to step in and really talk up what Jade laid out in the beginning. Only after both twins are pitched Azul does Azul actually show up to make his offer. Jade and Floyd make up the majority of the chorus, singing together to coerce the listener into making a decision, even framing it like the decision is being made exclusively based on YOUR free will ("It's all up to you"), when really, it's not. Azul shockingly says very little solo in the chorus, only "Now, go on, we're all ears", before the twins join him and they urge you to share your wish with them.

The latter half of the song gives Poor Unfortunate Souls energy; it features Azul telling the listener they won't find a better bargain than this, then Jade saying they're drowning in their own desires and finally Floyd putting on the pressure to close this deal. Azul then mentions paying a price and how his rules are reasonable, which is very similar to how Ursula demands her a toll be paid (how it isn't "asking for much", etc.). The twins also very characteristically warn you what will happen if the contract is broken ("punishment", "squeezing", "no escape"), like the potential consequences if Ariel cannot get the kiss of true love from Eric. Overall, Entanglement reads as the extended experience of you being roped into a Bad Deal.

Far-Out opens with Kalim (the dorm leader), with Jamil (the vice) following. This pattern of Kalim first, Jamil second (which reflects their dynamic in general) also occurs when they speak English in the song; Kalim gets his verse about the magic carpet first, Jamil gets his verse about treasure later. The dual nature of Kalim and Jamil is also made apparent here: Kalim is allowed to fly "whenever [he] wants", while Jamil is only allowed to "dream" about "treasure whenever [he] wants". When the two sing together, this duality persists: "good and evil intertwine", "[falling] into a sea of ecstasy", the part where they list several people of different social standing, etc. The one time when Jamil sings before Kalim is at the beginning of the second verse, before Kalim mentions a scarab flying in front of him. This comes off as if Jamil is leading the way for his dorm leader, like some puppetmaster dangling his puppet and tugging it along by the strings. I think it's very telling that Kalim's opening line is about describing the scorching heat of their homeland but Jamil's opening line is about... TEMPTATION??? Hilariously on-the-nose, seeing as how Jamil is the one with the literal mind control UM and he describes a serpent in the night with sharp eyes in the lyrics to Far-Out (literally describing himself). Meanwhile, Kalim's UM chant seems to be referenced, as he talks about singing and dancing. Both Scarabia boys sing about "giving in" together, but as the song goes on, the framing of the lyrics makes it clear they're "giving in" to different things. For Kalim, it's "the heat" (a stand-in for Jamil's mind control), which is made apparent by Jamil immediately saying "indulge in this feeling until it takes over" and Kalim later says he is "captivated by the heat". For Jamil, it's "treasure", something he repeatedly indicates as wanting to take throughout the song. For example, Kalim sings about endless riches, and then Jamil has a solo line where he says "if you desire it, take as much as you want"--and his dream in book 7 shows him taking all that was once the Asims'. They're both venturing to a metaphorical oasis to seek relief, but seem to be distracted by things along the way ("heat", "treasure", etc.).

Kalim mentions a golden scarab crossing his eyes in one line, and while this is an obvious Aladdin reference, it also makes me think of Jade's one golden eye interrogating him in book 4; this would be another time in which Kalim is taken advantage of by others. First by Jamil, then by Jade. At the very end, Kalim sings about undoing shackles (most likely referring to Jamil's) while Jamil sings about a party (of which Kalim throws many of) that will eventually exhaust. The other Scarabia character is at the forefront of each boy's mind, and it is also where their respective desires (friendship for Kalim, freedom for Jamil) derive.

La Volonté is French for "will" or "willpower", which is a huge theme in the song. Unlike the other songs so far (which open with a solo or duet), La Volonté begins with all members of Pomefiore singing about their "one and only wish", and how they intend to immortalize their beauty. This is fascinating in that all three of them have very different personal goals (Epel wants to be strong, Vil wants to be seen as a "hero", Rook wants to pursue beauty), but they sing in unison anyway, because this validates all of their goals as being "beautiful".

Rook, the most secretive of the trio, mentions a heart locked away in a box, then Vil joins him in speaking of a truth entering his ear--like in book 5, when Rook convinces Vil to go with the more unconventional picks for the VDC/SDC auditions. In one of Epel's solos, he tells of sweet poison dyed in crimson, which is wording that is very close to his UM name. When Vil joins him, they sing, "A little more, a little more...", which makes me think of how Vil intends to "perfect" Epel into a weapon to use against Neige in book 5. The fact that Rook sings about their goal "[being] within reach" is ironic, given that it's ultimately his vote that decides NRC's loss.

