#i also love how at no point in this show have i felt like any person was just a straight up villain

[crimson-and-clover-1717]

When I watched OFMD this year, I literally knew three things:

It was called Our Flag Means Death

It was a pirate comedy

It had been cancelled

I didn’t know Rhys Darby (‘that Murray bloke from Conchords’) or Con O’Neill (‘the weird guy from Chernobyl’) were in it until they came on screen. And please don’t stab in me in the face, but I had never heard of Taika Waititi. I’m very much not the target market for this show. Although I will say I think it’s universal in its exploration of the human condition. So if you’re human, the show is for you.

I knew nothing about budget cuts, editing decisions, or even at this point any circumstances around why it had been cancelled. I had not an inkling it was a romance. I had no notion it was going to overtake my life to such an extent.

I watched one episode a night for 18 nights (I know, I know… I binge-watched it immediately afterwards over two days, and haven’t stopped since). I also had no-one to talk to about the show as I watched the 18 episodes. No-one I knew had ever heard of it. I really was a blank canvas.

And this is what I thought. Other than finding Calypso’s Birthday a little uncomfortable on first watch (and that’s largely because I find torture, even the OFMD variety, difficult to engage with - I always skip the opening of 206 now), I saw no difference between the seasons in terms of artistic merit. It’s possible that because I didn’t experience an 18-month hiatus, and build up my own version of what season 2 should be in my head, I didn’t have any expectations to be knocked down. I just engaged with what they asked me to watch.

I fell in love with this show at ‘My name’s Stede. I’ll be your robber here today.’ I fell in love with Stede Bonnet when he did his little Scrappy Doo air-punch in episode two.

With regard to season two, The Innkeeper affected me so much I honestly think it altered my brain at a structural level. More so than The Chain sequence which is when I think this show started affecting my brain chemistry.

I also loved the development of Stede and Ed outside of their personas. The couch scene in Fun and Games made me believe in them as a couple in ways I hadn’t quite in season one because they were growing and being real with each other. I thought their arguments were so well-written. Man on Fire has one of the most authentic representations of couple miscommunication I have ever seen on tv. And I think Mermen is really good in doing what it needed to do, and did it well. How do you end a tv series that gives a satisfactorily emotional ending, but doesn’t give away everything in case there’s another season?

Ed’s journey in particular just ripped my heart out and then glued it back together. And seeing Stede continue to develop his very nonlinear understanding of the power of his earnestness and gnc self, whilst still sometimes wrestling with notions of traditional masculinity… I needed to grow a second heart.

When I learned of the financial and time constraints later on, I was shocked they had achieved such a high standard of tv.

Imagine my shock when I discovered the Canyon…

It’s fine if you don’t like season 2, or season 1, or OFMD at all for that matter. But if you want me to say season 2 isn’t any good, or as good as season 1, then you want me to say something that I have never felt to be true. When you experience it holistically like I did, it all hangs together beautifully.

[yamisnuffles]

DATV Spoiler Free Review

I beat Veilguard a couple days ago and have had some time to let it settle in my brain. So, without getting into the nitty gritty and more spoilery things, here are my overall feelings on the game.

The Great:

The world itself. The scenery. It was really gorgeous and felt fully alive in a way that none of the previous games have quite managed. Since it wasn't as open world as DAI nor as narrow in scope as DA2 (nor as old as DAO lol), it felt more vital. Definitely a place where the advances in graphics helped, I'm sure.

The Good:

The companions. I wouldn't say any of them blew me away but they all at least ranged from enjoyable to very good. I definitely had my quibbles here and there but I think they were all pretty solid. As such, though I've only done one romance, I'll suppose they're all good. A bit... sparse in my experience and from what I've been hearing, but nice enough.

Overall, I also think the story was pretty good. Like much in this game, nothing that blew me away, but solidly compelling.

Also, mechanically, the gameplay and the glamour system. It still doesn't feel like DA to me but it was enjoyable once I got used to it. It works well with how I play games. And it was nice to just set looks for myself and my companions and not worry about stats vs appearance.

Rook. I have some definite Complaints, and so this point is probably closer to the good to mid range, but they did a pretty good job with letting you pull in your faction stuff. I'm prevented from saying great because it feels like, even with what are supposed to be rougher dialogue choices, you're limited to being mildly pleasant.

The Mid:

The music. This is tragic to me because every previous game had some really standout songs and DAI especially was such a solid soundtrack. I love soundtrack music. Also because Hans Zimmer! I love Hans Zimmer. But the entire thing felt very generic epic fantasy to me. It wasn't bad but it didn't feel good. The only times I ended up moved by the music was when they lifted DAI songs.

The lack of imports. It wasn't the end of the world but did make some cameos feel really off. And for all the talk of making what few things were imported matter, that really didn't feel like the case at all (unless you were in a specific subset of players). I didn't care too much, but it was just enough to make things feel weird, especially with characters like Harding who are so attached to previous stuff.

The Bad:

The world felt so sanitized. I have no issue getting rid of real life bigotry that makes so sense in the context of the world. For example, the sexism in DAO especially made no sense. That said, there was a lot of in world nastiness that is just... gone. The game does a lot of telling us the elves have it bad but doesn't show it. No one bats an eye at a Tevinter mage running about outside of Tevinter. No one cares about a Qunari in occupied Treviso. I suppose it's not the worst thing in the world but it feels weird, especially when it's so central to Solas' motivations.

This sanitization carried on through pretty much everything. All of the factions are presented as good and heroic, even the ones that are historically pretty shady. Your companions are all pleasant and palatable. They have the occasional minor squabble but even when they almost have actual beef, it's solved super easily. You might get some disapproval for decisions but companions never seem to much care or hold it against you, even on really big things. I don't need DA2 levels of interparty drama but, boy did I want a bit more tooth sometimes.

The Awful:

I can't get into it without spoilers but it did a Thing that Bioware sometimes likes to do that I absolutely loathe. This is definitely personal but it ruined some of my desire to replay.

Overall:

I'd give the game a 7/10 or maybe 6/10, depending on how I'm feeling. It was enjoyable for the most part but it had so many things that felt like splinters. Lots of little things that stuck under my skin and bothered me. Would I recommend it? Genuinely depends on the person.

