I knew Ilya wouldn’t stand a chance when this is how Shane looked in first and second hook up
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@tarawitht
I knew Ilya wouldn’t stand a chance when this is how Shane looked in first and second hook up
I love when the trop is about two women who love/want to kill each other.
I love the idea of Shane and Troy being besties, but logistically? It’s just not happening. Troy is way too shy and introverted to make that jump. He’s a sweetheart who respects boundaries to a fault, so if Shane acts distant or quiet, Troy is just going to politely give him space. They would literally just nod at each other in the locker room forever.
To befriend Shane Hollander, you have to aggressively force him into it. He has so much social anxiety and such a need for control that he will never initiate a friendship because he constantly thinks he’s bothering people. You have to completely ignore his polite aloofness and just decide you’re best friends now. That’s definitely how Hayden adopted him, and it’s exactly why Hazy is the one who would actually become Shane's bestie.
Hazy is way too social and open to care about Shane's chilly exterior. He would literally force feed Shane his presence until Shane randomly wakes up one day and finds himself hanging out one on one with Hazy at his house. Hazy would just show up with takeout, plop down on the couch, and start rambling about some reality TV show until Shane just sighs, accepts his fate, and realizes three months later that they are attached at the hip.
Ilya would be so smug and amused.
I see a lot of shane humiliation kink fanfics -which is fine whatever floats your boat- but I personally think that Shane is text book praise kink. He wants to be good, and wants to be told that he’s good. Every choice he makes throughout HR and TLG is just him trying so hard to please everyone and get recognized for it.
I think the reason a humiliation dynamic doesn’t really fit Shane or Ilya comes down to the fact that they’ve both spent their entire lives dealing with so much intense external judgment that degradation wouldn’t feel like a fun, spicy escape, it would just hit way too close to home.
Shane’s whole vibe is basically a masterclass in hyper vigilance and emotional suppression. The poor guy has spent his life tightly controlling his expressions, managing his OCD, masking his sexuality, and sacrificing his own comfort just to please literally everyone around him: his parents, the media, his team, the entire league. He’s already internally wired to feel like he’s failing if he isn't 100% perfect 24/7. Humiliation wouldn't feel like a safe release for him, it would just feel like the crushing weight of public scrutiny invading his safe space. Shane doesn't need to be brought down because he’s already holding himself to impossible standards. What actually short circuits his brain is the absolute safety of being praised and accepted without having to play a role.
And on the flip side, Ilya being degraded doesn't really square with his history either. Ilya spent the first half of his life totally starved for validation, desperately trying to prove his worth to a cold, disapproving father. He basically had to build this massive, impenetrable ego just to survive that emotional neglect and find his own footing. Because of that, he takes huge comfort in his own excellence, he thrives on being seen as an absolute sex god and an amazing captain, because those titles are the armor he built against his childhood. He has way too much hard earned pride to find any comfort in being brought low. Ilya doesn't want to be humiliated, he wants to be actively worshiped, chased, and chosen.
I see a lot of shane humiliation kink fanfics -which is fine whatever floats your boat- but I personally think that Shane is text book praise kink. He wants to be good, and wants to be told that he’s good. Every choice he makes throughout HR and TLG is just him trying so hard to please everyone and get recognized for it.
Happy pride month to all the lesbians out there trying and failing to find a wlw ship that is not doomed
Manchester by the sea 2016
okay but the scene of shane and hayden in the hotel room in which hayden is REPEATEDLY just trying to go, "yeah man, go have fun. I do not care." combined with the "is hayden your mother?" scene later on has me CACKLING imagining part of ilya's dislike of hayden coming from the impression that he's controlling of what shane does whEN NO, ACTUALLY
YEAH HE WOULD HAVE QUALMS ABOUT*WHO* HE WAS GOING TO SEE IF HE KNEW, BUT HE DOESN'T ACTUALLY CARE WHAT SHANE IS DOING
SHANE IS THE ONE WHO OFFERS A FULL REPORT AND ASSIGNS HIMSELF A CURFEW WITH NO PROMPTING
GOD the idea of bb shane having a habit of tattling on himself because A. he wants to make sure mom and dad are up to date with everything he did all day B. does genuinely want to be Good Boy and will just own up C. doesn't always realize what he did is or isn't "bad" ("i told christy at school today that her dress looks like boogers" "oh, honey, why would you say that?" "??? because her dress looks like boogers??")
and the idea of yuna and david having flashbacks to bb shane tattling on himself when he's standing in front of them with ilya
and it also making it hit even harder for yuna when she's processing because her baby who has always seemingly fessed up to EVERYTHING immediately didn't feel like he could tell her this??? for YEARS???
oh MAN ilya always play-grumbling about shane not being able to not tell his parents anything but ALSO correcting him if he's wrong on his tattling details
as seen in
I can’t fangirl too much because it’s hard for me to imagine anything that is not canon compliant when it comes to the characters, I can imagine different pairings and different settings, but if a character is autistic in canon they’re gonna be autistic for me in every universe.
