#and they're just an incredible couple overall

[pillowbugs]

idea: submas au(?) where pre-battle subway, both of them were already somewhat known on the internet, but for different reasons. maybe not super famous, but definitely notable in their various circles.

let's say emmet has a blog / vlog (iamemmet) where he and a couple friends (elesa, burgh, etc) just mess around and battle and stuff (think online / showdown battle videos on yt except they're actually irl). he does talk about trains sometimes, and is visibly excited whenever he does, but most of his fans are there to watch him battle more than anything.

meanwhile, ingo runs a train blog (Conductor I) where he posts long and detailed writeups of virtually anything to do with trains. he is known to be quite passionate, and has gotten into various extremely heated arguments with other railfans on internet forums over the merits of certain trains and railfan etiquette. maybe he collabs with other blogs covering other topics run by his friends (e.g. trains vs planes annual debate feat. highflyinggirl (skyla), starlight express review feat. spectralscribe (shauntal), etc). overall, though, he's fairly guarded regarding his personal life, and most of what people know about him, excluding his train-related opinions, is from whenever he collabs with other people.

they have collaborated with each other before, so people absolutely know they're twins. there is a running joke about how emmet's fans might actually know more about ingo than his own fans, simply because emmet is much more open with his personal life and inevitably that includes a lot of stuff involving his brother.

so one day, they both announce that they're taking an indefinite hiatus from their blogs because of a project. after almost a year of speculation - oh, look, there's a new battle facility in unova! wait, these guys look familiar... and it does happen to be a facility integrated into the subway...

so of course, their existing fans congratulate both of them on their new positions, everyone's celebrating. both of them do return to posting on their blogs after things have settled a bit more (albeit less frequently than before the hiatus, because they have a job now). however, with their newfound mainstream fame, comes a gigantic new wave of fans from the battle subway.

and this is where things get incredibly messy within the fandom. maybe less so on emmet's end - he's quite open on his blog about being a subway boss, and vice versa, and he acts more or less the same way on both accounts, so within his fanbase, the question is just "when did you find him?" because he's been the same throughout. he is emmet. that's it. though, there is of course still a bit of fan elitism from those who found him before the subway and know all the "deep lore" about him.

ingo's fanbase, however, is an absolute bloodbath. there are actual factions. the two most notorious are the subway-onlies, the ones who are most likely to be called fake fans by the rest because they're only interested in his persona as a subway boss; and the conductor purists, who only enjoy his blog and forum presence but not his irl job, and think he has gone downhill after achieving mainstream success. in fact, many of the subway-onlies don't even realise ingo has a 'personal' blog, or any social media presence besides his official account as a subway boss, while the most diehard conductor purists have disavowed the battle subway because in their minds, it's taking attention away from the blog.

a big reason for the divide is that ingo gives a very different image on his blog and as a subway boss; a passionate, friendly railfan who can be quite verbose especially in roasting people online, versus the professional, polite facility head with a serious demeanour. many fans who found him through the subway are surprised at the content of his blog, even if most of them also love seeing this side of him. a certain subset of the fandom is very insistent that the blog shows his 'real' personality, while his being a subway boss is entirely an act.

in short, big fanbase = problems. many people looking in are genuinely terrified and confused as to whatever the hell is going on in there. there is Drama. get the popcorn.

[unproduciblesmackdown]

Full Tech Day One pic today from kiko laureano (denizen of skid row / ensemble) & video (that's four seconds of "ya never know" playing over the static image) from & ft. marcia milgrom dodge (director / choreographer) double captioning "there might be puppets in this musical ;)" & "Well Shake my hand! Come see LITTLE SHOP OF HORRORS @guthrietheater featuring @actually_will_roland's hand!"

[springcatalyst]

🖊 for any milo and/or reiji details they fascinate me ^-^

YES thank u they live in my brain

Let me go on a tangent before I even get to what this ask actually is cause why wouldn’t I- Milo and Reiji are interesting characters to compare to each other, because despite their entwined storylines, I don’t draw a lot of connections between them as they were designed.  Characters that never interact are fun to draw conclusions with because it’s more obscure out-of-universe things:  Julian and Milo are so different but they follow very similar paths and come from very similar places.  Milo and Brooke (actually they do interact but only like, once) both deal with the results of a corrupted worldview that once questioned, can’t be ignored once again.  Reiji and Diana share an inherently wary, bleak outlook on how the world functions as a result of their own experiences.  And characters that do interact but were designed that way are... designed that way.  Julian and Liliana are the same stuff poured into different molds, impossibly similar and impossibly different, and that drives everything about their relationship- they’re foils.  Diana and Julian start at the same place in the same situation, (for different reasons), and end up wildly different people in opposite directions- they are diverging paths evidenced by truth or lies. 

But Milo and Reiji aren’t connected by anything inherent or anything unchangeable.  Their meeting in the first place is mostly chance and a little bit of give and take of compassion.  They stick together because the alternative is being alone in a world that’s so much bigger than both of them, so much older, and just a little bit more broken.  Their relationship is a choice in a way that really isn’t the case for a lot of other characters. 

And I mean, they do have parallels, but they seem different somehow, because they actually apply in-universe.  They reflect off each other.  They both leave something behind that they wish they could get back: but while Reiji’s was taken from him by circumstance and chance, Milo’s was a culmination of something grown that eventually he had to choose to abandon, though if there was any other way, he would have taken it.  (He tried, before.  It didn’t work.) 

But now they’re both missing something, and with it, their place.  Reiji doesn’t know where he belongs and the truth is that he doesn’t belong anywhere.  He can’t return to the one place he did- (it wasn’t a place, but a people.  They’re long gone, even as they live) -and now he searches aimlessly for someplace he can return to.  He doesn’t find one.  Milo loses everything he’s ever known when he walks away, and even as he makes the decision to, it feels like the admission of some crime (it looks that way to them, and he knows it).  He longs for the community he lost, but even if he gets something close to it, it’s wrong, because it isn’t them, and because the reason he left still follows him. 

They’re both ghosts wandering a vast expanse of unknown.  There is exploration in it- Milo especially does genuinely love the places he passes through, the people he meets briefly, the idiosyncrasies of each town, city, village.  Reiji less so- he’s only ever known the wandering, so it isn’t as special to him.  He’s always looking for something that will change, but even so, traveling with Milo forces him to see things he wouldn’t otherwise. 

The difference between them is that Milo stops being a ghost.  As time goes on, less and less is searching and more and more is exploring.  More is fixed than is broken.  But the opposite is true for Reiji.  As he finds nothing it feels more and more like he is one of very, very few.  That he has found no place to exist because there is no place for him, for those like him.  Reiji is looking for answers in an environment that buried most of them, in a world that hunts the rest.  And it becomes this obsession- a thousand whys. 

Why didn’t his flock look for him?  Why did he even survive?  Why is he hunted?  Why did it start and why won’t it change?  Why is the world sitting on the ashes of an older one?  Why are people broken by something they don’t remember?  Why does every place he goes scream that there used to be more?  Why are his people a part of it?  Why are they here?  Why do they occupy a world that is so clearly not made for them?  Why does he not know where they are made for? 

Reiji asks a thousand whys and they can all be summarized by one what: What happened?

Milo and Reiji cross incomprehensible distances and in the time that takes, a lot changes.  Milo goes from being a ghost of who he was and who he should be to being alive in a way he wasn’t before, genuine in a way he didn’t allow.  Milo looks for an answer in a different way than Reiji, because he is looking for certainty.  He wants someone to tell him, with no room for error, what is true and what is corrupt.  He wants surety and permanence in a way that just doesn’t exist, and so instead must choose which side he’s on- he must decide what to believe, because nobody can tell him black and white.  With that choice becomes an acknowledgement that the world isn’t as simple as good and evil, and the two can very much coexist, that perfect and unredeemable don’t really exist, not here, anyway.  He’s allowed to just be.  Reiji, though, doesn’t get the opportunity to make that choice, to take that answer.  He isn’t looking for the answer to a moral question or a cosmic should.  He is looking for a reason, which is an order of magnitude more impossible to find.  He looks to the past for why and the nature of time is that he keeps getting further and further from it.  He finds very little, which only makes him look harder, which makes it worse when he finds even less.  He starts down an impossible spiral that he can’t get out of until he finds what he wants, but what he wants just doesn’t exist in the way he needs. 

[queenie-the-court-jester]

Yandere farm x farmhand reader 🌾

A/n: this contains few nsfw mentions, mdni please! They're not all that yandere, just a bunch of dumb silly hybrids trying to catch their favorite humans attention. This is their intro

✩̣̣̣̣̣ͯ┄•͙✧⃝•͙┄✩ͯ•͙͙✧⃝•͙͙✩̣̣̣̣̣ͯ┄•͙✧⃝•͙┄✩ͯ•͙͙✧⃝•͙͙✩ͯ•͙͙✧⃝•͙͙✩̣̣̣̣̣ͯ┄•͙

★yandere farm x farmhand reader. I know this isn't original, but I always love the concept. Just minding your business, sweaty and hot from the sun, when suddenly a certain German Shepard hybrid starts sniffing you up and down, lapping up your sweaty skin and grinning when you swat him away. How did you end up here?

