#a real essay

[shitpostingkats]

I wanna live in the yugioh world solely so I can watch the defucntland episode about Maximillion Pegasus.

[dansemacabre]

(tw unreality!)

ayo new theory just dropped and bad news! the implications are cosmically horrifying

in the bulletin from time baby in book of bill, he says bill is a “danger to narrativity”, and that he risks the fourth wall. this kept bothering me. why reference the fourth wall here? why have time baby reference it? yeah the heaven page and shit is a bit meta, but thats just how bill talks, right? Well i was a fool

when you put “seven eyes” into the lost files site, this warning pops up from the oracle question mark? from journal three:

the therapese at the bottom translates to “set coords for dimension: r34lity”.

and putting r34lity into the website gives us this image:

the text below it reads they found a new home. those are “real” fucking images. the henchmaniacs are in our “reality”. the cryptids page might not have been a goof goof bit- they were “real”. (“real” meaning our reality in the book of bill sense of it but still our reality. is that tracking.)

none of the rest of the cast actually references us as a specific audience, or the fandom, or acts like we know them at all. the cast addresses everything they write to a mystery “reader” who needs to be saved from the book’s influence.

meanwhile, in the book of bill:

because bill’s not talking to a mystery “reader” who’s reading this book.

bill fucking sees us.

bill sees reality. REALITY reality. like this earth the one with alex hirsch and gravity falls the show and tiktok and shit. book of bill is a book in our reality for us the reader. (ie. there’s a reference to “they both reached for the gun” if you put gun in the website, which would only make sense if bill was sentient in this “reality” right now.) and someone is trying to get here to hide from him. maybe they’re already here.

[putterphubase]

'Don't forget to buy eggs on your way back. We're out.' I have to go. There's an emergency at home.

THE TIME OF FEVER (2024).

[turtleblogatlast]

I think a lot about Leo standing up for his brothers in the things that really matter to them.

Like- Leo is the one who immediately pushes Mikey and Donnie into finding Raph the second it’s clear that their oldest brother is missing because he knows Raph can’t handle being separated like that.

Leo is the one who stands up for Mikey when Mikey wants to go on a solo mission, actively vouching for him and being the one to convince Raph into letting Mikey go, because being independent and proving himself just as capable of standing on his own two feet as everyone else means so much to Mikey.

And Leo defends Donnie’s honor in particular when his brothers’ intelligence is insulted because Leo is well aware of how important Donnie’s smarts are to him - and how important having those smarts valued and acknowledged is as well.

All this goes right into just how well Leo knows his brothers. For as much as he’ll tease or fight with them, he knows them, and he loves them.

[amarguerite]

honestly I think there's a huge generation of readers who read 'the song of the lioness' at an impressionable age and it rewired their brains

[medicalunprofessional]

never change, man !

[amphibianaday]

day 1421

[boundingfeather]

in hindsight it is VERY funny that in wok Hoid makes up a story about Renarin fucking two girls

my man may be one of the most mysterious and powerful beings in the cosmere but he does not have a gaydar

[soracities]

Jim Jarmusch, interviewed by Melissa Locker for The Believer [ID in ALT]

[officialspec]

ill be honest as much as i love to criticise the use of fatphobia for comedy ill never be able to hold the fatphobic jokes in kung fu panda against it

like yea those movies are guilty of dipping into The Usual Tropes for a cheap laugh but not only is the character writing for the fat characters the strongest and most sympathetic ive Ever seen literally just the character designs of the pandas in the 3rd movie get me choked up sometimes. theyre all so appealing and clearly treated with the same care and attention as everyone else without copping out and making them Barely Fat. po is already a size that doesnt exist in film protags and hes still the thinnest person in that whole village and that meant a lot to me

[slythereen]

finally rewatching the race with f1tv commentary and charles' onboards is traumatizing but umm something interesting of note...

"you need to let max by" vs. "norris past, piastri and hamilton, and then there's a gap to alonso"

[noodles-and-tea]

What are people even saying fiddleford did?? 😭 like what did he ever do wrong I can’t think of a single thing. maybe it’s bc I didn’t read the book yet

I think what is primarily being discussed in his case is a) he left his wife and b) he started a cult to erase people’s memories, generally nonconsentually.

Now we don’t actually know all that much about fiddlefords relationship with his wife, there are things that suggest he maybe wasn’t prioritising his family when he was with Ford (I.e. the Christmas presents) but I think it’s unfair to write off someone’s headcanon or theory as “wrong” when there’s no definite answer.

The cult is probably definitely a bad.

BUT! What’s so revolutionary about Gravity Falls is that it has well written characters that are complex and with flaws. I think just about every main character does something bad or selfish at one point or another but it’s also always perfectly justifiable to the character too. There is always personal reason for their actions so nothing is technically black and white “bad”.

I’m not pointing fingers but I reckon some people who maybe aren’t so familiar with fandom spaces or consuming media in a more critical way seem to have a sort of mindset which means that in order for you to like a character they have to be entirely good (or bad - but if they’re bad you have to admit they’re bad and that’s why you like them). And of course people could also take the personal justification and turn it into actual justification.

