#but i wrote an essay anyway

[katatonicimpression]

Hmm OK I'm about to just direct bitch about something I read in a tag and I'm aware that that's unkind but it's such a weird take to me, I feel like I need to express my thoughts

So, this is what they said:

This feels so strange to me. Broadly:

This isn't boring neutral coworker stuff, it's direct antagonism and also they kind of aren't friends?

They're relationship is antagonistic right now specifically because of whats happened in other series - so, not a lack of continuity but the opposite

The fandom point is bizarre in a number of ways

So Number 1, what we've been seeing between Sam and T'Challa in this series so far (since issue 1 let's be clear) is T'Challa being a dick to Sam unprompted. He's condescending to him and generally being prickly, and Sam clearly bothered by it. This is actually kind of fun to read, in particular T'Challa's insistence on calling him "Sam" only - it's interesting, T'Challa is intensely bothered by this one guy in a way that is kind of more intimate than their early encounters.

And, yeah, I don't think they've ever been friends necessarily. They've worked together a lot of times. They seem to like each other. Sam seems to really look up to and respect T'Challa, and T'Challa seems charmed by and impressed by Sam. But they weren't close by any means - they don't hang out outside of work etc. What we're seeing here is that same dynamic turned a little dark, purely because T'Challa is being a dick.

Also, unless something goes horribly wrong here on the writing side of things, it's clear that this antagonism is a plot thread that's been set up, currently expanded upon and will be resolved in the series. It's there on purpose and hopefully will end with them closer than before... and if not that, it will at least end with them putting this shit behind them (again, so long as the writing doesn't completely collapse behind the scenes which does happen in comics a lot lol)

Number 2, I agree that they seem to have forgotten that T'Challa made Sam's original wings, and actually also made his current get up, or at least the shield. I'd love for them to talk about that.

That said, I think you could bring it up in a way that compliments the current drama. Sam is indebted to tchalla, it's part of why he respects him so much, but also might make him pull his punches when the guy is being a dick... or does he? Maybe t'challa thinks he ought to, but maybe Sam doesn't care.

So, currently in canon, Wakanda is experimenting with a more democratic system, and T'Challa is having a personal crisis. He's still being the Black Panther, but in a more secretive, quasi-exiled way, and he's having difficulties reconciling his identity as his nations hero with not being their leader - he feels untethered. His current series (by eve ewing) is about this and it's good, I recommend. But, in short, he's more grumpy than usual because he's having the least relatable personal crisis of all time.

In symbol of truth, tchalla picks a fight with Sam (instead of just talking about how Sam mostly accidentally broke some wakandan laws). Sam is there in jeans and a t-shirt ((no suit, no wings, no shield) and wins.

This is, presumably, humiliating for t'challa, and he is canonically very pissy about it. You could imagine that the fact that he made Sam's gear could add to this dynamic. Sam wasn't reverent to him, didn't perform gratitude and then had the audacity to prove that he didn't really need his help anyway.

But yes, this is why T'Challa feels this way, its why he's acting like this. This is absolutely continuous with current canon. It's not an inconsistency. It just makes sense in universe.

Now, if you'd rather they just didn't write this drama because you'd rather they dropped this thread and just portrayed them as friends, then say that. Like, that's a completely valid opinion idk why you wouldn't just say it instead of acting like it's inconsistent writing when it isn't.

Number 3 is where I am confused. So, no one cares what anyone says on tumblr, that's a freebie. For twitter, yes sometimes writers do listen to fans in ways that end up not working out but is this person seriously suggesting that some writer would deliberately make a series worse to appease fans of other series? Think about that for a second. No one is sitting at a desk going "aha! I'll make the series bad, that'll show em!".

Not that I actually think the series is bad but you get my point.

So, the Fantastic Four are literally family. X-teams tend to be a mixture of family, found family and coworkers. This is true for avengers teams to, although they often have a greater percentage of coworkers who don't really know each other. This is because the x-men more often live together, and are often formed out of necessity because the humans are trying to kill them. The avengers are more often literally co-workers; a bunch of individual heroes, with separate lives, often living planets away from each other, individually recruited to a constructed team. Like, that's fine. That's not anti-avenger propaganda from fantastic four fans, it's just the literal canon situation a lot of the time.

This particular team has two people who used to be married to each other, then a bunch of people with varying degrees of familiarity and friendship. Two of them are currently having drama, and it's arguably the most emotional they've ever been about each other. This sounds like a good thing to me! This kind of storyline is what takes two characters from coworkers to something more meaningful, you know?

It's a particularly weird complaint to bring up with Sam. In the MCU, Sam is very much an avenger, was in the team for years and a pivotal part of it. In the comics, he comes and goes, joined to replace hawkeye then quit, led them for a bit in the 2010s (but that was mostly a different team) then quit again.. etc.. He seems to have a difficult relationship with the concept, and is only occasionally actually friends with these people (Steve, Jane). Honestly, it feels ooc when he's portrayed as friendly with some of them. But I mention it because he's a weird character to focus on to make this point.

Anyway, the series has gone out of its way to portray closeness between tony and carol, who do actually have a deeper friendship than many of the others here. But for most of these dynamics, the groundwork is there, but if you want them to be portrayed as close friends or a found family or whatever, then that actually needs to be developed in, you know, storylines. You can't just dump them on a team and say "they're besties now".

