#and then in my hubris i was like “you know i still have one song left on my playlist...i can do one more short lap”

[eddis-not-eeddis]

Bad things don't happen to me when I stay inside and eat cake. :'(

[lususnatura]

🎤 🎤 🎤

a song that i associate with my muse meme!

AHH, hey, ramone!! thank you for sending in this prompt :D since you sent in three of the mic's, i shall now be treating you to three songs that make me think of blamore when i hear them / that i associate with it. an explanation of why i chose them will be in the tags <3

hozier - who we are.

icehouse - crazy.

depeche mode - personal jesus.

[rin-sith]

I love. LOVE. Get In the Water

It's one of the objectively best songs in the musical; I will die on this hill.

Poseidon was always, despite being pretty much the main antagonist of EPIC, a really underdeveloped character in my opinion. He just needed a little more nuance, and the fact that one (+ kind of one more) song managed to add so much to his characterization pretty much exclusively through subtext and implications is incredibly impressive writing. Because it did!

At the start, he's yet again playing games with Odysseus, the way he did in Ruthlessness. In both songs, he could kill him easily at any point, yet he chooses not to for the sake of playing games. In Ruthlessness, this becomes his own hubris as it leads to Odysseus escaping.

If you listen closely, at the start of GITW he already sounds slightly different. He's still trying to keep up this "God of Ruthlessness" front that he's so proud of, but he's no longer more or less carefree the way he was in Ruthlessness. He's been obsessing over this feud for ten years, and even if he would never admit it, it's actually clear just from his voice that he really is tired of it too. Not in the sense of it emotionally draining him the way it probably does Odysseus, but in the sense that it's a bother, a loose end in his life, a book that he finally wants to slam shut.

But he still has a reputation to uphold, and he still cannot close this book until Odysseus is dead, so he keeps up the game. Instead of just killing him, he's taunting him to kill himself. He might associate the idea of just striking him down with a sort of loss, like then he'd have to get his hands dirty. Then he's rambling about killing his people, his family. He's provoking Odysseus on purpose, likely trying to get him to snap back, to hate and fear him the way that Poseidon would think any mortal who has consumed this much of his time should. In his eyes, Odysseus deserves nothing less than to curse him with his last breath as his "darkest moment," the god who became the bane of his life.

And Odysseus replies, of all things, with ... sympathy.

Honestly, I don't blame Poseidon for being speechless for three full seconds. He literally just threatened to gauge Telemachus' eyes out the way Odysseus did with Polyphemus, and this absolute madlad of a man replies with an acknowledgment that he (might have) caused Poseidon pain too.

Now, I don't really think Poseidon was particularly hurt over Polyphemus' loss, or hurting in any way in that moment (if he were, I highly doubt he'd still be playing games, and he would've mentioned his son as opposed to speaking about his reputation.) But just the fact that Odysseus acknowledges that he might be hurting too is probably something Poseidon hasn't heard in ... who knows how long? His family is the Olympians. I don't think I have to say more.

It's actually more of a genuine apology than Odysseus' explanation in Ruthlessness ... (even though that was also a perfectly fine apology by Greek standards, as far as I'm aware.) Now he doesn't say "sorry" because he's still not sorry for hurting Polyphemus, since he still needed to do that in order to escape. But he expresses regret over the pain he caused in a more genuine way than ever.

I am convinced that Poseidon is utterly unfamiliar with sympathy or mercy. He's lived by his "Ruthlessness is mercy" motto for centuries, and he doesn't know anything else. No one would try to teach him something different. The other gods all live by this logic, even if he's the most vocal about it considering he seems to have made it his whole personality. Mortals wouldn't dare to question Poseidon in the first place. And barely anyone would be willing to treat someone with kindness who is in turn treating everyone around them with ruthlessness.

It's very likely that Poseidon hasn't encountered anyone like this until Odysseus. Ruthlessness is simply how he treats people and also how he expects to be treated back. The fact that Odysseus doesn't, the fact that instead of hating, fearing, or cursing him, he acknowledges that they have both hurt each other and that it doesn't lead anywhere to still pursue vengeance, must have triggered Poseidon in an unprecedented way.

To him, this was probably the most outrageous thing Odysseus could have said in that moment. And it throws him off so much that he is genuinely speechless, and then simply replies, "I can't." ... his most genuine-sounding line in the whole musical.

I cannot stress enough how much it threw me off to hear this line; in the best way imaginable, it doesn't sound like Poseidon. It sounds almost vulnerable. Almost human. Because he is genuinely at a loss so much that he forgets to put up his "wrathful god" facade for just one second. Standing ovation to Steven Rodriguez for his whole performance, but especially this part.

And then Odysseus goes all out to say something even more outrageous: "Maybe you could learn to forgive?"

... Which is when Poseidon snaps.

Kind of understandable, honestly. There's this mortal whom he has likely fantasized about seeing pleading, hate-filled, and terrified, cowering before him for ten years now ... telling him that he ought to learn something. Even hijacking his own motif and his instrument in order to turn it on its head, "defile" it if you will.

This f*cking mortal pr*ck took his own "Ruthlessness is mercy upon ourselves" catchphrase and turned it into forgiveness ... Of course, Poseidon is no longer hesitating; of course, he is no longer concerned with getting his hands dirty or not. He yells "DIE!" and unleashes his ultimate move (which is really overkill for simply killing a mortal if you think about it) ... But he does it anyway because this time he genuinely means it.

... That, and I am also convinced he jumps to that in order to simply shut Odysseus up, fearing what he might do or think if he lets him go on. Because you cannot tell me that Odysseus didn't actually reach him for just one moment. He was far too thrown off guard, far too vulnerable in that one second. That moment of kindness did something to him, and he hated it. He also probably didn't trust himself to be able to keep listening to Odysseus speak like that. So, he abandons his (still very technically feasible!) blackmail/intimidation and just straight-up kills him.

This simple exchange (my favorite moment in the whole musical, actually) tells us so much about both of these characters that it makes me want to skitter and squeal in excitement.

Here is Odysseus—the very same one whom Poseidon specifically tried to teach ruthlessness—becoming the first person in a long time to offer him sympathy despite how Poseidon himself showed him nothing but ruthlessness. And then one song later, here is Odysseus showing him the consequences of not accepting said sympathy.

Six Hundred Strike and what Odysseus does to Poseidon would've not hit the same, in my opinion, if he hadn't made this offer, if he hadn't given Poseidon this way out, even if no one watching genuinely expected it to work (probably not even Odysseus himself.)

Six Hundred Strike is not Odysseus exacting vengeance If GITW proved anything about Odysseus, it's that he does not want vengeance. He wants all of the hatred and pain to be over, to the point where he is willing to let go of, and I am inclined to say forgive Poseidon for what he's done to him. Six Hundred Strike is simply Odysseus teaching him this lesson that Poseidon couldn't have learned in any other way, because he has proven in GITW that he genuinely does not speak any language besides that of ruthlessness (more on that in this essay!)

It's just the perfect representation of how Odysseus has now finally learned the balance between mercy and ruthlessness, which seems to be the core theme of the musical: Both have their time and place; one simply has to be willing to act in both ways and know when to use either. No one extreme is the solution. I am genuinely exhilarated that Odysseus finally seemed to have figured out that it's been both all along.

[leathfaic]

Every year around Easter Ghost hides somewhere on the training grounds. If you find him you get half of his leave.

Soldiers all around go fucking feral, Ghost never takes any leave and there's rumours that start around Christmas of how long you'd be able to go home. Weeks probably aren't enough maybe a few months? Some are sure it's at least a full year.

Except of course no one ever finds him.

He's the Ghost and if he doesn't want to be found he isn't. He's just taking the piss, enjoying how the event has people riled up for weeks. He's not one for practical jokes, but this has him cackling.

Enter Soap, the FNG, the man who brings Ghost to his knees. They do their whole song and dance, and come Easter Ghost is hugging his boyfriend before preparing to hide.

Soap promising with a cocky smile that he'll find Ghost and they are going to use that leave for a nice holiday. Which Ghost smiles at, his sweet naive Soap, as if he's gonna hand him a win just because he loves him.

Imagine Ghost's shock when a few hours later he spots Johnny from his hiding spot. He's still high in a tree but the other man is walking directly in his direction and after a few moments he looks up.

Once Ghost is down the tree, still incredulous, but also very much in love, he asks Soap how he did it.

"Let my heart guide me, L.t." is the answer he gets which he calls out for the bloody nonsense it is.

Takes him all the way back to base to make him talk. And even then Johnny just hugs him, reaching around putting a hand in his back pocket (not unusual) and digging around (definitely unusual). Producing a small piece of technology.

"You fucking tracked me?!" his jaw nearly drops at the realisation.

"Aye, slipped it in this mornin' when we hugged."

"You little shit." is all that his brain will allow, mostly hung up on the cocky smile on Soap's face. The same as this morning.

He should be fuming. His proud record broken, he actually has to make good on the promise that so far has been all but hypothetical. Price will be in hysterics about the amount of paperwork that comes with it.

But he can't find it in him to care. He's mesmerized at Soap outplaying him. Drunk on the weird sense of pride that Johnny is so observant and skilled. Most of all he's blown away by the fact that he never even considered the possibility. It would be easy to blame hubris here, but that's not the reason no-one ever pulled a similar stunt.

No, Soap was able to do this because Ghost let him get close. Because he trusts him.

The Ghost that met Soap a few months ago would've panicked at this point. Soap had not only seen his weak spot, he clearly was also cunning enough to use it to his own advantage.

The Ghost that has been loved by Johnny for months now doesn't. Because he trusts him. And because he's proud. And because the rational part of his brain realises that any enemy agent would never have exposed their advantage for a game.

"If you ever do anything like this again-" he doesn't need to know where he wants to end that sentence, but Soap's interjection saves him the trouble "No worries, I like meself alive too."

He'll still have to be careful next year. After all he found a worthy opponent and he can't just make it too easy on him. Probably can not let Soap touch him before the game. Maybe not even the night before. Just to be safe. A fortnight should do it. But that also means a fortnight of not touching Soap...

But he can consider that later. For now he and Soap have a holiday to plan.

[mistresscitrusslice]

Why does the intro end with Jayce and not the sisters?

Pardon my shitty screenshots. I know I already made a post about the weird things in the intro, but there's even more that I didn't include in that post, and most of it is weird as HELL stuff with Jayce. This whole intro sequence has been weird as hell and I love it.

(I'll put it here since I'm not going to mention it later, but Ekko's first scene in the intro has his shadow as a clock ticking counterclockwise and I love it, but I won't talk about it again since we all pretty much know what that means.)

Last season's intro ended with our two lead women at each other's throats. That's no surprise. The whole show is about them. This one, though, ends with Jayce, a supporting member of the main cast. Matter of fact, he shows up a lot in this intro.

