#also I think the effect in the movie is more obvious than in the show

[ofswordsandpens]

the difference in Percy's water healing power in the show vs the movie is actually kind of interesting because while subtle, in the show the water heals his injury and then his blood is washed away, but in the movie you can actually see the water push Percy's blood back inside his body as its healing him... and I cannot believe I'm saying this but I think I like the movie's depiction of this power more because of that???

[tossawary]

I don't have a solid plot attached to this idea, I don't currently really have the desire to drop everything to go write "The Hobbit" fanfiction, but for a while I've had the idea of *gestures vaguely" some post-canon story (probably some form of fix-it) taking place before, during, and after a grand dwarven opera performance in Erebor.

Because I am absolutely certain that the Lonely Mountain had an absolutely stunningly beautiful Royal Opera House (and plenty of other, less grand performance halls) that, at the city's height, was putting at least one show every single day. Orchestral symphonies, operas and operettas, dramatic plays, dance performances... you name it, they had it and more. The various cultures of Middle Earth evidently ADORE music, dwarves absolutely included. The Company all bring instruments to Bag End to play and sing themselves off before their quest!

Also, beyond the music side of things, with how dwarves are named as master crafters? Smiths and toymakers and magicians? No way that they did not have some of the most gorgeous costumes, sets, and effects on the planet. Dwarves would go WILD with their articulated stage puppets, I know it.

One of my biggest issues with the film trilogy is that it failed to deeply explore the Company as people who had lost their home, beauty and culture included. Smaug not only killed countless people, entire families, and leave many of the survivors poor and desperate, the dragon went on to hoard their heirlooms and life's work and leave these priceless gold treasures UNUSED. It is an additional heartbreak to imagine Smaug tearing through Erebor neighborhood by neighborhood, house by house, so that he could tear out every gemstone in, say, mosaic made by someone's grandmother that sat above the breakfast table every morning. To think that Smaug in the aftermath tore magical lanterns off the walls, the sort that might have been decorated with animals or flowers, to make some daycare walkway just a little more cheery for the children, and in his greed left a dead city in the dark.

The live-action movies put both Smaug and the Balrog in these... absolutely enormous chambers that serve somewhat unclear purposes. The king's treasure vault and a former marketplace, I think? (Moria has been raised by goblins, I can forgive the emptiness.) It's a quick visual depiction of Thror's uncontrollable gold lust to give him a Scrooge McDuck room, sure, instead of anything with an actual organizational system (normally, I assume dwarves are big on sorting their vaults if they have one). Super big columns and hallways and staircases do somewhat effectively communicate the "lost glory" of Moria (I am very fond of these movies!!!), even if I also think it's not as interesting as it could have been. And the other obvious purpose of big, open warehouse-like spaces is 1) it's easier to animate the big creatures moving around in them generally and 2) it allows the films to show off the full-bodied visual spectacle of their big creatures.

But I think it would have also kicked ass to put Smaug in Erebor's former Royal Opera House or something, some enormous theatre decorated across generations. That could be big! The ART (statues, fountains, banners, windows, general architecture) that you could put on the exterior, which has had its face ripped open for the dragon to get inside? The ART that you could put INSIDE (mosaics, murals, and more) as Bilbo sneaks inside? Ohhh, you could include so many potential lore references with thematic relevance!

Also, Bilbo could get jump-scared by old articulated stage puppets or something. IT'S THE DRAGON-! Oh, no, it's some old opera prop. (Yes, we're talking more about an actual adaptation of "The Hobbit" rather than fanfiction concepts now.)

Sure, there's raw material treasure and coins hoarded here in this place, but there would also be musical instruments and toys and household tools and cookware and fancy dishes, wedding jewelry and anniversary gifts and family shrines and festival costumes, fountain statues and street lamps and mailboxes and business signs, and other evidence that people really LIVED here. These are all ordinary objects that Bilbo recognizes from the Shire.

We could tie these objects directly back to objects we saw featured in Bilbo's home early in this adaptation, which he was trying to "protect" from the dwarves during their "That's what Bilbo Baggins hates" song. There are half-burned portraits of people's late parents here too. Did he think that there weren't any dwarves who made doilies or handkerchiefs embroidered with flowers? Of course they made things like that too.

It's perfectly symbolic to, say, place Smaug's bed in an area like the king's throne room. The dragon is now the King Under The Mountain. But I think it would be deliciously haunting to have the throne room of Erebor be empty, the throne half-broken, the silver stripped from the walls and moved elsewhere, because Smaug doesn't care about Thror's old audience chamber. What's a dwarf king to a dragon? He burns the same as all the others. The dragon has instead made his bed in a beautiful public place of art and culture that was for the people, by the people, surrounded by the lovingly crafted belongings of the ordinary people he killed. Gold is gold to a dragon whether it's in a coin or a candlestick.

I think if you really want to sell one of the key messages of "The Hobbit", which in my opinion is: "If more of us valued food and cheer and song above hoarded gold, it would be a merrier world." then you ought to throw yourself behind EREBOR being a place where food and cheer and song had value, not just the Shire. Thorin isn't lost at the end because he's a dwarf and dwarves don't value such things, but because he as a specific person who makes the mistake of weighing pride and gold over people, and he comes to regret that on his deathbed.

So, back to the fanfiction idea, I think that Erebor had music again in it as soon as dwarves started living in it again. It will take decades and decades before the Royal Opera House is half as splendid as it was before, and there is a performance there with beautiful costumes and puppets and sets comparable to those that came before, some traditional historical show that is part of specific seasonal holiday for dwarves. But that very first winter, when the future still looked grim, I think the dwarves cleared out a small stage and cast the roles of this traditional musical retelling of their history among them, based on who knew the parts best, because they aren't just miners and smiths and soldiers, and there was music again in Erebor that winter despite all the damage that the dragon did.

[mellxncollie]

Part 1 of looking into some of the technical cinematography aspects of the show

(or, why does Dead Boy Detectives look Like That?)

(update 6/30/24: there's now a part 2! check it out here)

Dead Boy Detectives has some interesting things going on with the cameras. You probably noticed it at some point while watching the show. Whether it was the weird blurs or the sort-of-fisheye, there’s something about many of the shots that doesn’t look the way many people expect TV shows to look.  

The main reason why is because it uses an anamorphic lens instead of a spherical lens. These lenses are pretty different from spherical lenses, and the recent rise of anamorphic lenses in TV has not been without some pushback, as viewers unaccustomed to them may find the look weird, distorted, or that it pulls their focus away from the content. Whether you enjoy how Dead Boy Detectives looks or find the cinematography distracting, this post is designed to explain the different effects that the lens has on the show.

This post is very long and very graphics heavy (I made lots of gifs to illustrate my points) so the rest is under a read more.

What is an anamorphic lens and what is it used for?

To begin with, a bit of history and technical info. Say you’re making a movie at most any point before the mid-'90s and you want it to be widescreen. However, the 35mm film you’re shooting on has a smaller aspect ratio (closer to a square than widescreen). You could use letterboxing (black bars on top and bottom) but then you waste the top and bottom parts of the film, and it ends up being slightly lower in ‘resolution.’ The solution: use a lens that records the full height onto the film, but squishes the picture horizontally so that it fills up the whole film frame without any letterboxing. Then, a projector (or a computer) can stretch it out again to display the whole thing in widescreen. The kind of lens that can do that is an anamorphic lens. They've technically been around since before the 1920s but were mostly used between the 1950s and the 1990s.

Up until sort of recently, television networks broadcasted using a smaller aspect ratio that they required shows to be in, and TV shows were not given the kind of cinematography budgets that movies were afforded. Anamorphic lenses are expensive and for widescreen, so they really just weren’t used for TV shows. Instead, a spherical lens was used, which is just the standard lens you think of when you picture a camera lens. 

In the 90s, new flat/spherical film formats came out that allowed for widescreen (one of the popular ones being Super 35) caused anamorphic lenses to drastically drop in popularity. However, there has been a recent resurgence, one that you’ve probably subconsciously noticed in both film and television.

In the last 10-15 years, TV has been given larger and larger budgets. Additionally, the rise of streaming services and the use of phones and computers to watch shows rather than actual televisions has meant that networks have started allowing wider aspect ratios, paving the way for anamorphic lenses to begin to be used for series. 

The history of these lens’ usage means they’re associated with a ‘cinematic’ look. They have a lot of characteristic effects that are not really ‘natural’ and depending on the viewer, this either enhances the experience or detracts from it.

Lots of recent series have been embracing these lenses (to varying degrees of success), including The Witcher, Sandman, Shōgun, Narcos: Mexico, The Mandalorian, Andor and Chilling Adventures of Sabrina. Doctor Who also started using anamorphic lenses at the switch to the 13th Doctor, so that may be a good reference point. For some of these, it’s a very subtle look, for others, the lens choice is glaringly obvious and overdone (I’m looking at you Sabrina), and sometimes, as is the case with Dead Boy Detectives, it’s really obvious but it remains an effective and compelling choice. 

Why use an anamorphic lens in the 21st century when you could just use a spherical lens?

Anamorphic lenses create a look that some filmmakers desire, whether for their associations with a more cinematic look or their sometimes unusual quirks. In a film and tv world filled with spherical lenses that are nice, clean, and precise, anamorphic lenses introduce some irregularity and character. Making an informed decision on what kind of lens to use can enhance different themes of the work. 

I want to briefly bring up Moonlight to illustrate this point. Go watch the trailer if you haven’t seen it, and you’ll probably see some parallels with the cinematography of Dead Boy Detectives. There’s less of the ‘radial’ look, but otherwise, there’s a lot of the same kinds of things. Moonlight uses an anamorphic lens and it makes the whole thing look dream-like, nostalgic, and a bit like we’re getting into the character’s heads. To me, it indicates that the story is being filtered through people. We’re not detached from the characters, observing them. The story we are watching is personal, emotional, and necessitates intimacy. 