[charli3emily]

A deep dive into the character of Ralph🐚

It is directly stated in chapter 4 that Ralph was one of the most comfortable about being on the island and his earlier actions shows thisThe only time he was show to feel worried was when he was forced to face reality(mulberry boys death,the war,getting rescued,ect). We also know that his life before the island had likley been falling apart. His mother was gone for some reason(as yk i hc her as dead which is the most common theory) and the war had gotten to a point where he needed to return to the Navy leaving him alone. He was in a new school(the boarding school which is all brought up in chapter 7) and likely shortly after the war has gotten to a point where they needed to be sent of to saftey. Those itself would be incredibly stressful for any kid of his age but adding in all of the previous changes it would be too much for anyone to deal with. So when he survived a crash and ended up in this paradise like place(which he likely had already dreamed of or loved in some way due to his original intrest of coral island which was brought back in that graphic novel) this would almost feel like an escape from the harsh reality he has been living in for atleast a few months. This would explaine why is reaction why his initial reaction came off as so odd. He was exited because he finally got an escapeHe also then gained a position of leadership(similar to his father who he is show to look up to) and a friend(Jack) taht he was finally able to get close too(Ralph is highly implied to move around as a child which would make making and keeping friends very difficult). Ralph loved the island so much because it was the first real escape he had. And having to accept reality took this feeling of stability away and forced him to accept that things where it good. We also know that this wild nature was somthing he had previously loved. In chapter 10 he brings up his last home again and how he loved the wild nature(which at that point he no longer loved) so the island would be even more enjoyable. When piggy once again mentioned rescue in chapter 4 and immediately after Ralph saw the boat he was still in the ehad space of dealing wirh reality which explains why he reacted so strongly. And of course the fact that he wa sthe cheif and it felt like his responsibility .This also makes the island falling apart even sadder because it was the only good thing he had left and it was stolen in 6 days with a weight that fell directly on his shoulder. And in the end he is confront with reality for the last time when the naval officer reprimand him for not doing enough to keep things in order despite him doing all taht he good in teh situation he was put in. And we know that war was still clearly going on(chapter 6 with the dead parachutes) so he was also forced to go back to that grim reality after the book concluded. Thsi would be 100 times worse if the original cannon of the nuclear bomb destroying London was still cannon.

If anyone chose to fully read this thank you

[arn359]

Wine is waaaay to worse than i imagined😭😭😭. I will blame all the fic that i read about him and make like he was a nice guy. The fact that i will immediatly shoot the other au without question if he meet them is insane. And the way he always want more power and he will always try to manipulate the king . Also poor coffee😓.

Anon, I’m using your ask to ramble about Wine. And it’s too long…. So i think i will put the rest under the cut. After the pic.

I haven’t read much of fics that have Wine in it. But with so little information about him, the way it scattered around and languages barrier. I understand that ppl may have different view of him, also is the setting of the fic. If it’s on the surface, i guess he could be better???

But there’s a thing about FSG(Fellswap-Gold) being set in communist theme , Wine being the head of the royal guard, AKA he the head government. Idk about you guys, but for me. Any head government of a dictatorship system could never be a nice guy. NEVER. IT’S UNACCEPTABLE.

Though, you guys can have fun, just don’t forget it exists in real world. And even thought it’s not real. Propaganda exists, so is the media effects.

I summarized some of the timeline in the second pic (The art is based from the creator)

I hate Wine so much, but here i am defending him(?) nope just explaining my insight. (i still haven’t read the setting with proper translation , so this is my headcanon from what i understand)

Wine will immediately shoot other AU.

It’s both Gaster and the system that made him that way. He’s born to be the best solider. He trained hard, deem to be love by Gaster but Gaster only see him and Coffee as tools. After Wine feelings toward Coffee became ‘his only family’ Wine wants to protect Coffee. Wine changed to rely on Coffee being relied to him. Wine betrayed Gaster cuz Gaster want to get rid of Coffee.

Wine is a conservative, because that what the system always is.

So Wine will shoot other AU immediately because for the system. AU is see as threat. The AU would bring new possibilities and that’s against the conservative view that is to continue the old/current system.

(The dictatorship and conservative control the knowledge of their citizens. Keep their knowledge low so it makes them easier to control. Risks of having the AU be seen by citizens is not good. Citizens can’t see new things, can’t have more knowledge of other AU, can’t know that world with freedom exist. So the AU is see as threat)

But of course, Wine is not really a full conservative as we seen in some settings about him, like Wine doesn’t discriminate toward Undyne&Alphys, Wine support Grillby and Muffet interracial wedding. But the system, the time(their au set in old period), and social. Also is the way he grow up, the way he need to be ‘the best’. It rooted too deep into his mind. And it show with what he said toward Coffee.

Yes Wine always seek power.

Because he’s a coward. Wine felt loved when Coffee relied on him as a child. But when they grow up, Wine still think that way to the point of unhealthy. Because he feared of being alone and lost his only family. And because of the system in underground is like that, he needs power to stay safe. To stay alive and hope that the thing he fears the most never come true. So it lead to seeking powers.

Wine for me, he’s a coward, he fears and the only way he knows how to ease those fears is to have more power.

Kinda words these badly, cycling nonstop. But it’s really just the way it is. Cycle. The system can't be changed. It needs to be perished.

Yes…. Poor Coffee…he also has a problem… but that’s for another time. Another post… the bairnrot hitting me bad…

These information are from @/fsg-settings go check it or you can see my post and a link to my doc i collected all the information in one doc and used google translated on them. So you can just read there. Or maybe opening the web would be easier?

[devirnis]

Okay, after having a few days to process, I am allowing myself one vent post to get it out of my system and then it’s back to ✨positive vibes✨ only

If I see one more goddamn smarmy post about how “the writing was on the wall the whole time” (with the undercurrent of “you were too stupid to see it, I have the only valid interpretation”) I’m going to lose it

Had we not had 8x05, the breakup still would have bummed me out, but I would have said, you know what, fair, we didn’t see a whole lot of their relationship, a lot of it was fanon and headcanons. We had a good run. But we did get 8x05, apparently some of it filmed out of order knowing a breakup was coming, and what was the point? To be cruel? It felt like a slap in the face to people who liked that relationship.

They could have laid some groundwork to show some cracks in the relationship, but no. Ignoring disingenuous interpretations from people who have been rooting for the ship to crash and burn since day one, 8x05 established Buck & Tommy as a solid couple. Tommy gets along with Eddie, the three of them had great chemistry together. Tommy takes care of Buck when he’s hurt. Tommy thinks the curse is a bunch of bs (as does Eddie) but still went with Buck to have a funeral for a mummy. It’s like I watched someone cook an elaborate, delicious dinner for me and then they immediately threw it in the trash, and other people around me made fun of me for being blindsided and upset because I should have seen that coming.

