#compared to most other lists I've seen so far

[imaginarycyberpunk2023]

Character Songs Tag

Got tagged by @itzsassha and although I've already done it once I wanna get into this with a couple more songs for Macha.

Game Rules: pick one of your OCs and list song(s) that fit them

1. Tori Amos - Sweet the Sting

Macha is a big Toriphile, she knows all of her albums including lyrics to a T and was elated to find the Dewdrop Inn Hotel when she had to go there for a gig.

This song is very "Macha" it's sensual but in a playful way, and she loves the rhythm of it.

2. David Rolas - Muèvelo

Vinnie put this one on her playlist she uses to time herself for gigs. He wanted her to be flustered by this, and he definitely succeeded. She can't listen to this song without blushing, but she loves it and can't get enough of it. She can not use it on gigs, though, bc it messes with her concentration.

3. Amy Shark - I said Hi

She loves the changes in tempo and the lyrics of this one. "I bet the whole world thought I would give up today." Yes, she does have a couple of days like this.

3. Stéphane Pompougnac - The Ballad of Sacco and Vanzetti

This has been a favorite of hers for a long time. The subject matter is dark, but the music is light - and that's Macha for you in a nutshell. She's been through very dark times, but she refuses to let that keep her down.

5. Damien Rice - It Takes a lot to Know a Man

She cried when she heard that song for the first time. She was at her lowest point in life, she had just left Arasaka bc of what had been done to her (I'll write something about that in the future, but it's very personal) and she needed something to let herself cry and sink into. In many ways, she was also reborn through this song.

"It takes a lot to give, to ask for help - To be yourself, to know and love what you live with"

Tagging is hard bc so many people have done this already, so feel free to ignore.

@nullvektor

@dustymagpie

@arcandoria

@nightcxty

@wastedyouth-wasteddreams

@ugh-my-back

[princesssarisa]

Disney's unconventional "Cinderella" (1950) (long)

Having watched most of the many adaptations of Cinderella, I've come to realize what a unique adaptation Disney's 1950 animated classic really is. Unlike Snow White, which only had a few stage and screen adaptations before Disney produced its groundbreaking film, Cinderella had already been adapted many times before Disney's turn came, and Disney's version makes a surprising number of departures from the standard Cinderella "formula." It was definitely a fresh, creative Cinderella when it made its debut, and it arguably still is. Yet because it's become so familiar in pop culture, and today so often serves as our childhood introduction to the tale, it's easy to overlook its inventive storytelling choices. The 2015 live action remake uses several classic Cinderella adaptation tropes that the original 1950 film actually subverts!

Here's a list of the often-overlooked ways in which Disney's Cinderella stands out from earlier adaptations, and from many later ones too.

Cinderella herself. Disney's Cinderella isn't a traditional Cinderella in personality. The "traditional" portrayal of Cinderella, seen in virtually every adaptation before Disney's and several afterwards too, is the portrayal I call "The Waif": a very young, fragile, melancholy girl, dressed in pathetic rags and smudged with ashes, who makes the audience want to rescue her and who wins the Prince's heart with her wide-eyed innocence and artless charm. But whether chiefly to set her apart from earlier screen Cinderellas or from Disney's earlier delicate ingenue Snow White, Disney's Cinderella is none of those things. She comes across as older, or at least more sophisticated. Nor is she waif-like, but instead combines down-to-earth warmth with ladylike dignity, even at her lowliest. She doesn't sit in the ashes ("Cinderella" is her real name in this version), and her servants' dress is humble yet clean and only slightly tattered. She's gentle and kind, yes, but also intelligent, practical, playful, sometimes sarcastic, philosophical, optimistic, genuinely cheerful when she's with her animal friends, and yet angrier and stronger-willed than virtually all earlier Cinderellas. She doesn't beg to go to the ball, but asserts her right to go, and then sets to work fixing up an old dress of her mother's for herself. Only her stepfamily's sabotage, first by keeping her too busy to finish the dress, and then by destroying it after the mice and birds finish it for her, prevents her from taking herself to the ball without a Fairy Godmother. To this day, she stands out as a complex, unique Cinderella, which pop culture too often forgets.

Lady Tremaine. Some critics today complain that Disney makes Cinderella's stepmother a total monster instead of giving her "nuance" and call her portrayal "sexist." But can't we agree that her sheer cruelty enhances the film's dramatic power? And compared to earlier portrayals of Cinderella's Stepmother, it definitely makes her stand out. In most pre-Disney Cinderellas and many after, the Stepmother is a pompous, vain comic antagonist. Once again, Disney was innovative by portraying Lady Tremaine as a dignified, manipulative, and truly sinister villain, who takes quietly sadistic pleasure in abusing Cinderella and will stop at nothing to prevent her from going to the ball or marrying the Prince. As far as I know, she's also the first Stepmother to realize before the slipper-fitting that Cinderella was the lady at the ball and to take action to prevent her from being found. That's a commonplace plot device in more recent adaptations, but in 1950 it was a creative twist!

The mice and other animals. Viewers debate whether Cinderella's mouse friends, Jaq, Gus, et al, and their misadventures evading Lucifer the Cat are a welcome addition or take away too much screen time from Cinderella herself. But there's no denying that the presence of the mice and birds is an inventive storytelling choice, which makes Disney's Cinderella stand out! And I can provide a long list of reasons why they're more than just "filler." (1) They add liveliness, humor, and appeal for younger children. (2) They gave the animators an outlet for the type of character animation they did best, rather than binding them to the harder work of animating realistic humans. (3) They give Cinderella someone to talk to besides her stepfamily. (4) They give her a way to demonstrate her kindness. (5) The struggles of the mice with Lucifer parallel Cinderella's abuse by her stepfamily, and Cinderella's undying optimism not only keeps her from despair, but inspires them too. (6) They arguably provide a further reason why Cinderella stays with her stepfamily – not only does she have nowhere to go, but an entire community of small sentient creatures relies on her for food and protection. (7) They reward Cinderella for her kindness. From the start, her friendship with the mice and birds makes her life easier to bear, both by easing her loneliness and because they do helpful deeds for her, like mending and cleaning her clothes. They fix up her mother's dress for her to wear to the ball – only the stepfamily's last-minute cruelty requires the Fairy Godmother to step in. And in the end, they're directly responsible for Cinderella's happy ending by freeing her from her locked room. They do all these things because Cinderella has protected them, fed them, made them clothes, and been their friend. Therefore, Cinderella's good fortune never feels "just handed" to her: her kindness directly earns it.

The Fairy Godmother. It's always varied between illustrators whether Cinderella's Fairy Godmother is portrayed as a grandmotherly old woman or as youthful, regal, and beautiful, but screen and stage adaptations before the Disney version virtually always took the "youthful, regal, beautiful" approach. That is, when they didn't change her into a wise, fatherly male magician-advisor, as in several opera adaptations! At any rate, seriousness and dignity were the norm for this character in most adaptations from the 19th century through the 1940s. Making her a sweet, comforting, grandmotherly figure, with a comically and adorably absent mind, was another of Disney's fresh choices.

Cinderella's entrance at the ball. We all know the classic image of Cinderella's entrance from other adaptations. Cinderella appears at the top of the grand staircase that leads down to the ballroom, and a hush falls over the assembly, as not only the Prince, but all the guests and members of the court are amazed by the unknown lady's beauty and magnificent dress. Even in versions without a staircase, Cinderella captivates the room the moment she enters. Adaptations both before and after Disney's, including Disney's own 2015 live action remake, play her entrance this way. But the 1950 animated classic subverts it! The grand staircase leads up to the ballroom, not down to it, and Cinderella's entrance isn't a triumph at first, but a vulnerable moment as she makes her way up the stairs alone, dwarfed by the splendor around her. Then, when she reaches the ballroom, no one notices her at first, because the other ladies are being presented to the Prince and all eyes are on him. But then the Prince notices her in the shadowy background as she quietly marvels at her surroundings, and leaves his post to approach her and invite her to dance. Only then does the rest of the assembly notice her, because she's the one the Prince has singled out. It's more understated and it feels more realistic than the traditional entrance, as well as more clearly symbolic of Cinderella's venturing above her station, then both literally and figuratively being led out of the shadows by the Prince's unexpected attention.

The slipper-fitting plan. Over the years, it's been fairly popular to mock the idea of using the glass slipper to find the Prince's love, as if there were no chance it would fit anyone else. Disney's version is creative by having the slipper-fitting search be the comical, hot-blooded King's idea, not the Prince's, and making it clear that it's not, nor is it meant to be, a foolproof plan to find Cinderella. The Duke points out that the slipper could fit any number of girls, but the King doesn't care if they find the right girl or not: he just wants to hold his son to his pledge to marry "the girl who fits this slipper" and force him to marry the first one who fits it. This also means that Disney doesn't do what most adaptations do and have the Prince conduct the search himself, but follows the original Perrault tale by having a gentleman, in this case the Grand Duke, do it instead. This prevents audiences from mocking the Prince for relying on the slipper instead of knowing his beloved's face.

Cinderella breaking free and asking to try on the slipper. Even though in Perrault's original tale, Cinderella asks to try on the slipper, she almost never does in adaptations. In most versions other than Disney's, including Disney's own 2015 remake, Cinderella's presence in the house (and/or the fact that she has the other slipper) is either discovered by accident or revealed by Cinderella's allies, not by Cinderella's own initiative. In some versions, she even tries to hide from the Prince and/or the search party, either out of fear of her stepfamily or because she feels unworthy of the Prince in her rags. But not Disney's animated Cinderella! First of all, she has an assertive emotional breakthrough when she calls on her dog Bruno to chase Lucifer away and free Gus to slip her the key to her locked room. Earlier on, she urges Bruno to try to get along with Lucifer, lest the stepfamily not allow him to sleep in the house – it's clear that Bruno represents her own rebellious side, and in that scene she's really talking about herself, revealing that she tolerates her stepfamily's abuse so she won't lose her own "nice warm bed" and be homeless. But in the climactic scene, when she finally sees a way out, she gives up playing nice and seizes her chance. First she unleashes Bruno on Lucifer, and then she runs downstairs and directly asks to try on the slipper, not caring how her stepfamily will react, or what the Grand Duke will think of her shabby dress, or whether the audience will accuse her of gold-digging or not. This isn't a common breakthrough in other Cinderella adaptations, but it fits perfectly (like a glass slipper, you might say) with the Disney Cinderella's stronger-willed and more self-assured characterization.

