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toknowthatimatter · 9 months

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Viren is gonna live and here’s how

I’ve been thinking, technically Aaravos never says Viren has to be the one to kill the child because otherwise the spell won’t work. Yes, he says “You will sacrifice your other child” and “You must make the sacrifice” because in the moment he’s talking to Viren, but I don’t think the “you” is necessarily the important part - all that matters is the ingrediant the spell was named after. That the child is the sacrifice. And just like you can sarifice a lamb to a God despite not being a lamb parent yourself, the child can be sarifised by someone else. The ‘You’ is more of a red-herring. And the reason I think that is because of the foreshadowing in Viren’s dark-magic-dream-thing.

In his dream he sees Claudia walk into a body of water, which later actually happens and kinda breaks him out of his stupor. Two things are important here:

1. The order in which things are happening in his dream 2. When exactly the events in his dream are happening compared to what’s happening in reality

1. We see Claudia following Viren, saying “Daddy, look! I’m following in your footsteps!” while doing so quite literally and figuratively, essentially growing up. Her appreance changes but (!) it changes to how she’s looking at the time in the story, with her hair half white, her face completely normal. She’s walking straight past Viren (perhabs even surpassing him), not listening to him/unable to hear him, towards the black sun which coincidentally looks like the light of the Sunforge - as well as the light of the staff, obviously - after Aaravos corrupted it.

While she’s walking towards the sun/dark magic/Aaravos/you get the idea, Viren is unable to reach her and both get swallowed by the wave, that she either simply cannot see or doesn’t recognize as the danger it is.

Even under water he still cannot quite reach her - instead the scene cuts aways when he barely brushes her finger tip.

And leads directly to this:

Now, her hair is completely white (which we haven’t seen so far - Kpp’ar’s and Ziard’s hair still has it’s natural color just with white strands, and Viren’s is mainly grey, not completely white despite suffering from a very early on set of the effects of dark magic), she’s pale, she’s covered scaring. And she’s carrying the corrupted black sun staff.

She repeats Viren's mantra of “I'll do anything for our family, Dad. Whatever it takes. However dangerous, however vile“.

(I will.)

And after saying this, Viren once more reaches out to her

but she just vanishes, becoming completely unreachable.

2. While Viren is trying to save Claudia from drowning in his dream, Claudia is doing the same thing with him in reality. With one very important difference: Viren cannot reach Claudia, he cannot save her, cannot stop her from turning completely towards dark magic but Claudia saves his life.

Claudia is already dangerously close to Aaravos, telling Soren how great he is. And we had this wonderful foreshadowing in season 3:

Which, by the way, happens right after this:

In Katolis, she told Viren she’s there for him. In Xadia, it was “We're all that's left of our family, and I won't let anything break us apart.“ On top of the spire, she promised “I brought you back from the dead, and I am not about to let you go!“. And at the lake, right before walking into the water, she said “We've come a long way, dad. And I know this is hard on you but hang on.”

Claudia is doing what Aaravos told her because he told her he would save her dad. If he doesn’t, if Viren dies, I don’t think “oh well, I wanted to save him but he refused to kill Sir Sparklepuff and it had to be him, I couldn’t do anything lol too bad ¯\_(ツ)_/¯ you have a new brother now though!” will quite cut it.

Aaravos knows in order to get Claudia, which seemingly is at least part of what he wants, he has to save Viren. That’s why he calls her a valuable asset right after she talks about how she’ll be there for Viren, showing how important he is to her.

Viren is - in Claudia’s eyes - her only family. The only one who never left her (at least not willingly). Aaravos knows he’s the key, the only key, to her. And just like Viren was willing to do anything to save Soren, Claudia will be willing to do anything to save Viren.

The only way for Claudia to still be on Aaravos side after Viren dies would be in some kind of a revenge plot against group Callum and Xadia for killing her dad but a) even then I don’t see why she wouldn’t be angry, at the very least, at Aaravos too and b) why this couldn’t have happend right after Viren died for the first time anyway. If Aaravos could just manipulate her into seeking revenge there wouldn’t be a point in bringing Viren back in the first place.

Aaravos needs Claudia to fully turn to dark magic, to him, which she will do by performing the powerful spell of making Viren’s life permanent again. And at that point, despite being the reason all of this happened, even Viren - just like in his dream - won’t be able to get through to her anymore.

(and I don’t mean this in a ‘Claudia-is-going-to-be-irredeemable-rest-in-peace’ way but rather like ‘despite-Viren-being-done-with-Aaravos-she-won’t-be-done-with-him’)

#TL;DR I don't want my favorite character to die and might be reading too much into a kids show #I mean I don't want child numero 3 to die either - everyone should just hold hands and sing Hevenu Shalom Alechem #the dragon prince #tdp #tdp season 5 #tdp s5 spoilers #tdp spoilers #tdp theory #tdp viren #tdp claudia #aaravos #viren #long post #mine #gonna spray everyone with a waterbottle until everyone gets along

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gnnosis · 11 months

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“and i said, ‘where can i put it down?’”

[ song, allen ginsberg / 3x02 / 3x12 ]

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bellarke-is-my-death-wave · 1 year

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So glad Ted met Dr. Sharon before he found out his ex-wife is dating their former MARRIAGE COUNSELOR.

#dude would NEVER have trusted therapists #and he desperately needs one #this is all kinds of messed up #ted lasso #ted lasso spoilers #ted lasso season 3 #tl #tl spoilers #michelle lasso #dr sharon fieldstone

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achillesangst · 1 year

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GUYS I HAVE THOUGHTS ABOUT JAMIE AND ZAVA

So in the new episode, (s3ep2) we discover the Zava transfer plotline and more specifically Jamie’s reaction to it. Jamie is super negative about it, which I’ve seen a lot of jokes about, but I was kind of surprised by the force of it on my watch. Jamie’s worked so hard on becoming a better team player, and I would expect lack of enthusiasm about a new star usurping him but not the way he reacts to Dani being excited about Zava. Obviously season 1 Jamie would throw a bitchfit, but season 3 Jamie? The Jamie that the team are starting to see as a leader, who finally seems somewhat settled? The level of anger and hurt surprised me.

