#I could write an essay about this show

[sweetestberryofthebunch]

Watching Chromatically ball has me feeling like some feral fucking creature oh my godddd

[spn2006]

the fact that eric kripke isn't even christian really adds something to the way christianity is depicted on supernatural. because its really not about being christian at all, but about living in america, a country dominated by christianity, and having to decide for yourself how to handle that. faith is huge in supernatural, and the mythology of the show is very bible-centric, but notably, christ is never there. even sam, who starts out revering the angels, who once said he prays every night, doesn't actually call himself a christian or imply that he believes in jesus--the show is steeped in christianity and biblical lore and yet neither sam nor dean are christians. in fact, over and over again the church itself is depicted as a haunted house that sam and dean will only ever enter as strangers, as outsiders. priests, preachers, faith healers, chapels, crypts, etc. are all just iconography that create an intense sense of unease that sam and dean respond to instantly. as a jew, its very relatable. an essential part of living in america when you're not christian is that exact sense of unease, of knowing that the culture of your country has ensured that you'll get knocked over by christianity no matter where you go, that you'll see hundreds of people truly believing they're good people while doing awful things in the name of their god, and you have no choice but to confront that. kripke gets it

[industrations]

It makes me actually quite sad to see people make arcane only about Victor and Jayce. In a show like this ESPECIALLY dominated by women. Where the story is mainly about two sisters, about two women that love each other that are from two completely opposite sides (and might I remind you are actually canon) but SOMEHOW men are still the most important.

Don’t get me wrong I deeply love all of these characters. The guys included but please for the love of god stop erasing the ones keeping this whole show together.

[sunlightnmoonshine]

It's very interesting that queen of tears is playing so hard into the "these characters were born to love each other" notion. It's repeatedly empathised (and although in a comedic vein) by haein and hyunwoo and in their inability to let each other go no matter how hard things get. At the same time with the flashbacks to how they were each other's first loves and how the osts really point to the two of them being the "one" for each other, it really speaks to how much these characters were meant to be in each other's lives, essentially soul mates, destined to be together.

What's refreshing though is that they said okay you two might be soul mates but that doesn't mean your relationship doesn't take work and that you are going to drift so far apart that it's going to feel like love no longer exists between the two of you. They said hey, being destined for each other and having to still put in the effort to make your relationship work are not mutually exclusive and should never be because that's not how the real world works. But hey, put in the effort, talk, listen, learn, and grow and you'll see why you two were born to love each other.

[mobius-m-mobius]

You wanna hear a good story? Listen to this one.

Mobius + comfort

[turtleblogatlast]

Things I make for myself when insomnia kicks in

Just a chart about what I wanna change up and keep consistent in my art - I mainly wanna draw Raph with a tail because he deserves one, it fits too well. Donnie gets a long tail too because I didn’t realize how dino-like he looks until I gave him one, and now it’s a must for me haha.

[excelsior9173]

god. vessel talking about jaws (kerrang interview)

and saying “you don’t know someone until you have seen them destroy something”

I AM CHEWING THE BARS OF MY ENCLOSURE I AM SO ABNORMAL ABOUT THIS

[you-are-constance]

one of my favorite things about a lot of different musicals is when they have their opening number reprised in their finale, the same melody and lyrics having an entirely new meaning to them thanks to the context of the rest of the show.

and obviously there are a Ton of examples (Wicked, Come From Away, The Outsiders, SpongeBob... i know there are others i can't think of them), but there are two specific shows that I genuinely think are examples of the absolute best use of this.

to me, those two examples are Cabaret and The Great Gatsby.

like the other examples listed, each time this sort of thing happens, there is new meaning given to the same song thanks to the rest of the show happening in between, but both Cabaret and Great Gatsby have it in like... a very chilling way.

