#It didn't show those things a lot

[bixels]

Be honest, what are your thoughts on appledash? Do you hate it or its more of not a big deal

Not a big deal to me. I like it, I see all the appeals, I just personally like Rarijack more.

[wallbeatjournal]

Are true riverdale fans of the opinion it is a very good and nearly flawless show or does being a true riverdale fan mean being able to mock writing choices

it's long-running serial television plotted a season/half at a time so definitely not even "nearly" flawless.

BUT. i'm not doing combat with the writing team. i'm not actively reading against the text the way i have to in order to enjoy something like supernatural or the 90s robin comics or the fucking sopranos, which are patriarchal christiancore copworld rapeworld white supremacist horrorshows that hate their minority audiences, with like 2 good creatives involved and martyring themselves to fight the good fight on sparse rare installments if you try to approach them sincerely.

riverdale writing staff are like a favorite smart problematic tumblr mutual to me. I don't always like what's on their blog or who they're referencing. but we're in the same community and i'm interested and inspired and i trust their agenda overall, even when i see shit i wouldn't have fucking posted. but bc i'm not being condescended to or actively spited i'm not gonna condescend to or spite them, you know?

i expect rvd to age like twin peaks (another very uneven, highly referential serial juggling a couple of intensely cool metanarratives on top of its core story). and twin peaks fandom mocks twin peaks all the time. twin peaks includes some CLUNKY shit. it's kitsch. it's camp. it has a second season that is largely ASS. james is there. and on top of that it also includes some genuinely offputting-to-me stuff that just bothers me to sit through, even though i feel like i understand and respect what they're going for with it. i just don't want to watch someone sweep the fucking bar for minutes and minutes as entertainment. OK!!?

...so yeah. mock riverdale but in the right spirit. is that an answer? do i sound like i'm chugging the flavoraid koolaid fresh-aid? probably.

[front-facing-pokemon]

[imerian]

My (very old) loscar brooch (?) that i just now made doodles for

More pictures under cut

[yuseirra]

**oshi no ko spoilers**

the more I look into it, the more I'm convinced that they understood each other very well. Ai knew exactly what words she could use that'd prove effective for Hikaru and let her achieve her desired results. Hikaru is one of the two people who suggests Ai is a normal girl with fantasies forced on her... That backfired in a really tragic way

[murdockhawkeye]

this is *maybe* a bit of a stretch but i still find interesting to think about? don't know if i have everything right

but

i feel like with the elemental opposite duos - emma & rikki, cleo & bella - you could reasonably say their arcs'd mirror each other in a way

like

emma and rikki have issues with responsibility/expectations but on opposite ends of the spectrum

emma was a gifted child, everyone had high expectations for her and she tried to meet those expectations the best she could. she’s responsible emma, who makes sure everyone is looked after, and everyone “knew” was going to become a top athlete, because look at all those trophies on her shelf

and then rikki on the other hand, was alone for “her own good.” she admitted to elliot that no one really liked her growing up, so when somebody did, it made her feel weird and she pushed them away. she stayed away from other people, made sure they never had any expectations of her

they both avoided disappointing others, by going to opposite extreme lengths

and then they overcame these issues, with emma facing a sudden change in her life (becoming a mermaid) that meant she had to give up her swimming dreams and disappoint the people in her life (that had to suck for her, honestly.) she had to come to terms with that - but then, she also found a whole new world that she’d never have been a part of, if things had gone the way she planned

and as for rikki - her biggest change wasn't the tail, but becoming friends with emma and cleo. had she'd her way and zane’d never gotten cleo stuck on that boat, she’d never become friends with them. rikki had to learn the hurdles of friendship and of keeping them, like when she mistook the different kinds of fish, when cleo and emma didn't support her relationship with zane, etc. they had their issues - but in the end, they were there for rikki, and rikki was there for them back. she'd have never gotten that kind of solidarity, had things gone the way she thought it would

and then there’s cleo and bella

bella - unfortunately, didn’t have much in terms of development, since the writers prioritized will’s relationship with her over expanding her character background+ for some reason ??