And THEN I had a realisation. I think this is all going to tie back to Ted and Jamie and their relationship throughout seasons 1 and 2. Because Jamie still believes he was sent back to Man City, (and, although no one knew at the time, back to abuse) because Ted didn’t like him. He literally says Ted didn’t like him and didn’t fight for him to Keeley, and that’s NEVER ADDRESSED AGAIN. And you know what preceded his transfer?

That’s right, a new goddamn star player on the team. As far as Jamie is concerned, in season 1 Ted and the team find a nicer, similarly talented version of him and instantly get rid of him. Obviously we the audience know that it’s not that at ALL, that Rebecca used Jamie’s absence as a deliberate act of sabotage because he IS important to the team, but JAMIE doesn’t know that.

And Jamie spent an entire! Damn! Season! Striving to do better, to actually belong, to be a team player. And it works! He’s so much better in season 3, both as a player and as a person. And what kills me is that I think Jamie is going to take this as a betrayal. As far as he’s concerned, he tried so, so hard to be worthy of Ted and the team, and he’s being replaced again because Ted doesn’t like him. Again, it’s obvious to us that that isn’t what’s happening! But Ted has never corrected Jamie, never told him that he was furious at his leaving and that he DOES like him, and that lack of of communication in the Communication Show TM is going to come and bite Ted in the ass.

I really hope that if this reading is correct, it’ll be a catalyst for Jamie and Ted to ACTUALLY HAVE A CONVERSATION JESUS CHRIST.

Thank you for coming to my Ted Talk I am obsessed I cannot stop.

#Ted Lasso #ted lasso season 3 #tl s3 #tl spoilers #Jamie Tartt #Zava #tl s3 ep2 #Ted #Lasso #dani rojas #Ted lasso spoilers #I just have so many feelings #help

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afcrichmondpress · 1 year

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(3.02) I Don’t Want to Go to) Chelsea press photos.

#3.02 #Ted Lasso #Ted Lasso press photos #TLS3 #TL Season 3 #TLS3 spoilers #Jaime Tartt #Trent Crimm #Hannah Waddingham #Juno Temple #Brendan Hunt #Jason Sudeikis #Brett Goldstein #Jeremy Swift #Phil Dunster #James Lance

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fangirlofallthefandoms · 1 year

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They keep bringing attention to height in Ted lasso so let's talk about it. The first time height is used in a creative way in season 3 is episode 3 where Zava keeps covering up Ted:

Zava keeps putting himself as the forefront so Ted has to keep moving around. (I also could watch this gif forever with how Ted smoothly and politely moves back into view)

Trent Crimm brings up the fact the same episode that Zava is tall

Then in episode 4 height also plays a big role. Nate is too short to initially rip off the believe sign something I'm sure he's super self conscious about since we always saw him sitting on things to make himself taller during diamond dog meetings. The only time he doesn't seem to do this is in the last ep of season 2

He also grabs a rolling chair and falls off of it initially but that doesn't stop him. The anger he has for this believe sign and by proxy Ted is still very strong.

In the same episode Ted mentions how tall someone is in the elevator:

"Boy, you're tall. Is your Dad a tree or something?"

Then Ted covers up Nate standing in the corner of the elevator: (Like he's on timeout or something😭)

It's just so interesting how they are bringing important attention to height this season in the staging of scenes and everything. From Nate failing on the believe sign but not letting it deter him from ripping it in half to being initially covered up by Ted in the elevator. Height has been very important this season and brought attention to on multiple occasions that it is not a coincidence.

If Zava ever were to make it to West Ham I wouldn't be surprised if he starts to cover Nate up with his height as well. With all the attention redirected to Zava and not being praised for his coaching ability anymore I'm sure Nate wouldn't feel too great.

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sapphicwiles · 1 year

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5 thoughts after watching 3x1 for the second time

1. How is the 4-4-2 formation, specifically “they’ll know where to be and what to do at all times” going to come into play throughout the season as a plot device? Will the team actually struggle with the formation? Will the team somehow fuck it up so royally and still stick it with, leading Nate to, at some point in his journey, help Richmond do something else? Is it a metaphor for personal growth (i.e. we have to STOP doing the formation) or is it a metaphor for finding your place (i.e. they do really well with the formation and work together)?

2. Rupert having Nate come up to his office to watch his car get towed was a total set up, and I didn’t even notice the first time! “Mr. Mannion wants to speak with you now” but we’re supposed to believe it’s just to talk about Richmond? Come on, Nate. Which brings me to my next point

3. “Accidents have consequences.” That’s going to come back to Nate in spades. Rupert is setting up the downfall of Nate at West Ham; he’ll throw Nate under the bus as needed. This accident’s consequence was a reward, but see how easily it could have been a punishment? Coming into this season, i believed that Nate would probably stab Rupert in the back in an attempt to “even” the score between him and Ted, but now I think it’s more of a prodigal son situation.

4. Two pretty big changes happened in the off season: Keeley and Roy break up while Ted has a crisis of faith and no longer wants to be in London. While I feel Keeley and Roy were set up for the break at the end of S2, Ted’s attitude feels very sudden? I wonder if throughout the season, they’ll continue to tell the story backwards (like how in the sewer, Ted talks about one of the first things he and Henry did during his visit; and how Keeley said ‘if I cancel again he will actually kill me’ coupled with the LOOK Roy gave her and the ‘we’re taking a break’ vs ‘we broke up’ semantics). We have the end results, but we’re missing the pieces that put everything together and I’m curious to see if we’ll keep getting them a little bit at a time.

