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eye mouths too small to suck dick 😭😔😫

eye mouths perfect size to suck tdick 🥴😏😝

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unfortunately i feel like i start sounding like this post whenever i start talking about the eye mouths i just love his weird biology okay theoretical/xenobiology my favourite thing ever

corinthian eye mouth perfec t size for put tdick in inside very Soft and Wet put tdick in corinthian eyemouth. no problems ever in corinthiaan eyemouth vecause good Shape and Suction for tdick yes acorinthian eye mouth a place for tdick put in corinthian Eyemouth no biting promise only giveing good head

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and when you’re eliminated from sandman drag race you are executed via firing squad. sorry

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E3

I just ate a bunch of chocolate cake and it’s making feel like I need to shit real bad so let’s go girls

straight to maxi challenge this week we’re not fucking around after the double execution

asking delirium about her past is evil I think and should be treated as such

edwin would be a better ice skater imo. crystal fits the aesthetic more

bro I’m feeling a bowel movement

YOU CANT PUT HER IN THE BOTTOM TWO????? AFTER WHAT WAS DONE TO ME LAST EPISODE?????? BUGSES ON YOU FOREVER AND ALWAYS?????????

KICK THAT FAIRY’S ASS DEL

FULL OFFENSE CLURACAN I DONT EVEN CARE

matthew been nasty as hell this season she just saw her life flash before her eyes

crystal we can fart together girl dw

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stephen slowly gets harrier every time I draw him

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incredible cutaway

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when I say genesis uses her body to her advantage I mean she’s storing joints between her pussy lips like a filing cabinet

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loser corinthian vs chad genesis

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this paragraph stands out to me most:

“When adaptations of the source material leans into certain dynamics—especially ones that simplify or rewrite complex, queer characters into more palatable, heteronormative molds—it inevitably influences how fans engage with those characters. Fanworks often reflect what the show emphasizes, and when a show sidelines queerness or reframes it as tragic, dangerous, or disposable, it sends a message, even unintentionally, about what kinds of relationships are “worthy” of attention, romance, and emotional investment.”

very very well said op

Putting aside my issues with Neil Gaiman as a person, I genuinely enjoyed the Sandman universe. I also recognize that many people contributed to crafting the story beyond just Gaiman himself. So, let's begin with an acknowledgment of some of the complexities and imperfections involved. Namely Gaiman is POS. I said what I said. The following contains spoilers for both the Sandman comics and the Netflix adaptation. If you haven’t read the source material or watched the show and wish to remain unspoiled, stop reading here. For me, the Netflix adaptation has been a strong homage to the source material—except for one aspect: the relationship between The Second Corinthian and Johanna Constantine. Now, we can talk about how the show has retconned and effectively erased the Corinthian's sexuality. Any form of erasure—especially when it involves marginalized groups—is deeply problematic, and queer erasure in particular deserves to be addressed. In fact we will discuss it at length, so buckle up. Some people argue that retconning The Corinthian’s sexuality is acceptable because he’s still portrayed as bisexual���so, technically, still queer. However, retconning a gay character to be bisexual—particularly to facilitate a heteronormative presenting relationship—is problematic. It actually contributes to bisexual erasure. So if you're thinking that making The Corinthian bisexual means increased representation for bisexual people, it's worth reconsidering what it really means to retcon a marginalized character’s established sexual orientation. Changes like this often don’t add representation—they dilute it. It can also imply that a character’s same-gender attraction was just a “phase” or that they were “confused” before ultimately settling into a heterosexual relationship. This perpetuates harmful stereotypes and undermines both gay and bisexual identities, rather than affirming them.

Rewriting a previously gay character into a heterosexual presenting relationship can reinforce the notion that straight relationships are the default or the “correct” outcome for characters, which subtly upholds heteronormative standards and undermines queer representation. These are my initial thoughts on how Netflix handled the dynamic between these two characters. Ultimately, it feels like a misguided attempt at representation—well-intentioned perhaps, but still reinforcing harmful stereotypes. Another issue worth addressing is the overall uninspired writing—specifically, the use of the overdone “I just met you and now I’m in love with you” trope. It weakens character development and makes the relationship feel unearned and superficial. This is more of a small critique than a harsh judgment, but with complex characters like The Corinthian and Johanna Constantine, it feels somewhat unfair—and not very true to their identities—to pair them romantically just because they happen to share a single episode of screen time. Media’s tendency to romanticize opposite-sex characters simply to create tension or advance the plot is lazy writing because it relies on an easily digestible formula. It’s also harmful, as it implies that platonic intimacy is less valuable than romantic love, reinforces stereotypes that men are primarily driven by sexual desire, and suggests that women’s identities are largely defined by their relationships with men. Moreover, it undermines the idea that genuine platonic friendships between men and women can exist.