I won’t pretend the general audience is a monolith who all have the same opinions. I’m sure there are people who don’t care and just shrugged their shoulders that another relationship of Buck’s fizzled out. But I have 2 friends who watch the show and aren’t Fandom Fans, and they are always my barometer for how people who don’t have brain rot (affectionate) feel about the show. One really liked the relationship, the other was neutral to mildly negative on it, and both of them agreed that it felt like the breakup came out of nowhere and made no sense given the context of the previous episode. So please stop pretending that it’s only BT fandom fans who have their knickers in a twist about how it played out.

If this isn’t leading to buddie, then I don’t want to see another love interest for either Buck or Eddie for the rest of the show. Tommy had so much potential to break the cycle of Buck’s love interests (and interviews from last season seem to support that they were aware of this and planning on utilizing that) and throwing it away feels like such a waste.

So yeah, instead of being just bummed, I’m pissed. I do not know if there was BTS drama or if Tim got some other grand idea for Buck’s storyline this season — but given how plots are adopted and dropped at rapid fire pace this season (something I was willing to forgive last season because of the shortened production timeline and fewer episodes), I’m highly skeptical that there’s any sort of overarching plan here.

I��ve never thought buddie would actually happen on the show, but I also never thought either Buck or Eddie would ever be anything other than straight, so I’d be happy to be proven wrong. I’m just a little jaded by seeing people doing a victory lap convinced that buddie canon is imminent when I think that they are giving the writers a lot more credit than they deserve for supposedly crafting this epic love story for the last five or so years when a lot of that is also just generous fanon interpretation. I need explicit confirmation within the show by the end of this season that at least one of them has caught feelings or I’m over entertaining the possibility it will actually happen.

I know the joy will come back. But I really hope the same plot lines playing out ad nauseam for every character stops because I’m getting a little tired.

[jbaileyfansite]

Vanity Fair Interview for the Hollywood Issue (2024)

In the last 13 months or so, Jonathan Bailey has carried on a secret gay love affair in McCarthy-era Washington, performed cunnilingus in a Regency England manor, rendered teenage boys speechless with a pop-philosophy lecture, and danced through life in a prince’s bedazzled breeches. This coming summer, he’s fleeing dinosaurs.

That would be in, respectively: Fellow Travelers, Bridgerton, Heartstopper, Wicked, and Jurassic World Rebirth. But even if he’s just pretended to do all those things, it’s understandable why Bailey is, right now, pinking his nose at a villa in Puglia.

“It is just so dreamy to be able to chill out,” he says via Zoom. “The cortisol levels have depleted.”

Playing Fiyero in Wicked was a dream come true for Bailey, who at one point in our conversation fantasizes about going to a Broadway rave with his castmates—he refers to Ariana Grande and Cynthia Erivo as simply “the girls”—and dancing to techno remixes of Wicked tracks, like “Defying Gravity,” under pulsating green lasers.

After filming the two-part movie with the girls, he’s nabbed an Emmy nod for Fellow Travelers and started a charity, the Shameless Fund, to uplift the LGBTQ+ community he’s proud to be a part of.

We’re thrilled to have Bailey as part of our 2025 Hollywood Issue. Here, he shares his thoughts on being a change agent in Hollywood, how he chooses roles, and the secret talent that he wishes he’d kept a secret.

Vanity Fair: What a run! How are you feeling?

Jonathan Bailey: I’m very much enjoying my holiday. But the girls started rehearsing Wicked, what, two and a half years ago? I think people assume that I haven’t had any breaks, but I have. Also, we had the strike right in the middle. What was crazy is going from Fellow Travelers to Wicked, just insane.

The Wicked movie is so close to the stage show that if you’re a big fan, you’re not going to be like, “Well, I can’t believe they…” It hews so closely, how could you complain there? But that flip. Are you a secret tumbler?

I remember I’d flown back from Canada and then I was filming Bridgerton. I met the girls then, and they were well and truly underway. I remember going to the dressing rooms, and theirs were pink and green and were just spilling into the hallway. And mine was just an interrogation room with nothing.

But I did spend the whole day with [choreographer] Chris Scott and went from Chris Scott to see [musical writer] Stephen Schwartz, and it was just, for me, boot camp days. You just lean on the amazing choreographers and obviously [director] Jon M. Chu’s vision. So when it came to the beginning of “Dancing Through Life,” I felt like it had to be sort of a flair and sort of performative, but hopefully in a way that was just with abandon and not arrogance. I did gymnastics growing up and I did dancing. I was the only boy within a whatever-mile radius. And because I was a boy and I was dancing, whenever the Royal Shakespeare Company wanted to cast someone, they called. It was dancing that got me into acting. And in dance school—not school, but a hobby club—they had acrobatics, which I was obsessed with. So I had, and still do have, a very bendy back, as shown in Wicked.

I’m a big fan of Heartstopper, the books and then the show; I loved the comic. Was that something that you sought out, or they were like, “Hey, we need someone who’s so handsome that he sends multiple people into a crisis”?

I sort of wedged myself into that part. I was so moved by the series and also the graphic novel.

And, of course, doing Bridgerton—it’s funny what comes with doing a lot of press, and suddenly there’s a lot that people want to know about you, and there’s a lot that’s asked of you that, obviously, in any other industry, you wouldn’t have to talk about. So I was hyperaware of the complexities and nuances of how I felt about myself being a gay man, let alone a gay actor, and suddenly finding success in playing a straight part and talking about that. Heartstopper seems to allow people to feel catharsis and to feel a sort of melancholic sort of nostalgia for what could have been. I was feeling all of those things anyway. And [executive producer] Patrick Walters is really good friends with Josh Cole, who produced Crashing, so it is all a bit of a small world.

I love the cast. I think they’re brilliant. I remember seeing all of them speak to their own experiences and being like, My God, they’re so erudite and grounded and thoughtful and kind and compassionate in their answers. I would be really proud of myself if I could be a part of that as my younger self. Everyone above the age of 40 should be forced to watch it.

Do you think that Hollywood is more open to risk than it used to be? So many of these projects wouldn’t have existed 10 years ago.

Yeah. And with huge budgets and [the] trusting of Universal and Donna Langley and Peter Cramer, obviously they just got the right people, with Marc Platt, and they took their time. That’s the common denominator between these things: Fellow Travelers took 10 years to percolate and run its way in his genius, genial brain, and then four years to commission. Wicked, I think they’ve been trying to make a film of it for over 10 years. With Jurassic as well, this time they’re going back to David Koepp, the original writer of the original film, and Gareth [Edwards] is shooting on film.

