#adam isn't dead

[forcebookish]

whumptober no.24: I never knew daylight could be so violent

[Merciful God, please take me away!] Make them stop! They're everywhere! Every city, every—every house, every room! They're all inside me! I can hear them all, and they're saying... nothing! Get up! Please, get up. [I will close my ears and heart and be a stone.] Please, God, make me a stone. She is starting to damage my calm— Jayne—! She's right! Everybody's dead. This whole world's dead for no reason.

[ihopethatyoureasleep]

whenever i see ppl be like "sam and dean left adam in hell as punishment for having a normal life ):<" or a similar take i just think like. homeboy didn't even have like. a "normal" life he just had like. not fucking child soldier trauma. like dead beat dad and single working mother is just non child soldier bad childhood stuff. like it could be WORSE like,,,, DUH. but anyone's childhood compared to dean and sam looks like a piece of cake cuz they were waving around guns at like. 7 years old

[cherryinterlude]

TO ANON WHO SUBMITTED SOMETJING: IM SORRY I LOST YOUR ASK BC I POSTED AN UNFINISHED ANSWER AND I DELETED IT OUT OF PANIC 😭 but i hope you see my finished thoughts below

continuing on the topic of possessive bf cooper who killed your ex: the marathon of sex that ensues after he gets you would be so HOT and intense and mentally and physically taxing (in a good way) that you're sure you won't be able to get up afterwards (but you somehow find the energy to marry him and make plans to run away together lol).

like think about it... cooper has tried to suppress the urge to kill your stupid on and off boyfriend, has tried to convince himself that he doesn't need you. but he only has so much restraint, and when he hears you go into detail about how badly you're being treated, he can't deprive himself of you any longer. after spending countless sleepless nights thinking about how you'd feel and taste, he'd fully indulge in you. he'd reach places in you that you didn't even know could be reached, he'd make your bones ache so good, he'd treat you with such devotion that it makes you question how either of you survived without each other. he's capable of horrifying behavior, but also love and affection. you're terrified and thrilled by him, deeply pleased that you're wanted by such a dangerous man. he killed for you once, and he'd kill for you again if it meant you'd stay in his arms.

[manicpixieyandere]

A Textual Analysis of “Gothic Wh*re, or the Novel Lyric Hunt” by Chonny Jash

Hello! So we had to write a textual analysis of a song (so we did an entire album like insane people) for our English class so we figured we'd post it here because it was a lot of fun to write! Enjoy! (Also we had to censor it because Tumblr hates fun, sorry).

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The Gothic Wh*re album by Chonny Jash plays on the idea that there are people othered by society just for being themselves. These groups mainly consist of queer and disabled people. Society others these people, treats them as monsters or madmen. This album chooses to highlight the monsters and tells its audience to embrace and celebrate those differences. Jash achieves this by using gothic horror as his inspiration and medium, mainly stories from the Victorian era. Every story chosen is one that features disabled characters and/or characters with queer coding. These songs focus on these supposed monsters.

The song titled “Intro” introduces the audience to the album. There is a mystery unnamed narrator who introduces the audience to the protagonists of the first two songs, those being Dr. Jekyll and Mr. Hyde. The intro takes the audience right into “The Ballad of Dr. Jekyll”. This song explores the character of Henry Jekyll from The Strange Case of Dr. Jekyll and Mr. Hyde by Robert Louis Stevenson (1886). We see Jekyll’s internal moral battle about letting his alter ego Edward Hyde out. The song keeps in tact the reading of the original book that the potion Jekyll drinks is a metaphor for addiction. It also keeps that the Mr. Hyde personality isn’t so much a completely different person than Dr. Jekyll, but is the way Jekyll wishes he could be. This is referenced in the line “Is it worth the shift in countenance just to live how I’d like?” (Jash, 2023, verse 1). The song ends with Jekyll deciding to take his own life to rid the world of Hyde, this being how the original book also ends.

