an incredibly important scene

can we just–can we please talk about the chair scene for a moment? because it’s so incredibly important to me. 

by the ‘chair scene’ I mean the page(s) in the voltron comics where we see Allura alone in the castle and she is riding around the halls in a floating chair.

and it’s important to me because I love Allura and I want to see her happy and she was so clearly having fun (boy oh boy I can’t wait to hear that laugh get voiced!) but also because it’s really speaks to her character

Most of the time we see Allura she is serious, the rare moments when she loses her composure are usually out of anger or frustration. The reason so much of the fandom mistakes her for an adult is because she acts like one. Because Allura is the princess of Altea; and Altea is the planet that created the lions and Voltron. 

Her planet may be dead but Allura feels the responsibility of what happened to the universe in her absence because she feels it was on her to stop it. To carry on her father’s legacy by destroying Zarkon, she admits as much in season 2; but there are hints before that, like when she insisted on stopping for Nyma and Rolo’s distress call or when she refused to give up on the Balmerans. Or the multiple times she over extends herself for the sake of others.

Allura has the weight of the entire universe on her shoulders, on top of all the loss she’s faced. The only time where she lets herself genuinely just relax and be a goofy teenager is when she’s alone. (We see this a bit in Space Mall too, where Allura spends the day playing with the mice.) As soon as the paladins call her in the comics, Allura de-musses her hair and acts the part of a princess again.

I’m hoping Allura’s character arc heads in a direction where she realizes that all of this isn’t her fault or responsibility; that she’s just one person and she doesn’t have to burden herself like she does.


Opening Sequence - Trainspotting

Still one of the best opening scenes ever made.

It’s about being in your 20s, coping with nihilism, disgust with society and, eh, life, in general.

But Renton was wrong. He accepts this by the end. 

But you understand exactly why he was so unhappy in the first place. The casual, indifferent laugh McGregor gives when he damn near gets run over is incredibly powerful.  He was never given anything to care about. 

An important scene to this day.