I’m going to crack on with the work and I’m just incredibly excited for opportunities. I do think that as long as the work is good, anyone should be able to do the job. And I think that’s what’s changed. I obviously did not imagine myself in this sort of career, so that must be a sign of progress.

Do you get recognized out and about a lot? You’re in all these properties now that have such intense fan bases.

It’s funny—obviously, you do get recognized, but the Bridgerton of it all is really interesting, because it’s one thing to be on a show that is national, but I feel like I was more recognized outside of the UK than in the UK. It takes time to adjust to, it really does. It’s not an easy thing, but it also is amazing.

Do you have any secret talents? You already said that flipping is your party trick.

Yeah, I think that, and I was going to say dexterous toes…

What do you do with them?

…. but I would regret that, so I didn’t say it.

But then you did. What can you do with them that makes you so sure they’re dexterous?

Nothing about this goes well...I just remember entertaining my sisters by being able to pick things up with my toes, but like a monkey. But we probably don’t need to put that in writing.

Physical therapists, I’m sure, hail you.

I did ballet for ages, and I’ve only as an adult found out I’ve got very flat feet. Doing Fiyero, I learned that. And the physio one day walked in because my knees were twanging, and across the room he went, “You got flat feet.”

Your big secret: flat feet.

Yeah, that’s my party trick as well.

Revealed. Do you consider yourself to be a rule follower or a rule breaker? Are you afraid of getting in trouble?

I’m not a rule breaker, I just don’t really adhere. Do you know what I mean? If someone says, don’t do that, I won’t not do it. Probably people would always have said I was probably quite naughty.

You have a philanthropy, the Shameless Fund. Can you tell me about what inspired you to start that?

I’ve always found it is impossible to talk about this without sounding like an asshole, but it’s something that I do think about: opportunities for other people. And I also see where there’s an abundance of energy, whether that be money or creative, that could be siphoned off into other areas.

With the Shameless Fund particularly, there were certain commercial opportunities that were coming my way that I just wasn’t interested in because they just didn’t feel right, or I didn’t want to be stepping into [them]. I’m hoping next year we’re going to start giving out grants, in 2025.

Whom will the grants be going to?

Well, we’ve got three that we are certain on, nonprofits and charities that work internationally and locally in the UK for areas of the LGBT+ community, to educate and elevate. Hopefully, we’ll get to a point where we can offer smaller nonprofits a platform.

The three weeks after Bridgerton came out, there were so many requests from charities that I found it so upsetting and distressing because I wanted to do all of them. “Can you come to this thing, or can you speak, or can you send a shoe, or could you send a bag? Could you sign a script?” So this is also a way where you can work with multiple groups, become a bit of a patron.

Is there anyone who you feel reached back and helped you along in your career too?

Theater directors massively. Ian McKellen was wildly amazing, and I did King Lear with him. He was one of the first people to come to see me when I did Cock on the West End, and we went for a drink afterwards. He was so clear about how it might play out, and should it play out that way, what to be excited about and what to be aware of. I couldn’t wish for a better role model.

Source

[kinardsevan]

I was totally genuine because I would love your stuff on 911 proper! They're dropping the ball with everything atm, which is so damn frustrating, considering the setup they gave themselves this spring.

Much love! 🤗

Glad for the clarification! ❤️❤️

I can totally understand your feelings. Mine aren’t far off. I waffle back and forth basically by the hour over whether this is all a tee-up and there’s real intention behind it, or whether they truly did give up the best thing that they’ve had in years.

One of my biggest struggles on it all and how it doesn’t make sense, is the active effort to include Tommy/Lou in the social media posts and ABCs use of him in ads as well. I understand that the networks opinion isn’t the end-all, be-all. But I just can’t coalesce all that’s been fed to us to this point, both from a story standpoint, and from the use of Lou/Tommy in the grander scheme at large. It doesn’t make any sense in the narrative, regardless of the ideals that some people have about him being a plot point or “entry level relationship”. One of the quotes I think back on is when Oliver said he wanted to see these two go through the struggles do in their first year of a relationship. That quote alone was one of the things (along with the intentional use of “Evan”) that said to me “people want this to be a short story, but these factors point to Tommy being around long-term”. It goes to the issue that Tommy does not see Evan as “Buck”, when we have already extrapolated that Buck is a mask. We’ve known that since season 3 when he told Bobby that putting on his uniform makes him feel like he can do anything, and “Buck” was a name he took on FOR work. It’s a dignification that creates separation for him from others. By relation, Evan can be as stripped bare and honest as he wants. This is why the use of his first name has always been important. Maddie can see him stripped down and bare, metaphorically speaking, because she knows his trauma. She’s his sister so she gets Evan rights. Eddie used his first name once with the will. In the same context as being stripped down, this was important because he wasn’t communicating with Buck from the standpoint of coworkers, but as a close friend telling him that he had made a decision about the safety and care of his child, should something happen to him. I can’t remember if we’ve ever seen Bobby use his first name, but this has always felt less important because of the father/son narrative.

We’ve seen Chimney throw around “Evan” in weird contexts, but I don’t think it’s a bad thing, so much as they have a unique relationship due to being coworkers, friends, and brothers simultaneously. I think that’s why anytime we hear him say “Evan”, it’s a bit of a play on fucking with him.

So when we cycle back to Tommy, who had only EVER called him Evan, using the name Buck is him forcing himself to create a separation. We also as a fanbase hear that and go “no, that’s wrong, it doesn’t sound right”.

At the end of the day, I cannot reason a fact to build all of this into a narrative (and I do mean ALL of it), include Lou in social media posts, have him be involved in interviews about the show… all to set it on fire 13 episodes after he returns. You’d have to have a damn good reason for doing so, like an actor wanting to leave or being so problematic that they need them gone. Now, a certain group would like for us to believe this, but we don’t have any actual proof of ANY of this narrative. That all said, we have to revert back to what we know and what we’ve been told. Which is confusing.