The next song is from Edward Hyde’s side of the story titled: “The Mr. Hyde Jive”. Hyde focuses more on desire. He initially taunts Jekyll pretending to be the scary monster Jekyll sees him as. He quickly drops that façade to more so talk about fulfilling his and Jekyll’s own desires. The song plays with the queer coding of Jekyll and Hyde. It is hinted at in the book that some of the “heinous” deeds Hyde commits is that of sleeping with men. Hyde goes on to say he is just the other side of Jekyll. Jash (2023, chorus) writes “For every Henrry in this world, there’s an Edward stuck behind”. This line refers to The Strange Case of Dr. Jekyll and Mr. Hyde being about human duality. We all have a side of us we may not be proud of as we are ashamed for it. Hyde tells us to embrace that desire every now and again, but to not go too far.

We move onto the “Wilhelmina Waltz”. This song covers Dracula by Bram Stoker (1897). The song is from the perspective of Dracula trying to court Wilhelmina (or just Mina). The song makes many references to Mina’s current marriage to Jonothan Harker. In the book Johnothan escapes Dracula’s castle, and as punishment Dracula tries to court his wife, Mina. The “Wilhelmina Waltz” is about Dracula’s feelings for Mina as she undergoes her vampire transformation. Near the end of the song the character Renfield warns Mina to not let Dracula too close as “he’ll abuse you, he’ll misuse you, he’ll raise Hell on Earth to subdue you. Till not even death can undo you” (Jash, 2023, verse 4). The common reading of Renfield and Dracula’s relationship is that of a toxic romance. Renfield means well in his warning to Mina but dies for it.

Keeping in theme with vampires, we transition over to “A Syrian Rhapsody”. Based on the novella Carmilla by Joseph Sheridan Le Fanu (1872). The song explores how in the original novella vampirism was used as a metaphor for lesbianism between the characters Carmilla and Laura and how immoral it was. Jash (2023) states “Fables label. She the Vampyr” to explain how in his opinion Carmilla was never really a vampire, just a lesbian. She was labeled a vampire to warn others of the so called dangers and sin of homosexuality. The song ends with saying Carmilla will not wilt from the hate of others and will rise on higher.

We enter "The Monster’s Lament” based on Frankenstein or, The Modern Prometheus by Mary Shelly (1818). The song starts out with simple wording that evolves over time, showcasing how the monster originally had to teach himself English throughout the story. The monster talks about his self hatred and feelings on his creator, Victor Frankenstein abandoning him for his looks. The monster expresses his plans to kill his creator and make him suffer just as he had. This shows one of the readings of the original book, that Victor was the monster’s father who abandoned and abused him. By torturing Victor, the monster continues that cycle of abuse.

Next is the mouth full title “An Elegy for One Roderick Usher, or ‘The Haunted Palace”. This song is about “The Fall of the House of Usher” by Edgar Allen Poe (1839). The narrator of the album is revealed to be the protagonist of “The Fall of the House of Usher”, he remains nameless just like in the original story. The song is a mix of a retelling of “The Fall of the House of Usher” but also uses “The Haunted Palace” by Edgar Allen Poe (1839) directly as the verses sung by Roderick Usher. The narrator is there to comfort his friend Roderick as his sister is ill and dies. She has a condition that makes her corpse appear alive and well “Such I’ve heard is the irony of the cataleptic’s rue” (Jash, 2023, verse 8). The house reflects the mental state of Roderick Usher. A popular reading is that Roderick has schizophrenia, that is why his imagination and what happens in the house reflects his paranoia. The narrator tries to read his friend a story, but all of the sound effects from the story echo into real life. As Roderick’s sister appears alive, she comes back to life and kills her brother. Once they are both dead the narrator escapes and the house crumbles. The narrator closes out by reciting the rest of “The Haunted Palace” as Roderick is dead.