     To whoever originally made this meme: I am truly sorry for the rant I’m about to go on, because I know you meant this to be funny, and it is. But this scene is incredibly important to the character development of, well, pretty much everyone– but especially Jack.
    Right from the beginning, Jack believed in the Doctor. This rogue Time Agent just hooks up with this clearly insane alien and decides that this is the man he’ll follow, come Hell or high water. Jack the renegade, the criminal, the con man, the torture master (see Torchwood season 1, “Countrycide,”) decides that he’s going to owe his loyalty to this total stranger in a blue box– all because the Doctor came back for him when his ship was about to blow rather than let him die. He calls him “sir.” He enforces his wishes. He throws himself into danger for him. Then Station 5 happens, and Jack knows full well that they could all die, and what does he say? “Never doubted him, never will!” And not only does he march willingly into the jaws of his own death, he turns commando and encourages others to die in this man’s name as well. And die he does– brutally, quickly, and with all the attitude of a man who has chosen his own fate.
    He never wanted to believe that the Doctor would never have intentionally abandoned him on Station 5. We can see it in his face when the TARDIS disappear. His idol wouldn’t just leave him there to die, or for dead. And when he makes it to Earth, what leads Torchwood straight to him? “Just you wait until I find the Doctor!” “The Doctor will fix me!” He’s as stubborn in his faith as everything else.
     But the Doctor doesn’t come. And doesn’t come. And doesn’t come.
     And every day, as Jack cuts himself shaving and the nicks heal, as he gets into barfight after barfight and comes away unscathed, as bullets go through his skull like noise through an eardrum, his faith gets just a little more battered. And a just a little more bitter. And the days turn into decades. And the decades turn a century. And Jack’s loved ones drop dead, and he remains, and the Doctor still doesn’t come.
     He’s almost given up hope. He’s got his little team. It’s enough, isn’t it? Isn’t it?
     And then he hears the wheez of those blessed engines, and for the first time in a hundred and fifty years, he feels alive.
     He almost misses the TARDIS, but that’s okay, he’ll hold on. He doesn’t realize that the Doctor is running from him as hard as he’s running to him. He doesn’t know that the Doctor saw him coming and intentionally tried to get away. (What the fudge, Doctor?)
      “You abandoned me,” he accuses, facing this man who has to be the Doctor but looks nothing like the man he died for all those years ago. And the Doctor can’t even come up with a decent excuse. “Got busy,” my left butt cheek.
     He doesn’t get a decent answer until he’s up to his eyeballs in radiation, and the Doctor has known all along. He did it all, leaving him and staying away, on purpose. But Jack starts cracking jokes! He should have been so bitter! But he knows now that he’s “wrong,” and maybe he deserves the Doctor’s ire, just like he did back in 1945 during the nanogene incident.
     The Master, the Toclafane, that’s all just part and parcel of running with the Doctor, and he’s okay with it. Mostly. Sort of. You can even see him smile at the Doctor when Martha’s gone (season 3, The Sound of Drums,) as if to say “Good work, getting her safe.” Even though they’re both trapped in the Master’s ship with no visible hope of escape. But the Doctor will figure it out.
     The world is burning. The Master reigns supreme. And it’s true that the Doctor’s basically disabled, so you can’t blame him, not really…except Jack does. Just a bit. Because this is the man who’s outsmarted Daleks and left planets safe thanks to his brilliance, yet there Jack remains, chained in a room with no sunlight and tortured for the amusement of a madman. (Which Time Lord that’s referencing is almost irrelevant at this point.) And it’s not just Jack who’s suffering. Every human being still alive lives in mortal terror, and Martha’s family are slaves. Even Lucy shows signs of abuse. The Doctor’s desire to save the Master is laudable, but at this stage of the game, utterly irrational. At the very least he should have defeated the Master first and then tried to redeem him, leaving the innocents of Earth out of the equation. This is one of the few times we see the Doctor act like the arrogant Time Lords from whom he tried so hard to distance himself, so desperate to hold onto this last piece of his race, planet, culture, that he’s willing to let this atrocity play out for his end game. Leave humanity out of it this time, Doctor. No one else volunteered to risk their lives to save that bloodthirsty maniac.
     Jack’s the first one on the Valiant to join his whispered, bruised, battered faith to the psychic network that will revive the Doctor. In spite of all the pain he’s suffered, not just at the hands of the Master but throughout his inhumanly long life, he throws his faith behind this madman with a box who has simply got to save those people on the planet below. Jack needs those people safe just as much as the Doctor ever did.
     The Doctor told Jack that he was “wrong.” That he was never supposed to exist. That he ran away from him because looking at this man who admires him above all others is just too difficult. But he’s willing to keep the Master on the TARDIS indefinitely, maybe forever.
     What exactly is the point of loving and believing in someone who barely acknowledges that you exist?
     And so we come to this scene. Jack’s not just tired, not just recovering from injuries, not just battling PTSD. He’s disillusioned. He’s lost what little was left of his idealized version of the Doctor, the one he maybe tried to believe didn’t leave him behind on purpose, the one who would SURELY come back for him and tell him he’s done good. The one who would make all his suffering worth it. This Doctor MADE him suffer. This Doctor could have saved them all, but tried to save the Master instead. He’s shown where his priorities truly lie– and Jack isn’t even a factor.
     “Jack Harkness is just a slut,” so proclaim the naysayers. But what kind of person who is “just a slut” could smile at the Doctor the way Jack does as he says good-bye, knowing finally that he’ll never truly have a place at the side of the man he waited a century for, and still manages to forgive him?

Captain Jack Harkness. The Man Who Waited. The Man Who Believed. The Man Who Deserved an Apology. The Man Who Should Have Had Better.

Nessian Parallels

Nesta’s throat bobbed. “Please.” I didn’t think I’d ever heard that word from her mouth. “Please—do not leave us to face this alone.”
The eldest queen remained unmoved. I had no words in my head.
We had shown them … we had … we had done everything. Even Rhys was silent, his face unreadable.
But then Cassian crossed to Nesta, the guards stiffening as the Illyrian moved through them as if they were stalks of wheat in a field.
He studied Nesta for a long moment. She was still glaring at the queens, her eyes lined with tears—tears of rage and despair, from that fire that burned her so violently from within. When she finally noticed Cassian, she looked up at him.
His voice was rough as he said, “Five hundred years ago, I fought on battlefields not far from this house. I fought beside human and faerie alike, bled beside them. I will stand on that battlefield again, Nesta Archeron, to protect this house—your people. I can think of no better way to end my existence than to defend those who need it most.”
I watched a tear slide down Nesta’s cheek. And I watched as Cassian reached up a hand to wipe it away.

 I was quote flicking for writing purposes but I think this part is interesting for a reason that…Has never really been talked about. But I think it’s incredibly important that at no point in this scene does Cassian say ‘you’. He does not say ‘I will protect you’ he says that he will protect her house, her people. He will protect what is important to her. 

