#ICONIC EUPHEMISM

[preacherboyd]

OZ | 4x09 Medium Rare

[stardustvalentine]

kyoutani DOESN’T dance 😤⚾️

[marzipanandminutiae]

I liked your blog, but I'm unfollowing because you're a lesbian. A word of advice; All lesbians are creepy predators. Bar none.

you know, normally I don't feed the Hateful Anons, but I have to ask:

...why were you following me to begin with?

[tsuchinokoroyale]

What's yiur favorite silly word for penis? I've been using the word wiener a lot lately cause it's fun to say fat wiener

It really depends but I do say peanus weanus a lot for someone who’s almost 30…

[benevolentgodloki]

Loki, please experience the glorious thing that is a taco

"I believe Barton will show me soon enough."

[redbuckethat]

Cat King's introduction is so iconic.

He sends an army of cats to greet you. Those cats eat a man. He transforms from cat to human. He kidnaps you in an instant. He calls you out for being a gay, repressed twink in love with your best friend. He gives you a bracelet. He tries to fuck you. He tells you to count some cats (not a euphemism).

[kilgharrahh]

I think a lot about the idea of "friend of Merlin" being a euphemism for being gay in Camelot, like "friend of Dorothy" is for us. Most people in Camelot are likely to have encountered Merlin in some way or another, even if its just spotting him at public events. I like the idea that Merlin is unintentionally so obviously gay that without even trying he became a queer icon in Camelot.

One day, after he becomes King, Arthur is talking to a member of the public about something, and asks the man about his wife. "I don't have a wife, sire." The man replies. Arthur asks why, and the man says "Well you see, sire, I'm a friend of Merlin."

Arthur is taken aback. What's wrong with Merlin??

"You're... Merlins friend?" His voice is unintentionally harsh "I didn't even know the useless idiot had friends. I thought I was his only friend."

Arthur carries on with his business after this, but soon a rumour spreads that the King is gay, and probably in love with his servant. Arthur never hears of it, and nobody knows where it came from. But "friend of Merlin" becomes an even stronger euphemism after that.

[pseudophan]

What is the editing tips thing? Sorry I’m confused

basically in an interview in 2015 dan said that he and phil got talking because he reached out to him to "ask for editing tips", very obviously just not wanting to get into their actual (gay as shit) reasons for meeting and giving a very simple answer to a very inconsequential question. of course upon seeing this all us phannies went OK LOL. sure dude. editing tips. suuure that's what you were after. because obviously at this point we all knew their actual story. and then in the years following that dnp, dan especially, keep making editing tips jokes as a euphemism for what was actually going on (that being gay sex, mostly). i just think it's so funny and honestly kind of iconic how that joke has progressed. like at the start the joke, from dan's perspective anyway, was "haha yeah we know how dnp really met it was dan being a fan of phil lmao not editing tips" and then it evolved into "yeah 'editing tips' is just a sexual innuendo" and idk i think that was one of the first Bits we had in common. like one of the first instances of the phandom and dan and phil being so obviously on the same page but still not Saying It. like oh my god this was a thing for years before they came out and at least for the last couple of years before The Reveal it was just a known thing that editing tips meant hooking up. and dan still made the joke frequently. the whole bit is kind of dear to me just for that lmao like. man. a piece of history.

[milquetoast27]

Subtext in The Creeping Man

I find that this story of Arthur Conan Doyle's Holmes canon features some of the most complex subtext we've had aside from A Study in Scarlet. But rather than being complex early-on because of our lack of knowledge of the characters, it is rather complicated by the fact that we both know too much and too little of their relationship. This story, with astonishing subtlety, conveys the cooperative relationship between Doyle's two characters — the nuance in their limits and strains, but also the joys that they work to reach, together. It emblemises the beauty of the Canon, where it all ties back to the joy and complexity of human understanding and belonging.

This story opens in "those latter days" (1903, near to Holmes's retirement) where Watson describes their relations as "peculiar". The word certainly feels like a euphemism from the ever-polite Dr. Watson, when it is soon made clear that their relations were far from amenable. Watson has become one of Holmes's "concentrated habits", and apparently is as good as a piece of funiture, as all of Holmes's remarks would have been as "appropriately addressed to his bedstead." It's given through snapped sentences; "I was a whetstone for his mind. I stimulated him. He liked to think aloud in my presence." This "irritation" and discordance between them is extremely concentrated in the early pages of this story, but drags through it, as well. Take, for example, the "laconic" (or perhaps iconic?) message:

"COME AT ONCE IF CONVENIENT — IF INCONVENIENT COME ALL THE SAME. S.H."