★maybe you came here for a summer job, maybe some relatives owned the farm, maybe you were always working here. Either way, it doesn't take long for the hybrids to notice you once you arrive.

★the bulls and cows watching curiously from the fields, the centaurs trying to peek from their stables, the merfolk living in the lake just down the property poke their little heads out. The dogs barking from their Little homes, and the cats watching from the windows. You couldn't help but gawk at the variety of hybrids, there were so many! Merfolk, avians, cattle, cats, dogs.

★your first week there was nice, the other farmhands were nice, and the owners were so sweet! Always speaking fondly of their pets, the old couple would watch them run in the field or play by the lake. You yourself found them a little annoying. Always sniffing, grabbing, nipping at your clothes. You've had to fight your overall bottoms free from one of the pooches one too many times. The cats were no better.

★your second week you meet the cattle and centaurs. And unlike the house cats and guard dogs, they're less handsy. Simply observing from afar. Occasionally sniffing you before nodding their heads and pulling away. Letting you do your job of combing, cleaning and fixing up them and their stables. The cattle would happily let you milk them, applying the breast pumps to the females and a cock pump to the males. You ignored how they looked at you strangely during milkings

★the third week you meet the avians. Odd little bunch, hopping around and puffing up their chests. They watched you enter their enclosure curiously, you were busy picking up their molten feathers because you thought they were pretty. So bright and colorful! Walking around bent over a little when you finally notice the peacock male standing right Infront of you. He gave you a pointed look before his tail feathers expanded. Looking prideful, tilting his chin up as if in an arrogant way. Swaying side to side and closer to you, while you just held the feathers in your hands, a little confused. He got closer until he let out an incredibly loud squawk. Turning around abruptly to glare at the cuckoo who bent down to poke his butt. The cuckoo gave you a grin before climbing back up the tree, using this time as distraction, you quickly escaped.

★on the fourth week, you meet the merfolk. Having been here a month, they were eager to meet you. Watching you walk on the dock with fish feed, eagerly Perking up and swimming closer. You shook out a good handful and chucked it out for the koi fish to eat. They swarmed the area until all the food was gone, simply staring up at you. One poked her head out, tilting it a bit and making a 'click' sound with her tongue. You mimicked her, doing the same. She seemed elated, making various whistles and clicks, splashing up and down the lake. The lake was manmade and filled with koi fish when it was finished, but then again there may be more fish not even the owners know about since it was so deep. How'd they get in there? You're not sure, but you just know it.

★on the fifth week your owners told you about how they had bought multiple sheep, and goats. One male for each group. Watching the loading truck approach the little barn they were finished building. So that's why it was there, they started construction when you arrived the first week. You helped the other farmhands get them situated, at first they were rowdy and a little aggressive but for some reason calmed down when you approached them. Your colleagues now called you the sheep whisperer. You quickly learned how to shave their wool and milk the goats properly. Sometimes braiding their long hair, you just wish the ram would stop headbutting the nearest male colleague for your attention.

★On your sixth week, you went for a walk in the forest when suddenly a little body of fluffy fur tackled you, growling with it's teeth barred. You looked up to see a Pomeranian hybrid, trying it's best to look intimidating. Their fluffy tail gave them away, it was wagging 100mph. They visibly deflated when you reached up a hand to pet them, letting you for A couple minutes before getting off. Walking back into the woods towards three wolves. Dissapearing with them. Not soon after you found a friendly garden naga. Just lounging on a rock and enjoying the sun. You asked to join and they let you, laying there for a good while until you had to go back to the farm. Noticing they had wrapped their tail around you, oh boy. It'll take a good while to get out. Welp, might as well make yourself comfortable and wait for the dogs to come find you

•°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆

HYBRIDS AND THEIR NAMES:

Week one, cats and dogs;

Brutus, dog hybrid, 18, German Shepard, he/him

Dolly, dog hybrid, 26, doberman, she/her

bladviba, dog hybrid, 25, black Russian terrier, he/him

Molly, dog hybrid, 17, chow chow, she/her

Sweet pea, dog hybrid, 17, samoyed, they/them amab

bubba, dog hybrid, 37, borzoi, he/him

Princess, cat hybrid, 18, ragdoll, she/her

Prince, cat hybrid, 19, Norwegian forest cat, he/him

King, cat hybrid, 27, Khao manee, he/him

•°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆

Second week, cattle and centaurs;

Miss bené, cow hybrid, 49, white park cattle, she/her

Miss blackberry, cow hybrid, 22, Aberdeen Angus, she/her

Miss Polly, cow hybrid, 26, Aberdeen Angus, she/her

Miss frufru, cow hybrid, 28, Aberdeen Angus, she/her

Miss Vivian, cow hybrid, 35, Aberdeen Angus, she/her

Big daddy, bull hybrid, 52, Aberdeen Angus, he/him

Johnny, bull hybrid, 18, Aberdeen Angus/white park cattle, he/him

Jacqueline, centaur, 19, shire horse, she/her

Timothy, centaur, 21, galineers cob, he/him

maya, centaur, 17, fjord horse, they/them

Casper, centaur, 23, ardennais, he/him

miguel, centaur, 18, Andalusian horse, he/him

harmony, centaur, 25, Breton horse, they/them

•°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆

third week, avians;

Sydney, avian, 22, cockatoo, they/he

Evangeline, avian, 19, peacock, she/her

Gabriel, avian, 20, peacock, he/him

fajarah, avian, 24, indian ring necked parakeet, she/her

Foolish, avian, 26, owl finch, he/him

simon, avian, 28, tyto alba, he/him

•°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆

Fourth week, merfok;

tancho, koi fish merfolk, 19, tancho koi, he/him

kiko, koi fish merfolk, 19, kikokuryu koi, she/her

hime, koi fish merfolk, 19, hirenaga koi, she/her

Tsu, koi fish merfolk, 19, doitsu koi, they/them

koromo, koi fish merfolk, 19, koromo koi, he/him

Mason, lake 'monster' (crocodile), 20, freshwater crocodile, he/him

•°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆

Fifth week, goats and sheep;

Sally, goat, 25, angora goat, she/her

Opal, goat, 24, Tennessee fainting goat, she/her

Sasha, goat, 26, australian cashmere goat, she/her

kim, ram, 23, dutch landrace goat, he/him

Poka, sheep, 19, Valais black nose, they/them

Juniper, sheep, Valais black nose, she/her

violet, sheep, 18, harri, she/her

azucar, sheep, 17, Columbia sheep, she/her

Wehrner, ram, 21, American black belly, he/him

•°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆

Sixth week, the forest creatures:

roxy, wolf hybrid, 19, grey wolf, she/her

Silas, wolf hybrid, 21, grey wolf, he/him

Milo, wolf hybrid, 20, albino Grey wolf, they/them

Kiki, dog hybrid, 18, Pomeranian, they/them

Coachella, naga, 27, garden snake, they/him

•°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆ •°. *࿐ ⋆

[artbyblastweave]

After three chapters, one of my big takeaways is that Seek seems really conceptually interested in parents and parenting.

You've got A, raised by parents whose superficial commitment to A's self-determination and self-identification are completely undercut by the invasive dystopian cyberware they use to control them, coupled with the (what I believe to be the) implication that the double edged sword of the post-scarcity future is that A's only reason to exist is that their parents wanted a child- spending their entire childhood being shot down any time they express interest in a career path that could give their life meaning outside of that. All of which feels like the logical terminal point of parenting as a vanity thing. Then you've got Winnifred, whose parents are vastly more involved, attentive, and invested- but in a way that goes hand in hand with a sometimes-uncomfortable spiritual and ideological investment, which in turn manifests as a regiment of full-body invasive modifications so that their child can perpetuate and participate in their culture and lifestyle.

Then you've got Orion, whose "birth" is his much more metaphorical escape from the cryopod (complete with associated womb imagery); out of the three he's arguably the most "liberated" from the context of the people who chose to create him or put him in this situation- popping out of his "womb" with imprinted skills and knowledge and only vague memories- but given the overall survival-horror nature of his situation that's not actually any kind of improvement. (It would frankly dovetail incredibly well with the theory I've seen that it's actually an Onboard who's taken control of a braindead human- total hands off parenting, he was put in this situation by entities that don't even realize he's alive.)

