#and comedy can have tragedy. so many of the other deaths are

[patcaps]

all the people wanting queer trauma porn who would’ve bet money on cap killing himself because he’s gay owe me £1000 btw. you fucking freaks

[the-sassy-composer]

Really tired of streaming services making absolute banger animated TV shows for adults, never advertising them, then canceling then because no one watches them, so I'm taking it upon myself to share some of the ones I've watched recently with the hope other people will hear about them for the first time and give them a shot.

---

Blue Eye Samurai

"A master of the sword lives life in disguise while seeking revenge in Edo-period Japan."

Probably one of my favorite animated shows of all time. Mizu, arguably one of the best sword masters in this time period, goes on a quest to eliminate four white men living in Japan, one of which is Mizu's father. The show focuses heavily on how factors outside of your control, such as race and gender, impact how others view you and how you view yourself.

Watch if you are a fan of: Complicated characters/relationships, revenge quests, gore, complicated relationships with gender and race, and absolute badass characters.

Where to Watch: Netflix

Undone

"After 28-year-old Alma nearly dies in a car accident, she finds that she has a new relationship with time; she develops this newfound relationship to find out the truth about her father's death."

Undone focuses on difficult relationships with family, including how your parents can have profound effects on you even after they're gone, and how to deal with grief. That, plus the added chaos of being able to travel through time.

Watch if you are a fan of: character studies, shows dealing with grief, time travel, trying to rewrite fate.

Where to watch: Prime

Scavengers Reign

"The crew of a damaged deep space freighter are stranded on a beautiful but dangerous planet."

A mix between sci-fi and horror, this show focuses on the crew of a crashed spaceship. Each (living) crew member of the ship escaped in pods, scattering them across the planet. They must fight to survive and make their way back to their ship on a planet featuring some of the most fucked up creatures I've ever seen.

Watch if you like: sci-fi, isolationist horror, body horror, creature features

Where to watch: At the moment, Max. As of May 31st, Netflix. Max canceled the show (even though it has a 100% rating 🙃). Netflix may make a season 2 depending on how many people watch it in the first few weeks after it comes to Netflix.

Harley Quinn

"The newly single Harley Quinn sets off to make it on her own as the criminal queenpin in Gotham City."

Honestly I was feeling a bit burnt out on super hero shows, but this one felt like a breath of fresh air. It follows Harley as steps out from the shadow of the Joker, no longer being one of his henchmen and struggling to find her identity as a single, independent villain.

Watch if you like: Superhero/villain shows, stories that focus on blurred lines instead of a clear distinction between good and evil.

Where to Watch: Max

Primal

"At the dawn of evolution, a caveman and a dinosaur on the brink of extinction bond over unfortunate tragedies and become each other's only hope of survival in a treacherous world."

This show is super unique in that there's basically no dialogue, but it still finds a way to display an absolutely gutwrenching relationship between two parents of different species going through shared grief.

Watch if you like: Brutality, heavily visual story telling, prehistoric stories, and tales of overcoming.

Where to Watch: Hulu

Love Death and Robots

"This collection of animated short stories spans several genres, including science fiction, fantasy, horror and comedy. World-class animation creators bring captivating stories to life in the form of a unique and visceral viewing experience. The animated anthology series includes tales that explore alternate histories, life for robots in a post-apocalyptic city and a plot for world domination by super-intelligent yogurt."

I love this show because you never have any clue what to expect. A siren living in a river falling for a deaf knight? An artist painting intergalactic art pieces? Three robots going on a field trip through the apocalypse to visit old human historical sites? You never know, but there's going to be love, death, and/or robots in it. Each episode varies wildly, so I'd recommend watching at least a few to get a taste for it, as some will resonate more strongly than others.

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I'm sure there are lots more excellent animated shows, but these are all the ones I've watched in the past year or so. I'd love to see more recs in the tags, because I'm always down to watch more cool animations!

[luxaofhesperides]

Please continue ghostlights multiverse constant au with Earth 0 having a happy ending together cuz halfa Danny is impossible to really kill anymore pleaseeeeeee 😭

(part one)

Danny is destined to die once he meets Duke. He knows this; he’s seen how their friendship leads to Danny’s death is so many different lives. There’s no doubt in his mind that the only way to ensure Danny lives a long life is to stay away from him.

Which is why the universe decides to make Danny pop up constantly. It’s clearly trying to get him killed, and Duke refuses to let that happen!

It starts innocently enough. They cross paths briefly at a bus stop, bumping into each other as Duke gets off the bus and Danny moves to go on it. He recognizes Danny immediately, feels a little spark go through him when their shoulders brush against each other. Something in him says I know you. I miss you.

He pulls back a step and offers a quick apology. Danny waves it off and looks at him as through searching for something. He opens his mouth to say something, but Duke can feel the threads of fate tighten around their throats and hurries away. 

He waits until he hears the bus pull away, then glances behind him to watch it go before he slows down to a normal walking pace and heads for the mall where he planned to meet his friends. 

Duke’s heart pounds in his chest. He can’t get Danny’s eyes out of his head; so painfully blue, so nostalgic, so doomed. 

This is for the best, he reminds himself. This is so Danny can live. That’s all that matters.

The moment’s passed, anyways. They’re still strangers, and they’ll stay that way. 

He takes another minute to collect himself, then plasters on a smile and heads into the mall to find his friends.

The next six times, Duke has to save Danny as the Signal, appearing just in time to stop a mugging, an armed store robbery, a car trying to run Danny over, and fighting off Man-Bat who, for some reason, took one look at Danny and went fuck this guy, actually.

Duke is stressed. He’s Stressed™ and if anyone tries to take out Danny again he’s just going to start screaming. 

For whatever reason, the universe is just out to get Danny now that they’ve run into each other once. Duke’s life is a cosmic joke, and he’s stuck in the center of it all waiting for the moment comedy turns into tragedy. 

It’s gotten to the point that Duke expects to find Danny in some sort of dangerous situation as soon as he starts patrol. He’s starting to dread going out, but he needs to; Gotham needs the Signal to keep the streets safe during the day, and Danny needs Duke to save his incredibly unlucky ass nearly every single day.

The first two hours go fine. He stops an armed robbery and a car jacking, chases away some creeps from the working girls, and gets a blueberry muffin from the bakery that’s been around forever, on account of the old woman running it thinking he’s a good lad who needs to eat more.

Duke begins to hope that he’ll have a quiet patrol. He begins to hope that Danny is safe and not in mortal danger for once.

His hopes are immediately dashed when he spots Danny on a rooftop, standing way too close to the edge.

Heart in his throat, Duke crosses the space between them in an instant, slingshotting himself forward through shadows.

He intends to pull Danny back, to say something, to try and shake some common sense into him so he actually has a chance at living a long life. Duke doesn’t get to do any of that; as soon as he steps out of the shadows, Danny turns to face him with a tired smile.

“There you are,” he says. “I knew you’d find me.”

“What? I—listen, can you step back from the ledge for me?”

Danny steps back, keeping his eyes on Duke. He doesn’t seem to mind that the Signal is so hesitant in this moment, keeping his distance. 

“I wasn’t sure at first,” he says, as if he never stopped talking, “But I had a feeling. You’ve probably had it too, right? It’s why we keep being pushed together, and why my luck has been so awful ever since I came to Gotham.”

He knows, is the first thing Duke things. But how can that be? If Danny knows about all those other universes where they had each other, then he knows how it ends. If he knows, then he should be trying to keep his distance from both Duke and the Signal before he gets killed.

“It’s you under that mask, isn’t it? Duke.”

The way Danny says his name brings him back to all those other lives where they had each other from the start. He sounds so sure of himself, as if he’s always known Duke.

It’s only when Duke says, “How?” that Danny falters, fear briefly crossing his expression before it settles into something more neutral. His fingers begin to pull at the cuffs of his jacket sleeves, confidence melting away. 

“Do you… not know me?”

The quietness of his voice, the fragility of it, breaks Duke’s heart. He doesn’t stop to think before he answers, “I know you. Of course I know you, Danny.” Then he blinks, shakes his head, and says, “Wait. No. I know of you. We haven’t really met this life.”

“It’s the dreams, right? They make things so confusing.”

“You’ve been getting them too?”

“I may be the cause of them,” Danny says with a wince. “Due to some, uh… ghostly magic shenanigans. It wasn’t on purpose! But it is kinda my fault.”

Ghostly magic? Okay, sure, why not. Who is Duke to judge the bizarre things that exist in their world. He has superpowers and his biological father is an evil immortal. He has absolutely no leg to stand on when it cames to the weird and the unexpected. Might as well roll with it, since this is his life now.

Besides, there’s more important things to focus on, such as: “Okay, so, just to be on the same page, you’ve been getting the same dreams as me, yeah? The ones where you always die? Those dreams?”

And Danny, very casually, answers, “Yeah.”

“Dude,” Duke says, pained, “If you know that meeting me leads to your death, then why are you seeking me out?!”

“What?”

“Have you not seen how you die young in every single universe? Because I have! And it’s messing me up!”

Danny blinks at him, then looks guilty, hunching in on himself. “Oh, yeah. That. Uh, yeah, so…” he trails off and bites his lip, gaze kept downwards so he doesn’t have to meet Duke’s eyes. “I do die young always, yeah, but it’s totally not your fault! I just do that!”

“You just do that,” Duke repeats, pained. 

“Yeah. I just die young.”

“Is this somehow not a problem for you.”

To his immense displeasure, Danny has the nerve to shrug and say, “Eh, not really.”

“Danny.”

“It’s okay! Really!” Danny says, a little frantically, “And also it has nothing to do with you! None of my deaths have been your fault, it’s just a thing that happens to me!” And then, in a quiet, rushed mumble, “Also I already died in this universe so it’s fine.”

A strangled sound bursts out of Duke’s throat as he tries very hard not to start yelling. He puts his head in his hands and holds back a heavy sigh because the boy of his literal dreams is stressing him out so much he’s about to dissolve into ashes and ascend to a higher realm where he has no worries. 

Unfortunately, he’s not quite there yet, so Duke has to deal with living in the reality where Danny admits he already died because that’s just what he does: die young. 

Which is, apparently, not Duke’s fault at all. Cool. 

Cool cool cool. He’s definitely not going to have a breakdown about this.