"I have the other slipper." We can probably all safely assume that when audiences first saw Disney's Cinderella in 1950, they all expected Cinderella to try on the glass slipper she lost, with her identity revealed by its perfect fit. They never would have expected Lady Tremaine to trip the footman and break the glass slipper... only for Cinderella to calmly reveal that she has the other one. It's yet another clever and unexpected twist, not seen in any other version. Not even Disney's own 2015 remake.

Disney's Cinderella deserves far more credit than it gets for being unique among the myriad versions of the tale, especially compared to the versions that came before it.

[foodfightnovelization]

ROTTEN: Behind The Foodfight

Holy chips! It's an exciting time to be a Foodfight! fan, because ROTTEN: Behind The Foodfight is finally out! This really is THE definitive documentary on the insanity behind the movie, and it finally answers the question of just what was going on behind the scenes during production. Since I helped out with research (and I even get a short line of dialogue at 45:19) I've already seen everything that was shown off, but had to keep quiet until all the interviews were conducted and the documentary was finished. But now it's out and everything has been made public, the cat's out of the bag (the Fat Cat Burglar?) and I can talk about all the production material that's been shared.

Before I get into any of that though, I'd highly recommend you watch the documentary for yourself. It's insanely well researched and put together, and having worked together with Ziggy Cashmere (the documentary's creator) I know how hard he dedicated himself towards making this all possible. If it weren't for him, the most interesting Foodfight! discovery would've been finding the novelization, and we would have never gotten any real insight into how this movie came to be. It's also a documentary that really speaks for itself- I don't want to say too much about what it reveals since it's all expressed far better through its narrative and the interviews with people who actually worked on the project. My favorite is the interview with texture artist Mona Weiss- she tells such horrifying stories about how she was treated by Larry and other crewmembers, yet does it all with a sense of humor that makes it clear she's enjoying getting to talk about her crazy experiences. It's clear Foodfight! was an unmitigated disaster from start to finish, and there's nobody to blame for that but Larry Kasanoff himself. The movie was rotten from the top down and despite the countless talented animators and artists working on it, nothing could fix the fact that it was fundamentally mismanaged in the worst way possible. I think the quote from producer George Johnsen summarizes it best: "Foodfight! was a good idea that unfortunately lost its way during production. The technology, the art, and the direction were not in sync. Many very talented people gave their all to make the picture, but more understanding of process from the top was needed for it to succeed."

But if you saw the documentary, you already know all that, right? So instead, let's talk about the behind-the-scenes material that's finally been shared! You can find everything I'll talking about HERE on archive.org-

It's worth following the link and checking it out for yourself- there's so much it'd impossible to discuss everything. Artwork, storyboards, bloopers, models, a nude render of Lady X, an interview with Larry Kasanoff, the list goes on and it's still being updated! Despite the documentary already being out, people who worked on the movie are continuing to share new material! It's pretty incredible- for the past year I've ran this blog all I've really had to discuss are two tie-in books, and now there's so much Foodfight! material I can't even keep up with it.

I mean LOOK at all this, isn't it fantastic? The character art by Jim George showing off just how much better these designs originally were, the countless environments showing off just how stunning Marketropolis could've looked as well as the strength of the core idea "what if a supermarket came to life at night", and insanely detailed storyboards for a 7-minute pitch reel that was used to sell the movie to investors. Normally, I'd be ALL OVER this because it's all just incredible, but there's something far, FAR more fascinating than any of it.

There are even multiple drafts of the script (one from 2005 and one from 2007 respectively) and normally I'd be insanely fascinated by those too, making extremely detailed posts explaining the differences between the drafts and how they compare to the novelization, but there's something else that was found that blows ALL of this out of the water and is easily one of the most monumental lost media discoveries of ALL TIME.

That's right, a rough cut of the ENTIRE movie from 2005 has been found, containing nearly ALL the completed animation from earlier on in production. I mean, that's mindblowing right? We first got sent this around a month ago, a little while before the documentary came out, and I literally stopped everything I was doing at work to just sit and watch this. This is the closest we're ever going to get to the "original" version of Foodfight! after all- only 7 minutes of footage was ever actually made before they switched to mocap, made solely for the aforementioned pitch reel, and this workprint contains practically all of it! On top of that there are some great storyboards in here, as well as some truly hilarious ones cobbled together from 3D renders, and the plot is far better than what we ended up with, a lot of the more inappropriate jokes being absent. This rough cut is actually pretty similar to the novelization in that regard, and it also contains scenes that we'd previously only read about in there.

For example, in the novelization there's a snowmobile chase through the mountains, with Brand X soldiers on snowmobiles and a heavy avalanche close behind. This scene was completely left out of the movie itself, but in this workprint it's here! ALL the previously novelization-exclusive scenes are included, and this rough cut is seemingly based on an even earlier draft of the script than that- here Brand X are still defeated by a flood, whereas by the time of the novelization it'd been changed to a lightning storm. There are SO many exciting differences in this workprint, the snippets of original animation we get to see are SO good, and it's SO much better than the movie itself that I think it by far deserves the crown as the DEFINITIVE version of Foodfight! There's so much in it I want to discuss, that there's no way I can fit it all into this one post...so stay tuned, because in the next few days I'll be doing a FULL analysis of the 2005 workprint, pointing out all the extra brand mascots not in the finished film, and generally just gushing about how amazing it is.

I mean, this is it. Just take it all in for a second- the original footage was considered lost media for over a decade, and now it's practically been found in its entirety, embedded in an early cut of the whole movie...isn't that just phenomenal? All the mysteries have been unraveled, all the questions have been answered, and now we can relax, take a deep breath, and watch Foodfight!...the REAL Foodfight! Make sure to enjoy it, and join me next time for my analysis!

[ningauinerd]

I've been doing a lot of volunteer fieldwork with these guys recently so I thought I might as well do an infodump about them here.

The pygmy bluetongue skink (Tiliqua adelaidensis) is one of the most unique and unusual members of the Tiliqua genus, which includes the true bluetongues as well as the sleepy lizard/shingleback. However, the pygmy bluetongue actually lacks the blue tongue the group is named after, having a pink tongue instead! As its scientific name suggests, it is quite a range restricted species, being found only in open grasslands north of Adelaide, South Australia, as far north as Peterborough. Historically they ranged more extensively across the Adelaide Plains, as far south as Marion, but due to the destruction of suitable habitat they now occur no further south than Kapunda.

While most bluetongues are notable for their large size amongst skinks, with several species regularly exceeding 30 cm in length, the pygmy bluey lives up to its name by measuring a measly average of 9 cm long from snout to vent. This is actually still a fair size compared to the average skink, but it's miniscule by bluetongue standards. Even more notable than their size however are their habits, for they are the only species of lizard that is specialised to live exclusively in old spider burrows! The burrows of both trapdoor and wolf spiders are used, but trapdoor burrows are preferred in most instances.

Pygmy bluetongues spend the majority of their lives within these spider burrows, leaving only to defecate, seek out mates and disperse. The average length of time a lizard spends in a particular burrow is highly dependant on the individual - some are sedentary and spend many years within a single burrow, while others will move around fairly frequently. As well as places to shelter and raise their young (they have parental care, it's very cute), pygmy bluetongues also use the burrows as ambush sites, waiting at the top for suitable prey, usually a mid-sized arthropod, to stray close enough for them to quickly dart out and drag them into the depths.

but here's the ambusher

The chief natural predators of pygmy bluetongues are raptors and brown snakes, and sheltering in the burrow is the main defence against both of these threats. Their burrows are often wide enough for a brown snake to enter, but not wide enough for them to open their mouths in - this means all the brown snake usually gets by pursuing a sheltering pygmy is an angry lizard attacking its face, forcing it to retreat.

The lazy lifestyle of the burrow-stealing pygmy bluetongues is certainly unique, and also explains why they have been such an elusive species since they were first discovered by Western scientists in the 1860s. Rarely seen or collected, their habit of inhabiting spider burrows remained undiscovered for the longest time, and by the 1960s they had become so hard to find that they were believed to be extinct. That was until, in 1992, a pygmy bluetongue was found inside the stomach of a roadkill brown snake by amateur herpetologist Graham Armstrong, confirming their status as a Lazarus of the lizard world.

The historic rediscovery of the pygmy bluetongue (Image credit: Graham Armstrong)

Our previous assumptions of extinction were fortunately premature, but the pygmy bluetongue skink is in serious trouble nonetheless. While they are able to live in a variety of different grassland types, both native and exotic, the extensive modification of their entire distribution through cereal cropping and urbanisation has led to their populations becoming very small and fragmented, giving them a ranking of Endangered on the IUCN Red List. Almost all of these populations are on private land (often grazed by sheep), which makes protecting and/or studying them particularly difficult and complex.

However, when it comes to future threats to the species, climate change is easily the most worrying. As Australia becomes ever hotter and drier, their small remaining distribution is likely to become largely unsuitable, threatening the existence of the entire species. To combat this, researchers are currently investigating the viability of translocating populations further south to areas with cooler climates, providing a safeguard if they do indeed disappear from their remaining natural distribution.

But how do you study a lizard that lives exclusively in small spider holes? Well, if you want to catch them, there's only one tool for the job - the humble fishing rod. Not any special fishing rod either, just a regular rod with a poor mealworm shoddily tied to the end. David Attenborough kindly demonstrates the technique in Life in Cold Blood, although in his case the lizard was steadfast in remaining in the burrow!

the sacred tool of the mighty lizard fishermen

returned to their abode

Two additional Fun Pygmy Facts: Fun Pygmy Fact #1 - The closest living relative of the pygmy bluetongue is the sleepy lizard!

cousins!

Fun Pygmy Fact #2 - Wooden artificial burrows purpose-made for pygmy blueys have proven effective, and the lizards inhabiting them even tend to be in better body condition than those in natural burrows!