All of which is circling and circling around the central reality of parenting, which is that it's not just something that happens, it's a choice, any way you choose to go about it's a choice. And in our current context there's only really a couple ways to make that choice and they're all a few degrees off from each other anyway, so it fades into the background. But in a society with advanced enough technology that you've really got options, the fact that you're making any choice at all- and the resultant horrible consequences every possible choice will have for your kid- becomes way way more visible. Truly, a web serial aligned with my heartfelt belief that We Are Never Getting Out Of Here

[sensorydephrivation]

Amatonormative assumptions and the language of a hard launch: a rambly DnP essay thing

I have a lot of Discourse Thoughts about hard launching and all that, but there’s not much I can say that hasn’t already been said. This fandom is one that generally has significant representation on both sides of any major issue; any take you look for you can find someone genuinely believing. What I am interested in analyzing is how some people are insistent, whether or not they want it to happen or believe it will happen, that they haven’t Hard Launched, and others are equally insistent that they have. Because on the surface those should be completely contradictory takes, but a large amount of people believe each to be true.

I’ve seen posts making comparisons to PJ and Sophie, and I definitely think that’s a useful tool because it brings up the real question here: how do we speak about romantic and platonic relationships, and what underlying assumptions are at play when we use or don't use certain words?

Firstly, this issue is obviously mostly to entirely due to homophobia. Why do people assume PJ and Sophie are a couple just because they live together, even though they've never used the words? Because they're a man and a woman. Why couldn't DnP be publicly open about their relationship back in the day? Because they're gay. I'm not going to spend too much time on this point because it's obvious, but I feel like it's important to remember that Dan and Phil's relationship wasn't some Great Secret for no reason. They weren't no-homo-ing because of privacy or whatever, but because they weren't yet ready to face the immense challenges being publicly out sticks you with, especially in the early 2010s. If homophobia wasn't a thing, everything else I'm going to say in this post would still be true, but it would all be significantly less charged. Just remember that gay marriage wasn't legal in the UK when DnP met each other, and that 2000s pop culture overall was routinely, openly, virulently homophobic. Just keep that in mind. (Also, everything I talk about in this post refers to 2019 onwards, after they came out. I wasn't around for the no-homo era and can't speak on it. I'm also not going to be talking about the speculation around their relationship, because that's been talked about so much. It definitely is a factor in all of this, but you know that already)

Onto the main point of this post. The reason DnP haven't "hard launched" (that term itself is incredibly vague, but its popular meaning in this fandom seems to be explicit confirmation of a romantic relationship, which is how I'm using it here) while also having clearly done so is because their use of language does not line up with conventional expectations of how language around romantic and platonic relationships should be used.

The concept of "dating" as we think of it today is relatively recent, and language around it is even newer. The terms "boyfriend" and "girlfriend" only became prominent in the mid- to late- 20th century, and it took a while for them to gain the connotation (of almost always meaning a romantic relationship) that they have today. And yet people have still had romantic relationships for forever! How these things were described would depend on the society's norms around marriage and sex and often on the exact social dynamic of the couple. Today, we think we're better than all that and can find words for anything.

I'm no expert on what makes a relationship romantic vs platonic or even how to define those terms. I find it hard to define the concept of romance in a way that doesn't bring with it centuries of heteronormative amatonormative assumptions. And boy are there assumptions. (No, people who live together for life do not have to be romantically involved, that's a silly thing to believe.) When people see a relationship that lines up or does not line up with those assumptions, they expect it to have a clean, simple label. But the words we used for romantic relationships outside of marriage, due to how new they are, are completely not simple!

While these days they seem to be the most "unambiguous" terms to describe a romantic relationship, "boyfriend" and "girlfriend" are essentially euphemisms that can seem infantilizing and demeaning of the seriousness of a relationship. It's easy to see how they aren't for everyone, even if many people are fine using them for serious committed relationships. "Partner" is kind of ambiguous on purpose, thought like bf and gf, I think it's on its way to becoming a word with mainly romantic connotations. The term "significant other" is out of fashion these days, but just like bf, gf, and "partner," it's basically a euphemism that doesn't mean much in and of itself. We have no words to describe an unmarried romantic couple that aren't on some level unclear or unindicative of the actual nature of the relationship.

Dan and Phil have acknowledged that they were once in a romantic relationship, have made many many jokes about having sex with each other, and are committed life partners. On some level, you can take the combination of these things as a very clear confirmation of a current romantic relationship, which many do. Yes, this requires making a few assumptions, but they aren't the craziest assumptions in the world. In fact, as one can see from the PJ and Sophie example, they are assumptions that are often normal and expected to be made in social situations. So why do so many others not see it this way?

Well for one, we are a mostly queer community that understands the complexity of queer relationships and how these assumptions do not get applied equally. We see how these assumptions are often used against queer people to devalue their identities, especially those on the ace-aro spectrum and/or in queerplatonic relationships. We also are an extremely online community, familiar with the complicated layers of discourse around RPF and shipping, and hesitant to make assumptions in a way that could potentially damage relationships or invade someone's privacy.

But honestly? It's because DnP don't call themselves boyfriends. They don't explicitly frame their activities in romantic ways (e.g. call things dates). The terms they use and jokes they make, even in 2024, are not the sort of things we expect from the set of assumptions that go with a committed romantic relationship. (This is also where the discourse about whether or not they're open/poly comes from, but that's a topic for another day.)

The Date Night video stretches this to its absolute max. The game is full of cards about kissing and other things that fit cleanly into the set of romantic relationship assumptions, but they didn't use any of those cards. They only used things that were ambiguous, and tried to downplay the romantic implications as much as possible aside from the lampshading of it at the start of the video ("this is a great game to play with your best buddy as well" "phil says no homo" as well as the entire "ugh i can't believe they send us this" tone of the intro). The use of "partner" in this video is the clearest example of this. The game uses this word exclusively- after all, it's a standard, accepted, gender-neutral word for people in a romantic relationship. Phil confidently reads it off the card, with the "I don't care which set of assumptions this assigns us" attitude that's been prevalent over the past year and past few months especially. Dan avoids it half the time, and at the end of the video, seems to clearly mock the term, saying it in a silly voice and then comparing it to how stereotypical cowboys use the word. This stuck out to me; it made it very noticeable that they don't use that word at least in videos, and made me think about the connation of the word they do use-- "friend." That term, unlike any of the words I've mentioned so far, implies literally nothing. "Friends" can be people with a barely positive relationship or people with an incredibly meaningful relationship they center their life around. With no other qualifiers, it also implies that the people in question don't have a romantic relationship (are "just friends"), or even (because of amatonormativity) that their relationship is not especially deep or meaningful.

Dan and Phil have defined their relationship in quite a few ways-- or rather, Dan has, in BIG and in his interviews for WAD. These quotes circulate on here constantly as people discuss the meaning of them. I'm not really interested in talking about those as they've already been talked to death. I do think it's worth noting that we only get these things from Dan-- the one time Phil has ever spoken on his "current dating life" it was just to say "I don't want to talk about that, the door is closed." Obviously some of this is because the interviewers were pushy, but also I'm sure Dan enjoys his elaborate poetic metaphors enough to not be able to shut up about them haha. (Very unrelated but I wonder if this will come up if they end up doing interviews for TIT?) The thing is, these definitions show a deep, meaningful, complex, committed relationship. They include directly romantic terms like "husbands," "soul mates," and "normal gay relationship." You would think being willing to call someone your husband, even with a million other words around it, would mean you wouldn't have a problem calling them your partner, right? Yet these words do not reflect the language they use when speaking about each other in videos!

There are times when they say "friend" "buddy" or "mate" in a clearly humorous, ironic way, and seem aware that it isn't a term that makes people think of a committed, long term relationship. Other times, they use the word as if it is a fully accurate descriptor of their relationship-- in the glue story, Dan jokes about being ashamed to be seen as "the friend of the glue guy," and in How Phil Nearly Died, he quotes himself telling the hospital staff he is looking for "my friend." I use the hospital stories as examples because they are high-stakes (or seemingly high-stakes in the case of the glue story) situations and examples of how other people in their real lives perceive them. The way they choose to tell these stories to the internet is one in which the fact that a random hospital worker would likely interact differently with Dan if he was Phil's friendly roommate as opposed to his life partner doesn't matter. In other words: if they actually do call each other "friends" irl around strangers, those strangers probably have a very different impression of their relationship than we do. Their consistency in describing themselves doing so just means that they want to consistently use the term "friends" in their videos, not that they actually do that in real life. But to a viewer who is unsure about their relationship status, the fact that they are clearly life partners, no matter platonic or romantic, but in all situations opt for a word that does not imply that seems to be confirmation that their relationship is not clearly romantic, or at least that they don't want to refer to it as such.

If I have to draw a conclusion from all this, it's that DnP consider their relationship very complex and unusual (ymmv on if it is, lol) and have had to deal with a ridiculous level of scrutiny about it nonetheless. Again, Phil has almost never spoken on this, but Dan clearly dislikes any descriptor that carries with it a sense of assumptions about the nature of the relationship, hence why he uses like fifty contradicting ones or strange metaphors instead. "Friend" carries with it no assumptions. You can be "friends" and be in a romantic relationship-- plenty of people say "I married my best friend." But our society considers romantic relationships to be more meaningful and important than platonic ones. People assume that if you are in a romantic relationship, you would want to describe your relationship exclusively using terms that carry that set of assumptions, because that is the most important part about it. I honestly think Dan is being quite subversive in refusing to do so.