So. I’ve rambled again. And repeated myself in some contexts 😂 but I think I made my point? (If not I’ll obviously come up with more shit later 😂😂)

[fuck-you-upmusicbracket]

Cicada Days (Will Wood)

And God knows crying ain't gonna change a thing/She said take care But I take more than I bring/She said, "It just feels inhumane to lose this much"/"'Cause when you leave you know you takе more than your love"

"LET ALL MY RED FLAGS FADE TO WHITE, YEAH, I GIVE UP DON'T LET ME LEAVE, I'LL ONLY TAKE MORE THAN I GAVE OKAY, I'LL PACK MY STUFF HERE AT THE END OF DAYS, MY GOD, WHAT HAVE I DONE?! CHRIST, NOW IT FEELS DAMN INHUMANE TO GET ALL I'VE DREAMED OF"

"It is just so so so sad and such a good representation of how grief and loss feels sometimes. It really shows that sort of quiet misery and helplessness and how at some point you just give up and stop waiting for tomorrow to get better. Also “it just feels inhumane to lose this much” is the most relatable and best line ever written or sung by anyone ever."

"it's the shouted out lyrics at the end. it's the themes of losing people. it's the final album feeling"

Fast Car (Tracy Chapman)

You got a fast car, I want a ticket to anywhere/Maybe we make a deal, maybe together we can get somewhere/Any place is better, starting from zero got nothing to lose/Maybe we'll make something, me myself I got nothing to prove

So I remember when we were driving, driving in your car/Speed so fast, I felt like I was drunk/City lights lay out before us/ And your arm felt nice wrapped 'round my shoulder/And I-I, had a feeling that I belonged

You got a fast car/Is it fast enough so we can fly away?/We gotta make a decision/Leave tonight or live and die this way

"I know it's an obvious one but YOU try playing it without crying I dare you"

"I cant explain the yearning but this makes me howl"

"OH GOD the longing!! The yearning in the recurring central image of the narrator and her lover on the highway, feeling this sense of limitless possibility and incredible hope!!! And then the verses take us with brutal efficiency through the collapse of their marriage, the way that the cycle of poverty stomps down on their hopes, and how with nothing left, the narrator does what her mom did and leaves!! Leaving the kids to experience the same thing she did growing up!! But it’s all punctuated and bookended by these callbacks to that central iconic memory of hope!!!!! But by the end we realize that the last line “leave tonight or live and die this way” offers only the illusion of a choice: when the narrator first runs away and later when she leaves her husband and kids, she’s still fulfilling her role in this cyclical generational story. God!!"

Cicada Days submitted by @localvoidcat

Fast Car submitted by @smallboyonherbike + @uchihasasukeofficial + @all-our-exploring

[legomonkiefics]

Hello! I hope you’re doing good! I’m not sure if this has been done yet, but I got an idea for a fluff (possibly a pinch of angst?) scenario!:

Any, all or two of the traffic light trio sillies (Mei, Red Son, MK), with an s/o GN!reader that’s an experienced healer who takes care of them after a tough battle against a monster of your choosing. Maybe they have a heartfelt conversation afterwards, or during the process of patching them up, about getting themselves in danger for the sake of saving the world? 👀

Been thinking a lot about this since s5 lmao. Haven’t fully recovered yet 💀

🍜💛 Healing a Trio —🐉💚 Traffic Light Trio x GN Healer!Reader HCs 🔥❤️

Genres: Fluff || they/them pronouns for reader || No warnings needed

₊˚.⋆☾⋆⁺₊✧. ݁₊ ⊹ . ݁˖ . ݁⋆˚｡⋆୨🍜🐉🔥୧⋆˚｡⋆✩₊˚.⋆☾⋆⁺₊✧ . ݁˖

- It had been a fight with a huge hawk demon, one that MK was pretty confident he could take, especially cause Mei could use her bike to move closer to the threat. Red Son was roped in by circumstance, begrudgingly working with the heroes to defeat the threat. The attack was a surprise, so there wasn't much the Trio was prepared to do. Once it finally ended, they were sufficiently scratched, scuffed, battered, and bruised

- The three had come to you a little hesitantly. They didn't like feeling like they were bothering you, especially because these always ended in some deep conversations about the nature of self-sacrafice and priorities. When you'd opened your door to the three and allowed them in without many questions, they filed in, MK and Mei attempting lighthearted jokes right off the bat to diffuse tension

- MK, for as much as he gets hurt, sucks at getting patched up. He hisses and writhes if the topical medicine stings, yelping and whining at the unpleasant sensations. He's a very dramatic patient, but a very talkative one as well

- He tells you about the fight, reassuring you that he already remembers the conversations you'd both had before about these things. He's not exactly happy having to sit still while getting bandaids and bandages applied, but he's obviously still proud of his victory

- He's more quiet when you're closer, focusing on the feeling of your hands on his skin, the gentle and reliable touch providing a sense of safety and warmth. He feels his heart swell seeing the determined expression you have while working, and little flutters when you occasionally banter back. This routine between you was familiar, it was comforting. He felt safe under your care

- Mei, meanwhile, is also a pretty passionate speaker, but much less of a whiner than MK. Her problems are mostly just squirming from being hyperactive and wound up on adrenaline, frequently trying to hop off of your workbench to demonstrate a move

- Your gentle chastising with Mei is unique, specifically taking time to address how she feels being on the sideline of missions these days, and having to hold things together for MK most of the time. She feels like she can have that full honesty with you, your complete confidentiality and understanding helping to hold her together

- She flirts with you more openly than the other two. Any time you're close enough, she points out something about your face to compliment. She offers to help you do small things, asking questions about your job and what kinda stuff you see outside of the Monkey Crew

- Red Son, like the others, is a talker. His ramblings are closer to ranting and raving, and outside of waving his arms or doing grand dramatic gestures, he's more still than the other two

- Conversations about his family are what come up most often, when he isn't bragging about his villainy or latest attacks on the town. More recently he's been talking a lot about working as a food vendor. It's nice to see him happy about something that doesn't come from malicious intent

- He allows himself to show past his anger and be more vulnerable with you. He's a hint softer, a little more willing to be honest and open with you. He loves your willingness to do this for them, and he tells you frequently how much he admires you and your work

- The three usually stick around for a few hours after each appointment, talking with you and telling you about everything you my have missed in their lives. They treasure their individual time with you, and Mei and MK especially try to hype you up all the time to show their thanks

- They invite you out every once in a while to have some hangouts without medicine or injury in the picture. They introduce you as a vital member of the team to others and get protective of you during battles

[welcometothejianghu]

Welcome to another round of W2 Tells You What You Should See, where W2 (me) tries to sell you (you) on something you should be watching reading. Today's choice: 死亡万花筒 / Kaleidoscope of Death.

