Okay but hear me out...

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Never trust someone who isn't kind to animals. 

Recently in Brazil, teenagers beat a stray dog named "Orelha" to death. What revolts me the most is knowing that nothing will happen to the teenagers because they are the sons of billionaire entrepreneurs and one of them is the son of the owner of the Majestic Palace Hotel, and one is the son of a policeman.

The parents are trying to bury the case by threatening to sue everyone who comments on it, but I'm not afraid, if it's to try and do justice, I'm not afraid of evil billionaires.

Names of the ass4ssins:

Matheus Silva Ferreira

Igor Zampiere

Evandro Daux Boabaid

Pedro Kowalski

Enzo Sampieri

Werewolf au

I often hear a discourse where Celine in K-pop Demon Hunters, Alma in Encanto and Ming in Turning Red are seen as vilains. They’re the ones who restricted the younger generation, hurt them, and are ultimately responsible for their pain, trauma and self-doubt. They’re framed as the real villains of the story. But I’d like to differ.

These are stories of intergenerational trauma. They are women who survived, repressed, and tried to protect their families the only way they knew how: through control, perfectionism, and emotional suppression.

And yet, when the next generation begins to reclaim joy, freedom, softness — they become the obstacle. Not because they’re bad people, but because they’re scarred. Their minds cling to survival strategies, unable to recognize that the environment has changed.

Alma is still stuck fleeing the colonizers.

Ming is still afraid of her true self.

Celine believes that fear and mistakes must be hidden.

It’s not about hating these characters. It’s about how unprocessed trauma twists love into control. How survival, unexamined, turns into rigidity. These women were never given space to process their own pain and they project it onto their daughters and granddaughters.

And here’s something we rarely say enough: intergenerational trauma can create toxic patterns but that doesn’t always mean there was abuse or conscious harm. Even when their love becomes suffocating or controlling, these women are not necessarily “abusive parents.” They are daughters of silence, fear, and sacrifice. And they were never taught another way. It’s important to make that distinction, especially in a world that often pushes a binary, punitive reading of family dynamics.

They’re the product of a generation that was told to endure. But endurance without healing becomes its own kind of violence.

What’s powerful in these stories is that they don’t end in vengeance. They end in confrontation and transformation. The confrontation is necessary: the younger generation refuses the silence. Refuses the shame. Refuses to carry a burden that wasn’t theirs to begin with.

The house is destroyed in Encanto.

Mei accepts her full self.

So does Rumi.

And in the best cases, this confrontation allows the elder to soften too. Alma opens up. Ming listens. And I’m hoping in the sequel, Celine will open too.

Maybe that’s also why these stories speak so deeply to POC audiences. These aren’t stories about cutting ties. They’re stories about how hard it is to transform them, to protect ancestral bonds while refusing to perpetuate inherited pain. In many racialized families, collectivity, loyalty, and intergenerational duty are sacred... even when they come at the cost of personal boundaries.

And sometimes, Western individualist frameworks read these tensions as dysfunction or villainy. But for us, they’re just the difficult truth of growing up and trying to do better.

These women aren’t villains. That would be too easy. They embody the fragile, necessary work of bringing change without breaking the thread. These stories are about refusing to inherit their pain without reflection. Because love, without accountability, is not enough.

These stories show us that each generation has something to learn from the next. And the new generation must also break free from the chains they inherited while preserving what is meaningfull.

But it’s not just their story.

One day, we’ll be the older generation.

And we’ll need to be humble enough to learn from the ones after us.

So don’t be a fool.

We may be Mei, Rumi, or Mirabel today.

But tomorrow, we could be Ming, Celine, or Alma.

And when that time comes, we’ll realize how hard it is to unlearn what once kept us safe.

So let’s have compassion for all these characters.

Because these stories show us not just how the cycle of generations works, but how it can make us better, stronger, and more connected... if we’re all willing to go through the change.

∘₊✧──────✧──────✧₊∘

If you’re curious, I’ve written more on K-pop Demon Hunters:

A post on the mental health themes woven through the songs — right here.

A breakdown of Celine-Rumi in comparaison to Gothel–Rapunzel dynamic — here.

An analysis about Rumi, Jinu, and the danger of sinking together — here.