Dead Boy Detectives really benefits from the same visual effects. This is not because it enhances a dream-like or nostalgic quality, but because in the context of the show, it makes it look a bit otherworldly, magical, or otherwise supernatural. Additionally, the constraints of the lens means we get lots of focusing in on individual characters, with nice long looks at their faces allowing for more reflection on their dialogue and reactions.

So, here’s 5 different effects of anamorphic lenses to point out to you all. Starting with the one that allows us to easily identify that anamorphic lenses are being used in the first place.

You’ve probably heard of bokeh before. It's the way the lens renders the direct sources of light that are in the background but out-of-focus. You can see in this shot of Jenny how all the string lights are not circular, but elongated. On a spherical lens, these would be round.

In this next shot of the Cat King, the candles around the floor are all those elliptical shapes. Additionally, lots of other details in the background that aren’t from direct light sources also have an elongated shape. This is sometimes called waterfall bokeh.

Finally, check out this shot of one of the cats. Not only are the lights in the background irregular and elongated, but if you look to the left where the ‘horizon’ line is, there's a series of elliptical shapes where the light hits the edge of the docks.

The bokeh effect is one of those things that just happens because of the lens, and makes it pretty easy to identify that an anamorphic lens is being used. Unlike some of the other effects I’ll mention, I don’t have much to say about how this does or doesn’t add to the visuals.

Breathing is how the field of view changes when you refocus to a subject closer or farther from the lens. While spherical lenses also breathe, there’s a much more distorted look to the breathing that occurs with an anamorphic lens.

Lets start with this shot:

You can see how much the frame widens when the focus shifts from the jar of coins to Jenny. It affects the edges much more than the middle of the frame. Here’s the same shot, but with some of the features outlined (forgive my messy outlining, I used my laptop trackpad) so you can see the movement.

The frame widens when the focus goes from the foreground to the background. It appears like the whole shot is being stretched apart horizontally and compressed vertically.

However, it also does the reverse, narrowing as the focus moves from the background to the foreground.

(also in that last shot of hell, notice how the two points of light in the background elongate into those oval bokeh once they are no longer in focus)

Breathing is a very dramatic way of refocusing, and it forces us to pay attention to different things. In the shot of the Night Nurse, we have a light but the important thing after it turns on is not the light but the reaction that the people have to the cause of the light. In that shot of Niko and Edwin, it’s telling us: listen to Niko. In the shot of hell, it’s not letting us forget what the characters are running from. 

The next effect is the lens flare. You can get a lens flare from a spherical lens too, but anamorphic lenses typically generate strong, horizontal flares. A spherical lens would typically create a more radial flare, with multiple lines shooting out in different directions from the light source like rays from the sun.

We see these all over the show, sometimes they’re very prominent, such as in these shots with obvious light sources:

And sometimes they're a bit more subtle. Take this shot of Edwin, Charles, and Crystal on the dock:

While the lens flare at the top of the frame has a clear source, there’s a bunch of other horizontal lines cutting across near the middle and bottom half of the frame. These likely come from light sources outside of the frame.

Some directors, cinematographers, and other creators really like anamorphic flares. Others don’t. For a show with so many dark scenes that have colorful and dramatic lighting, the lens flares seem to enhance this. They are also a constant reminder of the interaction between the lights and the camera, kind of a fingerprint of the production. Sure, they make it seem more ‘cinematic,’ but I think they also ground us in the physicality of the production. (Kind of ironic given the lack of physicality of the main characters, and also you could consider the flares themselves to be the ghosts of the lights and the camera!)

Barrel distortion is where we start getting into why exactly the show looks the way it does. This is basically a subtle fisheye effect. Because of the squishing and stretching of the footage, anamorphic lenses have more distortion than spherical lenses, and it is strongest around the edges. 

You can see it most clearly in shots that have lots of vertical lines. They are relatively straight in the middle of the frame, but the closer to the edges, the more they are warped.

Looking at that shame shot of Niko in the bathroom, I have set it to stop at 3 different spots. Pay attention to the shape of the edge of the door.

At the start, it’s curved outward, like an open parentheses: (

Then, in the middle, it’s a vertical line: |

Finally, as the door passes all the way across the frame to the opposite side, it curves inward, like a closed parentheses: )

Again, notice how the lines in this shot of the Lost & Found Department change as they move from the outside towards the center. The door has an outward bulge at the beginning but becomes more 'normal’ shaped as it gets further away.

Anamorphic lenses can also have a pretty shallow depth of field and it’s used a lot in this show which is why we get a lot of those centered close-ups, and why we get that ‘radial blur.’ 

The center of the frame is where the actors are least likely to be distorted, meaning its easiest to have just one character in the dead center (pun intended). With a shallow depth of field, the background is out of focus, and since the actor is in the center, the background gets the most affected by the barrel distortion, leading to the sense that the background has been radially blurred. 

This blurred background with a strong, centered foreground really makes objects in the foreground pop. We are then able to really focus in on different objects and characters. It brings immediacy and intimacy. Here, we have nothing to do but consider Charles. He isn’t speaking so we must consider his reaction to what’s being said. 

Also, the further a character is from the center of a shot, the more they are distorted, such as Edwin and Charles in this still:

This kind of distortion definitely lends a more unnatural look to the shots, which definitely supports a show about ghosts and the supernatural. If the subjects are able to see things in our world in a way the viewers cannot, then why display the physical world the way we see it?

Finally, we have focus falloff. This is (like some of the other effects) a distortion that occurs around the edges. Here, the focus decreases the further from the center of the frame even if they’re all about the same distance from the camera.

In this shot of the Tongue & Tail, the sign 'Butcher Shop’ is clear and legible. But imagine if that sign was up in the top left or right corners, where things start to get blurry. We probably wouldn’t be able to read it.

It's also visible in this shot of Edwin. Not only does the floor get blurrier the further you get from the center, but you can see how the rope is less in focus in very top and very bottom of the frame.

The falloff (combined with the barrel distortion) is how we get the really unique dream-like look of the Edwin and Niko scene on the roof in Episode 8. (If you’re having a hard time spotting the falloff here, look at their legs)

When you start looking for falloff in this show, you start to see it everywhere. It’s easiest to spot in the corners of shots, but you can usually see all the way around the edges.

Look at the corners of this still of Edwin, or the way the top and bottom of Niko’s rent envelope aren’t as clear as the middle of it.

Or in this still, look at Charles’ jacket. The arm closest to the center has a much more defined line between it and the background compared to the arm closest to the edge. 

This blur definitely is one of the more noticeable effects in the show, and it’s good at focusing our attention on the center of the frame. It guides the viewer exactly to what we should be looking at. We get tons of centered shots in this show because of this and the barrel distortion. 

The falloff makes the show look softer and artistic, sometimes painterly or impressionistic. More than any other effect, the falloff is what makes me feel like I’m watching a dream or a vision. It puts us into the sensation of being fully immersed in a story.

I would argue that all of these effects (but especially the last two) not only enhace the supernatural aspect of the show, but they help us fall in love with the characters. They focus us on their faces, and encourage us to reflect on their motivations, reactions, and thoughts. The lens is telling us that we are not to take things at face value. It’s not letting us forget that there are multiple people and multiple stories involved, that things are blurry around the edges, and that things are not perfect and clean-cut. 

-----------

Sometime in the next week or so I’ll be working on part 2, where we’ll take a closer look at the cinematography of Edwin’s flashback to 1916 in Episode 1. It's posted! Read it here.

I really wanted to highlight the work of the cinematographers, Marc Laliberté, Craig Powell, and Pierre Gill because it’s clear that there was so much care and intention put into every aspect of this show. 

I’m so glad fans of this show are really embracing the work of different crew members, like the work of costume designer Kelli Dunsmore (and if you somehow haven’t seen @captainfantasticalright's posts about the costumes and other aspects of the show, please go check them out right now. My roommates and I have a kind of 'stop everything, new costume analysis dropped' attitude towards their posts, and their approach to show analysis was definiteily an inspiration for this)

If you want to read more about anamorphic lenses, the article Why ‘Shogun’ (and the Rest of TV) Is Slightly Out of Focus in The Ringer is about Shōgun and the rise of anamorphic lenses in TV (Marc Laliberté also worked on a few episodes of Shōgun) and it's a great place to start.

Finally, I want to first thank @skyvoice for these tags on one of my gifsets for semi-inspiring this post (I was already considering making this but these made it into a reality).