A hand gently tugs on his wrist, making him lift his head to meet Danny’s worried gaze. “Hey, you alright? Do you wanna sit down for a minute?”

And you know what? Duke does want to sit down for a minute. He’s earned it. 

He nods, and Danny carefully guides him back to where the roof access door is, so they can sit with their backs against something and be away from the edge where curious eyes might spot them. It feels easy, practiced, as if they’ve done this a thousand times before instead of just now having their first conversation. Their lives have been linked and twisted together, though only for a short time before death takes Danny away. 

He knows Danny, despite how illogical it is, and that’s what makes him take off his helmet and exposure his face to the world. 

Danny knows him too, after all. 

There is no hiding from someone who is meant to be in his life.

Danny’s smiling softly when he turns to look at him. “Hey, Duke. It’s good to see you properly. Is it weird to say that I’ve missed you even though we’ve technically never met in this life?”

“Nah,” he replies, “I missed you too. Please stop scaring me like that.”

“I make no promises. Expect for this: dying won’t take me away from you in this life. I’ve got it handled.”

“I don’t… I don’t think that’s someone anyone can have handled.”

“I’ve got it handled,” Danny repeats firmly. 

Duke shakes his head with a small laugh. He got so caught up in the guilt of leading to Danny’s death, of being unable to save him, of losing  him in every universe, that he forgot how stubborn Danny is. 

It is a weight off his chest, though. To know that it wasn’t his fault. To know that the worst has already come to pass long before they met in this universe, so they don’t have to fear the future together. 

“So,” he says, “Tell me more about these magical ghostly shenanigans?”

“At least wait until the second date for personal questions,” Danny jokes.

“Okay. Wanna grab dinner tonight?”

It’s nice to see that Danny blushes easily in this universe too. “Isn’t that moving a little fast?”

“We’ve been dreaming about a bunch of other universes where we’re together. We know each other even though we don’t know each other. We’re well past moving fast, dude.”

“Yeah, that’s fair,” Danny nods. “Alright. Dinner tonight, then. Take me to the best place for breakfast foods in Gotham. I’ve been craving pancakes all week.”

“Sure, I can do that. Mind giving me your number so I can figure out where to pick you up from?”

Danny nods and begins patting his pockets in search of… something. Duke means to grab his phone and hand it to Danny to get his number, but he’s quickly distracted as Danny gives up on his pockets and shoves a hand directly into his own chest. 

Ghostly magic shenanigans. This is probably part of it?  Danny doesn’t look alarmed by this at all, so Duke rolls with it and shoves away his shock at the sight. 

“Aha!” Danny holds up a sharpie in triumph. He sure did pull that straight out of his ribcage. Duke is so chill with it. 

He lets Danny take hold of his arm, removing a wrist gauntlet so he can write on the skin. The cool ink of the sharpie makes him shiver, but otherwise, he stays still. Danny writes carefully, in smooth movements. It doesn’t take more than a few seconds, then he pulls the sharpie away and blows a surprisingly cold breath against Duke’s wrist to help the ink dry faster.

“There we go,” he says with a smile. “Let me know when you wanna have our date, okay? I’m free whenever, so don’t worry about accommodating me or anything.

“I’ll text you once I’m ready,” Duke agrees. He stands up, looking over the numbers written on his wrist. He memorizes them, then puts his wrist gauntlet back on. It’s about time for him to get back to being the Signal, as much as he hates to leave Danny here when they’ve finally been able to have a quiet moment to themselves. 

“I’ll see you later, then.” Danny hesitates, then leans forward and presses a quick, chaste kiss against Duke’s cheek. Duke blinks at him, stunned, his heart skipping a beat. 

He doesn’t get the chance to return the gesture; Danny flushes red, backs up a few steps with a shy grin, and says, “Okay, bye Duke! Stay safe out there!” And then he’s gone, blinking out of sight, and it’s only his meta powers that let him see a faint wispy outline where Danny was. 

It moves, floating up in the air, then flies away like smoke in the breeze. 

Ah, Duke thinks, Ghostly. He’s a ghost. I’ll worry about that later.

His fingers brush against the spot where Danny kissed him. Then he puts his helmet back on and focuses on swinging through the streets of Gotham, ready for anything. 

The sooner he gets done with patrol, the better, after all. He needs all his focus to do that so he can start getting ready for his date with Danny, the literal boy of his dreams. 

This time, this life, this universe, they’re gonna do it right. They’ll make up for all the time their other selves lost. They’ll cherish every minute together, one pancake date at a time.

And to think, it only took a couple dozen different lives to get here.

[izzyhandslightofmylife]

Official statement on why Izzy's death affected me so much

Our Flag Means Death, is, at it’s core, is a show that focuses on queer joy- a form of therapy for those that have been raised on queerbaiting, shipping minor side characters, or watching, when nothing else is available, queer tragedies. You know how it goes- the two main characters, both male, have chemistry. They say things to each other that seem weirdly like declarations of love. They look at each other with love in their eyes. You see these things and the main man gets married off to a badly written, unfinished female character and is left feeling empty. The best friend dies for the main character to live. When everyone talks about how cute the main couple are, you want to scream all of a sudden, because nobody can see this love story play out except you. It’s queer, it’s tragic, and nobody else can understand it. 

Not Our Flag Means Death. From the moment it aired, it was praised as a show with unabashed queer joy, which means more than I can possibly say. The two main male characters meet, they have chemistry, and they fall in love. It’s not implied, or hinted at, but blatantly obvious. Their romances and the queer romances around them attracted so many queer fans who felt that after so many years, this type of show was a vindication for what they had been through with other media. 

In this show, piracy itself was that of a found family. Though Stede Bonnet and the crew of the Revenge start off with many differences, the core of the show centers around a theme that many queer audiences are attracted to: found family. The Revenge was depicted as a safe space, where everyone could express themselves freely, a refuge from a world of judgment. Queerness was not only accepted but normalized on The Revenge. No homophobia, no coming out, no typical complications of queer romance. Just love and safety. Warmth, which was Ed Teach wished for in purgatory. Which was what he found on the Revenge. The ship was a safe space that so many queer audiences had dreamed of. 

Well, a safe space except for one person: Izzy Hands, Blackbeard’s First Mate, who was a man painfully stuck in the wrong genre. This is the general consensus by both fans and the cast: Izzy, Edward and their crew had been in a gritty action movie, whereas Stede and his crew were in a muppet movie of sorts. While the majority of Blackbeard’s crew quickly acclimates to and celebrates the change, Izzy doesn’t. 

And right away, many fans felt a deep attraction to Izzy. The reason that Izzy couldn’t get Edward to love him was because, in the end, the only way that Izzy knew how to love was through blood. To give and receive pain in an action movie is one of the greatest forms of love, but Izzy fails to realize that Ed is not in an action movie anymore. He is happy with this stability, and the reason that so many people felt Izzy’s presence so was strongly was that he wasn’t. 

So many queer people are, in a way, addicted to tragedy. Tragedy is all that is represented in queer media for the most part, or was until very recently. Take Achilles and Patroclus, one of the most celebrated and recognized queer love stories of both ancient and modern times. Why that one? There are other greek love stories, many of them queer. The tragedy of it- Patroclus’ death and Achilles’ rage- made it all the more appealing. Many in the audience of Our Flag Means Death were not comedy fans, they were horror or drama fans, attracted to a comedy because of the love story. But Izzy, to them, was a physical representation of who they were, carrying an awareness of homophobia, of blood and pain that so many queer relationships had previously been illustrated by (i.e. Hannibal). Though Ed may not have understand this type of affection, the audience did- Izzy’s Otherness from the crew despite it’s safety, his expressions of love and his unrequited love story were all things that the audience were familiar with feeling. 

If Ed and Stede were good queer representation, Ed and Izzy, for example, were a foil of that. They were evil, messed up, and fed into the worst parts of each other because it brought them closer. This is a theme present in a lot of queer media, and by extension, queer lives: “if you love me, Henry, you don’t love me in a way I understand”, is an excerpt classic queer poem about unrequited love that fits the situation. The very reason Izzy stuck in people’s heads because he was of a different genre. His grittiness and bitterness made sense to the audience. They saw Izzy and saw what was familiar. He was exquisitely written, simultaneously making even casual audiences both hate him, and against all odds, find him oddly endearing. The idea of this man sacrificing every inch of himself for an unrequited love was a concept of tragedy, leaking into a comedic show. 

So fans projected onto Izzy. He was a catalyst for the heartache, for the audience’s sheer inability to have a happy show. For one reason or another, some of the audience simply couldn’t live with a show that was all fantastical, which I theorize is because they couldn’t see themselves in it. So Izzy became the epitome of queer suffering: pining longingly after another man that couldn’t understand him. This projection of suffering, however, led to a new wish: happiness for Izzy. If Izzy in Season 1 was a tragedy, assimilating him into the found family in Season 2 would have elevated the safe sense of the ship all the more. It would have proved to so many of these Izzy Fans that yes, even though you view yourself as unloveable, even though you see yourself as Israel Hands, Villain, even he can be loved too. Why can’t you be? 

And Season 2, for the most part, delivered beyond our wildest dreams. Izzy had people who cared about him. And though the genre shifted into the darker, Izzy himself shifted slightly to the comedic side as well. His life, which had been centered for so long around a man that didn’t reciprocate his feelings, was gone. He started a new life, and this life, again, focused on queer joy. The queer joy from Season 1 was suddenly for everyone, even those like Izzy that couldn’t have understood it. He sang, he whittled, he talked about feelings, he dressed in drag. Many elder queer fans also saw Izzy as another metaphor, too: that queer joy can be attained overtime. You don’t have to have had it the whole time, but you can accept yourself even when you are older. The message of Izzy was one of resilience and stubbornness, one that the queer community needed to hear: that you don’t have to be like this, you don’t have to create pain for yourself. You don’t need to watch tragedies all the time. You, too, can heal from the past.

And then, the season finale happened. By this point, many argued that Izzy had stolen the show. Con O’Neil’s acting mixed with his general arc of self acceptance had made him a fan favorite. In the last episode, it is Izzy himself who sums it up perfectly, accepting that he belongs somewhere despite his pain and flaws. Despite the darkness within him, he was still accepted and loved. He says it right to the face of Prince Ricky, who thinks himself above it all. That piracy, a metaphor for otherness, wasn’t actually about being alone; it was about finding others that understood you when nobody else could. 