In Willkommen and Roaring On, these are both somewhat upbeat songs, introducing the club, the parties, the energy that the audience is Supposed to feel at this point. nothing else matters in the world, only the thrill of endless entertainment.

but this isn't what these shows are about. there are much darker stories going on underneath, and by the time we get to the finale, the audience is changed along with the characters - but the song is the same. Nothing else Matters. only the thrill of Endless Entertainment. We have No Troubles Here.

but another thing that i find so musically fascinating is that it's not just the audience's perception of the song that changes, no the music itself helps to drive the audience to those realizations. at the orchestra's break in Willlkommen (finale), it begins very similar to the opener, but gradually adds more and more dissonance, making it harder and harder to even bear listening to. In Roaring On (finale), the ensemble lines are just slightly more staccato, slightly more dissonance, slightly more unnerving to listen to.

it's just so fascinating to watch a musical, and have the same song mean something so incredibly different, just because of the context it exists within, and very slight musical changes.

[pix-writes]

Uhhhh Stan adopting a teenage runaway who came from an abusive home. (He sees a lot of his past self when he was homeless in them and vows to save them from the life he had)

This is kind of adjacent to an idea for a fic I've already had! But I couldn't resist doing a little bit about this scenario! <3

Stan has already basically adopted Wendy and Soos already, even without fully meaning to with Soos he sees that he needs a father figure in his life and sort-of does the best he can to be that. With Wendy, its different too because it's basically canon that he just lets her get away with stuff because he knows she needs somewhere away from home to relax (even tho he could definitely get another employee who doesn't bunk off so much). Will he admit that's what he's doing though? Of course not!

Despite his exterior/persona, though, Stanley Pines is a kind man who wants to help people who most need it - like you say, he's been in that position enough times himself. I'm sure there's been the occaisonal person who's helped him out in the past, even if they never stuck around. Well, now he's Mr Mystery, he can sort-of be that person for others, not just because he's more stable, but also because he desperatly wants connection, especially after losing his brother in the portal (though that's also a reason to keep everyone at arms length to an extent, so they can never find out about his double life).

Runaway teen & Stan pines (under cut):

I can imagine you ran away from home and come across Gravity Falls, perhaps you had even seen the ads for tourist stops in this area, or maybe you just found the most random small town on your travels and decided to stop there - your travels are erratic so that no one can follow you or suspect you of being a runaway. Not that you really expect your parents to be concerned, at least not for long. That's why you had to get away and stay gone, you had reached your breaking point for what you could handle.

It starts to rain, you go to the local diner but your travel money is fast becoming less and less... you only order coffee, nursing it there for as long as possible, but when business starts to pick up you realise just how small of a town it is, everyone seems to know nearly everybody around here! You've already gotten a few curious glances or greetings put your way and you decide to leave.

Wandering around, you end up on the outskirts of town, there's a fair few campsites around, now lying half empty since its off-season right now, maybe you coud stay on the edge of the forest somewhere? Pinch some tent equipment from somewhere or from someone who doesn't need it? You already had a sleeping bag, water bottle, a torch. You just needed something to keep more of the rain off of you!

That's when you wander into an opening within the forest, notice the wooden signs nailed to the trees. You see a small group of tourists being spoken to by some guy, his voice carrying across the place, gravelly and jovial, and in your surprise you just stare dumbfounded - this place isn't closed? The group is moving and you take in your surroundings and you're so cold and wet and hungry, you're not really thinking ahead when go in, pulling your hoodie down over your face and sneaking in beind the throng of people, unnoticed.

But it turns out that you had been noticed, after the bizarre tour of this overpriced tourist trap, you lurk behind, the rain hasn't let up outside and you're wondering when the place might close, now that the tourists had filtered out the place was pretty dead, which is when a large hand lands on your shoulder making you jump out of your skin and your eyes land on the proprietor.

"Hey! You gonna at least buy anything, kid?"