In my other post, I mentioned how his scene in the intro is eerily reminiscent of the moment he met Mel (other than the Council trial) when she shined a flashlight in his and Viktor's eyes in the hallway.

Could this be an indicator that he is once again meeting someone new who will change his life forever? Or could it be a reintroduction to someone he already knows? It could easily be Mel again, maybe after she's discovered and learned to control her magic? It seems like she wasn't aware of her powers until now. Considering how much the animators love to compare Mel with Viktor, it could just as easily be Viktor after he's gone full Machine Herald. They've already met again in the commune, but maybe they'll meet again when Viktor is more mechanical and Jayce is more... how do I put it politely... sane.

The light in front of Jayce's hand appears twice more, but something tells me it's a different light. Has the light evolved or is it a different light altogether?

This comes right after Mel on the lounge chair looking at the black rose and right before Viktor putting on the mask (we'll get to that). It is SO much brighter than before, less like a flashlight and more like a spotlight. Jayce's arm is more outstretched, too. It's less reminiscent of the hallway and more reminiscent of the moment he stepped onstage for the Progress Day speech. Bright, burning spotlights that he flinched at. Arm outstretched not only to block the light, but to wave at an audience.

The light and pose when he ends the intro also has these qualities.

I know it's a reach, but nothing is ever fucking reaching with this goddamned show.

So what does this mean?? Is it symbolic of the presence of magic in his life? Once a light in the dark, the path to success -- now burning, all-consuming? Is this another hubris metaphor??? I'm so tired of hubris metaphors. Let Man become God!

Seriously, what do you guys make of this? Because I have no clue. I have negative clues. Everything I see only opens new questions.

Okay, on to the Jayvik amalgam. :D

Who. The fuck. Is this.

Two pics since the camera rotates a bit and idk if the slightly different angle helps at all.

If you look at it from far away, the eyebrow ridge and nose resemble Jayce. If you peer closer, the eyebrow ridge looks more like Viktor's, but the nose still seems like Jayce. This person also looks to be at a healthy weight and has thick thighs, also qualities that Viktor unfortunately does possess. I want to say the hand also looks like Jayce's, but it's hard to tell. The lighting also makes it hard to determine their skin color. All in all, everything about this scene would suggest that the figure is Viktor except for the figure itself.

My gut instinct had me thinking it was Jayce the very first time I saw this intro, but then Viktor showed up with his blanket and mask later in the song and has been in said blanket for most of the show. The lack of purple limbs doesn't mean anything since the sisters also lost their tattoos, Mel lost her gold, and Ekko lost his face paint too.

And then we have this shot. Whose hand is that? NOT FUCKING VIKTOR'S.

That's Jayce's hand putting Viktor's mask on him. The hand looks like it fits naturally on Viktor's arm.

This could mean that Viktor will be wearing his mask because of Jayce. Partly in a "you see me as a villain, so a villain I will be" kind of way, but maybe also in a self-fulfilling time loops sort of way.

It's obvious that we're not supposed to be able to tell Viktor and Jayce apart in this intro. I even saw someone suggest that the animators made a whole new 3D model that was a mix of them both to be able to get the effect across. They might have also made one for Viktor with Jayce's hand.

This is basically saying that Jayce and Viktor are so deeply intertwined that they can't even be told apart. That's really ironic considering how different and divided they are right now. Could this imply that they'll end up back on the same side by the end?

[dalekowrites]

What would your favourite choice of the games interactive stories be? Would you have a favourite type? Romance, Fantasy etc. and did any of the inspire you with the ones you are currently writing? 😁

Oh boy! This is going to be a long answer, brace yourself lol

Let me start by saying that I have a degree in English literature (in fact, I'm going to do a PhD on it), so reading, in general, is one of the core activities of my life.

As for text adventures, even if not from Choice of Games Ltd., I'd like to mention a few inspirations: my passion first came from the original Choose Your Own Adventure series, and I still remember which numbers obsessed me as a child: Mountain Survival #28, The Dragons' Den #33, and more than any other, Space Patrol #22! (The latter may have also fueled my unhealthy obsession with Star Trek TOS, actually). For those unfamiliar with this fantastic book series, the genres of the three books I mentioned are, respectively, adventure, fantasy, and sci-fi. This gives you an idea of how varied my tastes are...

Later on, I discovered interactive fictions and text adventures. Dude, it was a dream come true. I started with Adventure ('76, never finished it, of course) and Zork ('79, never finished that either… of course. How damn hard were they?!). Then Mystery Mansion ('78), Castle Adventure ('82), and too many, many others. I'm a sucker for Sorcery! from inkle, and I deeply loved Magium (RIP Chris, you won't be forgotten). For my Italian-speaking friends, I also really enjoyed the Fra Tenebra e Abisso series (although its current status is unknown).

But back to CoG-related things. I've read a lot, and I'd probably be faster telling you what I didn't like! As you may have figured out by now, I don't have any particular genre preferences as long as a story is well-written, though horror-thriller stories usually grab my attention more easily.

Important note: I've read a lot of stories and, with a few exceptions, I liked most of them. To avoid writing a too-long list, here are the published stories that really impressed me:

A Crown of Sorcery and Steel,

A Midsummer Night's Choice,

Blood for Poppies,

Blood Moon,

Broadway: 1849,

Choice of the Cat,

Choice of the Vampire,

Donor,

Doomsday on Demand (1 and 2),

Gilded Rails,

Golden Rose: Book One,

Jazz Age,

Lies Under Ice,

Life of a Mercenary,

Life of a Space Force Captain,

MetaHuman Inc.,

Noblesse Oblige,

Paradox Factor,

The Evertree Saga (all four books),

Rent-a-Vice,

Revolution Diabolique,

Siege of Treboulain,

Tally Ho,

The Daily Blackmail,

The Dragon and the Djinn,

The Fernweh Saga: Book One,

The Fog Knows Your Name,

The Gray Painter,

The Grim and I,

The Ghost and the Golem,

The Lost Heir,

The Midnight Saga: The Monster,

The Parenting Simulator,

The Play's the Thing,

The Soul Stone War (1 and 2),

The War for the West,

Tudor Intrigue,

Vampire Regent,

Vampire: The Masquerade (all of them),

Way Walkers: University (1 and 2),

Welcome to Moreytown,

Werewolves: Haven Raising,

Zombie Exodus,

Zombie Exodus: Safe Haven.

And now, onto works in progress! There aren’t that many because I barely have time to follow my own (heh…), so here, in alphabetical order, are the ones I'm following with the most interest:

Adoriel's Tears (@adoriels-tears-if),

A Father's Love (@kal-down),

Crown of Ashes and Flames (@coeluvr),

Dawn Chorus (@dawnchorus-if)

Disenchanted (@disenchantedif),

Dragon's Edged (@dragonedged-if),

Elysium (@elysiumcircusif),

Fallen Lights (@fallenlightsif),

For King and Country (@forkingandcountry-if),

From The Ashes We Rise (@kal-down),

Hubris (@hubris-the-if-game),

Kingdoms and Empires (@kingdoms-and-empires),

Return to Misty Cove (@fluorescent-if),

The Abyssal Song (@ri-writes-if),

The Adventures of Sherlock Holmes - An affair of the heart (@doriana-gray-games),

The Lonely Shore (@thelonelyshore-if),

The King's Hound (@the-kingshound),

The Reaper Watches Me (@thereaperwatchesme),

The Bureau (@thebureau),

The Unseelie (@theunseelieif),

Van Helsing (@vanhelsing-if),

When Life Gives You Lemons (@when-life-gives-you-lemons-if).

Okay, that was… a lot. As for direct inspirations, I don't have any direct ones, but I can say I felt like writing a post-apocalyptic story after reading Doomsday on Demand! Other than that, I guess the collection of narrative, text adventures, and interactive fiction I've read have led me to where I am now.

Damn, it took me hours to write this answer. I hope it's satisfying at least! Thanks for asking ☺

[milehighmegs]

On the Subject of Fandoms: A Love Letter

So, I'm old. Well, oldER. I haven't entered the twilight of my years by any stretch, but once I entered that midlife wistful state of nostalgia, I knew that I had very likely reached the point at which it would be more past than future. And ya know, that's ok. I made peace with my mortality long ago. I don't fear death, I fear not living before I die.

So what's that got to do with fandoms? you may be asking. Fair enough. Here's what it's got to do with fandoms:

Before it was even a term, before I could do multiplication or write my name in cursive (I told you I'm old), I was part of a fandom and didn't even know it. My parents watched 'Star Trek: The Next Generation' when it was still on primetime; we even recorded the final episode on VHS and had it for years. (I told you, I'M OLD.) It was so incredibly formative for me that it's become part of my identity, part of my moral & ethical code, part of my personality. Is that ridiculous? Dramatic? Maybe even a bit of hubris? Perhaps. But it's true, nonetheless.

I've since joined other fandoms, of movie franchises (namely the MCU), TV shows (like Good Omens), and musicians (I'm a die-hard metalhead) over the course of my life, each of them creating/inhabiting a different part of what makes me ME. Though I've always remained the same basic person at my core (a decent one at least if not a good one, I hope), being a part of these fandoms has shaped the foundations of how I live my life, and how I've LIVED my life.

Being on the proverbial back nine of my earthly existence, looking back at what's come before, at how far I've come and all the things I've fucked up or gotten right, questioned, accepted, regretted, cherished... so much of that is filled with moments like, 'what would Captain Picard do? How would the Avengers handle this? Which Slipknot song would be most comforting right now?' With the explosion of semi-social media sites (like tumblr here, and its gateway drug, Pinterest), I've been able to dive even deeper into the fandom. The fic, the art, the theories & analyses... it turns my appreciation for all these things I love to 11. But it wouldn't be possible without the most critical element: the fans.

Because people have such a love for, and identify so strongly with the stories & characters of their respective fandoms, they go deep into hidden meanings, major themes, & what they imagine these stories would be like if they were able to direct the action. More than anything, what I love about fanfic/fanart is that while yes, we're creating what we want for the characters, it's more a reflection of what we want for ourselves, both in the same situation as the characters and in life in general. For example, I see SO MUCH art/fic of Crowley & Aziraphale being open & free in showing their love for each other. I see so many stories of them making up and living happily ever after. The art ranges from sweet & adorable to... ah... adult-themed, but the vast majority of the latter is passionate, tender, & clearly loving; rarely is it straight-up raunchy. Smutty? Totally. Raunchy? Not so much. And why? Because we know these two are IN LURVE, not just in lust. And we want what they (clearly) have, even if they can't admit it to one another. We, the fans, can live vicariously through these characters and these worlds, and there we can find what we're looking for.

