#but how are you gonna get the full context of that if the story refuses to give you the context you had in the original

[mishkakagehishka]

I just . Repeating "characters are tools" you end up erasing so much about arashi's character and motivations and interactions with other characters if you avoid using her pronouns aka avoid showing she's transgender. It's on the same level of frustration with the translators i had when i saw they had Mika speaking standard English, there's a LOT that gets lost if you don't show those little things.

[emblazons]

Still thinking about how understanding what happened in the S3-S4 relational narratives requires you suspend the belief that the last two (soon to be 3) seasons of Stranger Things are designed to stand alone.

With S1 and S2, the seasons existed as standalone entities—S2 was a sequel yes, but it wasn't a direct narrative extension of the action that occurred in the season before. You could watch Season 2 with only a bit of context from the first season (one boy got kidnapped and taken by the monster into another dimension, the girl from the lab with the superpowers showed up and they worked together to save said boy, but then she disappeared and was presumed dead) and watch the second season with little issue.

Its not the same with Seasons 3-5. If anything...it helps when analyzing to imagine Seasons 3-5 as one "season" in the same way S1 and S2 exist as single entities; the Duffers have already confirmed its true for Seasons 4-5, but it gets a lot easier to follow arcs and action, particularly for the youngest characters, if you stop trying to find coherence in single-season stories and look at each season as three parts of a whole.

This is true across the board, but it's particularly true in the case of understanding Byler, both as individuals and a pairing (though the full buildup of their romantic arc will take us across all 5 seasons). Understanding why S3 feels like you just got dropped into nonsense with them specifically (after two seasons of Michael "I'm the only one who cares about Will" Wheeler and Will "I am central to the story even when I'm off screen" Byers) is because The Duffers took the risk of introducing a brand new set of conflicts to the youngest characters: namely, ongoing romantic relationships, personal identity crises and sexuality...only without resolving the conflict and action in the 8-9 episodes they usually do, which is why you feel frustrated by it.

Basically: Season Three was the season where we set up the relational problems that need to be fixed—we just have three entire seasons to work through them, which means its gonna look bad at the start and good as we work through the problem (over the course of a few seasons) to get to the solution.

forewarning: ferociously long post ahead (with headers for clarity)

Will’s Arc: A (Queer) Coming of Age

With Will, the problem re-introduced in S3 is that he feels different from his peers, and not just because he's gay; its because 1) he is in love with Mike in a way that is more genuine than we are being presented in the third season (that "sandbox" "puppy love" "break up and makeup" summer fling energy that S3 has) and 2) he is unwilling to step into the lie of "maturity" as its being presented in the story, aka giving up things like hanging out with his friends over focusing on relationships or giving up games (DnD in particular).

(sidebar: I wrote another analysis touching on the above here).

A lot of people I've met who watch the show casually say things like "it just seems like he's not able to grow up like his friends" and even "he's falling behind," but I think that's on the right track while missing the point: the reason Will is written as "refusing to grow up" is because he is the character that represents the rebellion of The Duffer's heart and interests, and both of the things that seem like they would be a bad because they make his character different in the narrative are actually surprisingly positive for his "three season" arc...if you understand what the ongoing themes of Stranger Things are.

With Will, the “problem” in the story exists because he is the one who represents being weird/the outcast/queer and not giving into the social pressure to “let go” of that—he loves another boy, is more emotional than his peers and loves nerdy things like his tabletop board game and refuses to deny that to himself, no matter how brutalizing that is for him and his feelings. In that way, he is the character who “represents” the sentiment of The Duffers themselves—he is a nerd, a child at heart, and he has no problem taking DnD and anything else into “adulthood,” (looking at you “yeah, yeah I really did” during the rain fight) the same way The Duffers have.

That said: as we move into season 4, Will is presented with an evolution of this conflict—he wants to continue to be honest with and about himself, his feelings, and his interests…but it comes in direct conflict with his understanding of his peers & Mike, whom he loves.

We see this conflict show up repeatedly in Will’s actions in S4, especially in regards to the painting, which is the physical representation of both his love of Mike and his embracing of his nerdiness. Will shows up to the airport with his painting in spite of not speaking to Mike because his heart is to be honest and true-to-self regardless of anyone else—you even see this as he takes the painting on the road when they plan on going back to Hawkins, after he makes up with Mike. The problem is though (and this plays into the whole “we want you to feel like you lost” sentiment The Duffers spoke about, as S4 is the “down” before the “up”resolution of the whole narrative) that Will he realizes that his desire to be honest is getting in the way of (his perception of) the happiness of the people he loves, so he decides to betray his character and break the first cardinal rule of The Party…to tell his first lie.

There are plenty of phenomenal analyses on other aspects of Will’s connection to Vecna/the UD and the love triangle dynamic at play across this app so I’ll leave that alone here (I do have many thoughts on why the above makes Henry Creel the perfect villain foil to Will specifically), but: for the sake of understanding Will’s relational narrative arc, it’s critical to understand that our “low” for him is the betrayal of his ongoing S3 character—and that him undermining his self-honesty, nerdiness and love for Mike are the things that The Duffers have set themselves up to resolve in S5.

The resolution for Will is to re-embrace his differences —to realize that lying to yourself and other people about who you are and what you love (both in terms of “nerdy” interests and his queerness) is not who he wants to be, no matter how hard it is to stand up for in the wake of adversity—along with embracing the power of real love, which is also an ongoing theme the Duffers have set up in their relationships beginning in Season 3.

Now…on to Michael.

Mike’s Arc: Finding Yourself & Embracing What Makes You Different

—anyone with a single toe in this fandom knows that Mike Wheeler is one of the most divisive characters in this story when it comes to deciding 1) what his motivations are and 2) what his desires will be, but (and bare with me on this)…I think that’s kind of the point of his story. Mike’s “three season” arc is about him moving through a confusion of identity into someone who can embrace himself while addressing the things he is most insecure about—namely; being seen, being useful, and (very, very likely) the fact that the person who makes him feel most secure, seen, useful and loved is another boy.

There are several context clues that give credence to the fact that the reason Mike feels so wishy-washy / lacking in depth is because his struggle is not knowing how to find his place in the world, though you have to go further back than S3 to find them. Let me explain.

From the literal pitch of the show, there has always been an undercurrent of self-doubt and insecurity in Mike; his desire to escape the weight of feeling insecure has been a driving factor in his actions since before he was even on the screen, and it is impossible to understand what motivates him without first understanding that.

With Mike, his actions across all seasons have been weighed down by his desire to escape his insecurities through action—and as he’s gotten older, what he’s used to escape those insecurities (to be someone like the paladin he plays in DnD) has evolved and shifted, ranging through everything from turning the world (no pun intended) upside down to find Will; being willing to sacrifice his life to save Dustin from bullies; using any weapon he could find to fight a baby demogorgon; and wanting to be a heroic knight who protects the perceived vulnerable girl once he starts dating Eleven.

The point is: Mike’s deepest core need is to assuage his insecurities by doing whatever he can to be a good person—and when he feels like can’t do anything or protect the people he loves…he spirals. That’s been true since the start of his character…and everyone from The Duffers to Finn Wolfhard himself has mentioned it.

Now. With that baseline established, let’s talk Season 3.

Ironically enough, a lot of people feel like Mike’s character has “fallen off” because he, by the sake of all appearances, has achieved all the things he is supposed to want—namely a girlfriend, which (at least in his mind) is the physical embodiment of successfully “addressing” his core fears.

Because Mike has all the external markings of a well-adjusted kid—he comes from a wealthy family, has a solid group of friends (who are also mostly now striving for social normalcy) and even a girlfriend—he seems to have addressed what many people even in real life believe is the end of most arcs & the fulfillment of the fantasy. For Mike, the appearance of his S3 life seems to have assuaged the fears at the root of several of his insecurities, including the desire to be needed, the desire to protect, the desire to be useful, and the desire for acceptance…all because now he’s saved El and has her at his side, and having a girlfriend means he has everything a good, well-adjusted guy is supposed to want.

Or…does it?

With how The Duffers set up the story (with S3 as the introduction of a new conflict for every major character), the answer they’re giving you based on how Mike interacts with other characters is no—having a girlfriend and acting “mature” doesn’t solve anything, especially if the core problem of you having an insecure identity while being dishonest with yourself isn’t addressed…and it’s the arc of Mike learning that “lesson” that we find ourselves dropped into moving into Season 3.

Beginning in S3, the war on Mike’s insecure self-concept comes at him on two fronts: on the one side, El, who started her journey needing Mike because of her background but now has no real need for any of the things he so desperately wants to provide as a means to validate himself, and on the other Will, whose deep familiarity and history with Mike combined with his confidence in his own identity presents Mike with a challenge of self-reflection that he doesn’t exactly feel ready for yet.

(sidebar: my post on how Mike's arc is intrinsically tied to a subversion of the "Born Sexy Yesterday" trope is a helpful expansion on things I talk about here).

We see this in how Mike gets frustrated with Max for giving El the space and language to not need him (undermining his role in her life as someone who she needs to protect/guide her); we see it in how he says cruel things when Will behaves in a way that challenges the actions Mike has taken to be “mature” (how he insults Will for not also wanting a girlfriend / still wanting to play the games that set them apart as nerds/different); and we see it in how Mike still goes out of his way to fix those relationships in the best way he can—because he knows on some level that what he’s doing in several moments isn’t in alignment with who he wants to be, even though they are both presenting him with radical internal challenges.

Ironically enough, Dustin does a great job of summarizing the two sides of Mike's internal conundrum in what he says to Steve about Robin—Mike, somewhat like Steve, is struggling between what is socially acceptable in a partner (or "cool") and what he actually wants and enjoys in one—and as El and Will evolve, so does Mike's internal conflict about how he perceives their places in his world.

Between El’s supernatural abilities and rapidly growing autonomy making him obsolete to her in all the areas that matter to Mike (see: the ability to protect, be useful, and be seen) and Will’s reminding him that at his core he is just as much of a nerd as Will is, Mike finds himself feeling more confused and insecure than ever…and that is the internal conflict we see him end S3 battling.

The evolution of Mike’s narrative arc past the introduction of this internal conflict doesn’t happen until is the Byers/Hopper move to Lenora though…when he is literally left alone to process what that intense summer brought to light for him—which is the note we're left on as we move into the next phase of Mike's evolution in S4.

In S4, the development of Mike figuring out what he wants and needs from his relationships + the kind of person he wants to be becomes a lot more external—we see him going through a series of code switches as he tries to manage the ever changing landscape of his self-perception, where has started journey toward self-acceptance but is still insecure about following through with it.

We see this in the way he has now joined The Hellfire Club and shows sincere signs of accepting his interests and "outcast" status, but still looks forlorn when Lucas says “I’m tired of being bullied / I thought you wanted things to be different too” (Lucas’ struggles with some aspects of performing normalcy the way Mike does S4).

We see it in the way he shows up to Lenora dressed in what he thinks he’s should be wearing rather than as himself / the way he continues performing his relationship with El throughout that first day (and how he says it was Will who "sabotaged" things by being that same kind of radical honest about his feelings we talked about before)...only for the events of the day to spur him into meaningful honesty with both El and Will (to varying degrees of success) mere hours later.

We even see it in the way Mike seemed to have been “turning over a new leaf” once he and El fought, to the point he was okay with them ending the “normalcy” performance of their romance…right up until Argyle’s paranoia while burying Unknown Hero Agent Man struck the fear of god back into him (aka making him worry he was letting El down by not protecting her—aka tapping into one of his core fears).

Basically: Mike is leaning into accepting the things that make him different in little ways, but is still struggling to step into that identity fully—aka he is still using perceived social acceptability as a shield, even though he no longer holds as tightly to being perceived as normal. (Even Finn himself often jokes about Mike “just trying to be normal,” which I think is a good, simple explanation of what’s happening—that said, if we take that reading and combine it with those “narrative goals” I mentioned The Duffers have earlier…Mike trying to be normal is an issue to be resolved, not an identity to be embraced. But…let’s move on).

By the time we get to the infamous van scene, we’ve watched Mike struggle through the two sides of his inner conflict for the entire season now, and felt him very gently succeed at switching into a more honest version of himself (who doesn’t need a girlfriend as a shield / can embrace his “otherness” in the same way Will does) right up until his inherent desires to be needed and useful come rearing up the second El is in danger.

