Summary:
After Lila dies a gruesome and self-authored death, a grief-stricken Félix abandons the moral line he once swore he would never cross and makes a Sentibeing in her place.
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@myladynoire
Summary:
After Lila dies a gruesome and self-authored death, a grief-stricken Félix abandons the moral line he once swore he would never cross and makes a Sentibeing in her place.
hashtag voxpop. hashtag poor claudia with her straightened hair in the third drawing thanks to lila's machinations. haaash tag read voxpop on ao3.
An Archive of Our Own, a project of the Organization for Transformative Works
Additional Tags: Backstory, Pre-Canon, Speculation, Character Study, Implied/Referenced Human Trafficking, Implied/Referenced Child Abuse
Summary:
Sheâs a riddle, and everyoneâs guessing wrong.
(An attempt at Lilaâs backstory.)
Never apologize for a late comment @miraculous-lesbians , these are the best kind. Knowing someone sat with it and took their time means a lot!!
The Chameleon Street rec is so exciting, I hadn't heard of it before but now I absolutely have to watch it!!
That the focus stays on the interiority of the con rather than the wreckage is exactly what I was going for. It feels especially meaningful given how much pushback the idea of giving Lila a tragic backstory gets in this fandom, as if there's this fear that exploring where she comes from automatically means excusing what she does. But I don't think that's true at all; understanding someone and absolving them are two completely different things, and Iâd rather trust the reader to hold both at once than flatten her into something easier to dismiss.
Also yes to everything you said about leaving the diagnosis open. I think once you name it, it starts functioning as an explanation, and I didn't want to give the reader that exit. You should have to sit with her without the label doing the interpretive work for you.
and she SHOUUUULD win actually. Thatâs my ideal reader response thank you đđ»
Summary:
After Lila dies a gruesome and self-authored death, a grief-stricken Félix abandons the moral line he once swore he would never cross and makes a Sentibeing in her place.
THANK YOU @miraculous-lesbians so much for your kind words!!
To answer some of your questions: Lilaâs career in this story is kind of a structural metaphor for who she is as a person. She starred in movies that didnât really make any noise and unremarkable TV shows. It is built on the same foundation as everything else in her life, which is⊠well⊠image and proximity to power and (most often) the willingness to lie when the truth isn't flattering enough. She understood that talent alone wasn't going to be sufficient, partly because the industry really is rigged and partly because she genuinely ran into her own ceiling when she tried to go legitimate. The LA audition was the key scene for this: she was good but they didn't want her anyway for reasons that had nothing to do with the quality of her work.
So from then on, she stopped trying to be better because if the game was always going to be about connections and who owes you, she was going to be the best at that game instead.
About the actress in the cease-and-desist folder: Lila Rossi in canon is someone who constructs super complex and sustained campaigns of reputational destruction against teenage girls who, like, mildly inconvenience her at best LMFAO. Scale that up to an adult woman who got a role Lila felt entitled to, and you get something genuinely ugly. I donât describe it but it is criminal-level harassment and hate/smear campaigns irl and online.
Her coworkers!!! I think, are divided into two camps: people who adore her because she is genuinely magnetic and fun when she wants to be, and people who have filed her away as someone never to cross and never to trust.
Iâve added an in-universe criticism of Lilaâs acting that is actually inspired by what people are saying about Alexa Demie from Euphoria. She is luminous but completely one-note, only able to inhabit the cool desirable girl and nothing beyond her. For Lila, here, it IS a self-problem; she cannot access genuine emotional depth onscreen because she doesn't access it in real life either.
So like, the knowledge that the one thing she had staked her entire identity on had a ceiling, and she had hit it, sort of destroyed her in the process. By the time felix wins the Nobel Prize, she has spent years watching a man she loves succeed at something real while her own "real" attempts have all failed, and the bitterness of that cannot go anywhere productive so it goes everywhere else instead.
Now about Félix: I am so glad that's how it landed for you because that was absolutely the intention.
