#i finished the other 1 btw!!!!

[unagidevi]

The other stuff taped in are from orders ignore them

[umbrvx]

🍭

[onesidedradiostatic]

if you associate with vox on an equal level at any point, you are required to take a picture with him, no exceptions

[dang-dood]

i completely forgot that house md was canon in torchwood

[milkbreadtoast]

o yeah btw i liked these guys from the latest crk update..... detective gays.... macaroni and cheese....🤭

[king-magppi]

Fred vs. Crispin (except from more of a Crispin POV)

The Bonapartes have been on my mind almost all day today and Crispin is surprisingly fun to draw! One of my first ever "COMICS" (I guess?? Technically??) for this franchise comes out of me REALLY wanting to practice drawing Fred because I like him and it was hard for me to draw him at first..💔 It all worked out in the end though bc I'm happy with this!

[catgirlkirigiri]

Behold, my secret project: jjk furry dolls

The bodies are lol surprise dolls and the heads are lps (Tsumiki’s head is german shepherd 112 and Megumi’s head is husky 341) attached with clay. They have a full* range of motion too!

*Tsumiki’s hair gets in the way of her articulation a bit so I have to move her head to move her arms

I’m working on clothes for them, but I’ve never made doll clothes before and can’t find any patterns online for lol surprise dolls (I just keep finding patterns for the larger dolls) so I’ve been putting it off lol

Was gonna add progress shots but. Image limit. So that’ll be in a reblog I guess

[yaoigoddess9158]

Somehow trying to read TGCF, LOTM, and TCF at the same time and it is NOT working out (probably just going to read one at a time)

[alien-enjoyer]

started watching mob psycho. i see why the tumblr sexyman poll that killed the queen was so close now

[leefi]

the witch naming conventions in umineko are so crazy to me i know i only have 3 examples so far but what the FUCK is a LAMBDADELTA. frat society ass name. xbox gamertag ass name. xXxIPWNNOOBZxXx just hit a 12034 YEAR KILLSTREAK on the ROY FAMILY

[keeps-ache]

in a cafe rn. this place is nice :>

[pirunika]

Stories i like now i think you can tell im making the same character

[pynkhues]

curious as to your thoughts on the may december discourse (some spoilers i guess) - vili has come out and essentially said that he felt the film contributed to his victimization and hurt him. and the response from a lot of film twitter seems to be to yell ITS NOT A BIOPIC and to say he doesnt understand the film (gross). i feel like i dont really care if its a biopic or not, when the film literally quoted vili/mary kay, recreated the mary kay in prison photo exactly, and both charles melton and julianne moore studied vili/mary kay for their performances. to hand wave that all as "not a biopic" feels like a way of writing off any discomfort. i feel like the film should not have made those specific choices, but having done so they had a duty of care to vili. i dont think the film that ended up getting made is worth the continued trauma to vili even if it is art. there were other ways they could have told the story to minimize the harm and they chose not to - and i dont think that choice is a great commentary on tabloids or whatever, its just a ghoulish thing to do

I did see that, anon, and I do have thoughts on it as it's a real grey area in terms of creative license, art and storytelling, and it's a grey area that's been around really since storytelling existed, but before I get into that I just want to quickly clarify what Vili said, because I do think it's important.

Vili didn't say that the film contributed to his victimisation and hurt him, he said the film offended him because it was a ripoff:

“I’m still alive and well,” says Fualaau, now 40 and still living in the Seattle area, where the scandal unfolded. “If they had reached out to me, we could have worked together on a masterpiece. Instead, they chose to do a ripoff of my original story. “I’m offended by the entire project and the lack of respect given to me — who lived through a real story and is still living it,” he adds.

“I love movies — good movies,” he says. “And I admire ones that capture the essence and complications of real-life events. You know, movies that allow you to see or realize something new every time you watch them. “Those kinds of writers and directors — someone who can do that — would be perfect to work with, because my story is not nearly as simple as this movie [portrays],” Fualaau adds.

The reason I think this distinction is an important one to make is because in interviews since Mary Kay Letourneau passing, it's pretty clear that Vili - while absolutely being a victim-survivor - doesn't see himself that way, and even says pretty specifically in his Doctor Oz interview from 2020 that he doesn't see her as a predator or himself as having been preyed on ('there was no perversion...she was my wife and my best friend' are his exact words), and he's pretty clearly open to the idea of a film being made about his story.

I'm not saying this to diminish his feelings about May December at all (I strongly believe that Vili is entitled to feel any and every which way about the film) or to patronise his own understanding of what he experienced - I can't even begin to imagine the complexity of trying to unpack the life he shared with her - but I think it's important to reflect his feelings accurately and to provide a little context to those feelings.

With that said, do I think the creative team should've reached out to Vili before making the film?

Honestly, I don't know.

I think it's one of those questions in art where there's not really a right answer. If Vili's feelings towards Mary Kay are still lost in the silver linings of her grooming, any film that has his direct approval or involvement is going to run the risk of tacit endorsement. It also hamstrings the creative team and opens them up in terms of liability (I actually was a writers assistant on a TV show a million years ago that was sort of a bio pic and I can tell you for a fact that it was a disaster once the person it was based on got involved), and, of course, it runs the risk of shifting the focus of the story the writer is wanting to tell.