Listen, this show is known for it’s nonsensicality. In the finale of Season 1, Lucius is thrown overboard by Ed and survives by simply swimming to another ship. Stede reunites with his crew by sailing a rowboat. Buttons turns into a seagull. Stede stabs Ed for a comedic bit. Earlier in the season, Izzy himself gets shot and survives. This queer joy show was celebrated for being, well, joyful. Even when things like getting thrown overboard did happen, they were, ultimately, a blip in the character’s journey towards acceptance, healing, etc, which was what made the show unique. Our Flag Means Death, whose audience had been living for years off of the “Bury your gays” trope, was adored because it illustrated a world where things didn’t have to be that way. A place where the impossible, such as Izzy Hands being loved, could happen. This show was one of survival. 

But not for the one person that was seen to struggle with this concept the most. Not for the one person that was a metaphor for belonging in this place, who became, over the course of a season, the embodiment of the message itself. Not for the Unicorn, the very symbol of this magical, nonsensical ship. Not for the most stubborn, most indestructible, most enduring (queer) person in the show. Not for Izzy Hands. 

This trope, honestly, was one that many have seen before, both in mainstream and queer media. A character, previously shown to be a villain or else to have gone through a lot of pain, is shown to heal, to get better, and then to die in order to “complete their arc”. This trope is common: Loki, Cas. even Ted Lasso, who doesn’t die but goes back to the very place that broke him in the first place. But the reason that Izzy’s death, while it might have been expected in another show, felt like a betrayal in this one is because it was known for subverting those tropes. From the “Bury Your Gays” to the “Up For Interpretation”, it was known to look those tropes in the eyes and say “fuck you, these people deserve to be happy”. And this did happen! Except for the one character who’s healing journey was one of the most relatable, at least to queer audiences. 

What also made it so jarring was that all the other characters got to be happy, except for the one that had struggled with the idea of happiness the most. In the scene immediately after Izzy is buried, Lucius and Pete get married. In the scene after, a montage of queer joy and found family is shown amongst the whole crew. In the final scene, Ed and Stede, our main queer couple, are shown healing themselves and starting a new life together. The last shot, however, showed Izzy’s grave, visited by Buttons the seagull while Ed and Stede had dinner. A tragedy in it’s finest. It wouldn’t have been difficult for Izzy to live. Because, in the end, his death meant nothing. His healing meant nothing. He died and was moved on from in a matter of seconds. He was, as I mentioned, the catalyst for tragedy, more specifically, queer tragedy. But because of this, of his genre, Izzy didn’t get to live. He had to die in order for the rest of the characters to keep living in this fantasy world. This death was, in a way, a preservation of these other love stories.

I maintain, however, that it would have meant more if Izzy had lived. If he had been  able to show to us that yes, despite what you have been through, despite what you may have inflicted upon yourself, you can switch genres. It’s possible. Izzy’s survival up until that point had been a profound testament to many that it is possible to heal, that queerness does not have to mean sadness. It would have continued to be a testament to that if only Izzy had lived. And so, this pirate that we latched onto, not in spite of his darkness but because of it, was buried on land on the side of the road. 

As a side note, many previous incidences in the story point to the idea even though Ed and Stede will definitely stay together, it’s uncertain if the inn would have worked out. It’s likely that, being a whim, those two might have chosen to move, or go back to the sea, or sail to China. If this is true, they would have left Izzy’s grave by itself, like a family pet buried in the yard. If this is true, Izzy Hands, a metaphor for belonging, would rot alone. 

Long live the tragedy addicts. Long live the Richard Siken poems. Long live Izzy Hands. 

*When I talk about the "fandom" I am referring to the canyon.

[velvet-vox]

The russian worker drones family; murder drone's greatest small scale tragedy.

As long as I can recall there has never been in my mind a story quite as painful and heartbreaking and yet quite as engaging as the tragedy of Doll, Yeva, and her husband, who's lack of a clear name doesn't detract from the impact of this story or the death of the other two.

The last time such an emotional impact was left in my brain was with Noximilliem Coxen the Watchmaker from Wakfu, who I will assuredly make a comparison post with Doll, as they both hit extremely similar themes and ideas while still having such different execution and story beats that it almost makes you question why would you even compare them in the first place.

Tragedy is deceptively hard to write right and make meaningful, as just crippling your characters won't do, because at that point it just becomes drama porn and as boring as a low effort pre-schoolers program. Seemingly unfeasible in a show such as Murder Drones; an horror/comedy/romance where an abused child repaired and made friends with a robot only for said robot to cause the destruction of her planet and... something else.

Buckle up cause these robots emotions might not even be considered real inside the fictional setting but our pain allows what would otherwise be a pretty standard horror scenario to transcend into the bane of my existence as we take a look at the small, inconsequential tale of the russian worker drones family.

Yeva

Starting off with Yeva as the oldest member of our family in terms of chronological relevance, we get our first peek into the way this story plays out due to Yeva being seemingly mute by choice or programming, which retroactively sets up the storytelling method used; Yeva doesn't speak a single word in this scene or the one that precedes it, but we still get a clear rendition of her character by her standoffish behaviour juxtaposed with her caring and nurturing nature, it's debatable whether or not her and Nori are sisters, but you wouldn't be blamed for thinking that judging by the way Yeva tends to Nori after the banishment of the solver, being chained up and experimented upon didn't stop her from staying positive in the midst of adversity and could theoretically be the reason why she was the only correctly patched drone in the facility.

During the V attack she sacrificed her own life in order to protect Doll. An act that, in the long run, ended up being whortless, but that cemented Yeva has an unyielding positive influence in a world stormed by negativity and death.

The father

We know jack s##t about this man but that won't stop us from analysing him. The most interesting things about him are his relationship with Yeva and the fact that the picture of V seen in episode 2 was made by him. He's, admittedly, a white canvas for head cannons, but thematically he keeps a recurring motif that this post will touch upon in his final entry:

Doll

And now, for the crown jewel of this family. The protagonist's dark reflection. Not many people can claim to have been messed up as hard as Doll was. Sure, death is still death, but with it comes a certain sense of finality and rest. Instead, by contrast Doll's death is so brutal and devastating because although it's something that she has been calling upon herself since she started to consume other drones for her goals, it's just so heartbreaking because she managed to achieve absolutely nothing despite being one step forward everyone else in the story; she never got better, never reademned herself, made their parents sacrifice worthless, died almost entirely off camera completely alone and scared, and as her last compensation act she managed to give Uzi a barely useful warning before having her probably still alive consciousness eaten by an eldritch atrocity. At the end of the day, she was deemed worthless by the main antagonist and quickly brushed aside.

And we go back to a certain reoccurring theme regarding this family: Yeva never speaks. Her husband is never given a name. Doll is literally a toy name. Their story plays out in the shadow of the main plot. Every single aspect regarding them paints their existence as worthless and inconsequential (classic eldritch horror), yet are given enough spotlight to leave an impact on us, to have their presence felt, and to give us the impression that, despite their bad luck, if they only took certain decisions in certain key moments, maybe they would have survived and received a much better ending than the one they got.

Want more?

[hotvintagepoll]

Propaganda

Marion Davies (Show People, the Patsy)— JUSTICE FOR MARION DAVIES. I am always so upset when I learn that some people STILL think she was some untalented pretty face who was only a success because of her relationship with Hearst. Please watch literally any of her movies, silent or sound, to see how untrue this is. She was successful in spite of Hearst's constant meddling. She really shines as a comedienne. Just watch her imitate other silent stars in The Patsy, or her screwball antics in Show People. I've watched so many silents just for her, but she was also really good in sound films, too, like Blondie of the Follies. She's absolutely adorable, and she deserves to be recognized for her talent, alone.

Rita Hayworth (Gilda, Cover Girl)—Absolutely, drop-dead gorgeous. She steals every movie she’s in; she was Fred Astaire’s favorite dance partner, as you can see in clips from their movies [link][link]. Born Margarita Carmen Cansino, Rita's story had its tragedies—her father was awful and had her performing in nightclubs way, way too young; the studio totally remade her look because they were afraid of her hispanic image, putting her through painful treatments and diets; she had a string of failed marriages. But beside all that, I think there's something about Rita that still glows through—an inner beauty that has nothing to do with the studio, or the men who pinned their dreams on her. Rita brings an incandescence to roles that's impossible to replicate, and was truly a great actress in that she could switch from herself—shy Margarita—into a bold and glamorous femme fatale so convincingly everyone fell in love with her as Gilda. She's my favorite movie star, and I think she was a beautiful human through and through—Rita, gorgeous and real and shining bright.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Marion Davies:

the queen of comedy

 If anyone is looking for a tragic infamous funny fav, this is your girl! She came from a catholic convent to become a showgirl! As many of these early Hollywood stars, she fell victim to falling in love with the wrong man. She had a long lasting affair with a older powerful married man, William Hearst. Their story was so iconic and scandalous that it is largely what inspired Citizen Kane. She gained her fame through him, which eventually gathered her the reputation of being social-climbing and taking advantage of more her looks than her talent. This made her controversial, which wasn't helped by her flirty fun personality and attitude towards other actors (including Charlie Chaplin). All of this hate meant that she was eventually ostracized by Hollywood and even blamed for Hearst's death. My poor girl was excitable, funny, charismatic, energetic, and extremely talented. I believe that at her heart and soul, she was truly a clown. She possesses an incredible gift for mimicry, a deceptively animate face, and an absence of on-screen ego that allows her to throw herself into anything, no matter how foolish or potentially embarrassing, with all of her considerable energy. And it's those ridiculous moments that are almost always her best in film, because to me, that's really who she was. She was silly and sweet and so so so so so funny! And she deserved better than the tragedy of the life she got.

Rita Hayworth:

Do you need any other propaganda? Here’s the video.

She was not called "the love goddess" for nothing: beautiful, glamorous, despite playing sexy and provocative roles her inherent shyness somehow also would shine through sometimes, creating this contradictory and incredibly attractive image

Often played "the bad girl" who tempted the male hero away from "the good girl"; but did have roles that broke her out of that mold. She was also the inspiration for Jessica Rabbit. THE pinup girlie.

