#Because I've changed

[add1ctedt0you]

An interesting theme, imo, in mdzs is the sheer tiredness you must feel when dealing with someone who, having been dead for more than a decade, is still the same person as before, while you aren't anymore.

[havenshereagain]

DPxDC Idea

Danny working at Wayne Enterprises as some sort of engineer, uses the in-house app for all his blueprints and stuff

He starts getting notes from a coworker in-app, and assumes its this annoying older guy in his department who constantly undermines him because of his age, despite his education and past achievements (i feel like in this AU the Fentons react well to the reveal and they work together on a number of non-lethal ecto inventions that have Danny's name attached to them)

Except one day his coworker mentions never using the app, and Danny suddenly realizes there's only one other TD he could've been arguing with in the notes of the app

[kallmekathy]

Strawberry fields forever miku ig

[ask-the-rag-dolly]

anyways good episode

[batfamfucker]

What About The Kens?

I'm already seeing guys complain about the Barbie movie end, how they wanted Kens to be equal in Barbieland but were only given a small part on the Cabinet.

That's the point.

You're meant to feel bad for the Kens. Believe me, women aren't partying over the 'Returns to Matriarch' ending. Some will be, but the ones who also clocked the meaning behind it won't. Most women will also feel bad for Kens. Because it's an exact parallel to how women are treated in reality.

Men, you're meant to be upset. You're meant to question it. Because you're meant to feel it, and feel what that is like, so you can finally understand women. You're upset at seeing it in a movie, now imagine living it in reality. That's being a woman.

Kens were shit on so you could feel what it was like for women this entire time. Kens were being used as a placement so you could see yourself in a woman's shoes. A world dominated by the opposite sex. When Ken leaves, and sees male presidents (All men) for the first time, men being doctors and lawyers, etc, realising he is more than just a prop for Barbie, that was on purpose. Because that is the feeling that Barbie gave to women. It's why you cheer for him at first before he goes a little overboard.

It's exactly why the real world was an exaggerated Partriarchy and Barbieland an exaggerated Matriarchy. Neither wins. Neither is equal. None of them change for the better. It's why you should want women in the real world to be respected, and Kens in Barbieland to be respected.

The thing is, women also didn't win. Not in the real world. In Barbieland, yes, but not anywhere else. The real world didn't change. But you didn't notice, did you? That Gloria (The mother that helped Barbie) also didn't get a position on the Mattel board? It was still all men? Her idea was ignored until it made a profit, and the men will likely get the credit? She'll still just be the receptionist? The women representing the real world didn't get anymore opportunities, neither did the men in Barbieland.

I was hoping that Gloria would be offered a position on the board, and that the Barbie Cabinet would introduce another entire Cabinet to represent the Kens, but neither happened. They're complete mirrors.

But which one did you actually notice? Which did you actually care about? Now tell me again the ending was unfair. Because it was. For both parties. That's the point.

The difference is, Barbieland is fictional. You will walk out of the theatre with the reassurance that at least it's not real. Women won't. Women can't. Companies not giving women equal opportunities or voices isn't fictional, and that was just one example. There are no women presidents (USA at least) for us to go look at in the real world. We don't have somewhere to go to realise it could be different for us like Ken did. Barbie and make believe is all we had when we were kids, or even now.

You're supposed to be mad, just not at the movie.

[hazelnootnut]

ACT 2 "You're... me?" "That's right, stardust!"

You know I've been drawing Loop as their Siffrin form so much that it's got me thinking. I've read and seen so many fics and artworks of Loop eventually getting back to looking like their old self, but I don't think I've seen any so far of Loop already being a mirror copy of Siffrin. So uh, yoink?

ISAT AU where the game plays out the same way (plot-wise at least) but Loop looks like Siffrin the whole time and while Siffrin is extremely perplexed that there's another him, he's still gotta accept their help because how else are they supposed to escape the loops? Good ol' Loop is here to help, helpful friendly Loop!

Siffrin is going through it still but Differently.

[bixels]

As cameras becomes more normalized (Sarah Bernhardt encouraging it, grifters on the rise, young artists using it), I wanna express how I will never turn to it because it fundamentally bores me to my core. There is no reason for me to want to use cameras because I will never want to give up my autonomy in creating art. I never want to become reliant on an inhuman object for expression, least of all if that object is created and controlled by manufacturing companies. I paint not because I want a painting but because I love the process of painting. So even in a future where everyone’s accepted it, I’m never gonna sway on this.

if i have to explain to you that using a camera to take a picture is not the same as using generative ai to generate an image then you are a fucking moron.

[technically-human]

I always get so excited when you post your art! It’s so cute!

All I’ve been thinking about lately is the boys getting hired to actively haunt someone and Charles insisting they do the old bedsheet ghosts for authentic haunting.

Why is there lore in my silly comic?

ko-fi

Bonus, the boys went to Mexico during Día de Muertos:

[nosferatufaggot]

It took a million watches but I'm pretty sure the intended interpretation of season two is that the Doctor and Rose are dating. Like not even mutual pining like they actually are dating. They kissed at the end of season one, The Christmas Invasion Rose is going on to her mom about their relationship and how she thought they were something, and in New Earth Rose calls the day the sun expands their "first date" then Cassandra is in Rose's body and makes out with Ten and he doesn't really question it just says "Still got it."

Like ship it or not, I do think the intended interpretation is that they are for realises dating. Which makes season three make even MORE sense! Martha has a crush but she isn't Rose. "Rebound" like it wasn't mutual pining they were DATING!!!!!!!!!!!

