#FUCKING SHOW HOLY SHIT

[ofmd-archive]

Great just end it with fucking genocide, make that seem fine to write. Totally not like living poc have trauma surrounding that. Fuck you to every fucking writer who saw a show that finally had a poc queer cast and decide "you know what this needs? the blood of asian women" and then to fucking gloat that brits will never be fucking slaves as if- you know what if you don't know history and about the trans atlantic slavery and the issues we currently have with human trafficking at this point and you're a fucking adult, that's on you and fuck you if you don't give a shit about this

once again to every single fucking person who greenlit this or heard this idea and went "yes, good."

fuck you

[ophiocordycepsunilateralis]

power couple

[theriverbeyond]

tbh I can't stop thinking about how i went into Hadestown being like "this is a tragic love story based on a greek myth I enjoy :)" and I came out the other side covered in blood being like "this is a thesis about how capitalism inevitably leads to both personal and global ruin, and so we are duty bound to resist it even as we lose, again and again and again. no matter how impossible it feels or how many times we fail and hit a wall and fall, we try again"

[hellsitegenetics]

would you perhaps do the Danny Phantom opening theme?

https://dannyphantom.fandom.com/wiki/Danny_Phantom_Opening

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[andi-o-geyser]

so this episode is off to a smashing start

[pachimation]

lonely at the top

[totheecore]

911 7x04 | Buck, Bothered and Bewildered

[witchinatree]

the more i think about season 4 klaus the more upset i get

no, you do not have to be on drugs to be flamboyant and energetic, and i don't like that they're implying otherwise

klaus' character was never because of the drugs, his setbacks and difficulties in life were!! it made it harder for him to be himself!!

and yes ofc overcoming addiction is HARD and i'm not expecting him to be the same as he was before, but they made him seem so.. pathetic..? for trying to be sober? if that makes sense?

his struggle with germophobia pissed me off because it felt like one big joke instead of an actual thing he was having a hard time with

and it's almost like they took away his queerness with the drugs? they took it away in general but his sexuality and gender identities were just completely gone until he relapsed, so he was allowed one dick joke to solidify the "return to his old self"

you don't have to give up yourself in order to overcome an addiction. an addiction does not define you, it's a struggle you overcome in order to be the best version of you. i hate this show for doing this to klaus and telling the audience that your addictions make you 'funnier' or that trying to overcome an addiction is just 'a joke.'

i love you klaus hargreeves

[otto-doctavius]

wade wilson body worship. can anyone hear me

[thewhizzyhead]

how genderbending the warriors (2024) is done not for the sole sake of "bad-assery"

okay here we go feminist ramble time for our newest chick on the block: warriors. now i'll be honest, prior to listening to the album, when i first heard that the warriors main girls were originally dudes in the movie and the novel, i thought that the decision for the genderbending, in lmm's perspective, were from the following: 1.) girl power move in like a very basic meaning of the word "bad-ass" 2.) simply a twist on a cult movie about big gang bros loved by the film bros, and 3.) a way to have the schuyler sisters back together gjfkdfldf

but when i read more about warriors and its development and how lmm took inspiration from the gamergate controversies of 2014-2015 aka among the peak of gamerbro misogyny campaigns, that's when i realized that Oh Shit Is Serious - because adapting a story about a group being framed and targeted and harassed for something they are accused of doing without any substantial proof other than a man screaming "THE WARRIORS SHOT CYYYYRUUS" with 21st century misogyny campaigns in mind makes the theme of fighting back a lot more complicated and a lot more resonant, going beyond just marketing a cast you can call "badass"

take the hurricanes' quiet girls, for example. the hurricanes (concept album version) is the only gang that lets the warriors off the hook and with a stern warning: quiet girls don't make it home. here, the hurricanes berate the warriors for not saying shit or attempting to defend themselves from accusations they know well aren't true. THIS MESSAGE IN PARTICULAR is what stays and influences ajax, fox, and swan til the very end of their stories.