I've had a rollercoaster of a life, emotionally speaking, especially in matters of romantic love, and much of that hasn't been pleasant. I've done so much soul-searching, shadow work, self-care and all that whathaveyou, but none of it- NONE of it- has come anywhere near to being as insightful as the fan-based art & analyses of the relationship between Crowley & Zira. I have spent the vast majority of the last week thinking about it, writing about it, going over & over how it applies to my life & experiences, and I gotta say... none of it would be possible without the remarkable Good Omens fandom. So seriously, thank you. THANK YOU. You've helped to make me a better person. You've helped to make me look back on my life, smile, and turn around... to look forward to what comes next.

Keep up the incredible work, creators. You never know whose life you could be saving.

[galactichoneybee92]

Dialogue V.S Soliloquy

... and why we haven't really had a Helluva Boss love confession yet.

~*~ Spoilers Below for Mastermind ~*~

I've seen a lot of confusion on this topic floating around the internet and I thought I would offer up my 2 cents on the matter. Like, maybe Vivzie will come out with a tweet that proves this entire theory wrong or something but until then, here is my interpretation.

The song starts off as Stolas addressing the courtroom. He even leads into it saying something like "Lets do this the way I do best- with song." He then proceeds to play a sort of evil villain role, pretending that everything was all part of his evil plan and how dare this dumb little Imp try to take credit for his accomplishments- really playing up the condescension in a way that the Goetia will buy. He's playing to his audience with the ultimate goal of redirecting the blame from Blitz to himself. He's campy and dramatic the whole time until he gets to the line "And I have no regrets."

At that point you will notice a change in the background. As soon as he sings that line we suddenly aren't in the courtroom anymore but in this starry galaxy backdrop with feathers floating around and he immediately sings "I have regrets." Like, it's the very next line. "I have no regrets. I have regrets." The tone shifts from his silly villain monologue to something sadder and more somber. All of this combined is why I believe that this is when the song stops being an address to the court room and becomes a soliloquy.

If you think back to highschool when you were learning about Romeo and Juliet, that's when most people learn about soliloquy- A device used in theater to let the audience into the character's mind. It's usually shown as the character on stage by themselves, speaking their thoughts aloud so that we as the audience can know what they're thinking, but it's accepted that the other characters in the play cannot hear this part.

When Mastermind makes the drastic shift away from campy stage play into somber reverie, I believe this is meant to be a soliloquy. After all, the "I have no regrets. I have regrets" line wouldn't make any sense if Stolas was still addressing the courtroom. He doesn't want them to know he has regrets or that he's questioning everything or that he's even questioning why he's willing to throw everything away for this one man that he's not even on good terms with right now. Additionally, Blitz's parts in this song are his thoughts too: "What have you done?" and "I don't deserve this."

They were both screaming in their heads about how much they love each other but I don't think they've said it out loud, not to each other or anyone else. When Satan sings his part he doesn't comment on any of the lovey dovey stuff, just "Isn't that adorable, we've been betrayed by one of our own." He only comments on Stolas's performance from the beginning of the song. He goes on to talk about how Stolas's hubris had gotten the better of him, but nothing of his heart.

These two haven't confessed their love, they've just both accepted it. I think the purpose of the duet was to show that they're finally on the same page with what they want out of the relationship, but they've still got some work to do in regard to actually getting there. They've said it in their heads- now they need to say it to each other.

[kandadze]

Ep 34 loose thoughts

Here we go, the finale!!!

....... This drama really does not fuck around when it comes to grief. ZYC's reaction to seeing Bai Jiu absolutely gutted me (it's usually the pain of those left behind that gets me the most and boy, was ZYC's pain palpable. Like the unbearable weight crushing your chest). The way he immediately looked away first, like he just *couldn't* face this. He's faced so much already, and so, so bravely, but this, this was *too* much.

And then their song came on, he noticed the bells in Bai Jiu's hand, and I lost it. (I could literally write paragraphs about everything going on in this one scene, and I probably will, but I *really* need to calm down first.)

The whiplash I got when the scene switched to WX still being slammed against hard surfaces... this would be a good moment for ZYZ to appear!

😭 omg I can't believe her tears brought him back. I mean, I *can,* this is not the first time this drama demonstrates that brute strength is not always the answer and vulnerability and our bonds with others can overcome obstacles, it's just, I didn't quite expect it to work so well!

Ahhhh okay, it was her tears powered up by her divine power. My previous thought still stands though lol

.................

Oh no. When Fan daren looked at ZYZ and told WX that someone else will look after her now I was not only bawling but also going, *will* he though? Or will she lose ZYZ too, right after losing her dad? 😭

(The analytical part of my brain can't help but tick off the scenes from MV as they click into place... just a few left to go, and I'm really scared now)

Oh no are we having a zombie demon apocalypse now? (Oh no, don't tell me that the only way to deal with this is to use Baize token, as she just unconsciously did with her dad? So either ZYZ or ZYC have to sacrifice themselves to heal WX so she can do her thing? Is this how we're going to lose one if not both of them????)

Oh fucking hell I was right. Only WX is ready to sacrifice herself - "this is the final sacrificial spell..." Why are all of them like thisssss (don't answer that, I'm just having a lot of feelings about everyone in the squad and how they're always ready to do everything in their power, including dying, to make sure the others get to live. I can't remember being this feral about a group of characters in a *long* time.)

IS ANYONE SURPRISED THAT ZYZ WENT, ABSOLUTELY THE FUCK NOT, NOT ON *MY* WATCH??? (I hate being right.)

Omg are you really talking about the pendant, or something else, ZYZ?! Fuck me do I even continue watching at this point when I'm pretty sure I know where this is going???

Yup, I continue. See the world clearly and all that.

😭😭😭

But how is him dying to kickstart her powers gonna help with the poison though???

Aw ZYZ, that must've hurt, having to do that. (Also, if they both somehow survive, she's gonna kill him for pulling this stunt.) Oh her cries for him are killing me. And him, too. I feel like yelling some more about HMH's acting because his *face,* that self slap, the *pain* - just, perfect in every way.

And speaking of pain, there's still more. ZYC is like a perfect mirror of WX at this moment, having just lost someone so dear, and you can see how it's killing ZYZ inside that there's no time, that he needs to ask ZYC to fulfill his oath *now*...

(I do appreciate the explanation why the "wing" spell worked. The karma is indeed tangled in the most unpredictable twists.)

Like I understand what he's saying, but why the fuck do they have to pay the highest price, and repeatedly. (Oh yeah, because of one schmuck's hubris, that's why.) The Greek tragedy of it all. 😭😭😭

Looking at ZYC now, still remembering him in ep 1, oof, the difference. How he's grown and changed, while the "fate" (ugh but I hate the word and all its implications) remained the same. The way he asks, is there really no other way? 😭😭😭 I'm asking you too, drama!!! Is there really no other way???

I agree, this is fucking absurd.

Oh nooooo are we really going to get an exact repeat of Ying Long and Bingyi, including the "let me do it myself"?!

Oh. My heart pretty much stopped. ZYZ's tiniest gasp 😭😭😭

ZYC REALLY SAID, I DECIDED THAT YOU WOULDN'T HAVE TO MAKE A CHOICE FOR ME! THIS IS MY DECISION! I AM WILLING TO BEAR THE GUILT OF KILLING MY DEAREST FRIEND FOR ALL THE LIFETIMES TO COME! YOU DON'T NEED TO BEAR IT FOR ME!!!

If this isn't the purest motherfucking love, I don't know what is. (ZYC, the man that you are. The *strength* in this guy!)

Oh for fuck's sake don't do this to me, drama! (I mean, after what they've already done there's no point hoping they won't just continue twisting the knife but my poor heart can't take much more...) She was *crawling* to get to where she saw him go, and then that moment her binds disappear and she realizes... 😭😭😭

That little stumble as she sees them, and ZYC looks up and drops his sword. Somehow the aftermath hurts even more. (Ngl I'm somewhat annoyed that - maybe to fend off censorship - we don't get to see ZYC support ZYZ for one last time, we don't get to see him even try to make a move to catch ZYZ's fall or at least ease it somehow, but only this way could WX get him in her lap so I guess, fair. Also, replying to myself here, narrative explanation might as well be that ZYC is so shell-shocked from the enormity of what just happened that he's simply not able to move at all at this point. No matter how strong he is, I can't fucking even begin to imagine what might be going on through his head right now.)

Leave it to ZYZ to take care of everything while he was at it, including WX's poisoned state. He might be a vessel of malicious energy, but the amount of love in this guy is simply uncomparable...

Yes, stupid demon, you are indeed amazing 😭

He turned to look at ZYC as he started fading for good???

My throuple!!!

This... gives a whole new meaning to "crying in the rain," I swear.

😭😭😭

Sorry, I have no words.

For one of the shorter episodes in the series, it sure didn't waste even a second to absolutely crush me.

On... to the extra? Once I can breathe properly again, holy shit.

[beauty-and-passion]

Eurovision 2024: broken promises and one last hope

Hello.

I know this post took a bit longer than usual, but I needed some time to collect my thoughts about this year’s Eurovision.

Yes, I watched it. Why? Because it wouldn’t have been fair to the artists, who took part in this year’s competition. It’s not because of them that the show was so polarized, so they didn’t deserve to be punished for that.

Also, I needed to see how far the EBU would go. I needed to see and I needed to remember. And everyone needs to remember too. Remember this year and remember what happened, when the EBU followed its policy so strictly, it ended up making the most tense show I’ve ever watched.

I will share my thoughts and I will try my best to do it effectively. It won’t be a short post and I apologize, but I tried my best.

_________________________________

Sweden: was it worth it?

We all had big expectations for this year’s show. There was Petra Mede, everyone’s favorite host. And Sweden is well known for doing great shows. This year should've been great.

 The first semifinal starts and we're bombarded by greatest hits of the past. Cool for five minutes, boring after one hour.

I’m disappointed: I expected something better from Sweden, not them recycling something already done in the past. But that’s what they did by sending Loreen back to win again, so I suppose it’s fitting.

Okay, so we have Johnny Logan, Ireland’s three-time winner. Is he singing one of his songs? No, he’s singing Tattoo.

Weird choice. Why call Ireland’s three-time winner to perform a Swedish song? Why call a representative of the nation who won as many times as you and make him sing one of your songs and not one of his?

If I were to think badly, I would think this was Sweden's subtle way to impose its supremacy on Ireland. A sort of: "You're not the best anymore, I reached you and I will surpass you. You will succumb to me". But Sweden would never do something like that, wouldn’t it?

Then we have the second semifinal. And we have a song, which can be resumed as follows: “We know we stole Finland’s victory last year, but instead of admitting there is a problem with the voting system (and the entire system for that matter), we’d much rather prefer to whine, because people have been sooooo mean with us. And yes, we will keep sending the same stuff every time, because it makes us win. At the end of the day, all we want is to keep winning, so shut up and love us.”