[olderthannetfic]

https://www.tumblr.com/olderthannetfic/746553097204203521/the-fandom-hates-women-response-to-lack-of-ff

The "fandom hates women" part of it comes from the fact that fandom as an entity just doesn't watch the kind of media that draws femslash, even if it ticks all of the boxes of things those very same people say they like. There are so many times I've watched a show that I've seen mega-popular Tumblr posts wishing existed, and then the fandom is so, so small comparatively and often in general. There have been superheroes, vampire/supernatural shows, fantasy shows, movies, books, the list goes on, that feel like they were generated out of Tumblr's desires for ideal fandom media, and everyone knows they're never going to attract anywhere near the same attention for fandom and fanworks because the common denominator just tends to be that if there isn't a full ensemble of attractive men to ship either with each other or with the women, fandom's not interested.

So it's not about prioritizing women in that sense, it's about people witnessing hypocrisy over and over again the second a show doesn't have a mostly-male ensemble. The people who are in these fandoms are frustrated that good faith attempts to get people interested are met with every excuse in the book that all eventually boils down to "I don't like watching stuff with women in it as much as I like watching stuff with men in it." And if that's how people feel about it... sometimes the conclusions are going to turn into the more uncharitable take of "fandom hates women."

--

Maybe, but whenever I see a "fandom hates women" reblog of my stuff, one or two reblogs further down the chain I get an overt TERF. I just had to go block several people today, in fact.

The first person to reblog with a comment like that is usually subtle, but their friends and friends of friends are not. The rhetoric that very quickly starts is the fandom equivalent of that "All the butches are becoming trans men! We're losing lesbians!" stuff.

Here's the thing: I've been in ten billion fandoms that were so awesome and fit fandom's supposed tastes to a T and yet no amount of promoting them could get anyone to try the canon. This goes for canons that are all men or all white men or all majority ethnicity men or whatever else.

The default state of media is to not engender a big fic fandom.

I agree that the rare outliers mostly follow certain patterns, but we extrapolate too far when we say that a lack of those patterns is why a fandom is small.

A fandom is small because that's the near-universal default.

--

Yes, a small slice of fandom consists of guilt-ridden queer fujoshi who say they want more f/f but don't make much of a move to make that happen. I tend to run into that a lot because of my own tastes and having friends who share those tastes.

Far more of fandom is people talking generally about how representation matters without saying they would personally join these fandoms if they existed.

Neither group is large enough to be the real reason some woman-heavy canon fails to take off to HP levels.

The real reason is not hypocrisy but the fact that most things don't take off like that. Most things without massive, massive audiences especially don't take off like that. And the very few things that do are flukes and don't actually predict that another similar thing will take off in the future.

--

Go to AO3's tag search. Search for all canonical fandom tags. Sort by uses and descending order.

Right now, I get 64,390 tags.

The first page, 50 tags, goes from HP with 497,845 works to the Thor movies with 59,266 works. By page 6, we're below 10 thousand works.

By the end of page 10, we're down to Labyrinth with 3,906.

Somewhere in the top 500 AO3 fandom tags (many of which are just franchise metatags for each other), we go all the way from megafandoms to medium size and down to relatively modest ones.

That's not a lot of room for a big f/f-heavy fandom given the trends in mainstream media and that mainstream media is where most really big fandoms come from.

--

I also notice that you're conflating a lack of desire to watch something that's primarily about women with a lack of desire to watch something that includes women.

There are tons of fans who want something more like The Mummy with a leading man and leading woman they love.

Granted, that's not me and that's not a lot of my fujoshi/slasher audience, but it's extraordinarily common. I know plenty of people who don't like canons that are only dudes, but since they also don't like canons that are only ladies and they don't ship f/f, this gets spun into "fandom hates women".

--

Let me be clear:

Conflating "lesbians" and "women" is a radfem position.

[uriekukistan]

alright i've been seeing so much megumi hate recently, and especially after the new chapter (not on here, mostly twitter youtube and tiktok), so as president of the megumi defense squad, here is my dissertation defending him against the bum allegations.

i've seen a lot of people comparing megumi's situation to yuuji in shibuya, and saying that megumi should be able to "just get up and keep fighting," so i'm going to tell you why this is not a fair comparison, and give some context on yuuji's "recovery" from shibuya that i feel people are missing when they say this. this is quite lengthy, sorry in advance

i. fundamental differences in the ways in which yuuji & megumi view saving people

yuuji wants to save everyone. he wants to save as many people as he can because of what his grandfather said to him on his deathbed. this is what kickstarted the events of jjk. if yuuji hadn't felt this way, he never would have eaten that finger to say some guy he met an hour ago, which is another point. yuuji cares for people easily. he threw his life on the line to save megumi immediately after meeting him. he mourned junpei, who he spent all of a few hours with in total like he had known him for years.

this is very different from megumi, who both does not get attached to people easily, and does not care to save everyone. he only cares to save people he deems worthy, and as far as we know, this list consists of only tsumiki and yuuji. its even unclear if he feels this way about nobara or gojo, despite them also being relatively important in his life. as you can see, when he thinks about saving people by his conscience, the only two characters shown are tsumiki and yuuji.

this is why he sometimes gets some criticism for not doing a half-assed job as a sorcerer, but i think its important to remember that he does not actually want to be a sorcerer, only doing it out of necessity to keep tsumiki from the zen'in clan. the times where we do see him taking things seriously are when yuuji and/or tsumiki's lives are what's at stake.

so in shibuya, after watching his own hands slaughter innocent people, and watching nanami and nobara die, yuuji is able to keep going because there are still more people who need to be saved, and he wants to save everyone. in contrast, megumi has watched his own hands kill one of the two people that he cares about saving, and severely maim the other one, so what is there to keep fighting for, given the way he views the world?

and i think it's also important to note that megumi has not been aware of his surroundings since sukuna v yorozu, so saying that he should get up now to save yuuji is not reasonable because he doesn't even know yuuji is there.

ii. the environment yuuji was in in shibuya vs the environment megumi is in right now

now none of that is to say that yuuji did not also break down and want to give up in shibuya, because he absolutely did (actually, im not sure if this is canon or just my theory, but the reason he did not switch back with sukuna at the detention center was because he wanted to give up), but the circumstances were way different

within minutes of watching nanami and nobara die, todo & nitta were there to encourage him and get him back on his feet (most of that was due to todo, but nitta was also telling yuuji not to lose hope).

meanwhile, megumi has been alone for over a month now, save the few seconds in 251 where i'm pretty sure he didn't even know yuuji was there, with nothing but his own misery to keep him company. sukuna took over his body and killed tsumiki with megumi's technique on november 16th. the shinjuku showdown takes place on december 24th. that's over a month stewing in guilt and mourning with no one to support him at all. that makes it a lot more difficult to bounce back quickly like that.

iii. more context on yuuji

even after todo's little pep talk that gave him the strength to get up and finish mahito off, yuuji didn't just "bounce back" and stand up to keep fighting in the way people think he did. in the days following the shibuya incident, he was really directionless, probably a bit reckless, because he genuinely didn't know what to do with himself, and didn't know if he even deserved to be alive. in my personal interpretation of yuuji immediately post-shibuya, if it weren't for choso, he would have likely lost his life, as he just showed a lack of self-regard in those days following. just one example:

it's not until megumi shows up again that yuuji finds a direction to go, and even then, he's operating with the mindset that once everything is over, megumi and tsumiki are safe, and gojo is unsealed, he will die and stop causing trouble for everyone.

so again, i think the megumi/yuuji comparison as a way to hate on megumi is not fair, both because there are important differences in the way they think and their situations, and because yuuji's reaction post shibuya isn't quite as resolved and strong as people make it out to be. this is not to say that yuuji is not strong! he absolutely is, just to point out that he, like megumi, was/is also lacking the will to live, and there's nothing wrong with that! wanting to give up is a completely reasonable reaction to being in this situation as an ADULT, let alone at 15 years old.

if you've made it this far, thank you for listening to me ramble 🙏 pls let me know any of your thoughts as well, i'd love to chat about this!

[maybe-boys-do-love]

SOTUS Review: Engineering the Bridge To BL

I'm not exactly a sucker for teen dramas. Miss me with Gossip Girl and Pretty Little Liars. Even less soapy shows like The OC or Dawson's Creek that I checked out because of their critical status in the genre were not shows that I felt compelled to finish after watching a few episodes. However, teen dramas were a rare space in media where queer characters were allowed to exist as secondary or tertiary characters, so in my young gayhood I searched amongst less popular shows for gay storylines like in Canada's Degrassi. I binge-watched Australia's Dance Acadamy until they killed off the gay character and sought out lists about groundbreaking shows from before my time like My So-Called Life.

The latter is not simply exceptional for its gay representation but for aiming higher than its teen soap peers for realist complexity in its characters. Later, shows like Freaks and Geeks and the UK's Skins would take up that torch, then Friday Night Lights, which had the genius to bring in the institution of American football culture in the South of the the US to ground its commentary on American racial and economic politics. Norway's Skam arrived in 2015 using the "Russ Bus" tradition for similar purposes--and used the strength of its writing to depict a globally celebrated queer story the same year as SOTUS. These elevated coming-of-age teen dramas I count among my favorite series ever in any genre.

I bring up all this TV history because I found no review yet that adequately conveys SOTUS's equivalent storytelling goals and prowess, nor do they fully indicate that SOTUS is one of the most compelling BLs to this day. Historically important, they read, but mediocre production values, primarily for straight women and homophobic, with a hazing setting that might be triggering for viewers, all implying its a relic of a less enlightened time in BL history that later shows will improve upon. While I'd recommend reading them to learn more about the history of the series that I'm less interested in covering here, these are not exactly rave reviews. What a surprise to begin the series and witness right out of the gate precision, complexity, and depth to its queer depictions that's equal to any Thai BL that followed in its groundbreaking wake.

The series manages to engineer (wah wah) bridges to blend the naturalistic elements of those other elevated teen drama precedents with the tropes and styles that populated Thai BL novels (like the pink milk from 2Moons2) and will define Thai BL series in the years to come. In Thailand, the series Love Sick came first in its BL focus, but, as lovely as Love Sick is, it sprawls across flatter characters in its focus and fails to celebrate the breadth of queerness in some harmful ways. On the other hand, SOTUS, in pacing, casting, characterization, and theme development, links BL to a plot-driven Western style and decidedly queer perspective. There's a reason it was the show to begin the more intense global interest in BL series.