Kaleidoscope of Death is a 2018 Chinese webnovel about two young men who fall in love while basically playing a whole bunch of horror-themed escape rooms that can for-real kill you.

This novel was gripping. I could not put it down. It started out fun and ended up ripping out my heart several times. It does a good job getting the ball rolling with a series of adventures in weird worlds, then turns into a meditation about grief and loss and what it means to have something to lose in the first place.

This is the first time I've ever done a book rec! I'm doing it in conjunction with a rec post for the Spirealm, and originally I was just going to do this as a bonus section for that post. However, I felt they both deserve whole different posts, because they both have very different things to recommend them. I also think Kaleidoscope of Death a 100% necessary read if you've seen the show, because it provides some context that the show simply cannot include -- but it's not a necessary read before you see the show.

Therefore, I'm going to give you five reasons I think you should sit down with this one, and not a single one of these reasons is going to assume you've watched the Spirealm! The book is great and deserves to be read on its own merits, and then if you then start watching the drama afterwards, so much the better.

1. All the Cross-Dressing

(Yeah, I'm going to punctuate this one with screencaps from the Spirealm, because otherwise it's just a wall of text.)

I'm not going to tell you why the male characters frequently dress and pass as women, since the book explains the practicality of it better than I could. You just need to know that they often do, and it's never not kinda hot when it happens.

When you first meet Ruan Nanzhu, it is as Ruan Baijie, a stunningly beautiful and noticeably tall woman. Lin Qiushi, our POV character who is extremely confused for a number of reasons, spends the first whole arc talking and thinking about Baijie like she's a girl. In fact, one of the cutest things about sweet, earnest Qiushi is that he clocks Baijie several times, and every time he's just like, oh, she's so flat-chested, how unusual for a girl, anyway...

And this isn't even just dressing up! Stepping into the door worlds changes you physically based on your clothing and cosmetics. Nobody inside looks the same as they do outside, and nobody looks the same inside as they did last time they were inside. The rules that govern these transformations aren't even clear to the characters themselves! So, you know, have fun with that.

I'm going to say it's not an out-and-out trans thing, in that we're not dealing with an AMAB egg who will crack someday. Ruan Nanzhu is a very male-identified, penis-having man! He's just also pretty entertainingly comfortable with performing whatever gender makes him the most fuckable person in any given room. Lin Qiushi is not so inherently genderfluid, however, which means that when his gremlin sort-of-boyfriend makes him pretend to be a girl, it's a completely different kink.

Therefore: If you like it in any way when boys dress up like girls, you owe it to yourself to pick up this one. And if you like a fandom that likes it when boys dress up like girls, baby, welcome to the world inside the doors.

2. Those boys GAY

This is a textual romance. Lin Qiushi and Ruan Nanzhu are in love. This is a danmei novel about how they fall in love. There is kissing and there are fade-to-black scenes that explicitly acknowledge that the two of them have sex with one another. We even know that Ruan Nanzhu (usually) tops. This s not just me pointing at them and saying gaaaaaaaaaay. This is actual gay.

And it is gay that takes its fucking time. They do not actually hook up until well over halfway through the book, but they are physically affectionate from almost the get-go. Ruan Nanzhu is such a trickster and a liar that Lin Quishi finds it hard to believe that anything he does is sincere, which leads to nearly lesbian levels of wondering if it means anything when a guy demands you kiss him on the mouth when he's pretending to be your girlfriend. Meanwhile, Ruan Nanzhu is over here being the Kate Beaton comic about sitting here consumed with lust all evening.

Even once they both acknowledge what they're feeling for one another, they don't get together right away. After all, they're playing a game of life and death where they lose friends left and right. Every time someone goes inside the door, there's a real chance they won't come out again. Is giving your heart to someone worth how much it will destroy your entire life when you lose them?

(Yes, says the book. Yes, it is worth it.)

The slow burn of their relationship is delicious, in part because the physical (though not sexual) aspects of it predate the romantic ones. It also has the fun hot-and-cold aspect where Ruan Nanzhu is incredibly affectionate inside the doors, then icy outside of them. Poor completely inexperienced, never-been-kissed Lin Qiushi does not know what to make of any of this. He can barely manage parenting a cat. He does not know how to handle a boyfriend who is also a girlfriend who is also (spiritually) a cat.

I also find it charming how much the gay part of it both is and isn't an issue. It's not that Lin Qiushi has a problem being in love with a man; however, the fact that Ruan Nanzhu is a man does mean the heteronormally indoctrinated and relationship-inexperienced Lin Qiushi takes much longer to realize what exactly those feelings he's having are. The book's world is one where heterosexuality is the assumed default, while queerness is unexpected but everybody's still pretty cool with it. Besides, no one's going to judge Lin Qiushi's gay yearnings, because who doesn't want to fuck Ruan Nanzhu?

3. HAKO ONNA HAKO ONNA HAKO ONNA

So as I was reading through @zintranslations' earlier chapters, I kept seeing translators' notes down at the bottom about being so excited to finally get to the Hako Onna arc. Okay, I thought, this is a lot of hype; I hope it doesn't disappoint.

Friends, it does not. This is the arc I was reading while screaming into a pillow. It's thirteen chapters long, tied for the longest arc in the book with the first door. It is a fucking nail-biter. It does the clever thing of taking all the things you've learned about what can happen inside the doors and combining them for a worst-case scenario.

The setup is pretty simple: There's a bunch of boxes. One has the exit. Most are empty. Some have things that help you. Some have things that hurt you. The more things you find that hurt you, the more things there are to hurt you. And you have to open the boxes.

All the door arcs are pretty well-written, so that you can more or less play along with their various adventures. Hako Onna, however, is exceptional. It's so complicated, but you can actually follow it. And you need to be able to follow it, because the multiple emotional gut-punches that happen in this arc all depend on understanding how the rules of the game have just been leveraged to fuck someone over.

Now I really want to play the board game -- which I was pleased to discover is a real board game! And speaking of board games...

sidebar: Betrayal at House on the Hill

I know this isn't technically related to the novel at all, but if you like board games, horror, and being incredibly dramatic, you owe it to yourself to try out Betrayal at House on the Hill.

It goes like this: You and several other horror-movie archetypes wander through a mansion, "building" it as you explore it, so the game layout is different every time. At some point (and it's based on so many random factors that you never know when it'll be) someone triggers a condition, and the haunting begins. All the players then get the rules of haunting explained to them -- except for one player, the one picked to do the titular betrayal, who gets a different set of instructions and becomes the antagonist. From that point on, the game is about either surviving or completing the haunting, depending on which side you're on.