I don’t know you, but the line between being self-aware of your flaws and openly admitting all you want is to win (all while insulting the country that almost won last year, by saying that their show would’ve been so stupid ah ah, while ours is so cool, see how cool we are?) is very thin. And even the greatest hosting country of all time can succumb to its own hubris once in a while.

Then we reach the final. Okay, the semifinals' shows were meh and left me with a bitter aftertaste, but hey, that’s the final! It must be awesome!

After two hours, I was looking at the clock, waiting for the entire thing to be over.

Did we really need a thirst song about Martin Österdahl, the most hated EBU Executive Supervisor? Was it really necessary to sexualize this man? Is it because he’s Swedish? Is it because Sweden needs to kiss the ESC’s ass even more? Or is it because the ESC really really wants to make this guy more popular, considering people hate him?

After hinting at them in every possible way for the entire week, in the end we got AI-generated ABBA. Well, shoutout to the real ABBA for not participating in this: last year they said they would’ve not taken part and they didn't. Respect.

Alcazar were the biggest surprise of the entire week, because they are a piece of my childhood and Crying at the Discoteque is still a huge bop. But heaven forbid we having fun for more than five minutes, so they were sent away immediately.

At the end of the day, my question is: was it worth it, Sweden? Was it worth winning seven times, only to celebrate with the most boring show ever?

I cannot believe I’m saying this, but I missed Portugal’s show. Yes, the show I called “torture”, because they kept spamming the entire country for days.

You know what? I’d rather watch a country constantly spam its beauties and its culture, than another greatest hit compilation. By god, you’re hosting Eurovision. That's your chance to display your country on the greatest window Europe has to offer. And you use that chance, to repeat over and over “Eurovision good” and talk about it only.

I know Eurovision is good and cool and I love the reminder... but please, give us something more, Sweden. Something you. Listening to a country say: “We don’t have anything else to offer besides Eurovision” does not make me laugh. It makes me sad. It's not that you don't have anything else to offer, Sweden: it's that you don't want to show what else you have to offer.

You have gorgeous natural places (Höga Kusten and Gotland just to name two). You have the second-longest bridge in Europe and it's fucking impressive. Your capital is full of wonderful islands - and I found out there are tours with buses that go both on the ground and in the water. How fucking cool is that?!

Do we want to talk about culture? Your coffee breaks are literally part of your lifestyle and even have a specific name. You have that great concept of lagom which a lot of people should learn too. You are full of beautiful art and funny foods - heck, there is even a Disgusting Food Museum in Malmö! And I didn't find out thanks to Eurovision, but thanks to fucking Tripadvisor.

It's just sad, you know? Don't underestimate yourself so much, Sweden. You have a ton to offer besides this show.

_________________________________

 The Netherlands: victim of paradoxes

Europapa was one of fan’s favorite songs and of course it was: a catchy tune, funny singer, fun and happiness for a song that was both a celebration of Europe and a touching love letter from Joost to his parents.

Of course it got people’s hearts. We all love the story of a character who comes up with a dream and wants to fulfill it. And if we can, we want to make that dream come true.

So just imagine how devastating it was, to find out Joost has been disqualified. I was minding my own business when I found out and I was shocked, so I can’t even imagine how bad his hardcore fans felt.

The first question was, of course, why. What happened? What could’ve done a man who has always wanted to attend Eurovision, to get disqualified? Not warned, not penalized. Disqualified. What did he ever do, to put in jeopardy his lifelong dream like that?

I don't know if we’ll ever find out the whole truth. All we know is that Joost asked a woman to stop filming him, she refused and kept following him, so he made a “threatening gesture” towards the camera, while not touching her.

Which gesture? No idea. Maybe he showed his middle finger, maybe he tried to lower the camera, maybe he said “fuck you and stop filming me”, maybe he tried to hit the camera. I don’t know. But in this case, I would really like to know - and not just what he did, but how the whole thing went.

If this year taught us something, is the importance of context. If Joost Klein tried to punch the camera is one thing and he should be condemned for that. But if Joost Klein tried to punch the camera after being filmed without his permission, because a woman was harassing him and following him, thus breaking the agreement that wanted him to not be filmed after stage… well, that's another thing.

Sure, he shouldn’t have reacted this way. But you can understand by yourself that snapping at someone out of the blue is one thing and snapping because you’re fed up with harassment is another thing.

Did Joost deserve some punishment? Sure. But did the person filming him without consent deserve punishment too? Of course. If you have to apply punishments, you have to do it equally, not with a double standard. So if he was disqualified, that woman should've been removed from her position too. But as far as I know, she wasn't.

Also, why didn't the EBU tell exactly what happened right from the start? Why refer to it as “an incident” and give only vague explanations? Why not mention Joost's disqualification during the Grand Final? Why did people have to find out through social media and the Grand Final happened as if nothing?

That's weird, that's not the behavior of someone who has nothing to hide. What’s the matter, EBU? Why this weird lack of communication? And why not show the footage of the incident and make everything clear? Now you’re respecting Joost’s right to not be filmed? A bit too late for that, isn’t it?

So yes, in a paradoxical turn of events, Joost Klein got his dream denied by the same show he wanted to be part of. The guy with the most European song ever, the one who stuck to the ESC motto “united by music”, the one who celebrated Europe, the one whose childhood dream was to be part of this European show, got disqualified by the same European show.

What can I say? I just hope karma will do its job for him. If he's innocent, he will get good things. If he's in the wrong, he will get his punishment.

In the meantime, you can still support him, stream his songs and check his albums. Here on YouTube you will find basically all of them, since it doesn’t seem he has a YouTube channel (yet).

And if his fans still find everything absurd and unjustifiable, don't worry: if Eurovision 2023 (and all previous ones) taught us something, is that you don’t have to be the winner, to steal people’s hearts. Sometimes, you just need one performance.

And this one stole everyone's heart.

Also, since apparently paradoxes were not enough, it seems like European flags were banned for being political? European flags during a European show in a European country in the European continent.

Uh?!

EBU, one question: on which continent do you think you’re in? Spoiler: it’s not America.

_________________________________

EBU’s biggest mistake

Let's talk a bit about the current global situation, shall we? No, you can't escape from it.

So, unless you lived under a rock until now, you know that the Israeli-Palestinian conflict has been going on for a long time and that recently it intensified again because of the new Gaza conflict. Israel pretends to not have committed war crimes, the rest of the world tells them to stop committing them, there are protests everywhere and people are ready to jump at each other’s throats to defend one country or the other.

Now, you’re the EBU. You say your show isn’t political. And that’s true: Eurovision isn’t political. Eurovision is a musical competition. It has nothing to do with politics.

But Eurovision takes place on planet Earth. And, as said, the situation on planet Earth is a bit tense right now. So you already know that, if you stick one single finger in this situation, you will get BIG reactions from the public.

So, what do you do, when Israel asks you to participate?

a) You tell Israel, very politely and very professionally, that you appreciate their application, but cannot accept them this year, because the situation is what it is and letting them in would bring chaos and potential dangers into a contest whose main foundation is being safe and non-political.

b) You let Israel in and let Palestine participate too, at least in spirit through people’s voices and decisions to mention it. This way, no one can say you’re taking sides, since you’re letting both sides participate.

c) You let Israel in and censor everything and everyone else, so not only you bring chaos inside your non-political contest, but make it even more political than ever and end up taking sides too.

Guess what EBU chose.

In order to stick to their non-political policy, EBU put blinders on and ignored the rest of the world. In order to let one country in because "Eurovision is non-political, so everyone is allowed to participate", they brought politics into their non-political show.

And no, it's not unexpected: it was obvious that, by letting Israel in, politics would've entered the competition too. This country and politics are bound tightly now, because of the current situation: of course if you let one in, the other will enter too.

And with politics, all the chaos of the current situation found its way in too. And that means EBU literally put in danger:

25 artists and their teams coming from all over Europe

the same Israeli gal and her team

all the tourists coming from all over the world to attend Eurovision

Swedish people who were living their normal lives and were suddenly surrounded by protests and chaos

the protesters who could've been involved in potential clashes

members of the police who also could've been involved in potential clashes

“But hey”, you might say, “nothing bad happened, in the end! You’re being too negative!”

Sure, thankfully nothing bad happened. But the risk was there, it was huge and it's not that "it would've been here anyway": the risk could've been completely avoided, by applying just a bit more human reasoning.

But even after politics found its way into the show, even after that, EBU could've saved the whole thing. If only one human being with a functioning brain said something like: "Okay, politics is in, even if we didn't want to. Now all we can do is let the other side of the conflict speak too, while we stay neutral".

But no, oh no. Mentioning Palestine and ceasefire means politics and our show isn't political. So let's ignore the fact that our decision to follow the policy verbatim led to politics being inside the show and let's keep applying the rules as if nothing: no one should mention politics, so Eric Saade cannot perform with the kefiah, Bambie Thug should remove their messages about ceasefire, Iolanda cannot keep her nails with Palestine's colors (seriously?!) and people's booing should be drowned with anti-booing technology.

You know, it's incredibly fascinating how EBU's stubborn decision to strictly follow the rules not only allowed politics inside the show, but led to the EBU itself taking a political stand, all while censoring every other opposition. EBU's rigid, mechanical application of the policy led to the EBU contradicting the same policy it was oh-so-religiously following. By making sure the show wasn't political, EBU applied censorship and not only made it even more political, but politically oriented towards one side of the conflict.

I don't know who the EBU members are and if they're human beings with functioning brains or just AI-generated bots, but please: stop following the rules like mindless robots and start using human reasoning in your decision-making process. And use common sense too, because if an idiot like me could foresee the consequences, you should've been able to foresee them too.

_________________________________

Israel: bullying cannot buy you victory

Now, we have Israel in. And the Israeli gal and her team perfectly know that their sole presence will lead to controversy and political stands.

So, if you were in their place, what would have you done?

kept a low profile during the entire competition;

showed at least an ounce of regret for unintentionally putting everyone in danger;

bullied everyone and tried to find any possible chance to beef with the other artists;

Guess what the Israeli team chose.

During the entire competition, these people kept harassing other artists, filming them without consent, calling them names, misgendering them. They kept this arrogant behavior, as if they owned the place and all other countries were just invited to their show.

And if there’s something I hate more than arrogance, is arrogance with a side dish of bullying.

So, to all the people whining because “Martina Satti yawned while Eden was speaking and Joost hid his face”: if that’s bullying, for you, you have a great life and I envy you. I wish I was bullied like that in school. But my bullying was more like… well, calling me names, harassing me and listening/spying what I was doing without my consent.

But apparently harassing the competitors wasn’t enough, so Israel decided to harass the viewers too, by begging for votes. Yes, they begged for votes. Yes, they spammed ads all over YouTube. Yes, I got one too and it was on a Eurovision-unrelated video and it made my blood boil. Yes, they were this desperate. And yes, that’s pathetic.

