#all i want is for her to do this exact thing for lesbians

[cursedextrovert]

People comparing CaitVi dynamic season 1 and 2, are we watching two different shows or y'all just forgot what happened in the middle. There was literally a war going on, Cait's mom fucking died like are they just gonna be lovey dovey with all these politics going on? And then one moment they leave everything to just be with each other in that jail cell you are also mad like wdyw?

Also people who say their sex scene is not necessary and/or a bad representation.

Firstly, JayceMel also got a sex scene in season 1 so its not like they invented sex just for these two lesbians.

Secondly, they didnt just fuck. Vi was beating herself up thinking she made the wrong decision and fucking things up like always and Cait told her that she actually let the guards go so Vi can do that exact thing she wanted. Ultimately saying a) she trusted Vi when she said Jinx has changed and wanted Vi to let the girl out b) she wanted Vi to be happy more than she wanted revenge even tho just some months ago she was the opposite.

Thirdly, we see the detail, Cait hesitates when she sees the bandage where she used to hit Vi. We see Cait taking off her clothes and showing her all, being vulnerable because Vi deserves that much from her.

Fuck. I get it, ok? This is a rare time we got a wlw relationship where both are main characters, and in a big show like this so you want it to be perfect and deprive of all flaws. But wouldnt you rather have two well-written characters where they relationship is tangled with the core of who they are than just a wlw couple with no conflict, no personal development no nothing? Hows that a good representation? Their relationship doesnt solve the conflict between them and their politics but is the reason why they were intertwined in the first place.

And dont come at me about systematic problems as well like Im a poc myself living in a white country and a sociology graduate. I understand Caitlyn did terrible things and is a war criminal herself with how she stands aside letting Ambessa did the thing she did and for gasing Zaun just to seek revenge. But she, just like everyone is a product of her sociocultural surroundings, shes a human affected by their beliefs and emotions. Isnt that the point of the show?

I dont think she got her happy ending just because she lives, I think being alive is her purnishment. She has her whole life to make up for what she did and I believe she will. What other fate you think she deserves? Her death will not undo her crimes, so is prison, they will also prevent her from actually fixing what she caused and ultimately using her priviledge for good(which shes doing, you can read my post about it). And Im not about to start the whole ethic debate on prison. How does one define a purnishment worthy? How do one define what a person deserves?

Finally, you know who else was a war criminal and walked away with what he wanted? Singed. Reality is like that, not black and white. People dont get what we think they deserve, ever.

[soulc-hilde]

Arcane, Season 2... I had to stop everything I was doing, because I am irritated.

Arcane: League of Legends as the entire show has been beautifully written - outside of S2's ACT III, I better see some fix-it fanfics like y'all's name is Felix. And despite all of the things to list about ACT III that has been rushed, a totally different thing has caught my eye and my irritation.

Caitlyn Kiramman's character arc from Season 1 - Season 2 shows us how she evades the legacy of her family only to be forced as the leader of her house's name after the murder of her mother and how she grieves while trying to understand her way through the politics of her new role.

From the jump, I did not like Caitlyn. She is beautifully written and the way her character spirals is written well. The reason I do not like Caitlyn is what she reenacts and that's because it is a part of my daily life as a black woman.

Now, I'm not ranting because of her actions. I'm genuinely pissed at the ignorance some folks have towards this and I wanna sit you on your ass as I tell you this.

Yes, folks can divert the fantasy from the reality. However, if you are an actual writer or have studied creative writing (not your typical English Literature classes) under someone who has published books then you know that an author finds inspiration in everything that includes the scars of history told and untold as well as the current disasters our society faces in the present.

Hell, we unconditionally have the power foretell whenever the government decides to pull some bullshit out on us [The overturning of Roe v. Wade and The Handmaid's Tale + Many More].

Caitlyn's actions are not to be excused just because her mother died in a terrorist attack. They are not to be excused because she's a lesbian. They are not to be excused period.

Everyone in the damn show are war criminals. The point of the show is to describe just how far everyone will go to even the scales and find balance within their own beliefs. It also covers that there is no distinct hero and its villain. Everyone just wants to live. That's all they want.

Which is insane to me because that's a typical dystopian theme in every book/film - which by the way, genres like dystopia are based off of reality. They are based off of the actions of the past and the present and what type of future they can conjure for us and our descendants.

It sickens me that a lot of you think that Caitlyn's blatant ignorance and fascism towards Zaunites is just a thing the writers had pulled out of their asses when it's a dark belief that people still carry to this day and teach their kids. Caitlyn and Vi should not have gotten together at the end because of Caitlyn's actions towards Zaunites and the hell she drug Vi through.

No one is excusing Jinx's actions or Ambessa's. As I said, everyone is a war criminal. The only difference is ... Caitlyn came out with her home in tact and with the girl as if she's some fucking hero.

And I can guarantee that the lot of you who hold this mentality are the exact white women who favor the beliefs of Taylor Swift [White Feminism] and will continuously endanger the lives of women of color, but when shit hits the ceiling all of a suddenly it's a 'we' problem.

Y'all are so attached to consuming brain rot or content that contains no form of substance other than to people please that when a bomb ass show with an even greater story comes out with a purpose y'all will say the most dastardly thing ever. No wonder why good shows and even better writing is so few and rarely seen nowadays because no actually listens to the story.

You all just want sex. A poor excuse of "representation" that's just of another white cisgendered couple with an opposites attract trope or a doomed / romeo & juliet trope. You are boring, you are flat, and folks like you suck the creativity - the art - out of people's writing.

[panncakes]

hwang da seul knows how to write one dynamic and i will eat it up every single time

[krbkss]

mha 395

has anyone brought this up yet </3

[tricksterlatte]

Yearning for another fandom historical event that makes me feel the way I felt when they confirmed Tracer was a lesbian. Please...it was so triumphant

[lesbovalentine]

im thinking about tehanu again

[katerinadeannika]

Notes after watching the full Behind the Scenes of Agatha All Along posted on Nov 13th 2024:

There was no way they could have written an ending for Agatha that did not involve death.

I have been saying this to all the naysayers from the get-go, to all the people making posts about being done or fed up or angry about the ending, or how it makes no sense, or how they should have could have done something different and been fine story wise. The behind the scenes confirmed my point.

