#and twist them to fit what they want

[sometimesraven]

the sheer number of Leon edits on TikTok to “Smooth Operator” like did we play the same games that boy is a disaster bottom

[crystallizsch]

Hey, prof. How are your classes? My new first-year students are quite behaved this year.

post-nrc yuusha brain worms are getting to me,,,,

anyways i finally figured it out- i want her to start working as the art professor at nrc probably a short time after graduation 👀

(so not really post-nrc since she's still there 💀)

[forgettable-au]

Feeling the urge to make a very small forgettable au animatic rn hehehe

[angelsdean]

people will say stupid things abt dean winchester everyday. the good thing is we can just say "that's dumb" and keep on being so good and sexy at media literacy. and loving dean winchester.

[brick-van-dyke]

TERFs 🤝 Zionists

Using the exact same talking points and rhetoric.

[kiwiplaetzchen]

A-and how does one protect their k-knob?

My dear Anon,

to safeguard your knob, treat it like royalty! Crown it with a trusty helmet, armour it with layers, and no, not layers of love. Remember, a protected knob is a happy knob, and a happy knob makes for a delightful day!

Wrap it up: No, not with a bow, silly! Use a trusty rubber knob (or knob-dom, if you will) to shield it from unwanted, pathetic grabdaddlers (don't confuse it with grabdaddies, honey). Safety first, right?

Dress to Impress: Give your knob a snazzy makeover! Make your knob feel cosy. Think of it as haute couture for your knob – chic AND practical!

And voilà! Your knob is now cosy and secure, ready for any adventure. 😌

[smartzelda]

Sorry guys I gotta speak my truth on this one

I'm not kidding when I say that I think that blaming shit media literacy from fans on shipping/shippers avoids the actual root of the problem to throw people you can easily throw under the bus (simply because it's not unpopular to consider people who post about ships or ship characters in media as having lesser or derivative tastes by default)

And here's why.

I think when you blame people who are "shippers" or "consume media through shipping lenses", the true root of it all is a mindset problem.

In actually, putting on shipping lenses can be helpful when trying to analyze a piece of media. When analyzing media you're supposed to approach it through a number of mindsets and put on different lenses (both to deepen your personal understanding of the media, and to pick it apart and see what you can find there (whether intentional or not on the author's part)), and different ships can be some of those lenses

When it comes to ships between main characters (for those who are genuinely willing to see what the narrative is showing with their relationship and what it's doing), there are times when analyzing it from a shipping lens may be helpful. As someone from KH fandom, I have seen people come to deeper understandings and pick canon apart in the process of analyzing a relationship that is genuinely integral to the story (platonic or not). I've also seen people get into rarepairs of characters who barely interact or who just suffer little screen time, and I've seen them come to better understandings of those side characters and how they potentially fit into the world of the media simply because people are now focusing on these characters and how they fit into the narrative.

Frankly, I resent the idea that the only way to truly objectively analyze a piece of media is by turning off the part of your brain that gets excited over relationships and individual characters. Don't get me wrong, that is a way to approach a piece of media and a valid one at that, but the truth is that we cannot be free of bias.

For instance, I was watching House MD with my parents circa last year. At some point I started heavily tuning into what was going on with House and Wilson's relationship. My parents, on the other hand, were largely watching casually. They're not thinking of character relationships or getting heavily invested in most characters, they're watching because they like watching. One of them in particular did try to analyze things that were happening in the show as they happened. However, when it came to the scene late in the series where House threw out Dominika's letter approving her American citizenship, my parents could understand that he was doing that because he didn't want her to leave, but not much beyond that. I ended up explaining to them that House's fake marriage for Dominika was an explicit parallel to when Wilson was living with House in the early seasons. Both situations started with House being none too happy about it but ultimately letting them stay, spending a considerable amount of effort getting them to leave/getting this situation to be finally over so he didn't have to deal with it anymore, and then by the time a piece of news comes through that would mean the person in question actually leaves, House hides this news as long as he can. Because he doesn't actually want them to leave and has grown attached. And by doing this he became a self fulfilling prophecy. By reacting to the truth of Wilson and Dominika leaving him the way he does, he seals his fate and they ultimately leave anyways. Maybe I ship Hilson, but becoming open to how their relationship was handled allowed me to transition to doing character studies and recognizing patterns/parallels that I wouldn't have noticed if I didn't particularly care about the characters or their relationship.