[ultrone]

𓂃  ⊹ jackielot dating deaf!reader 🧏🏻‍♀️

they've been putting in a lot of effort to learn sign language for you. lottie even convinced her parents to hire a private tutor. initially, you thought it was unnecessary, as you could teach them yourself. however, they insisted, wanting to learn it faster and properly.

whenever they learn a new phrase or word, they eagerly rush to you to show you. and it’s painfully obvious how jackie subtly directs your conversations to "casually" drop the new sign she's learned 😭😭 you think it's cute though, so you refrain from teasing her about it.

besides sign language, the three of you have developed a silent language to communicate more effectively. it includes gentle taps, specific gestures, or a certain number of squeezes. it's become so intuitive that even your girlfriends use these signals between themselves, sometimes even when you're not around, without realizing it.

they're having a bit too much fun with the sign language tho, especially during exams. "i'm not helping you cheat, jackie," you discreetly signed back at her, being cautious so the teacher wouldn't notice. jackie pouted at you but couldn't hide her silly smile.

they’re also practically forcing the other yellowjackets to learn it as well. while some of them are lazier or barely friends with you, they've managed to get all of them to learn at least ten basic words to communicate with you, even if it's just to say hi.

so far, shauna is the most advanced, likely because she spends a lot of time with jackie. you suspect your girlfriend probably put up a fight to ensure shauna learned this much. nevertheless, you're grateful because now you can have intermediate conversations with her, and you have to admit that sometimes it's nice to sign with someone other than your girlfriends.

jackie's love language is physical touch, which makes her incredibly content in your relationship. you often depend on her touch or gestures for communication when you can't rely on lip-reading or hand signals, and jackie is more than happy to comply.

on the other hand, lottie leans more towards words of affirmation, but this hasn't posed any challenges in your relationship. she consistently expresses her affection through little notes and messages, even jotting down love notes and doodles in your school notebooks.

once, you woke up and found your hearing aids were not on your bedside table. turning to jackie, who was peacefully sleeping next to you, you noticed them sitting on her bedside table instead. that's weird, you thought, not recalling leaving them there. as you picked them up, you realized jackie had adorned them with cute little stickers.

they’re very patient with you, never getting annoyed or frustrated when you ask them to say things again or speak more clearly for you to read their lips.

when watching a movie together, they always ensure the subtitles are on, so you don't have to strain to read everyone's lips all the time.

jackie has this habit of telling you that she loves you by tracing the letters "I L Y" in the palm of your hand with her index finger, giving you a soft kiss afterwards and fidgeting with your fingers.

lottie always keeps her arms protectively around you, whether it's draped over your shoulders or wrapped around your waist. when she wants to get your attention, she softly squeezes her hand around you.

when you're feeling stressed, she often soothes you by gently stroking your eyebrows with her fingers in a repetitive motion until you drift off to sleep.

they're frequently curious about your perspective and thoughts on certain things, recognizing that your experiences might differ from theirs. they often ask you how you imagine certain things would sound, sometimes out of genuine curiosity and other times playfully teasing you.

“who do you think has a sexier voice? and don’t lie just so that lotts doesn’t get upset,” jackie quipped as lottie rolled her eyes.

they're incredibly protective of you, never allowing anyone to mock or disrespect you in any way. not that anyone dares to, considering their popularity in school as members of the yellowjackets.

most of the time, you fall asleep by lying on top of either one of them, resting against their chest, or in any position that lets you lay your ear against their heart, so you can feel its steady beat.

they're constantly debating whose turn it is to cuddle you. so now, they take turns each night. while you lie on one's chest, the other cuddles you from behind, letting you feel her gentle heartbeat against your back.

[grimesgirll]

“do you have any weed?”

“why? you wanna get stoned, baby?”

you shake your head eagerly. the sanctuary is not for the faint of heart. negan may have let you hang around his wives’ quarters while he toyed with the idea of adding you to his collection or sending you home to alexandria at a price, but that didn’t mean you were shielded from the absolute shit show that this place turned out to be. a joint is the least he can offer.

“you’re a little pothead, huh?”

you snort. “as opposed to being a big drinker?”

negan shrugs. “pick your poison i suppose.”

“do you smoke?”

“not since before this shitstorm all went down.” negan admits, resting a large hand on your thigh as you sit, legs long on top of him on the leather sofa.

“well, maybe you should have your goons bring up a half and some backwoods, and we can relax a little,” you burrow into him in an attempt to appeal to his physical motives.

he doesn’t pretend to be unaffected by you digging your ass into him and leaning back for a kiss. he halts you with a finger to your lips. “you really are a little pothead, aren’t you?”

“i hope it’s not obvious,” you retort, relaxing into him.

the leader takes the opportunity to slip his thumb into your mouth, pushing past your pillowy bottom lip. “i might be able to work something out. if you can ask nicely.”

a week ago, you would’ve spit in his face but now you’re more than ready to beg for a joint. tongue lolling around the pad of his thumb, he retracts the digit to let you open your mouth and put on your best sultry voice and ask negan, “negan, can you please have your men bring us some weed. i think it would really calm my nerves.” you quiver your lip for extra effect. “i’d do anything.”

negan is whistling before you can get another word out of your mouth, “baby, anything you want. whatever you want to get you settled in.” he promises against your ear.

suddenly, he’s cupping your face, giving you one of his signature overpowering - overwhelming kisses, leaning into your open mouth and then he’s up again and on his way out the door.

with a creak of a hinge you hear, “hey, dwight! ready for today’s mission?”

your cough has negan snickering at you. “what?” you sputter, smoke creeping from your mouth.

negan sat you down in the conversation pit of the common area after all his wives retired to their bedrooms. you didn’t get your own bedroom - yet, negan had threatened. a rolling tray with two pre-packed blunts and a shiny silver lighter sitting pretty, just waiting for the two of you to get straight into it.

“i thought you were a hardened stoner, sweetie, a little joint has you coughing already?” the man teases

rolling your eyes, you take another hit, not bothering to angle your exhale out of negan’s face.

a man of his word, negan had slapped dwight’s ass and sent him on a sanctuary wide search for something for you two to light up with. the sanctuary, being the cesspool it is, is rife with reefer and even some vanilla flavored tobacco rolls. you can’t fault negan for coming through, and you’re thankful he did as you indulge in another soft puff.

wanting to try something, you offer the blunt to negan.

he waves a hand at you. “not my thing, honey.”

you tilt your head with curiosity. “are you sure? i think you could benefit from a hit or two.” the raised joint remains in the air. “only if you want to, though.”

“fuck it. why not?”

and that’s how you lose over thirty minutes of your life caught up in studying negan’s face and fumbling through hazy conversation - at least on your part. a hand digs into the squishy blue leather of the seating beneath you. the unhinged part of you is placidly observing every inhale and exhale that the man offers for your viewing.

“wanna watch a movie?”

he’s breaking the new silence that’s developed since you melted into the couch, however. you also know what that’s code for but you’re nodding and following him out of the conversation pit and to the bedroom towards the entertainment center anyways.

the sanctuary is technically your prison but with every passing day, you grow more and more complacent. negan moving you in with him was supposed to be a temporary punishment - the price to pay for returning daryl to alexandria, the result of what happens when you fuck around and find out with negan. why would you risk even more punishment by running when he’s letting you order room service marijuana to his quarters. that’s some shit you weren’t doing everyday back in alexandria. the day will probably come soon enough that you’ll have to patch together a plan to ditch this place, but for now you’ll just build trust and your strength for when you eventually make your escape.

your high has you cozy on the couch and before you know it, you’re more than comfortable in negan’s lap.

“i think i like you baked, baby,” the man whispers between kisses into the skin besides your bra strap. the crisp white oversized button up you’d been wearing is conveniently strewn on the floor and out of negan’s way.

“let me make sure you don’t have cotton mouth down there.” negan’s fingers fall below your waistband. “mhmm, course’ not.” he doesn’t need to dip a finger into your messy entrance to see how soaked you are with how saturated the upper crotch of your panties are.

grinding yourself all over his lap, your self control is slipping faster than he’s undoing his belt.

“baby, i think you’re wetter than usual,” he remarks with a finger between your silken folds and the other hand finishing off his belt. you smirk until your face begins to blush with how his firm finger works you open, tag teaming with his thumb to torture you from the inside out.

the crimson creeping onto your face at the thought of him being between your legs routinely enough to notice a difference burns you. you don’t want to let it slip that smoking renders you wildly horny, so you just allow yourself to tilt your head back and let him do all the work.

your stresses are fading with each press of pleasure negan is inflicting on your clit anyways. it’s effortless to let the sheen sweat and the glowy, lightweight combination of marijuana and euphoria engulf you.

how sensitive you are scares you for a moment but the overwhelming pleasure is more than enough to have you jolting your hips and canting backwards into negan. fucking yourself on his fingers.

“fuck, next time i’m gonna have to make you look in my eyes for that next time.”

that earns him an eye roll. “you like seeing me all ditzed out?”

“i don’t want you any way else,” the salt and pepper haired bastard declares.

he wants you just like this: sprawled on top of him on the bedroom futon with a finger or two buried inside of you. the sounds you’re mewling are more than enough to have him rock hard against your ass and disregarding how truly loud you are. that is until he can’t move past your words.

“you already want my cock, darlin’?”

negan is grinning ear to ear from needy request against his ear. he’s more than happy to grant you your wish and flips you over onto the firm, scale-like leather.

“yes, negan,” you reply dreamily, fingers towing his short hair.

“you want it like this baby? you want me to fuck your high ass into the couch?”

is water wet? are you wet right now? is that even a question?

you nod like when he first asked if you wanted to get stoned. “yes, negan, please! you know you stretch me out sooo good.”

“do i?” a playful haze consumes his face.

“yes!” your breath hitches as he moves your hair out of your face to envelope your lips, biting your bottom lip before inviting his tongue inside your mouth. it’s then that you feel his massive cock poking at your slippery wet entrance.

precum coating his head, negan rests his dick against your hair covered mound, tucked against your clit in a manner that has you strategically gyrating your hips to access any sort of friction.

“i’m ready. you’re ready.” negan notes, toying his head up and down your slit. “wow, what they say about drying up and all that is bullshit.”

“c’mon, i thought - thought you were gonna fuck me.” you hum and direct your doe eyes at him.

mustering up the energy to bat your eyelashes at him has his cock lined up with your seeping hole and suddenly negan is nowhere near holding back.

the sanctuary’s leader grinds your gears but he also grinds his girthy cock against your clit so poignantly pestling pleasure just on the way in. the sensation of every detail, ridge, and texture of him cramming your taut walls has you breathing erratically into his shoulder.