Though this song starts off with the Pomefiore boys together, this is definitely one of those songs that centers the dorm leader over the others. There are many parts where it's just Rook and Epel singing ("Let all freeze", "[...] grant eternal slumber", etc.) and Vil joining in later or getting a solo after them. The first "waltz upon white snow" invokes the image of Vil standing over the cold body of his fallen rival Neige, but later on Rook and Epel join in singing about this. I wonder if that's an intentional callback to book 7, when they delved into Vil's dream and found Neige... dying. It's Vil singing somberly about all the hands that seek to pull him down (all his haters, all the people who assume he is as evil as the villains he plays), not knowing "the worth of a true star" (ie himself). It's Vil issuing the order for your breath to still (as if your breath has been stolen away by him; this is also the beginning to Epel's UM chant). And, most importantly, it's Vil vocalizing to end the song--a song which, need I remind you, started off with ALL of Pomefiore singing. Now Epel and Rook have stepped back, allowing Vil, the "true star", to command the stage.

Oftentimes fans—and even the Twst characters themselves—will compare Riddle and Vil on the basis of strictness. This also holds true for the compositions of Obedience and La Volonté. Both songs have their respective queens front and center, but La Volonté is definitely moreso than Obedience. Maybe it’s Vil’s celebrity status that has him commanding the spotlight? It could also be that Rook and Epel are simply more inited under a common front (“beauty”) whereas the card soldiers are more selfish and follow Riddle’s rules as a means to avoid punishment for themselves rather than truly subscribing to his strictness.

Unparalleled Aeons has Ortho starting us off, and it's framed kind of like the middle of an argument between the Shroud brothers?? He seems to be addressing Idia, asking if he will shut himself away again, only for Idia to respond that "[he's] just one soul" and that "[he's] the problem". The fact that the song begins with Ortho and not Idia--the dorm leader--makes me think it's symbolic of many of Idia's social problems "originating" with the original Ortho's death. This would go well with the theme of persisting despair in the early verse. In any case, they continue to have this back-and-forth, with Idia stating that he has known dreams are hollow for a long time (likely a reference to his backstory and how he's destined to be Director of S.T.Y.X. one day, whether he wants to be or not). The two later on talk about sulking in the Underworld, which is something Idia notes is a common trait between him, his father, and his grandmother--previous or current heads of S.T.Y.X., and what awaits him too.

The chorus has both Shrouds singing, and it is very much structured around the book 6 disaster in which they attempt to open the gate to the Underworld, unleash Phantoms upon the world. They reference their "happy end" and Cerberus's engine revving up--perhaps to call attention to Phantom!Ortho, the third "head" and sibling to the Shroud brothers. Idia sings about how his loneliness spawned into genius (could he mean how his grief led him to invent a new Ortho?) too. In another verse, the Shrouds declare they will "rearrange the cosmos" and Ortho jeers about heroes that arrive too late to stop them. They're almost gleeful in the "whirlpool of {swirling) souls", full of despair and chaos as they finally realize their shared dream. Hilariously, Idia and Ortho shout "FEVER TIME", a special state that grants temporary advantages in games--indicating that, at least to the Shroud brothers, they see this all as one big game.

At one point, Ortho has a solo line about how a happy ending with tears is crueler than being forever alone. Is he talking about bittersweet endings here? Does this not describe book 6's conclusion--an ending in which Idia is forced to say good-bye to one brother, while also embracing another brother? Idia gets his own line about having all of the cheats and going at full throttle, which paints the image in my head of him putting together that cheat tool and delivering the weapons + armor to Silver and Sebek via magiwheel in book 7. Ortho's solo line in the chorus mentions entertaining trials and tribulations, which I think calls back to book 6, when he tested each of our little groups with mini games. Unparalleled Aeons is simply packed full of internet lingo and gaming slang, all being weaponized to taunt the listener.

The Shrouds lament about how they've been "forsaken by [...] Fate", then make reference to the Fates cutting a Thread of Life, sending them crashing towards "The End". They also later call to attention knowledge of past, present, and future, which are concepts associated with the Fates too. The cut life might be the original Ortho's death, or it could be Phantom!Ortho finally moving on, and thus Idia pushing past his grief. The chorus wraps up with Idia whispering "Welcome to the Underworld"--very fitting, seeing as I recall him uttering a similar line when welcoming the OB boys to S.T.Y.X. HQ (the domain he will rule in the future) for the first time.

Unlike Far-Out, which has an insidious vibe due to the clashing nature of Kalim and Jamil’s parts, Unparalleled Aeons allows Idia and Ortho to be on the same page. It really feels like a Final Boss and his top-ranked henchman scheming together to destroy the heroes.

Capricious Calamity is technically another song which centers the dorm leader, but not in the same way that La Volonté does. In La Volonté, Vil has many solos, whereas in Capricious Calamity, Malleus is the subject of the song, the one being praised and worshipped (using archaic terminology). Given that Diasomnia seems to be a cult of personality around Malleus, this direction makes sense--and the choice to open with Sebek, THE Malleus fanboy, singing about his master's radiance shining brightly in the night, also makes sense. Sebek also closes off the second verse, declaring "unending tribute" to Malleus.

