#basil rambles..

[dreamybasil]

"I WILL CANNIBALIZE YOU"

Basil

CLOSE UPS BELOW

[omorinintendoswitchedition]

finally…..i have them all……….

[cinnatwirls]

So I visit the Little Free Libraries near me almost everyday and- please- someone tell me-

WHAT IS THIS FUCKASS BOOK I FOUND.

WHY DID I FIND WHAT LOOKS LIKE A LEITNER IN THERE-

....I took it home of course

[basilbots]

Everyone going off about how Nexus is even more hatable now and whatever meanwhile I’m over here kicking my feet like Interesting how you didn’t do this with Sun huh? So fun how even though Sun is the obvious key to your problem you try to get it out of Moon first hm? It’s almost like you’re doing your best to avoid Sun why would that be Nexus?

[dreamybasil]

teehee~ :3

not the first time. (supbreak is the whole proof of it)

@dreamybasil you're killing me

[basilpaste]

& he forgives you dogs are like that so loyal dead dogs are just happy you're here Let Dead Dogs Lie, Silas Denver Melvin (from Grit)

〔You grit your teeth so hard that they shatter into fangs.〕

[ramlightly]

Do Malady and Lapis ever switch? Ngl I think Malady bottoming would be hot 😳

Yes they do, they're pretty casual about positioning. Lapis just prefers bottoming because it's less effort lol, he likes being bossy without as much of the work. But Malady is pretty into it.

(I have to censor this, but go see the full sketch here on twitter lol) (oooor here on cohost)

[sleep-nurse]

They saw the mountains again (but higher)

[deimosatellite]

hheey that cant be real right. theyre not erasing the queerness in dorian gray in 2024 right. theyre not taking the book that has a history of being censored for queerness . and has been a history itself in showing that queer people have always existed giving hope and validation to many queer people today. that oscar wilde was exiled for being gay.

for this adaptation to go "nah its not gonna be queer" girl i will start biting people!! none of us are watching that shit right??

[honourablejester]

Apropos of absolutely nothing, can I talk about the Let Me Be Good To You scene from The Great Mouse Detective (1986)?

For the uninitiated, this movie is a Sherlock Holmes adaptation. Ish. In the skirting boards of the Baker Street, while human Holmes and Watson do their thing in Victorian London, a mouse detective named Basil and his recently recruited medical companion Dr Dawson investigate a mystery in Victorian mouse London. Vincent Price stars as Professor Ratigan, the evil Moriarty equivalent, and it’s a hell of a fun time.

And. In the middle of this fun mousey romp through Victorian London, we get the above scene. Basil and Dawson are undercover at a seedy dockside bar trying to find a peg-legged villain, and in the midst of an almost-bar-brawl, the piano player hastily starts a down-turned tune to draw attention, and Ms Kitty enters the stage.

And. Okay. I’m going to put aside for one second that this is happening in an animated kids movie. Put that to one side. I just want to look at the song.

Because this song is so fun, and so kind, and so empathetic, and so fucking cynical. It’s so targeted, and so tailored, and so clearly designed for purpose.

Because she doesn’t just offer sex, although that is pretty clearly and cheekily implied (“I’ll take off all my blues”, from a woman in an entirely blue outfit) later on. She offers sympathy. Empathy. Comfort. Understanding. She starts out ‘dearest friends, dear gentlemen’ to a bar teetering on the verge of full on violence and mayhem. And she’s listened to. Because she follows up with implicit understanding. “Life down here’s been hard for you, life has made you strong”. You tough guys, you’re feeling all alone. You rough guys, the best of you sailors and bums, all are my chums. She’s talking to them, to their understanding of themselves, and she’s promising that she understands them too, that she’s not put off by them, that she will comfort them. “You won’t be misunderstood, let me be good to you!”. It’s not a, if you’re good I’ll let you in, it’s a, I know who you are and I’ll be there regardless.

She is selling such a tailored fantasy. Talking directly to her audience, to their inner understanding of themselves. In the middle of an incredibly seedy dockside bar that’s two seconds away from exploding into violence, she comes on stage and offers not just sex, but sympathy, understanding and comfort. Softer things. Gentler things. And, the thing is, she’s bang on. She’s read them completely right. They listen to her. The violence tones down. Men take their hats off for her. When it revs up again, when it turns violent again two seconds after she’s done, she’s still perfectly safe and perfectly triumphant up there. She sold such a perfect fantasy. She was bang on.

And it’s so, so, so fucking cynical, because she was sent on stage, in the context of a bar that is drugging people even as she sings to sell them to a criminal overlord, to do exactly that. She was so clearly sent on to control the crowd, to bring the mood back from immediate violence, to tone it down, and then to rev it back up in a happier direction. Ms Kitty is offering the perfect fantasy, talking to the gentleman in need of comfort in her customers, while the bar staff are moping up unfortunate ends behind her. And the second she’s finished, the violence comes flooding right back in. Her song is the perfect fantasy. And this is the seedy reality.