You apologise and stutter, feeling like you want to bolt but totally caught at the same time. Stan immediately picks up on the fact that you're so twitchy, even for a teen. He eases up on you, switching to a friendlier tone. Wendy asks you where you're staying, curiosity getting the better of her usually nonchalant demeanour. You tell them you just got lost from the campsite and Stan isn't buying it one bit but Wendy has given you the directions and you're out of the door. The interaction doesn't sit right with him. He knows exactly where you're hiding out by the time you've stayed there overnight. Having discovered the pop up tent you 'found' set up in the woods not far away.

He decides to keep an eye on you, he's worried being direct will make startle you, like a deer in headlights, at the diner he doesn't acknowledge you at first just pushes a plate of food subtly towards you, for you to swipe. After that he manages to make small talk, hes still wondering how he can help you, what excuse he can make so it seems like he's offering you something and it be believable instead of suspicious.

Maybe he complains there's no one around to do the stock take now that summer is well and truly over, you perk up, saying you'd like some extra pocket money. You come right on time and the owner of the Mystery Shack introduces himself properly, shows you what you need to do. You take your time, living rough has made you exhausted mentally/physically, and because... you've begun to like the place as kooky as it is. And wouldn't you know it, Mr Pines has made more food than he expected and wouldn't you like some? You come back the next day and its pretty much the same, though you are starting to pick up on where Stan is subtly gaining information on you. He both curses and admires how whip-smart you are, reminds him of himself a lot further into being homeless than you are (reminds him of someone else too...), he worries that night of whether you'll have run off, if you'd get into trouble somewhere else, but you return the following afternoon. This time, Stan levels with you -

"Look kid, I don't know what's going on at home and trust me when I say I get it - but whatever's going on, it's probably not worth staying out in the woods, epseically 'round here, it's dangerous!" He reassures you he's not going to call anyone, though, just asks you to reconsider, think about how much trouble you might get into, if you don't turn up to school how you're going to explain yourself, how are you going to get a job? You swipe frustrated tears from your eyes and thank him for being concerned, though its hollow. How can you return home now? All you're going to get is more abuse, you can only think of how angry they'll all be if you did!

You end up wandering to some other town, using the money Stan gave you to get a bus and find a place to stay, having seen a load of jobs you could apply for. Turns out though, that some of your family had been looking for you and tracked your phone, you end up in a fight with them, receiving a hard slap to the face before running away once more! You pack up your things and head straight to the first place you think of.

Once you get there, its dark, you hesitate before knocking but you've came all this way. When Stan opens the door all of the shock and adrenaline has seemed to have worn off and you see the mix of sadness, surprise and anger on his face at the clear mark on your face from the fight.

"I'm sorry, I didn't know where else to go." Is all you can get out before bursting into tears. He let's you stay, you've been out in the cold and so stressed over this time that when you come in you're shivering, you end up running a nasty fever. You're so exhausted there's nothing left but to accept your fate and Stan feels he must help you. He piles on the blankets and gives you hot drinks and plain food till the fever runs its course.

He still has a bit of trouble with authorities/some family members looking for you in the area, you traded your old phone in for another and Stan was eventually able to brush them off your trail. He couldn't help it, he liked the kid in the small amount of time he knew them and it was clear that you had danger waiting for you at home. You had told him a little after the first night you had stayed at the shack, words tumbling out of your mouth about your trauma, how you couldn't stand your family. His heart sank as he remembered his own life as a young man, a kid technically, homeless and making ends meet and was determined you wouldn't have the same fate. Yet he had to know you were sure.

"You really want to stay here - in this boring ol' town? At the shack?" You were determined you would, as long as he was okay with that, you vowed to work hard, sweep the floors, keep an eye on the gift shop when Wendy couldn't, anything to be useful. But, you didn't want him to get into trouble. Too little too late for that, he thought to himself.

"But, really do ya want to see this ugly mug every day?" He said gesturing to his face. That brought a slight smile to your face, in fact you ended up giggling and he knew he wouldn't be able to get rid of you now (like he ever would've entertained it).