I have no idea if or when this will ever change, but I hope I've given enough context for those who are convinced they've already hard launched to understand why others are still waiting, and for those who don't think they have to understand why the issue is more complicated than it seems. This topic has fascinated me ever since I first started watching them, and I hope this post can help people reach a bit more of a understanding, rather than inciting more discourse.

[qqueenofhades]

Good Omens Season 2: Some Thoughts (and also Screaming)

First, /screams

Second, obligatory disclaimer that this meta contains MAJOR SPOILERS for all six episodes. If you somehow have managed to remain virginally unspoiled, look away now, scroll past, or add "good omens s2" and "good omens spoilers" to your block list, as those are the tags I have been using for all posts and reblogs.

Third, /screams more

Okay okay okay. Deep breaths.

Anyway, so, uh, how about all that, huh? First, the good thing about the tone of the season overall was that it felt considerably darker and more adult, in a good way. We didn't have the precocious kiddies, the kitsch and literally-comphet Anathema and Newt, the so-clever narration, etc. All that was gone, which makes sense when you consider that a) the end of last season saw them reboot into an entirely new universe, and b) the fact that God has gone silent is, in fact, a major plot point for the season. We don't have Her slyly telling us the story, or indeed anything, and everyone is left to make their own judgments and take their own actions. Which, obviously, gets them into a lot of trouble, especially when Metatron (the Voice of God, aka someone acting in the belief that they're speaking for God and therefore doing terrible harm) swoops in with the ultimate buzzkill at the end of episode 6. But we'll get to that.

The downside was that the main, present-day plot (hiding Gabriel in the bookshop and trying to get Nina and Maggie to fall in love) was fairly thin, felt stretched out and at times weirdly paced, and otherwise existed mostly to get us to That Ending and the setup for season 3. But the ending was so damn good (if obviously, very painful) that I can't be TOO mad, not least because we spent six episodes with them just making absolutely no pretense about the whole thing being as incredibly homosexual as possible. I'll be honest: I did not think they were going to actually, explicitly go there. Neil Gaiman has been so consistent about "your interpretations are valid and you're welcome to read it however you want, but the only canon is what's on screen," which I think is frankly a good thing (not least since the Neil GAYman Cinematic Universe is consistently very, very good to us queers), that I just... didn't quite think they'd pull the trigger. Sir Terry is dead and can't have active input, this is based on a book published 30 years ago, maybe they didn't want to make it LIKE THAT... etc. I certainly hoped, but I didn't really think they would.

Uh. Well.

As I said in my various semi-coherent liveblog posts, I honestly don't think there was a single straight person in the entire season, among both major and background characters. Aziraphale/Crowley and Maggie/Nina are the obvious paralleling couples, but Beelzebub (using "they" pronouns and addressed as "Lord" despite presenting as femme/femme-adjacent) is clearly nonbinary and therefore also queer, and the countless gay/queer side characters were just /chefs kiss. From Job's son making a sassy pass at Aziraphale, to the random Scottish goon with Grindr on his phone (which he then gives to Aziraphale, because what is subtlety), to the interracial couple with the trans spouse at the Pride and Prejudice ball, there was just a lot of casual, unremarked, non-story-critical queer representation visible at every turn. It's like the NGCU saw the bigots wailing about Sandman season 1 being extremely gay and went CHALLENGE ACCEPTED, LET'S MAKE GOOD OMENS 2 EVEN MORE GAY.

God bless.

Obviously, Jon Hamm as Amnesia!Gabriel stole the show (he was SO fucking funny) and it was also incredibly fun to watch Miranda Richardson repurposed as a scheming demon. Nina Sosanya also reappeared as Nina the coffee shop owner, which leads us into the Maggie-and-Nina subplot. They're obviously, wildly, incredibly clearly an analogue for Aziraphale and Crowley themselves, but they're also each, crucially, a mix of both. On the surface, Maggie is Aziraphale: the plump, blonde, earnest, sweet-natured one owning a slightly dated book music shop and somewhat clueless about emotional nuances, while Nina is (also on the surface) Crowley, the hard-edged dark loner who doesn't want to open herself up to people or be spotted caring. But emotionally, Maggie is Crowley: the one openly pining, clearly besotted, only wanting to hang around their crush and do whatever they can to make themselves useful, while Nina is Aziraphale. Interested but reticent, attracted but conflicted, trapped in an abusive relationship with a demanding offscreen "lover" (Lindsay/Heaven) who tries to constantly control and shame them without ever offering much, if anything in return. By the end, they bring themselves around to what Maggie/Crowley are offering, but by then, well. We've got a lot more problems on our hands.

As I also said in my earlier posts, this entire thing has always been a metaphor for religion, queerness, and what religion -- especially abusive, fundamentalist, organized religion -- does to queer people, but they really cranked the FUCK out of that metaphor this season. Aziraphale is guilt-tripped, controlled, and shamed for his attraction to Crowley at every turn. He is torn between his imagined duty to Heaven, in all its ignorant, uncaring, bureaucratic, gratuitously cruel system that he still insists on seeing the best in because he can't bear the alternative, and the chaotic and sometimes grey but genuinely more good morality that Crowley offers him. (Can I just say, we were explicitly shown that the two of them together doing "just a little miracle" are more powerful than Heaven AND Hell combined.) And at the end, he's told that the only way he can be with Crowley -- what Metatron explicitly blackmails him with -- is if they both go back to heaven, submit themselves to the cruel system again and give up everything that has made them who they are: their home in London, their human friends, their reliance on each other, their independence, their own ways of doing things. You can be queer in this (religious) framework, but only the limited, watered-down, controlled, controllable, constantly-under-supervision kind of queer, which relies on both you and your lover "converting" back to the true faith. And if you don't cooperate, they will literally kidnap you, lie to you, manipulate you, take you from your soulmate, and force you right back into doing the one thing (destroying the world) that you never, ever wanted to do in the first place, because in their minds, that is still better than this. It's for your own good.

Ouch.

And the thing is: that's why the ending a) hits so hard and b) is so fucking painful, because of course Aziraphale agrees. He has no conception of being able to defy Heaven on his own; he has always, always needed Crowley for that. In the flashbacks, when Aziraphale is faced with an order from Heaven that he desperately does not want to carry out (such as letting all Job's children get killed), he still relies completely on Crowley to "outsmart the rules" and find a better way. Crowley is A Crafty Demon; that's what he does, and so Aziraphale rationalizes it to himself that therefore that must be fine. Even in season 1, when he really didn't want the Apocalypse to happen but initially thought it was his duty as a good Heaven footsoldier, he relied on Crowley to talk him out of it and allow him to do what he really wants instead. That's their whole dynamic in a nutshell, as exemplified in that scene in episode 2, where Crowley tempts Aziraphale with the "pleasures of the flesh" while sprawled on his back in Ravish Me mode like the giant walking gay disaster that he is. (Sorry, buddy. That beard. Can't do it.) Everything that Aziraphale's existence is, that makes him who he is, that he loves and cherishes the most (in this case, food and wine) comes from Crowley. Everything else is just background noise.

Throughout the season, what we see is Aziraphale increasingly coming around to the fantasy of being with Crowley. He's coy and flirty; he talks about "our car" and expects Crowley will let him (which he does); he wants to have a Jane Austen ball and for them to dance together (oh my heart); he even thinks, at the crucial moment, that the best way for them to be together is to go back to heaven just like they were in the beginning, once more perfect angels, as if those entire six thousand years of struggle and grief and pining and separation and falling didn't happen. And Crowley -- poor, poor, brave, devoted, heartbroken Crowley -- has just heard for the first time in said six thousand years that actually telling the person you love how you feel is an option. Maggie and Nina tell them point-blank that their whole stupid plan failed because people aren't chess pieces who can be moved and automatically achieve the desired result. And of course this gobsmacks the dearest and dumbest Ineffable Husbands, because they can't conceive of anything else. People are chess pieces in the Great War of Heaven and Hell; Aziraphale and Crowley themselves are chess pieces who have been desperately trying to get out of being moved by external forces, but that doesn't change the fact that that's what they are. They don't have volition or agency aside from that which they can sneak for themselves in brief and stolen moments. That's it.

Until, well. It's not it. They discover that this whole would-be war is actually an elaborate ruse to cover up another angel-demon romance, that of Gabriel and Beelzebub. (I'll be honest, I'm 99% sure they did this storyline because they saw the fans crackshipping them, but I appreciate a fictional narrative that values and incorporates its fans' input, rather than trying to constantly "trick" or "outsmart" them or "do what they don't expect.") And Gabriel and Beelzebub get to be together, but only by leaving their world forever. They have to desert their homes, their structures, even their own identities, and never return. And Crowley and Aziraphale are so rooted in their "precious, perfect, fragile" life in their little corner of Soho, with their bookshop and their Bentley and their dining at the Ritz (which they didn't get to do in the end because METATRON /shakes fist), that that just doesn't work. Neither of them can conceive of doing that. So Aziraphale thinks "go back to heaven and try to make the terrible system do some good and take what we can in terms of being together" and Crowley just... pours out his heart. He's ready to fucking propose. He barely stops himself from saying something to the effect of "I want to spend eternity with you." He begs, he pleads with Aziraphale to go away not in the literal sense, but the emotional/metaphysical: to finally break this toxic dependence on Heaven and tell them once and for all where to stick it. And because he is desperate to make Aziraphale understand, he finally throws all caution to the winds and recklessly, desperately, adoringly kisses him, the one thing he's wanted to do for ages and...