The first verse slowly evolves with a new character added per line. First there's only Sebek, but then it becomes Sebek and Silver together. It gives the vibes of wandering into an old castle and running into the ruler's guards who are evaluating you before you may be graced with their lord's presence. Lilia (the eldest and most experienced of them all) then gets a brief solo before making way for Malleus. It feels like Lilia showed up to announce their prince's arrival, and how all should make way for him. And of course the first thing Malleus says is that he "knows not of celebration"... This is followed up by Silver mentioning that Malleus "wishes for a miracle" (to be invited/included). Then Silver, Sebek, and Lilia speak of this as a transgression which warrants judgment. Again, Lilia concludes this verse with the line about judgment, which harkens back to earlier, when he seemingly "announced" Malleus.

Malleus leads the chorus once Lilia has summoned him. He calls himself an omen that comes with the lightning (his signature), then his dorm members chant that all shall kneel before his green light. Disembodied voices join in, echoing that the listener should give their entire being to the thorns. It paints the image of loyal knights kneeling before their king and beckoning others to do the same in order to quell his rage. This is also the note that Capricious Calamity concludes on, which just further drives the message home.

Silver starts the second verse, noting Malleus reflected in the dark skies. (Sebek begins the first verse, and Silver he second; the two youngest in Diasomnia are also the "start"--the start of, perhaps, a future where fae and humans can live in peace together.) When Sebek joins Silver, they sing about how Malleus, even at his lowest, burns brightly. These phrases paired together, said by the first two of Diasomnia to "awaken" in book 7, make me think of them staring up in horror as Malleus's draconic form takes to the skies. They're terrified and in awe of his might. There's a part where Malleus and Lilia share a line, commenting on a commotion and the cries of the weak ringing out. These two, the strongest in Diasomnia, remarking on this... It calls to mind their battle within Lilia's dream, or even Lilia intervening when Malleus (as a dragon) intends to strike Silver and Sebek down.

At the very end, Malleus announced another omen, this time harkened by spreading thorns rather than lightning... thorns, like the very ones he summons to drag us all into a deep, deep slumber--the trap he sprung in book 7. I think it's telling that it's Silver that joins Malleus in song before the entire dorm sings together. This duo sings about an aurora that is overtaken by the abyss. Is this meant to be a reference to Silver and Malleus's final confrontation, and how Silver refused to slay Malleus at the crucial moment?

It’s really interesting to compare this song to DIADEM, the two performances featuring a prince. In Capricious Calamity, Malleus is propped up by his dorm members—but in DIADEM, Leona is the one propping up his dorm members. This really speaks to (and feeds into) the idea that Malleus and Leona are opposites of one another. A prince worshipped by his people and promised the throne. but still left lonely and emotionally unfulfilled… versus a prince scorned by his people and forbidden from having the crown for himself, yet he’s surrounded by people who look up to him and trust him to lead them… OTL

[speakgermanhier]

Sorn and Tai's Scene Breakdown

Spoilers for ep 9 of My Stubborn ahead.

The following is going to be my very long breakdown of the confrontation scene between Tai and Sorn because I think there is a lot of interesting things going on and it is sort of the culmination of 9 episodes of secrecy between two very close friends. One thing I really like about this show is how, the more times you watch a scene, the more is revealed and the better the performances become and this is a truly pivotal moment for Sorn. I think it is worth a closer look.

Ok, so, here we go. The scene starts at 35:42 with Sorn bringing food for Jun because he assumes Jun is at Tai's house--an assumption Jun hadn't corrected him on.

Tai is sitting while Sorn is standing and this gives Sorn the height advantage. It doesn't last long, since Tai stands up, but Sorn still goes with an aggressive, dominant approach, demanding to know where Jun is. And we know this approach won't work because of the camera angle. While Tai is even with the camera while he talks.

The camera is above Sorn, looking down on him as he postures. He is not the one in control of this confrontation, he just doesn't know it yet.

And, as per usual with Sorn, he is using very rude/casual speech here. Even when referring to Jun, if my listening comprehension is serving me right, he uses มัน [man] which is a very rude way to refer to a person. And Tai uses the same. In fact, it isn't until 36:28, almost a minute into the argument, that Jun is even referred to by name. Which is when Champ finally catches on to some of what's happening.

And Sorn is still all bluster, trying to bulldoze through Tai to get to what he wants but Tai has no obligation to defer to Sorn's demands. As the camera angle has already revealed, Tai, though he speaks softer and appears calmer, is the one controlling this exchange and his position is higher than Sorn's.