Watson gives us the original of Holmes's telegram to demonstrate to his readers just how "long-suffering" he is. A true exhaustion is apparent in how he simply shows the telegram, rather than politely referring to it. Compare this with the unendingly civil telegram sent to Watson in The Boscombe Valley Mystery, and you can see the great shift that has taken place in their alliance.

"HAVE YOU A COUPLE OF DAYS TO SPARE? HAVE JUST BEEN WIRED FOR FROM THE WEST OF ENGLAND IN CONNECTION WITH BOSCOMBE VALLEY TRAGEDY. SHALL BE GLAD IF YOU WILL COME WITH ME. AIR AND SCENERY PERFECT. LEAVE PADDINGTON BY THE 11.15."

While long-term and intimate relationships will remove need for over-courtesey, there are two very different reasons for why Doyle has shown both of these telegrams at a point in time. This accumulation of Holmes's ungrateful behaviour not only imparts Watson's utter despondancy, but also, importantly, Holmes’s — and this is something that Watson's ever-perceptive and intelligent heart does not fail to miss. It is important to note that this story nears Holmes's retirement, where he acknowledges that he has been "sluggish in mind". There is no doubt, then, that the great detective is out of his prime. Hence the temperementalness, taking his Watson for granted, and a heavier reliance on those "narrow and concentrated habits."

Despite the turbulent roads of their life, we see Watson's undying devotion co-exist with it. Past all the irritation, Watson closes, "Such was my humble role in our alliance." It is more than clear that he consciously makes the decision to remain at Holmes's side, to be his ally. Such has always been Watson's role in their alliance. His "humble" service extends to his practice as doctor and soldier. His pride is in his duty to others, and to Holmes as his assistant.

There is something that shines through Holmes's unsocial behaviour when we look closely at the text.

I sank back in my chair in some disappointment. Was it for so trivial a question as this that I had been summoned from my work? Holmes glanced across at me. "The same old Watson!" said he. "You never learn that the gravest issues may depend upon the smallest things."

We know from the Canon (opening of DANC and RESI) that Watson's emotions are like an open book to Holmes. This 'sinking in some disappointment' is not missed by Holmes's 'glance'. "The same old Watson!" he says, and I feel it important to note that he compliments one of Watson's most distinguishing features; his stability and fixture — the "one fixed point in a changing age." Yet, we may miss these details, because Holmes, ever in his own insecurity, must back-hand every praise with a teasing chide. We could say that an attempt was made to cheer Watson up, though not very successful.

Developments continue, as Holmes tryingly says "I had hoped to have a longer chat with you", then parades him with compliments before their client, "Dr. Watson is the very soul of discretion". But mixed indications continue to come as he flips back to patronising language; "You will appreciate it, Watson, when"—. Doyle further cements Holmes's particular unbecoming behaviour on this day as he further also annoys their client, who speaks in a "tone of reproach" when Holmes does not listen, and is "clearly annoyed" at irrelevant interruptions — to which, Holmes only smiles in, what I believe, is pure self-importance.

Here we find a shift — a greater effort on Holmes's part, a second round of appreciation for Watson's stability, even when his opinion is faulty. "Good, Watson! You always keep us flat-footed on the ground". He's then included in his bubble; "We were gradually coming to that conclusion, were we not, Watson?", and even a sordid attempt at bringing Watson with him on the bait of the Chequers in 'Camford' where "the port used to be above mediocrity and the linen was above reproach." (Which he follows up on!)

And, despite these attempts, their connection still does not rekindle. Watson is clearly irritated still with the inconsiderate easiness with which Holmes was able to leave London, leaving only difficulty on Watson's end to join him. It's an indicator from Doyle that nothing's remedied, yet.

Here is an interesting passage for study.

"Have you the effrontery necessary to put it through?" "We can but try." "Excellent, Watson! Compound of the Busy Bee and Excelsior. We can but try — the motto of the firm."

Burstive praise from Holmes at the merest utterance of a phrase — a phrase which has only ever been used one other time in the Canon; the previous story, The Problem of Thor Bridge. This suggests it may be some small motto of Holmes's, though one not often seen in Watson's records — this makes his use of the phrase a very Holmesian approach. This participation, no doubt, is nothing but a delight for Holmes, who is trying to restring their relationship, and continues to overenthusiastically affirm Watson's sturdiness.

Yet it's made clear that superficial praises are not a true apology, as we see signs yet again of Watson's dispassion. As they sit to their meeting with Professor Presbury, Watson writes:

Mr. Holmes smiled amiably.