You might, in fact, want to write something where the current situations that the characters are in, and their recent interactions, affect the way they treat each other. Idk. Maybe even with some cattiness and antagonistic banter? And then maybe let that play out? Idk it's just a thought

[paranormaljones]

Love and Attraction in My Adventures with Superman

As someone who has never been particularly drawn by superhero media, I wasn't really sure what to expect when I first started watching My Adventures with Superman about a week ago. I had seen a few posts here on Tumblr that had piqued my interest, but all I really knew about it was that it was well-loved and had an art style that I knew I liked.

I absolutely did not expect to fall head over heels for the show entirely, or to be moved to tears multiple times by the wildly sweet, revolutionary relationship between this adaptation's Clark Kent and Lois Lane.

I say "revolutionary" because this romance touches on a lot of things that I feel are lacking in most modern portrayals of romance, and it handles them masterfully.

Most of what I reference/talk about in this post will focus on the first four episodes of season one (with a particular focus on the fourth episode, Let's Go to Ivo Tower, You Say) , because they are my favorite episodes and I think I can communicate what I want to by pulling mainly from those episodes. But I will be pulling bits and pieces from the whole series so consider yourself spoiler-warned.

The main point is this: I absolutely adore the way that physical attraction and emotional attraction are balanced between Clark and Lois.

The fact that this is possible comes from how well-crafted the dynamic is between the two of them; Lois' raw passion and energy inspires confidence and a mutual passion in Clark, and Clark's gentleness and kind heart inspire a tenderness in Lois that she was never given an outlet to show or receive. From this dynamic, a wealth of physical and emotional intimacy is naturally born. But never in the series do the two aspects of attraction feel out of balance; rather, they play off each other effortlessly. When one is brought into focus, the other quickly follows.

From the first episode and onward, it's obvious that Clark and Lois are awed by each other's physical appearance. Lois outright describes Clark as "beautiful" (which, if you saw one of my earlier posts from not too long ago, is something that makes me so incredibly happy to see in mainstream media).

To be fair, she doesn't say that to his face and says it in a moment of extreme frustration. But I still count it.

Anyways.

Upon seeing Lois for the first time, Clark is practically frozen in wonder for a good few seconds.

Lois, too, experiences this initial moment of attraction and almost immediately makes contact, with a playful punch to Clark's chest as he holds the door open for her.

This is a detail I really love, because first of all wow, I aspire to have her level of confidence. But also, it becomes clear early on in the series that Lois expresses herself very physically. She has no qualms regarding physical affection. Clark, on the other hand, is much more reserved and, at first, generally only initiates contact after an invitation from Lois, or after enough time has passed in their friendship for him to know that Lois is very physical and wouldn't have a problem with it.

There is also an immediate emphasis on Clark's concern for Lois' physical well-being. Take a sip of water every time Clark asks Lois if she's okay just in the first episode alone and you will be well hydrated.

Later on in this first episode, while trying to infiltrate a warehouse, Lois confidently asks Clark to boost her up to a window so she can get inside the building. Clark is immediately flustered, showing how much he feels out of his depth even with physical contact that, on the surface, would have no romantic connotations. (But to be fair, Lois is asking him to put his hands around her waist and lift her up when they literally just met like maybe six hours ago. I would be flustered too.)

And when Lois loses her balance and Clark effortlessly catches her, his first response (after blushing, of course) is to ask her:

Even in moments where the romantic tension is thick enough to cut with a knife and Clark clearly knows it, his first priority is to make sure she's okay.

And thus begins one of the strongest underlying themes throughout the whole building-up of their relationship, which is trust.

I'm gonna jump ahead now to the scene that inspired this whole post: the stairwell scene in episode four.

A basic rundown: Clark, Lois, and Jimmy are given an assignment to attend a tech unveiling for the city's top investors at Amazotech headquarters. Lois, naturally, ignores the parameters of the assignment and tries to use it as an opportunity to expose corruption in the city and get her stop-the-presses story. Clark very reluctantly follows her lead, believing that she will get herself into trouble . . . until Dr. Ivo, head of Amazotech, makes a few rude comments about Lois' appearance (Lois doesn't hear these, only Clark). This deeply irritates Clark and prompts him into revealing how much he knows about Dr. Ivo's corrupt business dealings, in an attempt to intimidate the truth out of Dr. Ivo, who responds by having Clark thrown out of the building and into a pile of garbage in an adjacent alleyway. Lois comes to find Clark (who is unhurt) and teases him about whether or not she should let him back in the building, since he didn't follow the assignment. Clark jokes that he doesn't even meet the dress code anymore, revealing that his suit jacket was torn as he was tossed out of the building.

Lois then reveals that she came prepared for this, and tells Clark to "take it off."

Clark immediately becomes flustered again and begins stammering as Lois pulls him back into the building by his jacket, continuing to tease him.

It's in these moments, as you can see, that the lighting of the scene changes. As soon as Lois says "take it off", everything is bathed in a rosy light. This happens frequently between these two; often, when we the audience are seeing one of these characters through the perspective of the other, the lighting takes on a very dreamy quality. This will come up again momentarily.

As Lois and Clark ascend the stairs, Lois removes her jacket and pulls a sewing kit from her pocket, admitting that she carries one on her because she herself has torn a lot of her clothing on her escapades.

The two then sit down on the stairs, and Clark removes his jacket. The lighting changes again, and we see Clark from Lois' eyes. It's clear by the dreamy lighting and the way that Lois blushes and involuntarily chokes out a "Wow . . ." that she is once again awed by him and deeply attracted to him on a physical level.

And this scene represents so much about their growing dynamic. It honestly has me floored.

But before I explain fully, I have to go on a tangent about my beloved Clark.