It’s why we see him look pleased (but also marred with conflict) when Will looks confident, happy and radiant talking about “playing dnd and Nintendo for the rest of their lives…” and why him being honest in that scene is actually a huge moment for him, because rather than being vague about what has been plaguing him for two seasons now (trying to be “normal” just because he feels insecure) Mike is finally verbalizing the internal conundrum of his now two seasons of looking critically at his insecurities.

Now—I could spend all day digging into just that bit of narrative alone—the way Mike finally externalizing his insecurities to be processed with Will rather than acting on them and hurting people unintentionally is a giant leap for him, and how when Will says “you’re sacred of losing her” Mike’s nod is an acknowledgement that Will is right…but his face is saying there’s more to that fear than he’s acknowledging—

—but for the sake of this analysis of the narrative arcs, the van scene is most important because it’s when the S4 “it feels like you lost” moment begins for Mike…and that’s because it matches up directly with the “you feel like you lost” moment for Will: him lying about the painting.

When Will lies about the painting—saying that his feelings and the art that (as I said before) represents 1) his love of Mike, 2) his embracing of his nerdiness and 3) that radial self-honestly Mike so admires Will for—it throws a wrench into Mike’s internal revelations because Will is essentially saying that the relationship that Mike was slowly realizing he used to assuage his insecurities (his relationship with Eleven) is actually what lines up best with "who he wants to be," which throws Mike’s slow growth toward Will + honesty about what (and who) he wants to be into a tail spin.

From Will’s lie onward, Mike is thrown into moment after moment of conflicting emotions and dire circumstances as well—and given that Mike's deep terror of losing people comes up strongest when the people he loves are in danger, it’s only downhill for Mike’s growth toward self actualization from here. In that sense, (much Jonathan's S4 omissions of his truths/fears to Nancy leading to Nancy's regression into complacency / social conformity with Steve), its Will's lie that leads us directly into the “you feel like you lost” moment for Mike: him moving back into "conforming" territory and confessing his love to El in the SBP.

The monologue (at least in terms of the narrative arc The Duffers are writing) is Mike’s “losing” moment because it’s when he has enough self-revelation to realize that being with a girl as a shield for his insecurities is no longer what he wants...but the drive he has to be useful, protect and love any way he can (on top of Will’s urging + lie) leave him feeling like his only option is stepping into the person he was at the start of S3.

In this moment, we see Mike say exactly what someone who is "acting normal” about loving his girlfriend and wanting to save her would….even though romantic love with El (and the socially-acceptable romantic relationship he has with her) are not what he really wants, and what we will watch crumble moving into S5.

Essentially: Mike having a moment of dissonance of that magnitude after an entire season of looking toward Will was what set us up to see all those "external markings of normalcy" Mike has held onto and had started grating against for two seasons now fall apart, given what we know about those core messages/themes/child-at-heart values the Duffers hold and keep at the heart of their show.

As of the end of S4, we can already see how this "regression" into his old self is not going to hold—the fact that everything Mike did to save El is rooted 1) in a lie and 2) not in alignment with Mike evolving understanding of his core desires makes sure of that.

We even see the beginnings of this "low" being resolved in Mike's arc in how Mike & El are not speaking (even with the 'resolution' of their surface-level S4 conflict with Mike's love confession) and how Mike is glued to Will's side even before Vecna is mentioned–which is how we've been set up to see the resolution of Mike's arc in S5.

With all this in mind, it becomes a bit clearer that the resolution of Mike's arc is him moving through the confusion of identity we've watched him go through from S3 forward and into someone who can embrace who he is what he truly loves without fear of going against what is expected—aka finding the courage not to conform.

Mike as a character is a lesson in how doing what you think you're supposed to (aka what is "normal") is often at odds with who you are and what makes you the happiest—and the only way to self-actualize is to move past your insecurities and into someone who can be confident embracing what (and who) they really want...even when it means stepping out of line from what you’ve grown up believing would do the self-actualizing for you.

Final Thoughts

Both Mike and Will's relational arcs revolve around an embracing of what makes them different—in terms of their (highly likely) mutual queerness, yes, but also in terms of them making self-actualized peace with being nerdy "children at heart" in much the same way The Duffer Brothers themselves are.

If Will represents a person who struggles because they refuse to deny themselves their identity, Mike represents a person who struggles because they don’t understand their identity, and are walking around just trying to do whatever they can to get along (because they haven’t been presented with the inciting conflict that will move them into self-revelation & growth).

Both of these internal conflicts are narrative arcs that have been built into the coming of age stories of both halves of Byler—and though we are currently sitting at the "low" of both of their arcs as of the end of Season 4, the setup and though-line for them finding themselves (and real, honest love with each other) has been clearly set up for exploration in Season 5.

—if you managed to get through all of this, I commend you. And yes, there are a million other things to be explored between these two, but...I enjoy sorting through the thematic / "moral of the story" through-lines in all my media, so of course I was gonna do it for for Byler!

[into-september]

"Destruction" is the worst episode of Miraculous Ladybug

Oh hey guys, remember way back in April or something when I said I was doing this? Well, the one year anniversary of its premiere is a suitable time to post this, particularly since yesterday saw the airing of the last piece of canon to come out in a while, which happened to be set immediately after these events.

With the always obligatory reminder in place that I generally think that “Miraculous: Tales of Ladybug and Cat Noir” is in fact a good TV show whose appeal potentially reaches beyond its merchandise-mandated target group, it has an unflattering pattern of introducing the juiciest story threads and then just… do nothing about them.

The topic of today’s sermon isn't in isolation the worst offender. But it is thanks to this that the worst offender happens at all, so I'm not gonna be nice about it.

Scroll past to skip the negativity.

So, “Destruction”, possibly the most eagerly awaited episodes of out S5 if you don’t count all the false advertisement that was “Revelation”. I remember finding this episode uncharacteristically charmless for this show when I first watched it. They've been onto heavy topics before, but those episodes still had that je ne sais quoi that gives this show such heart. But re-watching "Destruction" I found it lacking already from the first scene, and felt it only in glimpses. It's just not fun.

The episode is also poorly paced, no way around it. It is inexplicably a flashback to two episodes ago which is not evident from the start. More than half the runtime technically consists of Marinette and Alya having a sleepover. The battle and its game-changing outcome is over at 12 minutes into the episode, which is barely past the halfway point. After that, we spend five minutes - a quarter of the episode's full runtime - on a flashback re-playing the same battle but now with verbal exposition explaining Marinette's clever plan. Mind that the confrontation between Marinette and Gabriel lasts for all of seven minutes, meaning that the flashback is nearing the length of the battle itself.

To top it of, it's bogged down with lengthy exchange between Gabriel and the kwamis just to make clear that the haters on the twitter were totally wrong when they bitched about Orikko being OP because actually its powers were something else than we established last season. Here's a bonus plot hole which has nothing to do with everything else I'm going to nag about: Orikko allegedly can't give out the powers of time-travel because no kwami can replicate another kwami's powers. Except for Nooroo and Duusu, I guess, who have done so on several occasions. One of the more remarkable being the episode which first heralded the event that "Destruction" set in motion: "Timetagger".

And who can forget that this was the second time in three episodes where Ladybug and Cat Noir had Monarch at their mercy but spent so much time giving triumphant speeches that he gets away.

Or that that in fact was the second time on the same night.

But while those things certainly make the episode poor, they are not what makes it the worst.

What makes this episode the worst isn't its technical failures, but about the way it leaves its feces all over the themes and the character arcs it seemed like the show had been building up until this point. Moreover: in the role it plays in S5 and the Agreste storyline, and how the show's refusal to touch it again creates a black hole in the season at large, and arguably in the show as a whole.

I. THE INESCAPABLE CONTEXT OF WHAT CAME BEFORE IT

The art of telling a story is the art of highlighting what matters and leaving out what doesn’t. In a well-crafted story, no matter the medium, no detail is insignificant. Every word is carefully chosen, every line or hue made with intention. The curtains aren’t blue just because, and Miraculous Ladybug has made too many meta jokes to hide behind the claim that it’s just a silly rom-com for kids. It has trained its older audience into looking for context and connections; after “Mr. Pigeon 72”, you can’t insist that nothing that happened earlier in this show matters for what happens later. Titles matter a lot in a show where episodes are titled after the villain-of-the-week who usually is the thematic mirror to what our heroes are going through.

“Destruction” is the fourth episode somehow named after Adrien, and the third somehow named after Plagg. You bet this matters.

As some might know, "Kuro Neko" is not my favourite episode. That's not to say I don't like it! It's cute! It's playing a really interesting scenario! We get Plagg hanging out at chez Marinette! But to enjoy it, I have to willfully ignore the storytelling incompetence it flagrantly displays. Because the moment you peek beneath the surface of the events happening to consider theme, motifs, and narrative parallels, it's just

"Kuro Neko" is the second episode that is named after Cat Noir. The first one was "Cat Blanc". There is a thematic connection between the two; not a very clear one and probably not an intentional one, but all the same: both episodes are about an alternative to Cat Noir. One is the result of his father's violence; the other is Adrien's own attempt to become more like the person he presents around his father. They also both show us Plagg and Adrien negotiation Adrien's relationship to Ladybug, and how Ladybug and Cat Noir negotiate that same thing.

"Cat Blanc", for all its apocalyptic visions, starts and ends with hope. It starts with Marinette’s hope at confessing to Adrien, to Adrien’s hope in finally knowing Ladybug’s identity and knowing her like he’s yearned for for three seasons. Those hopes lead to disaster, but the episode ends with Ladybug finding Cat Noir on the Montparnasse Tower, where he is singing his lullaby about the kitty being "all alone without his Lady". As is fitting, Marinette breaks the pattern: after having just witnessed a world turned to destruction because the two of them loved each other, she leans her head on his shoulder in perhaps the most romantic gesture she's ever given him.

"Kuro Neko", in contrast, starts with Adrien resigning the job when he realises that Ladybug no longer needs him and that makes him feel bad. It ends with him coming back and verbally accepting that Ladybug doesn't owe him any exclusive treatment; he isn't her unique partner, just one of many. Where the final scene of "Cat Blanc" seemed to confirm that Ladybug is indeed the answer to Adrien's solitude, the final scene of "Kuro Neko" and its continuation in the first scene in "Risk" both make clear that the opposite is now status: Adrien has to accept the painful fact that as much as Ladybug might be the most important person in his life, Cat Noir does not hold a similar space in Ladybug's.

(The end of “Strike Back” of course claims to remedy this, but those words don’t ring very true when to Marinette’s knowledge, nothing of what went wrong today had anything to do with her keeping secrets from Cat Noir. More damning: Marinette never follows up on her purported regret. In all of S5, she never once sits down to share all those secrets with Cat Noir. Status from "Kuro Neko" still stands, and Adrien is fine with that now. This has nothing to do with the many problems “Destruction” creates, but talking about “Kuro Neko” by necessity means talking about how it wasn’t fixed even if they put the words in Marinette’s mouth. And now back to our scheduled programming)

"Cat Blanc" and "Kuro Neko" by their very existence bring up a thorny topic: That Adrien being Cat Noir isn't wholly unproblematic, and that both Adrien as an individual and Ladybug as the Guardian might have legitimate reasons to question that choice. This has always been obvious to the viewer who knows Hawkmoth’s identity, but the show itself eventually starts calling attention to that from an entirely different angle - namely that of his powers.

Lest we forget: The first episode of S4 that aired wasn't the first episode chronologically: It was "Furious Fu", wherein we learn that The Order of the Guardians has it out for Plagg specifically, and where Ladybug's status as The Guardian is almost revoked on the grounds that she's letting him run around unsupervised. This question of Plagg's whereabouts comes up again in the only episode that is named after Adrien sans Plagg: "Ephemeral", a re-play of “Cat Blanc” except not good. This whole subplot is quickly forgotten, though it being the only one of Su-Han's complaints that weren't about him being a boomer, it's also worth remember that "Destruction" technically happens a couple of hours after he made his last appearance. One might expect that his one consistent lesson would be important enough to echo a bit in the episode where it’s proven to be justified.