This sentence may seem unassuming, but be assured it is one of the coldest in the Canon. This usage of "Mr. Holmes" is entirely unique within the Canon. In other times, when Watson has used "Mr. Holmes" or "Mr. Sherlock Holmes", it has been when speaking directly to his readers, since they would be using the honourific. This moment is the only exception, where Watson has intentionally used "Mr." to create distance and convey undesire for intimacy with Holmes (rather than any professional effect). Why has Watson used the line here? Well, Holmes is 'smiling amiably' — in a way that forces a friendly manner, one that attempts to create a good impression with Professor Presbury — which also didn't work out, by the way. Considering all the superficial means up to now employed by Holmes on his companion, Watson no doubt feels cheapened and no more important than Holmes's investigative objects; as if his trust is just as easy to gain as anyone else's, with nothing but an 'amiable smile'.

We are shown time and again that Watson isn't pleased with Holmes's desultory attempts at reconciliation, until finally, a shift happens. One that is not identifiable in the text, and so is reasonable to assume happened unpenned. We find Holmes acknowledging that "Dr. Watson has his patients to attend to", when before this information seemed completely irrelevant to him. Holmes even sent Watson a "short note asking [him] to meet at the train"! The greatest change is when we finally have Watson using "my friend" and "my comrade" for the first time in this story. Now we see Watson taking real excitement in the case, in the "assurance of [his] comrade". Self-teasing also makes its way into their dialogue as Holmes cries "Oh, Watson, Watson, what a fool I have been!" The emphasised address seems to suggest an apology for something more. It's as if he cries 'Look how wrong I have been Watson, how imperfect and daft I can be!' It's adorable, really.

All semblances of reproach towards Holmes disappear as they steal together in darkness, come to the dénoument of their adventure, as Holmes philosophises on science and nature, and described admiringly as "the man of action". Our story ends in a light-hearted resolution, as always.

"There is an early train to town, Watson, but I think we shall just have time for a cup of tea at the Chequers before we catch it."

To conclude, this story presents so much so subtly in its pages; a reflection of the small, nuanced and unseen processes between human beings, but those which we must be attentive to in order to find fuller understanding between each other. Yet, there is still much uncertainty in my inferences; which also shows the uncertainty of language and communication. We simply must be clear of ourselves, as we can only assume Holmes and Watson were, off-page, for them to have found that resolution, rather than fleeting smiles and compliments. Arthur Conan Doyle, with this story, further cements the triumph of bonds and connection, perhaps far more than any other of his stories.

[philosophicalconservatism]

Female Post Election Anger (Response)

knavesravenraves

Flirting? Nothing women do can exist outside the realm of sexual for you. Some women already reject transgenderism and some don't/won't. What's your point? Scaremongering for those who support it so that 4B becomes an issue not focused on women and their rejection of men but whether or not trans women are real women? Sowing division so that the movement fizzles out as those it caters to waste time arguing about it?

Philosophicalconservatism

Nothing has done more to sexualize women than the modern cultural Left. No force has done more to replace love with sex. Sex reconceived in crude transactional terms inevitably leads to a greater perception of women as sexual objects. Your side seems to only be angry about it when you suspect that Conservatives are thinking in this way (even if it is just a simple euphemism as it is in this case) .

I know that some women reject transgenderism in the U.S. they are called Conservatives. Women of the Left are not permitted to reject transgenderism; ask J.K. Rowling. Even if you are a Feminist icon who helped to put the modern version of that movement on the map, like Germaine Greer, you will be cancelled if you do not fall in line on this issue. No dissent is permitted.

Sowing division? We aren't doing anything. Once you start by dividing people (which is how the modern Left operates) the dividing never stops. Look at the reaction to the election. It starts out as contempt toward Conservative Americans. But soon it becomes a hostility toward all men (even the Left-wing men that voted with you). Then black women start to turn on all white women (white women voted for Trump by 52 percent, the majority). Then everyone starts to attack all Latino men, whom they once defended (this group supported Trump by 45 percent). We are seeing this bitter division and animosity across demographic lines play out all over social media.

You will get division when you are dealing with a fundamentally divisive cultural ideology.

[evolnoomym]

🩵Tag game!🩵

Make a holiday icon for yourself using this picrew, and take this quiz and tell me your result!

Thank you for the tags @aurorawritestoescape @thundermartini @joelmillerisapunk @itwasntimethatdidit40 @fruityreads 🙏🏻🫂

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[t00thpasteface]

my roommate just used my name as a euphemism/slang, she hit her head on something and said "ow... i totally pulled a shebbz." my iconic trademark is self-inflicted blunt-force cranial trauma... i'm gonna walk into the ocean

[eldritch-spouse]

Pinnie would like you to know that I have recently become obsessed with your writing and oc’s like I have read more these past couple of days on tumblr than I did for the entirety of my high school years. As an elder gen z I have some pretty weird thing I say that I personally find hilarious but I don’t think that your characters would like.

