#it’s beautifully subversive

[padfootastic]

Seven Sentence Tag

Rules of the game: post the last seven lines of your WIP (or the one you're currently working on?!)

tagged by @in-flvx and @ambrxsiaa,,thank u <333

Here’s the thing. The damnedest, most frustrating thing about this whole situation.

Sirius made an extremely, intimidatingly attractive girl.

They’re in the Hospital Wing, Sirius is sitting on one of the beds with his arms crossed over his chest and an impatient look on his face and James can’t stop staring at him. Now, if he was able to think about it for more than a second (which he wasn’t, because this was his best friend) then this fact would’ve been quite obvious, really. Sirius was the kind of pretty that turned eyes, even before this mishap. More than one person had joked, a bit nastily, about how he could pass for a girl from the right angle, the kind where you’re looking down at him. It wasn’t until he’d seen those people strung up by their ankles in the Great Hall the next day that he really understood what they meant.

[nyatbinary-81]

hear me out: transfem yuri.

i really love this picrew its soooo cutes.. mykir forever 🫶🫶

edit i made yuri real also.

[neil-gaiman]

Hello Mr Neil,

I want to share how I feel about Sherryl the supermodel from Good Omens. You've answered a question previously when someone felt that her representation was lacking empathy (re the visual effects note in the script book, although the scene was cut), and I want to offer my thoughts to help people who felt that way about Sherryl.

The book (Good Omens, not the scripts, which I haven't read) plays with dark topics and makes them absurd and fun, aiming the jabs at the systems that (mis)guide or harm people (there are Beliefs, the People who Believe them, and the odd ways of living that make sense to them). Famine's D-Plan sums up the diet industry and a culture of starvation: of course we don't laugh /at/ Sherryl, we understand (because of everything the novel sets up) that like every other human she does her best with the frameworks she's got. It's empathetic, because that's what Good Omens is. Understanding that let me reframe the knee-jerk reaction I had on my first read of the scene in the book.

[For the TV show, though, as you've explained in the past, certain things had to be adapted to the time. I wonder sometimes - because I know that you do these things well - how you felt about approaching Sherryl nearly 30 years later.]

I think the trouble for me was that the scene in the book felt cruel at first. Now, I think 'A skeleton in a Dior dress' beautifully sums up the sacrifice of her humanity to become New York's top model. It's death dressed up - that's how such extremely-ill supermodels *should* appear to us if only we were unblinkered. One should see plainly the actual violence in an emaciated person's appearance. Maybe growing up with early 2000s aggressive body-shaming British TV shows and an overweight mother of Sherryl's generation as well as personal experience of anorexia made the 'skeleton' image feel cruel, now-overdone and recognisable to the nastiest unhealed bits in my psyche.

I think the frightened human animal in me initially recoiled from the dehumanisation. The pit of me jerked at the descriptions of Sherryl that felt like real insults, pulled straight from mainstream body-shaming media of my formative years. Of course, Good Omens predates this - thin was in, religiously, and the scene was subversive then - but that was my initial bodily feeling, not a thoughtful response. I describe it to illustrate where the challenge was, after we've gone from skinny worship in the 90s, to domestic skinny enforcement, to skinny shame, to wherever we are now in the popular orthorexic fitness culture and clean-eating minefield etc etc. Starvation dehumanises, and Sherryl was sick to the point of being inhuman - the scene under a microscope might feel complicit in dehumanisation to the sensibilities of teens and young adults today (for the same reason that people in Trafalgar Square can't see England), but within the book it humanises Sherryl by showing you plainly what awful thing has happened to her.

What the book did for me was let me delight in a sense of humour that makes difficult things totally absurd and therefore perfectly understandable. It told me, everyone is doing their best (to the best of their understanding), and when the fun-poking poked at my own pressure points, it said, lovingly, yes, you too. Many things about the book are like laughing with a friend or receiving a warm hug - it makes the big things so silly, and shared, and okay.

Thanks :) x <3

I am glad that is how you saw her. That is how we saw her. (I'm reminded of the only time I was ever at a high fashion event, where I found myself profoundly shocked by the incredible thinness of the models, and how sorry for them I felt, and how I wanted to feed them soup and stew and sandwiches. And of a high fashion model I knew a little, when she went out with a friend of mine, who told me that some girls she knew used heroin to stop the hunger pains, injecting themselves between their toes, and later I learned that my friend broke up with her when he learned she was a heroin addict.)