5. Looking at all the gifs of the different trailers and seeing Roy and Keeley holding hands in Jamie’s childhood bedroom; Jamie showing up Keeley’s house and them hugging; Jamie and Roy having what appears to be a heart-to-heart in the park. All of these things combined have me firmly of the opinion that he’s going to parent trap them. (Do I wish they would all just grow up and kiss each other about it??? Yeah. They have six hands between them, but I digress)

#ted lasso #ted lasso season 3 #ted lasso apple tv #roy kent #keeley jones #jamie tartt #ted lasso spoilers #tl spoilers #Ted Lasso Season three Spoilers #i just have A LOT OF THOUGHTS

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harrumphingtons · 11 months

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There were so many Jamie parallels to various parts of season one and I love it

There's the "sexy little baby" callback which made me giggle

But also Jamie in the match totally mirroring s1e5 Jamie was just so beautiful to watch because it really drives home the point of how much he's grown. Both episodes have Jamie scoring a fantasatic solo goal, Baz the pub lad shouting "Jamie Tartt, you fucking king!", Jamie then being subbed out — for Roberts in both instances, no less. But the difference between Jamie's actions are so stark, like, wow. I'm so proud of him. I love him so much.

Also Jamie mirroring s1 Roy: like, there's the one shot everyone's talking about where Jamie's sitting on the bench, alone in the locker room with his injury that totally mirrors Roy in the s1 finale. Then there's also the bit where he's saying goodbye to everyone as they leave the locker room, which (in my mind) was a mirror of that scene at the end of s1e9, when Roy's doing the same thing -- albeit it's training the others are going to, and Roy does follow them out at the end -- but still. And the applause as Jamie walked off the field, which parallels both Toy at the end of s1 and also Roy getting an applause from Chelsea earlier this season, what with it being his former team and all.

And we cannot forget, Jamie in the treatment room and Ted seeing him through the door, but this time Jamie's being taken care of and he's happy my heart-

#ted lasso apple tv #ted lasso spoilers #jamie tartt #ted lasso season 3 #ted lasso s3 spoilers #tl #roy kent

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i-know-you-wanna-kiss-me · 11 months

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I think Ted's gonna leave before the final match, before Nate gets the chance to apologize

NO. But this actually so good and heart wrenching 😭

#ted lasso series #will kitman #tl spoilers #ted lasso spoilers #ted lasso season 3 #ted lasso #ted lasso speculation #nate shelley #isaac mcadoo #colin hughes #afc richmond #richard montlaur #jan maas #moe bumbercatch #jamie tartt

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antoine-triplett · 1 year

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Agent Davis (aka Maximilian Osinski) is coming to Richmonddd!

#aos cast #agent Davis #maximilian osinski #ted lasso #tl season 3 spoilers

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therainingkiwi · 4 months

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Train travel in The Lightning Thief/PJO TV season 1

Oh look, I'm overanalyzing fictional train travel because I'm one of Those neurodivergent people. Let's get into it. Warning for VERY minor book spoilers (just mentioning the names of all the cities our trio travels through).

TL; DR our trio's cross country travel route makes no sense at all.

In the first book/season of the Percy Jackson series, our main trio takes a cross-country trip from Long Island, NY, to Los Angeles, CA. In the beginning, it appears as if they've boarded a cross country bus that will drive them the whole way there (a trip that usually takes ~72 hours). However, they get derailed in rural New Jersey (presumably the northwestern part of the state).

After New Jersey, the action immediately skips ahead, and we next see our trio on an LA-bound train that's about to stop in St. Louis (and in the book, has a later stop in Denver).

So, just off the bat: the train route that the trio are taking doesn't exist IRL (assuming they board a train in Trenton, and that train stops in St. Louis, Denver, and Los Angeles). It's also impossible for a single person to travel that route for $200, much less three people. Chiron needs some up to date information about cross country travel prices.

If they were traveling a reasonable IRL amtrak route, they'd probably take the Cardinal from Trenton to Chicago, and then take the Southwest Chief from Chicago to LA. However, if they can get back to Penn Station from Aunty Em's, they could take the Lake Shore Limited from NYC to Chicago, which would be 7-8 hours shorter than getting to Chicago via the Cardinal.

They could also take a bus from north New Jersey to Chicago.

However, the Southwest Chief (most direct amtrak route to LA) stops at neither St. Louis nor Denver. The most notable cities along the route are Kansas City, Albuquerque, and Flagstaff.

If they wanted to take a route to LA that had them pass thru St. Louis, they could take the Texas Eagle from Chicago to St. Louis to San Antonio, and then take the Sunset Limited from San Antonio to LA. There are 3 trains per week that make this two-leg trip without requiring travelers to transfer at San Antonio, so our trio are probably on one of those. Why they didn't take the (shorter, cheaper, and more frequent) Southwest Chief is a mystery, honestly.

Since Chicago is the USA Amtrak hub, most routes will pass thru that city. The only alternative route is taking the Crescent from Trenton to New Orleans and then taking the Sunset Limited from New Orleans to LA. This would take them nowhere near Denver or St Louis, but probably wouldn't have a significant time/price difference from routing the trip thru Chicago (assuming they travel direct from Chicago to LA rather than taking the Texas Eagle thru San Antonio).

Unfortunately, there are no trains in the USA that travel between St. Louis and Denver (or even between St. Louis and Colorado in general), so that leg of their trip would have been made via bus. Greyhound (the USA's main long-distance bus travel company) has buses directly from St. Louis to Denver that end in California (but in San Francisco rather than LA).

In conclusion, I propose a new Amtrak route called "The Lightning Thief" that travels from New York-Penn Station, down the Northeast corridor thru New Jersey, and then turns west, making major stops in St. Louis, Denver, and Las Vegas, before terminating in LA. It doesn't stop in Amtrak's Chicago hub because all hub-and-spoke transit systems should have rim routes, and because Chicago isn't mentioned in The Lightning Thief.

Also, in conclusion, the USA needs better rail infrastructure and I'm a fucking nerd.

Amtrak map below for reference.

#percy jackson #pjo #percy jackson tv series #pjotv spoilers #long post #amtrak #railroad #the lightning thief #i wanna read an AU where the group takes the Southwest Chief train to LA and has fun adventures in Chicago and Albuquerque and Kansas City

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queerdisagreeable · 9 months

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TMP/Magnus Kickstarter Update

Hi all! We just got a huuuuge Kickstarter update, and I thought I'd share the TL;DR that we (the mods of Statement Remains) put together to give people a hand navigating it!