Tai calls Sorn out for his behavior and calls him a coward and this is the first break we see in Sorn's dominance and aggression that he uses like a shield around himself. It is also the first straight on shot of Sorn's face since the argument began.

Sorn then gives the same excuse to Tai that he has been telling himself for who knows how long and that he told Thanu. It's a flimsy excuse and he gets punched for it. The punch comes at 37:31, almost 2 minutes into the argument and I think it's significant that he is not getting punched because he had sex with Jun.

Mali's father in episode 8 kicked/pushed Sorn for touching his daughter and the teaser for episode 9 made it seem like Tai would punch Sorn because Sorn had sex with his little brother but that's not actually how the scene plays out.

Tai already knows Sorn has had sex with his little brother from the start of this scene and it isn't until almost 2 minutes in, when Sorn uses Tai himself as his excuse for not admitting his feelings for Jun that Tai punches him.

And this, right here, is one reason I wanted to write about this scene. Because, for 9 episodes now, Tai has been Sorn's excuse for both treating Jun well AND Sorn's excuse for not committing to Jun further. And that's convenient and all until Tai is standing right in front of Sorn, refusing to be his excuse; demanding Sorn to figure his shit out. I mean, to have your walking talking excuse to be noncommittal to just turn around, go up to you and say "Commit or leave, you idiotic coward" is a great storytelling choice!

We have these goods friends, on opposite sides of a fight, with Champ stuck in the middle trying to be the mediator, and Tai is not mad Sorn had sex with Jun, per se. He's mad Sorn played with Jun's emotions and used Tai as his excuse to do it. And while Sorn is established to be a stubborn idiot, he can't easily ignore what Tai is saying when Tai has been his excuse all along and now it is Tai himself taking that excuse away from him.

And now here, a minute after the punch, Sorn finally stops demanding, stops posturing, and shows his true, pathetic self. And, for Sorn, this is about as polite as we've ever heard him. He still refers to himself with rude/casual speech but he actually uses Tai and Jun's names instead of the rude pronouns he had been using up until this point.

And, again, Tai won't let Sorn continue lying to himself, Jun, and those around him. He demands Sorn be honest and the moment we've been waiting for for 9 episodes comes at last. Time stamp 39:10, nearly 4 minutes into the fight.

And this is the other reason I wanted to write about this scene. Because on my first viewing, this struck me as very easy and anticlimactic. Sorn continues.

Translation note, Sorn is back to referring to Jun as มัน [man] and what he actually says here is "I like him so much I don't know what to do." I'm not a translator or anywhere close but I know there is a constant debate when translating, do you go for the literal word for word translation or more of the intent of what is being said? Given that, I think this change in what Sorn said is interesting. I also think "I don't know what to do" is more accurate to Sorn, tbh.

And finally, we get the moment when Sorn actually hears himself what Tai, Champ, and the audience just heard and the dawning realization of what that means. And I really wish I knew how to GIF because Boat's acting here is subtle and great: the startled blink followed by the slight widening of the eyes in realization. Time stamp 39:57, go see some beautiful acting.

To me, Sorn's "fine...I like him" could have been just Sorn placating Tai, not a true admission. Like, the denial is strong in this one, and while Tai broke down a lot of Sorn's barriers during this confrontation, I still don't think Sorn was fully ready to say he actually likes Jun. So, it's like he told himself, "Just say you like him, you know you don't, not like that, but if you say it, Tai will let you see Jun," and so he half-heartedly is like, "Fine...I like him." But, once he said it, even if he thought he didn't mean it, it's been said. The words he's been stopping himself from saying, the feeling he's been stopping himself from acknowledging, it's out there, he's put voice to it and now that feeling, that truth, can no longer be ignored.

So, here, I think this is the true confession. There's so much more emotion in Sorn's voice when he says this, I think I even heard a hitch in his breath before saying it. And honestly, he sounds kind of devastated.

And it's so absolutely fitting that it is Tai that gets Sorn to this point because it was his imaginary version of Tai that would forbid any true relationship Sorn might want with Jun that Sorn used to deny his feelings for so long.

Time stamp 40:03, the fight is over. That's not even 5 minutes but it felt like a much longer scene. And what I first thought of as a little anticlimactic, I now see as a rollercoaster of emotions for Sorn.

So, if you're still here with me after all of that, let's just take this moment to appreciate a well blocked, well acted, and meaningful scene that, at first, seemed a little anticlimactic but, actually, was kind of a genius way for Sorn to begin facing the consequences of his actions.

TLDR: While at first, I kind of thought Sorn admitted his feelings too easily, after analyzing the scene more fully, it is kind of poetic justice that Tai, the embodiment of all of Sorn's excuses in how he treats Jun, is the one to demand Sorn own up to his own feelings.