And I just. I want to bring it back. This is happening in the middle of an animated kids movie. This perfect window onto sex work, entertainment, night life, crowd control, violence, machismo, the softer fantasies that even the roughest people might have, and the way those fantasies are then promptly used to lull and control them. This is a children’s movie.

It’s not just that there’s a stripper mouse in a kid’s movie. It’s that her song was also a fantastic and vicious look at how shelter and desire and empathy can be cynically used to control people in the context of sex and entertainment, and how in context of the darker sides of life, the gentlest, kindest song can be the coldest and most cynical of gambits.

Like. They didn’t have to go that hard, you know?

Anyway. Carry on.

[dreamybasil]

We got the zaza man les go

( EMORI by @shrimperini!! I hav checked if it oke to @ shrimpy,,, it is oke!!)

(shrimpy ur getting ur zaza man sold into the dark net im debating whether he'll turn into a keychain or a sticker.........)

[omorinintendoswitchedition]

feeling so jolly omori plushies for all of your feeling so jolly needs

[esto-es-un-error]

Oh Basil, sweet Basil. I hope he’s at peace now.

[basilbots]

I love that Nexus pettily points out that excuse you Earth was my sister first I was the one who actually got to know her the entire time- yes I totally would be fine with killing her as collateral and totally wouldn't feel bad about it that's not the point. Also calling Moon a murder hobo, criticizing him for his own past mistakes, and trying to jab at Moon for how awkward it must be bonding with Solar when he must be getting compared to Nexus (sound familiar at all?).

Like he's still being cringe and edgy and saying all this threatening shit that seems completely different than what he was like before, but he's still New Moon and that very much influences how he interacts with Moon. Nexus hating Moon does not read as "totally new bad guy hates Moon because he's a threat or whatever" it is very much "he hates Moon because of all the problems he caused for New Moon's life, and feels some spite that Moon is taking his role back so easily". New Moon would have disliked Moon anyway, Nexus is just taking it way too far when it comes to hurting Moon for things that are reasonable to be mad about.

And I love that when Moon says what Nexus is doing will kill him, Nexus' automatic response is "no one will care" before correcting himself that oh well he doesn't care how anyone else feels and emotional attachments Bad he'll never have one of those again. Sure bud

[twink-between-worlds]

thinking about four bringing out the best in shadow and shadow bringing out the worst in four. thinking about four and shadow having hushed conversations when four is on watch for the night, talking about anything and everything just to hear each other's voices. thinking about four and shadow.

[unclewaynemunson]

Steve comes home into a dark and suspiciously quiet living room. A short moment of the all-too-familiar fear that's always lurking in the back of his mind flaring up inside of him is immediately followed by a fresh breath of relief when he hears muffled voices emerge from behind a door down the hall.

He kicks off his shoes and quietly walks on socked feet towards the sound. In the doorframe, he stills to observe the scene inside the room: Eddie is crawled into bed with Katie, both of them tucked underneath her bright pink bedsheets. She's resting heavily against Eddie's chest and his hand is stroking through her hair, while a book is resting in his lap.

'Then he looked beyond the thorn bushes, out into the big dark night,' Eddie reads to her. 'Nothing could be further than the sky. "I love you right up to the moon," he said, and closed his eyes.'

Neither Eddie nor Katie notice Steve standing there and he can't help the smile creeping onto his face.

'"Oh, that's far," said Big Nutbrown Hare,' Eddie continues. '"That is very, very far."' He flips a page. 'Big Nutbrown Hare settled Litttle Nutbrown Hare into his bed of leaves. He leaned over to kiss him goodnight.'

Eddie himself also leans down to press a kiss against Katie's forehead.

'Then he lay down close by and whispered with a smile: "I love you right up to the moon - and back."'

He softly closes the book and brushes some hairs out of Katie's face, a soft smile lingering around the corners of his mouth. Steve can see that her eyes are already closed and that her lips are slightly parted; she looks peaceful, completely different from how she was when Steve had to leave the house.

'Hi,' Steve whispers, tiptoeing into the room.

Eddie's smile brightens when he looks up and meets his gaze.

'You got her to stop crying?' Steve asks, still whispering.

Eddie nods. 'I think her headache's finally gone,' he answers. He shuffles a little bit, cautious not to wake Katie, then pats the space beside him. Steve crawls next to Eddie underneath the blanket; the bed is small but they manage to make it fit, and Eddie presses a chaste kiss to his cheek when he's settled.

Steve feels the exhaustion of the long day wash over him in a sudden wave. Without another word, he drops his head onto Eddie's shoulder and closes his eyes.

He hears a soft chuckle close to his ear, then feels a hand grab his fingers and bring them upwards to press a kiss against the back of his hand.

'I love you to the moon and back,' Eddie whispers against his skin.