so i'm just mostly going to talk about cleo here first - but i'll get to bella in a second

cleo by s3 is a very confident and self-assured person; but she didn't start out that way. she was insecure, somewhat naive. she grew up overshadowed by her two best friends, the both of them being gifted in their own rights - emma, the young up and rising athlete, and lewis the science genius, they were sure to go places. cleo, on the other hand, was overlooked. she didn't have much going for her - except for adequate grades and a love of the marine life that was hindered by her fear of water

and then cleo became a *literal* mermaid. either she was going to avoid it or overcome it. in the end, she didn't just overcome her fear of water, but she also took a risk by taking that job at the marine park, where she'd be working right by the marine animals. she let her fear control her before, and she wasn't going to let it stop her from wanting to pursue things anymore

(funny, she started out with a fear of water, then became a mermaid. she struggled with her grades, then became a science genius)

bella, much like cleo - had her own issues when it came to the kind of attention she got, but the other way around. her first appearance, she was being catcalled. same ep, nate is drooling over her. they've made her beauty a point throughout s3. even cleo and rikki's brought it up. it. could not have been easy for her to deal with that, especially with her secret in mind

seeing that, even with the different issues when it came to attention, i think they'd still have had the same feelings about it. a younger bella, probably would've been similarly insecure/anxious as cleo had been - until she learned to be more sure about herself and grew into the bella we know and love today

(we should've gotten way more lore and background about bella, agh)

tldr; emma and rikki have same feelings but opposite reactions (people pleasing and people avoiding.) cleo and bella opposite situations but same feelings (overshadowed and center of attention)

yk, rikki was right in a way i think about the "universal law," but like, more about keeping in balance and not about trios. emma and rikki balance each other out, cleo and bella were *meant* to balance each other out. but in s2, bella wasn't there - charlotte was

do i blame the antagonizing of charlotte and cleo's out of characterness on the writers, or do i blame it on some magical semi-canon mermaid universal law about balance

blaming it on a mermaid universal law sounds more fun, and could have interesting implications. (though the writing grates me, still)

[spywhitney]

How I sleep knowing I'll never trust anyone that hates Sydney but worships Richie:

[winepresswrath]

Darla/Angelus is also great because the show has a competing designated OTP and they exist to serve as contrast and hateful competition to THE ship. they are soulless monsters even by the standards of soulless monsters, they literally make the other soulless monsters go "yikes... your relationship seems not good maybe." but they love each other so fucking much. the writers can't help it. they are constantly trying to find their way back to each other. the way she hits him over a head with a shovel and leaves him to an angry mob while he tries to say he doesn't mind dying if it's with her AND the way they coo about it to each other afterwards. the way she takes him back against her better judgement because she missed him so so much but then kicks him out again later because he still can't be who she needs him to be. that's just how they say i love you.

[galadriel-blue]

Why is the TROP fandom so toxic all of the sudden?

(Rant in the tags and spoilers for S2 E7 of TROP)

[bidokja]

I was joking a while back that the actor they have playing KDJ for the orv movie was too handsome for him and a friend who's read orv was like "KDJ is actually secretly attractive!!" And I just felt my soul leave my body right then

SIGHS...

Okay. Buckle in. I'm gonna finally actually address and explain and theorize about this whole...thing.

I'm not gonna cite any exact chapters cause it's like 11:30 and I've got an 8 hour drive in the morning but I'll at least make an approximate reference to where certain things are mentioned. Also, this post is just my personal interpretation for a good bit of it, but it's an interpretation I feel very solid about, so do with that what you will. Moving on to the meat of things:

There is one (1) instance in the web novel that I know of which describes specific features of Kim Dokja (especially ones other people notice). This takes place when members of KimCom are trying to make Kim Dokja presentable to give his speech at the Industrial Complex (after it's been plopped down on Earth). This is when they start really paying attention and focusing on Kim Dokja's appearance since they're putting makeup on him; I still don't think they can interpret his whole face, but they can accurately pick out and retain more features than usual. If I remember correctly they reference him having long eyelashes, smooth skin, and soft hair. These features can be viewed as (stereotypically) attractive.