One such thing is that instead of calling it sex I like to say Devils Tango in the most obnoxious voice ever and I’m wondering how the icons would react in terms of like finding it funny like me or forbidding me from ever using it again

["Elder gen z". Fuck you mean elder gen z- I'm older gen Z. We're elders now? 🥲 I'm glad you're having fun though :7. I've always done a lot of reading, writing not so much.]

Most of them already find the way the legend of "the Devil" is perpetuated in spite of there being physical proof that Hell and its Rings are currently occupied by seven different demonlords to be kind of ridiculous.

Vesper finds it funny that mortals continue to associate sensuality and desire with Hell specifically. It gives him a sense of pride, he feels that he actively contributes to this view, to the allure of Lust as a Ring- Even if people continue to have that ever boring misconception about Hell's power structures. You can call it whatever you want, he's rolling with it.

Kalymir, as you know, is a fan of raunchy terminology. He's a lot more likely to just say he wants to gape your holes- No filter no shame. It's just built into him, to express sex almost always through a violent lens. An euphemism that simple is bound to have him groaning in irritation and calling you a little bitch.

Zizz is only going to roll his eyes. It's so typically human of you to use an expression like that. At the same time that he has to admit it's a novelty, he's also vaguely in pain from the remark.

Rinx laughs every time you say it, because it's simply so dumb a term to him. It endears you to him, truly. It also totally shatters a more serious atmosphere if that's what was happening until you opened your mouth to say those words.

Vorticia cannot mask the way her eyelids twitch or the way her smile tenses in a hard cringe. You're kind of killing her mood. Please use anything else. She won't mention it.

Cero quickly shuts you down by claiming that the "Devil" doesn't exist. You're being dumb when you say those things- Just tell him you want him.

Livius will not hesitate to pick up on this terminology. Oh you want to do the mattress mambo? In the mood for horizontal hula? Some hanky-panky? Getting busy in the boudoir?? Do you want to make whoopee with him? Please stop this menace.

[from-memphis-with-love]

Let's talk about Hound Dog

With the upcoming release of the movie Priscilla, it seems that there are tons of trolls out and about on Tumblr trying to inundate the #Elvis tag with lies and misinformation about Elvis.

Like, for one, that he stole music from black recording artists. One of the most pervasive--and incorrect--rumors specifically revolves around the song "Hound Dog."

People say that Elvis stole the song from Big Mama Thornton, a talented (and black) rhythm and blues singer/songwriter.

But what if I told you that "Hound Dog" was written by two Jewish guys?

And that Elvis' rendition was not based on Big Mama Thornton's 1952 version, but rather on Freddie Bell & the Bellboys 1955 version?

First, let's talk about how the song came to be in the first place.

In 1952, bandleader Johnny Otis introduced Willie Mae "Big Mama" Thornton to songwriters Jerry Leiber and Mike Stoller, who were inspired by her powerful and gritty blues style to write the song. Characterized by its bold lyrics and Thornton’s robust delivery, the song told the story of a woman dismissing a useless man from her life, with the iconic opening line serving as a euphemism for a man who is a burden rather than a benefit ("You ain't nothing but a hound dog/Been snoopin' 'round my door/You can wag your tail/But I ain't gon' feed you no more").

The writing process was influenced by both Thornton's imposing physical presence and vocal style and sought to capture her fierce and unapologetic personality without using explicit language.

And quite frankly, the song is kick ass. Have a listen here:

It was written for a woman to vocally chastise her selfish and exploitative man, making use of metaphor and sexual double entendre common in the bawdy genre, and effectively embodied Willie Mae "Big Mama" Thornton's robust and unapologetic persona.

In a stroke of genius, Leiber and Stoller crafted the iconic piece in just 12 to 15 minutes, with Leiber jotting down the lyrics spontaneously during a car ride. The process involved a challenging rhyme scheme and a complex metric structure of the music. In addition to the original version, they also created an alternate version titled "Tom Cat," adding diversity to Thornton's musical repertoire.

Thornton’s rendition of "Hound Dog" played a pivotal role in transitioning black R&B into rock music and symbolized the blending of racial lines in music ahead of legal desegregation in public schools. Initially, Thornton performed the song as a ballad, but Leiber and Stoller, who held her version as their favorite, guided her to the more rhythmic and edgy style that became iconic. New York University music professor Maureen Mahon highlights the significance of Thornton's version as "an important [part of the] beginning of rock-and-roll, especially in its use of the guitar as the key instrument."