HELP

She was soo beautiful when she was young and she MAINTAINED that beauty into her later years and I think that old lady glamour is hot. bombastic sex appeal

every line she delivers in gilda is so flirty and passionate or absolutely desolate and it's so good

I just have a lot of feelings about her

[londonspirit]

Our Flag Means Death’s season-two finale has it all. There’s a declaration of true love between our favorite criminals, Stede Bonnet (Rhys Darby) and Ed, a.k.a. Blackbeard (Taika Waititi). There’s also a heartbreaking death (RIP, Con O’Neill’s Izzy Hands), a pirate wedding that ends with the words “You are now officially mateys,” and some big-time fight scenes. “Mermen” packs a tight punch in only 30 minutes. The episode is both thrilling and satisfying, so even if Max makes the grave mistake of not renewing the series, fans will feel closure in a way that they didn’t with season one’s sendoff. And Our Flag Means Death creator David Jenkins already has some fun ideas brewing for a third season (and beyond!). The A.V. Club spoke to Jenkins about his plans to evolve Ed and Stede’s relationship, potential spin-offs, and how everyone on the show is handling its passionate fanbase.

The A.V. Club: First of all, how dare you kill Izzy Hands? Was that always the plan when you mapped out season two? 

David Jenkins: [Laughs] Yes. I felt that Izzy had reached a point where he broke through a lot of his major patterns. It was fun to give him a season where he got to do everything and where Con O’Neill got to do everything. Well, I won’t say everything, because Con can do light years beyond what I think he can do, and I do think he can do anything. We wanted to show the depth of that character. Izzy is one of my favorites. He’s like middle management who is in a sort of love triangle [in season one]. He got his wish at the end of the first season by breaking up his boss and his boss’ lover. He got punished as a result, and he had to come out on the other side, which felt like a good journey.

AVC: Despite everything that happens in season two, including Izzy’s death, the finale ends on a happy note with Ed and Stede living together. Why was it important for you to show that?

DJ: Season one ends on such a tough note for them. As you said, after what they’ve been through, they should get a moment of happiness. I won’t say however fleeting. They are going to have challenges ahead. They’re both not the most mature yet. I think that’s the fun of it, to leave them in a place where it’s a good kind of stasis. They’ve sent the kids off in the car, so to speak, and now they’re going to have to really grow if they’re going to start an inn. It won’t be easy, but I like that they’re going to try.

AVC: “Mermen” has all the elements necessary for a season finale. Did you partly add all that as a way to provide closure in case this is the end for OFMD?

JD: What’s important to understand is that you never even know if you’re going to get a second season. Maybe if you get picked up for two right away, and even then, but especially right now, who knows? I think with season one’s end, it was a gamble to leave it the way it was. Everybody stomached through it. Now if it turned out they didn’t want us to make more, I just didn’t want to have another story where the same-sex love story ends in tragedy, unrequited love, or if one or both of them are being punished.

AVC: I actually love that about Our Flag Means Death. It reminds me of Schitt’s Creek in a way because the love story just exists and is perfect; there’s no questioning it as right or wrong.

JD: That’s such a nice compliment because I also think Schitt’s Creekdoes that really well.

AVC: You’ve previously said you want Our Flag to have only three seasons. Is that still true or do you feel like the show has scope to continue beyond that?

JD: I feel like Stede and Blackbeard’s story is a three-season story, but the world of the show could go beyond that. It’s a really rich world with so many stories to tell and really good performers to tell it. I do want to see how Ed and Stede become a mature couple in the next season. They’re a couple who is like in their late twenties right now as opposed to being teens at the end of season one.

AVC: So if OFMD continues in some other form, are there characters you’d like to focus more on or other historical references you’d like to include?

JD: Yeah, a lot, because it’s such a rich ensemble. How do you not want to see more of Joel Fry, Samson Kayo, Ewen Bremner, Nathan Foad, or Vico Ortiz? Any one of them could carry their own show. It’s fun to think about that and the storylines we can do with them, mixing and matching all our characters. Vico is incredible, for example, and I especially love watching them in an action sequence. This is a weird comparison, but there’s a Harrison Ford and Sigourney Weaver vibe they put out. I’m such a fan of what they do.

AVC: You also really like parallels and coming full circle as a storyteller.

JD: Yeah, I do.I knew I wanted to start season two in the Republic of Pirates and end by coming back there. Stede goes on an amazing journey between the episodes. He’s thrown out of there initially, but then he comes back as a hero. I like the symmetry of that. And then the Republic of Pirates gets destroyed; it dies. It’s not just Izzy; it’s the place too. It was important to have a home, this stronghold for everyone, be destroyed. But the characters are not crushed. They’re going to try to move on.

AVC: One of season two’s new characters is Zheng Yi Sao, played by Ruibo Qian, who quickly becomes an integral part of the crew. What was the casting process like for her?

JD: Ruibo is an amazing find. One of our incredible casting directors, Cindy Tolan, she had Ruibo in mind immediately for that part by the time it got to her. And we had looked and looked before talking to Cindy. Ruibo has her own fascinating story because apparently, she had a couple of strong premonitions that she’s going to play Zheng Yi Sao. She had a modern take on the part without it being strained. She’s incredible. She’s a trained theater actor with a lot of chops. She has to go toe-to-toe with Taika and Rhys. She did it with such grace.

AVC: Season two takes Blackbeard on an interesting turn of denouncing being a pirate. But in the finale, it’s almost like he’s reborn as one, especially with that gorgeous shot of him coming out of the water. What was the thought process behind this arc?

JD: Thank you. Blackbeard is a guy in recovery when he comes back to the ship when he’s wearing the jumpsuit. He’s trying to hang on and find some kind of footing. Who is he if he’s not a pirate? Meanwhile, Stede is on his way up and wants to experience the rockstar life of a pirate, while Ed as Blackbeard is over it. It was an interesting tension of, which one gives up their dream? A lot of times in relationships questions can come up, like who is going to give up on their dream to take care of the kids? Obviously, no one wants to, but someone ends up giving up more than they want to at some point. What’s wonderful about a mature romance, and what I’d want to see more of in season three, is Ed and Stede making these tough decisions.

AVC: Stede and Ed’s relationship has led to a passionate, vocal fandom, which you didn’t have as you were writing season one. While working on season two, how did you avoid doing fan service and focus on meaningful storytelling?

JD: I never anticipated the strong reaction to season one. It’s incredible it happened. Everybody is buoyed by it in the cast, crew, and the writers’ room. To be perceived on that level with such enthusiasm makes us want to make more of it. A lot of the things the fans love are not different from things the writers love. We are fans of the show. We’re writing fanfic, but it’s called fic when we write it. The big thing for us is to make sure we’re writing beats for the characters that feel true and have moments where all of us go, “Ooooh, we have to do this.” If the beats stay true, it won’t feel like we’re simply pandering.

AVC: How do you break down those beats for Ed and Stede’s relationship as they go from wanting to take it slow to sleeping with each other this season? And where do they go next?

JD: It’s challenging with them because most rom-coms end with couples getting together. They don’t then stay with them and say, “We’re together now, but it’s turbulent; how is that going to work out?” We thought, “Okay, let’s look at our relationships in the room. What have we encountered? Who’s been dumped? Who has had to forgive somebody?” These questions were fun for the second season. I think for the third, it would [be], “Okay, who’s had a relationship for over 10 years? What things do you have to work on?” It’s fun to watch two people like Ed and Stede go through this experience.

[oh-no-its-bird]

I kind of ended up w a small pile of Hatake ocs and lore to fill the early konoha timeline void, and a big thing is like. They all die to preserve the narrative. A lot of them very young bc again, made to fill the time line, so logically, there had to be some Hatake kids/teenagers who met an unfortunate end.

So I'm kinda sitting here considering a 4 part fic where each chapter revolves around a specific Hatake and their inevitable death, w maybe a bonus chapter at the end being about Sakumo

"Death of the Wolves," the unfortunate end of the Hatake's, told in 4 parts

The Hatake's helped set the Konoha standard rule of "a team can only be made up of so many % of one clan" (with special exceptions) after a large chunk of them got sent on a mission together bc of their specializations and all wound up dead, wiping out a solid 90% of the clan in one night.

Actually, expanding on that bc the tragedy is so good -> I already established that in my time line, the Hatake head, Haruka (Sakumo's mother, Tobirama and Hashirama's aunt) died under a week after Tobirama's death, and she would have lead that failed mission. Does that mean one of Hiruzen's first acts as war time Hokage resulted in the accidental slaughter of his beloved dead Sensei's mother's clan? That's amazing actually, so much drama there. I bet him Danzo and Kagami argued like crazy after that monumental fuck up, probably went on to define how he feels ab being Hokage / what that entails. Fun times!

Anyways, I'd also be very interested in exploring early konoha politics n stuff. Especially from the multiple views of not the people in charge of making the village but the ones who are living in it. The view from the ground up, instead of looking down from the tower. The younger generations being brought to this new village, going from their isolated clan lands to suddenly being surrounded by others their age from different clans, possible for the first time ever depending on their age and their clans level of secrecy.

Also, I really wanna poke at the outsider pov of Madara and other founders— but mostly Madara bc I find his downfall very fun to think about, especially from the POV of someone not in his clan.

I'm so in love w the take of the Hatake's being fond of Madara bc "he'd make a very good Hatake." Something about the two tropes of the Uchiha being a clan that loves love and the Hatake being a clan w similar values when it comes to family and loyalty just meshes so well.

Comedy moment where Haruka is weirdly insistent on Madara potentially marrying into the clan, not even for the politics or anything but specifically bc she NEEDS a cute squishy Hatake baby with his massive hair. She NEEDS IT, MADARA.

Anyways also just the early konoha inter clan drama but like. From the eyes of the clan kids. The Uchiha kids seem to be having some sort of terf war with the Senju— but it was interrupted by the Hyuuga, and now the Senju and Uchiha kids are somehow banding together against the Hyuuga? But oh no now the Nara kids are teaming up w the Hyuuga, and the Hatake kid (singular bc there's literally only like 1) seems to have an actual blood feud going on with the Hyuuga clan heir— but the older Hatake teenagers are fond of the Hyuuga's baby clan heir so it's just a mess. All the clan drama but with none of the tragedy bc everyone involved is a child.