TMP News - The digital premiere will be available on October 22nd for backers at the Archival Assistant level and above, and for Knight & Noble Patreons. - It will include a preview of The Magnus Protocol pilot episode and some exclusive bonus content. - The audio of the preview episode, without the extra content, will be released to KS backers at the Researchers level and above on 31st October.

- There will be a post-premiere livestream on Twitch with cast and crew, sometime after the 31st

- All the pre-launch previews will be exclusive to backers and patrons, but the official debut (in January 2024) will have new content not seen in the previews (including the full orchestral debut)

- The double length pilot episode releases Jan 2024, with a weekly release schedule following (and a 2 week break every 10 episodes)

- They are currently finalising script drafts for season 1, writing for seasons 2 and 3, doing primary recordings for episodes, and editing the Pilot episode

Casting Announcements - Meet Alice Dyer, played by Seer Pink (they/them). You may know Seer from streaming/tiktok -- this is their RQ debut! - Meet Samama Kahlid, played by Shahan Hamza (he/him). Shahan has previously played Siva in Trice Forgotten!

Other Castings - Anusia Battersby (she/her) as Gwendolyn Bouchard - Lowri Ann Davies (she/her) as Celia Ripley - Ryan Hopevere-Anderson (he/him) as Colin Becher - Kazeem Tosin Amore (he/him) as Teddy Vaughn - Sarah Lambie (she/her) as Lena Kelley - Ellie Dickens (she/her) as Lady Mowbray - Tim Fearon (he/him) as [ERROR] - Alexander J Newall (he/him) as [ERROR] - Jonathan Sims (he/him) as [ERROR]

There are "multiple returning friends and enemies from The Magnus Archives", but revealing them now would be a spoiler!

Making-Of Documentary - The documentary is well underway! - It will feature candids from meetings, interviews, and video diaries from Jonny and Alex! - The full version will air after the series is concluded, but a teaser segment will be released alongside the premiere!

ARG Updates - Official start date: **15 September**

- Far larger scale than the mini-ARG, featuring both digital and in-person elements - Will feature lots of worldbuilding and exclusive story that will provide an even deeper insight into the world of TMP

- Bookmark https://themagnusprotocolarg.com! This will be the main ARG hub! - Questions about the ARG can go to [email protected]. They will not provide hints/help solve the puzzles.

- Important note from the ARG site: Participants of this ARG must be over 18 for legal reasons.

Mic Updates - The Podcast Pro mics are nearly ready to start shipping. They are finalising packaging and etching the finished microphones!

---

And a quick note from me on behalf of the SR server! We're currently looking for mods to bolster our team, so that we can feasibly host the ARG solving efforts! If you're interested, you can join the Discord here: https://discord.gg/h6bkdqc5yd

#tma #tmagp #the magnus archives #the magnus protocol #magpod #senseless ramblings

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bellarke-is-my-death-wave · 1 year

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Zava really tested the “You’re so sure you’re one in a million that sometimes you forget, out there, you’re just one of eleven” didn’t he?

He played the entire time like he was the only one that mattered (moving the magnets? stealing Jamie’s goal??), but that only worked so long as the team was 100% behind him. As soon as they got distracted with their own crap, Zava was no longer enough.

And damn, he just couldn’t fathom letting the team play up to their potential if it could possibly overshadow him.

#glad he’s gone I want my boys back #ted lasso #ted lasso spoilers #ted lasso 3.05 #ted lasso season 3 #tl #ted lasso s3 #jamie tartt #zava #dani rojas #Roy Kent #isaac mcadoo #colin hughes

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raedshadowlegends · 10 months

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Why Lore Olympus and Miraculous Ladybug are the Same Thing but in Different Fonts

Good evening, good day, hello and howdy. I am INCREDIBLY bored and I'm here to go on a nonsensical tangent about two pieces of media that I hate and have dedicated a vast amount of my free time to. This is all in good fun and all of my rudeness is intended to be satirical and/or comical unless indicated otherwise.

Now just to preface, if you know me then you know how much I dislike Miraculous Ladybug. Folks in my circle got to watch as I descended into madness writing a 64k word review on season 5. So I've spent an uncomfortable amount of time dissecting this show.

I have also spent an uncomfortable amount of time engaging with the shitshow that is Lore Olympus. And now my ass is gonna try and compare the two because there's a lot of shit going on here.

None of this is going to matter and it's all in good fun. Like I said, I am bored. And sometimes it's fun to compare stuff you hate.

Now let the insanity ensue. FP spoilers and MLB s5 spoilers below the cut btw.

To get a major difference out of the way, Miraculous Ladybug is a tv show. Lore Olympus is a webcomic.

But mediums aside, these two things still have a lot in common. So for the first comparison, I'd like to talk about the insecurity in both properties.

Insecurity

What I define as insecurity in this context is a piece of media that is too afraid to commit or adhere to a certain tone, story, style, etc. In short-- they don't know what they want to be.

Insecurity in Lore Olympus is a bit more obvious than with Miraculous so I'm gonna rant about that first.

Lore Olympus just straight up does not have a story to tell.

There are too many random ass plots being added and discarded on a whim for it to be a coherent story. A good way to explain it is kinda like this-- In this episode of LO, something cool new and interesting is set up and you have to keep reading to see what happens! And then nothing ever happens. Or it happens because the audience won't let the author forget so there's a half-assed attempt to wrap up that plot point.

LO is so insecure about what it is, it feels the need to add more and more to make it actually something. But what it is is a hollow story that lacks substance. So all of these new random plot points are kinda like bandaid solutions if that makes sense.

There are so many unfinished/under-utilized plot points that if you were to count out each and every one, you'd probably keel over dead before you finished. There's that many.

It's too insecure to commit to any one of them in the grand scheme of things.

I don't know how coherent all of that was so here's a shitty tl;dr

LO doesn't know what it wants to say anymore so it's just adding more shit to keep the reader "invested."

Yeah ok I think that makes more sense. As for Miraculous...