The main through line for the entire show was the theme of Death; of Agatha never being able to escape it. Where she both loves and hates death and Death, the concept and the woman. Where she's been running from Death for centuries, but Death came for her son and was always coming for her the second she slowed down.

Every completed trial meant someone would die. Billy created the road based off the rumors and witch lore. And the only rumors out in the witch world were that someone knew someone else's aunt/relative/friend who had undertaken the road and never returned. In reality, that was Agatha's doing. But to Billy, it meant that somehow, the Road took its toll on them. And when the coven traveled it, the Road exacted the same price that Billy expected it to. Death or near death at every trial.

The first trial killed Sharon. The second gave Alice her power back and then Billy almost died (and probably would have if Agatha hadn't pleaded with Rio on his behalf, if the coven hadn't worked together, and if Billy hadn't made the Road with his own powers. Some interesting combo of the all the above). The third trial killed Alice who was trying to save Agatha. And the fourth trial killed Lilia and the Salem Seven.

Jac said she intentionally wrote it where Death was a very real thing that everyone in the show had to come to terms with.

And for Jen Kale, her gift was already dead, and she was supposed to resurrect it and take her own power back. She escaped because after Agatha's trial, the fifth one, someone DID die.

And this time it was Agatha.

Agatha had avoided it every other time by either being saved, or having the rest of the coven as fodder for death.

But in the end, when she could have left once again, she must decide who has to pay the final price for her invention of the Road. The Road that she has used to kill and lure countless witches to their doom over the past few centuries.

She can save the boy she has come to love and mentor after the loss of her son. Or, she can leave once again. And so she makes the final moment of self sacrifice, and chooses the final victim of the Road: Herself

She has been running from Death for centuries.

For Agatha's story to have a thematic ending that wasn't cheap or manufactured, she had to stay true to that through-line. That's how writing works. You find your themes. You write about and explore them. And you have a final consequence that determines if it's a positive arc or a negative arc for your main character.

They chose for Agatha to have a positive arc. A moment of final growth. To end the show on her finally making the right decision, even at the cost of the life she's sustained through countless centuries and via countless deaths.

There was no way the show could have ended any other way.

PS: There is no excuse to hate on it. At all.

It doesn't meet any of the criteria for the 'Bury your gays' trope. It doesn't even end Agatha’s story. But it does provide expertly written, well thought out, thematically poignant endings for all the characters in a way that satisfies their personal journey—throughout the show and the centuries.

And I am so glad they made it, and that it ended how it did. I wouldn’t want it any other way. As a writer. As an editor. As a viewer. And as a lesbian.

Agatha All Along is a masterpiece in TV writing. And I can’t wait for more.

PSS: Watch the Behind the Scenes on youtube that Marvel just posted. It’s super good and includes all sorts of info to help with fic writing and just general understanding of the writing and show creation. Also lots of Kathryn Hahn and Aubrey Plaza in interviews!

TLDR: Quit complaining and griping about the ending. It was written beautifully. The reason you got so invested is because of all the heavy death elements throughout that made things mean something. Embrace it. Or find media where you were the target audience. Cause if you couldn’t handle something well written that ends like this, you weren’t the target audience. And that’s okay. But move on before you keep griping and causing issues with the community and the cast.

[sunnie-angel]

A Fever You Can’t Sweat Out

Part 2: Pretty Woman

fem!jason todd x fem!reader summary: reader convinces her girlfriend jay to dress up tags: teasing, sexual tension, groping, cunnilingus, thigh riding rated explicit (mdni) | wc: 2.2k a/n: honestly just an excuse to put jay in cheetah print

Your girlfriend in her steel toed boots, rotating closet of identical tank tops, worn in jeans, and leather jacket is hot. Capital H O T hot. You are absolutely not complaining about the way she dresses, especially when she’s looking at you like you’re something particularly tasty. No, it’s just – she makes you feel so pretty, that’s all. She makes you feel dainty, delicate in her hands, the belle of the ball on the arm of the most handsome woman there. You love the way she makes you feel, you love the way she lets you do her hair sometimes, and you just want to make her feel happy.

So it’s with that in mind that you start planning. Slowly start adding images to your pinterest board, start looking up hair and makeup tutorials. Flag certain items in your online shopping cart for when they go on sale, just so there’s no fuss when the items do turn up in your closet. Primp and practice, collect and wait until just the right moment. For the right mood to strike. And when it does, you’re ready.

You’re curled up on the couch, head resting on Jay’s stomach as you watch old reruns of Dynasty on the tv. She’s got a hand resting on the side of your face, fingers stroking softly as the lights from the screen flicker across your face.

“D’you think they’re pretty?” You ask her, not looking up from your comfy position.

“Who, the actresses?” Her fingers still on your face as you move your head to nod. “I guess, though their fashion’s pretty dated.”

“Yeah but don’t they look so gorgeous and confident though?” You continue to prod. “Big hair, bigger attitude.”

“O-kay,�� she drawls, clearly just humouring you but it’s an opening.

“Doesn’t that remind you of anyone?” You tease, starting to push yourself into a seated position.

“What, you don’t mean me?” She squints at you like if she looks hard enough she can see the exact shape of the head damage that put you in this mood.

“Uhuh,” you nod, eyes bright and enthusiastic. “ A little bit of primping, a dab of red lipstick.”

“And then what?” Jay asks. “You turn me into some tv villain sleeping with her ex-husband’s mortal enemy?”

“Um,” you stutter, suddenly shy. “More like the morally grey lesbian that seduces her daughter?”

Jay grins because now she’s got the gist of your plan unfurling into the palm of her hand.

“Yeah?” She teases. “You want me to seduce you?”

You nod, vigorously.

“Okay fine, turn me into your soap opera lesbian then.”

You squeal and grab her hand, drag her off the couch and ignore her rolling eyes at your excitement. Push her down into the vanity seat as gently as you can while dashing around to grab things from their hiding places. Jay looks at you in the mirror as you start to backcomb her hair.

“Is this you preparing for the outcome you wanted again?” She asks suspiciously like she already knows the answer.