Nesta in this scene implores the queens not to forsake them but instead to help them. She says that there is no way they will all be able to evacuate (’they’ meaning all of the humans beneath the wall. All of them) She asks the queens not to abandon them. Not her and Elain. Not her household. Not her estates. Not even her town. All of them. People. Her people. 

And what Cassian says and does that so moves her and is so important to her is not that he will defend her. He doesn’t swear that he’ll be her shield and stand before her and ensure she is protected. He swears to return to war, to stand on a battlefield again, to fight- his kind and hers side by side again as it once was- to defend her people, those who cannot fight for themselves. 

And this is…Even more interesting because this is what Nesta does, and has always done, as well. 

Nesta would buy Elain time to run. Not my father, whom she resented with her entire steely heart. Not me, because Nesta had always known and hated that she and I were two sides of the same coin, and that I could fight my own battles. But Elain, the flower-grower, the gentle heart … Nesta would go down swinging for her.

This is really, really early on in ACOTAR but it gets overlooked a lot, I think, and leads to Nesta being misunderstood a lot as well. I’ve meta’d a lot on Nesta and Feyre before and I’ve pointed out that Feyre would probably have either resented Nesta for trying to take over and not letting her do what needed to be done or just been downright baffled for it. Nesta doesn’t bother fighting for Feyre here because she knows Feyre is more than capable of doing that herself. She’ll fight instead for Elain - Elain who can’t fight or defend herself in that way. And we see this again when Nesta goes to the Wall for Feyre because something felt wrong. Something about Tamlin and the lie he sold Feyre didn’t sit right with her and so when her sister actually did need her, Nesta tried to find her. (Which very neatly parallels Feyre warning Nesta of Tomas as well - because there was something wrong there too but that’s another meta) 

The point is that Cassian here not only recognises that Nesta does not need anyone to fight her battles for her, and would likely hate them if they tried (this is..a big part of why she and Feyre clash. Nesta resents having to rely on her little sister, she resents Feyre doing this thing that she can’t and looking after her - looking after all of them) and Cassian gets that. 

This woman does not need anyone to fight for her or protect her or coddle her. They understand each other He fights for the same reasons and the same kinds of people that she fights for: those who cannot fight themselves. 

TL;DR: Cassian does not promise to fight her battles for her. He promises to fight her battles with her. 

ok i need to talk about this particular part of TDM that’s seemingly always slept on because it’s one of my All Time favourite scenes and it’s so important

In Chapter 20 (page 312), there’s this section: 

“What?” he whispered. “What are you smiling about?”

My fingers brushed against his hair, trying to smooth it down. I realized what I was doing a full minute after Liam had closed his eyes and leaned into my touch. Embarrassment flared up in my chest, but he grabbed my hand before I could pull back and tucked it under his chin.

“Nope,” he whispered, when I tried to tug it away. “Mine now.”

Dangerous. This is dangerous. The warning was fleeting, banished to the back corners of my mind, where it wouldn’t interrupt how good it felt to touch him—how right

“I’m going to need it back eventually,” I said, letting him run it along the stubble on his chin.

“Too bad.”

THIS SCENE means so much to me, let’s reflect on why really quick:

My queen, Ruby Elizabeth Daly, has spent the last six years of her life in the most treacherous conditions, terrified to touch or be touched by anybody. This poor cinnamon roll has lived in fear from the age of ten onward. Here in front of her, she has this beautiful boy with the bluest eyes and the kindest heart, who has been soOoo patient with her since they met. 

This scene, friends and neighbours, is so incredibly important because Ruby is letting herself, for the first time in six damn years, touch not only another person, but someone who she holds so much care for. In her mind, she knows it’s dangerous, but guys!! She’s pushing past the fear and giving into something that she wants for the first time in so freaking long!! This particular moment (to me) is so symbolic of what’s to come for her and Liam because when she reaches out to him, Lee keeps her there with him, letting her know that !!!!! it’s okay to want to go for what you want—that he’s not going to let this fear keep him from being with her or there for her. That he’s not going to leave, even if Ruby pulls away because of what she is afraid of; especially if she’s afraid of what she’s going to do to him without intentions of inflicting pain—especially if she is afraid of herself, because Liam understands Ruby, and will never, never, never leave her to fight her demons alone.