God. I fucking hate Miraculous.

It's insecure as hell and you can smell that shit from ten miles away. It's insecure with it's premise, I think.

If it just kept to the simple "monster-of-the-week" formula, I do not think I would have written so many words on it's fifth season.

Miraculous (apparently) had a grander story to tell beyond the "monster-of-the-week revert back to the status quo each episode."

But we don't see any of that in full swing till season 3, really. Which is a long ass time to get the ball rolling imo.

It's a little jarring to see the show go from the stupid kid status quo adventures to a heavy and emotional story??? And I say heavy and emotional with the most sarcastic tone possible because the only emotion I feel watching this shit is rage.

Despite wanting to make that shift to a serialized type of show, Miraculous was too scared to stray from the successful status quo format.

To explain a bit more I wanna talk about my review of the season.

While it is mostly filled with rude jokes and incomprehensible jargon, I bring up a lot of points in it regarding the state of things.

One of those things being the show's hesitancy to move the story along.

The fifth season was supposed to be a grand final battle and a conclusion to this story arc. But it was too scared to commit to that so there's way more episodes that are nothing but shipping fodder.

There are many episodes that season that just... feel the same. Just with different coats of paint. "Marinette is trying to date Adrien but she's awkward and clumsy and oh no! shenanigans ensue!" We've been doing this for 8 years.

If they want to tell a serialized story then they need to grow some balls and cut the shit we've seen a million times before.

Their insistence to stick to the status quo makes the writing exceptionally weak downright painful to sift through. It was too scared, too insecure, to stray from its formula.

That's a part of the reason why I think the season is paced so bad. There's so little time spent on the interesting parts of the story because they had to cram in as much shipping shit as possible. So by proxy, there was less time to tell a good story.

Both of these stupid ass properties don't know what they want to be. There are too many things being added and not enough balls to commit to any of them.

Now with both LO and MLB, we can all agree that the writing is pretty shit. Nothing new there. But shitty writing often bleeds into the characters and making them shitty by exposure. Almost like a spill of toxic waste, infecting anything near it and turning into a rotten pile of sludge and chemicals.

So yeah, the characters are ass as well. But I only wanna complain about the female leads for both of these things.

But just to mention Adrien and Hades, they are pretty similar. I won't go into detail but the short of it is, "Character with deep seated issues that could have been interesting, has a lot of potential, but is just kinda garbage in the end."

At least Adrien Agreste isn't monetizing death and has a bunch of shades in his basement doing his work.

Persephone and Marinette

So I always say that I don't like using the term 'Mary Sue' to describe a character. But as it turns out, I use that term a lot. So I'm not gonna lie about that anymore.

These two characters are Mary Sues.

Persephone first

Oh my god I hate Persephone a lot. She just ticks every box on my list of 'THINGS I HATE IN A CHARACTER.'

Which is funny because her character had a lot of promise and heart in the beginning.

I related to her a LOT when I picked up this comic before my frontal cortex developed. I related with her character and her struggles. Especially after the Apollo incident. That really stuck out to me. It was so powerful.

But all of those tiny things I liked about her character were stripped away. Her ambition to study in school? Poof, gone. Her charm? Not charming anymore. That kindness everyone in the story gushes about? I don't even think it was there in the first place.

Truth be told, I do need to reread this comic because the beginning is fuzzy as fuck in my walnut-sized brain. But I can tell you for certain that the way she was in the beginning is not who she is now.

And this isn't the case of a character going through an arc and developing and changing. She's just getting worse and the narrative treats it as a GOOD THING.

"Oh yeah, Persephone trashed Leuce's apartment instead of talking to her husband like an adult. She threatened to kill this nymph but you're supposed to find that endearing." Like, what??? I will not have a story try and get me to believe this is a good thing.

If this were a good story, Persephone's actions in that episode WOULDN'T BE REWARDED. But she's rewarded with sex for being a fucking psychopath towards a random nymph. Wow.

And that leads into my next point-- she can never be in the wrong ever.

AOW? Retconned, not her fault. It wasn't her fault she killed all those people. It's actually Eris' fault because she gave her wrath.

Trashing Leuce's apartment? She was in the right for that, apparently.

Killing people in a famine during the 10 year banishment? That's never explored, we just know she killed people, burned a library or something, and probably shot the president too. But it's fine, she's the good guy.

And most recently (and potentially the most frustrating);

Persephone causes winter.

Not her mother, Demeter, no fuck the myths. Persephone is the one who caused winter actually. AND SHE DID IT ON ACCIDENT SO TECHNICALLY IT IS NOT HER FAULT CAUSE SHE DIDNT MEAN TOOOO UWU She also probably killed a million flower nymphs in that snap freeze but its ok it doesn't matter.

WHAT?

WHAT THE FUCK? CMON NOW.

She's not going to receive any consequences for anything because she is just too perfect.

She's smarter than Athena, prettier than Aphrodite, better than her mother in every way, all the boys want her, she has a perfect body, she's pink, her eyes go red when she's angy, she has the most power of everyone in the world, she's a super rare fertility goddess, she has all the gifts, all the blessings, and none of the development.

It almost feels like a wattpad fanfic.

"My mom doesn't like me so she sold me to one direction and then I became queen of the underworld."

Yeah, I don't like her.

And the same can be applied to Marinette!

A character who is so blatantly perfect, the narrative fucking BENDS TO HER WILL.

She's a creepy ass stalker and has done some weird ass things to get close to this random famous white boy and it's all excused.

It's literally excused.

There is a rule about character backstories. They are supposed to provide an explanation for a character's behavior, not an excuse for it.

In season 5, episode 14 - Derision, we see a bit of Marinette backstory. Some stupid bullshit happens and Marinette essentially says she isn't going to say 'I love you' to anyone unless she knows literally everything about them.

She says a lot in that stupid ass scene but it's basically just saying that all of her stalking and creepy behavior is justified. Which it is not.

Marinette can do no wrong. The narrative won't allow it.