“Might have been,” you say, already nearly done with shaping her hair.

A fog of hairspray brings it all together, Jay coughing and swatting at your ass to leave off. Grinning, you spin her around in the chair and start on the makeup. End up sitting on her lap, legs splayed, as you swipe bold oranges and gold across her eyelids, too engrossed in your work to notice the way she’s palming at your ass. A careful hand applies a crisp line of red lipstick to her pout. Grabbing a tissue, you hold it up to her mouth and tell her to “Bite gently.”

She does, eyes never leaving yours with a hunger in them that’s not quite appropriate for prime time television. With a careful finger under her chin, you turn Jay’s head side to side to make sure you haven’t left any spidery mascara marks or fallen glitter. Satisfied with your handiwork, you push off her lap, only suddenly just realizing how far up your skirt had ridden.

“There’s an outfit laid out in the closet,” you tell her, hands fidgeting with your skirt hem. “You don’t– you don’t have to wear all of it if you don’t want to, but um, I’d really like it if you did. I’ll just um, just wait here for the grand reveal then?”

Sighing the heavy burden of the long suffering, Jay walks to the closet, trailing a lone finger down your shoulder as she brushes past. Inside just as you said is an outfit, or, what should be an outfit only there is barely enough fabric to qualify as such. Grumbling she throws her clothes in the laundry basket and starts inspecting what you’ve gifted her.

“Hey these underwear are missing half the fabric,” she calls out to you, holding out the glorified strings of cheetah print, trying to figure out which bit is supposed to actually cover her.

“Thongs just always look like that!” You call back.

“Well I hope you didn’t pay very much for them,” she continues to grumble, finally figuring out how to slide them over her hips without turning them into a garotte.

Pulls the high cut of the waistband up over her hip bones and admires the way they make her look curvy. The bra – the bra almost makes her laugh out loud. That same loud cheetah print only stuffed to the gills with padding. It’s probably 80% padding and the balconette cut means there’s basically no cup for her actual boobs. A very far, far cry from her usual sports bras, but she’ll bite. Has to adjust and play around with it to stop her nipples from wanting to spill out but she’ll admit her tits look good. She will be asking you later about why you had a lingerie set in her size just lying around though. A tight, tight pencil skirt that has her jumping and shimmying to get on goes on next, the stretch of the fabric smoothing out the harsh lines of her. A thin, see through button down is all that’s left. With a snort she simply knots it, already knowing that the hassle of the tiny buttons won’t be worth it. Not with how she plans the rest of the night to go.

Taking a breath, she allows herself a moment to just look at herself in the long mirror. Twists to admire what the skirt does for her ass, the line of her legs. She looks... powerful. The kind of beauty that crushes lesser beings underfoot with casual cruelty, sharp edges tempered by the fullness of curves Jay was never sure she’d really have. Wild. Her muscles make her look dangerous and wickedly feminine, red lips curling up at the corners at her thick thighs test the limits of the skirt seams. The way the shirt clings for dear life across her shoulders, make her an hourglass figure to kill for. Oh you knew what you were doing, dropping hints about seduction, but Jay’s gonna make you regret not being honest about it.

With a swish to her hips that is enchantingly new, Jay walks back into the bedroom. She savours the instantly glassy look in your eyes. The sweet little parting between your lips and the harsh bob of your throat as you swallow. Walks right up to where you sit on the bed and uses her height to loom over you. Your legs part automatically and she slots herself between them like she belongs there. She ghosts the back of her hand down the side of your face and you close your eyes and shudder.

“Like what you see, sweet thing?” She teases. You nod blindly and press your face into her hand. “Such a good girl, getting everything ready for me like this.” You sigh as her fingers card into your hair, cups the back of your head. “There’s just one teeny, tiny, little problem.” Your eyes fly open, brows creasing with confusion. With one hand Jay pulls on the knot keeping her shirt closed, exposes her breasts to the cold air of your bedroom. “My tits are sore from this teeny, tiny, little bra. You’re going to put that conniving little mouth to work and make them feel better.”

The hand cradling your head turns to iron, guides your face to her chest and plants it right in her cleavage. It takes a few slow seconds to realize what’s expected and Jay’s fingers tightening in your hair before you start to move. Quickly you begin to mouth at the warm flesh of her tits, laving your tongue over their heavy weight, kissing and sucking little red marks into them. Use your empty hands to massage them, squeeze at them the way you’ve been to ever since she walked out and tied your tongue into knots. Carefully free one breast from its confines and latch onto her dark nipple. Tease at it with your teeth until you can feel her panting. Your hips start undulating, desperate for friction at your throbbing core. The wet core of your panties brushes against her leg and the iron grip on your head pulls your off of her breast with a wet sounding pop. 

“I generously let you play with my tits but you just had to get greedy, huh?” She taunts. Steps back and has you moaning at the loss of her. “Thought your gluttonous little cunt deserved more.” With a broad hand she smacks between your legs, has you writhing and whimpering only held up by the hand still in your hair. With disgust she throws you back onto the bed and crawls up your body. Shimmies the tight skirt up around her hips, just the thin string of her thong keeping her covered. “I’m going to ride your lying little tongue,” she tells you with a cold kind of disdain. “Your hands are going to stay on my ass the entire time and if you’re good and make me come, maybe I’ll let you grind on my abs after.” 

Your keen gets cut off by Jay seating herself over your face, hands scrabbling to grab onto her plush ass. You tongue aside the wet fabric of her thong and start sucking. Seal your lips around her hole and grind your nose into her clit. Use your hands to encourage her to use you. Tongue at her entrance until she starts swearing, knuckles white around the head board. Slick coats your mouth and chin. Stiffening your tongue, you start to thrust inside of her and she grinds down on you. Throws her head back and arches her back in a way that pushes her breasts out. Entranced, you lap at her cunt reflexively as she starts riding your face in earnest, tits bouncing rhythmically. You throb between your legs, hips meeting nothing but air as you squirm beneath her.