"Destruction", as not only one very early episode of the season promising to finally bring about some significant and not the least permanent changes to their lives, but indeed an episode happening on the same night as Ladybug's declaration of regret and Cat Noir's renewed declaration to be her partner, would by its title and its topic seem like the obvious place to finally resolve what "Cat Blanc" and "Kuro Neko" both asked us to question: The existential terror of Plagg's powers, why it is that Adrien is uniquely chosen to temper them at Ladybug’s side, and how Adrien feels about being the one to carry that responsibility.

Yeah. Well.

II. ADRIEN'S PRESENCE IN "DESTRUCTION"

Where "Kuro Neko" and "Cat Blanc" place significant focus on Adrien Agreste in his civillian life, in "Destruction" he appears on screen for a total of 25 seconds - most of which are another flashback to a previous episode, and whose purpose is to highlight Gabriel's hurt from the cataclysm, not Adrien's thoughts about what is happening.

Cat Noir's presence is also marginal. Three minutes of screentime pass from his first appearance until the battle is over. Said battle is the turning point in the war between the heroes and Monarch, thanks to neither Ladybug's powers nor Monarch and all the kwamis, but Monarch using Cat Noir's powers for an impulsive act of self-mutilation. Cat Noir is distraught over this, turning desperate when Monarch first start toying with the idea and being near tears after he carries it out.

I'll get back to the impact of this event, but for now I'll point out that the aftermath is brief: After Monarch escapes, our heroes have this exchange:

LB: We had him, we almost had him! The kwamis were safe, they were right here! CN: I cataclysmed him! I can't believe this, I just cataclysmed someone! Granted it was Monarch, but - there was a real person behind that mask, and it must have hurt him terribly! Milady, you gotta fix this! LB: Cat Noir, Monarch just ran away with my lucky charm! Without it, I can't fix anything. I can't call on my powers and undo the effect of the cataclysm. There's nothing I can do...

We then cut to the slumber party, where Marinette tells Alya that she and Cat Noir "split up" immediately after, and Alya comforts her. From this point in the episode, Cat Noir and Adrien only appear in flashbacks. First a fifty-second flashback wherein Marinette sets up her convoluted plans, then a few seconds of him moving his statue in the wax museum before Monarch appears.

In the episode that more than anything should thematise Adrien, Plagg's powers, and his relationship to his father, Adrien is on screen for a whooping four minutes and twenty seconds.

And because I am that devoted to proving my point, I went and timed all of Alya's on-and-off appearances, which clocked in at a total of five minutes and six seconds.

Alya is of course core to the slumber party which frames the setting of the entire episodes. Moreover, it is with Alya that the emotional arc of the episode ends: it starts with Marinette tormenting hersef watching a Ladyblog report about Monarch's recent win, for which Alya chastises her. The last scene (before Gabriel pulverises the miraculous) has Alya reassure Marinette that she will get the kwamis back. When she regrets her lack of superpowers, Marinette in turn reassures her that Alyas true superpower is being her friend. The journey of the episode was for Marinette to stop blaming herself for messing up, and learning to rely on Alya's support in the new turn the war has taken.

...

IN THE EPISODE WHERE ADRIEN KILLS HIS FATHER.

III. SIR NOT-APPEARING-IN-THIS-FILM

In the episode where Gabriel commits suicide on his son's miraculous, here are some things that got more screentime than the son forced into using his only source of liberation to kill his father:

Flashbacks to past events (four minutes and fourty-five seconds)

Alya (five minutes six seconds)

The kwamis (six minutes and nine seconds)

Bet you can't guess which one is the only kwami who doesn't appear in this episode!

...okay, and Duusu, but you get the point. In the episode detonating the nuke that is the gruesome potential of Plagg's powers, and the potential damage Adrien might deal with them, Plagg never appears on screen.

In the episode highlighting the presence of the kwamis and their importance to their holders, the kwami whose presence is the most thematically tied to his holder's character arc is completely absent.

In the episode irreparably going into the only kwami whose powers is straight up murder, the kwami who The Guardians have singled out specifically as particularly dangerous, the kwami whose irresponsible nature has previously caused problems both to Adrien privately and Cat Noir professionally, said kwami is never even mentioned.

It's almost as if we're not supposed to remember that it is because of his presence that this whole tragedy was possible.

IV. THE EXISTENCE-DEFINING HORROR OF A CATACLYSM GONE WRONG

And ain’t that a funny one, when the gruesome potential in Plagg’s powers was the driving factor in Adrien’s first true crisis as a hero?

Marinette faced her moment in "Origins", where she gave up on her miraculous after the first disastrous attempt. She knows that she is the only one who can do something about the situation, but refuses out of her own lacking courage. She only becomes Ladybug of her own choice when she realises that she can save Alya's life. After this, Marinette never again questioned her place. She would grieve the burden on occasion, but she never once thought anyone else could do better.

Adrien, as we all know, was the polar opposite: he jumped right into it without reading the manual, had to have Ladybug pick up the pieces after a rash cataclysm, and never doubted his calling again until he realised what Plagg’s powers could do when used on a living being.

The NYC special has Adrien quit for reasons that had nothing to do with being unsatisfied with Ladybug's HR policies. It is in part because he effed up his duty as Paris' substitute guardian, but it's certainly also because of the recent horror he just witnessed: his hand forced by someone else nearly killed Ladybug, and killed Uncanny Valley instead as she stepped between them. Adrien just saw a mother weeping over her daughter's corpse, and how only the lucky presence of Ladybug's powers could undo the damage caused by his, unintentional thought it might have been. Adrien would of course never kill anyone on purpose, but Uncanny Valley’s temporary malfunction was a brutal display of what would happen if he stumbled the wrong direction with the gun loaded. Ladybug might have the duty to protect Paris, but Cat Noir has the duty to not to disintegrate people on touch.

The show never before discussed the weight of this burden in Adrien’s presence. “Cat Blanc” did it from Marinette’s side, but this never was a consistent story thread, only briefly brought up as her remembering why his knowing her identity is a bad idea. The sabbatical in “Kuro Neko” has nothing to do with Plagg or with Adrien’s sense of duty, and where you’d think this would be where Marinette finally brings up the issue bridging the NYC special and “Cat Blanc”, neither of the two are as much as alluded to. That Adrien has the power of murder has yet to be explicitly discussed in the show proper, but in combination with his personal relationship to Hawkmoth being a ticking irony bomb, the question of can he even bear it is inevitable.

That Adrien’s post as Cat Noir wasn’t as given as Marinette’s as Ladybug is echoed in the amount of times that Adrien has either quit or at least contemplated doing so (“Syren”, NYC special, “Wishmaker”, “Kuro Neko”). He likes being Cat Noir more than Marinette likes being Ladybug, but he lacks her iron certainty in the role. It is notable, then, that THE ONE TIME where Marinette questions her part, it is after Cat Noir has quit. She says this, out loud, in words. When Cat Noir’s powers become too heavy for Adrien to carry, then Ladybug, too, disappears.

So surely "Destruction" must be the point where this is finally comes together - where Adrien's history of quitting meets his ultimate crisis, where his powers abused on a human being of flesh and blood forces him into confronting the potential cost of being this particular hero, which will foreshadow the ultimate choice he’ll have to take: between being Cat Noir and being his father’s son. And where his choice, in turn, will define whether Ladybug can exist.

Or not.

Maybe we'll never again have Adrien think about how he probably murdered a man. Maybe we'll just - oh I don't know.

Have him start trying to cataclysm people?

Repeatedly?

While showing none of the horror at himself which he clearly had in the aftermath of accidentally cataclysming the villain responsible for his later victims’ possession?

And in the end, after never calling attention to Adrien’s new and trigger happy ways, we’ll have him give in to his fear, claim that he isn’t strong enough to responsibly use Plagg’s powers, and send his miraculous away for Ladybug to use alone, because it turns out that “Kuro Neko” was right and the NYC special was wrong: she can be Ladybug without him.

Growth, amirite.

V. IN THIS HOUSE WE DON’T TALK ABOUT PATRICIDE

Dramatic irony was the main engine driving "Miraculous Ladybug" from the start, and it was Adrien who bore the brunt of it. Not only did he spend four and a half seasons in unrequited love with a girl who rejected him for himself; he spent five seasons doing weekly battle against his own father.

The superpower war between father and son isn't just a source of story tension, however: it is inextricably mirrored in their relationship as family, where the father is openly abusive and the son is magically incapable of protesting. The show repeatedly makes A Point about how the freedom Adrien so wants, is one that he only gets through being Cat Noir, and the only way Adrien is capable of fighting his father - albeit ignorant of it - is with Plagg's powers.

Cat Noir defeating Hawkmoth was necessary not just for his story as a superhero, but as his character arc as a normal boy.

And in "Destruction", this is exactly what happens. Thanks to Plagg's powers, the path to Adrien's freedom is finally paved, in the most gruesome and unwanted manner possible. Adrien might not get the big cathartic show-down with his evil father, but technically he was the one to bring him down.

But we don't talk about that. Except for his one (1) line after Monarch escapes with Ladybug's lucky charm, Adrien never again brings up the fact that his being careless with a cataclysm certainly maimed a man, by precedent (Aeon) possibly killed him. Rather than a story arc about Adrien being afraid of his own powers, it’s only now that he starts aiming it at people when he’s under emotional duress. This could of course have been one hell of a story point if it was intentional, but by all accounts, it wasn’t. When Adrien never again reflects on his having probably murdered a man, or reasons that Monarch is probably fine since he’s clearly still around so maybe a cataclysm isn’t so bad, and he never dwells on his nearly murdering two of his friends, there can’t have been any connection intended here. Moreover: when Adrien is scared of his miraculous towards the end, it’s not about its capacity for normal murder when he’s having a bad day, but its capacity of ending the world if he happens to be akumatised.

Gabriel is likewise disinterested in the cause of his impending disintegration. You’d think the man would feel some kind of special resentment towards Cat Noir and his powers, you could think this was where he’d get to re-thinking his relationship to the two people who are sitting on the keys to solving all his problems. Maybe he’d start doubting himself now, bearing the ultimate testament to his magical hubris. But no. The cataclysm wound is there and it’s a problem, but the reason it happened is completely irrelevant to the man who did this to himself and unknowingly, to his son.

That is almost as mind-blowing as the fact that they really had a straight up patricide happen on screen. Sure, death was never the intention of either of the two parties, and Adrien certainly holds no blame for what happened. But Gabriel must have at least known what he was risking, and even if the soft-hearted Adrien would somehow reason away the gravity, Plagg would certainly now. By its very nature, this one cataclysm drags out and distils a plethora of questions about both Adrien’s role as Cat Noir, about Gabriel’s vision of himself and his goals, and about their relationship not as father and son, but as villain and hero. The gruesome narrative irony looming over all this is in that regard just the icing on the cake.

There is certainly an Oedipal layer to the drama of Gabriel and Adrien, though the often more scandalous incestuous angle is considerably downplayed here. Even so: By the denouement of S5, Adrien has successfully killed his father and set up a home with his mother. That really happened, but we’re sure not going to investigate how this influenced the relationship between two nemesis, between father and son, between Adrien and his kwami.

The cataclysm in “Destruction” turned Adrien from anguished shoujo love interest to the hero of a greek tragedy, but the show is dead set on pretending that it didn’t.

VI. SO THEN WHAT WAS THE POINT

In isolation, "Destruction" comes across as weird more than anything. It's named after Adrien's kwami, it spends an inordinate amount of screentime on Adrien's father, it reaches back to Adrien's perhaps most defining moment as Cat Noir as it fundamentally changes the game between our heroes and our villains as one of them is finally dealt a damaging blow - which in turn sets Adrien's life down a path towards tragedy that must be interfered with for him to have a happy ending by the end of the season.

And yet, Adrien is a peripheral presence in it. Marinette and Gabriel dominate the screentime, Alya and the kwamis are consistently present as the thematic chorus at their respective sides throughout, the episode plays its events twice in order to make it clear that Ladybug is too clever for Monarch's miraculous, the emotional arcs that are followed are the follow-up on where Marinette and Alya stand after the disaster in "Strike Back" as well as Gabriel's renewed vigour. Adrien's only contribution to the episode is to follow Ladybug's instructions and to make clear that his relationship with his father is still awkward. The episode depicts probably THE most important event of the show, but this event is treated almost as an afterthought, and the horrors of it are confined to one (1) line of dialogue from Cat Noir.

