#adam isn't dead

[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).

---

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

[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

[goldeneyedgirl]

Ideal Twilight Animated Series:

Art and animation by the team behind Arcane.

Script by Adam Reed.

[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!

[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.

[ducktracy]

"Go See The Day the Earth Blew Up" Masterpost

this isn't really anything new for anyone following me, but i wanted to make a comprehensive post covering my adamence on seeing this movie--i have a lot of different versions of a lot of different posts being spread around, and wanted to uncross the wires a bit. entering Tumblr PSA mode for a bit like it's 2013 all over again--bear with me!

before getting into the nitty gritty, though, this is a TIME SENSITIVE POST. most theaters were beginning to pull the film out as early as end of day TODAY--not even a full WEEK'S worth of a run. but, thanks to word of mouth, the film has mostly been extended to the end of the weekend. with continued word of mouth and support, the film has a chance to run even longer.

What the Heck is The Day the Earth Blew Up

The Day the Earth Blew Up is an all traditionally hand-drawn, 2D animated film starring Looney Tunes' own Porky Pig, Daffy Duck and Petunia Pig. initially announced in September of 2021, it's the very first all traditionally animated film in the franchise's entire 95 year run.

Why Haven't I Heard About The Day the Earth Blew Up

originally intended to be a direct to streaming release, this film's existence has been wrung through the wringer. for the benefit of tax cuts, Warner Bros. wrote the film off and just barely avoided axing it entirely--even during its production. the film was put up for sale and only just last summer finally was able to procure an independent distributor, Ketchup Entertainment. unfortunately, Ketchup Entertainment is a much smaller name than Warner Bros. is, and because WB isn't releasing it, it's Ketchup who is marketing and spreading the film--obviously, something incredibly difficult to do with a very small budget.

Why the Heck Should I See The Day the Earth Blew Up

hand-drawn, traditionally animated films are all but extinct in theaters, and by setting the film up for what could essentially be described as sabotage, a meager box office performance is the perfect excuse for the suits to claim that there's no more demand for traditionally animated movies anymore.

it's the first all-animated Looney Tunes film in the entire franchise's history.

you don't have to have any knowledge or attachment to the characters to enjoy the film--there are absolutely no prerequisites required (but there are plenty of loving nods to fellow fans of the film.) i dragged my best friend to see this with me who doesn't have the same LT brain parasite that i do and she absolutely loved it.

WB just axed the entire LT library of shorts off of HBO Max, as well as gutted all of the cartoons freely available on their YouTube channel--there seems to be a clear embarrassment for the franchise on their behalf, and seeing the film proves that notion dead wrong.

supporting the film spreads the message that there is a demand for the love and craft that goes into these films. you will genuinely be experiencing history in the making--when's the last time you've seen a brand new, all traditionally animated film in the theaters from the States?

crew members themselves are urging you to spread your support and mention how it empowers them to keep making more

the money goes to Ketchup, not Zaslav--you don't have to worry about boycotting the film. the absolute opposite is necessary.

supporting this film could potentially spawn similar films with similar opportunities. Eric Bauza himself has mentioned that suport and turnout for this film could see a potential revival in Coyote vs. ACME, another film victim to WB's tax writeoffs all in the name of the dollar

EDIT: Ketchup Entertainment is in talks with WB to distribute Coyote vs ACME!!! because of the word of mouth and positivist surrounding The Day the Earth Blew Up!! keep it coming!!

it's likely that the film will be completely overshadowed by the Snow White remake, with theaters initially beginning to pull screens to make way for early previews. what could be more poetic than supporting an all traditionally hand-drawn film over a cash-grab remake of the very first feature length traditionally hand-drawn film?

How Else Can I Support The Day the Earth Blew Up

GO SEE IT! go see it again! go see it with your siblings, your friends, your family! tell your coworkers! reblog this post! spread the news! keep the conversation going!

pre-orders for the Blu-ray, releasing May 27th, are already scheduled

there's a limited edition run of 1,000 copies for the film's soundtrack on vinyl!

said soundtrack is also available on YouTube, which you should likewise listen to! get those view counts up!

Why the Heck Should I Listen to You

i'm asking myself the same thing! but, i do want to put this out there: i get it. i usually do not like being a walking advertisement. i know this is full on shill-mode and you're surely asking "you're being paid, aren't you" (i wish!). i also share the Ferocious Contrarian Gene where seeing posts like these is an instant way for me to NOT want to see the film. i genuinely understand how pushy and obnoxious this can come off. especially since, clearly, i'm a little biased to the franchise and these characters. i also balk at the guilt trippy idea of "YOU'RE A MONSTER IF YOU DON'T SUPPORT THIS FILM YOU KILLED ANIMATION". i HATE that rhetoric with a passion, and that only is going to alienate people from wanting to see this further. please know that's not the intent of my messaging here at all.

but even beyond my personal biases, i really think this is a film worth supporting. movies like this are a once-in-a-lifetime event anymore, and that could only be exacerbated by how this film's fate is handled. i've been overjoyed with the amount of messages i've received from people who said they caught the film on a whim and enjoyed it--especially from those without a clear LT bias like myself. it's proven that this film is enjoyable for anyone.

also, just, spite. the reason you haven't heard about it is by design. this film has been set up to fail. and while the success shouldn't be the sole responsibility or burden of the consumers, but instead the higher-ups, you are making a difference by supporting and spreading word of mouth of this film. crew members themselves are saying so. the distributor themselves are saying so.

i'm not expecting a miracle for this film, as much as i'd love one. i will genuinely be surprised if it makes a profit (which it should at a measly $15 million, pennies compared to most features that look much worse than this). but that's all the more reason to TRY rather than give up and say there's nothing we can do. you all have been making such a wonderful difference. that energy needs to continue, not dwindle. every single person is able to make a difference.

there are a lot worse ways you could be spending your time than spending an hour and a half at the theaters enjoying some gorgeous traditionally hand-drawn animation on the big-screen, feeling good that you're helping to spread a message and supporting the hard, loving craft of the people who worked on it. imagine if all "good turn"s in the world could be as fun and easy as seeing an animated comedy!

[im-tempted]

One of my favorite parts of yugioh is that it is a horror manga

And a coming of age anime wrapped in so many metaphors it kinda isn't anymore???