Below the cut, you'll find my review about the qualities that made SOTUS so outstanding to me.

SOTUS initially struck me with the tightness of its dialogues and cuts, especially compared to many other Thai BLs that I've seen, which have a bawdy theatrical spaciousness in their tempo, more in line with broad comedy or soap opera, telenovela, and Thai lakorn. Not so in SOTUS. It gives time enough for its actors to emote but orients toward storytelling precision. Plot-forward Thai BL comparables I've seen so far might be Not Me or Moonlight Chicken. Unlike those series, SOTUS won't be any cinematography nerd's dream, clearly limited by its budget in this matter, but it works hard to keep the limits of a small budget from distracting. The cheaply licensed scoring music, for example, is surprisingly effective, its repeated pulsing dread adding to the momentum ignited by the SOTUS initiation of the freshman at Thai universities.

Senior year of high school, I selected universities for application based on my fear of hazing. No fraternities near campus for me. The gendered organization and reputation for homophobic cruelty were existential threats to me as a closeted teenager. For many gay men, including myself, frat houses and initiation ceremonies were also sites of homoerotic fantasy. Thus is the duality of gay experience.

The Thai hazing context differs from the US (no gender segregation, for example), but the series mines the same psychological tension between danger and eroticism with its controversial use of the real-life SOTUS hazing induction system--the abbreviation stands for Seniority, Order, Tradition, Unity, and Spirit--to ground its queer romance. The actual implementation of it at Thai universities has more issues than the show depicts and, while the series' hazing is a form of bullying that can trigger some, the mildness of the abuse depicted ought to be stated, especially when compared to American ideas about hazing abuse and queer media's depictions of homophobic violence. SOTUS portrays shouted verbal instructions and physical endurance trials as the means of degradation, with no physical violence and reprimands with consequences when its believed seniors have disrespected their charges or put them at risk.

Rather than a critique of the SOTUS system itself, the system provides the organizational hub for the series' broader societal commentary, and itts treatment elevates the show to the likes of Friday Night Lights or Skam. Jane Austen's Pride & Prejudice title was taken from a line in Fanny Bruney's Cecilia about the two faults being both the cause of miseries and the reason for their termination. The series treats the SOTUS system and everything else within in the same manner: with complexity rather than binary keep-it-or-leave-it moralism. The S.O.T.U.S. values parallel the confines of a deeply imperfect society that when seen as strictly authoritarian pass down rules and pain from the elder generation to the the next. However, when viewed and practiced as the series encourages by the end of its story through a more nuanced understanding of the Asian filial philosophies at play, the values of seniority, order, tradition, unity, and spirit also invite compassion and affinity flowing in both directions across the generations.

The slowly emerging slight but significant age-gap romance between righteous freshman Kongpob and head 'hazer' Arthit is the central device for this exploration, but every element and scene, from the side couples to the food orders, develop our sense as viewers of the social order that the show wants to address. And the scenes move like well-lubricated assembly-line machinery toward their final purpose. It's obsession-inducing.

Despite the machinery of SOTUS's pacing, it delicately fashions its character and an environment gently permeated by homophobia and misogyny. Celebratory moments occurred to highlight themes without drawing attention to themselves, heterosexual coupling and marriages, for example, or a classmate coming out. Slurs surfaced casually, too, and old-fashioned masculinities were performed not as major plot points, spectacles of violence, or lessons for characters to immediately learn from, but to illustrate how inherited ignorance and constraints bear down almost invisibly on the characters. No one was demonized or ostracized for their ignorance, not because the writers view their actions positively but because they view their ignorance as a product of systematic failings, failings each generation can and will attempt to improve upon as they inherit the reigns. No one generation will make it all perfectly right. They are only human.

You can feel that humanity in the way the characters are written. All of the characters are distinguishable and interesting. They're written well and performed with heart. We have actual girls just chilling and being friends in a BL series, which was historically novel. Ingenues and horny girls and shy lesbians. The guys are recognizable guys, which is another feature Thai BL does exceptionally well. There are some dorks, some bros. The best friend in the freshman group is shy with strangers but open with his friends and fierce on the basketball court. I've known people like these. They are characters that are broad enough to recognize from a distance (or less screen time) but not simple stereotypes.

Then, on top of this you have the casual trans, gay, and nonbinary inclusion of bit parts and side characters that, to this day, only Thailand is doing in its shows to this extent. Its just impressive to see that their BL industry started off from the get-go at this level. But in SOTUS its not simply casual inclusion, either. These characters, unlike comparable characters in Love Sick, delineate moments of queer kindness that blur the understood hierarchical order of the initiation system and the heteronormative order holding our romantic leads back. In subtle ways they offer queer guidance and a model to Kong on his journey.

Then there's Kongpob and Arthit at the queer center of it all. Ugh! These two characters! These two performances! In Singto's watery sphynx-like eyes, in Krist's clinched jaw, in the electrified space between their bodies that the characters must restrain themselves against crossing, these are the heights of longing the romance genre can reach at its peak. There's an inner pain in these characters. That pain is old-school romance and its old-school queer pain.

I've read complaints about the physical intimacy in this show that I realize after watching the series are ignoring the characterizations of repression and inexperience that impact every interaction between Art and Kong, even their kisses. They aren't on the het timeline, instead having their first kiss and relationship in college, which is why SOTUS aligns with the teen drama genre so well despite its university setting. The greenness of their physical affection (we see it grow more competent and comfortable as the show progresses), however, belies an emotional chemistry that's intense, erotic, and intimate. Many more explicit BL scenes feel tame compared to Arthit grabbing Kong's shirt in rage or whispering in his ear in front of a waiting taxi.

I'm looking forward to SOTUS S and its Our Skyy episode to see more about KongArt's partnership, because their characters resist the seme/uke categorization of the BL genre they emerge from (which are also basically the stereotypes of top and bottom that gay men placed on themselves lol). Their ages and behaviors are reversed from the expected, first off. Kong, the younger, pursues, making him technically the seme and Arthit the uke, character definitions that also indicate sexual preferences of top and bottom. This wasn't unheard of in BL texts from what I've read, but less typical. Then there's the matter of Arthit being the one who initiates physical affection, partly due to Kong's regard for his challenges with internalized homophobia. Apparently, even the pronouns used between the pair are an intimate negotiation rather than an accepted order, returning us to the more complex ways the S.O.T.U.S. acronym can be enacted.

Plus, Kong's played by Singto with impressive power and confidence that's still soft-spoken, slippery, sibilant. To my trained eyes, its a character with mannerism and speech that are legibly gay. Not so legible that all his peers will notice, but he's clockable for queer eyes and worrisome for those afraid of deviation from the norm. For me, this is Thailand's biggest BL breakthrough (and its persisted down this path*) because, for many in the LGBT+ community, challenges begin well before anything to do with sexual attraction.

Gender deviance is the key issue. I was teased by a classmate at 8, well before I had a sexuality, that when I walk I move my hips like a f*gg*t. Don't worry. He wasn't totally wrong. I have a killer strut and I own it now. His antagonism wasn't about who I liked; it was my swish, my non-masculine behaviors. The hatred of gender deviance (and its misogynistic reasoning) is the underlying bogeyman for much of homophobia. Even plenty of men who are perfectly happy to have sex with men, at least where I live in the US, take issue with effeminacy. (Try finding the most overt lesbians on tv outside of OITNB, too!) That applies to audiovisual media, too. Unless comedic, consumers have tended to be more excited about queerness when the bodies and expressions appear in-line with gender expectations. The power of Thai BL and Singto's performance of Kong is how it opened space in the market and audience's minds to take queer affects seriously in young adult romance.

It's no surprise, then, that Kong forges friendships with the characters who are overtly LGBT during the series. The associations made between Kong and the fullness of the LGBT spectrum provides a more complex context for the show's choice to include him expressing the BL trope of 'only gay for you.' While it's a harmful concept broadly, the show seems to be using it subversively. How much more regressive it would've felt coming from Arthit! With Kong and all of his queer associations, it plays as the words of a gay romantic. With the diversity of coming-outs and identity-naming we now have in BL, Kong's moon-eyed statement made on the night his boyfriend comes out for him holds less of a harmful influence on the whole.

Context is just as important to the oft-critiqued scene where Kong says that he'll make Arthit his wife. Based on what I'd read and how impactful and problematic people felt it was, I thought the statement had been a romantic declaration late in the series. Imagine my surprise when it occurred in the first episode as an attempt by Kong to disrupt the patriarchal power of the seniors. Rather than illustrating the show's belief about gay relationships being the same as straight relationships, the scene points to the patriarchal assumptions the series intends by its end to disrupt. The exchange gets reenacted when the freshman decide to act it out at the faculty beach outing for everyone. The seniors interrupt, and the freshman fear they're about to be punished for disrespecting their elders only to find out they're being invited to finally celebrate their inclusion into the faculty. It's denied fruition as a tool to dis-empower and a true testament of Art and Kong's relationship.

It's at the beach where the freshman are given their gears, one of the many examples of how the series used symbols with significantly more depth than the copy-cats that tried to make bank by using the exact same motifs later. The proceeding BL engineers owe not a debt but an apology to SOTUS. The engineering faculty fit perfectly with the show's questions about systems and how individuals fit into them. We have these gears, which could simply be cogs in a machine that forces you to fit in and lose your humanity, but SOTUS envisions the gear as a heart, something unique, attempting to find its place and fit its grooves within a greater purpose. Its a symbol of authentic belonging.

The pink drink, which could've simply served--and has served in other series since--to be a symbol of pink gay girly tastes, is more fully used to emphasize Arthit's stubborn desire for familiarity, his inexperience (in trying other drinks), and a certain childishness in his preference for sweetness, a childishness that humanizes him to his freshman paramor. A trade even occurs with the drink, shifting all these meanings onto Kongpob as he begins to face his own prideful assumptions about his own righteousness.