Many assert that Elvis was the first to cover her song, but that is untrue. By the end of 1953, at least six "answer songs" that responded to 'Big Mama' Thornton's original version were released. According to Peacock Records' Don Robey (who, it would come to be known, defrauded Leiber, Stoller, and Big Mama Thornton out of money for "Hound Dog"), these songs were "bastardizations" of the original and reduced its sales potential.

By 1955, enter Freddie Bell and the Bellboys.

In 1955, Bernie Lowe of Teen Records believed "Hound Dog" could have a broader appeal and commissioned Freddie Bell of Freddie Bell and the Bellboys to rewrite and sanitize the song for mainstream audiences.

Jerry Leiber found these alterations irritating, criticizing the new lyrics for making "no sense", even though the modified version became a regular feature in Bell and the Bellboys’ Las Vegas act.

You can listen to their version here. Sound familiar?

Finally, we come to Elvis.

In 1956, Presley and his band first heard "Hound Dog" while they were in Las Vegas, where they were booked to perform at the Venus Room of the New Frontier Hotel and Casino. During their stay from April 23 to May 6 of that year, they encountered the song at the Sands Casino, where Freddie Bell and the Bellboys were performing their sanitized version of the tune, having transformed it from a racy song about a disappointing lover into a song literally about a dog.

Elvis Presley was instantly captivated by the song. Its catchy melody and lyrics had him returning to the performance multiple times to grasp its chords and lyrics fully. Scotty Moore, Presley's guitarist, and D.J. Fontana, his drummer, corroborated that Elvis was heavily influenced by the Bellboys’ version of the song. Presley, although acquainted with Big Mama Thornton's original bluesy version, was more drawn to the Bellboys' rock and roll, more comedic rendition.

Soon after, Presley introduced "Hound Dog" to his own live performances, first showcasing it at the New Frontier Hotel in Las Vegas. Initially, his execution of the song bore a more measured pace and almost burlesque feel, influenced directly by the Bellboys’ comical, Las Vegas-style performance.

At around 1:30 in the video below, you can see and hear the slowed-down version as Elvis might have performed it in Las Vegas.

It was not long before the song became a staple in Presley’s performances, and a twangy guitar and a hard-driving rock and roll beat were added, making its debut as the closing number at the Ellis Auditorium in Memphis on May 15, 1956. The audience of 7,000 at the Memphis Cotton Festival witnessed the inception of what would become a classic element in Presley’s shows, enduring for a time as his standard closer.

Elvis Presley’s version of "Hound Dog" is not considered a direct lift of Thornton’s original, but rather an adaptation of a song that had not reached the status of a "standard" in the music industry. Presley encountered the song through the Bellboys’ version, which was itself one of a number of covers of the original. Furthermore, respected music analysts and critics, including George Plasketes and Michael Coyle, emphasize that most of the audience in Presley's era were not familiar with Thornton's 1953 original recording, and thus, Presley's version cannot be perceived as a theft or usurpation.

Moreover, it is essential to highlight that Presley held a deep respect for Thornton’s original version and even had a copy in his personal record collection, indicating an acknowledgment of the song's origins.

Presley's rendition of "Hound Dog," influential as it became, was part of the broader practice of artists adapting and interpreting songs to suit different styles and audiences. Presley's had often recounted his admiration for other renditions and related songs--and often rebuked the notion that he was the King of Rock and Roll, instead preferring to refer to Fats Domino with the title.

Contrary to persistent stereotypes suggesting Elvis Presley claimed sole credit for the rise of rock and roll, the singer himself acknowledged the black community’s paramount contribution to the genre. In a 1957 interview with Jet magazine, Presley openly dismissed the notion of being the originator of the genre.

In the interview, he expressed his admiration for black musicians, conceding that his own renditions could not match the authenticity and soul of artists like Fats Domino. Elvis cited his childhood experiences attending black churches, such as Rev. Brewster’s church in Memphis, as instrumental in fostering his love for the music that would later define his career. Through such statements, Elvis sought to underscore the black community's foundational role in shaping rock and roll.

His open admiration for and familiarity with black music and black artists proved that his interpretation of "Hound Dog" was not an act of appropriation, but rather a contribution to the evolving landscape of rock and roll.

[rythmicjea]

Jeronica Endgame Analysis

I wrote this on Reddit and have been meaning to bring it over here. But commenting on @elizacinnamon's tumblr is what convinced me to do it. Buckle up because it's a long one!