[juicedaloe]

me and my gf :3 (she is made of water)

[benevolenterrancy]

("Always. Continuously. With increasing apprehension, and decreasing hope. I will love you if I never see you again, and I will love you if I see you every Tuesday. I will love you as a corpse loves the beak of the vulture. I will love you no matter what happens to you, and no matter how I discover what happens to you, and no matter what happens to me as I discover this." -- paraphrased from The Beatrice Letters, Lemony Snicket)

[secriden]

Just going to cry again (see: my previous post about the parallels between the storage room scene and the abandoned factory scene) about parallels and juxtapositions in the store room scene vs the one in Styles bedroom:

Both these scenes have such a tone of desperation and are characterised by an overflowing of emotions, but in drastically opposite directions.

(Note, some of what I say in this post directly relates to concepts and themes I talked about here, so it may not wholly make sense without that context.)

The scene in the storeroom is filled with frustrated desire. Fadel kisses Style because he wants Style's body and also wants to take his frustrations at Style out on his body. He doesn't need to look Style in the eye (and in fact very intentionally only does so only in small snatches) because this isn't about a connection as much as it is about a release. Fadel's kisses come fast, hard, and are intended to bruise more than to adore.

But episode 5's scene is filled with much more quiet and tender sort of desire. Style is kissing Fadel so much more slowly and purposefully. He keeps looking back at Fadel, checking in to see how he feels and whether Fadel is enjoying it. Everything Style wanted in Episode 3, he now gives to Fadel here, pours the secrets of his knowing and choosing Fadel anyway into the way he presses his lips onto Fadel's skin. His kisses linger, they carry a weight but are somehow infinitely gentle still; Style's kisses contain a purpose that Fadel's kisses couldn't in Episode 3 because in all honesty they were relative strangers back then.

There's also the way there's such a ferocity and carelessness in the way Fadel starts the encounter in episode 3 that is juxtaposed beautifully by the slow, tender, almost hesitant way Style slides his lips onto Fadel's. Both of them are in such different headspaces, between these episodes and its especially evident in the way they care so much more about the other person's comfort and how intentionally they showed that to the audience.

There's hunger present in both scenes but what this hunger is focused on is so drastically different. In the storeroom, they're both mainly focused on a physical release; its primal and visceral but lacked emotional resonance. Fadel gives Style what he knows Style wants (that hint of danger, with the hand on his neck), but its not because he really cares about what Style wants on anything more than a physical level. In Style's bedroom, however, Fadel is drunk (intentionally and by his own design) and desperate to open himself up to Style on an emotional level. Meanwhile, Style wants that desperately too, but knows that Fadel shouldn't because of his own terrible secret. So this kiss is what they both will allow themselves - an honesty and a hunger for this deeper connection they can only share in act but not in words.

In the storeroom, Style wants Fadel to want more than his body but knows (or thinks) he can't push for it yet, so he remains passive, lets Fadel do whatever he wants, lets him turn and shove and place Style how he wants because at this point, this is all Fadel will give him. Here, Style is passive in spite of what he wants. But in the bedroom, Fadel is passive because it's what he wants; he wants to let Style do whatever he desires to and with Fadel's body. He wants to lay himself as bare as he possibly can, which is only physical, and so he does.

And because the encounter in Episode 3 lacked that emotional connection, the focus is merely their respective releases. There's a sense of two people trying to find pleasure and 'finish' while remaining emotionally disconnected despite actively having sex with each other. Because in some ways, they didn't really need each other in that moment to get there (there's actually a lot of truth in what Fadel says about it being easier to just jerk off alone). In sharp contrast, the scene in Episode 5 isn't focused on the destination but on the journey. Style is taking his time and Fadel is letting him - Style is choosing to worship Fadel's body, with his fingers, with his lips, to respond to his vulnerability with gentleness and tenderness and adoration. The goal has stopped being about finding a release, it's about allowing both these men to revel in the giving and receiving of pleasure.

The point of these scenes is to show to us the ways in which Fadel and Style have grown to care for and, dare I say it, love each other in ways that are so purposefully portrayed by showing the nature of their physical connection. Because the ways in which these scenes are the same and yet so wholly different showcases how their touches are now no longer merely tied to their senses any longer, but also to their hearts as well.

[neverbelessthan]

SEVERANCE 2x10 | "They give us half a life and think we won't fight for it."

[hivvernal]

"Stop Shaking" Played and 100% Inscryption for the first time and I loved it, Leshy is living in my head and the Skull Storm run for Kaycee's mod was a blast

[screwpinecaprice]

Oh oof I slipped and hit them with dark and serious beam. 😣

[starry-bi-sky]

DPXDC CFAU Headcanon: Ghostspeak Edition

Ghosts in the Infinite Realms who saw Jason and Danny together called them "luzdra", a term in ghost speak that directly translates into the words "shared soul". It's literal definition is; "two ghosts with a bond so deep that it was as if they had split their souls in half and given one to the other", but in general it just means two ghosts with a profound, indescribable bond.

Luzdrus is the singular form of the word, and refers to only one ghost in the bond. While "luzdra" is plural and either refers to both of them together, or the relationship as a whole. It depends on the context of the conversation and who they're saying it to.

There is no romantic, platonic, or familial connotation behind the word. It just means "someone who shares a deep bond with someone" and can be between anyone.

It also does not mean soulmate, and if you say that you'll be corrected. Soulmates implies that their bond was destined by the universe, luzdra are two people who developed and built that bond themselves. It's a relationship forged between two (or more) people.

Some of Danny's rogues -- like Kitty and Johnny, who might've seen the two together and are possibly luzdra themselves -- still call him 'luzdrus' even after Jason's disappearance from the Zone. Danny doesn't know how to feel about it.