Gets. Shot. Down.

Ugghhhhh. I'm suffering all over again. Aziraphale wants him, hungers for it, for them, and yet he's been so abused and so conditioned by Heaven (he's still blithely repeating to Crowley's face that "Hell are the bad guys!") that he just cannot accept that kind of desperate, blind, limitless, lawless affection. He even forgives Crowley for this "transgression," just to really twist the knife, and Crowley just can't take it, can't face up to how terribly this has all gone up in flames, after he went to heaven trying to find the answer for Gabriel's situation. Gabriel, who he fucking hates. Gabriel, who tried to kill the angelic being he loves (and for which Crowley has transparently never forgiven him). And yet at one pouty puppy-eyed look from Aziraphale and a warning that whoever is harboring Gabriel might be in danger, Crowley leaps headlong into the Bentley again and rushes to the rescue while "Good Old Fashioned Lover Boy" is blaring. He stoutly protects Gabriel; he does a miracle to disguise him; he lets him have hot chocolate and stay in the bookshop; he guards him from the literal demonic horde outside. All because of Aziraphale. That's it. And then, it still doesn't work. Not only that, Gabriel's absence and decision to forego Armageddon gives Heaven the one tool they finally need to take Aziraphale away from him.

I repeat: Ugghhhhhhhh.

(In a good way. Ngl, I love this angst. This is the kind of angst my brain Thrives on, the Thematic Parallel Romantic Character Arc kind. Nom nom nom. But also: AGONY.)

I also need to talk about Aziraphale driving the Bentley, aside from the obvious metaphor of him being in Crowley's home while Crowley is in his. Last season, we had the "you go too fast for me, Crowley" scene with them sitting in said Bentley, which was Aziraphale saying he's not ready for a relationship. In this season, as noted above, we see Aziraphale increasingly embracing the potential fantasy of being with Crowley. But here's the catch: when he's in the Bentley this time, driving it, setting the pace, acclimating to the idea, he's driving his own idea of what the Bentley/his relationship with Crowley is. It's not the real thing. He plays classical music; he supplies himself sweets; he turns it yellow; he drives too slow. Crowley calls him in another old-married-couple snitfit to complain that Aziraphale's messed it up, but what Aziraphale has actually messed up (or will, by the end of the season) is far more consequential than just a car. He's changed the entire shape of their relationship to the one he thinks can make it work, and it just doesn't. It has to be them -- "we could have been... Us" -- or it's not even close to the truth. It's not worth their time.

I repeat: Ouch.

Speaking of the writers validating fan theories, I know we all picked up and screamed about on Crowley's idea of Peak Romance Guaranteed To Fall In Love being sheltering from rain and gazing into each other's eyes, which confirms that that poor bastard was indeed ass-over-teakettle gone as soon as he met Aziraphale (again) in Eden. I also need to talk about the 1941 redux, because wow. This time, the danger comes from Hell, which we see being its usual self: gleefully, pointlessly cruel, pettily backbiting, dirty, sniping, tedious, endless, determined to mindlessly destroy because They're The Bad Guys and they like it. So they blackmail, spy on, miracle-block, illicitly photograph, and try to prove that Aziraphale and Crowley are secretly a couple, right after Aziraphale himself has just had the Light From Heaven realization that he's in love (which we all also picked up on in s1). They're forcibly outing them (to speak of more Religious Queer Trauma) in order to break them up/get them into trouble with their authorities/families. Aziraphale and Crowley manage to escape it mostly by dumb luck, but Crowley having an altogether freakout, hands shaking, barely able to actually point the gun at Aziraphale even in the knowledge that it's supposed to be fake, is just... wow. He can't even fathom the idea of ever trying to destroy him in earnest, especially when he knows on some level that Aziraphale also finally just realized his own feelings. So I just need to --

/screams

Anyway, Aziraphale's entire arc this season is doing what he thinks is the right thing and then inadvertently causing harm and damage as a result. In the Edinburgh flashbacks (live slug reaction of me: SEAN BIGGERSTAFF???!!) he tries to stop Elspeth from stealing bodies and gets Morag killed and Crowley drinking the laudanum to save him (though that part with David Tennant just riffing left and right, using his natural Scottish accent, and being Tiny Crowley/Huge Crowley was hilarious). He invites his neighbors to a Pride and Prejudice ball and makes them all the target for demonic attack. And of course the Job episode: Aziraphale, horrified at Heaven's callous cruelty, desperate not to get Job's children killed, willing to go along with Crowley's tricks to save them somehow, tempted by Crowley to do the fucknasty with their angel bits eat some food and decide that he likes it. As mentioned, the whole thing about God being silent this season is a major thematic choice. The only time we see/hear God is Her communing with Job from afar. Aziraphale enviously imagines the answers he must be getting (he's not, he's baffled and perplexed), while Crowley longs beyond words to even have the opportunity to ask the question: why? Why do this? Why is this your plan?

And of course, this absence culminates in the Metatron, the Voice of God, the person arrogantly claiming that they're speaking for God and know exactly what Heaven wants, being able to seize Aziraphale by the short hairs and absolutely fuck him over. Gabriel is gone/decommissioned/eloping with Beelzebub, so Heaven needs a Supreme Leader (God apparently is no longer a factor in the equation). And what this Supreme Leader needs to do is finally unleash the Apocalypse that Gabriel decided to pass on (the Second Coming). Aziraphale needs to be punished, taken away from Crowley's influence/love, and put back under Heaven's explicit control, so Metatron spots a great opportunity to do all three at once. It's not an accident that the exact tool he uses to get Aziraphale to agree is "now you can actually be with Crowley!" Aziraphale and Crowley have been trying so hard to hide out from their respective Head Offices, but now all at once, there's this seemingly miraculous opportunity for them not to have to do that anymore! They can be together! They can be sanctioned by Heaven! They can give up all this hiding and sneaking around and lying! Isn't that better?

... As long as, of course, they give up absolutely everything that makes them who they are. No big deal. Minor catch. Probably nothing.

Metatron doesn't let Aziraphale have time to escape, or think it over, or reflect, or anything. He pressures Aziraphale to come with him immediately, or be once more subject to Heaven's implicit wrath/destruction/judgment. Believe me, Aziraphale already KNOWS he's made a huge mistake, as soon as he hears what Metatron really wants: bringing him back to unleash the Apocalypse that Aziraphale and Crowley have given up literally everything to prevent. He doesn't need time to reflect. By the time my man is in that elevator, he's well aware of what a catastrophic misjudgment he's made, and yet --

Aziraphale needs this. He has, as noted, literally always relied on Crowley outsmarting Heaven's cruel orders in order to prevent himself from having to do them. He's relied on Crowley rescuing him ("rescuing me makes him so happy," WELL BUB, IT'S BECAUSE YOU ALWAYS NEED IT). He admits to Crowley's face that "I need you!" He hates Heaven's sadistic meanness, but he has absolutely no framework, in and of himself, to defy it. When the rubber hits the road, he will crumple and try to go along with it, and now he's been put in a position where he's going to have to stand up, defy Heaven, and make the break once and for all BY HIMSELF. He doesn't have Crowley around to do it for him, he has no support, he is going to arrive in Heaven and be shuttled straight off to the Apocalypse 2.0 War Room. The only way he gets out of this is if he actively stands up, if he chooses himself and Crowley and their life, and he has to.

The thing is:

Aziraphale has lived his entire eternal existence Looking Up. Up is the direction of Goodness and Heaven. Up is where Angels go. Up is where Aziraphale comes from and where Demons and Hell are not. But now he's going Up, in a position to take over the whole shebang, and it's the last thing he wants.

So he's going to have to come back Down.

He's going to have to Fall. He's going to have to get back Below at all costs. He's going to have to finally, once and for all, understand what led Crowley to make the choice to leave Heaven and never come back. It's only then that they can possibly be together on any kind of conscious, equal, deliberate footing, claim their own agency, reject Heaven AND Hell, and try to really earn that South Downs cottage and that happy-ever-after, and it's gonna hurt so good.