Throughout the beginning of the series, I believe Clark shows several signs that indicate that he is insecure about his physical appearance. Which you wouldn't expect, right? I mean, look at him. He's objectively a dreamboat. He was designed to be that way.

But at this stage of knowing so little about where he really came from or who he is, I think Clark struggles with not having a way to explain his physique. He admits that he wasn't an athlete in school; he was in the chess club. He doesn't work out as an adult. And yet he has the muscles of a bodybuilder. But, like so many other aspects of himself, he doesn't have a way to explain it. This causes a disconnect in how he sees himself physically; he likely feels as though he doesn't deserve his naturally impressive physique. And you could argue that he even does his best to hide it. As a civilian, he generally wears bulky, layered clothing like sweatshirts and sweaters. He slouches and carries himself in a very inward direction; his shoulders are often forward and his arms close to his sides, as if he is habitually attempting to make himself smaller.

This is one thing that brought me to tears when I saw it. The idea that a person can feel insecure about having physical attributes that would normally be seen as positive (and that they can't explain and/or feel that they don't deserve) is not very well-explored in media, but it is experienced by quite a few people, myself being one of them. But often in the real world when someone attempts to express this kind of insecurity, they are shut down and mocked and told to "be grateful" for what they have because others would envy them. Which I can say from personal experience is unbelievably damaging to a person's self image. So seeing this possibly be represented in Clark Kent himself was incredibly moving to me.

But back to the scene itself.

In the most recent gif above, this is the most vulnerable Lois has seen Clark thus far. What I think is so beautiful is the way that she invites him into this vulnerability by making herself vulnerable first.

Rewind a bit. Outside the building, Lois tells Clark to take his jacket off. Not a big deal, right? It's not like he's not wearing an undershirt. But Clark becomes flustered, not outright expressing that he's uncomfortable with this, but certainly indicating that he's not exactly at ease with it either.

Next we see them climbing up the stairs, and as they do so, Lois removes her own jacket and reveals her bare back to Clark in the process.

I believe this was incredibly intentional. This scene would have carried a very different tone if Lois' outfit was revealing in any other way. But the fact that her back is exposed symbolizes that she trusts him, in a physical and emotional sense. It's like when my cat Penny rolls on her back and exposes her fluffy tummy. Lois revealing this part of herself was her saying "I trust you, I feel safe with you, and I'll be vulnerable with you if you'll be vulnerable with me."

And only after that does Clark remove his jacket.

Because there is the factor of attraction at play, there is a lot of blushing and stammering going on in the beginning of this scene. These are two incredibly attractive people who are incredibly attracted to each other, after all. But immediately after the initial romantic tension, there is emotional vulnerability as well. Lois confides in Clark about her relationship with her dad, and the crippling self-doubt that she has kept very close to her chest. Clark jumps to reassure her in earnest, telling her that she has "changed his life for the better, in every possible way."

And that is what I meant at the beginning of the post when I mentioned balance.

Every moment of physical attraction in this series is followed by or harmonized with a moment of emotional vulnerability. Clark and Lois both invite each other deeper into each aspect of connection, and thus their relationship builds in an incredibly natural and beautiful way.

At this point, I think this post is about five miles long as the crow scrolls and I should probably stop now before all my thoughts run away with me. I could go on forever about the impact that this series and these characters have had on me, though. I will forever be grateful to the creators for giving us such an incredible series, and such a beautiful romance.

[excelsior9173]

god. vessel talking about jaws (kerrang interview)

and saying “you don’t know someone until you have seen them destroy something”

I AM CHEWING THE BARS OF MY ENCLOSURE I AM SO ABNORMAL ABOUT THIS

[linkedin-offficial]

The evolution of Skypeople and their prolific adaptability

open read more for the rest of the text ! warning, long post (sorry lol :'D)

during the early days of skypeople life in the realms of sky, skypeople were very weak and susceptible to the elements and dangers that the land, not being very suited for habitable life just yet, had brought to them. because of this, they had to begin adapting rapidly as they finally began to settle into their chosen homes and settlements.

for example, those like the well known avians; known for sparking the invention of caped flight and nurturing many of todays bird populations; were a derivative of early skypeople that had begun sprouting feathers, wings, tails, and birdlike legs to better help them in their chosen environments of the clouds and wind paths. meanwhile others, like miners, were large and rugged skypeople that were known for their amazing ability to go long periods of time without a reliable light source; they had adapted not entirely because of their chosen home, but because of their occupation.

this amazing rapid showcase of adaptability allowed for skypeople to flourish and thrive, the populations all across realms booming very quickly, and communities growing with every passing year.

soon however, because of the many technological advances made by the growing expanse of opportunity that was created, machines and great inventions powered by the most skilled of light magic users were becoming the norm. intensely laborious jobs and harsh trekking became a thing of the past.

then, to complete the cycle, due to such advances, skypeople began to de-evolve. because of the great new technology that had now been mastered, there was little need for much physical adaption. so, as time went on, skypeople began losing these unique features, and looking much like the skypeople you may know today as "spirits".

some skypeople did manage to maintain small aspects of their adaptable family genealogy, but this percentage was miniscule in number.

fig 1 . two skypeople of the early settlement age. the earliest of the skypeople were small, frail, and very fragile. early skypeople would easily be mistaken for skychildren in todays age, no matter how old the individual.

fig 2 . two skypeople at the peak of evolution; an avian and a miner. due to the rapid evolution of skypeople, there was barely any inbetween period between the early age and the peak evolution age. diversity was abundant, and it was easy to find individual skypeople built for almost any job. avians, who excelled at flight; miners, who dominated the tough jobs in dangerous areas; and divers, who took to the open seas with ease; just to name a small handful.

fig 3 . after the slow decline of evolution due to technological advances, skypeople began to become even more diverse in nature. it became hard to tell just exactly the lineage of any individual simply by gazing at their features. because of this, masks, capes, and clothing depicting creatures, occupation, or status became incredibly popular. to dress extravagantly and display your lineage namesake was considered normal.

fig 4 . mostly all of the latest skypeople come from this age, all those we now know as "spirits". this age was not as extravagant as the detransition age, but many of the cultures and things learned stuck strong throughout. in this age, it was hard to find any who bore the unique features of the peak evolution age, which only encouraged those who were persistent in maintaining their lineage's namesakes through generations.