Likewise, I've seen mutuals complain about how people who don't like or don't care about certain characters often overlook these characters (what they're actually like and their place in the narrative), while the mutuals in question (by default) are able to come to deeper understanding of what the writers/story is trying to do because they care about this funky guy

You can't eradicate bias when you're engaging in media analysis, but you can consciously put on a range of lenses and observe the media through different povs with the goal of understanding the media better or bolstering your reading of it. And those lenses/povs can include focusing on specific relationships or the perpective of certain characters

And this is why I say it's actually a mindset problem. Shippers and people who have this one blorbo they like a lot aren't inherently terrible "fandom brained individuals" who are the root of media analysis problems. The problem only arises when people's readings/analysis of a piece of media are inherently restrictive/narrow and self centered. Your problem is with people who view a piece of media through a ship they like but don't keep an open mind about it, and whose "media analysis"/views on canon cannot be split from fanon and their comfortability levels. These are the people whose "media analysis" starts and ends with justifying their fanon as canon, whose views on media revolve around sorting characters and relationships into categories they personally enjoy rather than trying to understand what's going on.

Here's another example.

Here we have a fictional ship we'll call uhhhh...Blanebin. this fictional ship I made up on the spot for characters that don't exist named Blane and Corbin

Person A is super into Blanebin. They're part of the main cast of characters and canonically childhood best friends, so person A (as much as they enjoy fanart and fic) is also enjoying analyzing how narratively important to each other they are. Recently, Corbin started dating another character in canon, but Person A is enjoying watching how Blane is reacting to this. "Is this potentially a tell that Blane is jealous or is having complicated feelings about this? What if he was, how would that contextualize his behavior this season? Here's what I think based on how Blane dealt with explicit jealousy last season in a different situation". It's not impossible that person A is still missing further understanding due to their obsession with Blanebin, but at the end of the day this obsession has allowed them to start picking through the characters both in and outside this relationship. It has allowed them to see potential subtext and theorize on what might happen next with these characters' relationship. Not to mention that with addition of Corbin dating someone else, instead of trying to erase this fact or state that Corbin canonically isn't into that person, Person A is trying to factor in how Corbin's current dating life affects his relationship with Blane (irregardless on personal views on the nature of Corbin's relationship with the person he's dating).

Person B is also super into Blanebin. They really enjoy fanart and fic of the characters, love obsessing over their moments together, and just feel like there's really something between the characters. To person B, every moment between them is just further proof that the writers are ship teasing them. But Corbin getting together with someone else this season? Oh that pissed person B off. They cannot believe that even though Corbin and Blane are CLEARLY gay for each other the writers had Corbin get with someone else this season. Perhaps, they think, it was even a decision specifically made to spite fans. How evil of the writers to tease a perfectly good ship and then have them not get together first? They must have been just doing those teases to get views from Blanebin shippers those scoundrels. To Person B, since Corbin started dating someone when he obviously has some chemistry with Blane (even though the series is far from over) means that Blanebin can never get together now and Corbin x person he's dating is ruining Blanebin by existing. In fact, they think, this is terrible writing for Corbin to be dating someone else because they don't like that relationship and don't see the point. Obviously if the writers were good then Corbin would have started dating Blane instead because this was supposed to be the Blanebin show.

Person C despises Blanebin. Don't get them wrong, they've always enjoyed the character's childhood friendship, but they actually have always thought Blane would have been better off with Victoria. They have a lot of moments too! But they're tired of seeing people ship Blanebin. Corbin just got together with someone else, so obviously that's not gonna work out. Plus Corbin and Blane totally has always given person C bro vibes. In fact, person C thinks, sure Corbin and Blane have a close friendship, but people shouldn't be shipping them. Person C likes Blanetoria and Blanetoria can't be canon if Corbin is in the way of it. So Person C likes to read Blanebin as siblings anyways. Sure they're canonically friends, but obviously their friendship turned into brotherhood. This means that nothing can be in the way of Blanetoria and Corbin can keep dating the person he's already canonically dating. Actually, now Blanebin just straight up makes Person C uncomfortable. Don't the pesky shippers understand that Blanebin are sibling coded because they're childhood best friends and that they're important to each other because they're brothers? It's obvious to anyone with eyes.

Sure, ships are involved here, but is the root of this problem shipping? Character A isn't as knowledgeable of other characters in the plot due to this lens they're using, but at the end of the day they're dedicated to analysis. Their love of the characters is pushing them beyond what they like or dislike to try to understand what might be happening through their lens. Not perfect, but they are slowly broadening their horizons. But Person B and C's problems here are their restrictiveness. What is or should be canon to them is tantamount to what they personally like or find comfortable. Is person C actually analyzing the this fake show when they decide to "read" Blanebin as basically canonically siblings (and this all of their moments are totally a bro thing) just because they don't like Blanebin and the idea of them getting together over Blanetoria makes them uncomfortable? Is person B actually analyzing this fake show when their "analysis" of Blanebin goes only as far as asserting it's being ship teased and deciding anything short of canonizing Blanebin is a targeted attack or "bad writing" because it's not what they wanted personally to happen?