Meanwhile the older clan members are somehow bonding over their children's fights bc they're all struggling to pull them away, or going "what the fuck do you mean you teamed up with the SENJU??" Then sharing a disbelieving Look(tm) w the opposing Senju's parents before realizing what they just did and having a crisis of faith ab it

Meanwhile the teenagers are having a wonderful time, especially those from smaller more isolated clans like the Hatake. There's so much romantic drama, there's probably a whole shinobi soap opera happening in that direction. Hormonal shinobi teenagers from opposing clans just got dropped into the same dating pool it's gonna be a MESSSS.

Even funnier if you take crumbs from my senju weed empire au and like. Some of these clans regularly smoke n stuff. Meanwhile other clans have never touched a psychedelic in their life. Some are especially vulnerable to drugs due to heightened senses (Orochi, Inuzuka, Hatake) while others have been smoking since they were younger and have an insane tolerance and very much distorted views of a reasonable amount of weed to smoke (Senju, Nara, Shiranui) There is no way in hell that goes well. Someone is going to get fucked up in a MAJOR way.

Well-intentioned Nara accidentally gets a bunch of dog wired guys and one snake high out of their fucking minds, the high lasts a full week for some of them and one sometimes wonders if they ever really came down from it

Anyways I got a bit off track but yeah! Early Konoha fic that revolves around the daily lives of differently aged Hatake ocs, taking a look from different angles of Konoha and all the silly clan drama and daily lives of an early Konoha shinobi— each chapter being different degrees of generally lighthearted, but ending in the Hatake's death. The fact that each Hatake is in with a different crowd and is a different age would make it even more fun and easier to explore the different layers Konoha has to offer! It's for sure on my list of things I wanna write

(Also I'd really love to have it just so I can point to it as a good introduction for my Hatake ocs. I love tricking people into learning ab my ocs it's great)

[nyaagolor]

Howdy again, if it's the meta world VS "real world" thing in Umineko that's got you stumbling, don't worry. The assumption Ryukishi and co. seem to be going with is that the meta world IS real, and everyone's just chilling in a happy magic afterlife post-series (hence how episodes 7, 8, and 9 can even happen). The "07th Expansion All Characters Settings Collection" guidebook even has little epilogue blurbs for the cast, I can link you the translation hosted on the wiki if you want. It's still bleak in the sense that, yknow, everyone was dead from the start and the whole journey was more of a "coming to terms with what happened" kind of deal, but I think it works given stuff like the Divine Comedy references going on (if you read Battler as Dante and Beatrice as uh, Beatrice, a lot of Umineko'll start to make sense). The way I see the split is kind of an "as above, so below" type deal - while Tohya is down in the land of the living trying to write and solve things, Battler and friends really are up there fighting for their lives in purgatory, and the two reflect each other. Of course if that's not the problem you have, I'd love to hear what you're thinking!

hiii thank u for the ask!! (sorry this will be a Long One). I'll admit the meta world / real world stuff tripped me up at first, because looking at episodes 4 and 8 it really seemed to be implying that the metanarrative was the coping mechanism of Ange+Tohya and their way of pretending like their loved ones got the happy endings they didn't get in life rather than something we can actually assume happened. However extra content implies this is not the case, Ryukishi doesn't feel like the author who would do that especially after the thesis of Higurashi, and tbh even if he did there was enough plausible deniability that I would just imagine the Golden Land as real because You Gotta Cope Somehow. I love the "as above so below" vibes too, that's a fun new aspect to incorporate

My biggest hangup with the ending was basically in the idea that Sayo's narrative is fundamentally doomed. I was under the impression that the boat scene was implying that Sayo couldn't be happy even if she did escape due to the burden of the truth / her trauma. The positive framing of the catbox remaining at the bottom of the ocean initially struck me as a "her death is the happiest ending you can hope for because of how fucked up this all is" which is already a nihilistic narrative but downright unbearable when given to an intersex trans woman. I just don't vibe with hopeless trans narratives at all, and felt like I had misinterpreted smth bc Ryukishi isn't really a nihilistic guy. I'll admit I got a little soured to the narrative as a whole when I looked around online and saw people talking about how Sayo getting a happy ending was "missing the point".

After talking to @heartgold I realized that I had reversed the causality a bit. I was under the impression while playing that Ryukishi's insistence that "things had to happen this way" was him not just saying "oh everyone is already dead, the end result is already the same bc we're looking back at past events" but also "it doesn't matter what individual actions people took, it was always going to end in tragedy". I realize now it's more of a "this was totally preventable in so many ways but it already happened and now we have to grieve and cope in whatever way we can manage" kinda thing rather than a "this is fate and Sayo was screwed regardless", so I'm cool with that aspect. (Also I won't lie I prefer to imagine the boat scene as almost entirely metaphorical and more of a representation of the fragmentation of Battler's consciousness due to trauma in a similar way as what happened to Sayo, but that's neither here nor there)

The other part of it, and the thing I'm still really hung up on, is the question of whether or not the Golden Land is actually a happy ending and, if it is real, whether we're supposed to view it as a sorta perverse tragedy. On one hand, the alters are all implied to be separate people and they get their happy endings (yay), but on the other hand that doesn't really fix nor address Sayo feeling like she needs romantic love to be fulfilled (also The Incest(?) I'm genuinely unsure if the whole "alters becoming separate entities" negates the incest or not). The idea that Sayo was so far gone that even the fantasy created from her best memories does not allow her to truly be happy is just so insanely depressing to me, so I find myself stuck with that friction of wanting Sayo to have her prince and her white horse and her fantasy happy ending while also not wanting to downplay the truth. Having this little moral dilemma feels like the point of Episode 8 and really gets us into Tohya's head, which is awesome, but also gives me a lot of mixed feelings. Knowing that Sayo's truth literally has Beatrice married to Battler makes it even tougher bc I can't just use plausible deniability and say they're platonic bc they are uh. very much not as far as Ryukishi is concerned. I'm still working out my feelings on it, mostly because I desperately want Sayo to have everything she's ever wanted but also having to contend with the little part of me that's whispering "it can't and shouldn't happen and you know it". Alas. Umineko.

PS: thank you for telling me about the character booklet, that's SO cute!!! I love the little details about everyone and the cat-ear Bern is everything I've ever wanted

[izzysillyhandsy]

How I learned to stop being angry and love the Death Scene (for now)

This may be a controversial take, but I've come to the conclusion that Izzy's death scene maybe wasn't badly written after all.

There is one big aspect of this scene that I really love: it was 100% in character for Izzy AND Ed (and everyone else too) at that point in their story.

BUT it only works if we are not expected to believe that 1. this was in any way a happy ending for any of them and 2. that this arc is finished.

If Izzy stays dead permanently, his death and the way it happened, what was said and notably what wasn't, was tragic for everyone involved - especially Ed - and we should feel bad about it. This isn't an uplifting scene of closure for either Izzy or Ed, and it is totally understandable that most Izzy fans were crushed by it (and Ed fans, even those who don't like Izzy, should be too!).

If there is no possibility that anyone, in any way, can talk to Izzy ever again and (in Ed's case) clean up the mess between them - then this is not a comedy any more. It's a tragedy. And it should be treated as such by the show and the creators (and this might be where disappointment lies waiting).

The death scene by itself though was fitting, if we look at where Ed and Izzy are on their character arcs at the end of S2. It played out exactly as I'd have expected.

Izzy - All about Eddie

The main problem I (and many others) had with Izzy's death scene is that it is all about Ed.

Izzy is apologizing for everything that happened, including Ed cutting his fuckin' leg off. He is reassuring Ed that he wants to go, it's ok, no need to be sad. He encourages Ed to be soft, emotional, himself. He tells him that his biggest fear, being unloveable to anyone except Izzy, isn't real - he has a family now.

And, now that I've had time to think about it, I realized: YES this is exactly what Izzy would do.

All of S2 was about Izzy breaking the chain, but until the end it was still all about Ed for him (because it's not as easy as cutting off a rotten leg, unfortunately). Izzy would make his last moments about Ed, trying to do as much good as possible in the short time he had left. Or, trying to undo as much of what he thought he'd done wrong.

And I really don't want to take away from Izzy's accomplishments and character growth in S2. He'd come so far already! After years and years of singleminded devotion and love he'd finally realized that their form of entanglement was destructive.

Izzy broke up with Ed in Ep2 - and it almost killed him both of them. He started to look for meaning outside of his relationship with Ed, rediscovering aspects of himself that had long been buried and forgotten. He began, tentatively, to form bonds to members of the crew and put himself out there, away from Ed's side, away from being Ed's voice and Ed's hands, ruled by Ed's emotions.

But there wasn't enough time: still, everything he did was, in one way or another, at least partly about Ed.

Whittling - a Blackbeard metaphor Training Stede - "What did he say about me specifically" La vie en rose - a love song about "the one" and promises for life Hiya boys - oh my god he's trying so hard here but this is killing him, isn't it Bonding with Stede at Jackie's - "He's a complicated man" The Ricky monologue - so much passion behind every word, not getting what you want, letting go of ego for something larger - the whole speech was (at least partly) about Ed

(I believe the first Ricky monologue about belonging is more about Ed than the crew and I know this is not a popular take. Still, for me it makes sense because this is how Izzy felt for decades. I don't think he has shaken that mindset yet - give up your ego, your own dreams and personality for something larger - Ed&Izzy or Blackbeard. When he says "he crew" it feels like a bit of an afterthought - there is a pause.)

So, at the end of S2, Izzy is not over Ed at all - he's deeply hurt, feels incredibly guilty (unreasonably so!) and is repressing a lot of what happened.

He's still so entangled with Ed - if this is his last chance to make things right, he will.

And as much as I would have loved seeing Izzy dying surrounded by his loving family, he wasn't there yet. Not as long as Ed was around. And I think the crew understood. They understood Izzy more then he understood himself at one point ("You're in a toxic relationship with Blackbeard"). They understood what he was going through, and they gave him space to say goodbye to the man he had loved for his whole life.

Izzy died how he lived - all wrapped up in Eddie. And at this point in his life, I wouldn't have expected anything else.

Ed - All about us, you and Me

I love the symbolism of these 2 frames - while Izzy's bloody hand is entangled in Ed's hair until death (and beyond), Ed's bloody hand is putting a distance between Izzy and everyone else but himself.

I wonder how Ed would have taken it if it had been the other way round - if Izzy had found himself a Stede at the start of S1.