Also: is this legal? Is this allowed? EBU, are we sure this is part of the rules you follow so strictly? And please, tell me: is harassment also part of those same rules?

But do not worry: in the end, karma found its way. And despite the arrogance, the harassment, the tons of money spent to beg people, none of these means was enough to grant Israel the victory they oh-so-desperately wanted.

On the contrary: in a wonderfully ironic twist, the winner was one of the artists they kept misgendering and harassing. Mmmh, delicious irony, my favorite.

So thank you Israel for wasting money all over YouTube, I hope they were a lot. Thank you to all the people who made a political vote, you really got the spirit of the show, I hope you will never watch it again. Thank you Israeli team for harassing everyone and making an already tense competition even more tense. And, most importantly, thank you EBU for bringing politics in a non-political show: great fucking job, I hope someone will get fired.

And now, let's finally talk about music. Israel's song was nothing special, just the umpteenth bland song I've listened to 200 times already. And we all know it didn't get 300+ votes because everyone was in love with it. People's taste is not so bland and boring. And the final points proved it.

(On a side note, if I were Eden, I would be offended by these votes. At least the people who voted for Loreen last year didn't do it because of Sweden, but because of her talent. This year, I doubt that the people who voted for Eden gave a shit about her talent at all)

_________________________________

France: I need to make some apologies

Listen, you have to understand: we Italians know that French singers are good. We laugh, we say they’re “so French” and they keep Frenching and everything, but we know they rarely disappoint.

The problem is that France is good at the same things we’re good too. We’re both good at soccer, we’re good with food, wine, fashion. And we’re both good at singing.

So, France, remember: we might make fun of you but my god, your artists are amazing. When Slimane sang that part acapella two meters away from his microphone, I literally got shivers. He is a fucking great singer, his voice is incredible and he deserved more than 7 points.

I know French Frenching, but we should give credit when necessary:

_________________________________

Estonia, Spain and basically everyone else: two words and more apologies

Estonia 20th and Spain 22nd? Super robbed. The ignominy. The audacity. They served us beautiful Estonian language and a Spanish gal with a soft voice and that's how they got rewarded? They deserve more and better and people are stupid.

Also, I don’t know what kind of beef Greeks have with Marina, but she was good and doesn’t deserve all of this hate. Also because most of the complaints I've heard about make no sense, so… uh?!

Germany: fucking finally, people gave you votes. Thank you for persevering, your song was truly nice and I liked it too.

Armenia: yes, top 10! For great, lively, wonderful Balkan rhythm! You deserve it and your country deserves love and appreciation.

Italy: I’m okay with this result. Angelina’s performance was better, compared to the one in the semi-finals (also, better costume too, the other was too revealing and too much in general). 7th place is fine.

Ireland: I know that’s not a song for everyone and okay, fine, maybe it’s nothing special either… but my god, have you seen the performance they put on? A-ma-zing. It was interesting, captivating and full of details. And the narrative is perfect too: you can see how Bambie slowly befriends the demon and ends up killing it. It was truly enjoyable to watch. So I’m glad it got 6th place, they deserve an even higher position.

Ukraine: please keep slaying, your artists are always so great and they keep proving it every goddamn time. Also, that moment when Ukraine surpassed Israel was delicious: money truly cannot buy you love and support.

The UK: seriously, why are you whining about people not giving you points? The song was okay, but nothing truly special. Still, you got 18th place! What should Norway say, instead? Poor Norway, it has all my sympathy, the song wasn't this bad.

And now, to you all: you know what to do. Follow your favorites, stream their songs, shower them with love. Eurovision is over, but these artists are not disappearing. They are still out there, making beautiful music. Go check on them.

_________________________________

Croatia: “the audience will come to my concert, not the jury”

Baby Lasagna was a blessing and as Italian, I want to properly apologize for giving it 16 points total only. You deserved 24, shame on us for being stupid morons.

Croatia gave us a beautiful song, from a beautiful artist with a great message and upbeat sounds. And I’m not the only one who thinks this, because the rest of the public agrees with me. Marko gave us pure joy and entertainment in an evening that was mostly sadness, tension and boredom.

And yes, it’s sad he didn’t win… but he knew it, before Switzerland’s points have been announced. Look at his face, during the final voting: as soon as Petra said Switzerland only needed 182 points, he realized he was going to lose. You can see him understanding and accepting it. He knew Switzerland would get these points. I knew. Everybody knew.

So no, this wasn’t like last year: last year, it was a one-on-one game between Finland and Sweden and a tug-of-war between public and jury. This year, we had a lot of favorites. Marko was the favorite, but if Joost wasn’t disqualified, maybe the points would’ve been even more distributed.

But you know what? Marko actually got the best possible result you can get in Eurovision. People adore you, you become a legend and your country doesn’t have to deal with EBU’s bullshit. You get the best of both worlds and it doesn’t cost you a cent.

Also, consider that Marko accepted his 2nd place graciously and maturely, went back home and was welcomed by basically the whole Zagreb (Let3 were there too! Kings supporting a king, very fitting). And in an interview, he said something like “I don’t care about the jury points, because the jury doesn’t come to my concerts”. Which proves he is:

a mood

a king

the truth oracle

everyone’s spirit animal

the winner of the people

the coolest guy ever

So, Croatia: I understand your disappointment, the jury system REALLY needs to change. And no, you won't host Eurovision next year. But consider that you're everyone's favorite country now. And you won't have to deal with whatever shit will happen in 2025! So sit back, relax, may your tourism thrive and your quality of life be high.

And if all of you people really enjoyed Baby Lasagna, please consider he has a YouTube channel and there are two other songs, besides Rim Tim Tagi Dim. One criticizes social media and the influencer system, while the other is a piece of great life advice from the title: “Don't hate yourself, but don't love yourself too much”. Thank you, king, for being so real.

And in case you’re wondering, yes, they’re both huge bops.

Do your magic, people: subscribe to his channel, stream his songs, watch his videos, shower him with love and, most importantly, meow back.

_________________________________

Switzerland: a contest that can live up to its promise

In the end Switzerland won. And it’s a good victory, you know? You might not like the song, but consider that Nemo sang pop, rap and opera, all while jumping on that rotating platform-thingy and running all over the stage. And they even bent back, while keeping a high note and rotating. I can’t even keep a high note by standing still, let alone by doing all the stuff they did.

Also, this is the first victory for a non-binary person, so great for them. And basically no one knew Nemo before Eurovision, so the show came back to its roots, by giving fame to an unknown artist.

Last but not least, in an ironic turn of events, this victory is the least political thing that happened on that stage. In the most polarized, political show ever, the winner is the quintessential neutral country. Almost poetic, in a way.

And this victory is also a huge slap in the face for the EBU: in the end, it wasn't its rigid adherence to the policy that made the show non-political, it was the jury’s vote. How the tables have turned.

But there is another reason why this victory is good after all and it’s because it’s a hopeful one. The winner isn’t famous, they didn’t harass anyone, they didn’t use money to win, they brought nothing besides their identity, a kind heart and a flag they had to sneak in because of the weird “flag rule” EBU pulled out.

And I would like to remind you that, during their victory speech, Nemo said this:

"I hope this contest can live up to its promise and continue to stand for peace and dignity for every person in this world".

I think it’s a speech that tells everything about this year’s show. This year, the contest didn’t live up to its promise: it put people in unnecessary danger, it brought tension, it made it political. EBU’s strictness led to a lot of consequences, the exact ones it tried so desperately to avoid.

As a result, no one enjoyed their time. I didn't enjoy my time. When Sunday came, I was relieved that the week was finally over and I was able to leave Eurovision behind. I didn't feel an ounce of the usual post-Eurovision nostalgia. I was just glad it was over.

And it's sad and unfair, because Eurovision isn't this. Eurovision is a perfect little window of peace and unity, away from the chaos of the world. For a few hours, three evenings a year, we can leave the real problems behind and focus on silly ones, like which country should win, which should be forever ashamed and which artist will become a legend.

This year, it wasn't like that. This year politics found its way in and wrecked everything. What was supposed to be a silly, funny, lighthearted show became so heavily politically charged, it broke under the weight.

And now that I think about it, Nemo breaking the trophy is the perfect metaphorical representation of this year's competition.

Just like that trophy, Eurovision is something frail and beautiful and mishandling can break it. And oh boy, the EBU truly mishandled it. Even if it was an accident, even if it wasn't done on purpose, the trophy is still broken. The show is broken.

But when asked about their broken trophy, Nemo didn't mourn it: Nemo gave words of hope. Maybe the broken trophy can be repaired. And maybe Eurovision can be repaired too.

How? Well, maybe by starting to learn when and how to apply rules. By using common sense and sensibility. And by checking the world outside too. If we want Eurovision to keep being that small window separated from real world problems, we can't just ignore them: we need to check them and react accordingly.

And if we have to break a rule to guarantee peace and safety, then so be it. One broken rule is not as important as safety and unity.

After all, what makes Eurovision isn't a set of rules: it's the artists, with their talents, their messages, their hopes, their voices, their dreams. They are Eurovision. They are the pull that draws everyone in. They are the reason why people are "united by music". Not because a rule orders them to, not because of the EBU: because of these artists.

Maybe the EBU can start from that. Maybe it can start by looking at the human aspect. Maybe it can start by going out and looking around. And maybe it can learn to take more care of the artists who are the foundation of the show.

And maybe, maybe, they will be able to repair Eurovision too.

See you, hopefully, next year.

[plussizefantasia]

Congratulations on 300 followers!!

Would you be willing to do Mars with Kili/Reader with the song Work Song by Hozier?

Congratulations again! I love your writing!

"My babe would never fret none/ about what my hands and my body done/ if the Lord don't forgive me/ I'd still have my baby and my babe would have me"

word count: ~600

divider credit @cafekitsune

Kili has nightmares,  he’s had them since he was but a child and he learned that his Adad would not be coming home. The adults would not tell the young dwarf what had happened and that might’ve been for the worst, as Kili’s imagination was more than willing to fill in the gaps even if he wasn’t correct.

You were familiar with these nightmares, you don’t spend years sharing the same marriage bed and not notice that your husband wakes in terror some nights.

It had gotten worse since the battle, he had almost lost his life. He had almost lost his brother and uncle and it was taking a toll on him. 

Kili was thrashing next to you, “I’m sorry” over and over again spilling in anguish from his lips.

“Darling” you call, shaking his shoulder, “My love it is only a dream, come back to me.” You caress his shoulder softly until he stirs. His eyes open suddenly but he does not jump.

“I am sorry I woke you amralime. You can go to sleep again I will be okay.” 

“Ki, I’ve never heard you say anything during your nightmares, are you sure you’re okay?”

“I- I will be fine.”

“Don’t hide from me Kili. I am your wife. I am here for you.” You turn so that you are lying on your side. Facing your husband whose eyes are holding a deep pain, one that you long to take from him.