After they have this marvelous little (massive) moment, Ruby Tuesday starts to open up to Puppy Lee about her Orange abilities as he inquires. When she tries to pull away after he asks if she was in his head (because TDM Chapter 20 Ruby chooses flight rather than fight in most situations), Liam holds on tighter, telling Ruby that he isn’t mad (because he knows this about TDM Chapter 20 Ruby). THEN !!! when they’re holding hands, Liam asks if it’s okay—and we all know that if she said no, he would have nodded with a smile and let her hand go, but wouldn’t have left her side. This entire passage is so symbolic of their relationship guys!!!! The patience, the reaching out, the holding on even when things get tough? Not only this, but all of the following Luby Rubiam parts happen because of this one?? This scene means the world to me and I can’t stress it or its importance enough.

NDRV3 Transcripts: Chapter 5 Post-Trial

Firstly, many thanks to everyone who’s been reading and enjoying these translated transcripts. Chapter 5 in particular has so many noteworthy moments that I want to get them all done before I jump into Chapter 6.

For the better part of the 5th class trial, Saihara and the others are convinced that Momota is dead and Ouma is the killer. As the discussion progresses, however, they begin to realise that maybe Ouma isn’t the ringleader after all, and that all their initial assumptions about this case were wrong. The conclusion is absolutely devastating, for the characters and the player. Everyone is literally speechless as the culprit climbs out of the Exisal at the end, finally revealing his identity and putting an end to the discussion.

So that we don’t get lost in this back-and-forth: bold on the names means present time and italics means flashback. Please enjoy!

Okay, so first off, I want to note that this is actually more like a submission from two people, rather than one. First off, @ne0dym has provided me with a wonderful partial transcript as always! For anyone looking for a full, uninterrupted explanation of Momota and Ouma’s collaboration in Chapter 5, please read this.

However, I also received a Google doc with a transcription of the full scene from @shinjiroaragaki! The scene is very, very long, but it’s incredibly important, and full of details about Momota’s illness, the killing game show, the ringleader’s identity, and of course, Ouma’s true mindset. I can’t include the full transcript here because it’d get way too long, but I don’t want all their hard work to go to waste.

I translated the whole Google doc from start to finish, although I’ve removed the Japanese text from there for the sake of length. Here, the Japanese text is left in like always for the partial transcript, just so people can compare my translation to the original text if they’d like. Of course, I’ll also include some meta of my own at the end like always.

I know the scene is long, but please give it a read if you have a chance. It’s very, very interesting, and anyone curious about clearing up fake spoilers and rumors should check it out, because I’ve made it as accurate of a translation as possible and included all the facts.

So, if anyone is interested in seeing the full, complete translation of Chapter 5′s post-trial, please read this Google doc!

More translated transcripts.

We’ve all worked very hard to bring you this, so I’d really appreciate it if this post could get reblogged and spread around! If this is well-received, we’re planning on translating even more scenes in full like this. So please spread this around, and enjoy!

Keep reading


“If you can’t hold it, you take your ass to the men’s room and cry in private on the toilet. Like a man!“— Emerson, Pushing Daisies

This is an incredibly important scene because I believe this is the first time an MCU male superhero has cried. And Matt is not crying over the death of a dog, family member, love interest or cherished friend. It’s not an epic moment during battle or when everything he’s been fighting comes to a head. (Common examples of when it is acceptable for men to cry in media - see trope Manly Tears for more.) No, Matt is crying because he’s fighting with his best friend. Foggy, too, is crying because he’s fighting with his best friend. They’re crying because they care so much about each other and they feel so much. And it’s all expressed. Foggy feels deeply betrayed, but beyond that he’s overwhelmed with grief and worry over Matt. Matt finally is facing the fact that he personally hurt someone that he loved with his actions. And THEY ARE CRYING because of it.

I’m stressing this because crying over these “every day” events is not common for men in media. This is particularly important for Matt, who’s portrayed fairly traditionally masculine - physically strong and mentally stoic, reserved in his emotions. But yet, he cries when he’s fighting with his friend. And the narrative validates both his and Foggy’s crying. The scene is full of pathos and their fight is one of the more painful scenes on a fairly gruesome show. They’re expressing their feelings and talking it out and crying, and they’re not weak or any less badass for it. They are simply human for doing so. 

I believe that these types of portrayals are very helpful in breaking down gender stereotypes, which is helpful for everyone. Men suffer from a lack of close and healthy male friendships where they can express themselves and be emotional, which causes not only them problems but society at large. Daredevil got this right and it’s important.


This scene is incredibly important to me. Look at the softness in Harry’s eyes as he watches Eggsy, how there’s some kind of respect in the fact that My Fair Lady is the one he watched and felt related to. I honest to God think this is the moment that he fell in love with him.