literally one song after this does ajax show how easily she resonated with the hurricanes' lesson by finally sticking with her gut and actually choosing to fight back against both the baseball furies AND against the sleazy undercover cop. the latter encounter is one of the instances that really solidifies the recontextualization of the story because in the OG movie, ajax (a dude) WAS the sleazy fuck up harassing a woman in a park - and now with the literal character switch, ajax goes from being just a rebellious gangbro dude bro into someone whose want to fight is warranted. such a want to fight is seen in fox seeing as fox is the first to comment on the quiet girls scene and that, in the concept album, she is the one that instigates the rumble against the police in union square - saying that she is sick of being afraid of them and their 'fuckin powder blue' colors (also notice how she is the only warrior that really does say fuck the cops i think that's cool BUT I'LL TALK ABOUT FOX MORE NEXT TIME)

to a less obvious extent, swan also gets the receiving end of this recurring theme - by the album's finale, the usually violence-averse caution-first interim leader becomes a lot fiercer in protecting her crew. but perhaps among what i consider to be the biggest recontextualized change in the feminist sense is MERCY and her motivations to join the warriors in the first place. according to the wiki, her attraction to swan and the warriors and um seeing the orphans as wimps is what led her to switch sides BUT IN THE CONCEPT ALBUM, mercy's motivation to become a warrior is deepened, rooted in admiration rather than attraction - wanting to be like those women who hold their head up high. and again, we see this in Sick of Runnin' when she takes part in the rumble, finding her bravery within their ranks as they fight back. here, mercy becomes less of a swan tagalong and more of someone that wants what the warriors have: pride.

of course now that i type this out i realize that warriors is not based solely on the feminist rhetoric as with their theme of hope amidst adversity, the story is more intersectional and rooted in community struggle and wanting for more than that. but nonetheless, i genuinely believe that the twt filmbros arguments on why the genders should not have been changed in the first place just for "woke" points is kinda like,,,very shortsighted because not only does the narrative of women narrowly escaping unwarranted accusations actually fucking fit, but the act of learning to fight back amidst all odds - be it that of disbelieving, predatory men or the power of oppressive pigs - stays resonant for women yesterday, today, and the days to come.

ultimately, warriors (2024) is not solely a tale of female badassery - rather, it is a tale of the need for such "female badassery" in the face of past and present realities, which is why it somehow fucking worked.

[larrylimericks]

14Jul24

England lost, but it’s no time for tears. It came Home when a photo appeared: The backs of two heads Who may share a bed, But have not shared a room in eight years.

[aziuuu]

I uh, got myslef into another fandom... Send help I'm gonna go insane and binge the whole show second time in a row aaaaaaaaaa

[mapleandgingeroatmeal]

I’m honestly obsessed with this character choice. Tal really said “I am going to play the most recklessly self-destructive man in the world and I am going to COMMIT to that premise.” This fucker believed in the power of friendship for one moment and was immediately like what’s the easiest way I can LITERALLY BLOW MYSELF UP for the greater good.

[chaoticstabby]

Sooo, it's been four days, I've watched all three seasons and four episodes, and I'm slightly obsessed with this disaster of a man:

[nothingbutvultures]

some pete images from madison square garden <3

[heretherebedork]

Joe was convinced Ming would never change but this? Ming trading his privacy in the hope that Joe would see him and come back? This is the first moment that Joe truly believes that Ming is changing. That this can be real. That Ming means everything he says.

Because Ming changed in so many ways but this was a way that showed Joe exactly how much he meant.

I love angry Ming. This boy was gonna commit a murder in a crowded theater in front of fans and cameras. No hesitation. Nothing. The only thing holding him back was Joe himself. Tong would have been punched right in the nose, right there, if not for him.

And, again, it's about how Ming has grown. It's about how he changed from losing Joe and from getting him back. It's how Ming isn't the same selfish person he was then, he's still damaged and hurt but he's not the same.

Ming has changed. And Joe knows. Joe, who has loved Ming all along but never let himself because he knew the risks, sees how Ming has remade himself in his love and his loss. And Ming still aches and Ming still doesn't know how regulate a single emotion but he does it all for Joe. He does it all with more self-awareness and with love and with this knowledge of who people really are.

And Tong is the real monster here. As we all know. Right off the cliff.

(But Joe is tired and he doesn't want to fight and Ming is scared, so scared, so hurt, aching and screaming inside and the family that supposedly loves him is what's going to destroy the one person that Ming actually loves. And, for the first time, Ming doesn't go after Joe. Because he showed Joe all his love and all the ways he changed and, in the end, he was still destroyed by the family that forces him to hurt himself and in the end he will choose that destruction for himself)

Ming chooses this. He lets Joe walk away so he won't be hurt by what happens but he still tells his father, he still stands in front of his mother and Tong and says I am not yours. I am Joe's and I am my own.

This is Ming's final growth. To stand up to the people who are using him and say no more, to say that he will choose the pain and the loss and the isolation over this loneliness, over being used, over the fear that has always been held over his head. To step out on his own for the sake of love, to say all of this without Joe there but rather because Joe isn't there.