Beyond all the English teacher symbolism and queer value, though, SOTUS is just the kind of well-told romance that will make you swoon. Despite a low budget and simple plot, its performances, editing, and most of all its script mesmerize. People shouldn't watch it as a history lesson. Its too entertaining to be relegated to that. Labeling it as simply historically important doesn't do it justice.

SOTUS stands tall among teen dramas, a literary work in a genre that doesn't require those heights; SOTUS stands tall among queer media peers, paving new lanes for queer storytelling and performances to walk down; and SOTUS stands tall among its BL peers. Clearly many of the greats in Thai BL, like 1000 Stars, Bad Buddy, and Until We Meet Again, aim to evoke their predecessor, more out of love and awe than an apology (as has been suggested by others). The ways they differ seem to be additions and diversification of queer narratives rather than a critique. SOTUS is simply one of those Great Stories. It inspires binging, revisits, investigations, and, most importantly, the biggest feels. Watch it now if you haven't. Watch it again if you have. Its not a piece of history. Its the kind of story that doesn't get old.

*Thank goodness for LITBC bringing Korea some overtly gay characters. Japan's got a few options--KENJI!--but not enough for my liking yet. I haven't seen enough of the other country's output to make a judgment.

Tagging @dropthedemiurge for being the biggest supporter of my new-found SOTUS obsession and @respectthepetty for the petty watch that got me over my lack of motivation to watch this series! Petty was half-joking but also so right about the kink undertones to this relationship!!!

There are certainly more versed BL history experts so feel free to let me know about any mistakes I made with my history! I'm just a broad and casual tv history and queer fiction and history fan tryna share my new-found BL joy.

[elumish]

My Experience With Digital-First Royalty-Only Publishing (Part 2)

Disclaimer: just my experience, may not reflect other people's

Part 1 (What is this sort of publishing; how did I get published; what does the submission, contract, and editing process look like)

Book Release:

My [redacted] book came out in April 2024. It is available on Amazon, Barnes & Noble, and the publisher's own website, where it is listed for a couple dollars less than on Amazon/B&N. It's available both digitally (in multiple different file formats) and for print (paperback).

I can't speak for whether this is standard across these sorts of publishers, but it probably isn't unusual. This does mean that the book can't be available on Kindle Unlimited, given how Kindle Unlimited's requirements work.

The timing for this sort of publishing is extremely fast compared to traditional or even small-press print publishing. I signed the contract in late August 2023 and sent in the final draft to my editor in late October 2023, and the book was released in late April 2024.

Book cover:

For designing my book cover, they pointed me towards where they pull stock images from and asked me to describe the sort of cover I would want, including possible stock images. They also asked for physical characteristics of my characters, which is when I realized that I had no clue what my characters look like.

The stock image website included AI art, as well as regular non-AI stock images. I specifically requested no AI art, including no AI-generated stock images. As far as I am aware, they respected that request.

Once they created one, they sent me a mock-up and asked about minor changes (typography, etc., from what I remember). I didn't have any changes. Overall, my cover looks like what I described to them, and I'm really happy with it.

Marketing:

My marketing experience with my publisher has been decidedly underwhelming. They seem to have started to revamp their marketing process right around when my book came out, so my book didn't receive/hasn't received a huge amount of marketing support from them.

What they gave me marketing-wise: a few marketing images for pre-release/post-release, including Twitter and FB header images, etc.; general marketing guidance for what I could/should be doing; a couple of mentions on their publisher Instagram post-release and a mention in their weekly newsletter

What they didn't give me marketing-wise: connection to reviewers, including sending an ARC or providing a list of reviewers that might be good to work with; marketing materials for sites like TikTok or Instragram; a meaningful amount of airtime/mention on their accounts; a large following of their own

Overall, the marketing is what is probably most like self-publishing--a huge amount of it is on me (and I am terrible at it). It will be interesting to see what their revamp brings, but they are starting from a minimal following and not a lot of previous activity on their accounts, and so they also need to build their reach to make their marketing on their accounts more effective.

Royalties/payment:

I get paid on a monthly basis through PayPal. I also receive a royalty statement that lists days, amount/type sold, etc. so I can reconcile with what they have paid me. From what I have seen this royalty statement is pretty standard.

So far, they've been prompt and haven't had issues with payments.

However, because of (among other things) their general lack of marketing, my royalty statements have been fairly low. So far (and, granted, the book came out less than 2 months ago) I have made very little money on this.

My Path Forward:

I've thought a lot about whether I will continue to do this sort of publishing. I am currently querying my "main" books, and I don't plan to publish them through this sort of publishing, even if the publisher would likely accept them.

My contract stipulates that my publisher has right of first refusal for the rest of the books in this series. I am currently writing book two, and I plan to also write a third, as I had initially discussed with them. Beyond that, I'm not sure. I don't mind working with them as a company, but I don't know if they have the processes in place for me to make money publishing with them.

One thing I will likely do is explore other romance publishers that accept unagented submissions. They have a much lower barrier of entry and they are often willing to accept books that trad publishers might not want to spend money/reputational risk on.

As such, I would likely submit to these publishers stories that I don't think traditional publishers/agents would likely to be willing to publish, including more niche subgenres and less standard lengths that are easier to publish digitally.

Why do I redact the name of my book?

Honestly because I'm a coward and because people are weird about romance, especially certain subgenres of romance. I also plan to use this account for my main agented publishing, if I ever reach that point, and I don't necessarily want those two pen names associated.

Any other questions about this sort of publishing?

[markrosewater]

Hi Mark,

My name is Isaac Holguin. I sent a detailed email regarding your work on the color pie over the years to making.magic@hotmail.com. I hope that is the correct avenue to reach out to you. I had the pleasure of being answered on this blog as well, so I thought I'd double check by contacting you here. In case the email listed isn't in service anymore, I've copied my message below. I hope this reaches you and that you're doing well. If you're able, I'd love to hear back at interactnm@gmail.com. Thanks for all you do!

----------

Hello Mr. Rosewater,

My name is Isaac Holguin and I'm a nurse studying leadership and education in Tucson, Arizona. Before I get into the topic of my email, I'd just like to say thank you for being a spokesperson for Magic the Gathering all these years! I've played the game since I was thirteen years old, all through college, and well into my career. Magic the Gathering has helped me make new friends and deepen bonds with people I already had in my life. Though I've stopped participating in recent years, the game will always hold a special place in my heart and I've still got an Alpha Serra Angel that is as old as I am!

One of the best memories I have from my time with Magic was diving into the color wheel breakdown series from your "Drive to Work" podcast. During my pursuit of a Bachelors in Nursing Science, I often cited the color wheel as a tool to determine personality traits and compared it to other topics in my studies. Now that I'm pursuing my Master's degree in Nursing Education, I'm interested to see if there were any references or inspirations for the development of the color pie. With the recent popularity of the Myers-Briggs assessment (16 Personalities), Ten Faces of Innovation, and other similar tools I'd like to try and adapt the color pie as a leadership/personality assessment. I understand there will be multiple steps involved to publish such a study with respect to Hasbro and Magic the Gathering as a company, but I would like to attempt to lay the foundation of this project during my studies.

The goal of this project would be to introduce an existing, incredible, fun, and easy to use tool to a vast new audience. Helping others acknowledge that all aspects of the personalities presented exist within them to some degree and can evolve over time has become a core belief for me both personally and professionally. Examples of "your greatest weakness is your greatest strength pushed too far" and the idea that the capacity for good and evil exists in any aspect of a personality are incredible insights that I haven't seen cited enough throughout my studies. My wildest hope is that this tool would be utilized in coursework for multiple professions, similar to the curriculum I'm studying now, to help future leaders reflect on their strengths and develop effective leadership styles.

In short, I hope that you're doing well and would love to hear your insights, recommendations, and references for the work you've so passionately brought to thousands of others of the years. Even if you're unable to share certain aspects of your work, I'd like you to know that your endeavors have not only brought relief and happiness to healthcare workers like me, but that you've inspired so many others to apply the lessons of fictional works to improve our reality. The lessons gained from my long history with this franchise have helped me connect to others in their most vulnerable moments, and improve their quality of life. Thank you for all that you've done, and I wish you continued success in a field you've already become an exemplary expert in.

Sincerely,

Isaac Holguin

BSN, RN

I’m always excited to hear about ways people can use the color pie outside the context of the game. I’m not sure what I can do to help you.

[shapelytimber]

A Taste of Faith

[PRINT] - [COMMISSIONS]

Ok so the concept for this piece was : historical gay nuns, and 70s lesbian vampire movies meets tes (don't ask me why- I just had a vision at 3 am)

Because I think Serana should have been meaner<3 I love women's wrongs and when vampires do the suck <3

Btw of you want to see more gay Serana art, go check out @gay-of-waterdeep, their art is wonderful, and I can't say this was not a bit inspired by what they do :))

Process (and me rambling about some of my favorite 70s lesbian vampire movies (because I have a problem)) below vvv

Additional details about this drawing ! 1) I used the same Mara design than the one from my tarot deck :)) and 2) the other woman is one of the priestess in the temple in Riften lglggigkglgl her name is *check wiki* Dinya Balu

And now......... Some movies I enjoy because my house my rules, you came this far so why not hear about niche european movies :))))))

Disclaimer for a majority of the films in this genre : the male gaze is very fucking obvious in these movies... they were made by men for men, and the message is often "lesbianism is a dangerous temptation for women". It's a glairing flaw nearly all of them share and that sucks (and frankly it's a flaw Serana's writting kinda has in my opinion, minus the lesbianism part, but let's not dwell on that)- so if you can't get past it, it's completly understandable, be on your way and have a nice day <3

- Daughters of Darkness ! A toxic man is returning to london with his newly wed wife, but they get stuck in Belgium and are forced to stay in a luxurious hotel. Don't worry about the 10/10 smokeshow countess seducing his wife :). Completely unrelated, this movie has, in my opinion, the most beautiful lesbian kiss I've ever seen- but I might not be very objective because Delphine Seyrig is there lglglflflllglm The best one in the list ! So if you want to whatch one, whatch this one <3

- The blood spattered bride ! This is more of... an aquired taste let's say- but I really like it ! A quite effective horror movie, with goofy ass scenes (shoutout to the vampire lady buried in the sand naked with only a diving mask that is not the screenshot because tits), and emasculation being a recuring theme <3 (but if you want to watch it, please check the content warnings beforehand, it has a lot of very shocking and frontal scenes, and it's the 70s so it's not done very tactfully. Also pretty intense flashing lights)

- The vampire lovers ! Ok so this one is a lot less fun compared to the other two because it's made by the Hammer BUT... 1) Ingrid Pitt hello and 2) it's such a intriging thing to see a very christian/conservative studio make a film like that. I know a lot of people don't like the Hammer movies from the 70s, because the studio had a lot less money, and were making wild decisions. But I love them, because they tend to be much more fun bloody and sexy ! I'm a simple woman mjllkklhkhlhlho case in point with the vampire lovers (although if you want a fun vampire hammer movie from the 70s, Dracula ad 1972 is way better). And Peter Cushing is there (i love this man so much-) !