I think not well is an understatement.

Even though Ed seems constantly annoyed by Izzy in S1 (and violently destructive towards him in S2), at no point did I get the impression that he actually wanted Izzy to leave, for Izzy to love him less intently or be less devoted.

But, it wasn't very much about Izzy as a person, or Izzy's happiness, or their shared happiness anymore. I think Ed saw himself and Izzy as "together forever, us two against the world", but without putting any work in or pausing to think how Izzy was actually feeling (and I am 100% sure that Ed knew how much Izzy loved him and how little love he got in return).

But being with Izzy was Ed's whole life, they were two halves of the same whole, and Ed even kinda expected Izzy to stay around after he fell in love with Stede ("We could have worked this out!") and didn't really think about how this never, ever could have worked out for the kind of relationship they were having (this is how Steddyhands... was so compelling actually).

So is it any wonder that, in Izzy's last moments on earth, Ed wants to have him all to himself? He sends Stede away. He signals the crew to stay (waaayy) back. He cradles Izzy in his arms, his back to the crew and everyone else who loved him.

And although, at the start, he tries to get a word in (to apologize back, to tell him he's forgiven) - Izzy dies without hearing anything that wasn't directly related to Ed and Ed's feelings.

Ed never tells him he loves him. He doesn't tell him how much Izzy will be missed for himself and not for what he could do for Ed. How important he was to Ed all those years.

The only thing Izzy gets from Ed before he dies is "You can't go. You can't leave me. Please! You're my only family."

What will happen to Ed? You can't do this to Ed! Ed has noone else! And as sad as this is, it is in character for him at this point in his life.

Ed is fundamentally a very self-centered (and self-hating) person, and his journey towards change had just begun with his death and rebirth. And just like Izzy, he would have needed much more time to grow (although Izzy'd gotten much, much further than Ed).

At Calypso's birthday, I think for the first time in forever, Ed saw Izzy as his own person, someone who he could actually love apart from this Ed-Izzy union they had going for so long. But only a few days (I guess?) later, Izzy dies.

So, at the end of S2, Ed still sees Izzy as "his" to a degree, sees him as one half of "us". He almost expects Izzy's last words to be about him (or them) and doesn't yet see Izzy as his own person, with his own feelings and ties to other people who might have wanted to say goodbye as well.

For Ed, Izzy died how he lived - wrapped up in Ed and Ed keeping everyone else away. Talking about himself only in relation to Ed. Izzy as a part of Ed that's vital and needed - but not itself in need of words of solace or other people's love (or any love, period).

Conclusion

At this point in Ed's and Izzy's life, the death scene and how it was written/acted is perfect, in my opinion. But for the characters, it's incredibly tragic.

Izzy never got what he wanted most - Ed's love. He died believing almost his whole life was a mistake, keeping Ed from his true self for far too long and destroying him in the process. In the end, the crew who had unconditionally loved and accepted him, stood at a distance, and the man he still loved over anyone and anything else never told Izzy what he meant to him - and now he never will.

Ed was absolved of his guilt and maybe, in the moment, he even believed it. But of course everything that happened in S2, and everything before that, wasn't (only) Izzy's fault and in the future, Ed has to deal with that. Only now there is no Izzy here to work it through with, and to make amends, no one who was there for it all and who knows parts of Ed best. When Ed finally realizes what Izzy meant to him, it will be too late.

So, if we get a S3 and nothing is ever made of all of this, if Izzy is really dead and the Ed/Izzy dynamic is done and dealt with, then it was bad writing (and I am so afraid that will actually happen).

But as it stands, I'm beginning to love the scene for what it is: a tragic, consistent ending for two characters that I love deeply.

But please don't tell me this was a kind ending.

[krookodyke]

thinking of how all the yellowjackets are cursed in one way or another. not even just the obvious ones, but all of them.

shauna is cursed to remain as a haunted house forever— she’s been grieving a girl for longer than the girl herself was even alive. most of shauna’s existence was already built on guilt even pre-crash but with jackie and shauna being directly responsible for it knowing that jackie had felt so cut-off from the group and yet she let jackie storm outside and didn’t fetch her at any time during the night, it’s that much more harrowing. she’s always going to be trailed by jackie’s ghost for the rest of her days. and even when she dies, she’ll be old and weathered and broken from all she’s done and jackie will still be the 17 year old teenage girl she’s always been and will always be.

taissa is cursed with a rot she was born with that she’ll never escape— her nana saw the man with no eyes and now she does, too. it was inevitable, even as tai, stubborn as she is, denies it and pushes it off. above all else, she’s pragmatic and a realist, and to be constantly watched by something inherited from her nana doesn’t make sense. she can’t be watched by something that doesn’t exist. that doesn’t make sense. she can’t let sleepwalking interfere with her life, she didn’t plan it that way. even as the rot festers and gets worse she still continues because she still wants to maintain this sense of Normality and this idea of Success she’s had in her mind since she planned her whole life out when she was a kid. she’s ignored the mold in her lungs for so long that she doesn’t even notice until she’s choking on it.

nat is cursed with a constant, pulsating sense of brokenness— her curse may be the most grounded and realistic, and yet it’s also not. she lives in a trailer park, she inadvertently killed her father, the other girls give her shit for filling the emptiness within her with alcohol or drugs or otherwise. and yet, 25 years later, she’s the same— in and out of rehab, occasionally making sure her mom isn’t dead. would it have been the same if the crash didn’t happen? we can’t say for certain, because she already had it the worst pre-crash. you were born broken. that’s your birthright. nat can snort, shoot up, smoke, take whatever she wants. it won’t erase her past and it won’t erase what’s in her blood.

misty is cursed with the all-consuming desire to be liked and loved and yet is so batshit in her desire to for such it never comes— misty wasn’t unpopular because she was weird, but rather because she’s insane. drugging coach ben and acting as his nurse, crystal dying with her worst secret, when misty reveals what’s closest to her real self everything crumbles. because while she could’ve fit in with the weird kids at high school, she didn’t because she has something much darker within her. because ultimately, she wants control over the narrative— that’s why she’s a nurse to senior citizens in present day. but no matter how many old people or vulnerable people or whoever else she plays with, she’ll never have the control she wants, and as such she’ll never get the love she’s been begging for all her life. after all, her life is a tragedy, not a comedy.

van is cursed with being unable to die— she doesn’t want to get up, but something always brings her to anyways. there was no explanation as to how she wiggled out of the plane set ablaze, there was no explanation as to how her face was torn asunder and she was only knocked unconscious, there was no explanation as to how she was lit on a funeral pyre and then came to, bloodied and beaten but alive. she doesn’t want to fight, but it’s the only thing she knows, and death refuses to claim her. rejected by her mother, rejected by her peers, rejected by death herself, even. she will always endure being on the edge of death, feeling all the pain and mercilessness of it, and yet is forced to live through it.

lottie is cursed with the package deal of hallucinations from her mental illness and real psychic visions— she could never tell which is which, and how was she supposed to? and yet, she’s crowned the leader, the all-knowing, the prophet. but she doesn’t even know, does she? when they put all the pressure on her initially there’s the stark reminder that she’s just a deeply traumatized kid. she’s both not psychic and simply severely mentally ill and yet also psychic and not mentally ill. but the horror of it lies in the fact she’s both— there are real visions there, but she has to endure scorching tricks of the mind to get there. she can’t be one without the other, and yet she doesn’t know which is which, what’s real, what’s fake, and she never will.

[sinvulkt]

List of some of webtoon and manhwa recs.

First of all I should probably say that my favorite type of stories (so the type you might find in the list bellow) is ’tragedy comedy adventure’ without any romance, but possibly a lot of bromance | tension (ok some BL slipped by me into this list). And rather self destructive mc for the sake of their goal (often to the utter despair of the people who care about them xd). Bring forth conflicts and battles of will and rising against destiny !

@blackhazefanblog I did this for you! It took a while. Even if I think you’ll find the ones in [The Fantasy Kind] are the most likely to have similar vibes to black haze. : D

All summaries are from Baka-Updates or WebtoonLine. The links are either towards WebtoonLine, or towards the original official site (or official english translation if i found it).

The Fantasy Kind

Black Haze (Ongoing)

A long time ago, a portal to another world was opened, and those who acquired special abilities along with marks began to be called mages. After the incident known as "that day", the first-class mage from Ophion, known as "Blow", has become very famous. One day, he receives a very special mission: to protect the second son of the Artian family, who suffers from being called a "monster" at the magic school "Helios"! Thus, Blow enrolls in Helios under the name "Rood Krisch" to hide his true identity...

My all time favorite. I learned english thanks to it < 3. And it just group so many of my favorite tropes in one story ☆.☆

I’m not that kind of talent (Ongoing)

A talented individual who is respected by many and welcomed anywhere? Not at all! A bloodthirsty battle fanatic who knows no defeat? Couldn’t be further from the truth! In reality, Deon Hardt is a sickly human who coughs up blood from receiving the tiniest bit of stress and gets sunburns from standing in the sun for ten minutes. But due to an unfortunate misunderstanding, he becomes “Demon Arut,” the notorious 0th corps commander of the demon army and the demon king’s joker. Caught in a war between humans and demonkind, Deon must find a way to survive!

I discovered that one this year! I love comediy and tragedy mixed together, and that one fully achieved that, from making me laugh to absolutely destroying my heart seriously i am still hurting. Well this is a tragedy. Be warned. But a delicious one. (My heart TT.TT).

The Ember Knight (Ongoing)

When Nagyunn’s twin brother, Najin, is murdered before his very eyes, he vows to avenge his brother’s death by assuming Najin’s identity. But although the two may look alike, when it comes to fighting, Nagyunn lacks the talent and skill his brother possessed. In order to successfully execute his plot for revenge, Nagyunn resolves to train himself to become the prodigious knight-in-training his brother once was. Will Nagyunn be able to keep his identity a secret before others begin to catch on to his act?