Urging her on, you start to tongue fuck her in earnest, desperate to make her come in your mouth. Jay takes one look at your wide glassy eyes and grins wickedly, instantly understanding what part of the show has all your attention. Reaching behind her, she unclasps the bra and shrugs it off, lets her tits fall heavy. Arches her back artificially and starts to feel herself up. Moans as she tweaks and pinches at her own nipples, hips grinding faster against your tongue. She comes just as you start to give up hope of being good for her, thighs clenching around your ears and slick dripping into your throat, slow fire lighting up her veins.

With a heavy sigh she rolls off of you, sits next to your head as she fixes her skirt. Carefully you keep your hands to yourself as your roll onto your elbows to look up at her. Very intentionally you don’t grind your aching core into the mattress. Jay strokes her thumb over your cheekbone, then uses her hand to tilt your chin up, admiring the way your face glistens in the light.

“My, my baby girl’s a messy eater,” she chides, your face flushing warm. “M’gonna have to teach you better manners.” She tuts.

“Was I–” you clear your throat “Was I good though?”

“Yeah baby, you can have your reward,” she says affectionately. Scrabbling on the bed you straddle her, almost crying out in relief at finally having something to rub up against. “You’re gonna have to do all the work though,” she tells you, warm hands coming up to steady your hips.

You groan and start grinding, her hands guiding you. Strung tight already and achingly turned on, you know its not gonna take much. Your panties are disgustingly wet, soaked through and practically dripping. Frantic, grind as fast as you can, plant your hands on her chest and bear down on her taut stomach. Your thighs already burn and you whine in frustration, pleasure not building fast enough in your gut to satisfy you. Jay reaches up a hand and cups your breast through your t-shirt. Brushes a thumb over a sensitive nipple and you’re crying out as you come on her stomach, legs shaking and cunt quivering.

Exhausted, you slump over on her chest, face buried in her neck. She pets a hand over your hair and coos as you shake against her warm skin.

“There she is, there’s my good baby girl.” You sigh and try to wriggle closer at the praise. “See what being patient gets you? Now come on baby,” she says, rolling you onto your back on the middle of the bed. “Let’s get these sticky panties off. I want to see whose lips this lipstick looks better on.”

series masterlist | part 1 | part 3

[sockatoothewafflebird]

i keep scrolling through the arcane tag and at least 40% of it is about caitlyn kiramman's warmongering dictator arc. apologies to my followers for being so obsessed with her but i have to add more fuel to the fire that is caitlyn character analyses. please hear me because only one of my caitlyn posts gets attention i want it to be this one.

i personally see caitlyn's character in season 2 as:

a painfully realistic portrayal of how quickly the privileged can go off their rockers at the lower class when they do literally anything wrong. "It's so easy to hate them."

a woman in mourning with no outlet for her grief and anger, scraping at the walls for any semblance of revenge she can get her hands on.

a puppet of the leaders that will use her for their own gain, which will ultimately only make the corruption and prejudice in the system worse and worse. (ambessa.... when i catch you ambessa...)

all of these things can coexist. and they do. arcane is so fucking good at making complex, nuanced, morally-grey characters, and caitlyn is no different.

(putting the rest under the cut bc this got LONG... sorry💀)

something about when you spend your life as a part of the upper class, equality feels like oppression. something about the upper class lashes out when the lower class does nothing but defend themselves, because both feel threatened by the other, but only the lower class is justified in that. something about CAITLYN IS A GASLIGHT-GATEKEEP-GIRLBOSS AND I DO NOT CONDONE HER ACTIONS!!! i stand with my cancelled queen in the sense that i just want to know if she pulls out a ukulele or reciepts!

the worst part about being a caitlyn fan is that she's gonna get worse before she gets better. that's a plain and simple fact. she is going to hurt people, she is going to kill people, she is going to fuck things up; whether it be directly or indirectly, by her own hand or through the puppeteering of ambessa. probably both.

she is going to do horrible things, whether we like it or not. she already has, look at the ventilation systems and how she exploited the grey. she'll only truly be able to realize she's wrong if she goes down to zaun and sees the damage she's done for herself, thinks long and hard about what she's fighting for. she's lost her way and she's gonna have to crawl through the trenches to find it again.

she's using and abusing her power because of things she shouldn't be using as excuses. jinx killed her mother; the attacks at the memorial service; except those don't justify her actions. explains them, maybe. but she's turning into the exact kind of person you'd expect someone of her status to become. someone with power to her name, using it against those below her because she thinks it's justified, with no one bold enough to stop her.

she's going down a dark path and i am HERE to see how she fixes her mistakes in the end... if she even does. i'm excited to see what they do with her. will vi forgive her? will anyone?

that's for the writers to decide. i have faith that they'll execute it well no matter which way it goes. flawed, yes, as all things are, but they will get this right. if they don't i'm gonna be on a watchlist by the end of the month.

oh, caitlyn kiramman, gaslighting-gatekeeping-girlbossing in act 2. what a piece of work. and i'm just a down-bad lesbian that likes psychoanalyzing fictional lesbians. like... have you seen that woman???? she's too good to not put under a microscope. it's like the writers were baiting me specifically.

if anyone has any theories btw, caitlyn related or not, lemme hear them because i will listen. i will read every essay about this show i come across if it costs me my life 🫡

[jamiepaige]

Constant Companions Closeup #9: OBJECT OF AFFECTION

(also on spotify!)

O, wayward soul, I beg of thee an ear; Companionship, a Constant of desire, is all too fleeting. Would thee quell this fire? My love, do you know what you want to hear?

Welcome back to the Constant Companions Closeups - a series of in-depth dives into the songs off of my latest album, Constant Companions! Yesterday was some gay shit (Liaison) and today is some more gay shit (Object of Affection)

---

I'm usually pretty good about letting go of the things I make and letting them live imperfectly, but there is exactly one released song of mine that I've ever been actively unhappy with the final product of, that I haven't been able to let go of my displeasure with.

Honor Majesty, off of Autumn Every Day.

It's not that it's a bad song, or that it didn't have good ideas! In fact, I genuinely think it shares more with the music I make now than a lot of my older work does. Rather, it was incredibly rushed and full of uninspired choices I made for the sake of completing the song rather than making it the best version of itself, and it ultimately ended up falling incredibly flat relative to what I wanted it to be!