The only thing in “Destruction” that is brought up in later episodes is that Gabriel is now actively dying. If they wanted for Gabriel to live on a countdown for his date with the grim reaper, there were countless other ways about it: Have it be his use of too many miraculous which backfires, have him having used the peacock before it was fixed, have it be too much evil on the hands of Nooroo, have him get a serious call from his doctor, have him screw up Tomoe's machinery, have him develop a drug problem. This is a fictional narrative; its twists and turns are absolutely in the hands of the writers, teenage girls being irredeemable or not. It was never vital that this happened by cataclysm specifically.

So what was the point, then? Did we truly turn our magical girl show into a Greek tragedy for the shocked pikachu faces only?

The one thing I somehow haven't seen people bring up, is that "Destruction" makes it impossible for Adrien to learn Monarch's identity. According to the writers themselves, the reason lies in two of the other episodes named after him: "Cat Blanc" and "Ephemeral", wherein he learns his father's identity and is promptly akumatised. This is of course bullshit: both these cases relied not on Adrien learning his father's identity, but on Gabriel specifically scheming to traumatise Adrien with both the Hawkmoth reveal AND the fact that he's been living in the same house as his mother's dead body for the last year or two (timeline here is spectacularly contradictory). There was anothing inevitable about this. You're the writers. You could've set up a scenario where Adrien didn't learn about his father's crimes as an act of psychological warfare, and where he'd have the time to absorb it, to grieve and to find support by the time he'd confront him with it. Having every person close to Adrien keep life-defining secrets from him “for his own good” is, by god, not a good look on anyone involved here. Still it’s understanable, at least for those who aren't either adults or gods of destruction.

"Destruction", however, serves as an explanation for the gaping plot hole in the epilogue: Marinette tells Alya, she tells Su-Han. The one she doesn't tell, though?

The partner who was at her side before Alya or Su-Han ever appeared, and stood by her in far worse storms. Because telling Cat Noir the truth would mean telling Cat Noir that he dealt Gabriel Agreste the killing blow, and ain't that a nifty way to ensure that Marinette won't. Because if Adrien does learn Monarch's identity and the truth about his fall in future seasons, Emilie better hide those garment pins.

The truly damning part of "Destruction" isn't so much what the episode itself does. It's what it doesn't do. It's the storylines it cuts short and leaves behind, and it is the storyline it by its very existence introduces, but which the show refuses to touch.

Per title and content both, "Destruction" should be the culmination of thematic storylines from "Cat Blanc", the NYC special and "Kuro Neko". It’s not; it’s not even about Adrien, and Plagg isn’t even present in it. Moreover: its lacking presence on future episodes make it painfully evident that ambitions, there were none. Those storylines were either aborted like Adrien picking up Felix's spyglass in the S4 finale, or the show never did mean for there to be such a thing as "layers" to this story about a boy who becomes a hero to unknowingly break free from his superhero father.

The real reason why "Destruction" is the worst episode of Miraculous: Tales of Ladybug and Cat Noir is that it obliterates the most cohesive character arc this show had going for it, and that this was done on purpose.

[fartlovingblkguy69]

The Little Men’s Toilet Slave Part 1

(Fictional Gay Fart and Scat Story)

I was drunk and walking through an alley of empty warehouses in Atlanta coming back from the bar one night at night when I passed a building that seemed to have much coming from inside and I heard this strange noise! It sounded like a cross between a grunt and a howl! I went inside to be nosy and to help if need be. Lo and behold it looked like an orgy, but not just any orgy. This was an orgy of about 30 little men. And they were filming! The tallest man, who was standing in the middle of the room was 4’9 with black hair and green eyes and he seemed to be directing all of the scenes. I realized they were about to make a killing as this was a growing category of porn and many of them were unbelievable hot! I felt myself getting a boner, one of the hardest I’d ever gotten, my full 8 inches rising. I fiddled with my jeans and started to jerk my hard rod when the taller man turned and noticed me. “What the fuck? Who let you in here? Stop fucking and grab him and bring him over here ” he yelled. A bunch of them ran over and took me out at the knees before carrying me over the heads and throwing me down at his feet. “What the hell did you think you were doing? Were you spying on us? Maybe trying to scope out competition for another group? And why were you jerking off? You like what you see or something? Maybe you’re one of those weirdos that fetishize little people or something.” “No, I was just passing by when I heard you guys and thought someone might be in trouble so I came to help! I’m gay and you guys are hot! It has nothing to do with you being small, I swear!” “I’m not sure I believe you! And after what you’ve seen we can’t let you leave! You might have a recording or call the cops or something.” “Hey Kyle! Let’s stomp on him! We could crush up his bones and bury him or something! There’s a landfill nearby!” one of the ones currently standing above me chimed in. He was about 3’9, blond, with a hairy chest, rock hard abs, a thick happy trail, and a 5 inch long, 2 inch thick half hard dick. He was super hot, but He’d been glaring at me this whole time with hard icy blue eyes like he wanted to kill me. It was very intimidating. “Hmm maybe. That would certainly be a fun idea. I think I have a better one tho!” the director Kyle said as his stomach gurgled loudly and he winced. He rubbed his stomach and loudly proclaimed “you guys have all been complaining about not being taken seriously by society and also about the lack of bathrooms in this place and I think we might have just found a small, well pretty big solution to both!” Now for context I’m a 6’3 pretty muscularly built white guy, albeit with a bit of a belly. I have long curly brown hair that comes halfway down my back. I cannot believe what I’m hearing. Just what the hell is this guy suggesting anyway? I was about to find out! “Take him to the bathroom and tie him down with his head over that broken toilet! He’s gonna be the replacement!” Kyle said smiling while rubbing his very hairy muscular, but not ripped stomach. I’ll use him first and show you all how it’s done! You better get ready toilet! I got a big load coming your way! We’ve been here for hours and I’ve been munching on pizza and nachos and chugging coffee and protein shakes and I’m lactose intolerant! It’s gonna be a wet ride!” I was dragged to the broken toilet which was dirty and clogged already and watched as they wiped the toilet seat off and cleaned it before flushing the toilet to make the water rise and then plunging my head down yelling “Drink, drink, drink!” trying to make me drink this murky water with a huge turd at the bottom. I refused to open my mouth preferring to drown to death but alas they would pull me up every time I started to black out! This went on for a good 25 minutes before Kyle came in pushing people out of his way, saying, “It’s time! I gotta let this nasty shit rip! My stomach is killing me! I can’t hold it anymore and the filming space is basically uninhabitable from my noxious farts! You boys don’t want me to hold this a second longer, trust me!”

[lil-oreo-crumbles]

can you discuss the relationship between Toffee and Seth

Absolutely!! I’d be happy to!!

Normally, I see Toffee and Seth being depicted with a relatively positive relationship. However, I don’t and have never really seen it that way.

The full story is under the cut, but the TL;DR is this: Toffee does not like Seth hardly at all. Seth sees Toffee as his own son and loves him to death, but Toffee cannot stand being “fathered” by him. As far as Toffee knows, he never had a father and Seth was DEFINITELY not his father, and gets so upset when Seth refers to him as “son”.

Despite Toffee not being able to stand him, he can and does acknowledge his great diplomacy skills and that he is the best leader for Septarsis. His beef is a lot more personal. He will admit with no hesitation that Seth would have made a great ruler for Monsterkind and is personally angered and offended just like everyone else about Crescenta’s smear campaign.

Toffee also unknowingly bought into a lot of his ideals over the course of his life, he just adjusted his angle and took different actions into trying to solve the same problem.

It’s a mix of frustration yet begrudging respect for him as the man who took him in after his mother’s death on Toffee’s end. On Seth’s end, it’s praise, adoration, and a very fatherly view he has on Toffee, despite how pissed he gets at a lot of Toffee’s actions over the course of his life (i.e., Comet and his whole embarrassing “Bad Boy” phase).

-

AU Story:

For some context, I may need to explain Seth and his relationship with Toffee’s mother in my AU, Mylanie Ambrose of Septarsis, because that’s where their rocky relationship really stems from.

When Seth took his rightful place as the Supreme Lord of Septarsis (he hates the term King), he completely tore apart the system the previous (very corrupt) ruler (who brought Septarsis into its dark age) had been using for the two-hundred or so years he was in charge, and replaced it with his own system. Part of that system involves a rotating legislation of representatives (a council of sorts) every fifty or so years (can vary and there are exceptions). The Septarians would get restless with the same person in power for the centuries they live, so Seth ensures that there are new faces and new voices. No matter how good of a Supreme Lord or beloved by the people be is, he will never put just himself or his sister Zarina in charge of decision making.

With that said, Mylanie, a dreamer who strongly believes in a future of peace and harmony with Mewmankind in the future, joins the council. She is incredibly passionate and a very loud advocate for peace, catching Seth’s attention. The two form a friendship outside of politics and get along, but they are fiercely on opposite sides when it pertains to the Mewman problem. Mylanie wants to make peace with a future queen while Seth thinks war is one of their only possibilities. Zarina is the awkward middleman trying to find a truce between their fiercely opposed sides.

Seth is decidedly a gay man, but because he’s so deep in denial and closeted he mistakes the thrill and passion he gets from debating her as… romantic feelings (whoops) and starts offering his hand to make her the Lady of Septarsis. She always refuses.

Then Mylanie has Toffee. (His real name is Torrence but I’m gonna call him Toffee for simplicity)

So, essentially, Toffee’s exposure to Seth for his entire early life is through the eyes of his mother and the debates she has with him. He kind of sits back and watches the two of them go at it.

Seth is a lot more of a brute who values a good soldier at this point so he (playfully) critiques Mylanie for not teaching her son any defense skills or anything to do with fighting and instead just lets him “read books and frolic all the time”. He also jokingly teases her for how “girly” Toffee looks/acts (the long hair with flowers/flower crowns and his general soft/shy demeanor). Toffee, despite his young age, is very aware of all of this, along with the courting issue Seth still brings up every once in a while. He can get really protective of her.

But Seth absolutely tried to bond with him… and he considers trying to teach him how to fight “bonding”. Toffee’s not really into the whole war (he IS raised by his mother after all) and doesn’t really reciprocate.

When the Solaria’s situation happens and Mylanie passes away, Toffee is taken in by Seth and Zarina permanently. Seth really steps up and makes an effort to form a bond with Toffee, but he’s grieving really bad and Seth trying to make nice really hits him the wrong way.

While Toffee is friends with Eclipsa, Seth eventually finds out and discourages him from spending anymore time with her, but Toffee refuses to listen to him and still spends time with the princess regardless. He sees Seth as trying to take away the one thing he still has in this world. Seth tries to insist that the Mewmans and the world they’ve created are dark, selfish, and cruel, and Eclipsa is no different. Toffee fights with him on this, but it isn’t until the two friends have their tragic fallout that Toffee admits that Seth was right about Eclipsa and he should have listened to him.

Regardless of Seth being “proven right”, this still doesn’t make Toffee like him. During his bad boy teenage years he’s blatantly disrespectful, haughty, and an overall pain for Seth and Zarina to deal with. However, this is actually when Toffee starts to buy into Seth’s ideals. Toffee is unaware of just how much he’s starting to agree with Seth about his stances on Mewmanity, but his specific issue is on the magic they use. (If you ask him at this stage about it he’ll tell you you’re insane for the suggestion alone.)

Despite his bad attitude, Toffee’s natural talent in leadership and combat causes Seth to favor him a lot. Toffee rises the ranks quickly and becomes increasingly popular amongst the troops and the army. Toffee actually (begrudgingly) accepts advice and one on one training from Seth, which adds to his skill set.

But what Toffee HATES is how much Seth starts “fathering” him. Seth refers to Toffee as his son, and Toffee has to keep reminding him that he is decidedly NOT his son and NEVER will be, no matter how much Seth wants to think so. This ties back to Toffee’s lingering frustration over the whole “courting” he used to attempt with his mother.

When Toffee takes a break from the army to focus on studying Mewmans, magic, and their history, (and calming down and getting out of his weird bad boy phase in the process) Seth begs him to rejoin all of the time. He knows Toffee as a great military leader but Toffee spends most of his time curled up in his room reading into the night (✨insomnia✨) or breaking into Butterfly Castle to borrow more books. They hardly interact during this time.