You can live forever 2022
captures the tragedy of trying to force yourself into a mold you don't fit. The "negotiating" with faith to protect a love that the community won't allow is so incredibly accurate and heartbreaking.
My heated rivalry headcanon is that married hollanov don’t act like a married couple in front of their teammates. And it’s not because of professionalism, they’re just not the lovey dovey type when it’s in front of people. They acknowledge each other in public by teasing and annoying each other. But they’re still kinda always sitting next to each other, they want to be touching all the time. The centaurs would be confused because hollanov don’t act like a married couple, they act like high school buddies.
The Virgin Suicides 1999
Pretty movies with devastating consequences.
PORTRAIT OF A LADY ON FIRE (2019) dir. Céline Sciamma
I think people would be less suicidal if they were allowed to talk about being suicidal without risk of being sent to the Torture Dungeon
I will always be parasocial about female, queer, neurodivergent, and non-white characters. Because while other characters get to be cruel, selfish, and complex, these characters are never allowed even a little of moral frailty or awkwardness, and to me, that is not a coincidence.
The silencing of feminist creators -especially non-white women- through accusations of "transphobia", "anti sex-worker", or "bigotry" often mirrors older patriarchal strategies used to discipline outspoken women.
Historically, women who challenged dominant social structures were dismissed as immoral, hysterical, selfish, dangerous, or anti-family. The language changes depending on the political era, but the mechanism remains familiar: shift attention away from the substance of a woman's critique and redirect it toward her legitimacy as a speaker.
This dynamic becomes particularly visible when women discuss subjects such as misogyny, pornography, prostitution, sexual violence, female socialization, or boundaries. Rather than engaging with the argument itself, public discours often turns it into an evaluation of whether the woman has violated an ideological line. The result is that women are permitted visibility only as long as their perspectives remain convenient, affirming, or non-distruptive.
For non-white women the pressure can become even sharper. They are often expected to perform a version of political correctness that leaves little room to articulate cultural, religious, or material realities that complicate dominant progressive narratives. When they fail to do so, they risk being cast not only as "wrong", but as morally illegitimate.
What make this dynamic particularly frustrating it has increasingly reproduced itself inside feminist spaces. Women speaking about misogyny are now frequently expected to immediately recenter the conversation around everyone except women. A feminist raises a women's issue and is asked: what about this other marginalized group? A black woman speaks about sexism and is told to prioritize speaking as black before speaking as a woman. Female experience is constantly fragmented, qualified, redirected, or treated as incomplete unless it's filtered through another framework first.
The result is that womanhood itself becomes the only identity category that is never allowed to stand on its own politically.
Of course solidarity matters. No oppression exists in isolation. But solidarity becomes distorted when women are expected to dilute, soften, or constantly justify discussions about their own oppression in order to avoid accusations of exclusion. In practice, this creates an environment where every group is permitted to advocate for its own interests directly, except women.
That contradiction is why many feminists feel alienated from contemporary progressive spaces. The language is inclusive, but the pattern often feels familiar: women can speak, but only within carefully approved boundaries. The moment female experience is centered too explicitly, suspicion emerges. The discussion shifts from the issue itself to whether the woman speaking has failed some moral or ideological act.
The issue is not that marginalized groups should be beyond criticism or debate, nor is it a denial that prejudice exists. The issue is that feminist speech is increasingly treated as conditional: women are encouraged to speak about oppression only when their analysis does not create discomfort or conflict within broader ideological coalitions.
In that sense, the rhetoric may differ from conservative or religious silencing, but the outcome can feel strikingly similar: women learn that speaking too directly about their own material and political interests carries social punishment. It sends a clear message: political empathy is extended to everyone, but women are still expected to negotiate for the right to name their own reality without interruption, qualification, or punishment.