#and the rep that got you????

[ahlaway]

I'll never stop thinking about the interactions we could have gotten with Maximus if his lore hadn't turned into misery. (possibly purposefully by admins). He could have had a home in the mexican village!!! Fifth parent of sunny / getting spanish egg with willy & luzu?? Been hunted by Tallulah / Dapper for sport as they desperately longed for Spanish enrichment when their white dads were asleep.

[rooksilver]

so youre telling me. theres an adaptation of orpheus and eurydice. where eurydice was falling out of love with orpheus before her death but didnt know how to tell him, and when he walks into the underworld to get her back, shes forced to confess that she planned to leave him?? and shes the one to ask him to look back, but he doesn’t want to, because he knows she isn’t coming with him??? youre telling me that when he finally looks back, he does lose her, but only because he’s letting go??? you’re telling me its about grief? about drifting apart?? about moving on??? about love, and how its messy, and how sometimes it just doesn’t work out even if you go to hell and back for it, because we’re human and thats our tragedy????

you’re telling me netflix CANCELLED it?

[yrsonpurpose]

I love that representation because I don't think anybody is just one thing, especially in 2024.

[faunandfloraas]

One Kid's Room 2024, ep.01 - Han.

[genderqueerpond]

We don't talk enough about the fact that Amelia Pond, s5 Amelia Pond, before the timeline is reset, isn't just a normal orphan. Her parents didn't die, didn't abandon her, and didn't send her away. They never existed in the first place.

And if her parents never existed, then Amelia cannot exist. She is a causal impossibility.

"People fall out of the world sometimes, but they always leave traces." A photograph. A face carved into an apple. Yes. Sure.

A child.

Now that's too big, surely.

But that's what she is. She is exactly the same as these things. A trace. An echo of something that could never be, never was, never could have been.

And the universe should never allow it. A whole person, that's just too much. She could not have continued to exist indefinitely, in normal circumstances, after her parents never existed.

In normal circumstances.

Because the Doctor didn't just save her from things coming out of the crack in her wall. He saved her from going into it. And he didn't just save her from the threat of going into it simply because of its vicinity.

No, by arriving when he did, he interrupted a process that was probably already in motion. And then by arriving again only moments later on a cosmic relative timestream (too quickly for the process to complete) and yet in the local relative timestream, years later --- years of a potential future caught midway through the process of rewriting -- he solidified that existence. Amy is a creature from another timeline, caught in amber. The Doctor prevented her from never existing, but only after she could already never exist.

And so, no one around Amelia thinks about it. Neither does she. There's some kind of consciousness block, because if you thought about it, really thought about it, for two seconds you'd realize she cannot exist. And the human mind can't deal with that. So, to protect itself, everyone's brain simply slides off it before ever noticing. They just assume that her existence makes sense, and don't question it, and don't notice what they don't question, that is staring them in the face.

But of course, to some extent they do notice. They can't think it, but they notice subconsciously that there's something they can't think. They notice there's something wrong with her, something uncanny. And they don't like it, and they alienate her even more because of it.

"Does it ever bother you Pond that your life existence doesn't make any sense?"

[flying-fangirls]

So proud of the Witch for almost making through an entire episode of Malevolent AND getting a speaking role. Truly a win for all the women out there!! ☺️💖 /s

[itscherryterry-again]

yea

[lotus-pear]

rewatched bsd w my friend seeing it for the first time and the nostalgia of seeing these two together again hit me like a bus

[feelingtheaster99]

Oh my gosh Beardsley that was SO SMART to figure out the people whose blood crystallizes are the people who TURN DOWN being brought back to worship Ankarna god DAMN

[subzeroparade]

every evening, the Choir gives each pearl slug and augur a little kiss goodnight ⋆✴︎˚｡⋆✧˖°.