The “Interlude” states that was it for the main event, the main event being gothic horror. Instead, we now transition into books of different genres. First being a song titled: “Dead Man’s Sea Shanty” which is about Treasure Island by Robert Louis Stevenson (1883). The song follows young Jim Hawkins, and his recount of the events of the novel. In the story Jim Hawkins acquires a crew to hunt for treasure but Long John Silver is secretly planning a mutiny. Hawkins recounts his attempt to steal back the ship solo and how that fails. He is captured by Long John’s crew. Luckily, he met a stranded sailor, Ben Gunn who saves him and locates the treasure. Hawkins also puts his differences aside with Long John when his crew plans to mutiny him as well. On their way back to Britan they sing the song present throughout the chorus but that also originates from Treasure Island “Fifteen men on the dead man’s chest…” (Stevenson, 1883, chapter 34). Jash also adds his own interpretation at the end. The outro is taken directly from the preamble of Treasure Island. It starts with Hawkins reading it who then fades out into the narrator, here to introduce our final story.

The penultimate song is “Ode of the Cog” based on 1984 by Geroge Orwell (1994). The song follows Winston Smith as he falls in love with Julia. 1984 takes place in a totalitarian society where there is such a thing as “thought crime”. You must believe what the party wants you to believe, marry who they say you marry. That is what makes Winston’s love of Julia dangerous. The party in question is Big Brother. They catch both Winston and Julia and torture them both. Their methods of that are a more intense version of the brainwashing they use on the general public, being titled “doublespeak”. Jash (2023, bridge) shows this by using samples proclaiming the following lines “War is peace. The law of gravity is nonsense. Freedom is slavery. Ignorance is strength.” And most famously “Two plus two is five”. The idea of two plus two being five is the specific phrase Winston is tortured into believing. The book and song end up taking a major diversion from each other. In the book Winston is tortured into loving Big Brother. In the song Winston is shot and killed by Big Brother, but before he dies, he has his last moment of rebellion. Winston has an uplifting monologuing proclaiming humanity will eventually rise up and that history cannot be rewritten. His final sung words are “Two plus two is four” (Jash, 2023, verse 8).

A sample of Julia from the 1984 movie adaptation (Michael Radford 1984) saying “I’m corrupt to the core” seamlessly transitions into a crowd screaming “encore!”. The narrator decides to indulge the audience with an encore to wrap up the album. The song is a cover of the “Monster Mash” by Bobby “Boris” Pickett (1962). The song features the narrator showing the audience around a gothic party with all the protagonists of the songs and their plus ones. The song features many references to the original books while also celebrating the differences of the characters that were perhaps not celebrated at the times these books were published. Frankenstein’s monster names himself Adam. Mina dances with Carmilla, alluding to both of them having close relations to another woman in their own stories (Carmilla with Laura and Mina with her friend Lucy). Hawkins allows himself to have fun with this odd group and Winston celebrates being free. The narrator raises a toast with each main character toasting to what is important to them. Jash (2023, verse 6) does a voice for each character while also playing their respective motifs. “To mighty adventure” Jim Hawkins, “To love” Dracula, “To lust” Carmilla, “To fury” Adam, “To the proles” Winston Smith, “To Vice” Edward Hyde. The narrator finishes with “Let us damn the fools that refuse to have fun! Let us sing as all, and let us dance as one!”. Jash is telling the audience here that it is ok to feel and embrace those things. He even ends with the original line from the “Monster Mash” telling the audience the mash was meant for them too.

Jash tells a compelling story while perfectly incorporating rhetorical devices such as pathos, logos, and ethos. Jash uses the othering of the monsters to invoke sympathy and feelings towards them, thus creating pathos. By using such old established literature from the Victorian era Jash uses this to his advantage to establish logos. The ethos is present in each voice Jash does. With his incredible voice work and immersive music it feels as if the characters are really talking to the audience (or rather, singing). All of this combined has the audience hooked and not only accepting of the monsters, but maybe of themselves and others as well.