“you’ve got this, honey.” he presses a purple kiss to your collarbone. “i know you can take this cock better than you think you can.”

negan is right but god, the stretch is still something you’re getting used to. thick and long, negan has a hard cock to take with an even more impossible personality to stomach. that cock fucks you nice and deep enough to at least temporary take your captivity off of your mind, so you don’t mind it. you actually yearn for it - in your core.

that heat that’d consumed you before returns and fluctuates and flickers with the older man’s vigorous pace. every snap and thrust has you clenching and digging crescent shaped marks into his skin.

little bursts of lightning snap inside of you as negan doesn’t spare you his fingers. resuming their pace on your clit as if you hadn’t just come on his fingers a minute or two earlier. you’re not ready to let go quite yet but you can already feel the pressure mounting as negan angles his hips to brush against every part of your interior anatomy. it’s like he’s fucking sightseeing - one of the locations being your cervix, already

“mhm,” you’re mumbling beneath him.

“god, i don’t think i’m ever gonna get tired of stuffing this pussy.”

“love when you stuff me.” you breathe. that weightless feeling starts in your core and without warning, you flutter around the thick cock inside of you, constricting and tightening as he bumps against that same spot he’d been stimulating on the way in with, now with his fingers meddling in an effort to push you over the edge.

“can’t wait to creampie you. fuck, it’s worth all the plan b.”

you’re too sex distracted to feign concerned. negan could come in you as many times as he wants - as long as he keeps up the mind bending rhythm that has you babbling and on the verge of forgetting your name.

“god, you got me so close already tonight, girl.” the man’s hips are already stuttering, so much that you’re swiveling into him.

“negan, negan,” the name leaves you lips as a cry.

“just like that, say it again,” he commands and fists a handful of your hair, forcing eye contact.

his eyes focused on your lust blown pupils, you offer him some more figure eights so he’s won’t be the only one who contributed to your soreness tomorrow. struggling with raspy, lust addled breaths, you moan, “come in me, negan.”

and that’s all the permission the sanctuary’s fearless leader needs to completely fill you up. your pussy maintains an unrelentless death grip on his cock at the same time. the needy vortex between your thighs sucks negan in.

a corresponding climax is washing over you, complimenting the warm come oozing from your freshly stretched little hole. god, the full body bliss you unlock once your core gives in numbs your bottom half. your face must be numb too because you’re smiling like an idiot.

wow, he really creampied you. the aforementioned promise of plan b placates you enough to shut up and accept your orgasm, happily accepting the kisses he scatters in his post-sex glow along your newly relaxed nipples and up your throat.

“damn, we’re gonna have to get stoned together more often, baby.” negan places another soft kiss on your forehead. “don’t think too hard while i’m gone, sweetie.”

with that, he’s paying your ass a squeeze as he shifts off the bed. you stay belly down despite the rustle of clothing and the door hinging open.

too tired to care what negan‘s up to, you tug down the large fleece blanket on top of the futon and bunch it around you. your brain is too fried to prioritize getting to bed right now. if negan is nice enough, he’ll move you to bed later like he did the other night after you fell asleep in his arms in the conversation pit.

you’re smirking when you hear negan greet dwight, who you can imagine is sitting in the common area, stopping in to do a quick tune up on negan’s in home arsenal.

“hey, dwight! you ready to roll some more magical blunts?”

[tallerthantale]

I think it's time to stop fixating on arguments with the active Good Omens fandom.

Yes, the efforts to keep Good Omens 3 that don't mention the allegations are immensely frustrating. But I don't think it's coming from people who disbelieve the allegations or don't care about them. I think it's coming from people who are taking it for granted that Good Omens 3 won't happen with Gaiman attached beyond IP holder. They think the only two possibilities are Gaiman removed as far as possible or outright cancellation. From their perspective it doesn't seem necessary to mention the allegations, they think Gaiman is already a full blown pariah who's career is in shambles.

That is not how these things work. The allegations still don't have widespread media attention, and he still has countless ongoing publishing deals. The bubbles we are in are very aware of the allegations, but those bubbles are largely made up of people who are terminally online. The wider world is still broadly unaware.

While I would prefer it if efforts to salvage Good Omens 3 consistently made their support explicitly contingent on Neil Gaiman's public sacking, I think there are more productive uses of time and energy then getting into flame wars about it. Overwhelmingly the Good Omens fandom is onboard with efforts to metaphorically launch Neil Gaiman into the sun. They are more allies than adversaries. Let them have spaces to keep talking about their blorbos, don't go into those spaces to accuse them of not believing the allegations or not caring about SA survivors.

Gaiman's ability to maintain wealth, power, and influence is far more connected to his public appearances and publishing deals than it is to a show's fandom that already wants him axed (but forgets that they still have to say that because they think it's obvious.) I don't like the organized 'stream the show more' efforts, but the IP residuals off of additional streamed views are typically very small compared to book sales.

If the goal is to take down Neil Gaiman's ability to use his career to access victims, the primary objective is shutting down public appearances. No convention appearances, no teaching workshops, no book signing events, no speaking engagements. I don't think those sorts of things are likely in the near future, as the current PR strategy looks like an attempt to lay low and avoid the Streisand effect. However, if things do start blowing over in the future, public appearances might start creeping back, and they can be met with in person protest.

The next objective IMO is no new TV / movie deals, no new publishing deals. The general public scandal will suppress new deals for a while, but it won't hold up if the story is only circulated in the fringes and then forgotten about. The methods of raising awareness need to focus on bringing the message to people who haven't heard about the allegations yet, and that's going to mean going real world about it. Leave stickers on power line poles, on bus stop shelters, on bookshop shelves, on shopping carts / trollies. Ask your local news media to cover the story.

The challenge target if those main objectives hold is cancelling current publishing deals. That won't just be about calling on publishers to drop Neil Gaiman, it will also be about calling on people to stop buying his work, so that the publishers have a capitalist justification for dropping him. Always remember, you are not appealing to their better nature, you are appealing to a spread sheet.

The target audience for the 'stop buying NG books and comic books' message is people who haven't heard about the allegations yet. It is not the terminally online wing of the Good Omens fandom, which is already in favor of not purchasing from him.

Current publishing deals are not an easy target. Boycotting efforts are notoriously difficult to organize effectively, and there are plenty of objectively terrible people widely known as such who still get published. Some thoughts I have on it are starting with foreign language publishers in regions where Gaiman isn't as commercially successful, or seeing if local book stores are open to not purchasing more of his books. Keep in mind though, as with any boycotting push, you are asking the most vulnerable people to make the biggest sacrifice. A locally owned small bookshop has the most to lose by not stocking a popular author. Stay kind and respectful.

Edit Note: A previous version of this mentioned a specific user. They have asked to be removed from the post.

[classicanalyzer]

Skeleton Crew - Very Interesting, As An Astrogation Problem

"The truth! The truth is, I'm just like you! Okay? I'm lost. I'm alone." Jod Na Nawood

Episode 3 continues to keep the momentum and peak quality of the premiere up!

We finally got to see KB's parents (I love that they're her moms), and it will be interesting to see why her moms put cybernetics (one of the functions is a life monitor, and apparently, she needs medical needs) in KB. I wonder if the cybernetics might be due to an accident or a birth defect. I love how KB stands in for people with disabilities. I hope we get to see more of Wendle's story and maybe even some backstory for him.

I love that KB got the most focus after the first two episodes didn't really go into her. I love the subtle insult about the chances Job isn't a Jedi given her knowledge of the Jedi is from the OR Era when the Jedi were much more numerous.

Similar to the Acolyte, I really appreciate the show for not trying to delay the obvious mysteries like making it clear Jod is Captain Silvo and how he's intending right now in the story at least to try to find the treasure on At Attin. Also that Battle Droid asking if they won totally gave me Jedi Survivor vibes with another Droid asking that same question haha.

I really love the visual effects, especially the owl alien Kh'ymm later on. The budget for Kh'kymm visual effects is on-par with the movies, and honestly this show has a lot more movie quality than Ahsoka.

Jod needs to respect droids and soon. SM-33 is always a gem and he has a good keen on Jod's untrusty nature. I'm glad we got to see how Jod is a genuine Force-user (Jude Law has already confirmed he is genuine about his Force-sensitive status). However, Jod might be old enough to have been around during the Clone Wars, which would make his prejudice against droids make sense.

I really love that Kh'ymm is an actual good being, and she thinks Jod kidnaps the kids when we know it's the opposite case. However, she is right that Jod does have ulterior motives. It's nice to see some genuinely nice beings in this galaxy. Also, her Observatory looks so amazing.

At Attin, one of the Jewels of the Old Republic is definitely from the actual Old Republic which makes me pretty excited. I thought we would need to wait until the MMO dies to see Old Republic content but I'm glad we're also starting to dip into the Era. I like the concept of hiding away certain worlds akin to time capsules unaffected by the outside galaxy. I'm going to guess those Jewels were destroyed by the Sith, the Nihil, the Clone Wars, and definitely the Empire. The more I think about it, At Attin and the Jewel world are the equivalent of a Fallout Vault. It makes me wonder if there's smth more malevolent to the world: What is At Attin's experiment lmao.

It's so weird in a good way to see the kids not know about what's going on since their isolation such as not knowing about how rough Coruscant got it post-war and Alderaan's destruction...God that's going to be awkward when the kids know what happened to Alderaan and the wars since their isolation. Can't wait for Wim to learn about Order 66.

My theory is whoever the Supervisor and the govt is that they have some access to the outside galaxy and they might've taken some things from what's going on to spin it into their own ideas (like Soh's Great Works to describe part of the Great Work of keeping the Barrier up).