Okay so, looking at all of the easter eggs in the episode, to me, it's heavily coded that Betty and Archie do end up together and that Jughead and Veronica end up together. The first thing that should be acknowledge is that everything in this episode is done with a purpose. They couldn't definitively say who Archie ended up with because Archie comics is predicated on the unanswered question of "Betty or Veronica?" so they had to make things "ambiguous" so people could come to their own conclusions.

When we hear of Veronica's life, Jughead says that she was known for her "impeccable taste" and "produced some of the most iconic movies of our time". So, right there, that's huge. That's a lot of heavy lifting. While he is complimentary and sensitive to everyone else's ending, the way he describes Veronica's life is just more. Take Fangs, he doesn't describe "Pixie Girl" as a "timeless" or "iconic" song. He just says that Midge and their daughter were taken care of and that his gold record will hang as long as there is a Riverdale High. He doesn't mention if Kevin or Clay won any awards for their work, but he says that Veronica won two Oscars. He goes out of his way to note the importance of Veronica's achievements.

The scene at The Babylonium is where I've found the most clues to their shared future. Jughead says "I always loved this theater". He doesn't say that about any of the other places they visit. Throughout the show, they regularly used characters to represent overarching themes. For example, Archie = Riverdale. I take Jughead's declaration to be a euphemism for Veronica. It's not that farfetched to believe that they fell in love while in high school. They were together for a year and a half before graduation. So, in the scene, he says "I always loved this theater. But it had a good run." At this time, in reality, both Veronica and Jughead have passed. Their run ended. He then lifts the seat and HIS CROWN is drawn under it! Why? This is a quick visual cue that he and Veronica are connected. If the Babylonium is a physical representation of Veronica (which is what the episode frames it as) then she essentially has a Jughead tattoo on her (a bit of a dramatic way of putting it lol). But, also this is not the first time something like that is in the show. In season 1 and 2, Betty wears a sweater with a yellow three pronged crown. It's universally recognized as Jughead's crown (she wears it on his birthday and in the Heather's musical episode). So, he makes his statement and BAM Veronica appears. Every time we see a character that isn't in the "relived day", it is a clip of them in the future. Veronica is the only character to essentially be an apparition. They didn't have to include her, but they did. And seeing as it's Narrator!Jughead (the real/angel Jughead is in the Pop's in the Sweet Hereafter, and the show literally ends with typewriter sounds) telling Betty all of this, Veronica's appearance can be taken as a clue that she is ever present in his mind/life.

When we see her in her office, she has four "The Comet" posters behind her. Hanging posters of the movies you made is very common. What isn't common is that one franchise has such a place of honor, so that means it's incredibly significant to her. Her clothing is in the style of the early 80s (the creators had an idea to bring everyone through time with each episode but it wasn't feasible so this is kind of a nod to that. Cheryl is seen in the late 60s, Betty in the 70s, and Veronica is the early 80s). We know that Jughead adapted The Comet into a comic book, and he was the one that introduced her to WEB DuBois' people. The artwork of the posters is the same as the comic he created. Making movies at that time was very time-consuming. Also, franchises like that were not common. The whole "Saga", "Trilogy", and "Universe" collections of today were not done to the same extent back then. So, not only was "The Comet" incredibly popular (because it got four movies) but it spanned over a large time frame (again, she still has the posters up decades after graduation via her clothing style), meaning that there was a consistent dialogue between Jughead and Veronica.

Outside of the Babylonium is a poster for "The Big Sleep" (It's also on the Marquis). This is a direct reference to the episode "The Red Dahlia" (3x14) where Veronica enlists Jughead's help. It is one of the main "Jeronica" episodes of the series. In that episode he says that he'll be her "Philip Marlowe". In The Big Sleep, Philip Marlowe is the main character played by Humphrey Bogart. In the same episode he says "Nice hat... Bacall." Lauren Bacall is the female lead of The Big Sleep. Bogart and Bacall were a huge draw for audiences. They were a power couple of their day (and they were also married... hint hint lol). They were the Bennifer and Brangelina first.

Now, moving onto Jughead. He doesn't talk much about himself. Everything that Betty says can literally be read on screen in his obituary. There are two main takeaways from this scene. The first is he barely talks about himself. When he does, he focuses on talking about his career and there's no mention of his personal life. This is a parallel to Veronica's description. He only describes her career and not her personal life. What is also a parallel is that in his summary of Veronica's life he says that she was known for "taking risks on young, raw talent" ie Jughead. Jughead tells Betty that he "put all of his eggs in one basket". That turn of phrase is to mean that you did the riskiest thing possible. When Betty asks if he ever regrets not getting circled he says 'sometimes'. It's a very ambiguous statement. BH shippers will say that he is talking about Betty. But his relationship with Betty ended in high school (both times) and were never rekindled later in life. It doesn't have to be that regrets not marrying Veronica, but it can be taken that way.