And then there’s Eggsy, you can see how confused he is. Why is he watching me like this, what does he see? I don’t think anyone’s looked at him like that and it pains me so much.


The canonicity of RivaMika

One of the more common arguments I have seen used against this ship is that it will never be canon (as if being canon was some kind of be-all, end-all of shipping - it’s not). But it got me thinking.

The thing is, whatever you say about Isayama-sensei, he does have a plan for the story and it’s usually well-connected with a solid foreshadowing for the majority of events. And that’s why I’m making the claim that RivaMika has been built into the story from the beginning.

Volume 3 gives us the first description of Levi: “He’s as strong by himself as an entire brigade.” The very next chapter, Ian Dietrich tells Kitts Weilman: “That’s Mikasa Ackerman. She’s worth a hundred ordinary soldiers. Her loss would be a terrible blow to mankind.”

Note the similarity in the descriptions.

Then we have the visual parallel of when Mikasa stands in front of Eren and Armin and when Levi cuts down two Titans after the sealing of the Trost gate.

At this point, Levi and Mikasa have yet to meet but there is already a connection being built around their skills. That alone would be a valid, canonical reason for shipping them. But as I said in another post, the story doesn’t stop there.

There is Eren’s trial, Levi’s beating of him and Mikasa’s reaction to that. It creates a one-sided hostility between them that makes their connection more personal. This ‘hostility’ phase culminates and ends during the 57th expedition and the fight against the female Titan.

There is also the direct in-story acknowledgment of their capabilities when Armin considers that the two of them would be able to take on the female Titan, which comes to pass a volume later.

From then on, it’s no longer about hostility. It’s about respect.

Can we have a round of applause for Mikasa’s self-awareness? How she acknowledges where she went wrong and then does her best to make up for it?

I spoke before about why this scene is so incredibly important to the development of their relationship. It shows Levi’s respect for Mikasa’s capabilities and it shows Mikasa’s respect for Levi as a superior officer. Gone is the rudeness of “This was your fault for not protecting Eren”.

And of course, there is the latest Ackerman Government arc which all but hammers in the point that there is a connection between Levi and Mikasa and that it’s going to be a big part of the story.

There is the frequent positioning of Mikasa at Levi’s right side (right hand?) in group scenes. There are the battle scenes where the two of them use similar techniques. They even have the same scars on the face. All of it are visual cues in a visual medium, cues that point towards a connection.

There is definitely their familial connection as the last two known descendants of the Ackerman bloodline. Interestingly enough, the connection is made distant on purpose. They could have been written to be closer than the third/fourth cousins they are. It wouldn’t have been such a stretch to make Kenny Mikasa’s father’s uncle or even brother. The story would still work. It wouldn’t change a thing about the tragedy of the Ackerman family. But the story didn’t go there. The story kept the familial bond distant. And when it comes to an interconnected story like SnK, I have to ask why?

The relationship and connection between Levi and Mikasa is not an accident. It has been written into the story, it has been developed and supported by the narrative. Is it a romantic one? Platonic one? Familial one? At this point in the story, it could go either way. But there is no denying it is present.

RivaMika is canon. What form that canon will eventually take is still up in the air but it is more than wishful thinking on the shippers’ part. It is a valid, narrative possibility. RivaMika shippers are not making things up. They merely see and acknowledge what is already there.

*drops mic*

Maybe a Dim Sun: An Analysis of Blake and Sun

*tries not to think about dim sum*

Ahem, where was I? Ah, that’s right-

Blake and Sun. Yeah, let’s talk about Blake and Sun for a bit, shall we?

Now, for what it is worth, I’m not writing this from a shipping perspective. I don’t have a preference for either Bumbleby or Blacksun. This post isn’t meant to be in support of Blacksun, nor is it advocating that Blacksun become canon, nor is it predicting that Blacksun will become canon!

I just want to explore and analyze the relationship between Blake and Sun, and I don’t mean their potential romantic relationship. Regardless of whether romance occurs between Blake and Sun or others, I think that Vol 4 Ep 5 pointed us towards a potent dynamic between Blake and Sun that could shape their relationship for the better. So, let’s get into it.

I think that this scene is incredibly important, and I think it is more nuanced than it seems. It might make sense to brush off Sun as “not getting it,” like Blake says herself. He’s overwhelmed by the beauty of Menagerie, and, to be fair, he does dip a little too close to idealizing it. When he says, “Why would anyone ever wanna leave,” Blake’s response is justified. Menagerie is a reminder that the Faunus are still not equal; it is living proof that the Faunus were cast out of the realms that humankind dominated. 

