late night yan dad bf!aizawa & ‘big bro’ shinso dreams….
shota brushes and flosses your teeth every night because you’re just too little to handle such a big task without daddy’s help. he inspects your mouth most of the time just to be sure he’s gotten his angel all squeaky clean. sometimes he lets big brother ‘toshi inspect your mouth, especially if daddy’s not home to brush your teeth for you. if you’re lucky, ‘toshi will let you hold the toothbrush like a big girl, all by yourself…. but you excitedly dread the nights that daddy’s not home because ‘toshi’s “inspections” are a lot more like him fingering your mouth until you’re a drooly, whiny, hot-faced mess.
‘toshi doesn’t get a lot of opportunities to take care of his dumb baby sister, so he makes the most of every second that daddy’s not home.
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I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.
So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?
Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.
Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.
Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.
So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)
And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."
So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)
And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."
But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.
Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)
So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.
Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.
Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.
Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.
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Finding out that Dooku took on his first padawan at 22 is truly mind-bending info to process like what do you mean he was 22. I'M 22. I do not feel in any way qualified to take on a kid!!!! I can barely look after myself!!and Dooku only had a 6 year apprenticeship!! He's basically taking on a kid directly after finishing a high school education.
He became a padawan at 16 in 86BBY and then takes Rael as padawan in 80BBY presumably directly after his knighting!!!! Dooku. What the Fuck.
Did he look at baby Rael and call dibs? Dooku must have snatched him up as soon as he was knighted cause if he waited that means his apprenticeship was FIVE OR LESS YEARS. Yoda spent maximum 6 years with this future sith lord and was like oh yeah he's done cooking, go on, get. Just... oh my god.
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It annoys me how so much of modern discourse around female characters is, to be frank, misogyny repackaged as being progressive.
If a woman's strengths and interests are associated with being feminine, such as cooking or enjoying nice clothes or being kind and compassionate, the entire fandom jumps on her as stereotypical or weak. It's seen as cool to bash on "women's work", never mind that your average misogynist has been doing it for decades, hell, centuries, and the jobs that are mocked as women's work are actually pretty essential to humans surviving and thriving.
And then, of course, if a woman shows the slightest hint of nonconformity, the entire fandom jumps on her because "oh!! she's trying to be not like other girls!! she wants male attention so bad!!" It doesn't matter how she is to the other girls in her life, if she wears combat boots and listens to punk instead of Taylor Swift, she clearly hates every other woman ever according to certain parts of fandom. It couldn't be that she's neurodivergent or LGBT or hell, even just a tomboy, she has to hate every other girl on the planet. /sarcasm
AND JUST TO CLARIFY. These tropes can genuinely be negatively done. The traditionally feminine girl can be a weak character and the tomboy girl can be an ass. But when you're calling a girl a "pick me" just because she doesn't live up to your idea of what a woman should look like or what you think feminism is... congratulations. You've simply repackaged sexism and called it woke. And lots of girls who see this crap online are going to suffer for it but hey, it was never actually about them, so who cares, right? /sarcasm
Anyway, to all the girls reading this post, you go ahead and be who you want. Be a princess or a president or a pop singer or a punk rocker or hell, all of the above. You're not a "pick me" you're not a "handmaiden" you're not trying too hard to be "not like other girls". You are fine. Don't let pseudo-woke nonsense get to you. It's just white noise.
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Before the first season of Arcane premiered Riot released this interactive visual novel for the Riot x Arcane event. The setting was a hybrid of LoL and Arcane's universe, Piltover literally on top of Zaun, Cait is the Sheriff, but characters like Silco exist. The whole premise for the story is that Jinx stole some hextech and tapped into the Arcane oand opened a rift between worlds.
That's a lot. Personally I enjoyed this more to just see some characters out in the wild. Silco gets to be his charming self to you, the self-insert reader that's trying to find the culprit of the heist, which he knows was his kid.
Here's Jayce hating on Silco for something Jinx did.
This came out before the show did, so it's interesting to see how the game wants us perceive the characters' dynamics before we get further depth from the show. Most of it's related to Jinx because she makes herself the center of controversy.
For characters like Vi, who's already an enforcer that works directly under Sheriff Caitlyn in this world, she's clearly over Jinx's actions and wants to squash any further escalations.
Sevika is just as harsh and plainly sick of Jinx. I do find it interesting that the novel makes it clear tha Sevika believes that Jinx deserves some kind of punishment, though Jinx did endanger them all by ripping realities into eachother.
The only sympathetic voice outside of Silco in this story comes from Viktor, who after finding out Jinx was responsible for the Rift between realities asks you to remember that she's a real person that lived a life just like him. He goes so far as to contemplate another way to solve the situation and avoid a confrontation that may end with terrible consequences. (It's wild because the show then dedicates a whole scene to him defusing one of her bombs).
My favorite part is near the end where Silco tries to stop Jinx from harnessing anymore Arcane energy because it threatens to upend their reality.
I WISH they got to talk like this to eachother in the show, but so much was happening already. Even better Jinx gets the last words in and it justlays out what's ALWAYS been there.
This scene helped me understand that Jinx was always going to fire her rocket at the council, because she and Silco have both always been motivated to by power. They both know what it's like to be perceived as "weak" and they way it destroyed their lives respectively. It's kind of the reverse of what Mel and Ambessa have going on, you've got the diplomatic intrigue parent and the militarily minded daughter who wants to go further and absolutely will when you're not looking. And that's always been the thing with Jinx, if you give her any form of power, either a gun, a grenade, a rocket, or even magic she will take it and she will use it.
Right after this confrontation you have to defeat Jinx with the Power of Friednship or something (it's been a while). But even as put an end to the near calamity Jinx created there's at least one voice before it ends affirming Jinx's personhood.
It's weird honestly, Jinx didn't turn into vapor or anything, the story's pretty vague about what happens as you try to defeat her.
Well the novel's good when it's good anyway.
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