Kili is silent for a while. “I worry that Mahal will not forgive me.”

“Forgive you for what? You’ve done nothing wrong?”

“A lot of people died because of us. Good people. The men women and children of lake town burned because of our hubris. That is my fault.”

“It is not. It is sad that those people’s lives were lost yes, but the only one who can be held responsible is that Monster Smaug, you did not take their lives, my love, don’t let that guilt swallow you.”

“I just cannot bear the thought of losing you, the idea of not being able to spend eternity in your arms because of what my hands have done… I would never be able to forgive myself.”

“Kili, I do not care what your hands have done, I know the man you are and I love you, I will always love you, in this life or the next. Let Mahal try and separate us after our time in Middle Earth has passed, I will not let you go.” You grasp his hand in yours and bring it closer to your chest, resting your joined hand atop your heart.

“You must know,not even death could stop me from coming home to you.” Kili presses a kiss to your lips. You do not hesitate to return the affection. Kissing your husband is like heaven on earth and you’d gladly do it for the rest of your life. 

You pull him in close, entertaining your legs and running your hand through his hair. His responding groan is enough to make you smile into the kiss.

“Do you still want me to go back to sleep, dear husband?”

“Not yet amralime, your love is the sweetest thing I have ever tasted and you know I have quite the sweet tooth.” Kili practically pounces on you, the rest of the night is filled with love and light, pushing the dark thoughts away from your husband’s mind.

[loonarii]

Idolizing Imperfection: The Ancient Allusions of 'Midas Touch' - KISS OF LIFE (an essay)

I have missed writing kpop essays so much and after watching the new Kiss of Life MV, I couldn't resist doing a scene by scene (with some lyrics) breakdown of the allusions to ancient mythology - (there are lots of other modern references, especially to Britney Spears, but the ancient ones are what I will be focusing on here, believe me there is more than enough to talk about.) I don't have any official qualifications surrounding this field (yet), but I am studying classical civilization and roman literature for a qualification, and I have a long time obsession with Greek mythology especially. Obviously all of these are my interpretations, this is not a definite guide to what exactly the creative direction team at S2 Ent. were thinking about for this comeback, and if you think I missed something or have a different interpretation of one of the scenes, please let me know in the reblogs/comments.

Let’s begin with the title of the track, ‘Midas Touch’. It references the Greek myth of King Midas, who (according to Ovid’s ‘Metamorphoses’) after winning the favour of the god Dionysus, was granted any wish he desired. Midas chose the ability to make everything he touched turn into gold, a wish driven by greed. Midas revelled in his new found powers, but the problems arose when he realised that all food he touched would be turned to gold too - he had condemned himself to starve to death. The myth is essentially a cautionary tale about the effects of greed; Midas is a tragic hero that brought about his own suffering due to his hamartia (tragic flaw) - his blessing becomes his curse. Today, having a ‘midas touch’ means that everything you are involved with is successful, but the main association of Midas with greed still remains. In the context of the song, KOL are saying that a relationship with them, although destined to end in tragedy, would be worth it for the ‘gold’ they can bring - “위험할수록 재밌잖아” (“The more dangerous it is, the more fun it is”).  Midas may have died a tragic death, but his time alive was quite literally golden. Still, it feels slightly odd that KOL are associating themselves with someone so flawed - an idol should be the image of perfection, and in this way, the meaning of the song becomes quite subversive on a meta level. Keep this interpretation in the back of your mind, we will return to it later.

Within the music video itself, each of the four members are given solo scenes that I believe allude to different women of Greek mythology. Julie is first, depicted lying on a blush pink velvet heart with gold embellishments, shell and heart shaped boxes littered around her. The composition of the framing, as well as the beach imagery seems to allude to Boticelli’s ‘The Birth of Venus’, linking Julie with Aphrodite/Venus, the goddess of love. In Greek mythology, Aphrodite is seen as beautiful beyond compare, but is also often characterised as highly vain and self absorbed. After hearing that some Greeks had begun to worship the ludicrously beautiful mortal woman Psyche instead of her, (and also out of protection of her son Eros to whom Psyche was married), she sent Psyche on a series of impossible trials designed to kill her, so she could remain the most beautiful. Once again, KOL compare themselves to people in the ancient world who were famously flawed.

Natty is seen next, intertwined with glittering spider webs. This is perhaps a reference to the tale of Arachne, a mortal woman who was highly skilled at weaving. She boasted that her skills were greater than Athena herself, the goddess of handicraft (and many other things), and Athena transformed her into a spider as punishment for her hubris (excessive pride). Like the tale of King Midas, Arachne’s story also centres around a fatal flaw bringing your own downfall, and like Midas and Aphrodite, Arachne is not typically remembered fondly within Greek Mythology canon.

Perched on a half dress, half throne that resembles a peacock, Belle is seen next. Originally I wasn’t certain who was being referenced here, but after some research I believe it may be Hera, although if you have another interpretation here I would love to hear it. Hera, the goddess of marriage and fertility, queen of the gods, and wife to Zeus, is affiliated with peacocks as they are one of her sacred animals, and are said to pull her chariot like horses. Hera is also, like Aphrodite, a goddess often portrayed in a negative light in mythology, repeatedly characterised as jealous and spiteful. A famous example of this is when Hera sent two snakes to strangle Heracles/Hercules, the illegitimate son of her husband Zeus, out of spite and jealousy for the boy’s mortal mother. Whether Hera had a right to be annoyed at her husband’s repeated adultery is another discussion, but generally speaking, when Hera is in a myth, she is often the villain.

Finally, we see Haneul, perched upon a corinthian style column (we love a greek column) surrounded by severed heads on spikes, a clearly war ridden scene. This is the allusion I am the least confident about, but I think perhaps she is supposed to be Helen of Troy? Helen is famous for being the catalyst for the Trojan War (perhaps this is the war scene she sits within?), she is the ‘face that launched a thousand ships’. Depending on the source, Helen is either a victim, kidnapped by the Trojan prince Paris, or she was seduced and went willingly, abandoning her Greek husband King Menelaus. The second seems to be the accepted narrative among many Roman authors, with writers such as Martial (in Epigrams 1.62) portraying her as the polar opposite of Penelope, who was seen as the image of loyalty. As a result, Helen is commonly portrayed as disloyal and unfaithful, the opposite of what an ideal woman in the ancient world was supposed to act like.

In their group scenes, there is also SO MUCH Medusa imagery - with snakes crawling all over their faces and hissing at the camera, and half broken stone statues littered here and there. As I am sure you are probably aware, Medusa is very much a villain in the myths she is depicted in, and despite modern reevaluations of her story (that I agree with) portraying her as a victim, in the primary sources, she is essentially an evil monster for Perseus to destroy - her death marks Perseus’s ascension to hero status.

So why oh why are KOL comparing themselves to figures so flawed? In their previous releases, especially their first comeback with ‘Bad News’, the girls are depicted trying to fix injustices in society - they expose corruption in corporations, they combat casual misogyny and sexual harassment, and they call out bullying and abuse. In ‘Midas Touch’ I believe they continue their addressing of injustices and double standards, this time with a focus on the idol industry, their own stomping ground. In the kpop industry, idols are expected to be perfect in every way - beautiful, highly skilled, never controversial, and loyal to their fans. Should an idol fail to uphold these impossible standards, they are relentlessly punished, especially if the idol is a woman. Last month, Karina’s earnest apology to ‘fans’  for falling in love exposed how ludicrous the standards are to the world, and other idols like Sakura, Wonyoung, and Jennie, continue to get bullied on a daily basis for not meeting all of the bars the industry sets them. A kpop idol should be talented, but never show off, they should be beautiful and care about their looks but never be vain, confident but never egotistical, and driven by passion, not the desire for fame and money. It’s all fucking impossible, especially when what constitutes being called the second traits is utterly arbitrary and depends on how many people woke up on stan twitter and decided they didn’t like you that day. In ‘Midas Touch’ KOL calls this out by openly depicting themselves with the traits that kpop stans hate - Julie is Aphrodite, beautiful but vain, Natty is Arachne, talented but boastful, Belle is Hera, confident but jealous, Haneul is Helen, influential but disloyal, and they all are Midas, spurred on by greed instead of passion. They recognise that these accusations are unavoidable, and by reclaiming the imagery of these symbols of undesirable traits, they call out and reject the standards the idol industry places upon them. Like Medusa, they may be seen by many fans as a villain, a hurdle for their favourite groups that have more promotion and budget to overcome on their way to the top, but in actuality, they are victims of an industry desperate to mould them into products to be bought and sold. I’ve seen lots of discussion online about what KISS OF LIFE’s concept is, as it seems to vary every comeback, but after ‘Midas Touch’ I am led to believe that their concept is rebellion, against society, idol culture, and the things they deem as wrong in the world. Other groups have  done concepts similar in the past, such as LOONA in ‘Butterfly’ (you really thought I wasn’t going to bring them up at some point?? Are you new here??) but KOL is doing it explicitly, and consistently, and to me, that's very exciting. The kpop industry is ever changing, and with the foundations of the new 5th generation being established as we speak, perhaps KOL could cause it to change for the better. In summary, I am SO excited to see what they do next.

That honestly took a turn I wasn’t fully expecting at the end, but I hope you enjoyed regardless - I didn’t really talk about the actual song here, but I fucking loved it, and my full review will be part of my April monthly roundup - see previous installments on my masterlist. I encourage all of you to listen to ‘Midas Touch’ if you haven’t already, congratulations KISS OF LIFE for graduating nugudom, stream Birth by ARTMS, stan loona, and prepare for the loossemble comeback - lmk if you have any thoughts on my analysis or any other interpretations, or any topics you want me to write an essay on. cya next time ~ ari

[misstrashchan]

2, 3, 7, 20, 27, 28, 29, for the rwby ask game? If you don't mind!

2. Rank the soundtracks

From favourite to least:

V1

Not a single track I don't love. Forever iconic, each and every one.

V5

Ignite is my favorite Yang song, as is Path to Isolation for Weiss. Smile is such a tragic song of showing Ilia's parents telling her to cope by smiling, by hiding, to the present where it's twisted into an angry mantra and she's still hiding who she is in a different way. The Triumph feels like such a comeback song with how high energy it is, all our girls heading back to each other, jumping back into the fray. All that Matters is PEAK bumbleby pining angst song. All Things Must Die is glorious, and tbh I think even This Time is pretty underrated as a song for Blake/the White Fang.

V7

I find myself relistening to this one a lot. Trust Love is my favorite OP (and yes that is in part the refrences to the Little Prince I can draw). I also like Touch the Sky and Brand New Day as these kind of recovery songs for all the characters that had been at their lowest or feeling lost finding their hope and confidence, happy in themselves. Let's get Real is a song that DID get me into Renora a little, it's a bop. Was over the moon to have an Oscar song in Fear that encapsulated the theme of the volume and complimented Ozpin's fear speech. Hero makes my brain go AAAAHHHH at how it captures the hubris of Ironwood. Such a great tragic downfall song for his character. Until the End is a great listen and such a lovely surprise to have a Ruby song after so long. War is a certified banger and a great song for the RWBY vs Ace Ops fight.