She's perfect in every way. And even when SHE is in the wrong, characters somehow find a way to apologize to her. Either that or she turns a situation about someone else into one about her self.

She's just the perfect character who ends up saving the world.

Fuck having Chat Noir face against his dad in the finale, Marinette has to girlboss all over the place and save the day but then actually lose because the "plot" demands it.

Oh yeah and she's probably never going to tell Adrien that his abusive dad was the villain they had been fighting for months. Do you think that's a good choice? I'll give you a hint; it is not.

It makes Marinette look like a HORRIBLE character but it's painted in a way that makes the viewer believe this is the right decision.

I don't think I need to get into specifics as to why that is wrong and disgusting.

If I had to make a prediction for this show going forward, she isn't going to tell him. It's going to be forgotten and she's going to be painted as the hero.

No flaws, no accountability, nothing.

Garbage character. Fucking hate it.

Both of these characters will never see consequences for their actions. Their bad actions are either excused or retconned out of existence. And that's not how you write a character btw. If you want them to be real, give them consequences. The world should not revolve around them. They should have flaws and issues that should be explored. But apparently that's too much work.

It's funny how both of these properties claim to be about feminism and somehow completely miss what feminism is

Miraculous thinks that feminism means "Girl power! Girls are better than guys in every way!" And Lore Olympus makes no attempt to be feminist at all. Women hate other women, and they don't get a lot of opportunities to explore and express themselves.

I could get into the whole purity culture shtick but that's a shitty rant for another day.

I've been ranting about this for a while and I got the big ones out of the way, methinks. I do want to get into the creators of both of these things but that is also a rant for another day.

Cause if I got into that now, we'd be here a while.

So let me just make a final comparison and wrap things up here. I don't think any of this makes a lot of sense but I hate both things and I'm passionate about it so I'm gonna keep rambling.

Miraculous Ladybug and Lore Olympus never attempt to grow as stories. They are both scared to try new things and to stick with it. Most of the time this results in rushed writing and horribly done characters.

It's so clear that both of these things are desperate to be something great but they just can't put in the work to get there.

Honestly, they both feel like the product of a team of yes-men. Bad decisions and errors slip by WAY too often and it's kind of embarrassing.

These are popular pieces of media and they have the resources to be great but they just aren't.

They're both too insecure to make something of themselves.

It's honestly really sad and I don't want this for either of these things. I want LO to be stunning and retell the myth of Persephone with the respect it deserves. I want MLB to be a serialized show with focus on the lore. Sure it can start as episodic but it can ease us into a deeper story and intrigue the viewer. But I want it to flesh out the world and be an entertaining experience.

It's sad but it's the way it is.

Who knows, maybe MLB season 6 will be good. And maybe LO will have a 4th season and it'll fix all the problems it has.

I dunno.

Thanks for reading this incoherent nonsense.

#This is a really random comparison between media so if you see this and are confused im so sorry #i got bored #anti lore olympus #lore olympus critical #anti lo #lo critical #unpopular lore olympus #unpopular lo #anti miraculous ladybug #ml salt #ml critical #ml criticism

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hephaestuscrew · 29 days

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“This has both our names on it”: Viewing Fleet and Clara’s relationship in Victoriocity through a queerplatonic lens

TL;DR: By Season 3 of Victoriocity, Fleet and Clara have developed a committed emotional partnership that certainly moves beyond the purely professional. Whilst very much operating as a duo, they can be interpreted as often rejecting or subverting romance-coded elements in their relationship, instead embracing a unique dynamic that can be read as resonating with the concept of a queerplatonic relationship (QPR).

Buckle up because this is over 2,500 words long! If you'd rather read it as a document, you can access it here: Fleet & Clara QPR Google Doc

Disclaimer: I'm not making any claims about creator intent, nor about how anyone else ought to interpret Fleet and Clara's dynamic. It's also worth acknowledging that queerplatonic relationships are inherently defined by the people in them and any attempt to apply such terminology to a story set in 1887 is obviously anachronistic (although whether that should matter when said story also contains a cyborg Queen Victoria is up for debate).

With that said, if we define a QPR as a committed personal partnership which is not entirely captured by the typical expectations of either friendship or romance but may contain some elements typically associated with either (other definitions of QPRs are available), I enjoy viewing Fleet and Clara's relationship through a QPR lens, and I want to talk about some of the reasons why I think this reading works.

***Spoilers for all three seasons of Victoriocity and the novel High Vaultage***

Detective duos

Even before we actually get into Fleet and Clara's particular bond, detective / crime-solving duos as a general concept have QPR energy to me (which probably predisposed me to this interpretation). It's the Holmes-and-Watson legacy. It's the use of the word 'partner' in a non-romantic context (‘associate’ or ‘companion’ can also serve a similar purpose). It's the intense trust and reliance on each other. It's the sense of being a recognisable pair, always appearing together, known as a duo, with skills and attributes that complement each other.

Romantic assumptions

Moving on to Fleet and Clara specifically, one aspect of their relationship that can be read through a QPR lens is how they are often in situations where other people believe or imply that there is a romantic relationship between them. Sometimes this is a deliberate strategy of theirs, and sometimes it’s imposed upon them by others. But I’d argue that there’s never a point where they both simultaneously seem entirely comfortable with that romantic narrative for their relationship. Usually one of them will actively deny the assumption or react negatively to the implication:

When Mrs Hampshire interprets Clara and Fleet as a couple experiencing “young love”, Clara might be happy to adopt this as an effective cover story, but Fleet seems unsettled and keen for them not to be perceived this way: “No. No. You’ve misunderstood, we are not, that is to say I am…” (S1E2)

When Warden Hughes assumes Fleet is the new Warden and Clara is the new Warden’s wife, Clara says “I am certainly not”, with emphasis on the ‘certainly’. (S2E2)

Fleet definitely doesn’t sound enthused when he realises Clara has gone for a married couple as their cover story at the Grand Salcombe: “I am sure I’ll regret asking, but by any chance am I [Mr. Theasby?]” (S2E2)

When Titus Byrne tells the pair “I take it you're happy sharing [a room]”, Clara responds with a horrified “What?” (S3E4) (Obviously sleeping in the same room isn’t inherently romantic, but it is often perceived that way.)