[procyonloser]

See Mr Brightman this is the kind of thing that makes me wonder

[vampirehizzies]

all the originals 4x07, and their relationship in general, confirmed for me was that it should've been marcel being the protector/main guardian of hope after klaus/hayley died, and not ever alaric. marcel is great/fiercely protective with kids, adores them so much, and has already shown that willingness to take in a child that wasn't even his own (davina), and his bond with hope is really strong. he also not only loves hope like a sister but loved klaus and hayley as well, there is absolutely no way he would ever have abandoned hope.

[anendtopursuit]

you're "adam survived the bathroom" levels of in denial. i'm "strahm survived the coffin" levels of in denial. we r not the same

[marc--chilton]

(mgv) adam is a natural with kids and doesn't even realize it. he frets about taking care of diana on his own because he's so convinced he'll mess her up so bad -- and he's so aware of her trauma with zep, a stranger who hurt her and her family, and how soon adam melded into the gordons' lives directly after all that. it's not even a "i hope my boyfriend's kid likes me" because adam's been nervous about fucking up around her since the moment he and lawrence moved in together and diana was cleared to visit on weekends. and while lawrence admits he would have never considered adam for a babysitter before, he has, frankly, a generous amount of faith that adam is worrying over nothing.

but he doesn't think twice about cutting the crusts off her sandwiches when she asks, reassures her when she admits she wants a nightlight even though she's a big girl, he even swallows his own fear to check every closet for her when she's scared the Bad Man will come back. he lets her crawl in his lap while she reads her book, he purrs his obscenely loud, rough, engine-like purr just because it makes her laugh, complains with her about homework because, like, i know right? multiplication tables? gross.

then diana goes back to alison and adam heaves a huge sigh, having tried so hard but still not convinced he does right by her.

[mansplainmanipulatemalewife]

I think it's been several years but I'm thinking about that AU where Michael and Ghoul are dating again

[shmorp-mcdurgen]

Going off the tags in the previous thing- I feel Jonah either

A) cooks INCREDIBLY well, like I mean. Way better than what you'd think. but also liable to burn anything bc. Low attention span. Me too buddy

B) he cannot make toast. Don't trust him near the kitchen-

YEAHH

Personally, I believe the secret third option: He cooks. the most. ungodly concoctions you can think of, made of whatever the fuck was left in the fridge and/or cabinet-

[yappacadaver]

BROOOOOO I CANT TAKE IT ANYMORE I JEED MORE RAYMOND CONTENT THIS FANDOM IS SO DEAD

AAAAAA i feel you u_u been trying to convince more ppl to draw my blorbo haha

I've personally still got a long list of WIPs and planned art/fic chapters, but unfortunately my pace has slowed way tf down thanks to my chronic pain and lack of income/job search :( Still keeping at it tho! Just posted my most recent chapter last night, and my latest art was a couple days ago too :')

in the meantime, my commissions are open for anyone who feels similarly and wants to see something specific! And if it's something you're passionate about, I'd be so happy to see whatever Raymond content you'd want to bring to the table, art, fic, hc, or anything else!

[goldeneyedgirl]

Ideal Twilight Animated Series:

Art and animation by the team behind Arcane.

Script by Adam Reed.

[inmyjaws]

I'll be real with you folks I had one too many pink whitney shooters at the cinemark yesterday and I don't remember if saw x was good or not

[lavi1avi]

Still think my favorite instance of it is Steven Chapman.

Dude is just a grocery store manager and his theme goes hard as fuck.

You know, a cool thing about Dead Rising is that the bosses would be like "Gerald Mickey & Dustin Jacobs" two angry waiters and they could look like this

and their theme music comes on and it's like this:

[helltigon]

Shining Pearl nuzlocke team so far

[confinesofmy]

i was looking up my grandfather's family in indiana and all the men died in the mines. 😭 like i'm talking several generations. and nobody was living past 60, many didn't make it past 50. and his dad remarried after his mom died and gave another kid my grandfather's name. 😭 fucking brutal.