Certain parts of the fandom have taken this scene and run with it at a very surface level, without realizing (or without acknowledging at the very least) that this scene is not about how Kim Dokja looks. This is, in part, due to not realizing or acknowledging why Kim Dokja's face is "censored" in the first place, and what that censoring actually means. I think it's also possible that some people are assuming the censorship works like a physical phenomena rather than an altered perception.

I'll address that last point first. The censorship of Kim Dokja's features is not something as simple as a physical phenomena. It's not a bar or scribble or mosaic over his face. If that were true it'd be very obvious to anyone looking at him that his face is hidden. But his face is not hidden to people. They can look at him and see a face. If they concentrate on his eyes, they can see where he's looking. They know when he's frowning or grinning. They see a face loud and clear. But what face are they seeing? Because it's not really his, whatever they're seeing.

No one quite agrees on what he really looks like. And if they try and think about what he looks like, they can't recall. Or if they do, it's vague, or different each time. We notice these little details throughout the series. Basically, Kim Dokja's face is cognitively obscured. Something - likely the Fourth Wall, though I can't recall if this is ever stated outright - is interfering with everyone's ability to perceive him properly. This culminated in him feeling off to others; and since they don't even realize this is happening, they surmise that he is "ugly."

Moving on to the other point about what the censorship means: To be blunt, the censorship of his face is an allegory for his disconnect from the "story" (aka: real life, and the real people at his side). The lifting - however slight - of this censorship represents him becoming more and more a part of the "story" (aka: less disconnected from the life he is living and the people at his side). The censorship's existence and lifting can represent other things - like dissociation or depersonalization or, if you want to get really meta, the fact that he is all of our faces at once - but that's how I'd sum up the main premise of it. (The Fourth Wall is a larger part of the dissociation allegory, but that's for another post).

So you see, them noticing his individual features isn't about the features. It's not about the features! It doesn't matter at all which features got listed. Because they could describe any features whatsoever and it would not change the entire point of the scene. Because the point isn't what he looks like. The point is that they can truly and clearly see these features. For the first time. They are seeing parts of him for the first time. Re-read that sentence multiple times, literally and metaphorically. What does it mean to see someone as they are?

This is an extremely significant turning point dressed up as a dress-up scene.

---

P.S. / Additionally, I'm of the opinion that Kim Dokja is not handsome, and he is not ugly. He is not pretty, and he is not ghastly. Not attractive, nor unattractive. Kim Dokja isn't any of these things. More importantly, Kim Dokja can't be any of these things. The entire point of Kim Dokja is that you cannot pick him out of a crowd; he is the crowd. He's a reader. He's the reader. Why does he need to be handsome? Why must he be pretty? Why is him being attractive necessary or relevant? He doesn't, he doesn't, it's not. He is someone deeply deeply loved and irreplaceable to those around him, and someone who cannot even begin to recognize or accept that unless it's through a love letter masquerading as a story he can read. He is the crowd, a reader, the reader. He's you, he's me. He's every single one of us.

[free-smarcher]

every time your team in Veilguard start getting all red-string-board, lore-connecting, do you think it's possible that I'm just. Besties you would have loved being on tumblr in 2015

[thedawningofthehour]

I'm watching 2003 scenes to refresh my memory on Bishop and why does half the show's lines sound like anime dubbing.

[fernsnouveau]

Feels like I only reblog criticism in this fandom these days, and that's not really what I wanted to do. The problem is, the unchallenged toxic messages and the Gabrielcore ideology of late-stage S5 were just so intertwined with the central events and... really everything that now defines post-S5 canon... that I often don't feel comfortable just browsing the fandom for fun stuff anymore because it's a minefield of That.

A lot of people in the fandom are significantly hostile towards those of us who were hurt by the canonized abuse apologia, too, as if we're just too stupid to understand [insert justification used by countless IRL abusers], or we're just being difficult and "salty" for the heck of it.

I kinda just wish that we might eventually get a sub-fandom that just divorced canon after it turned sour, and will focus on the earlier canon and divergence AUs that we actually enjoyed.