Now if you will excuse me, /screams

[zenodotus-cx]

Honestly the MXTX main couples are so funny when u look at their sex lives... like, Wangxian get called freaks but they're just kinksters in their 30s. If you think kink itself is weird, then you'll think they are too, but overall, they have healthy sexual communication and even if they're a little overzealous, they know what they're doing. Then Bingqiu has the vibes of people who are usually fairly vanilla, but try some fun stuff out on special occasions. Maybe it's just because I think of Shen Qingqiu as somewhere on the aro/ace spectrum, but I also feel like they don't have sex all that often, and when they do its more of an exploration of intimacy than anything else. And then you've got Hualian, who are centuries old, practically invincible, incredibly powerful beings with shapeshifting abilities that have Never Fucked Before. The sex they're having is stuff we wouldn't be able to conceive of as sex.

[tiredwishes]

Can you explain carcar to me as a ship? I'd really love to get it, but I don't 😔

oh anon, where do i BEGIN

carcar is a little phenomenon that happens when two magnets, against all odds, repel and attract. they push and pull, they're permanently entangled, always hovering in each other's orbit.

(disclaimer: i'll probably miss out a bunch of moments, but here are the ones that really pulled me into the carcar agenda)

but it starts with the fighting on track, which is terrible but also happens to make for really good tension and plot.

case in point, spa 2023

in order for enemies to become lovers they must unfortunately be enemies first. their radios about each other throughout the 2023 season are so incredibly entertaining

and the 2024 season seemed pretty tame for the first couple of races...... then miami happens and we're all proved wrong

carlos' interview about it

THEN we move on to monaco, where everything finally comes together

there's the umbrella moment, which is so incredibly funny because everyone else around them is in the sun but oscar's got the umbrella and yeah sure, it's kind of sheltering lando too but oscar holds it with his right hand and so it's really for him and carlos :)

then the race starts and it's kind of a disaster with them as 'it was at the first corner that Oscar Piastri and Carlos Sainz went side-by-side and banged wheels.'

but neither of them were taken out of the race and went on to finish 2-3. and the post-race interviews are hilarious because there's charles', who's just won his home race for the first time, and there's oscar and carlos, with their tension and overall hostility

oscar finishes his interview and it looks like he wants to hand the mic over to carlos but carlos already has one and the lack of words makes it all the more entertaining when oscar seemingly goes 'nope? whoop okay.'

and so we're left with this interaction, thinking they're back to their 2023 ways........

when the press conference picture drops. a.k.a the ultimate carcar moment

like what. what happened to hi?? what happened to hello??? we're just tossed this moment between the two of them charles is off commemorating his win and jumping into the ocean BUT the real important stuff is happening back in this damn room.

there's also that moment in one of the conferences when oscar and charles are talking about AdoptionGate (charles offering to adopt oscar on twitter, something i wouldn't believe if not for the fact that i witness it unfold with my own two eyes) and carlos says something that has charles going 'do you want me to adopt you as well? don't be jealous carlos'

and i'm choosing to take that as carlos being jealous because charles has oscar and he doesn't like that because he wants oscar, and so hostile takeovers was written :D

but i digress,

because then we get to the soulmates part of this thesis

when carlos is asked about his recent string of conflicts with with carlos, he said, and i quote, "oscar and i, we seem to have a magnet recently between each other, for some reason that i don't understand but we get on well and everything is ok, but we seem to always find each other on track'

which is crazy because it's literally what we've been saying since their string of collisions in 2023

there's simply no reason for them to keep finding each other on track. 'for some reason i don't understand,' carlos says, and sometimes fate doesn't have a reason, or maybe fate is the reason.

Every magnet has a north pole and a south pole. Placing two unlike poles together causes them to attract. When you try to place two like poles together, they will repel each other.

and so, as mentioned in the beginning: carcar is a little phenomenon that happens when two magnets, against all odds, repel and attract. they push and pull, they're permanently entangled, always hovering in each other's orbit.

and that's what makes them so compelling to me <3

[ploppythespaceship]

Uglies - Movie Thoughts

On a whim, I decided to start re-reading the Uglies series a couple months ago -- so imagine my surprise when I found out it was getting a movie! Said movie is now out, and it was interesting to watch with the book being so fresh in my head.

Overall, it's... eh. It's not a complete train wreck, the way most critics seem to want you to think, but it is fairly bland and uninspired. It's a very watered down version of the book. It also has the misfortune of feeling like yet another a Hunger Games wannabe, despite the original book pre-dating that series by several years.

Spoilers for everything under the cut.

What I Liked

Based on reviews, I seem to be in the minority here, but I thought the cast was pretty good. People seem to hate Joey King as Tally, but I thought she was fine. Brianne Tju is easily the best in the cast, stealing the whole damn movie as Shay. Laverne Cox also gives an excellent performance as Cable, though I do think she should not have been given that role for other reasons (which I'll get into later).

I've also seen complaints that the characters aren't ugly enough. They talk about how ugly they are and point out their specific ugly features, when they don't actually appear that ugly. And I think everyone complaining about that is completely missing the point. The "Uglies" aren't actually ugly -- they're just normal people, who've been conditioned to think their imperfect features are hideous.

I was honestly unsure how the Pretties would be visualized -- in fact, I wondered if the book would just be fundamentally unadaptable because of it -- but they did a fairly good job. I think leaning on CGI and unnatural affectations was the right way to go. All the Pretties have this uncanny quality to them that suits the story perfectly.

The overall production design was solid as well. I like how Uglyville is all gray concrete and muted tones, while New Pretty Town is shimmering golds. Then upon reaching the Smoke, all the colors of nature finally come through. I do think that could have pushed that last one a little bit more, but it still works well.

Apart from that, I don't really have much to shout out. It's competently written, well-performed, well put together. I know it doesn't sound like I have much praise, but it is a competent movie.

What I'm Mixed On

By far the biggest change from the book is Peris becoming a Special. And I'm torn on it. On the one hand, it does make him a bigger part of the story -- he's honestly not much more than an inciting incident in the book. It gives him and Tally a unique arc that's probably the strongest through-line in the story. On the other hand, the Specials as a concept are so under-cooked (more on that later) and the actor is so bland that it still doesn't quite land the way it's supposed to.

What I Didn't Like

The pacing of this movie is by far its worst issue. We are flying through this plot. There is no time for anything to breathe, for characters to develop meaningful connections, for the bigger moments to feel earned. Some things do make sense to condense -- Tally's journey to the Smoke would have been incredibly boring without her internal monologue, so condensing most of that into a montage makes sense. But I do feel we lost too much. That's where a lot of Tally's characterization comes out, where we can see her bravery and ingenuity -- none of that comes across in the movie.

A lot of important beats are rushed. Tally agreeing to help Dr. Cable is over in a flash. It feels like Tally's in the Smoke for all of fifteen minutes. Tally and David barely interact, so their relationship has no real stake. Everyone is kidnapped by Special Circumstances, and then rescued immediately after. I almost think a 5-6 episode mini-series would have worked better -- but that might have introduced the opposite problem, where everything takes too long.

The movie also has frequent montages that don't really work. It seems like they were trying to show the passage of time, but it just makes everything feel even shorter.

The beginning of the movie has an exposition problem, as well. It opens with a montage explaining the entire setting... before leading into several scenes that also explain the setting through dialogue. We get fed the same details about the surgery and the Rusties and the flowers at least three times at the start, and it gets grating.

As already mentioned, Tally is pretty severely underwritten. In the book, she has a distinct personality and a unique presence. In the movie, she's just the main character because she happens to be the main character. Her intelligence and resourcefulness are pretty much gone.

I also think changing her motivation for going to the Smoke did her a disservice. In the book, Tally goes to the Smoke so she can have her surgery, and because she's convinced herself that Shay needs her help. In the movie, Dr. Cable tells her that the Smokies have a weapon, and she will be saving lives by helping to find them. I think giving her a more selfless motivation robs her of her character arc. She always comes across as someone trying to help, who wants to best for other people, rather than someone who had to consciously learn that.

The Specials are barely even a presence. I'm not sure they were even directly called Specials. People who hadn't read the book would never realize that there was an entire separate status of person here. You never see their disturbingly beautiful faces or their terrifying strength. Considering how pivotal the Specials are to the overall story, especially in the later books, it's really odd not to see them properly established here.

Like I said, Laverne Cox gives an excellent performance as Dr. Cable... but I think they should have thought twice before casting a trans woman. It's not necessarily that there's a trans woman in the villainous role, but that there's a trans woman in the villainous role who specifically wants to force people to have surgeries to brainwash them. Like... did the optics of that really not occur to anyone? At all? I think Cox could have played David's mother, instead.

[medusas-graveyard]

Family, Dear.

Danny is, quite frankly, everyone's favorite little brother. He's shy, quiet, calm, unwilling to be a vigilante, incredibly (scary) smart, and overall is, to put it simply, an obedient kicked puppy. (Well, not really but you get the point.)

The only problem? He has no filter.

...

"I heard piano playing last night, I wasn't aware you knew how to play." Bruce comments as his family all gathered to eat dinner together, all seated on the dining table.

Danny looked at his adoptive father's direction, "that wasn't me playing?" He tilted his head questioningly.

"Ah, I see. I'm sorry, I just assumed—"

"That was your dad."