After his time as a historian, Toffee is compelled to rejoin the army/war effort and moves up the ranks to eventually become the general we know he as. When the invitation comes for Comet’s banquet, Seth decidedly doesn’t want to attend. Toffee overhears and volunteers to go in his place. Seth has one rule: No harm is to come to the queen.

This is where I get to the point where he blatantly disrespects Seth’s instructions: He kills Comet. While decidedly NOT a primary or even important reason why he did it, a small very tiny microscopic part of Toffee did it specifically because Seth told him not to, and Toffee thinks he can handle things on his own.

Well… when Toffee returns to Septarsis humiliated with a missing finger, Seth. Is. Pissed. He KNEW this would do nothing but blow up in their faces and refuses to hear any of Toffee’s rationale for doing it, no matter how valid. He scolds Toffee harsher than he ever has before and blows up at him for this. By the end of the argument, Toffee is sick of and through with Seth and right then and there vows to leave Septarsis and never come back. Toffee does just that.

And… yeah. To be very frank, the relationship very complicated. Toffee can hardly stand him, but also Seth is probably one of his biggest influences at the same time. Toffee respects him as a leader of their civilization and as a diplomat, but has been known to forge his own path and blatantly disrespect his orders if Toffee deems his own ideas better (not ALL of them, Comet is the one notable instance of this). They both want monsters to be vindicated for all of the suffering they’ve been put through, but Seth sees Mewmans as the problem while Toffee sees magic as the problem.

I don’t know if this post fully encapsulates the true dynamic. This is an example of me trying to explain a dynamic that would be much better when I eventually show it… not sure if any post could ever do the story justice… but oh well.

But yeah I suggest keeping in tune. This is the rundown of their dynamic but it’ll be better when they actually interact in the AU itself 🤞

[jakowskis]

💖💙💜 owen harper bisexuality masterpost 💖💙💜

i've had this in my drafts for a minute but i figured i'd finish it up and post it today for bisexual visibility day :D

it hasn't cropped up recently, but i've seen a lot of people who've questioned owen's bisexuality over the years and i thought i'd compile all the 'evidence' (although it completely baffles me that we got a show with five canonical bisexual characters and people want to write two of them off as straight / "heterflexible" ?? there shouldn't have to be 'proof' of owen being bi, RTD said torchwood is about five bisexuals fighting aliens in cardiff which means they're all bi, full stop. also, bisexuals should never have to 'prove' they're bi, and in regards to fictional characters, i'm sick of people nit-picking who 'deserves' to be counted as rep and refusing to 'claim' certain characters if they're morally grey or if the fandom simply doesn't Like them as much-)

but i digress.

so without further ado, here's everything i've found that supports owen's status as a bicon :-)

explicit canon instances

➤➤ obviously, we have to start with his gay kiss in the first episode of the show. there's a lot to be said about that kiss, i'm not gonna get into all that here, but i've seen a lot of people say it's not proof of owen being attracted to men, and i wholeheartedly disagree. you can literally catch him smiling very happily after the kiss (and one of owen's few genuine smiles of the series, too). i don't think a straight man (or even a "heteroflexible" man) would beam at another guy who's just informed him that he wants to fuck him. a fair amount of people have also said they interpreted owen calling the taxi as him intending to get away from the couple, but i don't understand how they're getting that impression, because that smile makes it seem very much apparent to me that running away is the last thing he wants to do.

it's also, notably, the first time we see bisexuality IN the bisexual show, which i don't think should be discounted. like, we see owen do something gay before jack does, for fuck's sake. is it a good first impression of how torchwood portrays bisexuality? no. is setting owen up as a more sex-driven, opportunistic bisexual nicely contrasted against ianto & tosh's more romance-oriented brand of demisexual bi/pansexuality? in my opinion, yes. i love that the torchwood bisexuals all practice their bisexuality in different ways. that's very special to me. 'cause it's realistic! real bisexuals all experience bisexuality differently! obviously it'd be a different story if he was the only bi rep, because lord knows we've seen enough of that already, but torchwood makes an effort to show us five different brands of bisexuality, and five different bi stories that largely only exist in the subtext, that aren't the focus of the show, and it's fantastic. it's all i could ever want out of bi rep, honestly, even if it is a bit dated now.

➤➤ the other explicit moment in the show: asking tosh and ianto for an end-of-the-world threesome in sleeper (s2ep2). i've actually never seen owen bi-deniers (fhdskjf it's a conspiracy) even mention this scene. owen literally asks ianto if they can have sex with each other to his face, and he's dead serious when he asks it. that's... i mean you can't mistake that as anything else. like fhdsjkf??

➤➤ next we jump to some of the, i suppose, extended universe content. whether the books are canon or not is debated, but the novel 'another life' features owen playing an online simulation game, and it makes a point to depict owen flirting with someone with a male avatar + wondering to himself if the guy would be down for cyber-sex. [someone posted part of that scene here. for context, owen's also got a VR headset on during that bit.]

➤➤ another instance is on the website, which some also don't regard as canon, but, i mean, i don't know who worked on the things we see on that site, but obviously they got their information from somewhere. they probably consulted with the writers on the show, or at the very least got notes on what things to touch on. anyway, there's a portion of the site where you can find a 'background check' on owen, and it's just a collection of messages from some ex-lovers of his. one of them is a man.

again, some people disregard the canon validity of the website, but the way i see it, the information on this site was released while the show was airing for fans to look at and to gain further insight on the characters. one of the things they felt a need to tell us about owen, important enough to be featured in his background (wayyy before the katie plot was developed), was that he wasn't just interested in women. personally, i regard that as canon. you can find this here. and even if you wanna say fragments jossed this background, it doesn't joss his, like... identity.

next we have things said by russell t. davies himself + by burn gorman (owen's actor)

➤➤ again, RTD (who's torchwood's creator, but i'm assuming everyone reading this knows that) explicitly described torchwood as "a bunch of bisexuals living under cardiff and fighting aliens". that's not ambiguous. [i don't have a direct source for this quote, it was apparently said on the dvd extras.]

burn's comments on owen's sexuality include...

➤➤ (when asked who owen fancies) "Owen's pretty cocky, he'll try it on with whoever comes along." [x] and yes, this is vague, but vagueness is often interpreted as proof of bisexuality. (for example, in the pacific rim dvd features, newt's bio stating he was interested in "whoever will take him" was widely interpreted by the fandom as him being bi.)

➤➤ (in regards to owen's "let's all have sex" line) "I don't think he [...] thinks about the implications, or whether it's with a man or a woman." [x]

(ok i have to admit, although i absolutely adore burn, i'm not super fond of the way his 2006-08 self would talk about how torchwood handled sexuality*. however! he kind of hit the nail on the head in saying that, even if it's in the context of owen wanting end-of-the-world sex, because my take on how owen sees his own sexuality has always essentially boiled down to thinking he'd be like, "well, why wouldn't men also be an option?" (well, with sexual attraction anyway; i think owen's relationship with romantic attraction is far more complex.) i think he resembles jack in that way; anyone's a prospective sexual partner, if they're attractive and interesting and he decides he wants them, and he's also impulsive as hell, so he doesn't think too hard about gender in the moment if he decides he's into someone. there's not really any hang-ups.)

➤➤ and ofc...

(out of context this could look like he's just jokingly calling owen an alien-fucker, although owen makes his thoughts on alien-fucking pretty clear in countrycide lol, but it was said in the context of owen/andy as a ship [x].)

*if you're wondering what i'm referring to, it's a comment here [x] about how the torchwood team's bisexuality is a result of being in a pressure cooker environment and having a 'wartime mentality', and they just kind of 'take what they can get'. the implication that bisexuality is out of desperation/accessibility rather than attraction is pretty damn icky, BUT i love him lots and he generally seems to be pretty woke these days (+ otherwise has always seemed to grasp why torchwood's rep was so unique and groundbreaking and important) so i'll go ahead and hope that was just, y'know, simple 'being a straight guy in 2008' ignorance. fifteen years is a long time and i have faith his opinions have evolved by now, esp considering he used the word 'pansexual' at a 2016 con [x]. (actually, ok, you caught me, that last bit wasn't super relevant and i didn't need to bring it up, but i just wanted to gush about him doing it because how often do you hear that word out of celebs, especially older and presumably straight ones. and in 2016, too. kinda slay of him, ngl)

aaand finally, some random, non-explicit little things that i think support him being a bisexy king (several of these are goofy and half-serious)

➤➤ in episode 2, they make a point to cut to owen smiling after jack's line about "you people and your quaint little labels". one might argue he's smiling at gwen & carys on the screen, but cutting to him immediately after jack says it very much implies he's reacting to jack's words, and i think it's particularly poignant after, again, we saw him kiss a man the episode prior. (which, another thing - owen's literal introduction features him kissing a man, like that's gotta count for something. if the literal third thing i ever see a male character do ever is kiss a guy, that means something.)

➤➤ and of course, in the same episode, we get "period military is not the dress code of a straight man" .... owen's the only one of them with working gaydar. also what a fruity thing to say

➤➤ speaking of fruity things to say, in s2e10 when they're all watching the old film, owen goes "look at the state of them 💅" and he says it SO cunty for no reason it always kills me fhsdkjfd

➤➤ combat.

➤➤ no, really.

➤➤ bonus: in the combat commentary, it's mentioned that when RTD saw the above scene between mark & owen, he said it was "the gayest thing he'd ever seen".

➤➤ in the three monkeys, a big finish audio featuring owen & andy, owen flirts with andy repeatedly. even if he just does it to be annoying, it's still pretty damn gay. also the pet names... (he calls him sweetheart, sunshine, and tiger. it's half-mocking, sure, especially because it's owen, but there's also a domesticity to it.)

➤➤ and then there's the hope's "you're alive again and you want crisps?!" "be glad that's all i'm asking for" (owen was like 'i will not use this as an excuse to try to sleep w andy i will not use this as an excuse to try to sleep w andy i will not use th') these are the only two audios i've heard with this duo, i'm sure there's more examples in the other two. i know gooseberry literally has owen sabotaging andy's relationship with his gf and that is... woohoohoo.... i'll update this once i get through those.

➤➤ …. this is my personal opinion but i lowkey think he kinda wants john hart a bit when they all first meet him in kkbb hdskjfds. gwen & tosh both seem very charmed by him and they're meant to, it's supposed to be like 'oh, look at jack's ex waltzing in and charming the pants off everyone (ha), and only ianto and jack see through him' - owen isn't given a flirty line of dialogue or even a close-up shot of him eyeing john like the girls get, but if you watch him closely he certainly looks… intrigued by him. i think owen's more of a bi disaster than he lets on.

➤➤ in episode 10, diane notes that owen has "beauty products" in his bathroom. obviously this shouldn't be indicative of sexuality, but how many Straight Men in 2006 were moisturizing lmao. hell, how many do nowadays 😭

➤➤ gwen & owen's dynamic settles into a lovely little friendship in s2 and owen lowkey gives gbf vibes <3 them making fun of the movie in s2e10 together + the cheek-kissing at the end of s2e9… bi besties!!

➤➤ the peace sign he throws up in meat when he meets rhys fdsjk i don't even believe in some of the silly internet jokes abt bi culture but c'mon

➤➤ have you seen his taste in women. diane is soo butch and gwen's a total tomboy in s1. that's bi culture babey!!!! i too like girls when they're boys

➤➤ i already talked about it but the aforementioned scene where he asks tosh and ianto for a threesome... he asks them, like, immediately after they team up and bully him for not comprehending that there's "no phones. phones all broken. anyone there? no, 'cause the phones aren't working." that was suuuch a disaster bi owen moment for me. i too would get a little revved up if tosh and ianto both bullied me at once <3

aaand finally... the biggest Evidence of all....

➤➤ he's a leather jacket bisexual. need i say more

and that's all! thanks for reading!

[credit for the dividers used in this. didn't tumblr used to have built-in dividers? i miss that.]

[itsbeenliketenyearsitsprettywild]

*deep breath* Okay. In that case, buckle the fuck up.

For all I know, there might be canon lore or word from the creator that entirely debunks this idea. If so, please feel free to tell me directly! I love discussion with other fans, and don't take it personally if a theory i back turns out to be incorrect!