I really like the intersection of synthpop/electropop and fantasy. One of my favorite musicians ever is Baths, whose album Romaplasm is chock full of this exact thematic and sonic intersection, and it's so deeply inspiring to me that it still gets put on whenever I want to dream things up. I've always wanted to make things like that! Bubbly and fantastical, brimming with a sense of magic so pervasive it makes even the mundane seem mystic.

...Also I'm just a fantasy dork okay. I like wizards and shit. Sue me

I've been wanting to make a grandiose and fantastical story song for years, and my single attempt to do so felt like it missed the mark entirely. I did touch on fantasy a couple times on Bittersweet, but ultimately, when I started working on this album, I knew exactly what I wanted to take a second crack at.

---

The intended story in question here is fairly vague, but to sum it up as literally as possible:

A rebellious, disobedient, gender-questioning prince has mildly inconvenienced "his" royal lineage one too many times. Their solution is to invoke magicks widely regarded as heretical - what's a fantasy monarchy without some hypocrisy - to seal their "son's" soul within an automaton body, rendering "him" a perfect, subservient doll.

This doll is promptly spirited away under cover of darkness by a mage, and is granted free will once again. She experiences the crushing weight of newfound self-awareness and nearly spirals out of control, before realizing the mage who saved her is the same - a doll. It turns out being a magical-mechanical construct has its perks if you are TRANSGENDER. then they overthrow the monarchy and fuck nasty or whatever idk this is where the story gives way to things like "metaphor"

this is a song about artifice and being transgender

Seriously, though, I know that being an electronic-music-producing transgender lesbian with a thing about dolls or robots or whatever is a major endless-store-shelves-of-identical-buzz-lightyear-action-figures moment on my part, but dammit, I own a copy of Logic Pro and a genuine leather wizard hat, I inject estrogen into my stomach fat every Wednesday, and I think ball joints are cute. I'm posting this on Tumblr, for gods sake, I am unconcerned as an active choice

---

With the exception of Liaison, the entirety of Constant Companions utilizes only three unique vocal synth characters - ANRI, Gumi, and Teto. This trifecta was born organically from simply being the vocal synths I enjoy using the most, and in this song, I wanted to use all three of them almost like one single singer, freely shifting intonation based on the context. I messed with this idea before on Ballroom, my voice meshing and melting into Gumi V3's voice, but it felt especially appropriate for this context; Plus, I feel like there aren't a lot of examples of vocal synths being used/recontextualized in this way, and that's a shame in my opinion!!

I really want to do more story-driven songwriting like this in the future as well. Now that I'm a bonafide VocaloP I've been floating the idea of doing a song series with this trio... I'm mostly just worried I'll want to get too ambitious with it.

Off the top of my head, Object of Affection references at least eight other songs of mine - Honor Majesty is an obvious one, but it also directly samples parts of Autumn Every Day, and lyrically references genuinely just a bunch of things. I'm probably forgetting some, even!

I know I'm the Leitmotif Lover, but it's a lot even by my standards. However, this song's entire existence already served to satisfy a fairly self-indulgent desire, and these days, I don't deal in half measures. I think the final product serves as a lovely little look back at where I've come from, though, and perhaps even a little glimpse into the future!

That all being said, Object of Affection in some sense is also a love letter to a beloved part of my creative process - the voice memo. A lot of the audio I've provided with these posts have been recordings off my phone for good reason! Not only are the chops at the beginning of the song entirely comprised of edited recordings I got on my phone, but the sample at the very end happens to be from a particularly legendary recording, never before heard by the public...

Until now. I present to you an excerpt from "the worst beat on planet earth", featuring none other than unit.0.

That's about it for today!! If you have any questions, I'll gladly answer them below, but otherwise, I'll be back here tomorrow to talk about this album's title track laid askew - My Darling, My Companion!

[sassasafreeaction]

It’s time to talk about the Laudanum Lesbians, Elspeth and Wee Morag. Right away, it’s pretty obvious that you’re supposed to draw parallels between them and Aziraphale and Crowley. When the viewer first meets Elspeth, we get this gruff girl who threatens the two of them and is established to be doing something “morally wrong”. Life hasn’t been kind to her, and she clearly doesn’t trust people. To really drive it home, she and Crowley are on the exact same page while they’re talking to Aziraphale and wheeling the body to the alley. 

Then we meet Wee Morag, and it becomes apparent that every decision that Elspeth makes is to better their life together. She offers Wee Morag food (which is something our favorite demon is wont to do for his partner) and specifically oversells it as something fancier than it actually is. Wee Morag calls her an angel. It’s meant to be a little tongue and cheek since it’s in the presence of a literal angel, but it also serves as a way to show that while Elspeth may not be a Good person, that she at least cares about the person close to her.

Now for Wee Morag at this moment, we don’t get much from her aside from her obviously being the moral compass out of the two of them. She tells Elspeth that she's going to Hell literally two seconds after referring to her as an angel. The more important part of this interaction I would argue is Aziraphale’s response to Wee Morag. Some part of him recognizes a kindred spirit in her. He takes off his hat in a show of sincerity and says that it was lovely to meet her. This is important for later in the episode.

After they fail to sell the body, all three of them end up back in the alley with Wee Morag. Elspeth is again choosing to not trust Aziraphale despite his change of heart to do what he now knows is actually a good thing. Wee Morag starts off on the fence, worried about those souls that won’t get into Heaven. Elspeth tells her that she promised to help, and through everyone’s various methods of convincing (tempting may even be the better word as there is a demon sitting next to her when she agrees), Wee Morag says that she’ll do it because that’s what friends do. Regardless, she’s now had her change of heart. Although I would say hers is more driven by the same thing that drives Aziraphale to help with the Antichrist. It is fundamentally for her and Elspeth’s benefit, not the Greater Good per say, but she needs that reframing of doing the moral thing of upholding her promises and potentially helping people.

In the graveyard, Elspeth does all of the hardwork and Wee Morag holds the light both to assist how Elspeth sees, but also likely to help her keep watch. She’s filling a guardian role for Elspeth. Later when Elspeth sells her body, she even says “She only wanted to look after me.” Upon seeing the actual body (a priest’s body no less), Wee Morag realizes with horror what they’re doing - the potential moral ramifications stare her in the face. She ends up caught in the crossfire of a gun, and she dies for it.