A lot of the conflict in the show is morally ambiguous and the characters motives are generally easy to understand and even empathise with. Most people that genuinely enjoy the characters - or at least, speaking for myself - don’t excuse their flaws but enjoy the complexities of them!

All that to say, Fiddleford is literally me you guys <3

[leonardcohenofficial]

there’s a great write up by someone on here that i will have to search for in which they discuss how the ultimate evil for david lynch is sexual violence against women (even more severe than murder, which is often auxiliary to that type of specific violence); twin peaks is incredibly soapy—on purpose! lynch and frost are playing with form and content on purpose to examine incredibly difficult subject matter through a (for lack of a better word) more palatable format—which most of the time i think works to its advantage and makes those moments of visible horror so much more effective (i use “visible” rather than “true” or other similar adjectives because the horror is always there, it’s embedded in the entire town, shows up in every generation we see in screen and we watch them grapple with it in different ways, but that’s a separate post)

however—and i’ve talked about this before—i find that once you’ve watched fire walk with me it is so much harder to watch the show because the ignorance of nearly every single member of the town (yes, including cooper) pervades the way the action unfolds. twin peaks viewers knew the premise of the show going in and we get to discover details and information alongside the characters. when albert rosenfield comes in as the only voice of reason and reality, it’s set up to be jarring to both the townspeople and to the viewer. why?

sheryl lee said in an interview, “fire walk with me was very difficult for me to watch… and, emotionally it’s a reminder: this is a movie, but this continues to happen every day and how can we stop it? when i watch fire walk with me now, as a mother, i watch it and i think look at all those signs that were being exhibited. this girl was in danger, and look at all these people that were in her life. what would have happened if someone, somewhere, somehow could have helped or stopped it? that’s hard to watch.”

much has been discussed critically about fire walk with me and whether or not it’s exploitative in the ways that it portrays sexual violence against women. while lynch does not shy away from making that violence visible, it is done so in an attempt to make the viewer examine their own relationship to that violence and how it shows up in their own lives. the audience is forced to think about the ways that they are complicit in how and why these violent acts occur and what they can do to stop it, which is why for many it is an uncomfortable watch. for others, it is a painful (and speaking from my own perspective) necessary watch because lynch didn’t make a horror movie, he made a documentary.

fire walk with me is necessary (in my humblest of opinions) to understand why the pieces that lynch and frost put into twin peaks work. there’s so much backstory to how they weren’t originally going to reveal who laura palmer’s killer was until ABC made them, lynch wasn’t around during much of the second season so things got a little off the rails storytelling-wise, etc. etc. but fire walk with me allows them to tie difficult, often horrifying threads (ben horne unknowingly attempting to have sex with his daughter, the townspeople’s distancing of albert, the hands of random townspeople trembling as BOB attempts to claw back into the material world, the list goes on and on) back to the central thesis of “sexual violence is the ultimate evil, it is completely avoidable, and you have a responsibility to recognize the signs and stop being complicit”

[dansevilpianotea]

bc dan acts SOO different now compared to wad. sth mustve really clicked in him after doing a solo tour. go watch any video/stream now from that era (ideally not dd bc that was a hightly conceptual character apparently) and you can see that he was trying so hard to be seen as someone else. to get approval from the wrong crowd, as he recently talked about dont get me wrong, i love wad the show itself, but you have to admit that dan hadnt really decided who he wanted to be seen as yet (in a post-coming out, post-phouse univers) before he went on tour, so the person he was during that era reflected that.

it was very hard for me to distinguish the dystopia daily persona to his usual online character because he hadnt really shown enough of that (at the time, post-coming out, mid-hiatus) to be distinguishable from his pre-pandemic, pre-ywgttn depressed lol xd dan character. he just wasnt around a lot. [i think thats what he got wrong with dd. he thought we knew him better than we did at the time but he also wanted to establish his independence from the dnp branding which unfortunately expressed himself as a form of resentment against people who still associated him with that (us phannies). this is why it felt regressive and made me sad, because the dd character seemed like an old, unhappier version of the same dan.]

but now.. look at how happy he is. he is smiling. dan is shining like the sun on a beautiful summer day and is fully embracing his past and his audience.

he doesn't feel the need to crack jokes about whoring it up all over america because he doesnt like commitment or making jabs at his audience for falling for clickbaity 'we are in a relationship'-type titles. he is not resentful anymore. he's not just laughing with us but he is IN on the joke now. he thinks we are funny! and in fact admitted that he doesn't really care about flirting with strangers and is oblivious to being flirted with because he doesnt have any need to.

it seems like he has healed a lot of old wounds regarding his audience. during wad he saw with his own eyes that we arent out to get him but in fact will support him in whatever he's doing. and now this new tour is the victory lap. he's taking phil with him. he is proud to be down bad for his man. 'no fucks left to give' for dan means not putting up the wall anymore protecting his inner child from what it fears are the bullies. he's doing it for himself now, for phil. for them. not for the attention of the wrong people. not for the approval of straight men like those who bullied him. he's doing it for his community of queer people. he knows he's safe here. he trusts us. 'we know you know'. i'm proud of both our community and proud of dnp for that. we really made ourselves get here despite how draining and back-and-forth the hiatus was. maybe the real phan really were the phriends we made along the way <3.