Félix in the first part definitely earns your sympathy because you understand him, you can see the love underneath the control, and grief obviously makes people pitiable even when they've contributed to their own disaster. I really wanted the Senti-Lila section to be the part where the story stops protecting him. Those traits we might have read as flaws-but-forgivable in a living relationship (ex: the need for order, the idealization, possessiveness, the way he processes Lila more as an experience than as a person with interiority of her own) get stripped of their romantic coating and shown for what they actually are.
What FĂ©lix does with Senti-Lila essentially reveals his ideal relationship, and his ideal relationship is a version of Lila who doesn't want things he can't provide, and doesnât make him feel humiliated about loving someone who is so ungovernable. The story then asks you to sit with the fact that he (a previous VICTIM of Amok-induced subjugation and control) enjoys it. He knows it's wrong, hates himself for it and cries about it but doesn't stop. You want to hit him with a frying pan, we all do, and Duusu is also his biggest enabler and there is no one here to stop him. Itâs just a complete mess.
And yes, I was genuinely floored when I watched Obsession, because it was essentially what I had already written, which was both vindicating and slightly eerie, but this isn't new territory, and that's part of why the trope keeps returning: it exposes something that doesn't go away. Iâve started calling it the âbum ass men with a complete blind spot to a woman's personhood and interiorityâ genre and there is a whole and distinguished lineage:
Her (2013) is maybe the purest version in my opinion: Theodore builds an romance with an AI that has no body or needs and zero history at all and is infinitely patient with his emotional unavailability (cause duh, sheâs ChatGPT), and the film is just barely sympathetic enough to him that you have to do the work of noticing how much he prefers her because she has no competing interiority. In the wise words of his ex-wife:
In Ruby Sparks (2012), Calvin rewrites Ruby on the page when she starts becoming someone he didn't design. I knoooow this loser would gladly be a Peacock holder if he could.
Companion (2025) comes at it from the other direction and lets the created woman be the one whose perspective we follow, with a super satisfying ending.
Vertigo (1958) is the granddaddy of all of them; Scottie doesn't want Judy, he wants Madeleine, and he will physically reconstruct this living woman into a dead one because the dead one never got the chance to disappoint him. Pygmalion and its descendants obviously, the fantasy of creation as the ultimate solution to the problem of other people having their own desires.
I personally love this trope. What they all share is a man who mistakes love for ownership, and I do believe my Félix fits this trope, and what As You Were tries to say is that the grief is real, the love was real, AND the act is still a violation.
Thank you so much for reading and sharing your thoughts, Iâm glad you liked my version of FĂ©lix and Lila, and I hope youâll enjoy The Act !! â€ïž
Gabriel Agreste and Johnny Grassette.
J: First date, huh son? Emilie, Whatâs she like?
G: Beautiful..Brave...Blonde⊠like our family fries, I guess?
(Note: I wanted to draw his hair like Nooroo xd)
I drew some Met Gala looks for Lila and Adrien!! Unfortunately I don't think anyone else would be, uh. invited. For those who haven't kept up with SYMD and its lore, LEDA VERMEIL is an Italian fashion label that Lila eventually becomes creative director for! So I assume she'd buy herself a table at the Gala. Of course.