V9

In fairness I don't think I've listened to this one enough, but the more I do it definitely grows on me. Inside feels like the most unique OP, Checkmate is catchy as hell, Trapdoor makes me INSANE as a Ruby spiralling song. Pleasantly surprised to have a Jaune song in Quiet that's very moving. Worthy is beautiful as a Bumbleby confession/kiss song, truly magical. As a whole I feel the songs lean into being more gentle and introspective as to the usual hardcore rock ballads we know RWBY for, even Checkmate with it's jazziness feels fresh and new. I haven't actually listened to the Edge or Guide my Way enough to have an opinion on them, but I remember liking them, Guide my Way is a nice continuation and evolution of the Red like Roses song trilogy.

V3

When it Falls is SO HARDCORE. Bleeding edge and tragedy for the death and destruction to come. I'm the One is fantastic at laying out Emerald and Mercury's trauma's and subsequently coping mechanisms. Neon is one I like to listen to a lot, it's so fun and upbeat. Divide is brutal and chilling as the song to introduce us to our main villain after seeing her for the first time in all her dark glory at the end of V3. Not Fall in Love with You is... eh. It's my Turn is a good Weiss song, but it's not one if my favorites.

V6

I really like Rising as an OP, it feels the most... magical? fantastical? idk. I like the vibes. Indomitable is what I feel like singing all the time in wake of the recent RWBY news! We really are indomitable! Nevermore as a true triumph over Blake and Yang's trauma at Adam's hands, while acknowledging the tragedy of Adam's own situation. And Big Metal Shoe is a certified banger, love all the fairytale references crammed in there. Miracle is... fine. One Thing is a great song for Neo's return and revenge quest, but I never bought into the Neo hype so I'm kinda mid on it too.

V2. SACRIFICE I LOVE YOU FOREVER AND EVER PLEASE REPRISE IN THE SHOW LATER WITH CINDER PRETTY PLEASE. Now it's Time to Say Goodbye is an incredible banger of an OP, but it felt a little misleading considering it's a song all about losing innocence and leaving behind childhood, which feels more appropriate for V3 and the FoB than V2. Shine, Dream Come True and Boop are all fun and cute but I'm not hugely into Arkos or Renora so I'm kinda neutral on them. I'm also kind of mid on Time to Die as a song.

V8. Honestly this is just the soundtrack I find myself listening to or remembering the least, even though I really like Friend as the perfect Penny song that had me tearing up, and Truth, while short was a great bittersweet song for Cinder. And it was nice to get a Nora song too. The opening for this volume never really grew on me like all the others did (aside from the "some ROSES WILL NEVER BLOOM, SOME HEROES CHOOSE THE WRONG SIDE"). I also just associate this soundtrack with fandom arguing a lot about what song applied to who and it felt exhausting.

3. Favorite Ruby ship?

ROSEGARDEN ALL THE WAY BABY!

7. Favorite lines I already answered for @hoepunkausta

20. What are you looking forward to seeing in Vacuo?

*vibrating at a frequency unknown to man* idk I think a reunion hug between Ruby and Oscar would be neat maybe. Like @aspoonofsugar has pointed out all the set up at the end of the extended epilogue points to these two having a second alchemical wedding and so their relationship having a certain amount of focus/development in Vacuo seems apparent. After so long of not seeing them onscreen together I'm excited for any interactions honestly. I miss my kids.

Wanting to see WBY all trying to support Ruby more and her actively trying but still struggling to open about how she's feeling. More of what see saw with Ruby/Yang in the Boba episode. I'd especially like Ruby and Weiss to have a heart to heart.

Very curious about what Theodore is gonna be like and whoever the hell the Summer maiden. With the Dorothy allusions and those who've lost their homes trying to make one in Vacuo, I'm expecting an exploration of "there's no place like home" to be leant into.

RAVEN. TELL US WHAT HAPPENED ON THAT MISSION WITH YOU AND SUMMER. RUBY AND YANG DESERVE TO KNOW. For real though I'm hoping we see what lead Raven to rejoin the fray too, and how she'll interact with Yang and Qrow and even Ruby, what tension might be there. Delicious family drama....

Speaking of delicious family drama, the Schnees! all reunited! I want Winter and Whitley to tackle hug Weiss to the ground! Also the Schnees appear to be being confronted with all the harm their family and company has done in a kingdom like Vacuo, so I'm curious to see how Weiss handles that. Also Winter is clearly Not Doing Good, so something I'd really like is if Weiss (as her sister) and Ruby (as a friend of Penny and someone she also offered the maiden powers too) and maybe Jaune (who was there with Penny in her final moments) offer comfort to her and they all grieve together.

Emerald. Honestly suprised we didn't get much of a sense of how she was doing in the extended epilogue, not even briefly like Mercury. But I'm super excited for what her arc holds. Seeing her integrate with the group, if Ren, Nora and Oscar are already on friendly terms with her but RWBY are all still a bit wary of her because they've spent less time together. Seeing more of her friendship with Oscar develop (gimme that Little Prince/Fox allusion with their friendship in taming each other pretty please) and like. Mercury. Emerald KNEW Mercury and Tyrian were being sent to Vacuo, she saw him off in the ship, but Ren seems suprised to see him and Tyrian on the cameras in the epilogue. Did Emerald... not tell them? Even though that's incredibly important information that could help her new allies? Because... she wanted to protect Mercury? Because she still feels conflicted? It's incredibly juicy and I can't wait to see how Emerald and Mercury's relationship comes into conflict during the Vacuo arc. Gimme that Emercury angst pretty please.

Vacuo in general. By virtue of the books I think they have the most interesting world building, the food, the culture, the different words for weather phenomenon, the fauna, the nomadic tribes, the history of being a once incredibly beautiful oasis full of everything they needed, then exploited time and again and left with nothing and yet still surviving and carving a home and life for themselves. The world building of Vacuo is one that is inevitably tied to the story because of their fraught history leading to tensions between them and all the refugees from Atlas, Mantle and Vale seeking their aid and shelter in their kingdom, not to mention the Crown seeking to restore the monarchy, it'd be easy for them to be divided and conquered by Salem, and so our heroes have to find a way to overcome that and bring everyone together. So just getting to see the kingdom animated and learn more about its history and culture would be cool. I also like desert punk aesthetic, so I'm hoping whatever new outfits our girls get will have a little of that. (part of me hopes for maybe some Trigun inspiration... we've had Gurren Laggan inspiration in Yang's outfits before!)

I would also say I'm looking forward to seeing my darling cringefail wife Cinder but I don't know if she'll be in Vacuo or with Salem in Vale wrecking shit.

27. Favorite voice performance?

AARON DISMUKE AS OSCAR HANDS DOWN. Him being the VA for Oscar meant I was destined to like him, I usually do with characters he voices. The fact he has to also voice Oscar when controlled by Ozpin, and sometimes Oscar pretending to be Ozpin, and completely nails the subtle differences in all of them is phenomenal. And as the merge progresses he's literally having to mix and merge their voices together too!!! It's crazy!!! The awkward and shy intonation becoming a more sincere and quiet confident voice as Oscar develops, and gaining Oz's mannerisms in speech with a deeper and more serious tone. That is some crazy talent this man has.

Always impressed with how well Linsay Jones and Miles Luna hold up in earlier volumes, they've consistently been the best voice performances from start to present. Also Cherami Leigh as Ilia is absolutely fantastic, it's rare I've heard her get to flex her emotional range like that in her voice work for such a complex character.

28. Fairytale character you'd want to see RWBYfied?

With how character songs are a big thing in the show and semblances that can hypnotize and mind control exist, and instruments sometimes being weapons (gestures to Flynt), I'd love an allusion to The Pied Piper or the Lorelai Siren as a villain of some kind. Bonus if you had a Little Mermaid/Lorelai Siren allusion for that victim/monster/hero duality RWBY likes to play with.

Not technically a traditional fairytale but also very much one, the Last Unicorn, one of my alltime favorite books would be beyond amazing to be alluded to, even a tiny bit. Amalthea the unicorn being the last of her kind, the rest hunted down by a wicked beast at the order of a tyrant. She is associated with silver, the moon, hope and purity constantly. A story that is both a love letter and deconstruction of fairytales, an exploration of the nature of humanity and mortality. Tell me that wouldn't be perfect as an allusion to a Silver Eyed Warrior (also thought to be a myth) trying to find out what happened to the rest of her kind.

29. Favorite opening to sing along too?

TRUST LOOOOOVVVVVEEEE AND OPEN UP YOUR EYESEESSSSS TRUST LOOOOVVVVVEEEE THE TRUTH IS THERE BUT SOMETIMES IN DISGUISE

[rose-tea-and-strawberries]

Hey, I sent in this ask and Tumblr ate it, so here it is:

You know how Yuu getting turned into a child because of a potion accident or a spell mishap is a pretty popular trend in twst headcanons and imagines. I'm thinking about the same scenario with Yuu while she's on her shift in the club. It either happened because of one of Von Drake's inventions accidentally zapping Yuu or someone was messing with Fairy Godmother's wand again.

I mean the chaos and panic that would ensue in the club when Yuu gets hit by a spell gone wrong, and she straight up disintegrates except for her clothes. Everyone's like "OH NO, WE KILLED OUR KID!" And Donald's reaction is like this. But then the clothes start shuffling, and they all find a cute baby Yuu.

If you thought they clubgoers were bad before when it came to competing for the custody over Yuu, it's worse now. Hell, even Mickey is twitching to grab his sorcerer hat and keyblade. Any disney character who's a parent are fighting over on who gets to hold Yuu next. Pepa Madrigal is summoning a biblical storm outside because Triton was taking too long holding Yuu, and it's supposed to be her turn. The parent characters all miss holding a baby.

"Your five minutes are up! Let me hold her!"

The couples are all high on baby fever when they get to hold Yuu. I can see Ariel really missing when Melody was a baby and turning to Eric to say that they should have another kid.

The villains to Yuu: Come to the dark side we have cookies.

I can see just cuddling with the Winnie-the-Pooh characters since they're technically anthropomorphic stuffed animals and soft enough to sleep on.

Even characters who I don't see as parent types take to Yuu so well. Gaston finally gets a turn, and he gets quiet. For the next five minutes, his hubris goes away, and he's so gentle with Yuu. Belle and Adam are in awe because that's what got him to shut up? I mean they get it. Yuu is adorable but still.

Lol. I think went too far with this ask.