The dining room instantly fell silent, only quiet chocking sounds emitted from some of his family members and Bruce's cutlery clattering against the plate resonated.

"what?"

...

"Mr Thomas? Ms Martha?" Danny called out to the empty room, where a single piano resides.

A melody could be heard from the piano without a player; a familiar song chiming throughout the empty room.

He waits patiently for the song to finish, and by the end of the last chorus a middle aged man presented himself, sitting on the piano's chair, playing the song. Standing behind him with arms around his shoulders, a middle aged woman smiled and cheered to him.

The song ends; they both turn to the now slightly opened door.

"Danny, my boy! You're here! Come, give your grandparents a hug." Thomas chuckled, opening his arms.

He blinks, before nodding and slipping inside to approach the couple. He hugs him gently, before pulling away.

"I'm not here for lessons today..." He says, as Martha petted his hair.

"Hmm? What do you need, chum?" His grandfather asks; Danny turns their attention to the now widely opened door.

They're outside.

Martha and Thomas exchanged looks, before smiling brightly. The former cheered and the latter chuckled, seeing their grandchildren, their son and their dear friend.

"How nice it is to see you again"

[koinotame]

word count: 1.7K content warnings: general yandere content warnings and allusions to nsfw/sex but nothing super explicit

summary: it's your birthday!!!! what it's like celebrating with my ocs

a/n: i can now legally drink in a country i'll never visit 🎉 + bc i'm feeling nice another sneak peek of the new guys as well

gacha isekai group:

first prince: only finds out after your birthday has passed because he's still doing the hot and cold act and genuinely breaks down crying. is lucid enough to realise maybe you're trying to be discreet so only hosts an elaborate dinner for the two of you instead of a national banquet and a barrage of gifts he think you'd enjoy

first hero: terrible gift giver who spends the entire day fussing over you. holds open doors, carries all your things, flexes when you ask because you like his muscles even if he's burning from how embarrassed he is, reminds you you could do anything to him and he'd still love you forever and ever and ever and— and so on

second hero: between the fact that you're almost definitely already overwhelmed from your entire harem and you treat (unfortunately most of your harem and not just) him like an object anyway, he doesn't dare get close on the actual day. a couple days later he just kind of silently presses something small but meaningful into your hands and wishes you a happy belated birthday. you pat him on the head dismissively and send his stomach soaring, but you look happy with it so it was worth spending his entire month's salary on

vampire: shows up in your bedroom in the morning dressed in basically nothing except a rose in his mouth and offers himself to you. he's your toy any day anyway but you can make extra use of him today… when this doesn't land he's distraught and attempts to make it up to you by buying you some really extravagant tools or materials you'll make use of

werewolf: doesn't have much to offer, so… you mentioned you were interested in seeing his true form a while ago, right? do you… want to see that now? he'd tower over you like this if he wasn't so busy rolling up at your feet and showing you his tummy. you can take him out on a walk with a leash, humanoid or true form, but to be fair you could do that any day

playboy: his gifts are surprisingly practical; think something like a water canteen or some very soft, very fluffy towels. he takes you out on a little tea party date as well, ready with all your favourite pastries, then offers to play and/or sing you a couple songs. overall focuses on giving you a nice, calm couple hours, partially because he loves you and partially because he's trying to cement himself as the better, more thoughtful option lol

immortal: brings you breakfast and surprises you with several hand sewn, incredibly sturdy and very much your style pieces of clothing. since your own had been getting a little ragged, and you complimented his sewing once… see, this one's even in the style of your clothes from back home! seeing how you've been homesick lately, he thought he could alleviate that a little for you. and if you'd really like him to, he could give you a kiss as a gift too…

living doll: since they don't technically have any living expenses, the army just kind of… doesn't pay them… so they don't have much to work with for gifts and frankly they don't really get the point of celebrating something like the day you were born on, but they let you dress them up really nicely and offers to match so they can at least make you look better throughout the day

lab experiment: gives you a handwritten light collection (it's a whole book) of poems and little pieces of art they've made of and/or for you. the contents are kind of concerning but the gesture is really sweet. also gets you some pressed flowers and your favourite treats, then ends up rushing back to their room to hide because they're worried none of this is enough for you

mage's apprentice: spends the week before your birthday asking you strange questions and hiding away in their atelier. you don't see much of them on the actual day until the evening when they shakily wish you a happy birthday and drag you out to the gardens, where they've prepared a special fireworks show just for you

disgraced god: doesn't know it's your birthday at first because the concept is kind of entirely foreign to them, but is not about to be outshined by the rest of your harem. they're always at your beck and call anyway, but they make sure to up the doting (and monopolise you as much as possible) to the max on your special day

servant: it's not really his intention, but he ends up coming off as if he's trying to prove what a good husband he'd make to you. he gets you some trinkets you've been eyeing for a while, but also some of the officials who'd been giving you a hard time recently have seemingly vanished off the face of the world and he seems extra proud of himself today…

otome game group:

crown prince: national banquet!!! no i'm serious he throws an incredibly extravagant banquet for you. his father isn't super pleased about the misuse of funds but allows it since the two of you will be married soon anyway. gets you so many gifts it's a little scary. at least one of those is a collar and leash he wants you to put around his neck and absolutely wants you to dig in to him

heroine: doesn't really have the financial means to get you much, so instead she invites you to meet her family and spend the day in her house. apologises for how it's not much but expresses how happy she is that you're willing to spend the day with her and makes sure to cook all your favourites

villainess: invites you to spend the entire week surrounding your birthday at her estate, and then spends literally every single day celebrating your birthday, including daily banquets and a massive pile of gifts. expressing worry that this is too much just makes her go harder, because clearly you don't understand how important you are to her and spoiling you more will fix this

1: not to worry! he's already chased off your three persistent noble suitors, so you can spend all day at your own leisure. and if you're upset—either at the hassle with the other three, or at his actions—well, you can always take it out on him? he's already always there, but like today he really turns up the doting. overjoyed when you push him out of the way while pulling on his hair at one point

2: pools together some of his savings to buy you a nice piece of jewellery. presents it to you shyly when you have a moment to yourself and offers to take you out to a restaurant if you're willing to sneak out… or you can have him in the comfort of your bedroom, if you'd like

3: just kind of shows up at your estate with a bouquet, a couple handmade plushies in what they hope are your favourite animals and some blessed protective charms. if they have reason to believe you'd react well, they might as well just straight up offer themself. not in a sexual way (unless you want it to be), you just own every part of them already so if it pleases you you might as well make it official

4: playing 4d chess with the crown prince and villainess to ensure she's the only one who gets to celebrate with you on your birthday. takes you out on a fun day to the capital, where she gets to buy you tons of gifts and also play the role of your personal princely knight

5: can't take the day off (spends a long time bemoaning this) but since it's customary for you to stop by his place of work for your birthday anyway he decides he'll just give you your gift then. gives you a very professional congratulatory speech, a slightly less professional brooch set that fits you to a t, and (if he thinks you'll react positively) a considerably less professional offer for you to be the one to give him nipple piercings

misc group:

house husband: makes you take the day off work to spend it doting on you. you best believe he's spent the last couple of months saving up some money to buy you gifts so tailored to you it's almost a little creepy. also brings you breakfast in bed, bakes you the best cake you've ever had and has a reservation planned for dinner at your favourite… and is definitely the type to tell you you have one more gift to unwrap at the end of the day (it's him)

horror protagonist: lol. she bounds up to you super cheerfully and gives you the eyes of her teammate, since you said you liked them so much a bit ago… you don't question how she knows your birthday at this point. is glued to your side the entire day (though you begrudgingly admit she's less annoying than usual) and offers to cook or bake something for you. doesn't mind (at all) if you want to take your stress out on her, but… she's trying to be sweet for today

6: takes the day off from his work despite your many complaints and spends it with you, insisting it's his turn to spoil you for once. you're actually kind of impressed at how accurate his gifts are to your tastes and how he managed to get them without you noticing. it's sweet until he takes the opportunity to attempt to coax you into taking advantage of him, lingerie in your favourite colour and style and all

7: spends his entire allowance on giving you the best day possible, but he's fumbling so hard for most of it. a special limited edition for your favourite game that's not worth the money, some admittedly very soft plushies of your favourite animals, and a new bag since you'd been complaining your current one was falling apart… spends the entire day trying to hype himself up to give you a kiss but doesn't quite manage. feels terrible about how lacklustre his attempt was (despite how happy you are) and vows to himself to make the next much, much more enjoyable for you

[fizzyrodeo]

Context: In light of the Halloween merchandise reveal, people are beginning to speculate that the several pieces pairing Striker and Stella together is implying that they will become a couple.

I personally never liked the idea of this ship and I definitely wouldn't like it now because I feel like with how derailed the two villains have become, putting them together would just be even more of an insult to both their personalities and the overall conflict they're supposed to bring to the main characters.