Originally, I thought that Wee Morag’s death sets Crowley up to worry about what might potentially happen to Aziraphale in the future. In a way, I still think it does. She was the Good character helping the Bad character, and she pays dearly for it. His line “It’s a bit different when it’s someone you know, isn’t it?” while pointed at Aziraphale can be felt by everyone in the room. Elspeth has been dealing with death this whole episode, but her whole life is turned on its head when her ‘pal’ dies. Crowley recognizes that it’s the knowing part that actually causes something to hurt. (It’s one of the reasons why he doesn’t have many human friends. He does have a friend though, and it would absolutely gut him to lose him.)

The episode isn’t over though. We still have to watch someone else pay for stepping over the imaginary boundary of Good and Evil, except rather than it being Aziraphale, it’s Crowley. Like Wee Morag, he steps out of his usual role and helps Elspeth, and for that, he pays dearly. He gets dragged off to Hell to have whatever Demons do instead of a rude note done to him. After everything that’s happened, it’s no wonder why you get that panicked shout of “Crowley” from Aziraphale. They just watched the worst case scenario happen for people like them. 

Also as another quick fun aside, both sets of characters are bound by something that allows them to not be able to carry out their actual dreams and goals. Elspeth and Wee Morag were bound by poverty while Aziraphale and Crowley are bound by their respective Head Offices.

[steddieas-shegoes]

“What the fuck are you wearing?”

Eddie’s voice rang out through Steve’s bedroom.

Steve jumped because, well, he was completely alone in his house less than a minute ago, and now Eddie Munson was standing in his doorway staring at him.

In a skirt.

Not like, a short one. Just one of Robin’s that she let him borrow with no explanation.

She kind of gave him a knowing look, but she didn’t say anything. She probably didn’t want to scare him or make him second guess himself or feel any of the shame he finally buried deep enough to even ask her for it.

It’s just when he first saw it in her closet, he fell in love with it. The way it flowed in just the right spots, how it hit above the hips (or he thought it would if he ever was brave enough to try it on), how the color was the exact shade of blue he always preferred.

And Robin never even wore it.

It was shoved in the back of her closet like a forgotten thing, never to see the light of day because then Robin would have to acknowledge something other than jeans or stupid pleated pants that were apparently “all the rage for lesbians, Steve!”

So he spent months picturing himself in it, touching the soft fabric any time he had to grab something from her closet, practicing asking to borrow it “for a girlfriend.” Practiced telling himself that skirts were only gendered because of society, or whatever bullshit spiel Robin had gone into when they saw a guy getting teased for wearing a dress in Indy.

And he believed it just fine when it came to others. Doesn’t make any man who is a man less of a man and all that.

But for him?

It’s just not allowed.

Until it was.

He was staying the night at Robin’s because they had to close and then open the next morning. She was showing him her new sweater she’d bought for her first date with Nancy that she refused to actually ask Nancy out on. When she opened the closet, he saw the edge of it.

“Can I borrow that?”

Robin looked at him like he’d gained ten heads.

“Borrow what? The sweater? No. This sweater cost more than most of my closet combined. It’s gonna be my magical confidence booster.”

“Not the sweater.” Steve took a deep breath. “The skirt.”

“Uh.”

“I mean. Not for me. Obviously. For someone else.”

Robin raised an eyebrow and crossed her arms.

“Uh. Do I know her?”

“Nope.”

“Does she need clothes or something? I can do a closet clean out to help.”

Steve loved Robin. She wasn’t exactly well-off, but she’d literally give the shirt off her back if it meant someone else would have clothes who needed them.

He only felt a little guilty about lying to her.

“No, no. Uh. Just the skirt. She saw one like it the other day and loved it so much. She couldn’t get that one so I think if she can just wear this one once she’ll get it out of her system, ya know?”

If he was talking about himself, that was only for him to know.

But he saw the way Robin was looking at him. She knew. No amount of coverup was going to make her not know. He could only hope she wouldn’t ask questions.

“Sure. She can try it and see if it gets out of her system. She could also keep it if it doesn’t though.”

Steve gulped.

“Really?”

Robin gave him a small smile, encouraging when he felt like he was going to throw up all over her ugly bedroom carpet.

“Yeah. God knows I won’t ever wear it unless I’m being forced to.”

“Okay.” Steve smiled and walked over to the closet. “I…she’s gonna be really excited about this. Thanks, Robs.”

“Anytime Dingus.”

He turned to look at Eddie standing in his doorway, face flush with embarrassment and shame. He didn’t want this to be the end of whatever was going on between him and Eddie.

They were dancing around each other according to Robin and Will and Dustin and Max.

They were being ridiculous according to Nancy and Jonathan and Wayne.

They were being cautious according to Eddie.

They were just taking it slow.

Steve hated it.

But he knew why Eddie wanted to be cautious; Rushing into a relationship built on shared trauma is probably worth taking a little time on.

And even if they have been basically dating for months, it’s totally fine that they haven’t even kissed.

And now they probably never will because Eddie just walked in while he was wearing the skirt.

He loved this skirt. He felt pretty. He loved that when he turned in a circle, it fluttered out just enough to look cute, but not enough to show a bunch of skin. He loved the way the color made his tanned skin just a bit lighter, and he glowed a little in the mirror.

But now he would always think of Eddie leaving him in the dust because of it.

“I just. I. Sorry.”

Steve looked down at his feet, trying to feel for the zipper along the side of the skirt to take it off before he made things worse. His hands were shaking, adrenaline pouring through him so quickly he couldn’t find where the zipper began.

He felt a hand on top of his, holding it firmly to keep it from moving anymore.

“Stevie. Look at me.”

As hard as it was to do it, Steve looked up at Eddie, tears already forming in his eyes.

“You look beautiful. Keep it on, let me see you.”

And even though the words were so kind and made Steve feel so much better, he let the tears fall from his eyes.

Hearing Eddie say it out loud, that he was beautiful and allowed to wear this if it made him feel beautiful, was almost too much for him to handle. His last set of scars had really done a number on his self-confidence, but this skirt had given him hope for the first time in almost a year that he’d feel good in his skin again. Eddie had the power to tear him back down, but of course he hadn’t. He made it better, like he always did.