Another one I discovered ’recently’ = last year. I absolutely adore the fact that the mc rely fully on wits and bluff. He will never get a cheat skill to get as strong as others- he just has to play his card rights (which happen to be a bunch of overprotective knights wishing he stopped going in front of the blade path). So he gotta bluff. A lot. Including playing betrayal at every corner, and i sure love betrayal :3. That and it’s a revenge story ~

TAL (Complete)

They walk like ordinary people, they talk like ordinary people but in fact there is nothing ordinary about them since they can materialize an image they have on their mind... They call themselves Chachaoong which also means Shaman and they do not know how or when they came to this world. It is now a time for their current king to choose the future one and so he did by choosing Yu Jin an ordinary human...? Many of the Chachaoong can not tolerate a human ruling them and now the poor Yu Jin not knowing what suddenly hit him, is trying to avoid the Chachaoongs who are trying to kill him!

This has been my second favorite after Black Haze for a long time, because I got a soft spot for escapists xd. All the more escapists with consequences catching them back faster than they can run until they’re cornered ☆.☆ Fight until the end against a fate you are doom to surrender to ~ I love it.

Catharsis (Complete)

Fear is a powerful emotion that can end up overtaking one's life. Leon thought he knew that. But when he's thrown into the demonic realm that Catharsis governs over, he'll learn that there is more to “true” fear than he could ever have imagined... But will he learn how to face it?

That one also stayed in my mind for a long time. The ending is more ’open’ than I would have wished, but well, there is no sequel yet so let’s call that an ending. Appart from that i loved the mc, and he has synesthesis which give really cool result in webtoon format (yay colors). In a world where nightmares take physical shape, the mc get attacked by nightmares and end up being recruited by the agency fighting nightmares bcs they feel smthg off about him.

Crepuscule (Complete)

Lark is different from the rest of the kids. He has red eyes, just like Vampires do, and he is bullied by the other kids for it. One day he meets Setz, a genuine Vampire of a Noble clan who is the only one that doesn't call him a monster or bully him. Eventually they become friends, but when Lark finds out he may have to return to the orphanage, Setz decides he does not want to lose his friend, so he invites him to his home... The world of the Vampires.

Another webtoon i grew up with as a teen. It isn’t my all time fav, but i still quite enjoyed it enough to reread it a few times. Must be the blond mc that reminded me of Rood xd. Or the fact that he is super weak in a world of monsters. Or the reason he has those red eyes. (Such delicious angst amidst the comedy). Are those just a trope I enjoy? XD

Godly Bells (Complete)

Divine Bells - they choose their own masters and they determine the status, prestige, and influence of the countries their masters rule. The presence or lack of these Bells also has great consequence in the lives of each country's royalty. In particular, the personal and political futures of King Hong-Ryeong seem doomed without a Bell, but at equally great peril if he obtains one. But are the Divine Bells simple magical charms, deities of great powers, or something else altogether? And when the owner of three of the eight existing Divine Bells dies, leaving them to choose new owners, where will the resulting turmoil lead?

Another blond mc i grew up with as a teen and reread a few time. And another ’king’ who is ’weak’. It’s in a fantasy world, where divine ’bells’ give each king (and thus each country) power. The mc country hasn’t been chosen by any bells for years, so quite look down upon. Until three bells at least or smthg choose the mc. And then they become people, with their own agenda. The mc didn’t want the attention but well can’t convince the bells to drop him xd. Which is why i loved this story. Once again, can’t escape fate even when you didn’t want it ~

Aegis Orta (Complete)

Val is an ordinary high school student who dedicates his life to God. His peaceful days however have to end when he learns about who he really is..

Very much in the same vibe of Godly Bells and Crepuscule, only I discovered it later and thus have less memories of it (bcs reread it less). It’s another blond character with red eyes that get ’fate’ thrown at its face ~ well. Demon powers. Same.

---

I’m not gonna put Mxtx’s works here (Heaven Official Blessing, Mo Dao Zu Shi, Scum Villain Self Saving System), but they’re great too. If you love comedy and tragedy and don’t mind BL too much. Go for it. I usually don’t enjoy romance that much but it didn’t bother me with those works, bcs it’s presented so naturally into the story rather than harassing us every second. Phantom Paradise is also a BL, although entirely different vibe. It’s what would happen with matriarchat instead of patriarchat but all the toxicity remain - only gender roles are reversed. As for why I enjoyed it so much... I guess I am still somewhat sensitive to fan service ? XD

I also feel like I should mention UnderPrin, even if it didn’t make it all the way to my favs, kind of similar vibe to Catharsis and Aegis Orta. I’ll also mention Makai Ouji: Devils and Realist which is a manga but another blond character in the same vibe of the earlier ones, who refuse his own power XD. And Pandora Hearts because its my favorite manga ever. I even prefer it to Black Haze (but I think someone who liked one would also like the other?).

[delightfulkingtyphoon]

Hi 😀

I'm going to share with you guys some headcanons I have of my dear, beautiful and wonderful princess Daniel Robitaille :3 (aka. Candyman)

❗Remembering❗

Everything I say here is my interpretations of the character and >>my<< headcanons about him. If you have another interpretation, agree or disagree, you are free to share your opinion in the comments 👍

Let's start

✿~Favorite hobbies, skills and talents

• Daniel Robitaille is a talented and very detailed artist. He always seeks to do the best in his paintings. He likes to put passion into everything he does.

He has loved painting since he was young, which is why he studied at the best schools of his time to create magnificent works. He enjoys learning and applying new techniques to his arts.

• In addition of learning the best painting techniques, he also learned to behave like a polite gentleman in the society, learning to dance, speak several languages and play an instrument.

Not that he needed to prove something to someone, but to challenge himself. He likes to learn new things.

• He knows how to lead a waltz like no one else. He is a gentleman from the 19th century, and at that time, if you wanted to conquer and impress the most beautiful women in the ballroom, you needed to know how to dance. And Daniel is the best in terms of charm and elegance when dancing.

• He is bilingual, knowing how to speak French perfectly and a little bit of German. He knows how to speak other languages such as Greek and Spanish, but due to lack of practice, he remembers very little of the lessons from his time.

• One of his favorite hobbies, besides painting, is literature. He loves romance and poetry books. His favorite type of romance is those that end in tragedy. For him, there is something poetic about death and love. If you mix the two in the right amount, it's a perfect dramatic love story.

• He was taught to play instruments such as piano and violin, but he was not very interested in learning that. He is more of a listener than a musician.

• He loved going to concerts and theaters when he was alive, his favorite type of music is serene, sweet as honey. And his favorite type of theater plays are mainly dramas. But he loves a good comedy.

✿~Favorite foods and colors

• Daniel Robitaille loves good food (and who doesn't, right?) He loves roast meats, savory pies, cakes and any type of sweet.

• He loves shortbread cookies accompanied by good coffee sweetened with honey. After all, he loves sweets and sugary things.

• His favorite type of sweet pie is lemon or cherry. He loves chocolate and strawberry cakes.

• He is also a fan of good wine. He likes the ones that don't have a very strong flavor more.

• He loves colors like yellow or red (he looks good in red.)

✿~Love, sexuality and relationships (and a little of lore)

• Daniel Robitaille was and IS a very charming, seductive and charismatic man. So much charm that he could have the most beautiful girls he wanted... And the most beautiful men too.

Daniel has been interested in many women of his time, even men, but he can never date or seem interested in any man, oh no. Never!

It was a difficult time for a black person, imagine a black and queer person. Bisexuality was something abominable in those times. Many desires were repressed, forcing him to hide in the shadows. But he found safety in the lips of his beautiful muse and beloved Caroline.

• Daniel loved Caroline like he never had before. His passionate young heart was emotional, and full of affection. The two loved each other very much and swore their love every day and night. For him and Caroline, their love was strong and not even that prejudiced society could separate them. Even after their deaths.

• Daniel after spending years wandering throughout the afterlife like a ghost, waiting for someone to summon him again, he found a shelter in the underworld so he could rest while waiting to be called again. There, he sympathized with a hideous demonic creature not receptive or pleasing to people's eyes, but to his, he was the most beautiful in all of hell. The Hell Priest Pinhead

• It took a while for the cenobite's heart to soften, but he was unable to resist Daniel's charms. The two fell in love and live off the pleasure of each other's love, the comfort in each other's arms. Daniel loves his beloved Pinhead intensely, just as he loves him just as much. Intense, pleasurable.

• Daniel can finally explore his sexuality, discovering new things about his own body and mind. Feeling and satiating every bit of what Pinhead had to offer him. Intensifying the love he felt for Pinhead and his pleasures. He loved him. He loved him so much that he chose to remain in hell with his beloved for all eternity. Even if someone summoned him again, and he went to the world of the living, he would always return to his beloved.

Bonus:

✿~Other things he likes

• Daniel loves cats. He always wanted to have cats when he was alive, that's his favorite type of animal. He acts tame when around kittens, always wanting to pet them and play with them.

• He also really likes birds, he likes to hear their serene singing when he is in the world of the living.

• He also likes butterflies, they are his favorite insect. He likes how their wings are colorful and have different patterns. It gives him a lot of inspiration to paint when he see one flying.

• He doesn't get along very well with dogs, they are too noisy and agitated for him, so he avoids them.

• He loves flowers, all kinds of flowers. He likes their colors, their smells. They are all beautiful to him. Red roses, lilies, hyacinths and chrysanthemums are his favorites.

.

.

.

End of Headcanons (for now)

[wesleyhill]

Returning to Dust

A homily on 2 Corinthians 5:21 preached on Ash Wednesday 2024 at Pillar Church, Holland, Michigan

A few years ago, a beloved friend and colleague told me that she was heading to see a doctor. She had noticed some strange, dark purple bruises on the tops of several of her toes. She couldn’t remember kicking something too hard or tripping over something. She was sure it was nothing, she told me.

Martha was my friend’s name. She was an Anglican priest, a professor of pastoral theology, and a sought-after preacher and speaker. Never married, she was a queen of hospitality. She cooked lavishly and masterfully. She sang loudly, operatically, often ensuring that the descants weren’t neglected in our seminary chapel services. She painted. She had two enormous standard poodles whom she adored. She was so full of life.

Within a matter of days, she had an explanation for the bruising on her toes. She was diagnosed with acute myeloid leukemia, a fast-growing cancer that starts in the bone marrow and then proceeds to the blood. All of us who knew Martha, who had been the grateful recipients of her joy and zest for life, were in shock.

This was at the end of 2013. By the time Ash Wednesday of 2014 came around, Martha had been through three rounds of chemotherapy and was then in the hospital. She asked if some of us would come to her room and give her ashes and pray the liturgy with her.