"Oh no, we killed our kid!" *Side eyes the villains* it's not like any of you have ever attempted child murder before

That Donald link is everything and it is now canon that that is exactly his reaction when Yuu, his nephews and Max are in danger (I've never watched Ducktales so I don't know if there are any other kids Donald hangs out with)

I absolutely love de-aging fics. It's been one of my favourite tropes in practically every fandom I've been in. I actually did have this one story line I was brainstorming in my head during this very long car ride where some magic caused Yuu, Ace, Deuce, Leona, Azul and Epel to de-age to around 6-7-8 and the NRC students had to deal with that (it kind of played along the lines how the day before the magic accident Yuu said that if she met the NRC gang when she was younger, her younger self definitely would've wanted to be friends with them - there was even this scene where smol Yuu 'meets' baby octopus Azul and he gets all teary-eyed that this pretty 'stranger' thinks that he's nice - and there was another one with little Yuu and cub Leona where they take a nap together) but I digress.

So I'm not going to go for baby since there's not much a baby can do so I'm going to say she's reverted back to a 5/6 year old.

Lilo, Alice and Wendy insist that she spends most of her time with them. They see Yuu as a big sister and now that she's younger, they are much more protective of her. Christopher Robin is included in that group not because he's part of the Yuu Protection Squad but because he's close friends with Alice and Wendy so he's dragged along for the ride. Lilo doesn't want Yuu to hang around with the villains or the NRC boys - she's made badness charts of both Yuu and the villains to show her friend how dangerous they are. Lilo and Yuu definitely get Horace to play Elvis songs because Elvis is amazing.

It doesn't matter how old Yuu is, if she sees our favourite tubby little cubby all stuffed with fluff she is hugging that silly old bear for as long as she can (lucky, lucky her). The tv show called 'My Friends Tigger and Pooh' and one special episode of 'Doc McStuffins' show that the Hundred Acre Woods gang love hanging around children even if they aren't Christopher Robin - let's just hope, Tigger doesn't get too boisterous with his bouncing. Speaking of which, Roo is very happy to have another kid to hang out with (he excitedly asks his mother if they can bring Lumpy with them the next day) and Kanga finds herself doting on Yuu even more with the other animal mothers (etc: Perdita, Mrs Jumbo, Bambi's mother, Duchess etc)

Since Simba (canonically in the first movie) and Ariel (in the non-canon sequel) are the only prince and princess to have children, I think that they would argue that they are the best suited to looking after Yuu - only for Baloo to pipe in that he and Bagheera have plenty of experience in caring for mancubs (the fact that Mowgli was raised by wolves who are still very much alive seems to be completely forgotten by the bear)

Tiana has to literally restrain Naveen and Charlotte from either kidnapping Yuu on the spot to go gallivanting to every toy and dress shop they know or just going to said shops anyway and buying everything they see.

Aladdin and Robin Hood are really good with kids in their movie (and Aladdin's TV series) so they would be having a blast regaling Yuu with tales of their adventures.

Wait, wait Jack Skellington and Sally canonically have kids in the epilogue of their movie so they would have some experience to boast about (in the movie's soudtrack with Sir Patrick Stewart at least)

Unfortunately, none of the heroes trust the villains to go within five feet of child!Yuu for completely logical and justifiable reasons so Yuu the villainous sidekicks usually end up sneaking around nearby

(At some point, Yuu ends up giving Ed the hyena a hug, headpats and a forehead kiss and he never lets anyone forget that)

All the Disney parents are living their best life with Yuu around. I think King Stefan and Queen Leah are especially happy because they never got to see their daughter, Aurora, at that age and they kind of feel like they get a chance at seeing what could have been.

Someone should also probably keep an eye on Fauna incase she pulls a Lilia and straight up kidnaps Yuu

[mdhwrites]

Epic: The Musical: The Differences Between "Just Men"

No one in Epic is ever fully in the right. It is a tale of mistakes, of going too far, of lines being crossed and what must be done for the sake of that which we hold dear. Of human emotions crashing against the harshness of reality. But in it, Odysseus is still the hero, still the one we follow and his 'brother' Eurylochus demonstrates clearly why for when they both wail a single line.

"I'm just a man!"

When Odysseus does this in the song who's namesake is this, it is a plea for forgiveness. To hear that he is in grief about what he must do, even as he does it. That is because he is currently having to step up. To be more than a man and make choices that determine more lives than any human being is ever supposed to be beholden to. It is why he is the captain. He is not infallible but the fact that he is willing to take this burden, to take on this suffering for the sake of others, is why he stands tall on the wall, even as his soul is dragged down. It is this same exhaustion, this same desire to be just a man, that makes him try to use wit to make situations he can get out of that don't require him to be more than a man. He makes mistakes but in the moment, he doesn't know, but such is why Athena calls him out for this too. Because to err is to be human, but that is never an excuse Ody makes. Otherwise, he might have had something to say after Scylla. He isn't perfect, you do not want to BE Odysseus, but he is forgivable in how he fucks up.

MEANWHILE

Eurylochus is only desiring it as an excuse. That even as he knows the cruelty he inflicts, even as he has what he is about to do be highlighted as one massive mistake, he doesn't care. He simply wishes to do what he wants, that which keeps him safe while not making him look bad. It's how he would justify his hypocrisy if ever pushed on it. He feels guilty about the windbag but just before then? During "Luck Runs Out" he claims his worries are just because he doesn't want another brother to die, just like Odysseus but if that were true... Why would treasure tempt you?

In every time that Odysseus fucks up, a choice HAS to be made. Kill an infant in unjust combat or let all of Greece die? Let your brothers die with only your silent thoughts to keep them alive or make sure that their story may spread with honor? Admit fault and bring shame and guilt upon you all or use the humanity of your people to reach an understanding, even if that's not what was asked of you? They are mistakes, they play into his tragic flaw of hubris, but something had to be done. Because as Eurylochus even says: You want all the power, you take all the blame. For that is the burden of leadership.

Eurylochus though never has to act. In fact, much of the time he does nothing. And when he does nothing, nothing goes wrong because he is willing to listen to those who know better. Those who are thinking bigger than themselves. He runs from anything that might harm him and then pretends that each triumph is his own to take. His cowardice does him right ONCE during "Puppeteer" but even then, it goes too far in wanting to let men die. Because he will ALWAYS let men die if it guarantees his own safety.

This is why Odysseus, even in a musical who is so critical of him, is still the hero, albeit a classic greek hero still. After all, if your wisdom only ever advocates for yourself, why should anyone listen to it? That makes you a monster, not 'just a man'. See you next tale.

======+++++======

I do have my brother to thank for getting me into the musical. Specifically, he made sure I listened to Ruthlessness properly once and when I heard, "Die," it could not leave. Helps that not only is the writing in the whole thing incredible, the songs are just BOPS! Seriously, cannot recommend checking it out for yourself enough if you haven't.

I have a public Discord for any and all who want to join!

I also have an Amazon page for all of my original works in various forms of character focused romances from cute, teenage romance to erotica series of my past. I have an Ao3 for my fanfiction projects as well if that catches your fancy instead. If you want to hang out with me, I stream from time to time and love to chat with chat.

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And a Kofi if you like what I do and want to help out with the fact that disability doesn’t pay much.

[fuckjohncalvin]

Because of some cool art you made I want to dip my toe into the Mechanisms.

where do I find the story?

So I don't know how much you know about them, but the basics are:

The Mechanisms is a band in which each member has a persona. They are a crew of immortal space pirates, roaming the galaxy in search of violence, fun, and stories to tell. Each persona character can be referred to as a mechanism, as in a member of the crew, but they each also have a mechanism, a clockwork prosthetic of some sort that was installed after they each had their own tragic story and made them immortal.

When they find a good, long, juicy tragedy, they turn it into an album. They also have two anthology albums, with some songs connecting to the wider stories and some completely independent of them, and a couple containing mechanisms lore. Their last album is from the live show of their final performance.

All of these albums stand on their own, and there is no particular order you need to listen to them in. They each contain characters and places from classic stories, putting unique sci-fi spins on them all and following queer narratives. I'd say bury your gays, but honestly, it's more like bury your gays and the entire planet they lived on, along with everything they ever held dear.

here's a summary of each, stolen from the mechs blurbs themselves:

Once Upon a Time (In Space)-

This tale tells of those embroiled in the rebellion against the tyrant of New Constantinople, Old King Cole. It tells of the love of Cinders for her captured Rose, of the treatment of Rose at the hands of Cole's genetic scientists, and of the bold but savage leadership of the rebel General Snow. And it tells of the final fates of all of these.

fairy tale but make it a rebellion. their first album, contains many of their most popular songs. solid. not personally one of my favorites, but the one I'm most likely to be listening to a song from on any given day. our boy jack and pump shanty are excellent.

High Noon Over Camelot-

A tale of hope and despair aboard the Fort Galfridian, long lost to the outside world, where the chaos of centuries of solitude has been brought in check at last by the guns of the Pendragon Gang. But the visions of the mad prophet Galahad, and the schemes of the Pendragons' lieutenants Mordred and Gawain, threaten to cast the station back into anarchy. And all the while, the Sun grows hotter...

arthurian legend has just become a space westerner in which everyone rides motorcycles and a fiery death threatens them all. haven't listened to it yet, but I've heard great things. Blood and Whiskey is a banger, and Arthur, Lancelot, and Guinevere are in a polycule, something I didn't know I needed until I heard it suggested.

Ulysses Dies At Dawn-

Ulysses Dies at Dawn. That's the word on the street, at any rate, if you talk to anyone who saw what went down at Calypso's Bar the other night. Who is behind the thuggish band known as the Suits - Heracles, Ariadne and the others? What is Ulysses's secret? And what is hidden within the security of the Vault?

I'm going to be completely honest with you. I think this is no-contest their best album. It's greek mythology in noir film style, with heavy usage of blues and rock. I don't even like blues, but I love each and every song. This one is also a little easier to follow than the others. I'd recommend starting here.

The Bifrost Incident-

The Bifrost Incident. Any schoolchild could tell you about it. The fall of the old order; two hundred years of Asgardian hubris come together in a single epoch-defining event. The maiden voyage of a train through the stars, vanished without a trace...

Remember how I think the last one was the best one? Well, this is still my favorite. Norse mythology framed as a mystery on a train, with a twist completely out of left field that leaves you reeling. Thus, it is probably the most difficult to follow, or at least, it was for me. The art you liked-which wasn't mine, unfortunately, credit to the artists is on the post if you want to check those blogs out-featured variations of the narrator from this album. let's just say I'm. not so normal about them.

well. ANYWAYS. this was...probably longer than what you wanted. Or than what I should have given. I don't get asks a lot and an excuse to talk about the mechanisms is always something I am willing to abuse.

If you do end up listening to any of their music, please tell me what you think! I'd love to hear it, and it's always nice to talk about them with someone else :)