Commes des Garçons was an obvious pick for clothing at the Met Gala. The function in Rei Kawakuboâs dresses was maybe the sixth most important consideration, behind five others that couldnât be properly given name, and the dichotomies in her work would distend in large gossamer humps and bulbous rufflesâFashion as Art at its most recognizable, though at the cost of appealing to the midwitsâ senses of taste. A piece from Kawakuboâs 2018 Spring/Summer Kimono Style then pulled double weight, with the manga-styled face of a young girl on its back. Lilaâs dress was stiff and LEDA VERMEIL, obviously, and while sheâd been promised it wasnât a literal Jackson Pollock canvas sewed to fit her figure, she sure as hell didnât believe it. It was understated (thus elegant), on theme, but also literal enough to find broad appeal, and the splatters of layered impasto in red, black, white and yellow made her gorgeously tanned skin look even more flawless than usual. âIt was modeled after Convergenceâ, she knew some brighter minds in the crowd would point out. âA Pollock painting made in the midst of the Cold War. It represents the freedom of speech. What else could be so prescient in this political climate?â Adrien was somewhere on the other end of the red carpet, and as per usual he was one of the few men with the discernment to dress on-theme. He was contractually obligated to wear Gabriel, and his stylist had zoned in on Apocrypha, Gabrielâs 2007 Fall/Winter collection. His ecru-colored suit was emblazoned in the swirling white embroidery of the Arts and Crafts movement, layering leaves together until the light tricked the eye into seeing gold, beige, cream, and every color that sat in-between. The silk shirt underneath, which was loose and buttoned together just low enough to barely hang over the lapels of his suit jacket, gave the outfit a dash of pine and posy greens. What was most notable about Apocrypha, however, made itself obvious through the ridiculous detail on Adrienâs chest: Rubies and garnets had been glued to his left pectoral and surrounded a fake arrow, in the image of Saint Sebastianâs, piercing through his heart. It contextualized the leaves surrounding him as that of the tree Saint Sebastian was pinned to, andâSure, heâd only become a popular image by the 17th century, but prints of his arrowing dated back to the year 1000, which was squarely medieval, so it fit the theme of the collection. Any complaints could be sent Gabrielâs way, in theory, and if he responded at all it could only comprise of him tearing the complainant a new asshole for trying to disenfranchise art through pedantry.
It's so funny to me that both of them basically have their own tables at the Met Gala and yet neither of their respective partners are famous enough to get invitations. I'm sure liladrientwt isn't unappreciative of them being seen together though.
The goalposts have moved: Revisiting The Postmodern Prometheus in 2026
artwork by: belowthesurface
I've been thinking about one of my older fics lately. The Postmodern Prometheus, which I wrote in 2022, before ChatGPT had entered the cultural conversation in any serious way and most people didnt know what a large language model was. It's a fic that uses the Agreste secret club (which we now know as The Kingdom) as a framing device for a kind of TED talk from hell, with Ămilie demonstrating sentimonsters to a captive audience of terrible people, using Frankenstein as her jumping-off point.
There's a scene in the middle of it that I'm particularly attached to. Tomoe Tsurugi asks to speak to Stella, the sentimonster girl Gabriel has just conjured as a demo unit. And the exchange they have ends with Tomoe giving her this small test:
"A broken mirror never reflects again; fallen flowers never go back to the old branches. What do you make of that, what do you think that means?"
And Stella says: "I think it means that once you learn the truth about something you see life in a different way and you can never go back."
The point of the scene, the philosophical argument I was trying to make, was that this is what separates a sentient being from a machine. Stella can do arithmetic, but so can a robot. But when you hand her a piece of language that doesn't have one right answer, she gives you her own answer. She filters it through whatever she's accumulated in the twenty minutes she's been alive, and she gives it back to you transformed. That's what Tomoe was actually testing; whether Stella can interpret.
The problem is that argument no longer holds in 2026; it collapsed sometime in late 2022, early 2023, depending on when you started paying attention. Because LLMs can do exactly this now. You can hand GPT or Claude that same aphorism and get back something indistinguishable from what Stella says and itâll be contextually sensitive and seemingly personal. The interpretation test that I invented as a diagnostic for interiority, for the purposes of this fic, is outdated now.
So I've been sitting with this question: does that mean the fic is broken? Does the philosophical scaffolding just collapse then?
I don't think it does. But I think the fic was arguing for something it didn't quite name, and what it was actually arguing for is more interesting than the literal thesis statement.
Tomoe's test isn't really the most important thing that happens in that scene. The most important thing is what happens after (spoiler alert) Stella is burned. Sheâs asked to hold her hand over a flame until she screams, and later, she runs. When the demonstration is over and Ămilie announces she won't be leaving the auditorium alive, Stella runs for the door, she doesnât really compute that running isn't the optimal survival strategy here and just runs because she doesn't want to die.
I guess the answer then would lie in the gap between what Stella wants and what she's made to do, which is the gap between her will and the Amok's authority over her. She tries to leave and is stopped mid-stride and sheâs made to walk back to the stage one heavy step at a time, fighting it the whole way.