Furthermore, putting these two together feels REALLY random. I can see the irony of them falling for each other despite their personalities revolving around how they hate what the other represents. But just because a couple gets together against all odds of their nature doesn't mean that it's a good pairing (which is exactly how I feel about Marthaberry), and knowing the trend of how the writing team portrays couples in this show, Strella would either be really toxic/unbearable to defend or incredibly nonsensical/fanservicey/one-dimensional.

[rockwgooglyeyes]

rock's thoughts on ivantill (nsfw edition)

trigger/content warning: open and uncensored discussion of nsfw content (smut specifically) I'm not tagging this as mature and leaving it up to the reader's discretion whether or not they're able to handle this. I'm not incredibly explicit but I am talking about something inherently nsfw.

the thing about nsfw is that, when it comes to fandom, it often is based less on the characters themselves and more on whatever the fans want to see. I say this about fandom in general, btw, not ALNST in particular- in my experience with nsfw (fanfic anyways) in fandom, is that a lot of it comes down to writer preference rather than the actual characters themselves. It's literally playing with dolls and this isn't necessarily a bad thing! It's pretty much what fan content is for, right? It's just something that doesn't sit super well with me and it's something I don't really understand- if you want to make a specific dynamic, why not just make ocs that can similar or the same personalities as the characters that you enjoy and yet their dynamic fits with what you want.

Like overall when it comes to my opinions (and these are opinions, preferences if you will), I might as well be up front- when it comes to the ships that are common in the ALNST fandom, I think that while mizisua and hyunamizi definitely switch, out of mizisua? Sua is the top imo. on the other hand, I think that it would be a lot more interesting if either hyunamizi were switch-centric or Mizi topped, just because of what that would say about her relationship growth as well as her character growth. With hyunaluka (which is not a ship that I enjoy but I respect those that do obviously) I think Hyuna tops mostly. With ivantill, I see Ivan as a bottom and Till as the top. Sometimes they switch, no one is exclusively one or the other- and I am fully in support of them being switches because I believe most relationships are fluid and have the inherent capacity for switching, top/bottom is about preference but I do think it's rare. I don't know, smut can be part of the relationship to me and the dynamic when it comes to sexual encounters is important to me with a couple.

I don't know, maybe it's because I'm one of those people where my headcanons have to be related to the text somehow (and I don't say this in a way that's derogatory to people who don't have that- honestly I kind of admire you guys, it seems freeing. I'm just extremely autistic about this) but idk the way people intrepret Ivan in the ALNST fandom is super interesting. This is mainly going to be talking about ivantill because to be perfectly honest, I think people are weirder about mlm ships than they are about wlw ships, when it comes to their characterization? But I haven't read as much wlw nsfw so I can't fully speak to this. But when it comes to Ivantill, I have found some people who's opinions I love. Some people I agree with even if I don't agree with everything. But then there are some folks that are so out there like I wanna study you guys underneath a microscope y'all are so peculiar. yeah yeah he's King Yaoi the Third, he's tall dark and handsome, whatever. he's a little freak, I want to put him in a jar and shake him up, I understand, but at the same time sometimes the reading comprehension with people seems not so bueno.

In the fandom overall, (not just on tumblr dot com) people like him as top and I think that, to a degree, that is supported by the text. At least, some of the additional art from Vivinos/Qmeng, that’s supported

(^ the amount of horny comments on this image *sighs*)

But for me? I don’t like that as much (even though I’ve read some fanfic with it that I liked just fine.)

This is because of the way that this interpretation of their relationship feeds into that surface level analysis of both Ivan and Till's character? Ivan is the violently jealous lover, the one who watches from afar and seethes with envy, he’s the unfeeling pretty boy who only loves one person, he’s willing to do whatever it takes to keep that person. Till is the tsundere, the person who plays at strength but weakens at the first touch of someone stronger, easily flustered and even easier to cow into submission- but the thing is? We know that's not true for either of them, it's not supported by their backgrounds, their other actions, the context of their trauma. which makes that characterization super funny (to me) when this series is kind of about peeling back the edges of outward perception, with Mizi, Ivan, Luka and Hyuna especially.

While top/bottom isn't necessarily a power dynamic, when in the context of certain relationships, it can definitely take on the connotations of power. In Ivan and Till's relationship, the person who has the power is Till.

Out of the two of them, Ivan is not the person with the power and that's honestly the main issue that I have with the way that people portray him. In the top Ivan fics that I actually like, he's not the one with the power, he is only where he is because Till wanted them to get this far, he is at Till's mercy and he's loving it. The issue I take with those who portray him as domineering and controlling is that he doesn't try to control Till in canon. He might have concocted the incident with the wagyein and Mizi but after that? Ivan isn't trying to force Till into anything, he isn't controlling the situation, he isn't even trying to get Till to do anything but react. Ivan would do anything that Till wanted him to, no questions asked. For those who take the possessive angle with Ivan, the problem I have is that Ivan has no desire to own Till. He's obsessed with Till, yeah, but it's in the way that you love your favorite band- you love them to bits, you listen to all of their songs, you go to a concert, you have their merch- but you would still respect their choices, right? You would be disappointed if they decided to break up but you wouldn't force them to get back together. That's the difference between Ivan's obsession and Luka's- Luka thinks that he deserves Hyuna's affection in exchange for loving her (it's transactional), whereas Ivan is under no illusion that he is entitled to Till's affections.

On the flipside, when Till is portrayed as the tsundere who cares but refuses to show it because of his pride, well, that one's a little tougher because the main problem is execution. Till does really care about people but his affection isn't shown out of a matter of pride- he shows his affection for Mizi quite freely, after all, if he was really worried about vulnerability, I feel like he might be a little more conservative with his adoration. Often times, he doesn't show his care for people clearly because he doesn't really know how, defaulting to blushing and stuttering, gifts and acts of service to get his point across. He's not a super verbal-affection oriented guy and I think this is actually portrayed pretty well in the gen fics but not so much in smut because it's not as applicable lmao (comes with the territory ig). When Till is written as really timid, fumbling, innocent (@bluemoonscape called it woobifying), I hate that with a passion because he might fumble and he might get shy sometimes but he is not a pushover. He is not meek and if he doesn't like something, he'll voice his complaints, he'll let you know. I mean why else would he yell at Ivan in their version of My Clematis when Ivan gets too close? Admittedly, Ivan doesn't listen, lost in his monologue, and Till kind of just accepts it- but I am certain that if they were even intimate with each other, that Till would object were he uncomfortable and Ivan would listen. Like, whether Ivan was top or bottom, if Till's not having a good time? Ivan is no longer having a good time. Ivan's pleasure is very much contingent on Till's pleasure, at least, in my mind.

That's all the characterization centered stuff and kind of the reason why I think their relationship just works better with this dynamic *but* one of the biggest reasons it's a preference for me that Ivan bottoms is because of the inherent nature of that dynamic- it's a lot harder to end up fucking someone unwillingly than it is to get fucked by someone. There's a far greater likelihood of reciprocated feelings or at least, consent, when it comes to this version of their relationship and that's what I prefer because I really do think that they love each other.

(tagging @atrophiedemotion because I asked him if he wanted to be and he said yes! Blue is already tagged above too so all of the known interested parties have been notified :D love you guys)

[lursauu]

mouthwashing sketches and some light character design analysis

im probably not saying anything revolutionary, but its fun! spoilers ahead

i really like anya's design, it's both appealing and serves her character well. she, curly and jim all wear pony express coveralls, but they each customize how they wear it slightly. we don't see her before jimmy assaults her, but i believe her choice to wear a turtle neck is a reflection of her defensiveness after the fact. something that covers up and protects her more. her downturned eyes and greek nose add to an overall sad, depressed appearance. my favorite detail is her haircut. it's silhouette boxes in her head besides a couple of locks spiking out. but within the silhouette, spikes of her hair curl and cut into the shape of her face. this makes for a trapped appearance, her hair is boxing her in and cutting into her. like her experience on this ship, she's stranded and trapped.

i think its interesting to compare jimmy to curly before the crash. i feel like jimmy almost looks like a bootleg curly in a way? curly is conventionally handsome. he has pretty blond hair, blue eyes, strong eyebrows, and a bit of a beard. in the one scene we see him, he has a neutral yet hard expression. overall, he almost looks like a disney prince. jimmy, on the other hand, looks a bit rougher. his hair is in an middle part which curves around his face kind of awkwardly, his eyebrows have a bushier shape, and his face looks unshaven. this isn't to knock on how he looks, but when looking at him next to curly, he looks like a messier version of curly. this is all basically a way of carrying curly and jimmy's conflict into their character designs. jimmy is incredibly jealous and bitter towards curly despite being long time friends. he desperately wants curly's professional success and charisma, but he doesn't. he doesn't cope with it in any healthy way (like acknowledging that his own failures are the fault of a capitalist system) or work on his own behaviors, he just berates curly. and curly, too affectionate of jimmy and too non confrontational for his own good, just takes it.

i don't have as much to say about swansea and daisuke besides the fact that I think they're also good designs that represent their characters and their personalities well