I love and find it hilarious how KB and Fern end up turning Jod's idea of being partners and whether he works for them. Such a power move by those kids and I love to see it haha. While Jod didn't tell the kids the complete truth, I think he is telling the truth about him feeling lost and I hope we get to see his character development over the series (I'm a sucker for the heart of gold character growth, especially during this time where we need those feel good stories). I wonder if he really is a Jedi dropout or a former Padawan. I can't wait for Episode 7 to give us more on his character like Jude Law promised.

I hope Neel gets to be more independent over time, and this is hopefully the first step. God, I love how the Onyx Cinder looks after looking at the brick abomination of a "ship" that is the Trailblazer, haha. It also feels weird to see the kids firing on NR ships, but I like how the X-Wings pilots were worried about the kids. I also like how they were using ion shots since they weren't trying to destroy the ship but disable it. I hope we see more of Kh'ymm haha. I also think the ruined world in the trailers could be one of those destroyed Jewels of the Old Republic.

"He got us this far. But I don't trust him. Not really." KB

"What did he tell you? 'Trust your gut'? Use your head. Get the truth. And if you ever need help, you can call me anytime." Kh'ymm

[betterbemeta]

I understand that everything about scale in The Transformers (any series, comic, movie, etc.) is bad.

I do. I really understand. I accept it. I have no choice to.

But it drives me insane.

A consistent sense of scale is what helps us understand objects in space. Including objects that are characters. We can understand how heavy they are, how tall they are, what spaces they can move through and which ones they can't, what their perspective is, and what a typical human perspective is of them.

This is actually the thing that makes the live action Transformers movies 'work'-- they aren't always consistent but because human characters and environments keep the same scale and establishing shots of most of the characters include that scale, all of the explosions and fights and "wow!" is relative to actual live-action human beings.

But when that isn't the case, the scale in transformers is often relative. Robots that are 'large' (Bulkhead, Lugnut & many other Decepticons, etc.) are scaled bigger than robots that are 'small' (cassettes/minicons, robots that are motorcycles, Bumblebee, etc.) and some robots that are 'important' are given a relative size that has to do with conflict that they face. The most obvious examples of that last one are Optimus Prime and Megatron, who are both often Large but may have different relative sizes as the key trait here is actually 'important'-- Optimus Prime is usually Large in relation to his team but never Large enough to win against Megatron without a Struggle to His Limits (or more heroic means like the power of teamwork etc.)

Relative scaling also applies to human characters who tend to be 'as small as giant robots make you feel.' Especially if they're a child. Which is... okay, but the whole point of Robots Being in Disguise is that they sampled a human environment with scale and are taking it with them. We SHOULD be able to assume their altmode, if it's an effective disguise, can also be a way to measure scale. But this isn't the case; TFA has a lot of weirdly sized buildings and almost all of TFP takes place in barren environments, or in Ships and Bases where the scale changes around surreptitiously.

Space robots don't have to be exactly the weight of whatever earth thing they transform into and sometimes that's totally impossible but who-is-more-massive is kind of important when your show has so many physical smackdowns. Relative mass can take us pretty far, but it can't take us all the way. Sir Isaac Newton IS the deadliest son of a bitch in space! Much more exciting confrontations can happen when we have a better understanding of what physics are possible even if we don't adhere to realism perfectly. Sort of like how drawing from life can make fantasy illustration more effective and imaginative.

And even outside of confrontation, if any characters want to interact with each other or their environment, we as an audience get SO much information based on their scale and sense of mass. Optimus Prime Has You In His Hand is more powerful if your mutual points of view are consistent. We can tell which robots can easily shake hands or hug, who can use a shipping container as a convenient thing to lean on vs a dumpster, how 'far away' stuff is for different characters, how much energy they have to use to cross a distance, and more.

Even Weird Stuff is better if we care a little bit more. In TFA, Blitzwing drops directly out of the sky if he transforms from a plane into a tank midair. We assume this is just because tanks can't fly, which IS funny. But what size of tank does he become? Is it a realistic size for a main battle tank in the modern day? Does he put on 52 tons when he changes from something the size of a F-15 Eagle to something more like an Abrams tank?? Instead of that being some kind of oversight or mass displacement thing what if we leaned into it and used this thinking to make even funnier jokes?

Many MANY mecha shows are very detailed about the specifications of their robots, which lines up with how people who are in to real life vehicles (and military technology...) obsess about the numbers. We don't need to go that far, but Vehicles and Technology are one of THE autistic things to care about and yes, I know, most of this material is 'for kids.' But who do you think is memorizing all of the Facts about Trains or Planes or Trucks out there? Why do kids care about vehicle robots, is it really just haha hot wheels vroom vroom or are some of them actually interested in what there is to like about real, non-imaginary giant metal constructs?

It drives me bonkers that the 'toy' aspect of Transformers where 'who cares, its toys' overtakes a lot of the things that help imagination play with toys in the media that's kind of the starter-imagination-play-scenario WITH the toys. Just a littttle bit more effort into consistency and leaning into showing it off would absolutely blow people's minds with what's now possible for action figures beyond vaguely bonking against each other.

[chaifootsteps]

I think there's an argument to be made in favor of showing the reality of what Angel deals with on the day to day, both on the gear he wears and the SA he faces from Val.

but these kinds of scenes can very easily be exploitative; used for cheap shock value & end up fetishizing that abuse by presenting it as titillating. it's long happened to female characters where the violence becomes an excuse to show them brutalized or with their clothes ripped off and given how often Angel is sexualized it can just as easily happen to him.

Addict managed to communicate a whole history of sexual abuse committed by Valentino with just a forced kiss and a hard cut to Angel having a breakdown in his room. The scene focused on Angel's emotional distress rather than the act itself, so it avoided objectifying him further and was still effective

this is part of a wider pattern already established by Helluva Boss, where abuse is treated in the least sensitive, most sledgehammer blunt and cartoony way possible.

going by HB, abusers are:

always obvious and easy to spot,

they're complete monsters devoid of any life or interests of their own,

they have no inner lives whatsoever because they only exist to hurt the victim (Stella stays around the house despite not liking Stolas, Crimson wants to force Moxxie into a gay marriage despite being homophobic - to the guy who put his son in prison in the first place!!) - they're inconsistent and unknowable,

they abuse their victim openly in front of others everyone goes along with and tacitly approves of it (Stella's friends happily laugh at her jokes disparaging a demon prince who could kill them all despite knowing he's in earshot)

they cannot be easily stopped even when they have far less power, either in magic or social standing, than the person they're abusing (Stolas and Stella, again)

they hang around long past when they should despite the cast having ample reason to proactively do something to stop them (everyone leaves Crimson alive despite killing all his minions, Stolas knows Stella has ordered a hit on him but probably still lets Octavia spend weekends with her??)

they are fundamentally Bad People. None of the 'good' characters can every be called out for being abusive, what they do is funny - because they are fundamentally Good People. It doesn't matter how many traits Stolas and Stella have in common, he is Good and she is Bad. It also doesn't matter that Stolas sexually coerced someone for a season and a half, neglected his daughter and abused his servants, and barely feels bad about his own infidelity. He is Good so anything he does can be excused. Same with Loona - beating people is bad, but it's OK for her to give her dad a black eye and beat his head in with a picture frame, because she's one of the Good Guys. Same with Blitzo demeaning Moxxie constantly in the workplace - it's funny when he calls Moxxie fat, it's abuse when Mammon does it to Fizz

Abusers are fundamentally Other from Us, and we never need to examine our own behaviors as long as we know we are fundamentally Good.

like how is any of this making the world a better place? or advancing the understanding of abuse? it's an embarassingly dated and in places actively harmful depiction of what abuse is or isn't (I don't even want to get into the bad takes I've seen surrounding Stol/tz and what coercion is or isn't, but you can probably add that to the list too)

if the Angel scenes are as brutal as they sound then the rating should be an 18. I don't entirely blame Viv for that, I know sometimes ratings boards have a weird habit of treating works that have LGBT content as somehow 'more adult' than movies with straight up rape and SA scenes in them (though HH is both, so idk how literal bondage gear didn't up the rating), but I hope against hope there's some kind of trigger warning for this somewhere, and it isn't just dropped on the viewer's lap in order to shock them further with the world's bluntest and most graphic animated scene of SA it can

This. All of this, every word.

[alexanderwales]

Movie Review: Upstream Color (2013)

I watched Primer when it came out on DVD. It's one of the few movies that, when I finished, I immediately watched a second time. I loved it. It was dense and opaque, and benefited greatly from a second watch, which made the whole thing slot together like a nice little puzzle. It was filmed on a razor-thin budget, with one of the main characters being a writer, director, producer, and editor. I immediately put Shane Carruth on my (then short) list of directors to watch.

So I've been meaning to watch Upstream Color, his second movie, for a full decade now. The reviews for it were never very good, and every Primer fan I knew of said that it was no Primer, and I guess I had other stuff going on for literally a dozen years. I keep a "to watch" movie list, which is usually 20-30 movies deep, and other stuff kept taking priority for one reason or another. I wanted to be in the right mood for it, that was definitely part of it. So I watch a movie every two or three days, something like 100 movies a year, and that means that since Upstream Color came out, I have watched more than a thousand movies instead of watching it.

Spoilers Follow

Let's start with the obvious: Upstream Color is no Primer.

I think that I could fit the story of Upstream Color into a single paragraph. It's not complicated. When we start any movie that my wife doesn't think she'll like, she goes to look up the synopsis and reviews and trivia and stuff, and she quoted me a review that said it was an "opaque mess", and ... I don't agree with that, but I can see where they're coming from.