This might be something closer to what we actually mean when we talk about a soul : the friction between the self and the forces that would override it, specifically here, the fact that she has preferences that are in conflict with others, and that she would choose otherwise if she could.
An LLM doesn't have this. It produces outputs, it doesn't want things and it doesn't resist anything. There is no gap between its will and its function because it doesn't have a will that is separate from its function.
Which brings me to Adrien and to a tendency in fandom that I find interesting.
When the sentimonster reveal happened in canon (multiple times, over the course of like, three seasons), a significant portion of the fandom treated it as either tragic background lore that didn't change who Adrien was as a person, or as an interesting plot point that the show immediately fumbled and didn't know what to do with.Â
The sentimonster reveal is not so much about Adrien's origin as it is about that gap I was talking about. Adrien Agreste has spent his entire life being a person whose will was in constant conflict with the forces shaping him. He has wanted things, has wanted them very badly and consistently. He has wanted to go to school, to have friends, and for Ladybug to love him back. He has been stopped, managed, and overridden, again and again, by people and structures that held his Amok (or not).
If anything, all the reveal does is it recontextualizes all of that as literal. The thing that felt metaphorical about his life, like being a beautiful object in his father's display case, or being a child who exists to serve the parent's vision turns out to have been structurally true all along.Â
Adrien (and Félix and Kagami) are all testimony to the fact that personhood can exist inside conditions designed to suppress it. So here's where I land, four years after writing this fic:
The argument that I was making, that interpretation proves interiority, is now obsolete because LLMs have eaten it. But the argument the fic was actually making still sort of holds. What makes a sentimonster a person is the presence of a self that is not identical to its function.
Thank you for coming to my TED-Talk thatâs not from hell, unlike *other* TED-talks!
Summary:
Adrien is grieving, restless, and tired of being handled with kid gloves. So when the new Butterfly holder promises him the truth about his father, he makes the mistake of meeting them alone.
Adrien being upset at finding out the truth is not a good reason to not tell him the truth.
If telling Adrien something is potentially traumatizing that is a Very Good Reason to tell him as soon as possible! Giving him more time to process that is a Good Thing. Waiting until it's boiling over is NOT a smart idea.
The argument that Adrien wouldn't be able to handle it is so... Infantilizing. And completely irrelevant. If it affects him Adrien has a right to know. No one can make that decision for him. No one has a right to.
In the same vein, this argument turns Marinette into his parent. She is fourteen, barely holding it together and doesn't need to be put in charge of what Adrien gets to know. Not on top of everything else. Marinette isn't "the mature one" just because she managed to avoid breaking down completely.
Adrien doesn't need someone else "protecting" him. He needs to know what's going on so he can process it and make his own decisions.
... I think "this character's choices are questionable but that doesn't make them a terrible person" and "the fandom can/should talk about characters' mistakes as mistakes" are ideas that can and should coexist.
(Luka not telling either of them that he knows their identities is also a mistake. But the similarities it has with Marinette's are surface level, as their motivations are not the same. Marinette is traumatized. Luka is... idk but it isn't that.)
amelie hold fast. amelie it only gets worse
Do you have any headcanons about the Kingdom or how they would exist in your fics if at all. I love how youâve created such interesting backstories for characters like Colt and Amelie and Lilaâs story is haunting in the best way. The Kingdom seems absolutely terrifying especially with how they seem to be pervasive in so many things
Hi! Iâm so glad you enjoyed the backstories; theyâre probably my favorite thing to write in this fandom. As for the Kingdom, Iâm holding off a little until we get more context, since right now it feels like weâre only getting scattered pieces here and there. That said, the Diamond and the people connected to it definitely caught my attention, especially after the NoĂ© episode. Iâm currently working on a backstory for Audrey Bourgeois and her rise into the literal Anna Wintour of the Miraculous universe, and the Diamond is going to be mentioned explicitly. I may very well get retconned by the next few episodes, but for now Iâm just working with what weâve got.
she know she a baddie
lowkey got my groove back