I havenāt seen anyone talking about this. And imo. This is one of the most important shots of the whole video.
I keep seeing people say how crazy Mizi is and how innocent Sua was in comparison, but thatās just not true. I adore both Mizi and Sua, by the way. This isnāt criticism of either of them. But you canāt ignore what Sua does here if you want an accurate portrayal of their relationship in this world.
When Mizi becomes an idol, sheās manufactured into a sex symbol, crafted into something that can appeal to the male gaze despite how we KNOW sheās a lesbian. Specifically, we can see how Miziās breasts are often framed promiscuously to further her objectification:
So this shot where Sua finds Mizi, tied up and helpless, incoherent, and the first thing she does is frame an unaware Miziās breasts as if in a photoshootābitterly, ironically, before relief takes overāit goes to show something major about Mizisuaās relationship in both the ALNST and ZOMST verse.
In ALNST, Sua enables Miziās infantilization (something often levied against women in a misogynistic context) of herself by keeping Mizi āin the darkā (although Mizi is more aware than either of them want to acknowledge). People rightfully criticize Till for his innocent vision of Mizi to comfort himself with, but Sua has a version of Mizi in her head that she uses to comfort herself, too. She and Till arenāt incredibly different in this regard.
In ZOMST, this translates not to infantilization, but to objectification. Sua is bitter over Miziās decision to let the industry use her in this way, sheās disgusted by it, but then she wields it herself when Mizi is finally helpless and incapable of pushing Sua away again by miming taking a photo of Miziās breasts.
Mizi is objectified in ZOMST by everyone: the industry, herself, the crowd, and even the person she loves the most.