Here's my plot synopsis:

A man (credited as "Thief") discovers some worms that can be used to induce a hypnotic state. He uses them to hypnotize a woman, Kris, and makes her give him her entire net worth while under hypnosis. When that's done, he leaves, and she writhes around under worm control until being summoned by some music by a different, unconnected man (credited as "Sampler"). The Sampler takes the worm out of her body, implants it into a pig, then releases her. She wakes up with no memory and her life is shattered. Later, she meets Jeff, who had the same thing happen to him, they fall in love, they have a psychic connection to these pigs, they gradually get more in touch with what happened to them, then they go kill the Sampler and rescue the psychic pigs.

I don't think that there's anything in there that anyone could be confused about. The movie spells everything out. There are one or two plot beats aside from that, but this is about it.

It's how the movie does this which is unusual. It's taking show, don't tell to its limits, almost never with dialogue that clarifies anything, and its scenes muddle into each other, with none of them feeling like they last more than a few seconds. There is essentially no grounding, even when it felt to me like there should be, and the movie doesn't ever really stop being a visual tone poem. I found this grating in the first five minutes, then got used to it, and eventually started to find it grating again. I guess my best point of comparison is Terrence Malick's Tree of Life, which I thought was more effective but also did grate on me a little bit.

When a moviemaker does something like this, particularly an auteur (or would-be arteur) like Shane Carruth, I always start by assuming that this is part of the point, that we're being fed the plot one way instead of another because it ties into whatever is going on thematically. And here ...

Where I thought it was most effective was the sequence when the baby pigs were being drowned, since we're almost required to have that whole thing be done with Kuleshov effect, cutting back and forth between the pigs and Kris and the pigs and Jeff. It's a nicely evocative little bit of cinema, even if I didn't think that it emotionally landed for me. Where it's less effective is when we really would have been better served by just having some straightforward exposition, or more standard filmmaking, but I guess if you're committing to the bit, you're really committing.

So what's the story about? What's the analogy, what's the theme?

Kris and Jeff are drawn together because of the psychic connection from the worms/pigs, but also (in my opinion) because they've both been victims of this horrible thing that's happened to them, their entire life having been torn down by some thief, then made to believe that they were somehow responsible. So they've got the psychic thing going on, yes, but they also have parallel traumas, and the same sort of gap in their lives. I think this what I'll call Thesis One, the shared bond of trauma.

Another major thing that struck me when watching the movie was that both our protagonists seem insane from the outside. They have this weird connection to each other that no one could understand (though they don't seem to have friends or family or anyone to talk to who could find it weird). They mix up their memories, and sometimes fight about that. They have bouts of irrationality, paranoia, anger, grief, with no explicable-to-them source. They feel like there's somewhere they're meant to be, but they try to follow that sense, and it leads them nowhere. To me, this immediately said "mental illness", so I'm going to call this Thesis Two, the terror of knowing that something isn't right with you, but having no idea what it is, having this internal feeling inside of you, patterns of behavior that make sense at the time. This movie is basically not shot like a horror movie in any way, and does not use the language of horror films, but I think it does share a lot thematically with the subgenre "mental illness horror" where the protagonist thinks they're crazy. That our two protagonists seem intensely codependent helps push that line.

Lastly, at least some of the movie is about personal identity and meaning, though I'm not sure that I would called that Thesis Three, mostly because I don't know what it's trying to say about personal identity. Clearly both Kris and Jeff are attempting to construct meaning in the wake of what's happened to them, and their identities bleed together with their overlapping memories, but this is just not fulfilled very much, and some of it is wrapped tightly in what I'd call the mental illness stuff.

Even if I'm reasonably confident in what literally happened in the film, and what it's about, there are a few things that don't really click for me.

In a normal film, I would expect that the sequence goes:

woman gets hypnotized and wormed

life is ruined

lots of strange thoughts and adventures with another man who is equally crazy

revelation that she's not crazy after all

revenge and catharsis

But in Upstream Color, the Thief and Sampler are implied to be operating entirely separate from each other. There's a little gap which can't entirely be closed through inference, but it's implied the Sampler incidentally pollutes the water with dead worm-pigs, the organism infects plants, those plants get (totally be coincidence?) taken up by exotic plant foragers, then bought by the Thief. So the Thief and Sampler apparently don't have any relationship with one another.

And yet, it's the Sampler, who removes the worms from people and puts them into pigs, that gets killed in the end. Yes, he was the one to kill the Kris-pig's piglets, but ... I don't really understand this narrative beat. Do they assume that he was the Thief? The Thief gets away with it, and all we see of him in the end is that he's sadly shaking his head because the magic worms are all gone.

I mean, yes, the Sampler is a creep who uses his psychic connection to peep on stranger's lives, and yes, most of these people (seem to be) victims of the Thief, and it's fucked up to not give them information or closure. But if the Sampler and Thief are unrelated, which seems likely to me, then it feels like the Sampler is taking bullets better meant for the Thief? Or is it just because he killed some piglets?

And what does that mean?

I am, moreover, confused about what the function of the Sampler is when compared to what the themes are. Does he tie in with the mental illness angle? No, not really. Does he tie in with shared bond of trauma? Only in that he's preventing people from getting closure, I guess. He's a voyeur, a failed artist, some of this ties to personal identity, but again, it doesn't feel like a strong thesis, it just feels kind of random, especially since we have virtually nothing to go on as far as the Sampler's motives or history. He seemed to me like he was mostly just an artist, with the sounds of nature as his primary art and the experiences of other people as his secondary "art".

I'm going to give my hot take on this movie now, which is that I would have liked it a lot better if it were more traditionally structured. The opening five or so minutes really made me think that I would have been better off leaving it on the to-watch list. The "piecing together the location of the Sampler and getting revenge" stuff was super rushed and kind of nonsensical, and offered no catharsis, only confusion.

Overall, I would say I didn't like the movie. I think it was trying too hard to be deep (for me this is a very high bar to clear), and didn't benefit from the experimental aspects, and would have been better if it at least had a stronger idea of what it was trying to say.

I will now go read some reviews, and maybe that will help something click for me. Hopefully I haven't missed anything major.

[tiphprince]

hello 😞

um can you explain the reasons you like snape?

Hi!

Sure.

I can't in fact remember when I started liking Snape, it happened as I was growing up with the movies, though I do know that by the time Half-Blood Prince came out in 2009 he was already well established as my favorite character, as I had friends take photos of me near a cardboard cutout of him at the cinema (I was 13 at that time).

So, I can't pinpoint what is the one thing that made me like him. However, I know that I started really loving his character more deeply when I read the books right after seeing the HBP movie. I discovered just how different he was in the books, and how much better his character was.

To answer your question... I love everything about him, including his many flaws.

He's hilarious, he has some of the funniest lines in the series. His sarcasm made me laugh as a young teen, even and probably, specially because it was directed at teenagers of the same age I was.

He's mysterious, for 95% of the series we have no idea what he thinks, what he's doing and why he's doing it. We just know that something is going on, but we don't know what. It makes him intriguing and makes you want to know more.

He's brave, and selfless. He risks his life on a regular basis once Voldemort gets back, he agrees to mercy kill Dumbledore, effectively getting himself branded as the second most hated man in the country and even by people who at minimum respected him (colleagues he'd been working with for 15 years, people who saw him as a friend), and he expects nothing in return. He dies a gruesome and painful death, though thankfully not alone, knowing that everyone who'd ever liked him, that everyone in the whole world, despises his guts because he had to do what no one else could to save thousands of lives.

He's petty, and cruel. I won't teach anyone anything by saying that Snape is a bully as a teacher, and that he enjoys it. Yet, this is also one of the reasons I like him, because it creates an amazing juxtaposition with the previous point. He's a hero... and an asshole who makes children cry. He will do everything in his power and more to ensure that his students are alive and stay that way, but damn if he won't crush their spirit in the meantime as well.

He's skilled. He's a potions genius, who was rewritting recipes as a teen. He invented spells also as a teen, both being things that even Hermione never attempted to do. He thinks outside the box, and he's an excellent duelist, but he relies on his intelligence more than rough power and fighting prowess.

He's traumatised. Snape has one of the worst childhood/backstories of the books. He was abused as a child by his father, grew up watching him abuse his mother, he lived in such extreme poverty that the Weasleys would look like the royal family to him. Then he got to Hogwarts, and we can see how excited he is to finally go somewhere he won't be forced to hide who he is, to be somewhere he belongs... except he meets his future bullies on the train and reality catches up to him fast.

He's "relentlessly bullied" for the next 6 years ish, with no escape. And yes, teenage Snape was no saint, he was no angel, but no child deserves this kind of torment. Every single day we hear of teenagers killing themselves because of bullying. As an adult he shows obvious signs of trauma from what the Marauders did to him, and it's very sad to see.

I need to stop at one point because I don't think you were asking for a whole ass novel about Snape, but there's so so much more to say about him. I'll just link to @said-snape-softly's answer to a post recently that was asking roughly the same thing, where they explain why they love Snape and added a lot of great metas to help you or anyone else better understand his character.

[mumpsetc]

Genuinely Asking, (Not sarcastically! This ask comes across as bitchy unintentionally But Im genuinely asking) what do you think the themes of ii are. What the purpose of the story is. Im utterly confused by what you take from each episode. What You analyze and what you don't. Even more so how you think this obvious trick 'ending' Is good at all for the story theyre telling.

Because It feels as though you deeply misunderstand What ii is going for. What its supposed to be. Especially since you called the Relationships petty and useless? Or how you call s3 unimportant (I dont prefer s3 at all, i dislike it in fact. im a huge s1 fan. But to call it uninteresting Is confusing Now that we know what we know.)

So Im curious, What Do You think ii IS about. Why you think adam and justin and brian spent 13 years on this passion project. Because if it was for money, like you've said, why not animate for a Youtube Content farm. Why bother working on this and keeping a plot twist hidden since 2013. Why Would you go into the animation industry specifically siting II as inspiriation for it.