[ihatebrainstorm]

Was speedrunning some work when this one song beamed this image into my brain and I had to drop everything to draw it lmao

(0 clue if this will be my final Jazz design? I dunno I got a few sketches, I'm real indeterminate lmao)

[vaspider]

Feisty Lady Anger and other things about me you hate

My mother prizes her anger, for all that she doesn't express it openly. I tell stories about her spiteful, steel-spined responses to people who told her, "You can't do that," and I point to them as Why I Am How I Am. Her father told her he wouldn't pay for her college because "women only go to earn the MRS degree," and she could "get married and have babies" without college. In response, Mom got her bachelor's in Mathematics in 1970 on her own dime, back in the days when in-state students didn't pay tuition at state schools (just another thing Reagan ruined). She worked and paid for her books and housing, got her degree, paid for her own wedding because he wouldn't do that either. Taught school, got her Master's, had three kids, started her Ph.D. with 3 under 6 and became a professor when the youngest was 5.

Tell me I can't, my mom told the world, and I'll show you that I can. I won't just do it, I'll become a department head and a Distinguished Professor and retire after 30 years of teaching other math teachers with a list of achievements as long as my arm.

There is an anger that runs deep in the women in my family. Tell me I can't, and I'll show you I can. Show me injustice and I'll tear at it with my teeth and hands, staring you down while I do. Backwards and in heels.

I can't tell you the moment I crossed out of Feisty Lady Anger in the eyes of the people close to me, but I can tell you the moment I noticed. Maybe it was when my voice started dropping or the growing muscles on my shoulders pulled my stance more square and upright. Maybe it was when I moved from they/them to he/they, and somehow I stepped from Diet Woman to Too Close To Man in their eyes.

It's a funny thing when all of a sudden your anger becomes real enough to be startling to people. Your anger is no longer feisty, charming, and attractive. This thing that people liked about you, that people who say they love you said they loved about you, suddenly becomes frightening, upsetting, and terrible. The way you didn't let people mow over you and fought back used to be a thing that people admired. It was actively attractive. It was one of your best qualities.

Now? It's ugly. It's disgusting. It's scary. The thing you were is gone, and now your anger is real to them.

It's in that moment that the blade cuts back towards you. You realize the reason your squared shoulders and set jaw drew people in couldn't be squared with the stubble on that jaw or the newfound strength in your arms. Feisty Lady Anger isn't real, not in the way a man's anger is real. Feisty Lady Anger is admirable, sure, but it is admirable because of its essential ineffectual nature. At most, Feisty Lady Anger fixes minor problems for the kids at school, gets the principal to back down from scolding your child when she politely asks the kid calling her a faggot on the bus if he knows what that really means, pushes a woman to achieve for her family, in appropriately neutered ways.

When you stop pretending to be a woman and become who you really are, when your anger becomes real, you realize both that the thing about you that people loved is gone and that this thing was attractive in the first place because of its ineffectiveness. Your anger wasn't scary because it wasn't real enough to be threatening.

Now you have Man Anger, and, you're told, you should apologize for that. It doesn't matter if it's the same anger you've always had, or that you're angry about the same things. It comes now in baritone, with belly hair and bellowing, and now it's both real and disgusting.

The worst part is watching it come from people you thought should know better, the people who should understand. You spent nearly 40 years being told to sit down and shut up because the men in your professional career were speaking, assured that if you just waited your turn, you'd be given a place to speak eventually, and now here you are being told within a community that claims to love and understand you, by people that claim to be in community with you and love who you are, that you actually don't have any real problems to speak about, also your Man Anger and Man Privilege (when do I get that, please?) are Scary and mean you should sit down and wait, and you'll be given a place to speak eventually.

It is the Transmasculine Catch-22: if you become Man Enough to no longer fit into Almost Lady, your anger becomes Real, which makes you realize that your anger wasn't Real before, but because it's Real now, you're not allowed to have it. And by the way, you're not allowed to be neither Man or Lady - now you're Man Enough, and that makes it all the more clear how you were simply Kirkland Signature Lady right up until the point you weren't.

There will be a few people who Fucking Get It, who don't see you as either a Failed Lady or a Broken Man, and you'll love those people all the more for their rarity. It won't take the sting out of realizing that the things people you love loved about you before now disgust and repel them, but it'll make it enough to keep going.

You couldn't stop, anyway. You've never felt more yourself, and the people who don't love you, the actual you, the real you... the loss of that hurts, but not nearly as much as the idea of pretending to be something else did.