What’s unfortunate about the Johanna Constantine and The Corinthian storyline is that if Matthew hadn’t been such an expensive CGI character, they might not have felt the need to use Johanna to fill that role. This entire storyline—and the relationship at its center—was manufactured out of production necessity, not out of genuine care for the characters or a commitment to good storytelling. One final issue I’d like to address is how the handling of their story also reinforces the idea that heteronormative relationships are “good” or preferable, while LGBTQ relationships are implicitly portrayed as less valid or undesirable. And it sustains this notion that villains are often times queer coded. In the first season, the First Corinthian’s primary sexual attractions and interactions are toward men, and he is portrayed as a villainous serial killer. By the second season, however, he’s transformed into a kind, almost “boy scout” figure—the perfect babysitter—with his main relationship being heteronormative. In the first season, Johanna is a morally ambiguous character who ran away from her girlfriend and left behind a dangerous magical item. While Rachel’s fate isn’t entirely Johanna’s fault, it results in a sad, preventable tragedy. By the second season, Johanna is out in the world doing good deeds, like finding lost babies, and once again, her primary relationship is heteronormative. So, on one hand, you have the Corinthian, whose queerness in the first season is framed as predatory, and on the other, Johanna, whose queerness is tied to a tragic, guilt-laden relationship. But when the two are placed in a heteronormative-presenting situationship in season two, it’s portrayed as sweet, romantic, and uncomplicated—and that contrast is, frankly, a bit problematic. Especially considering how complex these characters are—and how richly layered they were in the first season, regardless of their circumstances—it feels reductive to simplify them through a neatly packaged, heteronormative dynamic. Their queerness was previously tied to complexity, pain, or danger, while their straight-presenting connection is framed as safe, redemptive, and uncomplicated. That contrast isn’t just disappointing—it reinforces troubling patterns in how media handles queer representation. So when I see fan content that leans heavily into heteronormative interpretations of these characters, I do place some of the blame on the show. For many viewers, the Netflix adaptation is their primary entry point into the Sandman universe, and the way these dynamics are portrayed on screen shapes how audiences perceive and recreate them. When adaptations of the source material leans into certain dynamics—especially ones that simplify or rewrite complex, queer characters into more palatable, heteronormative molds—it inevitably influences how fans engage with those characters. Fanworks often reflect what the show emphasizes, and when a show sidelines queerness or reframes it as tragic, dangerous, or disposable, it sends a message, even unintentionally, about what kinds of relationships are “worthy” of attention, romance, and emotional investment.

This isn’t just about shipping preferences; it’s about representation and narrative weight. When queer relationships are consistently framed as flawed or doomed, and straight-presenting ones are celebrated and normalized, it reinforces harmful cultural patterns. And for newer audiences—who may not have read the comics or seen the broader nuance of these characters—the show becomes the default canon. That’s where media responsibility matters. tl;dr I am not a fan of prefabricated nonsense that was The First Corinthian and Johanna Constantine. This storyline is really the only thing I can truly say did not vibe with me at all on any level.

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get those abs off of him

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places him tenderly on your lap

gimme back my gay corinthian pls i beg you

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they're holding my fucking thang hostage for $6

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why are we so eager to erase preexisting representation

"it doesn't matter if the corinthian is originally gay in the comics"

well ok so next time we adapt doom patrol lets just make Larry Trainor bi, Jane too, why not? asexual people are extremely underepresented in media so why not make John Constantine aroace? it just doenst matter right???

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does it count as a tdick if you’re not trans??? idk cori just has a huge clit

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facing a heavy reality cleaning out my storage

no I need both of them

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no I need both of them

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boyd said before he had to wear some kind of weird contacts to play cori. what the hell did they look like