Of course, fake dating and external assumptions of romance are very common tropes in romantic will-they-won't-they dynamics, and these moments could definitely be interpreted that way for Fleet and Clara. But I prefer to read these instances as reflecting a different kind of closeness between these two characters. They have a sense of emotional partnership that allows a marriage cover story to seem plausible to others and that other people sometimes automatically assume to be romantic (obviously with some period-typical heteronormativity at play). But to me, it doesn't seem like either of them are fully comfortable with their relationship being perceived in a directly romantic way. Perhaps they are a couple in a different sense…

Proposal via door plate

The way that Fleet asks Clara to be his business partner has always seemed to me like a platonic version of when people find personal ways to surprise their romantic partner with a proposal:

CLARA: You bought me a door plate for your office? [...] This has both our names on it. FLEET: What do you think? CLARA: I like it. (S2E7)

Fleet could have just asked Clara outright, without going to the trouble of buying a sign that would have been useless if she’d said no. If it was purely a professional business proposition with no emotional meaning behind it, I think he would have just asked verbally. But instead, he gifts her a sign with their two names paired together: Fleet-Entwhistle Investigations. There's something so intimate about that to me: about Fleet asking Clara whether she would like to be a duo with him in a more formally-defined but still non-romantic way; about him choosing to present this offer in the form of a gift; about the way he presents her with their two names joined together etched into metal and asks what she thinks; about the significance that this gesture attaches to their partnership; about him having enough trust that she'll say yes that the effort and vulnerability of presenting her with that sign seem worth it for him. And the gesture means an awful lot to Clara:

She thought about the door plaque he’d had engraved with both their names on it as his way of inviting her to be his business partner – typical Fleet, refusing to tell her so much as his favourite breakfast food and then to go and do something like that. It was the nicest thing anyone had ever done for her. (High Vaultage, p187).

Anniversaries

In the special episode ‘Murder in the Pharaoh's Tomb', Clara says “And you know what else is a big occasion Fleet? It's our one-month anniversary.” She wants to celebrate the anniversary of Fleet-Entwhistle Investigations. Their partnership holds a significance for her that means key dates associated with it are worth remembering and remarking upon.

When Clara first mentions their anniversary, Fleet nearly chokes on his drink, which seems like an instinctive reaction to the usually romantic connotations of an anniversary (see my point above about Fleet not being comfortable with their dynamic being perceived as romantic). But when Clara clarifies what she means, Fleet seems much more cheerful about the notion of their anniversary: “Ah, so it has.”

“Miss Clara Entwhistle, my partner”

I get extremely strong QPR vibes from this moment, when Fleet introduces Clara to the sailors at Grave End:

FLEET: This is Miss Clara Entwhistle, my partner - in business, my business partner. CLARA: I'm also his friend, but he doesn't like to say it. (S3 E3)

Fleet and Clara are partners, but not in the way the average person might assume from that word, which Fleet realises mid-sentence here. This is another instance of Fleet reacting negatively to the idea that their relationship might be interpreted romantically (see above). And yet, 'partner' (rather than, say, ‘colleague’) is the word that comes naturally to him in this moment to describe who Clara is to him. He then frantically emphasises the professional element of their relationship so as to avoid the romantic implication, but Clara is keen to proudly assert that there is a personal, emotional aspect to their dynamic too. They are first-and-foremost partners, and they are friends, and they do not want to be seen in a romantic light - this post basically writes itself...

“Her ridiculous detective.”

When Clara fears for her life at the display of the Lanterns, the narration tells us:

“she thought of her brother, her sister, her parents... Her ridiculous detective.” (High Vaultage, p172)

The fact that Clara thinks of Fleet in this moment of fear clearly indicates his importance to her, but I think the phrasing of this quote is particularly interesting. The narration lists Clara's immediate family: two of whom are dead (her sister and father), one of whom is publically mourning Clara's life choices (her mother), and only one of whom we have any real evidence of her having a positive relationship with (her brother). And then, separated from these complicated familial relationships by an ellipsis, the narration tells Clara also thinks of Fleet, “her ridiculous detective”.

Parents and siblings are familial relationships that tend to come with established expectations, in which the use of a possessive pronoun (i.e. her brother) to indicate the relationship is a norm. ‘Detective’ does not fall into this category; unlike ‘brother’, ‘sister’, ‘parent’, ‘friend’, ‘partner’ etc., ‘detective’ is not a word that inherently implies a relationship or that we'd usually expect to see preceded by a possessive pronoun. The idea of ‘her detective’ therefore stands out, giving the sense that there is a unique relationship being indicated here. The way in which Fleet is ‘hers’ is something that Clara has chosen for herself, something that they have shaped together. Who they are to each other can't necessarily be fully expressed using standard phrases that traditionally describe relationships between people. But Fleet is Clara's detective, of which she only has one, and who she'll think of in the midst of “the screaming of the heavens at the end of the world”.

Fleet is also the only one in this list of Clara's loved ones who gets an adjective - her love for him has detail. And while “ridiculous” might often be perceived as negative (it's certainly not a classic romantic endearment), it seems to me like there's such fondness in it in this context: the recognition of and affection for eccentricities, the idea that his importance to her is not (purely) based on his professional strengths but on Fleet as a whole - perhaps at times ridiculous - person.

“Settled”

When Clara and Fleet talk about Clara's mother’s expectations for her, they have this exchange:

"She's still living in hope that one day I'll settle down." "You're not settled?" asked Fleet. "I am." (High Vaultage, p259)

By ‘settle down’, Clara's mother of course means ‘marry’, ideally into “at least a minor baronetcy”. But Clara already considers herself "settled", just not in a way her mother would understand or appreciate. She's not looking to "settle down" into a lifestyle other than her current one. She is settled in a situation where Fleet is certainly her closest personal connection in London (and perhaps anywhere), and where the two of them work closely together, operate as a duo, and then go back to their separate homes. And this partnership with Fleet is a comfortable set-up that feels right for Clara exactly as it is, rather than being a precursor to, or a distraction from, the marriage ambitions that her mother wants for her.