[seiwas]

sellie bee! for your game > touya + flicker?? (if you feel comfortable writing for him again, your touya from the shoto fic was so beloved to me) 💕

amber!! thanks for sending in a lil prompty 🥺 ofc i would write him again!! for you!! anything!!! 🥺 my touya from that fic is also so dear to me 🥺 i'm glad you like that little guy 🥺

help me get back into the writing groove! send me a character + any word and i'll write a short blurb about it!

contains: non-canon au, childhood friends

touya + flicker

there's a light by your bedside, one that flickers when its loose wire finds itself tangled around the leg of your bed frame. it doesn't happen all the time, but it's always bothered touya, ever since you were kids.

"fuyumi says that when lights go on and off like that they can go boom," he mimics an explosion with his hands, not quite knowing the term for it yet at 5.

(when you recall the memory, you realize that he must have meant a spark, not the flickering of lights.)

it bothers him so much that he figures out a way to fix it by age 10. he uses a small claw clip, a translucent gray plastic you've seen on his mother many times before. he clips the wire to your bed frame that way, keeping it in place.

it's a bandaid solution, because time creates cracks on the plastic, the metal spring falling apart despite being fused at the hinges.

(and again, looking back, you should have noticed that time had left its mark on touya the same way.)

the light flickers again.

"you'll have shitty eyes if you don't change it," he moves the wire aside until it stops. at 15, touya's become jaded. what once was a twinkling set of aquamarine is now a dull pair of teal, staring straight at you as he speaks.

you know it has something to do with his family, but you don't ask unless he talks about it.

(in hindsight, maybe you should've. because when touya runs away from home the following year, you only catch glimpses of him in the next ten years.)

he visits you at 17, taller and dressed darker than what you're used to. his hair is dyed a jet black, a few cuts and bruises scattering the expanse of his arms. he sees that your light is still flickering and fixes it like muscle memory, not once acknowledging the fact that it's been two years since he's seen you last.

"you can stay with me," you offer him, desperately.

he gives you a wry smile, "can i?"

and you know it's not really a question. you'll be heading off to college soon; there's no real place where you can keep him.

when you move into your dorm in the first year of uni, you leave your lamp behind but find that the lights in your shared bathroom flicker just as bad. it makes you think of him, in the lonely hours especially.

you're surprised when you bump into him at age 20, near campus, barely recognizing him at all. for a brief moment, you see the same shock mirrored on his face, but it disappears when you blink, and when you say his name, "touya—"

"dabi," he corrects you.

it's at 22, when you move into your own apartment and bring the same light from your childhood bedroom, that you find your thoughts floating back to him once more.

you offered right before graduating, the last time you saw him―told him you'd be moving into a new place and he could stay with you there. no one would know about it, no one would bother him.

but touya is a flight risk, appearing in and out of your life like the flickering of your bedside light. you outstretch your hand and he bats it away instinctively, withdrawing from you until he feels like you won't bring it up again.

you do though, every time. the next year, the year after that, when you're both 25. you look for him more consciously now, finding that he's always somehow nearby―by the potted flowers on your windowsill that remain alive despite week-long work trips; by paid for cups of coffee in cafes, the doors whooshing shut as you look for who it could possibly be from.

you've known touya for almost all of your life, and giving up on him isn't an option at all. your heart can't take it, the same way you can't bring yourself to fix your bedside light, its flickering an odd source of hope that he might one day be so fed up, he'll have to come and fix it himself.

and then he'd have to stay―to keep the flickering at bay. to keep the light working. one day.

[lurkingshan]

Bury your gays, eh? That’s what they went with for the pride month release of a long anticipated follow up MV mini bl. Not to mention including an almost kiss in the teaser that they then cut completely.

Quite a set of choices!