I have played this game before with normal board game people, and they were like, eh, this is fine. I have also played this game before with theatre kids who RP and LARP, and we all had a fucking blast. So I'm going to warn you that you have to choose your crowd carefully. This is a game for people who do improv and voices.

4. The art of losing isn't hard to master

The book has a high body count -- higher than the show's, in fact, though that's related to how the book also has more characters than the show does. When you meet someone who can go into the doors, be careful how much money you'd lay on their survival.

Death after the doors comes so quickly, too. There's barely any time to say goodbye, if there's even any time at all. Often there's just a phone call telling our main characters that one of their friends or allies or enemies is gone.

Everyone who gets the chance to go through the door worlds is only able to do so because they're dying already. The more doors they pass, the more they get to kick that death further down the road -- but the more doors they enter, the more chances they take that they might die inside one. So really, none of the players can be that resentful of being forced to play a game that can kill them, since they're already playing it on borrowed time.

I will say, somewhat cryptically, that the book has a positive ending that leaves open the possibility for other positive things. The path to that positive ending, though, leads through some pretty wrenching takes on living through grief. It's not even all rah-rah and it-gets-better, either -- the text acknowledges many times over what it means to have someone that life isn't worth living without.

And that's maybe not what you expected from a BL horror adventure webnovel, but it's what you're gonna get! Ha ha!

5. What He Is

Which is the title of the first extra chapter, which is not extra at all, but is in fact a necessary explanatory piece that whacks you upside the head like a two-by-four and recontextualizes the entire story.

...Yeah, that's all you're going to get from me about that. You'll understand when you get there.

Have you put it on your reading list yet?

The way you have to read it is a little convoluted: @zintranslations has chapters 1-17 and 63-end + extras. Taida Translations has chapters 1-62. So no matter where you start reading, you're going to have to switch sites at least once.

There are also apparently Portuguese, Indonesian, Russian, and Spanish translations too? And the original Chinese webnovel, of course. And some audio dramas and subs linked to from this Carrd, which helpfully has other information, like content warnings for specific chapters, in case the horror aspect of the story gives you pause.

Anyway, once you're done reading it -- or even before you're done! -- you should absolutely go watch the Spirealm. I think it's clear from both rec posts that I definitely like the book better, but I appreciate having the drama to bring so many scenes to life, and I think the casting is great. Also, I don't think reading the book makes you like the drama less! Rather, I think reading the book gives you insight into the awkward and sometimes terrible choices the drama had to make to survive -- which in turn gives you the ability to see through those choices, on to what the show always wanted in its heart to be.

I do find it funny how "Kaleidoscope of Death" and "Death's Kaleidoscope" technically mean the same thing, but they sure read different, don't they?

[randomfoggytiger]

I did ask this to another blogger because I respect both of your viewpoints. I like hearing your analysis. I don't mean to send this to you also out of any disrespect.

OK..are Gillian and David really Mulder and Scully? Lack of communication that could clear up how they felt back in the days? He is like a little puppy and she is cold hard fierce who tries to shut off the world so she doesn't get hurt? No wonder they played those characters so well:) Thank goodness that THEY controlled the narrative to this discussion instead of having some kiss ass pompous interviewer trying to get them to truly talk about the tension so that we get "it was moist". Granted, that was a fun answer and brought out an interesting dynamic between the 2, but their frank and honest discussion is more true and loving. I love that D shared in the discussion and didn't take the interviewer seat like he has in the other podcasts. He actually participated in the real conversation and let it somewhat go in some areas naturally. Now, please, D or G, release the video so that we can see those lovely smiles and gazing eyes and, you know it happened, reaching out and touching each other.

I understand that completely, anon-- I used to (and still do) go to each inbox and ask the same question, even ones I'm principally against. Just want to know what they think, y'know?

Release the Gillian cut! XDDDD I don't think there is one; but maybe someone has clips on their phone of the two of them talking that day? That'd be fun.

You have a point, especially in the early days. David and Gillian were such young, green actors that Chris really had to cast for type.

But I WILL add: Half of the very close loved ones in my life are Gillian's (Gen X) generation, and the other half(ish) are David's (Boomer) or older. Each and every person I've talked to has said the same thing about the past: no one, and I mean no one, talked. Ever. Even in functional families; but especially in dysfunctional homes, with fragile mothers-- not without (varying) consequences. Communication was wired around what could be acceptably acknowledged without the whole house of cards tumbling down. Chris Carter slipped that into the themes of his show, too; and no wonder: his own childhood was turbulent, and communication a compoundingly fraught issue.

And I will also add, though I don't know how salient this point is: I have a Gen X mother who took one look at David, one look at Gillian, and a couple looks at their past interviews, and read them like a book. (So much so, that everything they admitted to in the podcast wasn't surprising, just confirming, for me.) I fed her bits of the Fail Better interview afterward, and she was nodding along to their interruptions and admittance that they had a hard time getting along-- she'd called that Gillian likely (accidentally) hurt David's feelings over the years unconsciously; and that DD grated on GA's nerves as much as she on his... and low and behold. But more importantly, she was nodding along to the communication issues section particularly: "Yes, that's how it was."

In short: I think Chris picked the people who could embody his characters' characteristics effortlessly. (But I also know, per his own words, that he cast for chemistry.) So, I agree¬.

What do you think, anon? :DDDDDD

Edit: Also agree concerning the pompous reporters. It was great to hear them without a third party trying to spin a narrative.

[many-gay-magpies]

god what really gets me about dead boy detectives and what i think i love so much about the show and the relationships in it is that like. the romantic and sexual relationships aren't portrayed as being more unique or important than the platonic relationships. they're all just RELATIONSHIPS.

charles and crystal's attraction to each other and eventual hookup isn't this big end-all be-all relationship that shatter charles and edwin's friendship and draws charles' attention away from edwin; it's just a THING that happens. they're just two people that care about each other and happen to also be attracted to each other, and a hook-up happens, then they decide that neither of them are in the right place for it and it's nothing awful. crystal kisses charles, but it isn't some big spectacle of her declaring her love for him; it's just her saying goodbye and that she cares about him, like her hugs with niko and jenny and her handshake with edwin.