I think this exchange also contains an implicit sense of the commitment between the two of them. Fleet wants to check that Clara is ‘settled’ in her current situation, of which working closely - and platonically - with Fleet is obviously a major element; Clara confirms she is. There's a subtle indication of their shared intention to be in this for the long haul.

As a sidenote, Fleet and Clara’s implicit assumption that their partnership is a long-term one can manifest itself in joking contexts as well as serious ones. Look at this exchange from S3E5:

FLEET: We're not bandits, we're just going to flag it down. CLARA: We'd be terrific bandits! FLEET: Let's just see how our current line of work goes.

I think it’s notable that, in this joking speculation, both Fleet and Clara use ‘we’ and ‘our’. The joke could have been phrased just as effectively if they were imagining only Clara becoming a bandit. But the suggestion is that, if either of them was a bandit, they’d be bandits together. Even if they changed their lives entirely, they'd still approach life together.

Inseparable

Fleet and Clara have become a nearly inseparable duo in a way which is noticed by others. For example, after Clara and Fleet fall out in High Vaultage, Fleet meets with Keller, who says:

"You're here with me instead of barrelling across town with her, so I'm just assuming there is some thickheaded puffinry for which you need to apologise to Miss Entwhistle" (p335)

Keller, hardly the most emotionally perceptive man in Even Greater London, automatically infers from the fact that Fleet is on his own that he has had a falling out with Clara, rather than that they just happen to be in different places. When all is well, Keller expects to see the two of them together, whether or not they are in a position to be actively working a case.

Going back earlier in their partnership, Keller makes a similar assumption about Fleet and Clara being inseparable in S2E6. When Clara shouts her name amidst Keller's anti-Vidoc booby traps, Keller asks "Entwhistle? Which means… Fleet?" Again, there's this idea that if one of them is there, the other is likely to be there too - they come as a pair. (It's worth noting that this scene takes place less than two weeks after they first met.)

“Like a friend might?”

At the end of S3E7, Fleet suggests that he and Clara go to the theatre together. It would have been easy for this invitation to have been explicitly framed as a romantic proposition, or even for the nature of the offer to have been left more ambiguous. But Clara says "Archibald Fleet, are you inviting me to a social activity? Like a friend might?" The use of the word 'friend' directly labels this as a platonic interaction. And it's with that platonic lens on it that Clara is extremely excited to spend non-work-related social time with Fleet.

“Maybe it'll just be my good luck charm.”

CLARA: My grandmother's ring, I don't suppose you managed to hold on to it? [...] FLEET: Oh, it's been crushed.. I'm sorry Clara [...] CLARA: No, you keep it. FLEET: What? No... CLARA: Keep it. Maybe it'll remind you not to run towards trains. FLEET: Maybe. Maybe it'll just be my good luck charm.

In S3E7, Clara gives Fleet a ring, which - as a gift from one person to another - is traditionally a symbol of a particular, legally recognised, kind of personal commitment. But when Clara tells Fleet to keep the damaged ring, down in the Underground tunnels after the destruction of the beast and Fleet's latest brush with death, it is quite a different situation to a wedding or a proposal. A married man would traditionally wear his wedding ring on his finger for all to see, but Fleet won't ever wear this ring like that. The ring itself has been bent into a different shape between the wheels of their misadventures, subverting the usual associations of a ring given from one person to another. (In a heteronormative world, those associations are particularly strong when the two people in question are a woman and a man.)

That ring is not an engagement ring, but it is Clara’s grandmother's ring, an inheritance from the blood family she never really felt she belonged in, now given to the man who might be a very different kind of family for her in London. That ring - with which Clara saved Fleet's life - is a symbol of their bond. And it therefore serves as a reminder for Fleet “not to run towards trains" and as a “good luck charm”. I like to think he'll carry that ring with him, perhaps in his jacket pocket - a little piece of his partner, kept close to his ticking heart…

Thank you for reading all of this!

If you’ve read all of this, I'm assuming you also enjoy the concept of Fleet and Clara as a QPR (unless you're really a glutton for punishment) and that makes me very happy! This was long because there's so much to say about them… And I wrote all of the above without even getting into: the potential to headcanon Fleet and/or Clara as aspec (which I don't think is necessary for QPR headcanons, but which is also fun); Clara's baggage around and discomfort with marriage in general; the speed with which Fleet and Clara become a ride-or-die duo; and the many other demonstrations of care, understanding, trust, respect, and affection between them that didn't feel as directly QPR-coded to me but are nonetheless wonderful. Please do feel free to share your own thoughts!

#victoriocity #clara entwhistle #inspector fleet #archibald fleet #high vaultage #I'm not really trying to persuade anyone who doesn't already vibe with Fleet & Clara QPR as a concept #I just enjoy digging into that interpretation #I don't have any lived experience of QPRs myself #I'm just an aro who occasionally yearns #which tbf is probably the demographic most likely to obsessively interpret fictional duos as QPRs #I tried to avoid straying into anything like ‘they are too important to each other to be *just* friends’#when writing this #because I deeply dislike that outlook #That's not what I'm getting at here #Friends can be that important to each other without being in a QPR #I just think Fleet and Clara are important to each other in a particular way that can easily be read as a QPR or QPR-adjacent #Ngl for me personally I was very happy that there was no explicitly romantic Fleet and Clara moments #in S3 or High Vaultage #I’m sure I would still love their dynamic if they did explicitly take it down that route #I’m sure it would be done well #But the fact that Fleet and Clara are platonic (or at least ambiguous) means a lot to me personally #A related thought to that bit on romantic assumptions is that under amatonormativity #even the denial of romance/attraction is so often treated as evidence for it #which can mean that there's no way to escape that implication #so that's another reason why I enjoy taking characters at their word #when they express discomfort over a dynamic being interpreted as romantic #I finished writing this on Wednesday and I've been so impatient about waiting until S3 is fully out to post it lol

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