Eddie pulled his hand away from the skirt, holding it up and twirling him in a circle.

Steve giggled.

When was the last time he did that?

Never, maybe.

Eddie’s smile was contagious as they looked at each other with matching beaming smiles. He was staring at Steve’s face now.

“I don’t think I’ve ever seen you this happy, sweetheart.” Eddie reached his unoccupied hand out to touch the waistline of the skirt. “I don’t think you know how incredible you look when you’re happy.”

What does a person even do with a compliment like that?

Pass out? Kiss? Die?

Steve settled on kissing Eddie.

It was time to move beyond whatever they’d been doing. Steve couldn’t wait any more.

If Eddie was going to not only accept this part of Steve that Steve had barely even accepted of himself, but also encourage him to feel beautiful, then Steve was going headfirst into this.

Their lips met harshly at first, Steve being a bit overzealous and misjudging how close they already were.

But within seconds, Eddie was slowing it down, placing both hands on Steve’s cheeks to control the pace better. He was licking along Steve’s bottom lip, silently asking for entrance, but not moving and faster or demanding anything more than what Steve wanted.

When they parted for air, Eddie rested his forehead against Steve’s, eyes blinking open slowly.

“You like the skirt?” Steve asked with a smirk.

“I love the person in it. I like whatever he feels best in.”

Steve sat with that for a moment, but recovered quickly.

“You love me?”

“Can’t imagine how you didn’t know, sweetheart.”

“Just didn’t know it was like this.”

“Like what?”

“Like the real kind. The kind where you love someone enough to love the things they love even if you aren’t sure what to do with it.”

“I love you the real kind.”

Eddie was smiling at him when he pulled away and left a kiss on the corner of his mouth.

“I love you the most kind.”

“I love you the best kind.”

Steve laughed.

“Can we dance?”

“If you want.”

“I wanna take the skirt for a test drive.”

Eddie settled his hands on Steve’s hips and started humming a song that was definitely not usually for a slow dance, but sounded nice enough for them.

When Eddie spun Steve out and twirled him back into his arms, and his skirt moved in just the right ways, he felt more like himself than he ever had before.

And when Eddie bought him his own skirt from a store in Indy the next time they had a date night, he let himself feel pretty in a way he didn’t think was possible.

[tibby]

like. something that really struck me during saw x is the stark difference in the way amanda treats male subjects vs female ones, and it's something that's also very apparent in ii and iii. she's kinder to the women and wants them to win - and even when she's playing the role of the docile taunting apprentice, she has fun with it. like it's flirting for her. it's definitely something that lends credibility to lesbian readings of amanda (something i am always shocked isn't like, canon) but it's also very...heavy, given the way men have treated amanda all her life. john and hoffman and cecil and her father in the original saw iii script. what amanda knows from men is manipulation and violence and i think it's a very powerful feeling for her, to get to be the one making men scared of her. i don't think she enjoys watching people suffer, but i think she enjoys not being the victim for once in her life.

it's also important that the two women involved in games she helps orchestrate that she DOESN'T feel sympathy for or find any connection with are kerry and cecilia. kerry, who was close to eric matthews and wanted him to be alive and well even AFTER finding out that he was violent and corrupt and planted evidence. and cecilia, who preyed on desperate and innocent people and either conned them or manipulated them into doing her bidding. women who either allowed her to be harmed or harmed people like her.

and god. it kills me that amanda is able to see herself in gabriela and recognise that cecilia manipulated her and used her as a pawn. but she isn't able to see that john, like so many men in amanda's life before him, is doing the exact same thing.

[sammaggs]

4x02 Easy Money // 3x01 Burning Down the House // 3x02 Eclipse | Rift

Something that always strikes me about Ray's moment of reconciliation with his father (in a show that might as well be subtitled Fathers Kinda Suck Huh???????) is the way this scene in particular is shot.

They focus especially on Ray's bracelet as he extends his hand:

Which isn't the only time they've focused on Ray's bracelet during Important Character Building. There's of course, his intro in Burning Down the House,

The close-up on the similarity with Marcus Ellory's bracelet in Eclipse,

And a bunch of other moments over seasons 3 and 4 that basically use the bracelet as a quick visual stand-in for "Ray Kowalski's a little bit different."

It’s something Ray Vecchio would never wear; hell, it's something most cops would never wear. It's a little bit, as Ray Kowalski would say, queer.

And so is Ray Kowalski.

The decision to focus on this bracelet during the exact moment he offers his hand to Damian as a peace offering is therefore, to me, worth considering. I personally read this as an indicator that part of the reason for Ray's rift with his father was his queerness.

And the first thing Damian says to Ray after they shake hands?

He compliments Ray’s experimental hair! He mentions another “queer” element of Ray’s physical appearance—one his father has likely given him a lot of grief for—and accepts it. Metaphor!!

It is, of course, understandable that Damian would have wanted better for his son than to be a cop, and this isn't to say that there isn't a world where that might have been enough to cause Damian to lose meaningful touch with his son for a decade. It certainly made sense for Ray Vecchio's father, who was likely involved with low-level mob business. But it does seem pretty extreme for Damian!

There's also the beautiful scene where Ray tells Fraser about his family in the precinct mess. At the very end, it really does look like he has something else he wants to say... but then Huey interrupts.

Now I am, of course, aware that Ray was dating or engaged to Stella at the time he graduated Academy. So what could his queerness possibly have to do with anything?

Well, as much as many of us wish it would, your queerness does not disappear when you enter a straight-passing relationship. I've even seen interesting ruminations in fic that some of the early hardship in Ray and Stella's relationship—remember, they broke up for a while during her college tenure—might have been due to the fact that Ray was interested in (or even caught) experimenting with men.