(and honestly somewhere along the way I realized I DO NOT have the spell slots necessary to put my full thesis down, so sadly you're only getting the cliffnotes and some shitty visuals I made instead.) But before I get into it, I'd like to put a warning for those tempted to keep reading: This is the sort of pretentious plot twist spoiler that (depending on your tastes) might make the experience of MILGRAM a lot less fun for you just by knowing/considering it. As such, please use discretion before clicking on the read more. But! I don't think it'll spoil anything to state the basic premise.

The truth is deceptively simple: MILGRAM is a work of fiction set up so that us, the audience, get to influence the characters present in the narrative, thus directly influencing everything that happens, via the cast/crew reacting to our decisions according.

At this point, I wouldn't be surprised if you some of you think I'm joking or wondering how that in any way counts as a theory.

Part 1: A Cosmic Horror Story(ish) by Any Other Name

In which case, lemme shift the spotlight from the audience's perspective of Milgram to the character's experience of it:

While they don't realize it, the characters of MILGRAM are intentionally constructed beings, within an intentionally constructed universe. Which isn't to say that they, as characters, don't have thoughts and feelings. Their lives and experiences and crimes are just as real as everything else around them. But! Seeing as all of that is fictional, that's... debatable, at best.

They were all created (for the purpose of entertainment) by a force/entity that is basically all-powerful within their universe, but is almost entirely passive in nature. Or to put it another way: It's the cast/crew of MILGRAM that makes this whole narrative exist, but they're always gonna stay in the background of the story. The focus is always on the characters and how they deal with all this.

Past the force that created them, there is one other group of entities that exists outside the character's universe. It's these beings who actively engage with them, through means that go beyond the physical. ie; that us, the audience!! We vote, engage in theorycrafting, and talk about the characters to the point where oh shit they might be going a little insane from hearing us, actually.

Part 2: Other Helpful (and Very Shitty) Visual Aids, Without Context

Part 3: "Wait, so that means we shouldn't have been vot-" Lemme stop you there

With all this in mind, the conclusion most people would immediately come to would be "So this really was just the creators redoing the Milgram experiments, and our only ethical option is to not vote at all!"

Which, no.

Though we might largely have the most direct say in how things go down, the creators can still weigh in if we refuse to play by their rules.

For example, where you here when Haruka's 2nd Trial vote went down? Because, while I wasn't, I have seen the comments people posted during and after that time period.

That is to say, people were trying really hard to get him to a 50/50 tie stall, thus breaking the system - it was only right near the end that the poll hard shifted towards guilty.

Something similar (but a lot more shitposty) happened with Mikoto's first trial vote, too; apparently, the unspoken consensus was that everyone wanted Mikoto to be exactly 69% guilty (lol, never change folks). But, guess what? Right at the end - small shift towards innocent. Tragically ending The Meme Dream for everyone involved.

For all that we, the audience, are mostly in control of where things end up, the creators are more than willing to step in if we stop playing by their rules or don't take things seriously enough and shift votes one way or another depending.

Which means that all not voting does is put it in the creator's hands to decide - and, in that case, they could end up making the choice that you don't like.

So, for all it can feel icky for us voters to be C'thulu to the characters, depending on your outlook, trying to influence them can still be pretty important.

[ineffably-human]

guess I'm seeing enough bad takes that I'm gonna write meta about a thing I haven't even properly consumed yet, lord fucking help me

tagging this more broadly but it is about wwdits 4x9 and 4x10 leaks, mostly 4x9. here is the cut you are warned do not pass go etc etc.

So I'm not touching most of the Marwa side of things with a ten foot pole yet, because I want to hear certain specific lines in English/with full context before I determine how we, the audience, are meant to feel about how things end up with her. (Meant to is key term here.) We're gonna put that on the side table for the most part.

This is about 4x9 and Nandermo. This is about 4x9 and how it is actually good for Nandermo, in my point of view. Because if I've read summaries/translations/done Google Transcript the right way I think everyone is missing something here. Several somethings.

First of all, let me just say: this is a story in which Nandor likes the same things Guillermo likes. We'll come back to that.

Nandor specifically says he doesn't want to cheat on Marwa, marriage is important to him, he never cheated on any of his 37 wives. And he has no doubt he could steal him, but says it would be cruel to take Freddie from Guillermo.

So he reacts exactly how a narcissistic, polyamorous man with zero emotional intelligence, who's spent the last 700 years having orgies and casual threesomes with his married housemates, would react. He genuinely does not think there's a problem with what he's doing. Guillermo has a Freddie, Nandor has a Freddie, problem solved and everyone's happy.

On their twinsies dates, Guillermo says that this time with Freddie has made him realize how much he needs a life outside work, because somethingsomething about how he keeps thinking he sees Nandor everywhere and it's crazy how much room Nandor takes up in his mind. We will also come back to that.

When Guillermo finds them together, he basically says 'maybe this is a whim to you but it was important to me' and explains the seriousness of it, that Nandor has found a way to take everything from him. ("You take and you take and you take...") And Nandor could leave it at that. Because Guillermo is still video chatting with his own Freddie, and is resentfully just trying to kind of suck it up. Nandor can still have what he wants.

But Nandor doesn't leave it at that.

And he doesn't fully understand, at all. But he's genuinely happy with the Freddie situation, at least for now, as shallow as it is. And he still proceeds to try and give that up for Guillermo. To give his Freddie to Guillermo, first, although Guillermo refuses. (And again - this is a very dumb polyamorous man. He does not see the problem with this.) And then to let go of Freddie, which means letting go of Marwa, which means he has been trying to 'perfect' this marriage whim of his all season. He's finally located something that, at least for the moment, worked very well for him. And he has deliberately given that up for Guillermo.

He's chased after Guillermo before (which is reactive and based on his own needs), or tried to uplift him and make him feel included. But I don't think we've ever seen him sacrifice anything for Guillermo before. I don't think we've seen him do that for anyone.

Nandor at his worst is self-absorbed and self-involved. He's desperate for attention so he gets infatuated with the tiniest crumb of it. Someone who can take his reins, so to speak, like Jan or like Gail stringing him along - he can be incredibly giving to them, because he's aiming for the attention that comes with pleasing someone. But when someone shows him kindness or their own desire to please, he starts viewing them as an extension of his own whims. His own wishes. And that makes him happy for a while, until it bores him, and then that person is...just a little too familiar.

That's who Guillermo was for a long time. That's who Marwa is now, that's what Freddie might well have become eventually. And it means Nandor doesn't have to self-examine or deal with his insecurities, or be vulnerable, or risk rejection or loss.

But Guillermo both gives acts of service and is pushing for his own life and power. He'll both support Nandor and call him out. He's both lover and fighter. And Nandor spent season 3 starting to see Guillermo as someone whose power he could accept, someone he could trust to take care of him. Now he's starting to see Guillermo outside the lens of himself.

He keeps Marwa as Freddie because she seems happier that way. (Again, I...will deal with this post-season or at least post-episode because yeah.) He sends his Freddie back to England to try and make it up to Guillermo. And he says something along the lines of:

"Maybe love is more than someone liking all the things you like. Freddie always said he wanted to see the world. It looks like I'm the one granting wishes now." And he is genuinely hurting to see Freddie go.

Maybe love is caring about someone else's happiness over yours. Maybe love is learning to think about what others might want, and why. Maybe love is admitting you fucked up even if you don't fully understand it, taking someone else's pain seriously.

Meanwhile: Freddie. Who is open and agreeable and falls immediately into bed with Nandor, and just as easily starts snatching Guillermo's video calls away to chat with himself. Who has enough narcissism to not get bored by a copy of his own desires - instead he falls in love with himself, cheating on Guillermo in the process. Nothing about Nandor's wish forced him to do that. That's who Guillermo's first boyfriend turned out to be, and if that's true then maybe Freddie isn't who Guillermo thought he was. But Guillermo certainly isn't who Freddie thinks he is, either.

And in 4x10, he describes the breakup with Freddie as "my first serious boyfriend left me for...himself," so he doesn't blame Nandor for that either. There's a wall between him and Nandor but honestly? That's been happening all season.

4x10 is a whole other can of worms and I'm not sure how I feel about it yet. I wrote about it a bit before and I want to write about it again after it actually airs. But what I will say is: Guillermo talks about how nothing changes. And that's the question of the season, right? Can you change or are you going to stay the same person forever?

Does Guillermo think Nandor's Freddie left of his own accord, or does he understand what Nandor did? Does he view that as someone who is starting to change? And is that change enough?

[queenofapeacefuldawn]

I’m so invested in this Christmas Love Story tell me more

IT GOES WAY BACK FROM CHRISTMAS

(You're getting the story of how we first met)

(For context, my class is divided into Science and Economics students. There are around 17 (including me) science kids, so we're pretty close knit)

Anyway, we had a chem journal due. This is in July, or late June, I think. Nearly everybody forgot about it, we begged the teacher for an extension, she refused to give it. Her terms were clear: Submit a journal that's not complete, or submit a journal after today, and you lose marks.

Now, I was riddled with anxiety. I'm not that good at chem, so these internal marks that I would get from class work were EVERYTHING to me. I ran around class, begging people to lend me their journals, with, "I SWEAR I'll give it back before today ends, you'll also get full marks."

Anyway, I saw a guy just finish his journal work, copying from his best friend. I knew the guy vaguely, so I was like, "Hey can I borrow this k pls thx"

He was like, "uhh yeah sure but that's not mine that's—"

Before he could finish I was gone. Within 15 minutes I scribbled down whatever I had to, read the name on the book (that's how I got to know my crush's name), handed the book back to him, saying, "[name] thank you thank you thank you SO MUCH!!! I'm gonna be always grateful to you"

And he laughs, kinda, and says, "You remembered my name?"

I barely heard it, I was running to the staff room to submit the journal.

[a-wholelotta-love]

Totnt 1938! Episode 5 thoughts!

Spoiler Alert!

Hey! So I am back again with my thoughts coz as mentioned this is a routine thingy now for clearing my head. Also, whoever is reading them knows that it's mostly my boi Rang centred thoughts and a few rare other ones 😂. So yes, let's talk about how we felt about the episode:-

Okay, so first things first, I was a lil sad coz I felt my boy Rangie had less screen time today. I know, I knoww, some of it was because he was disguised as a baby. Oh God 😂 but yeah. This season has spoiled me a bit and I want to see him in every other scene coz last season, I used to have to search for his scenes like looking for needles in a haystack. Can't go through that again Mr writers. 🥺 Okay, done crying.

Finally, Rang and his fox eyes 😍.Him being disguised as the baby and the baby showing a middle finger to the cop 😂 my boy's voice in the background all pissed coz he is feeling all suffocated in that tiny body 😂 I love him. When they took a shot at the baby, that animated baby jump and roll was so hilarious and then Rangie finally there with a babyy hanky on his neck. Gonna cherish that scene.

I loved baby Lee Mi ho and I am sad that we had to say goodbye to her 🥺. Yeon and Shin-ju giving full goodbye speeches while Rang refuses to say anything. Gosh, his fear of attachment kills me. We all know he adores her, he knows he adores her but hell shall freeze over before he accepts that. Lee Mi ho being more open and stating that she prefers the Bandit. Gosh, how happy Rang was about it and his "you are not too bad yourself 🥺". This boy will kill me.

I also like Ryu hong joo, the more I get to know her.. She did irk me at a point of time with how she is incapable of taking a no. But if I don't look at it, I like her character. She is strong, smart and protects her people with a ferocity that's admirable. I am looking forward to seeing her.

I have said this before, saying it again, I want to know what's Cheon Moo-young's story. Yeon was almost as happy to see him alive as he was to see Rang but at the same time, he is also suspicious of him. I really think I am gonna get hurt for him though.

The last 10 mins of the show gave me life. They were my favourite moments. Everyone can guess why 😂 Rang is slowly starting to like Yeo-hee and it's pretty clear. I find them really cute. I loved how a jealous Yeo-hee pretty much destroyed the room and Yang found it cool. 😂 Boy was impressed with how strong she is. And Yeon and shin-ju spying on their dates and deciding how good of a match those two are. 😂 Ah, please don't ruin this for us later. I won't survive.