Okay so one thing I'm seeing a lot is the idea/headcanon that Celine hated Rumi because she was half-demon and thus didn't really care for her during her childhood? I can't help but passionately, vehemently disagree. Why?

Because of this.

Celine wasn't raising HUNTR/X and projecting some sort of hatred of Rumi's demonhood onto their training, Celine is consistently in denial and on copium about the idea of Rumi being half-demon. Girl has been on copium for all of her screentime in the movie, so much that I don't doubt that's where her retirement funds go to. She refuses to believe that Rumi is a demon and instead chooses to lean into the idea that Rumi is a hunter, like Ryu, and that she just has demon patterns that will go away when the fabled Golden Honmoon is conjured. She rationalizes Rumi's demon half as, "it's not that she is a demon, she just has demon patterns."

Forgive the analogy, but it's exactly like "it's not that he is homosexual, he just has homosexual urges". Having something is ultimately easier than being something, because having something means that it is possible to no longer have something. Celine sees Rumi not as a half-human half-demon, but a full Hunter who just has demon patterns, because it's ultimately easier to digest something when you know that that something can and will go away.

That's why Celine is able to pass the Hunter's mindset onto HUNTR/X and why they are able to do what they do-- it's not that she's projecting her hatred of Rumi onto them, she just refuses to believe that Rumi is one of the demons she hates. And how could she not hate them, when her tenure as a Hunter has probably given her enough reasons to hate them that they could make a book longer than any historical archive? Those things she taught the girls about demons doesn't apply to Rumi, of course not! She's not a demon guys trust me she's not a de--

This entire rationalization of Rumi's patterns is the reason why Celine insists that Rumi can't tell Mira and Zoey about her patterns. Patterns = demon, but Rumi I guess is an exception because she is full Hunter but has patterns, and they're actively choosing to ignore the implications of having patterns (patterns = demon). This line of thinking is so goddamn fragile that the only way to not poke through this wet tissue paper of a mindset is to simply not acknowledge the big, gaping flaw in it, which Mira would probably be most wont to do.

And which Jinu does.

Fr tho that conversation would be so goddamn awkward like "oh yeah so I have patterns because my dad was a demon but I'm not a demon I swear I just have patterns they'll go away when the Golden Honmoon is formed okay I swear trust me they'll go away they're not who I am they're just something I have that will go away trust m"

But anyway back to my thesis here, Celine doesn't hate Rumi because she sees that Rumi is half-demon. Celine loves Rumi because she refuses to believe that Rumi is half-demon, because making that realization would force her to rethink I'm guessing 30-something years of her time as a Hunter, 30 years of fighting and hating demons, and however-old-Rumi-is years of "I pretend to not see"-ing her patterns.

Her being unable to look at Rumi? That's because she is clinging onto that tissue paper mindset she's made to cope with Rumi's nature. She is holding onto that mindset for dear life, because she hates demons, and she can't bear the thought that Rumi, her best friend's daughter, this kindhearted soul, is of that race of demons that she's hated for so long that she probably can't remember a time where she didn't. She doesn't want to hate her daughter, but her demon origin makes it so goddamn hard. She can't bring herself to hate her daughter, who is a demon.

And this bit here? Yeah Celine kinda has a right to think that, because every time Rumi snaps and her demon form comes out, the Honmoon ripples red. Who knows what that could actually mean, but the Hunters believe red = weak spot in the Honmoon, so that's how everyone in the room believes that, and that's how Celine interprets it.

But she's torn. She's not saying this coldly as a matter of fact. She is scared. She is desperate. She is scrambling to find a solution to this massive problem, but as she said, everything she was taught told her how to handle the problem (kill the demon), but she can't because everything she was taught told her that one cannot simply accept, even though acceptance is the exact solution she's looking for.

Celine probably had the biggest crashout under the tree, because in this moment, she's seeing all the years she spent raising Rumi crumbling apart. She's finally registered that the tissue paper is disintegrated in her hands, and to her that can only mean one thing: that she was wrong to cling so desperately to Ryu's memory, to hold onto the one thing she had left from her. To raise this half-demon to adulthood, when she couldn't even bring herself to put her down.