[mofsblog]

Uh oh, I got reminded TFGraves exist and I'm mentally ill and going to make it YOUR problem!! (Translation: I'm going to gosh about them)

They just mean so much to me? And they just feel soo?? Special?? And unique on a meta level as well? It's already one thing that they are a canonised mlm pairing because historically those ones tend to be more controversial because it tends to make cishet dudes (aka leagues main demographic) more uncomfortable because cant fetishise it (also yes they're not Technically "together" but idc its explicitly canon they have feelings for eachother). It's another that both are surprisingly developed and nuanced charaters (could go on for hours about how theyre both self destructive and have abandonment issues and repress their feelings in very different ways) that are morally ambiguous and have a complex and multifaceted relationship with eachother and yeah i know league lore is subject to retcons and having differet writers but idk. i think its impressive we got two nuanced developed queer male characters WITH A COMPLICATED AND DEVELOPED RELATIONSHIP WITH EACHOTHER in a game known for its bigotted player base. Another thing i fucking love about this ship is how the riot writers were like "what if we subverted some tropes and made the more flamboyant one implied pan and we made the traditionally masculine one, who highkey has toxic masculinity, gay". BUT ALSO HIS TOXIC MASCULINITY HAS NOTHING TO DO WITH HIS QUEERNESS. like yes he cant express his feelings directly to save his life but the fact he's a gay man is completely not relevant to that and he's canonically had a bunch of ex boyfriends and is canonically a monsterfucker/hj. I'm not over how they took a pretty cishet masculine thing and made queer. Like the rough outlaw who hates talking about his feelings and is out for violent revenge on those who've wronged him..... except the guy who's "wronged" him is actually his best friend who he has mutual feelings for and also he fucks men. IDK THAT MAKES ME HAPPY. im insane.

moving on to other thing i like about them is that the sheer range this ship has??? Like yes there's gut wrenching fucked up dynamic that drives you crazy as you pyschoanalyse and unpack the layers of all of THAT. "that" being the fact a man thought he got abandoned by his best friend and got tortured and isolated in prison for 10 years and during those 10 years the only thing that kept him from killing himself was the sheer rage and want for vengence (towards someone he probably had repressed romantic feelings for) AND THEN WHEN HE GOT THE CHANCE TO KILL HIM, HE COULDNT BRING HIMSELF TO DO IT 💀 (im literally never going to be normal about that) and during those 10 years the other man actually got all of their mutual friends killed in an attempt to save him and the survivors guilt fucked him up so bad its implied he failed trying to drown himself so he changed his entire name and personhood instead to isolate himself from the soul crushing guilt of it. BUT DESPITE THAT ANGST, there's a surprising amount of domesticity and comfort with this ship??? No like you'd think these two would be friends to enemies to lovers BUT NO, theyre actually friends to enemies to friends to friends who are fucking pinning for eachother like crazy. Despite the angsty dynamic these two also have the best friends who have known eachother for ages and who everyone think is dating but both are oblivious or dont believe the other feels the same BUT THEY ALSO HAVE opposites attract bickering marriage couple who constantly tease and banter with eachother. like the range is crazy

No but I feel like something that makes me emotional about this is that they tried to kill eachother and badly hurt eachother unintentionally but like, instead of being homophobic about it and making them just hate eachother forever and never reconcicle (which like those ships are amazing and valid and also thats literally another league ship/hj), the writers made them make up???? AND LIKE? HEAL? KINDA? Like no they havent worked through everything and no neither of them like talking about their feelings but they're "partners" again and they have this really domestic understanding of eachother and theyre managing and theyre bantering like they used to and theyre literally so comfortable around eachother and look, graves isnt tormented by his time in prison as much anymore and hes just a genuinely goofy criminal dumbass who robs people and cracks jokes that irriate his partner AND IDK ITS SO DOMESTIC AND FUNNY? BUT IT DOESNT FEEL OUT OF CHARACTER. THESE TWO JUST ARE IN A GOOD PLACE DESPITE EVERYTHING AND IDK THAT MAKES ME HAPPY???? why did league of legends make compelling queer ship

[angelsdean]

I need people to understand how S&P (standards and practices) works in television and how much influence they have over what gets to stay IN an episode of a show and how the big time network execs are the ones holding the purse strings and making final decisions on a show's content, not the writers / showrunners / creatives involved.