And that's the thing about art, right? By design, art is supposed to reflect us back to ourselves in ways that we might not always be comfortable with. Of course, that usually happens less literally than in how Todd Haynes has used Vili and Mary Kay's stories, but not always. Todd Haynes is certainly no stranger to the technique given Velvet Goldmine is pretty transparently inspired by David Bowie and I'm Not There is often confused as a Bob Dylan bio pic despite the fact that it's actually not.

Hell, everyone loves that Succession points a pretty clear finger to the Murdoch's, and while, of course, the Murdoch's - and Bowie and Dylan for that matter - have social, political and economic power that Vili doesn't which does impact the ethics of the decision, it's still made under the same creative ideology that aspects of a real story can render an artwork, a story, a film more emotionally authentic, can create greater resonance, can offer a sharper reflection of the world we live in and offer, perhaps, a message or a question that lingers.

All of this has actually kind of been funny timing as I just finished reading Sarah Weinman's The Real Lolita the other day which is a really excellent blend of true crime, literary history and critical commentary on this exact topic. The book explores the real life case of Sally Horner who was kidnapped by a pedophile in 1948 when she was 11 years old and was forced to roadtrip with him around America for two years. It's actually mentioned in passing in Nabokov's Lolita, but once you go a little deeper it's pretty clear how much of Horner and her story Nabokov used to create Dolores Haze / Lolita.

In the book, Weinnman asks the question as to why Lolita gets to be remembered when Sally's been left to obscurity, and of course, the answer is that there are other Sally's in the news cycle, but only one Lolita in art, and that hopefully in her writing Sally Horner's story she can write her back into bookshelves and place her back into this artwork but who knows if that's what Sally would've wanted (Sarah does, at least, talk to Sally's lone surviving family member, and makes a measure to show that it's very unlikely Nabokov ever did the same).

Was Nabokov wrong for not seeking out Sally's family for Lolita? Honestly, I doubt it even would've occured to him to do so, and the fact that we do now ask questions like this about the ethics of inspiration is, I think, a good thing. We should be critical of how stories are told and who is, and isn't, involved in the telling of them, but again, I don't actually think there are right or wrong answers here.

Fiction is always inspired by real people, real events, real life, it's a part of creation, it's a part of capturing a moment in time, it's about reflection and authenticity, but of course that's been rendered more complex in recent years by the fact that we live in a world that's ever shrinking and the people or the events that inspire new stories are inevitably brought into the public narrative in a way they just weren't back in 1955 when Lolita was first published.

So what does that mean for creativity and inspiration? I don't know, but personally I guess my thoughts would be that Vili is absolutely in his rights to be offended by the film, but I also don't think the filmmakers were wrong necessarily to not reach out. It's not the most ethical choice, but I also don't think it was an inherently bad one either. This isn't a Blonde situation where they write fiction and present it as fact, the creatives have been clear about it being inspried by what happened between Mary Kay and Vili, but they're also not saying Vili and Mary Kay are Joe and Gracie.

I appreciate you feeling like it's much of a muchness though given how they've apparently lifted entire scenes of dialogue. It's a murky question after all, and it's certainly one that's more complex when it comes to people like Vili and Sally than it is with the Murdoch's or even David Bowie, but yes, I'm not sure I see it as something inherently wrong, and I don't personally think it was ghoulish. I just think the specifics of this particular case just kind of shows how the sausage is made when it comes to storytelling.

[enden-k]

everytime i think im ok, my lost wife dain gets mentioned somewhere and i stumble immediately and break my hip like a fragile old man

[masked-alien-lesbian]

Hi! On the series mentioned on the sequels poll who did you romance?

hello! Hope you're doing well anon! 🎵

The post anon is mentioning is this one

TRR: Hana Lee always! ❤️ She's my forever obsession! My absolutely end game, my wife till the end of time lol

Desire & Decorum: Annabelle Parsons ❤️ my 2nd favorite playchoices LI, I dare say if D&D had as many books as the TRR, she may even had surpassed Hana 🫣

Blood bound: My first play through I romanced Kamilah but Lily has been my LI ever since then.

It Lives Series: In ILITW, I've romanced Stacey once but choose Ava always, love my witch lol. In ILB, I've flirted with Danni but I've chosen Imogene every time. In fact I think I haven't took every diamond scene with Danni or done an end game with her. I may do that next time I read ILB.

Endless Summer: I've flirted with Quinn but Estela is my end game LI, but I've only read the entire ES series once so maybe I'll choose Quinn if I ever reread the series again.

High School Series: I've romanced Maria once but I always choose Emma in my other play throughs. In HSS:CA, it's the same with Rory and Skye. I've romanced Rory maybe 1 or 2x but Skye is my usual end game.

Blades: My elf mc romanced Imtura, Nia and Valax but I gravitated more towards Imtura and Valax. Then I created an orc mc that romances Nia and Valax. I'm wondering if I want to create a whole other mc just for Valax lol, but that's a lot of mcs for me 😅

In my tags I brought up Baby Bump so ofc I chose Myra Dixon, Clint was sweet but Myra won me over rather quickly.