Now, one thing, one small conversation that I can't help but discuss is when Shin ju asks Yeon if he can actually leave Rang and go. And he mentions that he can not, that Rang would again think he is being abandoned. This topic is something that I have too many strong thoughts about and I won't get into all of them but I just wanna say, what else is Yeon expecting. I love this future Yeon and how much he cares about Rang but I don't get his plan of action. What are you planning to tell Rang and when, this Rang is someone whose last thought of you would be being stabbed by you and then being left for dead. Now, you are here being all nice and if you don't give him any context and up and leave him in a month, what else will he think. He will probably have to seek therapy to try and make sense of what just happened. For all the progress that this season has made, can we please have Yeon and Rang have a heart to heart conversation. Like please. Coz, right now even I don't understand your reasoning Yeon for a whole lot of things. I will make a separate post to rant about that sometime 😅 but hoping that we do get a heart to heart chat.

Look at this sassy motherf**ker. How am i supposed to not simp.

[madameaug]

Finish Him || JJK x OC

Pairing: Jungkook x Jennette

WC: 656 (purposefully short)

Context: Jungkook is playing the story mode of Mortal Kombat. After he finishes the story he extends an invitation for Jennette to play with him.

Note: I'm excited for MK 1. (Tanya looks AMAZING and I hope they add Jade too)

"I'm not gonna go easy on you." Jungkook handed Jennette the Playstation controller. Mortal Kombat 11 had just been released, and Jungkook was one of the few streamers who could play it earlier than the rest of the general public.

The past few days, his streams comprised him completing the story and competing in online tournaments. His favorite character by far was Liu Kang. How could he not? He was a powerful Asian martial artist with wicked cool fire powers. It was natural for him to gravitate towards the character.

"I've been going at it for six hours just today." Jungkook tried to warn Jennette. His girl had just come back home from visiting her parents. Taking off her Crocs, she got comfortable on the loveseat. Back in high school, she would play fighting games like Street Fighter with her dad but wasn't a full-fledged fan of the genre. Jennette preferred role-playing and decision-based games.

"I think I'm gonna choose her." Jennette moved the select icon over the character named 'Jade.' She, too, wanted to choose a black character to play with, and Jade looked cool. The staff in her hand, being her choice of weaponry, would be a great advantage over her opponent, who would have to be up close and personal to attack her.

The match begun with the two characters taunting each other. With a swift slide, Liu Kang started a string a combos on Jade. Jungkook laughed cockily as he continued his assault.

Trying not to lose, Jennette started to mash the buttons on her controller. Landing a few uncoordinated hits on Liu Kang. Things were not looking good. Jungkook completed the combo for Liu Kang's fatality to add more salt to the injury. Jungkook leaned back into the couch, watching Jennette's facial expressions. Waiting for her to turn and look at him gloat.

"GG, babes." He stuck his hand out, but Jennette just smacked it away. She knew Jungkook well enough to know that his attempts at sportsmanship were rarely genuine.

Jennette sat up, leaning, closer to the TV. Her hands gripped the controller tighter. "Run that back."

"Don't say you didn't ask. for this." Starting another match, Jungkook demonstrated his skills by stringing combos. His character managed to trap Jennette against the wall. Sparing her no opportunity to counter his attacks. This battle ended quickly, with another win under Jungkook's belt.

Jennette refused to look anywhere remotely to her side. She already knew Jungkook would have that stupid grin on his face. His ego was growing by the minute.

"One more round?"

Jennette agreed, but this time with a plan. She was tired of these humiliating losses. Jungkook was always finding a way to hop around Jennette and push her into an invisible wall. To effectively beat Jungkook, she planned on tagging some of the move lists. Once she entered the new game, she immediately paused the game. Searching for simple combos that she could execute.

Jungkook didn't think much of it. He firmly believed that he could still molly-whop Jennette's character regardless. Resuming the game, Jennette entered the simple combos, finally landing attacks on Jungkook's character. Like an inverse relationship, Jennette's smile grew, and Jungkook's shrunk.

"Are your fingers getting sweaty?" Jennette taunted, winning the first half of the match.

Like the old saying once said, Don't count your chickens before they hatch." Jungkook soon regained the upper hand in the match. Leaving Jennette silent. Jennette should have known how Jungkook would react when he lost. It is the fastest way to light a burning blaze under his ass. All of a sudden, Jungkook became a pro player. Blocking Jennette's attack and using his meter to execute the perfect counters.

"Fuck this."

Jennette didn't even stay to watch the end of the match. Once Jungkook activated Liu Kang's fatality, Jennette had enough. With his hands behind his head, Jungkook kicked up his feet. Enjoying the sweet, sweet, sweet taste of victory.

[kibbits]

I know it’s a bit early in the au, but is there some angstsy potential for the BAL!Boys? Maybe a certain fleshy human makes the idiom “Break a leg” true?

Never too early! I don't mind jumping around the timeline wherever! (I'm not much of a writer?? Or at least I have no plans for now. But I love to get questions and go on long rants as I figure it out pff and I'd love to illustrate stuff from any point)

There could be! I think for the purpose of the story, Y/N wouldn't really get anything worse than, say, a nasty sprain or a (so nothing broken or life-threatening. Well. their life being threatened but not ACTUALLY-- you know what i mean fgkljgkdg)

That being said! The AU is called that because management decided to put the boys in the daycare as the daycare attendant.... Without doing any of the work to reprogram/give them the skills and context for their new role. I was thinking the classic of Moon being the one to 'accidentally' (on purpose but. not?) hurt someone, but both have potential honestly

(two angst and a funnier one)

Either Moon came online and, well. He's supposed to be the villain. He's SUPPOSED to be scary! He's the nighttime attendant? Supposed to put people to sleep? Okay! Villain who's annoyed that people are awake and loud and wants everyone to sleep, I can work with that! And having only interacted with STAFF bot co-actors, he overestimates how rough he can be and breaks someone's leg (could be pulling a kid who thought they were clever out of a hidey hole in an absolutely terrifying game of hide and seek, could be a daycare assistant interfering and he thinks he has to 'fight'them)

Sun has a lot of potential angst too if he hurts someone and he's like that's... not supposed to happen! You MUST be fine -- I'm a hero, and heroes don't hurt people! It was an accident! (they weren't calibrated to handle humans because... Fazbear.

They learn on their own, but in the first, 'feral' half, Y/N learns to make it so they don't get manhandled by the boys/don't get in direct contact with them. In the second half, once they're more their own people and they start to be actual friends, Y/N has to convince them that it's okay, they weren't hurt, they're not gonna break the moment they're touched, just don't chuck them around like a ragdoll, and they build up their confidence towards interaction with Y/N and then working on being even more gentle so they can interact with kids

so, yes, very real potential of maiming, but no actual maiming.... of Y/N at least. The boys DO have to mind their strength though and never forget it, cause they're STRONG

The funny one is I imagine that if Y/N gets something like a sprain or like. a papercut. something accidental that they can laugh off, the boys are such DRAMA QUEENS about it!! Sun loudly announcing that to make way for their friend injured in a heroic battle (a blushing and embarrassed Y/N totally 'accidently' smacks him with their crutches on their way past) or wailing on his knees to the first aid station nurse that their friend's ankle needs ice with the same drama as if they were dying

Moon in full gremlin mode picking them up and never letting them go anywhere on their own feet, oh nooo you can't get down on your own? Too bad, I guess you're stuck in this pile of cushions and now you HAVE to stay and watch movies and do other non-dangerous things with them! What's that, management, they can't be paid overtime and you refuse to pay an intern for a work injury? Oh, but the big bad theatre animatronics kidnapped them so it's not like it's on their own term! Guess they have to be compensated and get to take it easy during work! Otherwise I'm making it everyone's problem > : )))

Thanks for the ask!! <3333

[blackjackkent]

how about 8, 11, and 20 from the group questions section of the OC Asklist?

(OC Asks: Put Those Guys in Situations!)

I'm not sure which group you/the prompt had in mind, so we're going with a scenario of all my OCs somehow isekaid into the same situation, because I think it'd be funny. XD

8. Your characters have been invited to a fancy dress ball, and their costumes must fit a group theme. What do they wear?

The group immediately sorts out into three categories:

a) So excited, psyched to come up with a theme: Philip, Riley, Daniel, Dom, Caden, Joan

b) Meh, will do whatever the group deems appropriate: Matty, Jaksa, Randa, Hector.

c) Would rather do literally anything else: Jenna, Adi, Elliot, Hayden.

Group A comes up with a very nice theme of everyone in black and deep jewel tones of each person's favorite colors, super coordinated, gorgeously designed, everyone looking their best. The whole group wears it without complaint, except Joan, who (despite having been super into the planning) decides at the last minute to show up instead in a skimpy spangly number slit all the way up to her hip just to fuck with everyone, and she and Jenna almost get into a fistfight in the entrance hall.

11. Your characters are sharing stories around the fire. What story does each character tell? Whose story is the most popular?

All of them have lots of adventures to share from their respective universes. Some of them are... definitely better storytellers than others. Jenna and Hector in particular flat out refuse to participate, each claiming that they're no good at telling stories. Joan makes up an outrageous tall tale. Most of the others are pretty sincere though not flashy, telling some minor adventure while knowing deep down that there are much worse things they could speak about. Dom tells some hilarious misadventure with incredible detail and has everyone howling.

20. Your characters are trapped in a joint dream or simulation that recreates their greatest fears. They can only escape if each one of them faces their fear. What are these fears? How do they overcome them? Who overcomes theirs first, and who takes the longest?

Oh man. I was gonna avoid writing one out for every char cos I have quite a collection at this point and I knew it'd take forever, but this is pretty juicy and I can't resist indulging myself. Let's see.

a) Jenna> A room full of the burning corpses of her friends. Overcome through major support from the others in the group; oddly enough the only person who is really able to get through to her is Matty, the older marine, who does not try to reassure her that everything is all right, but simply reminds her quietly (hating the words as he says them) that she has pushed through worse.

b) Matty> The blue light of the Reaper hive mind. Faced as he faced it in real life, with pistol shots directly into the source until the way is clear. Everyone is mildly surprised given how cerebral he is in other contexts.

c) Philip> The room is CRAWLING with bugs of all sorts, all sizes. This one is almost a relief after Jenna's corpse room, but everyone quickly realizes that just helping him squash them all isn't the answer. Philip, in the end, sits in the center of the room and makes very unhappy noises while letting them crawl harmlessly around on him, while Hector and Adi sit next to him for moral support.

d) Jaksa> Something very similar to the DAO gauntlet - a reunion with Tamlen, only it's the blighted version of him with darkness pouring out of his face. She tries multiple times to lash out at this vision and the room simply resets, only allowing them passage when she does not strike but instead waits; the bleak vision drifts closer, lays its mutilated hand against her cheek for a moment and then vanishes.

e) Riley> An empty, bleak, blank Hightown mansion, devoid of family, devoid of life. All lost, all gone... The others sit at the table with her, eat a meal, help fill the space with voices again where it has been empty for so long.

f and g) Adi and Dom get roughly the same room, one right after another. Adi's is an enormous Chantry building, full of people all watching her and bathed in glowing light from an indistinct figure in a throne at the far end. Dom's is exactly the same, but no one is there, no one is watching, and the throne is empty. In both cases the place seems to ask of them only that they look steadily at the possibility and then walk forward nevertheless.

h) Daniel's room is bleeding darkspawn taint from the walls, which close in slowly on all sides while a distant young boy's voice screams at him - "You can't die, Father! You can't leave me alone!" Leaving aside his greatsword he smashes the blighted wall open with his own fists, opening a path beyond. Hector, insightful as he is, asks, "The boy screaming. Was that your son? Or you to your own father?" Daniel doesn't answer.

i) Elliot faces down an enormous rage demon, and alone of all the group does not seem surprised, just angry and tired. Without even waiting to consider the matter, he steps forward, slams his staff straight through the creature and then sets off an explosion within it, sending bits of ectoplasm slapping into the walls. "That didn't take you long," Jenna says dryly. "I've had a lot of practice; I fight it every night in my dreams," he answers.

j and k) Hayden and Randa's rooms are also similar - massive, high-ceilinged ornate places full of mocking, laughing voices. Jenna offers to beat the shit out of all the onlookers calling Hayden "knife-ear" and Randa "ox", but neither of them agrees. Randa just points out, in her morose, taciturn way, that it is better not to acknowledge them; the door opens for her as she stalks through the hall looking straight ahead. Hayden, vibrating with rage, says they don't matter, and the way to move on is to prove she is better than any of them ever were. Whether the room agrees or not is unclear, but when she stalks to the dais at the front of the hall and burns a Grey Warden symbol into the wall with magic, the door opens for her.

l) Joan, like Elliot, is greeted by the demon that dogs her - the desire demon that latched onto her when she came to Kirkwall, and that she thought she left behind when she left the city. Astonishing everyone, she - usually so cocky - goes completely blank and almost seems to panic. The demon just laughs. "You don't have it as easy as the others," it purrs. "There is no easy way to face me down, because deep down, I'm not what you fear, I'm what you want." It vanishes, the door opens. Everyone is somehow more rattled by this than anything else.

m) Caden's room is like another of Irenicus's dreams - he faces a blank-faced man that morphs into the Slayer, which scares the shit out of Hector. The only way out is to beat it into submission, just as he always has before within his own mind - but when they kill it, the room resets. The true answer is to hold it down as his friends once held him in a moment of transformation, to wait for the anger to bleed from it until it fades away.

n) Hector's room is, again, something of a relief after some of the past ones. He has many, many things he can think of fearing, but is instead presented with a giant red dragon which opens its mouth to shoot a burst of flame into his face. At first he panics, but, roused by the presence of the others around him, he forces himself forward and leaps onto its back instead. The others follow suit and the dragon leaps into the air and carries them free of the prison.