And now I shall resume my quest to find Vampire Lesbos by Jésus Franco and have a probably mid experience watching it xoxo

[innuendostudios]

by a wide margin the weirdest video essay I've ever release: List of Songs that Represent "Smart Music" Ranked from Most to Least Appropriate to Put in a Video Essay

this video is sponsored by Nebula, where you can watch ad-free and (sometimes, slightly) better edited versions of my videos for 40% off an annual subscription. just follow this link.

as a quick note: YouTube has already demonetized this video, as two different corporations are claiming copyright on recordings they do not own the copyright to - both are Creative Commons recordings of public domain music, that, in one case, YouTube has misidentified as a different recording, and, in the other, YouTube has the music in its database as under copyright despite it being having been released under CC BY-SA 3.0. I am disputing these false claims and will (hopefully) get whatever money I am owed, but, for now, YouTube is not paying me a dime for this.

so it would be a bigger help than usual if you would either watch the video on Nebula or back me on Patreon.

thanks. transcript below the cut!

List of Songs That Represent “Smart Music” Ranked From Most To Least Appropriate To Put In A Video Essay (And Presented In Drill Bit Order).

1. Clair de Lune, Debussy

This has been top dog ever since the teaser for Godzilla: King of the Monsters, and cemented its position against challengers with a showcase in Everything Everywhere All at Once. Said film could have been the shark-jumping moment where the song was irretrievably lost to irony, given directors Kwan and Scheinert (Daniels)’s style mercilessly marries the aesthetics of prestige and shitpost. Yes, despite its silliness, EEAAO is achingly sincere, but could the general public be trusted to recognize that? But then it won Best Picture, so apparently yes! Beautiful, delicate, to score a film or video with Clair de Lune signals a desire to be seen not only as an intellectual, but as an aesthete. The song could lose potency if the Clair de Lune sequence were parodied enough, but how does one parody EEAAO???

9. Gymnopedie No. 1, Satie

I fear we must, as a society, and as a community of video essayists, move on from Gymnopedie No. 1. It held the title longer than, I think, any champion previous, and for that it deserves merit. But its time is over. It is, like the phrase “mad dated,” mad dated. It is saying “lmao” out loud. Did you know the original screenplay for 2005 film The Island specifically stated that, in the weird culty enclave in which the film opens, Gymnopedie No. 1 must be playing over the loudspeaker? I don’t think Michael Bay followed that directive (I’m not rewatching the movie to find out), but that is how long this was the “Smart Music” song - since 5 months after YouTube launched. If you must - absolutely must - put Satie in a video essay, use Gnossienne No. 1, though it too is on its way to passe. At this point I’m prepared to say Vexations or GTFO.

2. Ave Maria, Schubert/Liszt

Nothing was certain after Satie vacated the throne, and for a while it seemed we might have a Starks vs. Baratheons situation between Schubert and Debussy. Following several appearances in pretentious YouTube videos, the Ave Maria made its strongest showing yet by scoring the opening scene of the grimdarkest Batman film so far, an entire twenty days before getting fully Lannister’d by Everything Everywhere All at Once. Unbowed, unbent, and unbroken, still she nips at the heels of the king, and may yet take his place. No one else poses a comparable threat. Hers is a curious strategy, being a religious, Christmas, and even classic Disney standard now repurposed as “Smart Music;” she gets a big boost every December, but can she take the top spot before this cyclical exposure nudges her back into a prior niche?

8. Moonlight Sonata, Beethoven

If you were in a film program in the mid-2000s, you are sick to death of Moonlight Sonata. Also if you were in a music class where you were asked to determine a song’s time signature by ear - how am I supposed to tell the difference between waltz time and 4/4 with all triplets without the sheet music in front of me? To say scoring a video with Moonlight Sonata is a hack move - you’d have to be a hack to not already know! This was the soundtrack to the blind cave salamander level of Earthworm Jim 2, there’s no coming back from that! I mean, the association with Tallarico Studios alone… It’s done. Roll over, Beethoven.

3. Cello Suite No. 1 (Prelude), Bach

This one is firmly-rooted. It is not going anywhere, both in the sense that nothing could soon push it off the list but it’s hard to imagine rising any higher. It is just slightly too beautiful, too expressive, too legato to fall into the stiffness of Habanera or the pomposity of a De Beers ad, but just close enough to them in tone to always read as a hipper alternative. So you’ll never be overexposed, but never go that long without hearing the Yo-Yo Ma version. And so here it stays, third on the podium, solid bronze, the waterbender, the Plup; with you as always is Prelude to Cello Suite No. 1. (Frankly surprised it took us this long to get to Johann, but don’t worry - he’ll be Bach.)

7. Air on the G String, Bach/Wilhelmj

Told ya. It’s not that she isn’t a beautiful piece of music, and it’s not that she already had her time. In truth, she never got her flowers. Inasmuch as she had a run, it was squished between the omnipresences of Beethoven and Satie. You’ll still hear from her now and then; she crops up, like a lucky penny. And you’ll smile, every time, but you know the stars in your eyes are not present joy, but nostalgia. A fondness for what was and what could’ve been - what should have been. Why - why couldn’t this have had the legs of Gymnopedie? I mean, even the Fucking Champs version - could that have made a run? Could TikTok pick up on it? But comes the day you have to accept - if it was gonna happen, it would’ve happened by now. Air on the G String grows weary; let her rest.

4. Duo des Fleurs, Delibes

Bit of a dark horse, this one. Didn’t exactly come out of nowhere - it’s been here the whole time - but you didn’t see it coming! It’s like that time I went snorkeling, and I wondered, “Where are the fish?” I was told there would be tropical fish, but all I saw was blue. Then I caught one flitting by my head and, as soon my eyes registered the shape, I realized they were everywhere! I just hadn’t taken them in. This is the one that makes you ask, where did I hear that before? Was this the one at the end of Margaret? No! How did it go? How do I hum dyads? But then it shows up and, oh yeah, that’s the one! The really pretty one. I knew it’d come around again. Has staying power, could make a run for the top if it sees an opening, but seemingly content, for now, to dance around the periphery, appreciated when heard if only half-remembered the next day.

6. Prelude in E Minor Op. 28 No. 4, Chopin

The bottom end of acceptability. Anything lower, you must avoid. But you can use Prelude in E. It is a risk, and it takes skill. But you can use Prelude in E. It is not for the faint of heart. This is the ending of Fez we’re talking about here. This is that one TED Talk about how everyone loves classical music they just don’t know it yet. This was all over Anatomy of a Fall. Are you sure you wouldn’t prefer something lighter? Nocturne in E-flat [Op. 9 No. 2] is very nice. Prelude has just enough penetration that some people are going to recognize it, and enough clout that those who do are going to expect things of the person who puts it in a video essay. You can’t just throw this under a rant about The Snyder Cut. But you can - with care, with effort, and with grace - use Prelude in E.

5. Spiegel im Spiegel, Part

We are not ready for Spiegel im Spiegel. The rare “Smart Music” that is, rather than classical, contemporary minimalist. This is - I have been led to believe - all over the film festival circuit. It is the go-to for aspiring arthouse directors. So I assume it is only a matter of time until it reaches general cultural awareness. But we - the YouTube video essay community - are not, at this point in time, pretentious enough to pull off Spiegel im Spiegel. This is not a statement on the song: it is a lovely, sparse, and unpretentious piece of music, which is why pretentious people are drawn to it. And we are not there yet. But I believe in us.

POSTSCRIPTUM

The List of Songs that Represent “Smart Music” is not ranked by quality; they are all, as a baseline, masterpieces. They are ordered, instead, by their possession of antipodal qualities. Beethoven’s Fifth may be a beautiful piece but it’s too well-known - to the casual listener, it reads only as “classical music.” Vltava is a beautiful piece, but it’s not recognizable enough - to most, it will read only as “music.” Pachelbel’s Canon works in too many contexts. Mozart’s Lacrimosa no longer works in any context but “Shit’s About To Go Off.” The Song that Represents “Smart Music” must balance these humors: suggestive, but not too specific; recognizable, but not overfamiliar. The kind of thing one imagines cultured people listen to, and fancies oneself cultured for having noticed it. Just popular enough to signify obscurity to a large number of people.

This impossibility of being both popular and obscure is what keeps the list in motion. Many songs drift back into obscurity before reaching the top, but, once in the primary position, a song begins its slow procession to overexposure. And when, at last, it is too popular to be niche, it does not slip to number 2; it plummets to the bottom, as did Icarus.

Due to this slow but constant movement, new songs will, at intervals, join the ranks, taking the place of those that became gauche. And if, dear listener, you were aiming to trendset, to score your next whatever-it-is-you-do with the newest Song to Represent “Smart Music,” and were I a gambling man… Bach’s Prelude in C. And I’ll tell you why: it appears in the Netflix series Bodies alongside Chopin (#6), mirroring Satie’s dual appearance in The Queen’s Gambit (#9); its arpeggiated structure makes it usable in scenarios similar to the Cello Suite (#3) (Johann did love him some broken chords); and it forms the basis of the Gounod version of Ave Maria, if you would like a Cool Person’s Alternative to Schubert (#2). You may feel I’m playing too safe, but I tell you truly: this song is due. But if I can impart one piece of wisdom let it be this: whatever you do, whoever you are, you cannot use Fur Elise. You cannot. You can’t do it. It can’t be allowed. Don’t fu-

[sysmedsaresexist]

im a system trying to learn more about endos.

so far in syscourse ive only seen proof of cdds being traumagenic but they dont disprove non-cdd plurality, so what sources are there that have evidence of endogenic systems, if you have any?