edwin realizes he loves charles romantically and tells him, and charles says he doesn't really love edwin romantically BACK, but it's okay, because they still love each other so much in so many other ways that this one tiny difference could never change them—and it doesn't!! they're still just as close, still care for each other just as much, still SHOW that care for each other just as much. their relationship didn't completely end because edwin loved charles in a way charles couldn't reciprocate, but at the same time it isn't "solved" by edwin getting over it, because there's nothing TO solve. it's just another type of love, added to everything that already exists between them. and they have LITERALLY FOREVER to figure out what it means.

the relationships between edwin & niko, crystal & niko, and crystal & edwin aren't given any less weight for being solely platonic, just as charles & crystal's relationship and edwin's feelings for charles aren't given (that much) MORE weight for being romantic. crystal and charles' conflict in the closet is about EDWIN, about how they're BOTH his friend and BOTH want to get him back; it has very little to do with the feelings between THEM, romantic or otherwise. similarly, the weight of charles' and edwin's relationship isn't diminished in the LEAST by charles not reciprocating the romantic side of his feelings (or SAYING he doesn't reciprocate, at least—we can all argue about the legitimacy of that in the notes).

i'm sure there are more examples than this, as well as probably some examples that CONTRADICT this, but like... by and large, it feels like dead boy detectives is a show where all the relationships are given equal weight regardless of platonic, sexual, romantic, or familial status, and as someone on both the asexual and aromantic spectrums who has struggled time and time again with shows casting out the importance of all other relationships in favor of prioritizing romance, that is INCREDIBLY refreshing to see.

[idiosyncraticrednebula]

People who say that Beauty and the Beast (1991) endorses Stockholm Syndrome and domestic abuse have very grossly missed the entire point of the story.

[quietwingsinthesky]

Hiiiii! So, a few days ago you were talking about the whole thing with Amy, Rory, and River. And when I saw those posts a thought arose in my head and I wish to share it with you.

Since River grew up with Amy and Rory as Mels. And Mels was Amy's best friend do you think that they ever talked about children? Since I know that it can come up when talking with friends, and like... do you think that Amy might've ever expressed whether or not she wanted children?

And if she didn't, that Mels would've had to listen to her mother say that she doesn't want children? The idea is so heartbreaking and sooo interesting.

What do you think about it?

no, no, see, you're so right and this drives me wild.

because, the way i see it, i don't think amy wanted children. she's somewhere on the 'hasn't thought about it' to 'vaguely negative feelings about it happening' range to me, which falls sharply into 'Not Happening Ever Again' post-s6. (specifically, in terms of having a kid herself, even if she could, i really don't think she would. i do love that she and rory end up adopting a kid later, because that does make sense, for amy pond who grew up alone in one universe with her family swallowed by cracks in time before the doctor helped her set it right again, for her to want to make sure another child won't be alone in the world like she was. getting off-track here.)

and that's so. because the first real memory river/mels has of amy is of amy shooting at her. and depending on how well the silence fucked up the rest of her memory, it might be one of the very first memories she has at all. that's how she met her mother, crying for help and getting a bullet instead. her mother tried to kill her, so of course, you have to think. she must have needed to hear that she was wanted, right? even if she was taken away, even if amy shot her, at some point, melody must have been wanted?

river is good at getting people to do what she wants, but she is very, very bad at subtlety. and mels is younger, has less practice, so when she wants to know this, she's just going to ask. blunt and quick, easy enough because amy's used to the way mels will open her mouth and you just have to be ready to roll with what comes out if you want to keep up. it's why they're such good friends (like mother, like daughter.)

they're nine, and mels asks if amy wants kids, and amy wrinkles up her nose and says she won't have time for children, obviously, once her raggedy doctor finally comes back. they're fifteen, and amy and rory dance will they-won't they in a way that makes mels twitchy to watch, and taunting amy about wanting to have rory's babies is a good way to get on her nerves. but amy calls her gross, tells her she's got more life planned than children would leave room for, and besides, imagine her, a mom? it'd be a disaster.

mels does. a lot. she looks at her mother and just sees her best friend instead. she's not even sure what she wishes was there, but. maybe amy's right. and besides. imagine her, a daughter, instead of the ticking time bomb she really is? it'd be a disaster.

they're sixteen, seventeen, eighteen, and on. mels stands on the outside of a love story that births a universe. and her. how do you compete with that? not that she would know, not yet, she hasn't been there. but it doesn't make her feel any less alienated when amy and rory talk in whispers about a half-remembered world that's bled through to this life, about roman soldiers and boxes and the big bang of belief.

all these memories, they never mention children. on amy's wedding day, she's different, not like someone remembering a dream but someone who lived it. rory stands straighter, won't leave her side, and they're both so much older than they were yesterday. maybe now, right? a wedding's as good a time as any to decide you want kids.

mels not being at amy & rory's wedding is such an obvious lazy way of them trying to explain why they totally didn't just throw this plot twist together at the last minute that i'm not even going to acknowledge it. of course she was at their wedding. she's their best friend. there's too many people around the doctor, and she wasn't ready today of all days, so despite this horrible burning need under her skin to strike, she stays her hand. doesn't let him dance with her because she might just tear his throat out if he gets too close. stays with amy and rory as the maid of honor should. she must have been there for the awkward questions that always gets asked, 'so, any plans for a baby?' 'when am i getting grandkids?' 'oh, you two are going to have gorgeous children together.' standing a few feet from amy in her wedding dress and watching her mother tense and grit her teeth and brush off the questions. watching her look nervously at rory but never ask if he means it when his mom asks him if he'd prefer a son or a daughter, and rory answers 'either one, some day, not anytime soon.'

god i'm just going on and on, aren't i. but really, what's it like to know that amy never changed her mind. the next time she sees them, she's already been born and stolen. i don't like let's kill hitler for. so many reasons. but there is something compelling about how recklessly river lashes out at the world, at the doctor. even her sacrifice at the end is almost suicidal, throwing all her regenerations into this man without knowing if that will even work or if it might kill her to do it. but it makes more sense in the context of someone who has reached the end of a long, long wait for some kind of indication, any kind, that her mother wanted to have her. and finally been told, no. she didn't choose melody.

[gu6chan]

99% just my autism speaking here but something ive been noticing lately that im sorta kinda 😶 about is when ppl are like "I think you'll like this" but not bc they ACTUALLY think you'll like it, rather they just got into it and want you to also get into it so "I think you'll like this" is a nice personal hook. i love chill stuff as much as any other person ofc but given i don't divulge that EVER, what makes you think my berserk reading, made in abyss watching, drakengard playing ass would like YURU CAMP????

[dbphantom]

maybe i should have gone into practical effects instead of computer science...