[elliesgaymachete]

if you hate bells hells so much why are you still watching c3 at this point? you can just stop

[obizenyukii]

top 10 obizenyuki moments (+all of the honorable mentions that i almost picked bc these three are too much .) DISCLAIMER: these are my opinions and also i talk a lot. <3

under the cut bc this is so long oh my god

number 10

THIS PANEL OF THEM BEING SO AT PEACE RESTING BY EACH OTHER'S SIDE. OBI DEEP IN CONTEMPLATION AS HE WATCHES OVER SHIRAYUKI AND ZEN. THEM SLEEPING SO SOUNDLY BECAUSE THEY CAN LET DOWN THEIR GUARD AROUND HIM. I'M FINE.

every time i see this panel i just feel so happy. they belong together.

number 9

needless to say you'll miss the young miss, but you'll be lonely without me too, i bet. this entire conversation . obi saying this as a light joke but also because he knows how much they both mean to zen. obi searching, in a way, for a reassurance that he /is/ needed and wanted as well, since it's so obvious that shirayuki would be. zen's response. this is a moment that shirayuki isn't physically in so i bumped it down a few places, but it's still so meaningful for the ot3.

number 8

obi longing for zen and telling his bestie (zen's gf, who he's known for also occasionally longing for) about it casually under the stars (and saying he'll say that to zen under the stars) . i know what you are .

this moment is absolutely iconic and one of my personal favorites <3

number 7

ot3 date <3333 the entire next chapter is just a bunch of cute moments of them (honestly could have had like 300 pics on this post if there wasn't a limit). them spending time together, goofing off, having fun and enjoying each other's company. give me 10 more of these dates please.

number 6

whenever i reach out my hand, you would grasp it?

the most iconic trio of all time you will not change my mind. this moment being an unsaid promise between the three of them to always come back to each other . lay me to rest

number 5

THE FACT THAT YOU'RE NOT DASHING OVER TO HER RIGHT NOW IS ALL THE ANSWER I NEED. THE TRUST. GOD. SHE CAN HANDLE HIM. I'M ON THE GROUND.

this moment is not as talked about (at least i haven't seen much of it discussed) but it's SO important to me. so much is being said without needing to spell it out. obi and zen keeping watch from afar, content in each other's company but also making sure shirayuki is in their sight. this is so romantic to do under the stars . they make me unwell. i need a vacation

number 4

obi and shirayuki always keeping zen in their hearts no matter what, despite him wishing not to weigh on them. this also touching on zen telling obi he wishes the title he gave him won't be a burden to him. the bond they have is highlighted so beautifully here. it's pure love <3 i'm sick to my stomach. /j

(& the bonus of obi and shirayuki seeing zen off together and looking at his retreating figure fondly. this is so romantic . i'm crazy .)

number 3

the iconic whenever i'm with you two it's always like this ;^;; <3 obi's love towards these two started to take root here. you don't understand because it's love dude . you don't understand because you were never attached to someone like this. you never had a home to come back to, never had the acceptance and understanding you have in them. dumbass. (said fondly)

it's okay, he learns it later <3

number 2

zen, furiously questioning obi and shirayuki on their health, making sure they're fine, and finally pulling them into a hug. his relief to have them safe and healthy in his arms. them realizing how worried he was . this is probably the most iconic obznyk moment and is a contender for n1 for sure, it was tough choosing between the n1&n2 moments ;; . god this moment. zen's "that's the most important thing" . don't talk to me i love them

number 1

the iconic line that is also my ship tag, if it's for you and mistress, i'm willing to go anywhere </3 this moment was what solidified the ship for me when i was only an anime only (shudders) slowly getting into the fandom. the anime was enough but this entire chapter had me setting my house on fire (joke). the brainworms never stopped. the entire chapter is so crazy ot3 but this moment is my favorite and overall the message/highlight of obi's resolve & his answer to zen's questions. it also showed more than any other moment obi's love & dedication to shirayuki and zen. shirayuki isn't even in this scene but it's still my favorite ot3 moment in the manga so far <3

and now, some honorable mentions. these following moments were all contenders for top 10 bc obznyk is so good. also these are not all of the obznyk moments in the manga ofc. there are many that i couldn't find in my screenshots and tried to find skimming through the manga but failed lol. these are just some classics/faves.

zen's iconic heart eyes

pretty early on in their relationship development, zen liking seeing them together ;;

zen being so happy around obi and shirayuki ;-;

zen introducing himself as obi and shirayuki's companion <3 it's just spelled out at this point lol

zen's heart eyes pt 100, if this post didn't have a limit i would've posted so many more of these

shirayuki and zen fretting over obi and then spying on him (while obi knows and is having the time of his life stringing them along) because he was seen with a pretty lady

it's like a part of me is always by their side <3 <3 <3 this would've been n10, but it's now the official number 11 moment

shirayuki and zen putting their full trust in obi to the point of fully letting their guard down, and obi realizing that for the first time, he's wholeheartedly wanted.

zen and shirayuki being the obi detection/protection squad <3

there's so much more. i love them so much <333333

[zukkaoru]

My ninth grade English teacher walks us through the prologue of Romeo & Juliet, explaining how it serves as a synopsis of the play, and how it spoils the ending. Here are our characters, here is where they live, here is why their love is forbidden. You will spend the next two hours learning to love them only for their blood to spill across the stage. This is the only ending they were ever meant for.