Not what YOU think ii should be about. You've talked about that plenty of times. What IS ii about. What Is the story trying to tell. What is the common Story beats between every single ii contestant, Civilian, and Host.

Now This is an Interesting Ask, and Thank You for Asking It I Enjoy Thinking About Stuff Like This. I Will Be Getting Personal in Response Because I Think This Ask Deserves as Much

To Address a Few Things Off the Bat: I Am a Very VERY Biased Source for a Multitude of Reasons. I Have Been Watching the Show For 8 Years and In That Time Have Picked Up a Lot of Personal and Fandom Related Baggage So I Have a Hard Time Looking at a Character Like Fan Without 8 Years of Feelings Towards Him. Also @ Your S3 Point, I've Actually Been Rewatching Recently to Properly Contextualize It in the Story as Well as View It as a Finished Product. I'm Only 3 Episodes Into That So I Can't Say Much on That Front Currently Other Than a Lot of My Older Opinions on It are Outdated and Also Made When I Was Very Very Angry Haha!

Finally on the General Disclaimers Thing, My Taste in Media is Really Weird in Part Because Inanimate Insanity. I Was Into ii From 13-15 and Then 17-Now. When I Got Back Into it at 17 I Made the Decision to Start Watching Movies and Reading More Books Because I Didn't Want to Limit Myself to ii and Stagnate in My Tastes. This Resulted in Me Seeing a Lot of Things Professionally Known as "Huge Fucking Bummers" and Generally Preferring Bittersweet or Unhappy Endings.

I Like the Fake Ending Because That's What I Typically Enjoy Across the Board. ii Having an Everyone Dies and Mephone Loses Everything End is What Appeals to Me and My Own Interpretation of the Series So I'm Happy. It Might Be Vapid and Emotionally Base But ¯\_(ツ)_/¯ I Think I'm Allowed As Much.

To Answer Your Actual Question Though, I Think The Themes of ii are

Existing in a Place Like ii is Damaging for Yourself and Others and Takes a Toll on Your Interpersonal Relationships

An Allegory for Being an Artist in General

There's a Few Others Floating Around Like "Forgiveness" and "What's Real on ii?" But These are the Two I Think are the Most Present and Effect Everything, and I Vastly Prefer the First Over the Second. I Think The First Encourages Interesting Character Dynamics and is At Play With Several of My Favorite Characters (Suitcase, Cabby, Apple, Marshmallow, Paintbrush). The Artist Thing Was Always There But I Just Never Really Cared for How They Executed It.

I Get What the Story Is Going For and Can Probably Atleast Make a Ballpark Swing at It's Ending. Its Steven Universe/Pixar Influences are Worn On Its Sleeve and I Get the Point I Do I Do I Do I Promise But I Just Don't Care for That Sort of Thing Anyways. Is That Unfair Towards ii? Yeah.

On Why I Think ABJ Made This? I Can't Say. I Try to Avoid Speculating on Them or Their Intentions Anymore Because I Think the OSC Treats the 3 of Them Very Strangely and I Don't Want to Be Involved With That. I Disagree With Your Sentiment That You Can't Milk a Passion Project for Money and I'll Leave It at That.

Finally, You Asked Why I Cite ii as an Artistic Inspiration Despite How Much I Dislike It. This is Funny Timing Actually, It's My Senior Year in College And We Had to Do an Assignment Breaking Down Why We Animate At All and I Did Talk About Inanimate Insanity for Mine (For 20 Minutes Too). It's a Show That Means a Lot to Me Because It Has Had an Immense Influence on the Direction My Life Has Taken. It's a Very Right Place Right Time Situation for Me and No Amount of Logic Can Override My Very Emotional Outlook on ii.

I've Been Such a Long Time Fan and I Got So Much Wrapped Up in This Goddamn Cartoon and That's Why I Talk About It, I Got a Lotta Thoughts After 8 Years. I Can Admit a Warped Perspective But This is a Casual Thing I Do for Fun, and I Trust Everyone Reading My Blog to Be Smart Enough to Come to Their Own Conclusions.

[thatfilthyanimal]

tw: stalking, grooming, pedophilia, sexual abuse, past suicidal thoughts

I've recently been made aware that Dupsy is still talking about me and is now going to random Megamind fans that don't know me and telling them to avoid me. I'm also aware that they're doing this in the Ruby Gillman fandom. I have no words to really describe the level of discomfort this brings me, but I will attempt.

First of all, all the "grooming" allegations were thoroughly debunked and proven to be bullshit. I can't believe I have to even say this. I'm a victim of grooming and sexual abuse myself. It's extremely traumatic and life-altering shit, and never something I would want to inflict on someone else. I feel like it should be obvious, with the measures I took in the server to ensure no child is exposed to such things. I was recently diagnosed with PTSD due to the shit that happened to me when I was growing up, and between processing that in therapy sessions and stomaching transitioning in a near-constant hostile-to-trans-people online social media hellscape, I am tired.

I love Megamind, more than anything, and this is known and obvious to anyone who's met me. This movie saved my life when I was extremely suicidal and planning to end my life back in 2010. Watching the movie when I did gave me something to focus on, a distraction, and a responsibility as a fandom member that helped distract me long enough to get out of the planning mindset I was in. Had I not seen the movie, I do not think I would have stuck around. I will leave it at that.

And moderating fandom spaces for Megamind has been lovely! I adore this fandom. The people in it are extremely talented and sweet, and just so damn nice, like by default. I say this all the time but I've never experienced another fandom space quite like it. There are usually bad eggs in fandoms, and perhaps -I- am said "bad egg" to some, but genuinely this one is special. I have always felt that way, even when the bad eggs show up and make a stink. It has always felt worth being here for, to me.

And while I hate to give Dupsy the satisfaction of knowing they hurt me, I need to be honest-- it's been rough. I stopped talking in my server, I locked up on most of my friends and stopped talking even in DMs. I still struggle with severe anxiety in the server and have talked to Dal on various occasions about transferring the server ownership to him. He's been very patient with my freakouts and super understanding, but it's still hard. This WAS a place I felt safe, for over ten years! And now it feels like any minor can just say I'm a groomer or a pedo or whatever with ZERO consequences, just because they're mad, just because these are words that make people go "oh shit" and listen, and man! It's not ok! And this coupled with the fact that trans people are often called groomers just for existing, just… man! I'm tired. I'm so tired.

There are real, severe, damaging effects to these claims being thrown around so casually. It's hurtful to me, as a victim of sexual abuse, because when I came forward to people about what happened when -I- was a minor, I was told I "wanted it" and "asked for it". It was made to be my fault that I was abused, and I internalized it for years. It nearly killed me. I cannot stress enough how important it is to not use claims like pedophilia and grooming so lightly-- these are VERY damning terms to use on people and should be reserved for people ACTUALLY HARMING OTHERS. Being mad I banned you from the server is not "abuse" and using my Customer Service Voice to be nice to you and then being obviously tired of you when you were banned is not "emotional grooming". What the actual fuck. ALSO. This was well over a year ago! Why am I still having to post about this? Why are you still TALKING about me? And yet again I ask, where the HELL are your parents?

Anyway, if you've been wondering why I've been so quiet these days and struggling to socialize… honestly? It's this. I hate that this is what did it. I know people trust and believe me, I know the fandom backs me up regularly and I appreciate them all so much for it. I see it, but I never know how to respond. You guys continue to make this fandom feel safe for me even when my entire brain is screaming to run, and I appreciate you so much for it.

Kids deserve to be trusted when they tell people they've been hurt and I hate that the recent proshipping discourse or whatever you want to call it, this culty all-or-nothing shit, has a bunch of minors growing up feeling like EVERYTHING is something to call rapey or predatory, with apparently little room to distinguish when REAL abuse is happening to them. I don't blame anyone for believing Dupsy, and it's honestly better they DO believe all unproven claims of abuse by default, just to stay safe-- but man, it has consequences that follow people, and really should not be a thing to just throw around because you're mad at someone. I just can't believe they're STILL going around and reaching out to strangers telling them to avoid me… like, what the fuck.

I will be ok, I always am eventually, but I needed to say something, because it's honestly been a while since I've said much of anything.

Keep being kind. <3

[wasted-women]

ROUND 1C, MATCH 3 OUT OF 8!

Causes of Death & Propaganda Under the Cut:

Tara Maclay

Cause of Death: Shot in crossfire

Propaganda:

Ok so idk if she actually counts but I'm submitting her and please throw her out if not. Here's why I think Tara was fridged: the sole purpose of her death was to further the plot and cause pain to other characters. Now, because it's Buffy, these other characters were women. So her death was only to cause pain to her girlfriend (ex-girlfriend? They were broken up but mending) Willow, cause her to relapse into magic, and then make her essentially the big bad of the season. All of this was then to cause Buffy, the protag, to have to fight her best friend and be told she needed to either stop her or kill her. So while Buffy and Willow are both women, Tara's death was solely to cause them pain as significant other and protagonist and to further the plot. (It's also bury your guys and Joss Whedon sooooo). Tara literally was killed sloppily for no other reason than as a plot device in a desperate "well we already killed our protag and brought her back to life, how do we raise the stakes from here" ploy necessitated by crappy writing. If she doesn't count, again please throw her out, but I feel like she counts as fridging esp when looking at how Joss Whedon rights Buffy in this season to essentially bc a self insert of man pain but as a woman.

this is the only lgbt example I can think of but it definitely counts imo. link to death scene here (scene starts a minute into the video, with obvious trigger warnings for death and blood and gunshots): https://youtu.be/01NxsKojYyM?si=dxZvcvOhp3x6S8ha

Stuffing a woman in the fridge is one thing, but stuffing a queer woman who was one half of a beloved same-sex couple on a TV show famous for its strong female characters for the sake of drama while enforcing negative LGBT+ stereotypes in the process is really something else.