The second is on the artist easel in the Madhouse offices. There is a picture of Veronica. It is not a photograph it is the canonical comic book portrait of Veronica (Pep Comics IS Archie Comics). And it is smack dab in the middle of the easel. This is another parallel to Veronica's future. She has "The Comet" posters and he has her portrait. Remember, his first comic book line that he created was "Veronica: The Teenage Witch". So this is a clue that he has used Veronica's likeness IN his magazine for most, if not all of, the run. There's no picture of Betty or Archie. Why still have Veronica's portrait and use her likeness if they weren't still connected in real life?

Now we come to the final scene. So, throughout all of Riverdale (with a few exceptions) the milkshakes that the core four drink all correspond to their hair color. Betty = Vanilla, Archie = Strawberry, Jughead and Veronica = Chocolate (double chocolate to be specific - which can be extrapolated to represent them. It's a stretch but it can be made). In the final moments, we see that this formula has been flipped. When Betty sits in the booth, Archie is drinking a Vanilla milkshake and he hands Betty a strawberry one noting it's "her favorite". What are Jughead and Veronica drinking? Double chocolate milkshakes. If in the Barchie Endgame theory Strawberry being Betty's "favorite" is to mean "Archie" then we can apply that same logic to Jughead and Veronica. Then there is their seating arrangement. The girls on one side and the boys on the other. Betty is sitting directly in front of Archie and Veronica is sitting directly in front of Jughead. Again, because they had to keep the "Who will Archie choose?" answer ambiguous they use this blocking technique to show the pairings without the pair sitting right next to each other. (Couples either sit next to each other or across from one another.)

That is my analysis of the finale using clues to prove that Jughead and Veronica were "endgame". I hope you liked it! If you have any corroborating theories let me know!

[bulkyphrase]

Comfort Podfic Rec List

It's been a while since my last podfic-specific rec list, and with that lore.fm nonsense it seems like an especially good time to highlight the wonderful work that podficcers do!

These are some of the podfics I rely on to cheer me up. They're all sweet, fluffy or funny, and relatively short.

but hey, you're all right read by sisi-rambles (Stucky, 30-45 Minutes, Teen And Up Audiences)

Summary: 'This is not my fault,' Tony lies. 'It was supposed to be a joke! Christ.' 'Thanks to your joke,' says Coulson, 'we now have a code three-four-delta, with the variable being a Russian immigrant. We're checking his background right now, but it might take a while. Meanwhile, I suggest you civilian-proof the Tower. If any SHIELD intelligence is compromised, I will hurt you.' Yes, this is the story where the Winter Soldier is a Russian mail-order bride. Everything goes about as well as you'd expect. Based on the story by beardsley

Baby Steve Adventures read by blackglass (Gen, 20-30 Minutes, General Audiences)

Summary: Captain America gets hit by a spell during a battle. The rest of the Avengers look after him. Based on the story by catty_the_spy (@cattythespy)

The Devil and the Wild Man read by Tipsy_Kitty (@tipsyxkitty) (Loki/Steve Rogers, 1-1.5 Hours, Mature)

Summary: Steve's dinosaur keeps Loki in line on Sakaar. This is not a euphemism, but it is also 100% a euphemism. Based on the story by Effing (@effingunicorns)

More below the cut!

Right In Front of Your Face read by sisi-rambles (Clint Barton/Phil Coulson, 10-20 Minutes, General Audiences)

Summary: Phil and Clint get engaged and go out together to spread the news. but everyone is just shocked to hear they're together. Based on the story by @ereshai

Mixed Ages Classroom read by blackglass (Gen, 30-45 Minutes, Not Rated)

Summary: For this prompt, where the Avengers are de-aged, but to different ages: Clint & Tony to young children (below 10), Bruce to a toddler (whose tantrums involve hulking out to bb!hulk), Natasha & Steve back to teenagers (with scrawny!Steve). In which Hulk is a baby, Natasha and Steve know they aren't real teenagers, Clint and Tony behave badly, and Maria Hill is not a parent but Coulson might be. Based on the story by harcourt (@haforcere)

Protocol 1985 read by sisi-rambles (Gen, 30-45 Minutes, General Audiences)

Summary: “Holy crow, it worked,” someone says. Wherein Clint and Natasha meet Howard and Peggy. Based on the story by hollimichele (@nonasuch)

Fair Shot read by hopelesse (@sheshopelesse) (Stony, 20-30 Minutes, Mature)