There is no universe in which Romeo & Juliet can survive.

jujutsu kaisen, gege akutami || a collection of tragedies, zukkaoru (march 15, 2023)

[id in alt text]

[rbtlvr]

AND ANOTHER THING. i know that on a meta level this is literally just How Video Game Bosses Work. but also with how well the game mechanics work into the story in many other cases i don't think it's unreasonable to look at it from an in universe perspective

SO

i think it really says something that loop only uses their stronger attacks in their second phase. i think it really says something that you have to bring them down to 0hp four (4) times, attacking them repeatedly + proving that you are willing to genuinely hurt/kill them, before they'll use their most powerful attacks on siffrin

[youssefguedira]

I wish you would write a fic about irreconcilable artistic differences on a movie set between Joe and Nicky.

not really irreconciliable as in not solvable at all but you know i had fun with this

Joe squeezes his eyes shut, covering his face with both hands, and leans forward. His shoulders tremble uncontrollably. He takes a short, sharp breath, and another, and another, but he can’t quite seem to get enough into his lungs. There’s a lump in his throat and a weight in his stomach. He leans forward with a low, wounded sound and–

“Cut,” Nicky says softly. Then, because it takes Joe a second to hear him: “Joe, stop.”

Slowly, Joe raises his head. Wipes at his eyes and takes a few deep breaths to steady himself. Nicky’s already up, frowning ever so slightly as he looks at the camera. 

“What is it this time?” Joe manages. His voice is hoarse; he has to clear his throat once or twice. Nicky doesn’t look up. The clock on the nightstand reads 01.34, but Nicky’s changed it a few times over the course of the shoot. He has no clue what time it really is, only that it’s dark outside.

It’s just the two of them in the room. Nicky had wanted to keep this one small, just him and Joe and the camera. The apartment they’re in is nice, if a little empty, though Joe supposes that’s the point. They’re in the bedroom, Joe sitting cross-legged on the bed, shirtless, sheets bunched up over his lap, a phone lying on the nightstand behind him. One entire wall of the room is taken up by a floor-to-ceiling window which lets the moonlight in, though there’s a few low lights set up behind Nicky to send bars of silver light across the bed, because the natural light hadn’t quite been strong enough for the effect Nicky wanted. It’s otherworldly; it’s beautiful. 

Nicky still isn’t looking at him, so Joe says again, “What?” It comes out a little harsher than he means it to, but it gets Nicky’s attention.

Nicky runs one hand through his hair. Joe can’t see him well, not with the light behind him and the shadows in the room. “I don’t know,” Nicky says. “It’s missing something.”

Joe has worked with Nicky enough times before. It’s not that he doesn’t like working with him - they’re friends - but he can’t fucking read him, and so after the sixth take of the same scene he can’t help but take it a little personally. 

Joe reaches for the bottle of water hidden just under the bed and takes a long drink, mostly to keep himself from snapping. What time is it? “I can try again, but I can’t do this indefinitely, Nicky.”

“I know, I know,” Nicky says, fidgeting again with the camera, “it’s not you, it’s just–” 

“What else could it be?” Joe interrupts. He’s not stupid. This scene doesn’t work if he can’t get it right, which means the entire film doesn’t work if he can’t get it right. More than anything else, this one depends on him. No music, no camera movement, no dialogue, nothing but him and the camera. And he wants to do it right, he loves this project almost as much as Nicky does, but there’s a hollow feeling in his chest and he’s spent the last however-many-hours having a near-complete breakdown over and over again and it’s still not right. And Joe doesn’t know what it is he’s doing wrong.

“I don’t know,” Nicky says quietly. Now he is looking at Joe, and Joe can’t tell if he’s disappointed, or angry, or – or what. He’s perfectly expressionless, as always. 

Joe loves this job. And he wants to get this right. But it doesn’t mean it’s not one of the hardest things he’s ever had to do, and he’s tired.

“I don’t have much more left in me, Nicky,” he says, and this time he does snap. He wipes at his eyes again, can’t look at Nicky. He’s supposed to be making himself vulnerable, above all in this scene, but suddenly he can’t stand the way Nicky’s looking at him. “Pass me my hoodie.”

“Joe–”

“I can’t. I can’t keep doing this.” He kicks the sheets off and gets tangled trying to do it, grabs his hoodie when Nicky offers it, pulls it over his head in one fluid motion and gets out of there as soon as he can. Thankfully, there’s only Andy and Nile in the other room, Andy lying back on the couch with her feet up and Nile perched on the arm of it. They both look up at Joe as he enters, both look like they’re about to ask, and Joe can’t stand it, can’t be in here a second longer, can’t–

“We are done for the day, I think,” Nicky says behind him, startling Joe. He hadn’t realised Nicky was there.

Andy raises an eyebrow, but doesn’t argue. It’s already the second day of trying to shoot this scene: they’re running the risk of falling behind schedule. 

“We’ll find something else to do tomorrow,” Nicky says. “I’ll look over everything tonight. We will try this again on Monday.”

Andy and Nile look at each other. Nile shrugs. 