Right now? There isn't any hard evidence that would satisfy anti endos. There's TONS of papers and articles talking about the recent emergence of endogenic systems, but they're mostly interview based. I debunked a lot of them when I was still anti. Small sample sizes, personal bias about dysfunction levels, all interviews. Those won't stand for those who are skeptical.

Now that I've calmed my gender neutral tits, though, I can look at where all this research is heading, and I can look back and find all the different terms that have been used to describe this same phenomenon. Those terms don't fall under psychology, they appear in journals about consciousness and self and philosophy, and they go all the way back to the 1800s, developing right alongside theories on hysteria and split personality, and the TOSD.

I don't need to do the work for you (/nm), just Google multiple self theory and fall down the rabbit hole. Trust me. One Google search, move at your own pace. It'll mean more when you find all this yourself and make the journey on your own. It was way more effective when I went alone.

That said, I'm not heartless.

The most promising research coming out is the tulpa studies.

Tanya Luhrmann and Michael Lifshitz are incredible, but it's Luhrmann who really stole my heart. She has a long list of work on religious communication with God and "others", and was a huge part of putting tulpas, and several other different voice hearing, religious communities into the fmri scanners to see what's going on. The reddit AMA is being passed around now, and it's largely being ignored by antis, without understanding what it was.

The tulpa studies began... shit, 5 years ago? Covid put a hold on the project, but it's back up and running and they're working on the final paper. The AMA was a chance for people to ask questions to the lead researchers about the project, including whether they found anything.

And they did.

The brains of tulpamancers and other practitioners lit up in unexpected areas and outside of conscious control (very basic overview).

Luhrmann also wrote about how this kind of research can help other voice hearers, and could potentially point to some new therapy opportunities for those struggling.

No, Luhrmann and Lifshitz are not dissociative specialists. Endogenic systems have screamed for decades about how they don't have CDDs and we just refuse to listen. This research is occurring in other areas and specialities. They don't need to be dissociative specialists to work fmri machines and see there's something happening.

My hope is that once the final results are published, we'll see some very quick movements comparing CDDs and endogenic systems. We're not there yet, but I think we'll actually have firm answers within the next couple years.

And after looking into other areas of research, and seeing the potential positives, and that they DID see some unexpected things on the scans...

Not to mention that I've spoken with Colin Ross, THE dissociative expert, who in the 1980s, wrote about "endogenous multiplicity," a subsection of those with MPD that had no trauma history, no dysfunction, no amnesia, etc, and he still stands by that to this very day. I've spoken with several other experts. Go look at Jamie Marich on Twitter and see all her colleagues in the notes.

Anti endo is a dying stance.

Learn nuance while you can (CDDs and endogenic plurality are different, occasionally overlapping), and jump ship before it's too late to take the harm back.

Happy googling and good luck!

[autistichalsin]

Do you happen to how / have made a good timeline of The Shadowlands? What was there before? What it was called? When it fell? IIRC one of the writers confirmed that the rude pale elf in the list of customers banned from the pub was a reference to Astarion. IDK is that was canon or more a joke that stayed in. Having a collected resource on that would be amazing for plotting out fics!

I have no idea if the banned elf was Astarion- I've seen conflicting things on it. But for everything else:

So, the Shadow-Cursed Lands cover primarily the town of Reithwin along with Moonrise, in the Western Heartlands. Thaniel is the nature spirit of this land. (Sidenote: because nature spirits can't really leave the area they embody, and Halsin knew Thaniel as a child, this implies that Halsin grew up somewhere near here, probably in a nearby forest. Since he also mentions his family being buried in High Forest, which is quite far away, it seems likely that they moved at some point, or maybe they lived in the area for a few generations but still considered themselves to have very strong ties to High Forest.)

As for a timeline of the Shadow Curse:

1142: Halsin is born in a forest, most likely near Reithwin. Over the next years, he becomes close friends with the nature spirit Thaniel. Growing while Thaniel stays the same age drives him to decide to become a Druid, as he realized nature, his first friend, needed protecting. After his last family member passes away (Halsin being the youngest son of an ancient line of elves that faded out due to illness and accidents, according to Halsin's writer), Halsin is "turned over to the Druids," at a "comparatively young age" (per his writer).

Sometimes before 1392: Isobel Thorm, Ketheric's daughter, is born. Melodia, Isobel's mother, and Ketheric's wife, tragically passes away.

Sometime between this and 1392: Dame Aylin arrives in Reithwin. She and Isobel Thorm fall in love at first sight.

Roughly 1392: Isobel dies. In Early Access, this was at Halsin's hands, as a fight broke out due to Shar's influence, causing Isobel to attack Halsin, and him to stab her on reflex. In the full release version, this was cut, and no one seems to know exactly how or why she died. Ketheric is devastated by grief, converts to Shar worship, and gathers an army of Dark Justiciars.

Later in 1392: The Archdruid who served the Emerald Grove before Halsin gathers a group of Druids and Harpers (including Jaheira) to face them; they win, with many losses, but Ketheric uses Shar's powers to unleash the Shadow Curse as revenge. Almost all the Druids and Harpers who had survived are then killed by the curse. Halsin takes what survivors he can manage, gets back to the Emerald Grove, and is appointed the new Archdruid. Some days later, he returns to the Shadow-Cursed Lands looking for survivors, finds the Shadow-Cursed version of the previous Archdruid, and is forced to kill it. He keeps his glaive as a "reminder that victory can taste bitter" and locks it away, along with his journal from that day. (In the original, this glaive/dagger, called Sorrow, was the weapon Halsin used to kill Isobel, and had a different journal to go with it talking about his guilt.) This curse, of course, also causes the nature spirit Thaniel to be split in two. One half is trapped in the Shadowfell, while the other half stays in the Shadow-Cursed Lands, eventually becoming Oliver.

Meanwhile, Dame Aylin is kidnapped by Ketheric Thorm and locked away so he can leech her power to make himself immortal.

1392-1492: Halsin spends the next 100 years researching the curse and trying to gain Silvanus's favor to be able to break it. Almost everyone else abandons the land; Jaheira admits to doing so, and a note Halsin wrote laments that the Emerald Enclave wouldn't help even if he asked. The few people who do attempt to go there perish- a Druid from another community got some information from Halsin, tried to enter the land, and then fell to the Curse. Some lines Halsin had in Early Access indicated that his being there when the curse fell and his empathy with the suffering of the Shadow-Cursed Lands/its people were key in his ability to later break the curse.

Meanwhile, Art Cullagh, a Flaming Fist, is trapped in the Shadowfell with Thaniel. They form a very close friendship, and Thaniel repeatedly tells Art that Halsin- and only Halsin- can save him.

At some point, Ketheric converts to worshipping Myrkul in exchange for resurrecting Isobel, becomes his Chosen, and helps hatch the Absolute plot along with Gortash and the Dark Urge.

1492: Shortly before the start of canon, Halsin meets Aradin and his band of adventurers, who tell him they're looking for the Nightsong at Moonrise Towers. Seeing a chance to investigate both the Curse and the modified mindflayer tadpoles he's encountered, Halsin joins them, then is betrayed when they're attacked by goblins and Aradin promptly abandons Halsin to the goblins.

After that comes everything in canon with the Break the Shadow Curse quest and all of its sub-quests.

1493, roughly: In the 6 months after the curse is broken, Halsin (/and Tav, if applicable) repurpose what was left of Reithwin to become a new community for those needing a new start, the narrator noting that it's "hidden from those who are not welcome, open to any who need shelter." Halsin is noted to have "built a schoolhouse in a day" for all the nine wagonfuls of children who joined their community, and become an unofficial leader of the community. He says that the place is unrecognizable in a good way, with the scars rapidly becoming invisible even to those who know what happened.

Sadly, Art Cullagh passes away sometime between the curse breaking and the epilogue, but he remained close to Thaniel until the end, and it is noted that Thaniel and Oliver come to the community often to play.

I think that's everything for the parts of the Shadow-Curse story we don't directly play through in canon!

Random interesting fact that @ride-a-dromedary and I noticed: the name "Reithwin" is one letter off from "Relthwin", the Elvish word for "refuge". That may or may not be intentional.

[ganondoodle]

Since you said it's ok to send you random ask, i've always found your "monsters" design to be really really gorgeous, and I wanted to know : in any form of media you've interacted with, what's PEAK monster design for you ?

i have been thinking about this ask alot bc ... i dont ... know? theres a problem with what counts as a monster really too, most are either some sort of anthro/furry or the horror gore type of monster that instills you more with disgust than awe

i guess theres some i really like but idk if thats what id call 'peak' (though its rarely JUST the design but their vibe and stuff too);

(its a lot of zelda.. sorry)

Eldra, Farodra and Naydra (engl Dinraal, Farosh(?)) though Eldra is def my fav one of them, i like how they are a little more less typical dragon- with the fur around the neck the floppy ears and kinda goofy face yet manage to be the most ethereal, awe inspiring creature i have ever seen in a game with how they act and are presented as (in BOTW!!! do not mention anythign sonau/zonai with stupid magic pebbles to me about them i will manifest worms into your tea)

Leunen (Lynels) (botw) -i could not find a better picture wtf, fav are white and silver ones) FINE they had some pretty neat new horn designs in totk- idk i just like them alot, rather simple if you think about it, horse lion plus horns- but its so well put together it just kinda scratches my brain in a good way (also how intelligent they clearly are, like the way they fight and act and also even their death animation is so??? huh?? you are just gonna treat them like any other mindless monste- *remmbers they treat ganondorf even even worse all things considered* .. nevermind you're good)

'Beast' Ganondorf (twilight princess) its my favorite beast ganon design (even if it technically is just kinda a man boar .. again) though if ww gan had a non puppet beast form that one would most definitely be my fav lol (i will not get over the fact that some descriptions call this a hideous beast EXCUSE ME???? WHERE???) (honorable mention here, darkbest ganon from botw, pig on fire but it looks cool as fuck)