But that is not all it is.

Sun’s response, that “this guy is feeling pretty at-home,” actually brings up a critical issue: that of recognizing one’s achievements even when under an oppressive system.

Menagerie is beautiful; it is an incredible accomplishment of the Faunus, who welcomed each other, united in a hostile environment, and started building. The Faunus have built something extraordinary for themselves here, and they built it by themselves. Menagerie may be a product of oppression, but that does not mean that it can only ever be oppression. 

Blake has forgotten to appreciate that. Watch her reactions, listen to her tone- she’s somewhere between bitterness, shame, and frustration. This is fair and understandable, as she has been fighting against oppression for her entire life. The fact that she returns home and just sighs in sadness makes sense. Blake has had an incredibly difficult life and struggle, and she’s trying to stop herself from losing her way and totally giving in to despair. She’s trying to find her reason and resolve to fight again. She’s trying to find hope.

That’s why Sun’s reaction is so important. Sun can actually see the beauty of Menagerie, and even if he overlooks part of its grim reality and history, he sees it more fully than Blake does. Blake sees Menagerie through eyes made bleary from years of conflict, whereas Sun sees it from another, more hopeful, perspective.

Even as Menagerie serves as a reminder of the past, it functions as a true, welcoming home in the present, and in the future- well, maybe, just maybe, it can serve as a model for a just and peaceful society.

I think that Blake forgot this, until, right around 4:08, right when Sun affirms that he feels like he’s at home, and she- 

She smiles, because she begins to see her home as he does. 

Their two perspectives begin to converge.

I think that Blake’s relationship with Sun could help show her how to see again, how to be joyful, how to be free, how to hope. And she can show him how to see injustice, how to struggle against it, how to live with purpose and direction.

Whether they end up romantic or platonic, I think that they will be extremely good for each other.


So there’s been a lot of hype about today’s episode and Yuri and Viktor’s relationship and as such there have been a billion posts analyzing different scenes and what they meant development-wise. Specifically, there have been a lot of posts talking about the scene in which Yuri cries at Viktor. While that was an incredibly important scene, people seem to be neglecting the scene right after it, Yuri’s freeskate.

In my opinion this scene is one of the most important scenes to Vikuuri’s progress, because it’s where their relationship finally gets to its first goal. That goal is Viktor and Yuri being on equal ground.

From the beginning it was clear that there was a wall between them in the form of Viktor being put on such a high pedestal by Yuri, making him effectively unreachable. People this far apart from each other can never have a close relationship, so in all the previous episodes, the main emotional progress made was a way to knock Viktor down from his pedestal while raising Yuri up so that one day, they could finally meet eye to eye as equals as only then could their relationship bloom.

In the scene of Yuri’s freeskate, you can hear Yuri’s inner thoughts during it. (I could actually make a whole other post about his own singular character development in this scene but I’ll just stick the Vikuuri development for now.) 

”Viktor’s expression when I started to cry was priceless.”

Yuri thinks about how clueless Viktor was when he was crying. This thought is sort of playful, showing that Yuri is fine now, and is thinking back on the scene beforehand. After this comes what is in my opinion, the most important line in the scene:

“Viktor’s too inexperienced as a coach.”

Yuri criticizes Viktor. 

“He should be prepared for this much.”

Yuri seriously criticizes his idol, one of the most renown skaters in the world, and now, his coach. He points out a major flaw of someone he only ever thought of as perfect and untouchable.

“Stupid Viktor!”

And THAT is what finally breaks down the wall between them. THAT is what finally sets them on the same level. Yuri allows himself to see Viktors flaws, to see Viktor helpless, clueless, unsure, doubtful, floundering, all of these things Yuri has only seen in himself so far. Suddenly, when Yuri was crying, he was the one who had to guide Viktor through something, he was the more experienced one, he was the leader of the situation. Through these little thoughts, Yuri allows himself to see Viktor as a human, just like him. And now they’ve reach a codependency, an equivalent exchange as skater and coach and as partners.

This is such an important scene because it’s what allows the following kiss to happen. Yuri and Viktor are on equal ground now, they can finally see each other in the same light as themselves, and their relationship is going to prosper now because of it.

the sunny wikia describes the rpg macdennis valentines scene as “somewhat heartfelt” and not “an incredibly important moment of emotional sincerity that acts as a milestone in both dennis’s character development and the development of mac and dennis’s relationship”. straight dudes are wildin