“Get some rest, Joe,” Nicky says. 

Joe shoves his hands in his pockets and doesn’t say a word.

–--------------------------------

He doesn’t get called in the next day at all, and he doesn’t interrogate it too closely. Takes the day off, pretty much, because they’ve only really got one scene left to film, and there’s not much more he can do for that. Nicky had wanted to leave it to the last, and Joe had agreed, at the time.

At about nine pm, someone knocks on his hotel room door, which is unusual on a day where they don’t have a night shoot to do. When he opens it, Nicky is on the other side. Joe lets him in without a word. 

“I wanted to apologise,” Nicky says, standing in the middle of the room and looking as uncomfortable as Joe’s ever seen him. “For last night. I was pushing you too hard, and I should not have done.”

Joe closes the door behind him. Nicky fidgets with the sleeve of his hoodie. 

“Sit down,” Joe says. 

Nicky does, settling himself on the edge of Joe’s bed, not quite looking him in the eye. Joe joins him, after a moment. 

“At the risk of sounding cliche,” Nicky says, “it’s not you, it’s me.”

Joe laughs, mostly because the phrase sounds so strange coming from Nicky and also because out of everything he’d thought Nicky might say, he hadn’t expected that. 

Nicky smiles slightly, too. Then he gets up and heads for the minibar. “Mind if I have a drink?”

Joe shakes his head. Nicky gets out a little bottle of wine, glances at the label, and takes a swig straight from the bottle without bothering to get a glass. 

“I can’t seem to get it right,” Nicky says. “You know I wrote almost fifteen different versions of that scene?”

The scene in the script itself is barely a page long. “No,” Joe says. 

Nicky nods. Rubs a hand over his face. “I wanted it to feel real. I thought if I could get it right, it would… help, somehow. I don’t know.”

It’s the exact same reason Joe said yes before he even read the script, when the whole thing was just an idea in Nicky’s head, when they were talking about it over drinks at Andy’s and Joe was in love with the idea almost immediately. He knew exactly why Nicky was writing it; he knows, now, exactly why it needs to be right. But at the same time – “I don’t know if that’s possible, Nicky.”

Nicky sighs. “I know.” He crosses back over to sit beside Joe again, takes another drink from the bottle. “But there is something missing, and I cannot seem to find it. And so it does not feel real. And I know this is not easy for you.”

“It’s not,” Joe says plainly. 

“But you know,” Nicky continues, “I could not have trusted anyone with this but you. If you had not said yes, I would not have done this.”

That, Joe didn’t know: he knows he’d been Nicky’s first choice, but he’d assumed that’s because they know each other well enough already. But it makes sense: the reason Nicky wrote the script is the same thing they’d bonded over. 

Even still, it’s a lot. “I don’t know if I can do it the way you want,” Joe says. 

Nicky looks up at him from where he’s been running his fingers over the label on the bottle absentmindedly. “If you want to stop, I can–”

“No,” Joe says quickly. “But I don’t think it’s ever going to be exactly the way you felt.”

Nicky looks away. “It is a lot to ask,” he says. “I know this.”

Joe doesn’t think; just reaches over and takes Nicky’s hand. “I know,” he says. “Trust me.”

Nicky takes a deep breath. Then he nods. "Okay."

[horsemeatluvr23]

etho doodle!!!!! this one is late because i was having an identity crisis and thinking about moving to lebanon. anyways the necklace is bdubs missing tooth from secret life <3

[angelsdean]

dean "the angry man in the house" winchester ??? WRONG. dean is the HEART of the house. he always has been. he became the fictional mother that never was, he pushed himself to fill the role of the mythical mother mary. he played mediator between the two who were always butting heads. he was quiet and seemingly obedient and when on the rare occasion he rebelled he was cast out by the Real angry man of the house. and while dean was gone, the metaphoric house was without heart. without joy. because dean did more than just take care of sammy, he was there. he made sure sam didn't feel alone or neglected. when sam says he was a lonely kid and dean feels it as a slap in the face that's because to dean, they weren't lonely because they had each other ! like "what do you mean you were a lonely kid you had me?" so dean, he tried. as the heart of the house, he tried to make sure sam felt cared for and then later, with every found family member, dean dotes on them and tries to help them however they can and he wants them to stay where he can see them and care for them and keep them safe. and when they finally have their first permanent home since lawrence, dean nests. and he cooks and decorates his room and keeps photos of his loved ones nearby and he likes a clean house. and does he get angry and upset sometimes ? yes. because those are human emotions and he also has decades of unresolved trauma and few healthy coping skills bc he's never been given a chance to just stop and take care of himself and address these issues and the only emotion he learned was allowed to be expressed was anger so often what is fear and worry gets filtered and comes out as anger. but HE is not the angry man in the house. that will always, always be john. john's ghost looming over them. john's influence like a shadow. john's ways ingrained in them but that they both (hot-headed sam, esp early seasons hello remember him !!) need to unlearn. but neither of them are that angry man. that man is always going to be john. people misunderstand and misuse that "angry man" quote all the time. it's not about becoming the angry man that was once there. it's about being haunted by him, even when he's gone. and both of them, but dean specifically, are haunted by john.

the quote appears in the short story "Cut" by Cathrine Lacy and it's a poem within the story that goes like this:

muliebrity

if you’re raised with an angry man in your house, there will always be an angry man in your house. you will find him even when he is not there. and if one day you find that there is no angry man in your house— well, you will go find one and invite him in!

and in the story one of the characters asks the meaning of the title which means ‘womanly qualities’ or ‘womanhood’ and in the context of the poem the "angry man in your house" is meant to be this recurring male figure. you're raised with an angry man in your house. then you're haunted by that figure, "you will find him even when he is not there." and then when you are finally free of him, you will go out and find someone just like him and invite him inside. it's about cycles. and in the context of the poem it's about women mirroring and repeating patterns of their mothers, dating men that are like the angry men they grew up with, because it's all they know. it's not about becoming the angry man. and dean does not become that angry man either. he's haunted by john. he's internalized certain things about john but he's still a victim of john's abuse. and when he lashes out, that's more about unresolved trauma and needing better ways to express his emotions that aren't actually anger than it is about him becoming anything.