[safety-pin-punk]

im curious, how does being punk affect your feeling of religion? are you still a practicing catholic/go to church?

Hahahahahaha oh boy, buckle in cause this is gonna be a fun ride. I’ll put a cut cause this is gonna be long simply due to the amount of context that is needed to understand how I’ve managed to mash these two things together in my life. I hope this answers your question anon! (And thank you for asking nicely, that usually isn’t the reaction I get).

So, for reference, I am Catholic born and raised. My mom is Catholic, my dad is only recently exploring being religious. My brother has remained a Catholic good boy throughout his life, my sister has denounced religion. I’m somewhere between them. I don’t go to church often, but I still feel at home there when I do (most of the time). So technically, I’m not a ‘Practicing Catholic’ because of that, but I’m following my faith to the best of my ability (explained below).

I 100% believe there is a god, and because of that my faith has had some rough intersections with other parts of my life, such as being punk, the communities Im a part of, and being heavily involved in STEM. And those are things that took me years to figure out for myself. When just looking at being punk though, I think where it really clicked that punk wasn’t against my religion, but actually supports it, was in my freshman year of college. Like I’ve said before, I go to a Protestant school so every class has to somehow have at least one connection to religion (as a chemistry major this can get extremely annoying). But that year, I had a history class as a gen ed, Western Civ to 1450, and an absolutely kick ass professor to go with it. 

This class was the game changer for 18 year old me (oh my god that was 5 years ago). We spent a lot of time in this class talking about religions of ancient civilizations, and of course we talked about Christianity. And this man went absolutely feral. He was the man that introduced me to the concept of ‘Jesus was a punk’. And when you ignore all the random bull shit that comes out of people’s mouths at church and just look at the bible... yeah, he was right. Jesus flipped tables, he ate with societal outcasts like prostitutes and the homeless, and god did he hate the Roman government that controlled so much of the world at that time. 

And I think that’s when I really felt free to embrace the punk culture. The one thing that was holding me back was gone. I also later learned that professor had a metal band (I’m now going to have to try to find his youtube again lol - its been years). 

But yeah, being punk and religious in 2022 is hard. Its hard because the people who claim to be Christians are ignorant, refuse to learn, don’t know the context of the book they call holy, refuse to understand where Christianity stems from and our roots in Judaism, and keep trying to interpret the bible in a modern world (the bible can’t tell you shit about the evils of the internet man). I don’t particularly like going to church because I often find that its a snake pit disguised as a hospital. Though, that’s nothing new, if you ever take the time to read Romans (my favorite part of the bible), its full of Paul just absolutely loosing his ever loving shit because of how corrupt the churches are. 

So instead of going to church once every seven days and conforming to the rest of the vipers there, I try to live my life by Jesus’ standards for interacting with others. Be kind and forgiving, try to understand other points of view, don’t discriminate based on job, color, socioeconomic status, gender, how many kids, ect. Moral of the story, in my opinion, to be a good Christian, you need to treat people as people, and welcome them with open arms. You need to give back to your community. You need to fight for a better world. You need to push back against oppressive and authoritarian governments. And those are all punk values as well.

[aknolan]

I think part of the discourse here really stems more from what kind of interpretation of RWBY's story you take away from the whole thing.

Your viewpoint is predicated on the idea that RWBY must completely prove the gods wrong, or it would be a disservice to the story's themes.

To me, however, a large part of the story is kind of a complicated mix, in that the villains and antagonists are PARTIALLY correct, but the issue is how they twist a kernel of truth into a means of abuse and control over domains that they don't really have any right to claim control over.

The Gods ARE correct that Life and Death shouldn't be treated carelessly, but they are consistently shown to be hypocrites who use it as a means to enforce their power over others.

Adam and Sienna WERE correct about the state of Faunus, but the former twisted the cause into satiating his own bloodlust and petty egotism.

Ironwood WAS correct that Salem needed to be known as a villain publicly in order to better combat her, but he refused to acknowledge that he wasn't that important and was twisted by Atlas' pro-conformity and fascistic culture into believing that he knew what was best for the world, despite all the evidence to the contrary.

Jacques WAS correct that Ironwood was becoming as much of a danger to his country, but that was fueled out of self-serving greed and his own gain.

The recurring point that RWBY tends to follow is that the Villains are not people without a point, but that they use the point as a means to enforce unjust control and power over others.

But it doesn't make them completely wrong.

And the honest reality is; I think Penny not coming back is not inherently an incorrect or thematically wrong way of doing things, because ultimately she already PROVED that the Gods are full of shit.

She came back to life TWICE despite being killed.

The Gods have already been proven WRONG.

Her final death is just proof of something else; that even when you do everything right, even when you do manage to defy the expectations and possibilities laid out before you, bad shit can still happen anyways. It's literally what happened with Ozma dying from illness after he and Salem got together.

What happened to her last life was not the result of the story going against it's themes; it was just simply the result of poor choices on Penny's part and plain bad luck. That's it.

And Choices are just as much of a theme in the story, and poor choices or lack of choices are too.

The key is not in proving the Gods completely wrong, but in wresting control away from them so that THEY can't be the ones to dictate terms. They are NOT the arbiters of everything despite what the God of Light believes.

But that doesn't mean life and death will cease to matter. It'll still exist as the tragedy in someone's life.

I don't really disagree with you on like, 95% of this honestly.

I think it's helpful to recognize though, the wider context of the argument. In the simplest form, the fact that I am in that post responding to someone making the claim that Salem was at fault for what happened with the gods. So yeah, my argument there is about how she wasn't wrong for trying to get Ozma back, and Ruby wouldn't be wrong either for trying to get Penny back.

And yeah, life and death shouldn't be treated carelessly, but that's why it's important that this happens in Fairytale Bullshit Land, where Penny's Magic Aura Bullshit Body may have landed. These are very unique circumstances! This isn't gonna end up being a repeatable situation. They are incapable of treating life and death carelessly, and I'm sure that if they manage to bring Penny back with them, there will be a cost.

And the point of the gods has not been refuted yet. Not on screen.

Penny's revival happened off screen, and on the technicality that she wasn't actually dead. She was still on Remnant. Her core was intact, and that's why she could come back. Had she been completely destroyed, she would have been truly very dead.

And the situation with Ambrosius? She wasn't dead.

I consider this cheating death, rather than really being a proper "brought back from dying". Even disregarding that though... it's our protagonists who need to refute the villains.

Pietro revived Penny, team rwby cheated with the staff of creation. But Ruby making the active choice to bring Penny back would be a very clear message that she understands Salem. No moral high ground to keep there, on Salem's original problem with the gods. And when you have an unkillable enemy, that is desperately needed.

I also don't think Penny needs to die to drive home the message you put in bold. Plenty of things went wrong already, like losing both of the relics, and the "one way trip to Vacuo".

Lastly though, as long as the comparison between ruby/penny and salem/ozma exists, the elephant in the room remains as well.

If the comparison holds up... it's reasonable to interpret Ruby and Penny as romantically in love with each other, and then we get back to the writers wanting to avoid playing into the bury your gays trope.

Really though, a lot of what you say about complicated mixes of right and wrong are things I agree with. I also can absolutely see the sort of themes someone could go for with permadead Penny. But I take issue with it on several grounds, including that it feels a lot like fridging (except that the protagonist is also a woman this time, adding some bury your gays flavour). And, you know, I just like Penny and would like to think better of the writers than the fuck-up for her story that is the last three episodes of v8.

And that's just talking about the thematic stuff, not even the allusions or the things that don't add up.

[wander-wren]

i finally watched the first seven episodes of trigun stampede today and i have to say 👀👀👀 i have thoughts. i will attempt to be vague and not spoil things

first of all this is a puppy of a man and he is my new best friend

second of all, y’all weren’t kidding bout the christ allegory and all that. wow. it’s kinda goofy but like, also believable? in context?

i already knew going in that vashwood was a thing and i was waiting to see how gay, exactly, they were gonna be. and then one of the first things vash says to him is about how he has Good Person Eyes with his silly little smile and i’m like Oh okay. gay.

also it’s just, like, really sad. darker than i expected from what little i saw beforehand/the opening. (well. not the first four minutes. after that.) (maybe i should’ve taken the first four minutes as a hint.)

and more violent than i expected, ig i’m still new to anime and not used to my Silly Cartoons being full of The Violence. but also i get squicked by hand gore and arms are close enough to hands that some of the ep2/3 bits were. hm! hm. it’s cool tho. ig i should’ve expected something like that when there’s a bad guy named knives.

I HAVE A DUMB NITPICK ABOUT THE WORLDBUILDING THO. i do like the worldbuilding i think it’s really cool i love a good desert space planet. i like the sand worms. always gotta have sand worms. and the plants. it’s neat. but uh.

my question is why is the whole thing a desert and then there is ALSO the great sand ocean?? you can see the outline of the continent and everything?? but?? when we go to the great sand ocean it is literally just, yknow, more sand, and cars drive on it at the same speed as the ship, so like, what is the point. i thought maybe it’s like a big shelf, big drop off, like cliffs, but no? bc there is a genuine concern at one point about sailing into a town?? i’m so. i’m so confused. why is there an ocean. am i missing something??

ANYWAY my other nitpick is that meryl and roberto are very necessary to the story in the sense that they need to be there as outsiders to vash/knives/wolfwood/etc, as stand-ins for the audience, but like. they don’t DO anything so far. aside from occasionally doing one small useful task, they mostly just follow/drive vash around. i felt guilty about internalized misogyny for not liking meryl as much as vash/wolfwood, but cmon, one of them is a Smart Reporter who is interested in vash and has no sense of self preservation. two of them are very traumatized potentially not-quite-human gunslingers. and i like meryl! and roberto! i love a good grumpy mentor and his plucky newbie partner trope. they just don’t do much and dont give me a lot to latch onto.

yeah, that’s about it for right now. most of my thoughts are just that i love, love, love vash. so much. he’s so silly and strange and he’s a pacifist but he’s also veryy competent with a gun/in a fight. and he is sad. and he is a puppy. i want to give him a hug.

i saw that little thing about him refusing to eat after [redacted events] and how he “doesn’t deserve to cry” and meryl going “look at you!!” and clapping when he finally does, + him looking at wolfwood and repeating wolfwood’s comment about deserving to eat. oh my boy. oh i’m latching onto that so hard

same with wolfwood tbh tho i’m not as attached bc he came later and i’m still a little suspicious of some things. he’s also a weirdo but in a very different way. wow it’s almost like he and vash have really similar backstories but adapted in opposite directions.

(what if i was your narrative foil….and we were both boys…….)

oh! final thing is that i love the art style. the planets look so cool and the creature/machine designs are very neat and it’s just. pretty. yes.

hopefully i’ll have time to finish season 1 on tuesday? it doesn’t feel quite like a hyperfixation to me yet (which is good i don’t need to deal with that rn lol), but i’m definitely interested and want to take a wander through the fandom.