A personal anecdote, if you'll indulge me: I was in my mid-twenties, four years into a relationship with a man I thought I was going to marry, and tormented constantly by the idea that I was, probably, queer. I had no way of finding out while I was in a committed monogamous relationship. When I told my own mother that I thought I was bisexual, she told me it was all right—but also to never, ever tell my father. Even though I was in a relationship with a man, the knowledge of my queerness would have been enough to potentially cause a rift between my father and I that I don't know if we ever could have repaired. [editor's note: i'm a lesbian now and my dad and I have a stellar relationship ftr but i did have to marry a whole man first so] [editor's note: i am also the editor]

Ray gets caught with a man while Stella is in college? Or Stella knows and tells Ray's mother while they're drunk on wine one night? Or Ray's parents find a magazine... or a photo... or a stamp from the wrong club... anything. There's a million reasons why Ray's queerness could and may have come up even while he was with Stella, even while he was monogamous. Because he was still queer.

I know there's a certain element of "sometimes the curtains are just blue, dude, chill” to all of my meta, but when it comes to this show in particular I very much operate in my analyses from a place of "everything is intentional." Small details really do matter; the way scenes are shot matter, the words that are used matter, there's intentionality behind it all. We can't know or understand authorial intent, of course, but we can read our own interpretation of that intent into it. (The author is dead but Paul Gross thought Callum Keith Rennie was hot, so)

This is, after all, another episode directed by George Bloomfield, who also did Burning Down the House and is responsible for that "love at first sight" moment in Say Amen, so the direction here is in the hands of someone who is clearly in lock-step with Gross around the inclusion of queerness in the latter seasons of the show.

This moment is interesting to me in particular when considering intent because I actually would prefer to see Ray and Damian's faces in this moment! I want to know what Damian is thinking, or if he frowns. I want to know if Ray looks nervous or concerned. We don't see that at all.

Instead of seeing them over the GTO, we get the close-up on the hands and the bracelet over the rebuilt engine.

Rebuilding!! They're doing it.

And that makes my little queer heart pretty happy.

[moowithmidnight]

Watching criminal minds for the first time- I’m still only halfway through S7 but I have some thoughts on both the characters and the fandom-

1. This fandom infantilizes the shit out of Reid and it’s wildly ironic considering how much he canonically hates that. Also, I am so sorry, but that man is not as hot as y’all insist he is-

2. I fully believe the only reason there’s like no Rossi love is because y’all don’t want to fuck him. As a resident lesbian, let me say that I love Hotch so much, but Rossi is so funny and his relationships with the team are severely underrated.

3. Whyyyy do they make Morgan so chill 90% of the time and then he just comes swinging out of the gate with wildly misogynistic shit?? It actually makes me angry. Like his whole thing with Elle, and the way he basically slut-shamed Emily when he was pissed at her about Doyle? Wild.

4. Y’all will call the female characters stuck-up/bitchy/entitled for doing the exact same things you praise the male characters for, and it’s so obvious it’s wild,,,

5. Actively disliking Garcia is such a red flag, end of discussion.

6. Elle lashing out at Hotch is not a valid reason to dislike her unless you also dislike literally every other main character. Seriously. They’ve pretty much all unfairly lashed out at other members of the team when under extreme stress (Dilaudid, Prince of Darkness, Doyle, etc.) and never apologized on-screen for it.

7. Hotch is genuinely a really good unit chief- mans is pretty much constantly killing it

8. Penelope & Hotch are such an underrated duo, every time they interact Hotch is so sweet to her, and it’s obvious how much they respect each other. 20/10 relationship

9. There’s no ship that I actually LOVE between the BAU members. Spencer/Elle and Emily/JJ are probably the two I like the most, but nothing I love

10. I really wish they had tried to give Seaver a personality beyond “replacement J.J.” but straight up hating her is wild to me.

[purpledemonlilyposting]

Oh good the Lorch is sending herself asks about me again.

[Lily's Post]

Oh yeah Lily calling marginalized people a "pick me" for not having the same exact opinions as you doesn't make you look bigoted at all.

Unlike you I don't think children's cartoons are activism. And my pointing at that some people like to try to downplay the lesbian themes in Steven Universe, or at least the way lesbians interact with the themes of the show, actually has nothing to do with the show itself.

Hey Lily did you know I also really don't like the word queer being thrown around, refuse to call myself that because it means strange and also dislike "anti-assimilationist" types?

Speaking of which:

[Lily's Post]

Yeah I say that about the kids telling me queer has been "reclaimed" for me. I would think you'd agree, Lily.

Those are two completely different concepts you dumbass. We can have gay content in mainstream media without it being insulting dreck driven by rainbow capitalism.

Lily is the one who basically wants the Hayes Code back. She wants every show and movie to tell her who is good, who is bad, what to think and for the bad guy to get thrown off a cliff at the end.

Lily just because those are the only two pieces of media YOU know I like doesn't mean that's all I like or have ever seen. Have you seen But I'm a Cheerleader? How about Saving Face?

Hey Lily if you'd actually watch my responses to you:

No I sneer at shows with bad depictions of gay characters when they have bad depictions of gay characters. Especially when they break their own spines patting themselves on the back for it.

Are you trying to get ahead of my VOD you falsely struck going back up on Thursday? You know the one where you said an early 2000's flaming queen stereotype in some shitty Alicia Silverstone vehicle was super good "gay rep" because you had some retarded need to paint a narrative that Canadian cartoons "did it first"?

The whole "she's just mad other shows are outpacing things she likes" lol it isn't a competition, dawg. That's you, Lily. That's how you think.

This is how I know its a self ask.

Yeah that's why in my reaction to James Somerton's somehow EVEN WORSE takes on Utena than yours I kept saying things like "Utena isn't really that hard to understand it just tells it's story in a very abstract way".

Also if you think the Sword of Dios is "the sword of patriarchy" you really didn't get it but much like James here I doubt you ever even watched it, Lily. I look forward to your "In a Nutshell" video where you will read out TVTropes with zero context and get everything wrong.

Lily I hadn't watched the show fully in over 15 years when I made my very first video on you. I wasn't even expecting to talk about Utena you just went on a tirade about it in the middle of your 2023 Steven Universe video.

In fact, the reason I even cut that video in the first place is I was so impressed with my own recall of the show. And then it got 5k hits out of nowhere on my then completely unestablished channel because people just hate your takes that much.

And now making fun of you has paid for my new GPU and CPU. No Man's Sky is running great and I'm ready for Dragon Age Veilguard so cheers!