He sighed. "So, do you trust me? Cause I need some kind of story if ya gonna stay here, kiddo."

He needed a lot more than that of course, he ended up getting you a fake ID and if anyone asked, you were family, here to stay for a while. When people asked anything more than that he got cagey, but he liked thinking of you being a Pines, another part of the family. Part of him felt guilty for doing it too, faking that you had the same last name, he still thought you might not want to stick around, you weren't blood family to him, you had no ties to him, but he wanted family so badly, was it so bad to pretend that you were?

He made sure you got to school, he even started to pack you lunches every day, he wasn't so bothered about homework, saying he didn't think much of school when he went anyway, you both had something more important than that (street smarts!), but when you were struggling with your math homework you were surprised that he semmed to know an awful lot, but then again you probably shouldn't be surprised, he did own a business after all. Whilst there wasn't a lot to do around the Mystery Shack all year round, you still found yourself picking up around the house part of the Shack, doing the laundry, washing the dishes, normal chore stuff - isn't that what teens were supposed to do? Stan was surprised to see a teen do chores unprompted and you were nervous that you'd done something wrong, because why else would he be questioning you? He recovered quickly though and just grumbled out something about 'finally, someone who knows how to pick up after themselves/work' but from the expression on his face, you are relieved to know that he is joking with you and he isn't mad. You're picking up on his quirks.

The months roll by and you started to feel safer, the shack became more familiar, you were less frightened and jumpy, people in town were more friendly, familiar faces and if people knew that you weren't actually related, that you were a runaway, they didn't say anything at all. You were starting to be referred to as 'Stan's kid'. No one had said so in front of Stan so far as you knew, it made you feel some residual guilt, even after all that you're family had done, were you really not a burden to Stan? Was it wrong to see him like a parent? What would you do if he no longer wanted you around? But as much as you were scared of being rejected, a situation came up at the Shack at the beginning of your first summer in the falls. A gathering was forming for a tour and some tourist had asked something or assumed he was your parent, something like that. Unbeknownst to you Stan had heard and he freezed, unconsciously waiting on your response.

"Oh, you'll wanna ask my dad, he's the one over there in the fez?" It just slipped out, you should've said Mr Mystery at work, but you couldn't help the feeling in your chest that it was right. Ever since then you had been tentatively saying it (you eventually start to notice how when you knew Stan had heard it he seemed a little emotional) and Stan now proudly referred to you as 'his kid'. You may or may not call him 'dad' to his face, maybe you'll still just call him 'Stan' but it seems like now you officially have a family!

[beanghostprincess]

Usopp obtaining Conqueror's haki makes so much sense to me and I genuinely think he deserves it on Elbaf please please please

[ruanbaijie]

我马上带你们回家，带你们回家……

SNOWFALL 冰雪谣 (2024) 1.13

[matryoshkalex]

i forgot i started this in like april and never finished bc i got super busy with tmaynt but i suddenly remembered and finished it this week!!

i watched 2003 when i was in like? middle school and same as it never was stayed with me and was one of my favorite episodes because ive always been a fan of the darker and more angsty stuff. so i thought about 2012 in the sainw timeline and couldnt get it out of my head so. here they are. two versions because i couldnt decide which background i liked more

[afurtivecake]

It's easy to get the impression that Tetsuji never cared enough to rein in Riko's behaviour and temper but I think it's the opposite. I think Riko grew up constantly being told stuff like, "You have to learn to control your temper" and, "Is that any way to behave?" by Tetsuji. I think Tetsuji would have even disciplined him harshly every time he was caught acting out of anger. But all that is coming from Tetsuji - the man who would beat a kid if they displeased him in any way. How can you ever really take to heart the words of someone who demonstrates the exact opposite of what they preach? How are you supposed to not learn that the real lesson is, "Become the one who has all the power over everyone else and you will never have to suffer criticism for how you behave ever again."