So many creators have shared S&P notes over the years of the wild and nonsensical things networks wanted them to omit / change / forbid. Most famously on tumblr, I've seen it so many times, is the notes from Gravity Falls. But here's a post compiling a bunch of particularly bad ones from various networks too. Do you see the things they're asking to be changed / cut ?

Now imagine, anything you want to get into your show and actually air has to get through S&P and the network execs. A lot of creators have had to resort to underhanded methods. A lot of creators have had to relegate things to subtext and innuendo and scenes that are "open to interpretation" instead of explicit in meaning. Things have had to be coded and symbolized. And they're relying on their audience to be good readers, good at media literacy, to notice and get it. This stuff isn't the ramblings of conspiracy theorists, it's the true practices creatives have had to use to be able to tell diverse stories for ages. The Hays Code is pretty well known, it exists because of censorship. It was a way to symbolize certain things and get past censors.

Queercoding, in particular, has been used for ages in both visual media and literature do signal to queer audiences that yes, this character is one of us, but no, we can't be explicit about it because TPTB won't allow it. It's a wink-wink, nudge-nudge to those in the know. It's the deliberate use of certain queer imagery / clothing / mannerisms / phrases / references to other queer media / subtle glances and lingering touches. Things that offer plausible deniability and can be explained away or go unnoticed by straight audiences to get past those network censors. But that queer viewers WILL (hopefully) pick up on.

Because, unfortunately, still to this day, a lot of antiquated network execs don't think queer narratives are profitable. They don't think they'll appeal to general audiences, because that's what matters, whatever appeals to most of the audience demographic so they can keep watching and keep making the network more money. The networks don't care about telling good stories! Most of them are old white cishet business men, not creatives. They don't care about character arcs and what will make fans happy. They don't care about storytelling. What they care about is profit and they're basing their ideas of what's profitable on what they believe is the predominate target demographic, usually white cis heterosexual audiences.

So, imagine a show that started airing in the early 2000s. Imagine a show where the two main characters are based on two characters from a famous Beat Generation novel, where one of the characters is queer! based on a real like bisexual man! The creator is aware of this, most definitely. And sure, it's 2005, there's no way they were thinking of making that explicit about Dean in the text because it just wouldn't fly back then to have a main character be queer. But! it's made subtext. And there are nods to that queerness placed in the text. Things that are open to interpretation. Things that are drenched in metaphor (looking at you 1x06 Skin "I know I'm a freak" "maybe this thing was born human but was different...hated. Until he learned to become someone else.") Things that are blink-and-you-miss-it and left to plausible deniability (things like seemingly spending an hour in the men's bathroom, or always reacting a little vulnerable and awkward when you're clocked instead of laughing it off and making a homophobic joke abt it)

And then, years later there's a ship! It's popular and at first the writers aren't really seriously thinking about it but they'll throw the fans a bone here and there. Then, some writers do get on the destiel train and start actively writing scenes for them that are suggestive. And only a fraction of what they write actually makes it into the text. So many lines left on the cutting room floor: i love past you. i forgive you i love you. i lost cas and it damn near broke me. spread cas's ashes alone. of course i wanted you to stay. if cas were here. -- etc. Everything cut was not cut by the writers! Why would a writer write something to then sabotage their own story and cut it? No, these are things that didn't make it past the network. Somewhere a note was made maybe "too gay" or "don't feed the shippers" or simply "no destiel."

So, "no destiel." That's pretty clearly the message we got from the CW for years. "No destiel. Destiel will alienate our general audience. Two of our main characters being queer? And in a relationship? No way." So what can the pro-destiel creatives involved do, if the network is saying no? What can the writers do if most of their explicit destiel (or queer dean) lines / moments are getting cut? Relegate things to subtext. Make jokes that straight people can wave off but queer people can read into. Make costuming and set design choices that the hardcore fans who are already looking will notice while the general audience and the out-of-touch network execs won't blink and eye at (I'm looking at you Jerry and your lamps and disappearing second nightstands and your gay flamingo bar!)