This is what I'm talking about. This is the mindset. Shipping isn't the problem. The problem is when people marry fanon and canon to the point where they have a vested interest in superimposing their fanon over canon as "a reading" and trying to make "collective decisions" on what is canon (or what canon is trying to say) based on what does or doesn't make them uncomfortable. The problem is people being restrictive and centering their own likes and dislikes in the conversation, so they can only interact with canon "analysis" wise by deciding what is canon or should be canon "as obviously agreed on by everyone". You can't simply claim you like media analysis. To be able to analyze media and bolster your views on any given canon, you must be open to looking at it through multiple povs, to studying characters without trying to pretend things you don't like don't exist or do like do exist. There is a balance that must be kept between trying to keep objectivity and putting on specific focus/bias based upon the lenses you're putting on. You have to be willing to try to figure out what a media is doing or saying, not saying you're trying to figure out what it's saying while in actuality trying to define the narrative around what people believe it's saying in ways that suit you.

Thank you for coming to my ted talk.

[rempyz]

small brain: ren is the husband and stimpy is the wife

average brain: theyre both husbands

huge brain: they take turns being husband and wife or sometimes theyre both husbands or wives or both individually husband and wife at the same time or simply neither and just are spouses

galaxy brain: gender roles do not apply to them they are beyond any shred of a comprehensible gender identity they just do as they please without any labels they simply just are ren and stimpy

[tenwhiteandalusians]

pertaining to the idea of tenax’s band of strays i do think it’s touching that the kids are the ones who saved him and waited outside the door to make sure he’s okay. for all tenax claims to be harsh and cruel it’s a fine indicator of his character that the kids won’t rest without him and are there every time he’s in danger.

[dimiclaudeblaigan]

If there is at least one thing I can credit FE for doing better than Tales in localization, it's not trying to actively go out of their way for an entire game to avoid subtext or direct text between two men that is romantic or implied romantic. Funny when it's so present that the attempt doesn't even work; infuriating that it was attempted to begin with.

So as much as I often have issues with some of FE's localizations, at least they have a leg up on loc Tales for that.

[aroaessidhe]

2023 reads // twitter thread

The Sun and The Void

Venezuelan inspired high fantasy

follows a young outcast swordswoman taken in by her grandmother, the dark sorceress for a noble family, who relies on the magic to keep her alive after being attacked by monstrous creatures

and a young noblewoman who’s the shame of her family because of her mixed heritage and desire to use magic

both are manipulated by those with more power than them into a plot to free an ancient evil god

mineral based magic, politics, nonhuman MCs

[throwaway-settings]

biting. biting. biting.

[keeps-ache]

!! what if i made another outfit for Teddie. just cuz

[angorwhosebabyisthis]

so i was infodumping about vatborn, as one does, and laying it all out i have come to the conclusion that mogadorians as a whole--vatborn and trueborn both--lean heavily toward varying flavors of autistic. and BOY does it explain a lot

[jacksintention]

I can't with the previous post. It's just so good applied to Levi, Lacie, Oswald and even Jack.

Levi has his hands tied by the Baskerville system that is a sort of scam by the Jurors‚ like every Glen. But he says "let's just create a change" and gives a will to the Core. And he does so with the full intention of changing the narrative, if just to avoid the boredom of spending eternity watching the same thing happen over and over again from a sit in someone else's mind.

Lacie goes along with it because of her desire to ease the Core's loneliness, but in her idea of the children of misfortune being a consequence of this loneliness and her feelings of doubt or reservations, perhaps, revealed even before the tree scene in the scene in which she talks about this with Oswald, we could interpret this as her desire to end the existence of the children of misfortune and thus the cycle.

Jack plays into this in his attempt to take the "real" world to the "Abyss" world, but when he most consciously twists the narrative the Jurors had settled was when he intently made the decision to take the power from the Baskervilles. And I do think it has to do with ending the very system that doomed Lacie and Oswald and he deemed cruel and like torture, but mainly it is so that no one would interfere with him in the future.

Oswald tries to destroy the new narrative Jack has or is creating first by trying to stop him, but later on by trying to stop Levi's schemes before everything happened, resettling the narrative he was controlled and doomed by, serving still as their tool. And then he literally faces the truth, in the most explicitly way no one ever has been told this in that "real" world before, and threatens to kill the instigators of that narrative. And then just renounces, in a lack of action that is him at his most active ("not with a bang but a whimper", how fitting is that?!!!).