[trickstersaint]

the scientist’s question: which acid will burn the rainbow out of the sky without leaving a scar? // july 2023 // on "The Birth-Mark" by Nathaniel Hawthorne

[brawlingdiscontent]

CW: Mentions of death and suicide, spoilers for all of Interview with the Vampire season 2 

In season 2, episode 5, “Don’t be afraid, just start the tape,” a number of key questions circle around Daniel and Louis: Why did Louis pick Daniel to go home with him? Why did he ultimately save Daniel from Armand? This post unpacks these through a close reading of the episode and explores how they shed light on 2022 Louis’ character arc. (AKA, I decided to be a huge dork about this episode!)

Near the top of the episode, Daniel raises his “outstanding questions” about 1973 with Louis: “...like why you talked to me in the first place?” He doesn’t buy Louis’ unsatisfactory and avoidant answers, but Louis succeeds in dodging his questions with another – “What’s the next thing you remember?” 

In the flashback, we see Louis reject Daniel’s sexual proposition because, as 2022 Louis tells Daniel, “you offered something off the menu.” But what, exactly, is that?

Louis’ problem is his inability to examine or work through the massive amount of pain he carries, relying instead on various strategies of avoidance (which, for example, form the spine of his Paris life). The result is Louis’ dissociation and separation from himself. In 1973, the resulting internal pressure has culminated in a self-destructive spiral (128 boys) from which Louis desperately needs an outlet—which leads to what present-day Daniel describes as a “floundering” Louis, “eager to spill” “tape after tape of emotional upchuck”—burning with the need to vent the pain held inside and repressed for so long.

Later Louis tells Armand, “the ten hours I spent with that boy were more exciting, more fascinating than decades spent with you!” which Armand mishears as Louis saying that DANIEL is fascinating (and obsesses over this—more on Armand later). But what Louis actually says is the hours spent together were exciting and fascinating, in other words, the experience Daniel afforded, the interview. So what was this experience?

While the interview is valuable, not just any interview or interviewer would do the trick. Daniel is more than ”an eager black hole” absorbing others’ stories, and the experience is more to Louis than just having a listening ear.

The key, surprisingly, lies at the point where Louis snaps. Deep in reflection and depression, Louis tells Daniel that after Claudia set off on her planned Europe trip he thought about killing himself, staying in the park until the sun came up. And instead of empathizing Daniel gets mad: 

Daniel: “Are you kidding me? What, you were just gonna end it!? I mean, what about life? Like, joyrides and night swimming, and marriage, and cancer, and all of that till the death rattle? I mean we gotta carry all this shit and you had a ticket out and you were just gonna throw it away?..... you were given the gift, and I’ve been hearing you bitch the night about it.”

Upon Louis’ answering outrage, Daniel adds: “I mean, you don’t understand the meaning of your own story.”

While, to be clear, Daniel also doesn’t know the meaning of Louis’ story and his take on it is pretty bad (the meaning is ‘make Daniel a vampire??’) The provocation within these words and his call to life are very valuable. When Louis examines his existence he only finds meaning in pain, which makes him afraid to look closer and makes death seem the only viable escape. Daniel, even with all his struggles, affirms life through its challenges and prompts Louis to interrogate his own narratives about his story, which fixates on the burdens of vampiric existence. 

Meanwhile, in Louis’ immediate environment, the only thing Armand knows how to affirm is death, which we soon watch him try to coax Daniel into. (Not taking sides on Armand, here. I think both Armand lovers and haters can agree that whatever else he may be he is a Sad Little Muffin). Throughout season two Armand repeatedly discourages Louis from engaging with his pain. For one brief example, in 2.1 when Louis cries when discussing Claudia with Daniel, Armand calls for a break and tells Louis he's ‘lost control of the interview’. I think we can read multiple motivations into Armand’s actions: that he’s intervening both for Louis’ sake as he’s afraid that confronting the pain will kill him (as it almost did that night in 1973) AND that he doesn’t want his lies exposed— he’s a complex creature.

Figuratively, for Louis’ arc, Armand represents fiction and illusion. That’s what the theatre’s about, and his big-boss persona hiding a fragile gremlin, and even his ‘Rashid’ disguise. He generally prefers pleasing fantasies and fictionalized narratives—including wilfully ignoring the reason that Louis is with him in 2022 (the name, unspoken in their home for 23 years)—to painful truth. In this respect and others, he is the exact counter to Daniel (which makes them such a fascinating pair).

Where Armand is death, Daniel is life. Where Armand is illusion, Daniel is truth. By offering the opposite of Louis’ current environment, life and truth, and giving him permission/encouragement to address his pain, Daniel becomes a source of fascination that Armand can’t pin down. (And how could he figure out that it’s Daniel’s joy for life and zest for truth that’s the source of Louis’ fascination, when Armand, himself, has little of his own.)

However, Louis doesn’t understand the gift that Daniel offers him in the moment. Instead, injured by the provocation, he lashes out and attacks Daniel. It’s what happens later, in the fight with Armand, that cracks things open for him.