Nimbusgarde (ww) .. (engl .. darknuts?) do i need to say anything? (i could throw alot of ww design here) not sure if it counts as monster but they are not human so ????

the pathless bosses- (here in order, Cernos, the Godslayer, and Kumo) all of them are rad as hell (except for the final version of the godslayer ... liek im sorry but it looks to boring compared to any other one lol) again not just the design but man do i love them

since i dont know what would count as a monster or no i could just list my fav characters here bfmjbfmjsbmj like radahn (elden ring) is just kinda a zombie, aurelion sol (league of legends) is a space dragon, the forest god in princess mononoke, Narisha (skyward sword- sky whale)- i could go on but this post is long already (honorable mention to Omus in nausicäa, weird bugs but also something divine, though it is much more how they are treated and the vibe etc)

in all honesty though i cant think of one that i would describe as perfect, what i want of a monster design is to be ... cool but also a little weird, big hulking monsters that have something off about them and something that makes them 'other', but also not, as much as i like bloodborne, just bloody gory messes of rotting flesh, AND not just as a monster to kill, i just crave a game or otherwiese piece of media where the cool monsters arent just there for you to kill- the perfect one i guess would be something kinda big scary weird and off but while non verbal clearly not a mindless beast?

and here is the thing; my own characters do not furfill that, my designs are really rather conservative, much to my dismay, anthro of a mix of animals, maybe an extra arm thrown in- Eadrya, one of my favorites, is really just a blueish furry (yes they have fur) and their demon form is a mix of seals and catfish with some extra arms, too many teeth and a mouth that goas wayy to far (if they want) - Shargon is a feather dude with extra arms and his demon form is really just a chinese type dragon crossed with a bird, throw some darts at the color wheel, done

together with my problem of my monster characters losing their 'otherness' vibe within the story rather fast bc the majority of my characters are non human and speak and you see them in all sorts of emotions and parts of life- they lose that divine, unknown vibe and i HATE that that happens, i want them more akin to the forest god in mononoke but thats not possible unless i start from scratch

and i really dont mean to make myself look bad to sound self depre- ... however you spell that; i really am rather dissatisfied with my own designs but mostly just roll with what i got bc i never seem to be able to actually achieve what i want

even my redesigns often really make things LESS interesting (unless maybe the og was just ... human, but they are blue eyed with golden hair and white so that makes them divine you seE-), the skyward sword dragons as i redesigned them made them much more classical dragon, in part intentional bc i was drawing a connection of them becoming the botw dragons at some point, but by all means the canon design is much more weird and unusual than what i did with them, you could apply the same to even demise, his canon design might seem a little uninspired but really what did i do? inject him with some classic satan spice like that makes it in any way less stereotypical evil demon ??? lol

im sorry this post devolved into whatever this is but i really am trying to answer sincerely, i am confused about it myself, what counts as a monster, what doesnt, there must be more that i really loved but why cant i think of them, why do i design characters like this when i really want something much more different, i dont know, i feel like my brain is in a cage, why do i keep making things less interesting in an effort to make it interesting, am i falling into the corporate trap of cool sells who am i what am i doing

(theres a zelda artist with a style so strikingly genuis in shape, color and just .. DESIGN that i want to chew my nails off bc i cannot design like them, their designs and redesigns are so different yet sensical and so full of crisp shapes i have never seen before it drives me nuts and i would want to give them a shoutout but i think they dont like me so aaaaarhekjbfhgdknbgdfklbg)

[astoundingbeyondbelief]

Kaiju Week in Review (November 26-December 2, 2023)

I wasn't over the moon when Toho announced that Takashi Yamazaki's Blockbuster Monster Movie was in fact the next Godzilla film. I had seen a few of his works—none bad, but none spectacular either. Well, I've set my sights on watching the rest in the new year, because Godzilla Minus One is an unqualified masterpiece. A tagline from the original Godzilla, King of the Monsters! comes to mind (as it often does when you're me): "Mightiest melodrama of them all!" A lot of the post-Showa films suffer from an abundance of characters who just spout exposition and look at monitors; here, almost everyone in the small cast gets at least one close encounter with Godzilla, and the monster's backstory is conveyed with extreme efficiency. This tale of a war veteran trying to rebuild his life in the ruins of Tokyo, stumbling into a family, finding fulfillment in blowing up leftover mines, and haunted by what he perceives as his cowardice in combat, would have been plenty compelling without Godzilla.

Since it does have Godzilla, it's high on my list of the best movies of the year, and I only need one viewing to call it one of the best installments in the almost-70-year-old series. Yamazaki patiently waited some 15 years after Always: Sunset on Third Street 2 for his shot at a Godzilla feature. You certainly get the sense, watching one of the most brutal, pissed-off incarnations of the monster ever to grace the screen, that he spent every day of it in preparation. Watch it often while it's still in theaters, and watch it big.

Godzilla Minus One will gross about $10 million in its U.S. opening "weekend", a third-place finish that beat expectations. For context, Godzilla 2000, the last Toho Godzilla film to receive a wide release here, made about $10 million during its entire theatrical run here. Ticket prices were cheaper then, of course, and Minus One was helped along further by almost half of attendees going to premium-format screenings. Conversely, it had to overcome Americans' subtitle phobia, and the first weekend of December is usually a slow one. I was pessimistic at the outset, but now I expect larger theaters to carry the film into the new year, especially with near-universal raves from critics and audiences.

Yes, a third section for Godzilla Minus One; it's well-deserved, I promise. MyKaiju is risking life and limb by hosting an English translation of the film's novelization, written by Takashi Yamazaki himself. It appears to be at least partially machine-translated, but the Japanese text is included for comparison. Haven't read it yet, as I want to see the film a second time first, but quite a breakthrough given how mysterious this sort of thing usually is.

Monarch: Legacy of Monsters could never hope to compare with the opening of a stellar new Godzilla film; unfortunately, I also thought this week's episode was the weakest so far. It's bookended by Frost-Vark action, but the rest just drags. All's forgiven if the teacher and the hacker smooch though.

Toho and Legendary used to let each other's live-action Godzilla movies breathe; now the U.S. opening weekend of one is coinciding with the opening marketing push of the other. IGN released a trio of pics from Godzilla x Kong: The New Empire, showing Kong with his axe; Dr. Andrews, Jia, and Trapper (Dan Stevens's character) in uniform; and Godzilla "evolving into a powerful new form." The same article included an interview with director Adam Wingard. Naturally, he didn't give away much... besides the return of Doug.

Earlier in the week, Legendary put out a trio of posters featuring Godzilla, Kong, and the film's antagonist, now christened Skar King. The taglines ("Unite" for our heroes, "Bow to Your King" for SK) sound like kaiju campaign slogans. Makes me wonder if, like Godzilla vs. Megalon before it, the movie will improbably capitalize on the presidential election next year. To steal a joke from Titanollante: Godzilla/Kong unity ticket? They'd have my vote.

Godzilla's new form, meanwhile, has already been spoiled by a T-shirt on Legendary's own site and some dire-looking Playmates figures. It makes sense that Wingard would want to have his own spin on the character after keeping the design from Godzilla: King of the Monsters for Godzilla vs. Kong. Hard to cast judgment without seeing the real design in full, but there's one particular detail I really like.

The film also has a booth at CCXP in Brazil, with a panel later today, so I think a trailer is incoming (the main reason I hammered out this whole post so quickly).

I missed this one last week: Tsuburaya announced an anime project called Ultraman: DARKNESS HEELS. The DARKNESS HEELS branding has been around for a while, spotlighting prominent evil Ultras—and, of course, Jugglus Juggler. No details on the anime yet, but if the Juggleman's there, so am I.

The big toy reveal this weekend was Super7's ULTIMATES! MaiGoji figure. Previous Godzilla figures from this line haven't lived up to the official photos, but hope springs eternal. It's $85 (much less than the MonsterArts); preorders started Friday. Other highlights: a Super7 ReAction figure of the original Godzilla's skeleton, which comes with a little Oxygen Destroyer, and a plush Mothra from Surreal Entertainment that can flip to imago form to a neck pillow-shaped larva.

[writingtraumaforever]

HELLO just wanted to throw my reactions to some of my favourite moments of the new courtship chapter that you posted at you.

First of all just wanted to say that I'm a sucker for unsure/anxious shadow, so right away you have me in your clutches with your writing. All the times when he used his internet YouTube training absolutely sent me. He tries so hard :') Get this man some loving friends and a family STAT.

... The fact that he went so far as to look up the most obscure stuff about hedgehog courting of hilarious to me, as well. And the payoff at the end? *Chef's kiss* spectacular. I love to see it.

Also on a side note, I really enjoy your writing style. There isn't too much exposition, but it's also not just dialogue and I think you've done a good job balancing the two. Especially with all of your descriptors on how the characters are feeling.

Ok anyways my other favourite thing has to be when you wrote 'the Utmost Living Being'. I don't think I've ever seen that variation of 'the Ultimate Lifeform' before but let me tell you when I read that I had to do a double-take. When I tell you I cackled on the second read-through, do not take it with a grain of salt;;;;

anyways there's probably more but that's all I can't remember off the top of my head lol

Have a nice dayyyyyyyy

*closes door gently on the way out*

This was SOOOOO sweet! I loved reading this. 🥹🥹

I’m so glad something I wrote could bring you joy and amusement! I had a blast writing that fic, and will definitely be continuing with little oneshots or mini-series here and there because I just love those two so much okay??? The movie-verse has a special place in my heart.

Thank you so much for the compliments on my writing style! You have no idea how much that means to me. I’m an avid reader of fanfiction, and I often get discouraged comparing my own writing to others and feel inadequate or repetitive with my own style. So to hear that you don’t just enjoy my story but the writing style itself is SUCH a lovely thing to hear and so, SO appreciated.🤍

And as for the ‘Utmost Living Being’ line??? If you only knew how many options I went through with that. 😂😂 I pulled out my thesaurus for that one and was writing down a list of synonyms I could use, but landed on that one as the most ‘Knuckles-esque’. 🤌 Glad it wasn’t overlooked!!

So glad you enjoyed my fic!! And thank you for taking the time to let me know just how much!!