[mostlyvoid-partiallyflowers]

The most recent episode of Interview with a Vampire let's us see Lestat's side of the story and see how it compares to Louis' accounting of their relationship. As a result, it reaffirms just how unreliable of a narrator Louis is, but it also further illuminates elements of his character that the director and writers have been playing with since the beginning of the show.

There's this part in the episode where Lestat turns to Louis and apologizes and it's framed with Lestat turned to Louis on one side and Claudia on his other side. They're the angel and devil on Louis' shoulders, but who is the angel and who is the devil? And as my friend said, Armand and Daniel are placed into that same dynamic with Louis later on. We are being asked to decide who to trust, who's telling the truth, who's the good guy, but the fact of unreliability robs us of that decision.

This whole story is about Louis, he's the protagonist, though not the narrator, and he is constantly being pulled in two directions, no matter when or where he is in his story. He's a mind split in two, divided by nature and circumstance. He's vampire and human, owner and owned, father and child, angel and devil. He's both telling the story and being told the story. His history is a story he tells himself, and as we've seen, sometimes that story is not whole.

Louis is the angel who saved Claudia from the fire but he's also the devil who sentenced her to an life of endless torment, the adult trapped in the body of a child. He's the angel who rescued Lestat from his grief and also the devil who abandoned him, who couldn't love him, could only kill and leave him.

He's pulled in two directions, internally and externally at all times and so it's no wonder that he feels the need to confess, first to the priest, then Daniel, and then Daniel again.

He's desperate to be heard, a Black man with power in Jim Crow America who's controlled by his position as someone with a seat at the table but one who will never be considered equal. He doesn't belong to the Black community or the white community, he can't. He acts as a go-between, a bridge, one who is pushed and pulled until he can't take it anymore. He's a fledgling child to an undead father, he's a young queer man discovering his sexual identity with an infinitely experienced partner. He's confessing because he wants to be absolved, that human part of him that was raised Catholic, that child who believed, he wants to be saved. He wants to be seen.

Louis wants to attain a forever life that is morally pure, but he can't. He's been soiled by sin, by "the devil," as he calls Lestat, and he can never be clean again. Deep down, I think he knows this, but he can't stop trying to repent. He tries to self-flagellate by staying with Lestat and then tries to repent by killing him, but can't actually follow through. He follows Claudia to Europe to try and assuage his guilt. He sets himself on fire, attempts to burn himself at the stake, to purify his body, rid himself of the dark gift.

Louis is a man endlessly trying to account for the pain he has caused and he ultimately fails, over and over again, because he can't get rid of what he is. A monster. He's an endlessly hungry monster. He's hungry for love, for respect, for power, for forgiveness, for death. He's a hole that can never be filled. He can never truly acquire any of those things because he will always be punishing himself for wanting and needing them in the first place. He will never truly believe he deserves them and as a result, can't accept them if they are ever offered. He can never be absolved for he has damned himself by accepting the dark gift and thus has tainted himself past the point of saving.

[redcallisto]

Danstelle week 2023 Day 2 - Nightmares | Stellaron Hunter Stelle

[freshmangojuice]

Guys I'm studying Greek tragedy in my ancient studies course and I always knew Red Dwarf is tragic, but now I have the knowledge to see it actually fits Aristotle's requirements for tragedy perfectly with Lister being the central tragic figure.

First we have the hamartia. This is an error of judgement, a mistake that leads to tragic plot. Lister's moment of hamartia is smuggling Frankenstein onto the ship.

This leads to peripeteia, the reversal of circumstance. Lister refuses to give up Frankenstein and is put into stasis as a result.

When he comes out of stasis, we have the anagnorisis. The realisation. Everyone is dead, Dave.

Then by the end of the first episode at least, there is catharsis. He is not completely alone, and he has a hope that the slime is coming home.

We also feel both pity and fear during the story, which is what makes tragedy according to Aristotle.