Louis and Armand’s fight is the emotional equivalent of them digging their fingers in each other’s open wounds. One of the last things that Armand says to Louis before the latter runs onto the roof is: “...[Claudia] didn’t love you, not like he did. Not like I have.” Louis says, “I know. I know! Yes. I know. Thank you for saying it. It’s all creeping back…” And then after some more raving and a, “She’s calling me”, now high off his mind from Daniel’s drug-laced blood, Louis runs onto the roof. 

Louis running out into the daylight is not so much a deliberate suicide attempt as it is an externalization of his pain, triggered by the memories. His burnt and charred body actualizes the pain that he always carries inside, like a festering wound, but is only now facing. 

While in this painful moment of (literal) exposure, Louis is living out the show’s tagline “memory is a monster” an alternate tagline could also be drawn from it – “the truth, even if painful, will set you free’—which Louis comes to recognize. His pained “thank you for saying it” to Armand after the latter's devastating remarks about Claudia is about Louis’ need to confront the pain. I’m not at all saying that Claudia didn’t love Louis (even Armand’s wording modifies this “not like he did. Not like I have”), but rather that Armand’s words, combined with Daniel’s assertion that Louis doesn’t know the meaning of his own story, draw attention to the fact that the narrative he’s been crafting for himself is one that both preserves his pain, and avoids engaging with or working through it. (Which will eventually lead to bigger discoveries like “I didn’t realize it was a gift”.)

Despite the horrific experience of being burned, as he lies in bed recovering Louis finds that the remembering is worth it, making him realize the value of Daniel’s questioning—and feel the need to return the gift by saving Daniel’s life, where only a few days before he would have drained him had Armand not intervened.

Daniel doesn’t need to live as a testament to Louis and Armand’s relationship—that’s just the bullshit Louis tells Armand to get him to go along with it. Daniel’s high off his mind, but his instincts have helped Louis to see that Louis’ own is one of the “stories that need telling,” and handed him the key he needs to move through his grief. My favourite little detail about this scene is the light hanging above Daniel’s head as Louis offers his pep talk. Daniel sheds light for Louis, so Louis, in exchange, offers him a different kind of metaphorical light: words for when things get tough. They offer each other mutual support (best bros!!)—in a way that Louis’ two hubbies have so far been unable to do. 

Unfortunately, when Armand wipes Louis’ memories of this encounter, the guiding light Daniel offered is gone, too—instead going on to become a central part of Louis' season two character arc once the memories are recovered. 

The question then emerges—if Daniel’s speech was so valuable and healing, why the memory wipes? 

There’s two options: Louis may have recognized the value of what Daniel offered but have still been unprepared to examine his pain, and so asked Armand to erase the memories. The other option is that, Armand, worried about another suicide attempt and Louis leaving him, took away that choice for him by erasing the memory. (What really strikes me here are the parallels between Armand and Lestat. Lestat kidnaps Claudia and threatens to kill her to prevent Louis from leaving him but also out of a desire to save Louis’ life, given his despair at Claudia’s absence. Armand arguably operates in the same way. Both do messed up things for somewhat pure as well as selfish reasons).

I think what actually happened could be somewhere in the middle of these two options—Armand manipulating/convincing Louis into erasing the memory, and a pained, still-healing Louis agreeing. And then of course, in typical Armand fashion, when the topic comes up, he dodges accountability with a, ‘But it was your idea, babe.’)

And yet, we see the effectiveness of Daniel’s intervention through the progress they make in the new interview session and once Louis recovers these memories in 2022—for example, we see Louis go from torturing Daniel for probing too far into Claudia, to facing deeply painful memories of her and acceding to Lestat’s version of the story of Claudia’s turning.

As a form of summary, we actually see this whole dynamic I’ve detailed play out in the beginning of the episode in Dubai (and that’s what’s so perfect about the writing!!)—when Daniel says ‘grab that’ and Louis asks about what he’s grabbing:

Louis (recorded): “Funny thing, trying to remember what occupied one’s time, when one was ignorant of the plotting around him.” Daniel: It’s a thing with syntax, I see it a lot. The impersonal pronoun ‘one’—one’s time, one didn’t—becomes the third person ‘him’. Stops being ‘I’ or ‘me’. Louis: And that indicates what? Daniel: You’re circling something, you’re getting close to something you want distance from. Language as a chicken exit on a roller coaster. Armand: Or it’s daytime and a vampire of Louis’ age is fighting the narcoleptic pull of the sun.

It’s the same ditty - Louis dissociates, Daniel identifies the pain point, and Armand tries to change the subject. 

What’s lovely, then, is how this little exchange is prologue to the past playing out yet again the present. And so it comes to pass a few episodes later that Daniel uses his skills as a “bright young reporter with a point of view” to once again shine a light for Louis, getting him to see past the pain, and exposing the truth (Daniel voice: He didn’t save you, Lestat did!)

In conclusion: Best bros 4 eva!!

Thanks for reading! Medal for you, if you got this far!

[dontlookforme00]

This might be a little strange, but i wanted to post this here. It's the final piece for a topic I was doing in art, and the assignment was to make a cupcake in the style of Catherine Holman (artist we were studying) about something we liked! So I chose chonny jash fucking obviously. And here's the final product, all done with oil pastels, except the sprinkles.

[sideblogdotjpeg]

"ultrus is right, i am weak and pathetic" / "callie believes the way she loves is fundamentally repulsive" / "all i ever cared about was being useful someday" . things i think about a normal amount