I recall stepping into her room and into the light of her smile. Her arms were reddened with rashes, and she was wearing a handknit scarf over her shaved head. She was visibly weaker than I’d ever seen her, but I laughed at the 8” by 10” on her wall — a color photo from her visit to an antique store several weeks earlier at which she had donned an ancient Roman soldier’s helmet and brandished a broadsword, teeth clenched in mock rage. There was still plenty of fight left in her, I said, and she agreed.

And then we began to pray: “Almighty and everlasting God, you hate nothing you have made and forgive the sins of all who are penitent: Create and make in us new and contrite hearts, that we, worthily lamenting our sins and acknowledging our wretchedness, may obtain of you, the God of all mercy, perfect remission and forgiveness; through Jesus Christ our Lord, who lives and reigns with you and the Holy Spirit, one God, for ever and ever. Amen.”

Sean, the priest who was with us, then read these words from Paul’s second letter to the Corinthians: “For our sake God made Christ to be sin who knew no sin, so that in Christ we might become the righteousness of God.”

And then Sean dipped his thumb in ashes and made the sign of the cross on Martha’s forehead. I remember thinking her skin looked too taut and unnaturally shiny. Sean said to Martha, “Remember that you are dust, and to dust you shall return.”

There are probably as many different reasons you are here in church tonight as there are people in the room. But I suspect that almost all of us — to some degree, whether knowingly or unwittingly — are here because we want to hear good news. We want to believe that there is some hope for us and for those we love. And maybe you are wondering as you sit here, as I was wondering standing next to Martha’s hospital bed, how it is good news that we are dust and that we shall one day return to dust?

There are two ways — two separate but interrelated ways — of thinking about this. In the first place, there’s a sense in which the words you’re about to hear and the symbol you’re going to receive on your forehead are not “good news” in any straightforward sense. Frederick Buechner says that the Christian good news is a tragedy, a comedy, and a fairy tale, but before it is a comedy and a fairy tale, it is first a tragedy. The apostle Paul calls death an enemy to be defeated. It is not good that our lives are cut off by cancer, famine, war, despair, or any of the million other calamities that can end our days on earth. And before we can really take to heart the good news of Easter — “Death has been swallowed up in victory” — we need to face squarely the depth of the tragedy we’re in. Death was not God’s original good purpose for us. Death is a thief and a tyrant.

So the good news that we proclaim here on Ash Wednesday is not that death is somehow not as bad as it seems, that it’s maybe more of a friend than a foe. No, the good news is that, in spite of the tragedy of death, we have a Lord and Savior who has conquered death by dying. Christ Jesus came into the world to share our human plight, to take on his shoulders all our pain and sin, and to go all the way into our bleakest human experience — death — and to emerge triumphant from the tomb on the third day.

So it isn’t the fact that we’re going to die that is itself the good news. You already know that, and you don’t need to come to church to hear me tell you about it or receive ashes to inform you about something you weren’t aware of. It’s rather that the announcement about our dying is the tragic prelude to the best news we could hope to hear — that the unconditional Friend of sinners has triumphed over death, and he now says with outstretched arms to everyone who will receive him, “Peace be with you” and “Nothing will ever be able to separate you from my love.”

But I think we can turn this around and come at it from the other direction, so to speak. Christ the Lord has journeyed to us, to share our death as the human being who is God, and so overcome it. But that means that in some deep sense our dying can now become our movement toward Jesus, toward the God who formed us from the dust at first.

It is still true that death is an enemy — but not only an enemy. Listen to how the New Testament scholar Morna Hooker has made this point: “Because Christ is fully one with [humanity] in all [our] experiences, these [experiences] can now be understood in terms of life in Christ.” Our dying, in other words, isn’t only our sharing in the miserable condition of Adam. It is our sharing in Jesus’ experience of the condition of Adam. We don’t go to death by ourselves. Jesus has already gone there ahead of us, and when we die, we are with him.

Or listen to how George MacDonald says it: “The Son of God suffered unto death, not that [human beings] might not suffer, but that their sufferings might be like His.” It isn’t that Jesus suffered death so that we don’t have to. We are still made of dust, and we will all of us return to dust. But Jesus’ dying means that when we return to dust in our caskets or in the crematorium, our dying isn’t just the final experience of solitary suffering we have to somehow find a way to endure. It is our joining Jesus in the suffering he underwent — our final “conformity” to him, as Paul describes it.

This is what that text from 2 Corinthians that we read in my friend Martha’s hospital room is all about: “For our sake God made Christ to be sin who knew no sin, so that in Christ we might become the righteousness of God.” It’s what Luther called the “great exchange.” Christ takes to himself the whole human condition and experience. He tastes every last drop of it. He goes all the way down into the fathomless darkness of death. And the outcome is that we, in our suffering and mortality, in our journey toward becoming dust, become in and through him God’s own beloved forever. Death is real, but it has lost its sting. It has been defanged. It is now our final passage into the arms of the God who loves us eternally.

My friend Martha died eleven months after her cancer diagnosis. When she first received the diagnosis, she was adamant that she would beat the leukemia. “God has more work for me to do here,” she said firmly. “Pray for my healing, don’t pray for a good dying.” But by the end, she had faced with hard-won honesty and humility and a beautiful Christian hope the fact that she was dust and was now returning to dust. And she said, with the martyr Dietrich Bonhoeffer, “This is the end — for me the beginning of life.”

Amen.

[hotvintagepoll]

Propaganda

Madame Sul-Te-Wan (Carmen Jones, Tarzan of the Apes)—I just think she’s very distinctive and interesting looking and I would have liked to see her in more things

Marion Davies (Show People, the Patsy)— JUSTICE FOR MARION DAVIES. I am always so upset when I learn that some people STILL think she was some untalented pretty face who was only a success because of her relationship with Hearst. Please watch literally any of her movies, silent or sound, to see how untrue this is. She was successful in spite of Hearst's constant meddling. She really shines as a comedienne. Just watch her imitate other silent stars in The Patsy, or her screwball antics in Show People. I've watched so many silents just for her, but she was also really good in sound films, too, like Blondie of the Follies. She's absolutely adorable, and she deserves to be recognized for her talent, alone.

This is round 1 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Madame Sul-Te-Wan propaganda:

Marion Davies propaganda:

the queen of comedy

 If anyone is looking for a tragic infamous funny fav, this is your girl! She came from a catholic convent to become a showgirl! As many of these early Hollywood stars, she fell victim to falling in love with the wrong man. She had a long lasting affair with a older powerful married man, William Hearst. Their story was so iconic and scandalous that it is largely what inspired Citizen Kane. She gained her fame through him, which eventually gathered her the reputation of being social-climbing and taking advantage of more her looks than her talent. This made her controversial, which wasn't helped by her flirty fun personality and attitude towards other actors (including Charlie Chaplin). All of this hate meant that she was eventually ostracized by Hollywood and even blamed for Hearst's death. My poor girl was excitable, funny, charismatic, energetic, and extremely talented. I believe that at her heart and soul, she was truly a clown. She possesses an incredible gift for mimicry, a deceptively animate face, and an absence of on-screen ego that allows her to throw herself into anything, no matter how foolish or potentially embarrassing, with all of her considerable energy. And it's those ridiculous moments that are almost always her best in film, because to me, that's really who she was. She was silly and sweet and so so so so so funny! And she deserved better than the tragedy of the life she got.

[miya-on-the-roof]

Rant about the finale (or the million reasons why I'm disappointed)

Spoilers alert so don't keep reading if you don't wanna see them.

Didn't see a lot of people disappointed with the finale for the same reasons as me so just gonna throw it out there: I am disappointed mainly because of how they portrayed Stede and his relationship with Ed.

First thing, I am NOT an Izzy fan. If anything I'm probably an Ed fan and I came to the show for the brilliant writing, the masterly use of comedy as a genre, and the unprecedented celebration of queerness in season 1. This means that I am not devastated by his death. BUT I am disappointed in their decision to kill him off. I saw David Jenkins' interview and discussion about how narratively it makes sense for him to die as a closure of the redemption arch and final consummation of Ed letting go of the old life. YET this show was never about structurally sound narrative, was it? The charm was always the characters' growth and how they embraced queerness - embraced themselves. And that theme was embodied by Izzy this season. I can see potential in him as a perfectly comic and beautifully queer character after his transformation but that potential died with him. It is abrupt, it is rushed, and it does not make any sense for the spirit of the show even when it makes sense for a symbolic narrative.

Second, the main thing - even though Stede is the lead character of the show, the finale does not treat him as one. From previous episodes we see a new side of him emerging. He was caught up in the rush, the same way Ed probably did so many years ago, and was unawarely soaking up some toxic masculinity even though it was because he pursued piracy as the ultimate means to release his queerness and find community. And there lies his new conflict with Ed: two people who love each other deeply but find themselves on different life paths. There was not really any conflict of interest that couldn't be solved but they needed time to figure things out. Stede needed a reality check, and he needed to understand Ed's "it's everything about fishing" - it's everything about how Ed was setting out to find a new identity, and how he fears that Stede is taking up his old path in misguided glory and will not come with him. And Stede needed to learn to respect Ed's choices even if it means they take different paths for a while, which also means that he needed to confront his own fear of incompetence, abandonment, loneliness, and rejection first (which hasn't really been addressed in this season yet). He needed to find confidence and faith - in his own identity and competence, and in Ed's love for him.

All this to say - he has a long way to go in his character development to justify resolving the conflicts in their relationship. Yet in the finale, he was not given any space or time to achieve the growth. We see him rushing through a plan of rescue with Zheng doing most of the work. We see him coming up with a plan to camouflage and escape the English, the portrayal of which did not show his wit or courage or anything profound about his character. Then we see him getting that happy ending with Ed, and somehow just... accepting giving up piracy, accepting Ed's change, accepting everything happily when he was clearly lost and confused before. And we were not given any explanation or portrayal of his inner conflicts. He, of all people, gets the least emphasis and character growth in the finale.

Again, I just see so much potential to really discuss the character's deeply-rooted psychological issues going to waste for the sake of a narrative structure. A happy ending is great but it's covering up so many unsolved tensions and conflicts - opportunities for character building - which would have been handled much more carefully (albeit in comedic style) in season one. Given that we might not get a season 3, this is worse than leaving me with a cliffhanger or temporary tragedy that makes sense for the character's path to growth.