Summary: Captain Rogers leaps from the helicopter like a gymnast on the dismount. All the lines of his body are controlled. Perfect. The iconic round shield lies flat across his back. “How does he fit a parachute under that?” I ask. “He doesn’t,” Stark answers. “Marvelous adrenaline junkie, our Cap. Likes to almost break his ankles every time. Makes him feel like a man.” Front Line reporter Ben Urich spends a mission embedded with Tony Stark and Captain Steve Rogers on an Ultimates mission. Based on the story by @isozyme

Dad's Got Skeletons read by sisi-rambles (Steve Rogers/Howard Stark (maybe?), 20-30 Minutes, Teen And Up Audiences)

Summary: “To think he became a dad—your dad. A daddy.” He looked up sharply and saw that Steve’s smile had twisted a little bit, pulled up at one corner like a smirk, except no, Captain America did not smirk. “You know, it’s funny. I called him daddy once too.” Based on the story by kehinki

Sam Wilson: Ghost Hunter read by sisi-rambles (Samsteve, 0-10 Minutes, General Audiences)

Summary: Sam's stuck in a horror movie cliche. Based on the story by kehinki

(the kitten invasion fleet has arrived) read by blackglass (Gen, 0-10 Minutes, General Audiences)

Summary: what if the first contact with nonhuman life forms comes about in a different way? Based on the story by @labelleizzy

someone’s gonna pay for this read by sisi-rambles (Gen, 0-10 Minutes, General Audiences)

Summary: Steve as a cat. Based on the story by @lazulisong

Groundwater read by blackglass (Darcy Lewis/Steve Rogers, 30-45 Minutes, Teen And Up Audiences)

Summary: Okay, she thinks, in a zen-like state of calm: given a chump assignment, she not only managed to fall in a well, she somehow dragged Captain America--living legend, supersoldier, level 7 SHIELD consultant, and Avenger--down with her. This means two things: 1) Captain America knows who she is now, and thinks she’s a dumbass, and 2) SHIELD is probably going to make her disappear as punishment (likely by throwing her in another, deeper well and pretending she never existed). “Don’t mind me,” she says faintly. “I’m just gonna drown myself now.” Based on the story by @legete

Dear Clint Barton (Circa Age 7) read by RsCreighton (@rosecreighton) (Gen, 20-30 Minutes, Teen And Up Audiences)

Summary: The most annoying parts of being de-aged (and then re-aged) are your friends. Based on the story by @pollyrepeat

Situation Normal read by quietnight (@quietnighty) (Stucky, 20-30 Minutes, Mature)

Summary: AU wherein Bucky Barnes and Steve Rogers never met, Steve somehow manages to rescue the Winter Soldier anyway, and Avengers Tower ends up with the world’s angriest duckling and a whole new brand of entertainment. - (“He was dragging him out of the river,” Natasha argues later. “Nat, be honest, he was going for the Full Monty.” Says Clint. “I’m pretty sure we interrupted him in the middle of giving ‘emergency CPR’,” Tony agrees, “Or the stage after emergency CPR. Emergency Dick? Is that a thing?” “That’s not a thing,” Natasha and Clint reply.) Based on the story by redcigar

How Steve Rogers Singlehandedly Lost the Cold War read by quietnight (@quietnighty) (Stucky, 20-30 Minutes, Mature)

Note: This is a sequel/companion to the previous fic, Situation Normal.

Summary: AU wherein Steve Rogers and Bucky Barnes never met, but the Winter Soldier takes an interest in Captain America anyway, and has an odd way of showing it. -- (On the helicarrier, hurrying to reach the central hub of the third aircraft in time, the chip clenched in his gloved fist, Steve turns to find a ghost blocking his path, and is abruptly reminded on what the road to hell is paved with.) Based on the story by redcigar

Get Some Now read by where_thewind_blows (@flowersthroughthecracks) (Stony, 1-1.5 Hours, Teen And Up Audiences)

Summary: Avengers Mansion has a mysterious feline infestation. Meanwhile, Steve just can't figure out how to ask Tony out on a date. And the thirteen teleporting cats sure aren't helping matters any. Based on the story by @sineala

Mercy in You by Sineala read by Pywren (@phyrrhicvictory) (Stony, 1-1.5 Hours, Mature)

Summary: When Tony comes back from a very bad D/s date, in pain and abandoned by his dom, Steve offers to help Tony out and give him all the aftercare he so desperately needs. Based on the story by @sineala

To Keep the Home Fires Burning read by blackglass (Maria Hill/Natasha Romanov, 30-45 Minutes, Teen And Up Audiences)

Summary: Maria does three tours of cat sitting duty before she and Romanoff come to be on a first name basis. She claims a whole shelf in the pantry and sneaks in two more cat mugs too. Based on the story by Woad