And then, when the audience asks, "is destiel real? is this proof of destiel?" what can the creatives do but deny? Yes, it hurts, to be told "No no I don't know what you're talking about. There's no destiel in supernatural" a la "there is no war in Ba Sing Se" but! if the network said "no destiel!" and you and your creative team have been working to keep putting destiel in the subtext of the narrative in a way that will get past censors, you can't just go "Yes, actually, all that subtext and symbolism you're picking up, yea it's because destiel is actually in the narrative."

But, there's a BIG difference between actively putting queer themes and subtext into the narrative and then saying it's not there (but it is! and the audience sees it!) versus NOT putting any queer content into the text but SAYING it is there to entice queer fans to continue watching. The latter, is textbook queerbaiting. The former? Is not. The former is the tactics so many creatives have had to use for years, decades, centuries, to get past censorship and signal to those in the know that yea, characters like you are here, they exist in this story.

Were the spn writers perfect? No, absolutely not. And I don't think every instance of queer content was a secret signal. Some stuff, depending on the writer, might've been a period-typical gay joke. These writers are flawed. But it's no secret that there were pro-destiel writers in the writing room throughout the years, and that efforts were made to make it explicitly canon (the market research!)

So no, the writers weren't ever perfect or a homogeneous entity. But they definitely were fighting an uphill battle constantly for 15 yrs against S&P and network execs with antiquated ideas of what's profitable / appealing.

Spn even called out the networks before, on the show, using a silly example of complaints abt the lighting of the show and how dark the early seasons were. Brightening the later seasons wasn't a creative choice, but a network choice. And if the networks can complain abt and change something as trivial as the lighting of a show, they definitely are having a hand in influencing the content of the show, especially queer content.

Even in s15, (seasons fifteen!!!) Misha has said he worried Castiel's confession would not air. In 2020!!! And Jensen recorded that scene on his personal phone! Why? Sure, for the memories. But also, I do not doubt for a second that part of it was for insurance, should the scene mysteriously disappear completely. We've seen the finale script. We've seen the omitted omitted omitted scenes. We all saw how they hacked the confession scene to bits. The weird cuts and close-ups. That's not the writers doing. That's likely not even the editors (willingly). That's orders from on high. All of the fuckery we saw in s15 reeks of network interference. Writers are not trying to sabotage their own stories, believe me.

Anyways, TLDR: Networks have a lot more power than many think and they get final say in what makes it to air. And for years creative teams have had to find ways to get past network censorship if they want "banned" or "unapproved" "unprofitable" "unwanted" content to make it into the show. That means relying on techniques like symbolism, subtext, and queercoding, and then shutting up about it. Denying its there, saying it's all "open to interpretation" all while they continue to put that open to interpretation content into the show. And that's not queerbaiting, as frustrating as it might be for queer audiences to be told that what they're seeing isn't there, it's still not queerbaiting. Queerbaiting is a marketing technique to draw in queer fans by baiting them with the promise of queer content and then having no queer content in said media. But if you are picking up on queer themes / subtext / symbolism / coding that is in front of your face IN the text, that's not queerbaiting. It's there, covertly, for you, because someone higher up didn't want it to be there explicitly or at all.

[bougiebutchbinch]

:taps the sign that says 'There is no wrong or right way to write or portray transmasc rep. Every transmasc person is going to have different desires and preferences and that is okay. Some sorts of rep (i.e. dommy transmasc tops and stone tops) might be severely lacking in fandom spaces, and I personally wish there was more of it and would love to see more of it. It's okay to be bothered by the general overarching & erroneous fandom consensus that 'possessing a vagina = must enjoy being penetrated'. But that doesn't mean you can go pick fights with people who have written transmen bottoming/getting impregnated/with a breeding kink. All transmasc rep is awesome! Create what you want forever!':

[oceanwithouthermoon]

me after finding out that another aroace saiki truther is actually just aphobic and pretending i didnt know all along