[i-dreamed-i-had-a-son]

“because he never accepts that it's never been about righteousness--it's about repentance.” except javert killing himself IS repentance.

well, it’s like 12 different things, because bro had gone days without sleeping and very little food and water and he already had low self-worth and kept asking the amis to kill him and just assumed he was going to die AND THEN valjean upended his understanding of the world and morality. he was really going through it & there are a lot of overlapping reasons for why he jumps into the seine.

but javert is like Number One Most Responsible guy in the whole story. taking responsibility is his Thing (forever bitter the musical doesn’t include the punish me monsieur le maire scene). how else, in his derailment, could he atone for his conceived misdeeds other than by handing in his resignation to god? in the brick he had already left a note urging his superiors to treat convicts at toulon better, which is another step in his repentance (and another crime the musical commits by not including it). jumping into the seine was another step.

honestly a lot of ppl who like the book think the musical was dead wrong to exclude him from the big heaven group sing, because it COMPLETELY undermines the themes of forgiveness and compassion threaded throughout les mis. like the musical was simply wrong lol.

This is helpful context! I am still finishing the brick, although I have fully read the abridged version, and that detail about the letter wasn't included, so I didn't know that occurred! (And thank you for the message--this is a long response but I'd love to hear more of your thoughts!)

I agree that Javert is certainly deeply distraught and remorseful; like you mentioned, his worldview is literally falling apart, and his actions reflect his mental state. But his death isn't really repentance--in the sense that it's not what God would have wanted. To me it reads like a Judas situation: a desperate realization of a huge mistake, and doing the only thing you think can make it right, namely, ending it all. That's the just punishment for someone so wrong, isn't it?

But true repentance, meaning the repentance that the Lord desires, is about changing your ways, not "paying a price." Had Javert really understood the beauty of Valjean's mercy (an image of Christ's, just as the bishop's undeserved mercy was to Valjean himself), rather than killing himself, he would have lived to also become "an honest man"--in heart. One who could forgive and understand forgiveness, for himself as well as others. One who could recognize that he is not The Law, that he can fall, but that he can also be "brought to the light." One who could accept that men like Valjean, and men like himself, CAN change, and be changed.

It's tragic to me because so much of "Stars," and his character in the book as well as the musical, is about wanting to be righteous, to rise above his birth and the sinfulness he associates it with. It's about wanting to please the Lord by his actions. But in his end, he shows he never understood what God really wanted from him, and that's where my original phrase comes in: not righteousness, but repentance. To live, and face the man you were, knowing it's no longer the man you are. That it's never been about what you've done or can do, but about what's been done for you. That's the Gospel that he could never fully accept.

To use another example you mentioned, that misunderstanding drives why he asks the Mayor (Valjean) to punish him--in his worldview, mercy is unjust, or at the very least, unfair. Evil must be punished; "those who fall like Lucifer fell" receive "the sword." But "as it is written," God "desires mercy, not sacrifice" (Matthew 9:13). God would have wanted Javert to live, and Javert couldn't see that, and that's why it's devastating to me. In his misunderstanding of the heart of God, he misses what would have set him free from the chains of sin he's always been trying to escape.

That's why he's contrasted with Valjean, who (though he carries guilt about his past till the end of his life) is eventually able to face it and confess what he had done to those he loves. He knew there was mercy to be found, if only it was asked for. Javert was too blinded by pride and shame to realize it, and so, while broken, he never was able to truly repent.

For that, you must go on.

[galactic-glamour-girl-posts]

A totally random compilation

("Knockout" can mean an extremely attractive person for those who don't get it)

(Honestly, just pretend I uploaded the entire segment the following screencap is from):

(For context, in the segment where the screenshot below is from, Nickelwise is trying to scare Dot by using her vanity against her, claiming that "cuteness fades"):

(Like with The Cutening, pretend I uploaded this entire segment):

(She literally says "Alright Dot, kill her with cuteness" here):

(And this is a direct reference to the Animaniacs Sega Genesis game where she uses her cuteness/heart projectiles as an attack):

[side-b-bumblebi]

Men who view women as their intellectual equals 😍