Her girlfriend, Willow essentially plays the role of the man in the relationship. Tara dies to facilitate her villain arc. Xander is also sad about her death and he is a man.

Mako Mori

Cause of Death: Exploded in a helicopter

Propaganda:

The Mako Mori test has been proposed as a "better" version of the Bechdel Test (which I'm well aware of the bechdel tests point and common misuse) she has a full, rich arc that is not romance oriented in the first movie. Also she pilots a giant robot. In the second movie she's textbook definition fridged.

Daenerys Targareon

Cause of Death: Stabbed by her lover for becoming a tyrant

Propaganda:

I'm just. I can't believe she hasn't been submitted yet. Classic example of end game fridging, where she *had* to be killed by her male lover to bring him pain and Man Tears TM. Clearly it effects him (sad) more than her (dead). Now obv Dany had a whole plot prior to this, but her death itself is such a classic example of fridging that I have to submit her, it legit only happened for a stupid "plot" to bring Jon ManPain. It was a death so stupid that GOT, what once was a cultural touchstone, isn't talked about except in how bad the end was

[flyawaymind]

Waiting on a Miracle

I’m sure someone has probably said this better, but I just re (re re re re re re re re re) watched Encanto and had an epiphany during the song, Waiting on a Miracle.

Everything that Mirabel lists in that song? All those things she “can’t do?”

She does them, one by one, over the course of the movie. Everything she lists, whether it’s some power she wishes she had or something in her life that she wants to change, it all happens. Check it out:

The most obvious part, and what I noticed first, is how she describes the Gifts.

-I can’t move the mountains

-I can’t make the flowers bloom

-I can’t heal what’s broken

-Can’t control the morning rain or a hurricane

The language here is deliberate, and although it’s easy to write it off as lyricism or poetic phrasing for the sake of the song, this is a list of things that are caused or influenced by Mirabel’s actions in the movie. The crack down the center of town causes the mountains to split in two, Isabela’s power reaches its full potential during What Else Can I Do, and at the end of the movie Mirabel plays a big part in healing the rifts in the family. The part about the weather is less obvious, but because Pepa’s mood is tied to her Gift, I’d argue that there were probably some weird weather fluctuations when Mirabel gets Pepa to finally talk about Bruno. Mira also expertly avoids a storm by rephrasing her question about Bruno’s Gift and causes Pepa to hit Camilo with lightning when she bumps into the wall, but those are more situational than results of deliberate actions.

In other parts of the song, Mirabel talks about the things in her life that she wishes would change and things she wants to change about herself.

-I can’t take another night up in my room, waiting on a miracle

-Can’t keep down the unspoken invisible pain

-Always walking alone, always wanting for more

-Like I’m still at that door longing to shine like all of you shine

-Show this family something new

-Who I am inside, so what do I do?

The night after Antonio’s party Mirabel is lying in her room, presumably alone for the first time since Antonio was old enough to be away from Pepa for the night. She can’t sleep, and it isn’t a huge leap to conclude that she’s waiting for something to happen, whether it’s for the cracks to appear again, or for someone in her family to come talk to her, or even for the candle to finally give her a Gift because Antonio got one and maybe the magic was just a little bit delayed. The movie could have ended right there, except then Mirabel gets up. She decides to take action and comes up with a plan, no longer content to just wait for a miracle to change her life.

Everything that happens after that is related to her and her family’s catharsis and self-actualization. She stops pretending she’s ok and indirectly tells her family how hard she’s been trying to earn Alma’s love when she realizes that they’ve all been doing the same thing, and that none of it will ever be enough. Mirabel cries and screams and yells at Alma, stomping her feet and making it very clear that she isn’t content with keeping her pain hidden away. By that point the audience knows that Mirabel isn’t the only one who feels this way. Almost everyone in the family feels like they’ve been walking alone, and everyone wants to shine as bright as they think the others do. This includes Agustin and Felix: “It was easy to feel… un-ceptional.”

When the movie concludes, Mirabel’s the one who brings them all together. She reunites Bruno with their family, shows Alma the effects of her actions, and then brings about changes. She teaches the family a new way to shine, and that they’re brighter when they work together. She’s the one who opens the door, both figuratively and literally, and as she walks up to put the doorknob in place her family tells her that they finally see her as she is.

Mirabel might not have the same kind of magic, but she’s able to do everything that her magical family members can do, and more. Everything she does is laid out in Waiting on a Miracle, presented in such a way that it seems like Mirabel is hoping for something impossible. That’s something the movie teaches us: that people are often more capable than they think they are, and when everyone comes together to work toward a goal, nothing’s actually impossible.

[windywhistler]

I know I haven’t posted in a while, but I’d like to post a little farewell to G5. I know it wasn’t a lot of people’s favorite, and it definitely had its fair share of flaws (I remember giggling with my partner when the first episode of MYM came out over how stiff the animation was!), but I loved it very much, and I hope maybe we can somehow see these characters again. I loved this cast very much, so I’m going to ramble a bit below this. For a quick TL;DR: I love these sillies a whole lot, and they will always hold a very special place in my heart :)

Misty in particular means SO much to me. I love her and the way she overcomes living with Opaline, especially because the other Mane 5 are just. So willing to give her space to come into her own and discover who she is in a way she’s comfortable with every time she’s uncomfortable. Found family Misty is everything to me as someone who grew up with a not-so-great family and sees her friends as her family. On that note, I also really like the way Sunny is portrayed to have PTSD symptoms after struggling with 2 villains (shoutout to Allura though, I wish we got a proper end to your story girl). I like it when shows acknowledge that going through crazy stuff often results in trauma. She has very obvious flashbacks in s1 ep68 and s2 ep7 of TYT, and she starts experiencing paranoia, having nightmares, and being hyper-vigilant, and it means so much to me that they bothered to show how living through those situations impacted her mental health.

Next, I think I wanna talk about Izzy! I know a lot of people see her as “the Pinkie Pie clone” (and, to be fair, she IS pretty similar), but I feel like she’s so much more than that. I love her having Violette as her own protégé, and how she’s always so excited to use her creativity to help others! It’s nice to see G5’s Mane 6 teach others their own “elements” much in the way that FiM’s Mane 6 acted as mentors to others. I’m also VERY glad they brought back rainbowified ponies, even if Izzy was the only one. She looks GREAT, and getting to see that they brought it back one last time for the final episode made me SO happy (I actually SQUEALED when I saw the thumbnail for episode 23!). I know that part isn’t really personality related, but it still makes me happy!

I’d also like to sing some praises about Hitch, too. Adding a male to the main cast was a rather bold move in my opinion, since the closest we’ve ever gotten to that is maybe Spike in any gen, Danny in G1, and maaaybe Teddy in MLP Tales? We’ve never really had a boy be part of the established main group, and oh boy was Hitch the perfect beginning for that! He’s such a goofball, and I love the sort of “awkward, cringey dad who loves his son very much” thing they did. Yes, he’s different from movie Hitch, but I always saw that as a side effect of now having a child to parent in the form of Sparky. A LOT of people’s personalities can change post-having kids, and I think it’s interesting that they made him like one of those parents who just wants to bubble wrap their kid and keep them safe. It’s pretty funny, since Sparky doesn’t exactly seem to mind or care. He reminds me a tiny bit of my own dad, and that’s something that means a lot to me.

The last two I want to talk about are, of course, Pipp and Zipp! As for Pipp, I honestly… wasn’t the biggest fan of her at first. I think I was just cranky because they added technology and social media to my Horse Show, LOL! Once I kind of got used to that, she grew on me. She grew on me BAD. I absolutely ADORE Pipp; she’s just the cutest! I love how they have her take accountability when she screws up, and I think it’s really important how she teaches kids that it’s okay to put the phone down for a while around seasons 4-5 of MYM, especially given how much tech plays a part in everyone’s lives these days. I think her having confidence and wanting to SHARE that confidence rather than bring others down is really admirable, and I love the approach they had when designing her character in intentionally making her shorter and rounder than the rest of the cast (most notable in TYT), but very specifically not having her be insecure about it. Touching on bodily insecurity is always great, but I also love seeing characters who look different where it’s just… okay. It’s accepted. I think that's pretty awesome!

Last but ABSOLUTELY not least is Zipp! She was my first favorite of G5 (they’re ALL my favorites now, I fear), and I’ve always thought it was so awesome how they had this royal character who was actively against corruption in power AND didn’t want to be treated as royalty! Having a character who’s heir to the throne and very blatantly… DOESN’T want to be/isn’t looking forward to it is something I feel like I haven’t seen a whole lot, and it’s a really interesting perspective to explore. I’m glad they did! I also love how her scenes in episode one of MYM can very much read almost as a trans allegory. I myself am not trans, but my partner and quite literally ALL of my friends are, so it’s still quite meaningful! Plus, I’m someone who chooses to not go by her birth name due to CPTSD, so, from all angles, seeing her wish to be referred to in ways that make HER comfortable and having that be respected gives me the fuzzies. I love her relationship with Pipp too, and I find their bond to be so heartwarming! Portrait of a Princess is one of my FAVORITE episodes of MYM, and it’s just so sweet to see how much they care for each other! Also, slightly less relevant, but them getting their cutie marks one right after the other on the same day was very cute. Very CMC of them. Very Mane 6 of them. Very cute, very demure, very mindful. I hope people still say that, LMAO

All in all, I know G5 had plot holes, ever-improving animation, and a lot of things fans were displeased over. Still, these characters mean something to me, and, even if their story got cut short, they’ll always still be my little ponies. Thanks for listening to me ramble on if you read all this, I know I kind of turned it into an essay haha :”)