Ultimately there is a middle ground but the narrative is changed for good. For better or worse. With uncertain future consequences. But it is changed, and it feels kinder. And as a thank you the source of every narrative, the ink and paper of the narrative, lulls someone who shouldn't have existed but changed the world to sleep by telling him a different story. Because that's it. They're stories, and Oz deserved to go with a kinder one, because the ink and paper of the narrative loves him. And it's so interesting how that works metanarratively too. The author tells the story, but the author tells the reader a story about the stroy telling a softer version of the story, so that the reader too will get it alongside Oz. That works on several levels and it's so so interesting.

[enby-cuntboy]

thinking about an escape room but the twist is that if you don't get out in time, you're used by the entire staff until they're satisfied.

you know what you're getting into, of course. you sign the forms saying that the facility can't be held liable for any damages that happen to you. afterwards, you're stripped down and restrained. cuffs around your wrists behind your back as you're bent over a table, chains holding your ankles together. a collar is attached to your neck, connected in two places. one, to hold you still on the table. and the other connected to the ceiling with a lot of slack. you seem to be in a dungeon, iron bars blocking the unlocked exit.

you're left alone and the timer is placed immediately in front of you, counting down, minute by minute. right where you can see it. the restraints are firm and secure, but they each have their give, their weaknesses. the chains on your feet can be undone by looping it around the corner of the table and pulling at it at just the right angle. then you have to move your cuffed wrists behind your back and under your legs so you can use them.

the part of the collar connecting you to the table is dealt with by simply unhooking it, meaning you're able to stand up and move around the room. there's a box with a pile of keys for you to sort through. one of them must open the cuffs. one of them must unlock the bars. you sort through them in a hurry, adrenaline making your cuffed hands shake as you try each and every one of them, adding them gradually to the discard pile. once your hands are free, you fiddle with your collar. it doesn't seem to have any give. but while doing this, you see that on the other side of the iron bars is a bolt cutter, exactly what you need.

you're invigorated, trying all the keys on the bars as the minutes count down. your time is scarce, it's moving far more quickly than you're able to take into account. until finally, the lock clicks. the metal gate swings open and you can see the bolt cutter on the floor right in front of you.

except when you walk forward, the collar around your neck tugs you back. the tool is just out of reach. you can't get enough slack to pick it up. you try desperately, every option you can think of, to stretch your body out and try and kick the bolt cutter closer to you, desperately now as you see you only have three minutes remaining, then two, then one and a half.

until you finally remember the chains on your feet. you hurry back to the table, reaching under it to grab the chains and looking at the time left on the timer. 50 seconds. you hurry back to the iron bars, throwing the chains, trying to lasso the bolt cutter to finally get it in your grasp. and with 20 seconds remaining, the tool hooks onto the end of the shackles on the chains, and you desperately try reeling it in. 15 seconds, and you're pulling it closer, so very carefully. until finally, you reach down and wrap your hands around the tool and that's when your heart sinks.

it wasn't a bolt cutter. it was a toy. lightweight and useless, like something that would go in a child's tool set. and you realise: you were never meant to escape this. you never even had a chance. you had willingly walked into a trap.

your time is up and an alarm sounds, the lighting in the room turning red. the staff walk through the door, heading straight for you, cocks and straps and toys in hand, grins of delight on their faces.

they push you back onto the table and use you exactly how they want to, each and every one of them noticing how soaked you've gotten just from being in the escape room and playing this game, mocking you for what a slut you are as they take you without any preamble.

they use all your holes simultaneously, manhandling you into whatever positions they want. bending you over, taking you from behind. seeing how much can fit into you at once. slapping you about, spitting on you, spanking and whipping, passing you from one to another. never a moment for you to rest or recover before you're impaled on another cock.

all while their mocking voices taunt you.

this is what you were asking for when you came here. this is exactly what you were hoping for. to be used relentlessly. you never wanted to escape anyway, no matter what you'd say. you needed to be used like this. only sluts ever enter these escape rooms, and so you would be treated as what you were. willing holes for them.

once they've all had their turn, they take the toy bolt cutter and shove it into your used hole, fucking you with it slowly. it's too big and uncomfortable, but you stretch around it so easily after all that use. your arousal making it easy. you keep crying out, and they keep laughing. this was the thing you thought would set you free. this was your salvation for twenty minutes or so, all you cared to get. and now they were filling you with it. and worse than that, they were making sure you enjoyed it.

they bring you to an intense orgasm with the very thing you thought would save you. your mind is foggy and you can't think of much aside from the feeling of the toy inside you. you're burning with embarassment.

you came so close to escaping. you were so resourceful and clever about it all. but now you were nothing but holes for them to use until they decided they were done. all that intelligence you used to try and get out would leak out with your arousal as they continued to whore you out. your brain would never work the same once they were done with you. once they had reduced you to something so pathetic.

they aren't done using you. they won't be for a while. and you don't know if you ever want to be done serving them. this is where thinking got you, and now you were being put in your place.