[sixlane]

there’s been a lot of bartylily discourse (i feel like) recently so i wanted to add my two cents to the conversation. and to preface, people can do whatever they want with these characters, these are just my personal opinions.

i think that bartylily is the most interesting when they’re equals. it’s kind of a subversion of the expectation for both of them. barty as this domineering evil psychosexual disaster is pulled down to earth and made soft and curious by his relationship with lily, and lily as the perfect background mother/wife/student/best friend is made confident and adventurous and independent by barty. if you allow them to exist in their predetermined roles within the ship, i think it falls flat. sub lily x dom barty is boring because it’s expected. if you want that, you need to board the toxic jily train and let james be the shitty person he is. <- that dynamic is way more interesting to me (in fact i’m writing a fic about it. shameless self promo).

bartylily is about acceptance and personal agency and breaking the cycle and letting go. it’s about finding a mirror in another person you would’ve never expected. it’s about making choices. i’ve been saying this but barty is not a rebellion, he’s the first thing lily decides she can have. barty doesn’t make lily feel small. he makes her feel like the possibilities for her life are endless. he also gives her permission to suck sometimes, to be selfish and make mistakes. he just allows her to be a person. and she gives that right back to him. she defines his edges a little bit because he sees parts of himself in her (temper, lack of direction, forced confinement). it’s surprisingly balanced and beautifully finite. they’re both meant to eventually be elsewhere. but that doesn’t mean this isn’t important.

[witsserviceablesubstitute]

The gay boy being in love with his 'straight' best friend is such a trope and its subversion is not rejection, it's reciprocity and mutual queerness. Charles's response wasn't a rejection. It was awe and kindness and support. It was, "I don't know but you are my person and we have eternity to figure it out."

The Dead Boy Detectives is committing to a potential love story between Charles and Edwin in a way I've only read in queer books. The writing is treating the possibility of them with the same weight it is treating the possibility of Charles and Crystal.

Edwin is a main character, his potential romances dominated the narrative, and one of his love interests is another main character whose individual development and relationship with Edwin is beautifully fleshed out.

Do you know how rare that is? How special? It's all I've ever wanted to see happen with queerness in media. For the queer character and their romantic plotlines to have the same space to develop as their counterparts. For their love interests to have (any) extended character and relationship development beyond being rushed in and out of the narrative for fear of alienating a homophobic industry and viewership.

Thinking about how much Dead Boy Detectives doesn't closet Edwin's story, nor the possibility of him and Charles, how much it appears to be pointedly rejecting how queerness has been handled thus far on screen, fills my heart with hope.

[zombie-bait]

trying to explain why Dark Rise and Dark Heir are so good without immediately giving huge spoilers is so hard. Like yes the characters are good, the worldbuilding is cool but the last like 30 pages of Dark Rise just flipped my whole world upside down in a way I haven’t experienced in a long time. It’s such a brilliant subversion of the chosen one story. It utilizes reincarnation in such a fascinating way to tackle fate and question whether the history of every character is doomed to repeat.

Will’s inner turmoil is expanded beautifully in book 2. He is terrified of the person he might become yet simultaneously drawn to it. He is constantly plagued by power and knowledge he knows he can never share. He falls easily into ancient patterns, lying and sneaking and bending the world to protect those close to him. He tries his best to be kind. He is somewhere between monster and man and must hope he comes out as the latter.

[maybe-boys-do-love]

Thai BL isn't lesser. It just has different aesthetic goals. It often prioritizes what some would call a theatrical style to filmmaking over a cinematic one.

Theatrical approaches, in the US at least, are currently associated with older films and television. They're also linked to contemporary shows in what are currently thought of as more conservative genres like youth-oriented cable programming (think Nickelodeon or the Disney Channel), soap operas, and sitcoms.

However, the theatrical style in the west has been at other times very much associated with cutting-edge subversion and queer camp. In the 80s and 90s, for example, counter-cultural cinema projects leaned heavily towards more theatrical approaches in the face of blockbuster corporate sheen. The films grouped into the Queer New Cinema loved to play with this. Consider the bold colors, static shots, and unsubtle dialogue in But I'm a Cheerleader.

In the 50s and 60s, the theatricality of sitcoms was a site of transgressive feminism and gender representations like in Bewitched (see more in The Queer Fantasies of the American Family Sitcom or Camp TV: Trans Gender Queer Sitcom History, among others).

Both those eras used theatricality for a number of reasons: budgetary necessity, subsequent technological limits, but also as a counter to the different kinds of elitism associated with the cinematic style in those periods (intellectual in the 50s and 60s and corporate in the 80s and 90s).

Cinematic style didn't begin to fully emerge anyway until the 1940s and 1950s with lenses and cameras that could depict greater depth and move through the spaces the characters were inhabiting. Before that, theatrical presentation was simply the only option. So Old Hollywood is rife with theatricality, and plenty of of those films still have the power to move audiences and feel surprisingly relevant with their visual and scripted commentary. Camille, with what some consider to be a nearly all-queer cast and main production crew and one of Greta Garbo's best performances, holds up incredibly if you're willing to accept its theatrical diva-licious approach.

But plenty of the Old Hollywood films are also duds along with the other eras mentioned. Theatricality, like cinematic approaches, is not inherently more queer or superior to other forms. They're just styles. As Zadie Smith wrote, "In Britain, we are always doing this: mistaking an aesthetic choice for an ethical one." I'm guessing that tendency is pretty universal, either mistaking aesthetic choices for ethics or, even more often, quality.

Appreciating theatricality will hopefully help you understand other choices in Thai BL with less judgment, though. The comic sound effects, jarring as they might be for western audiences who've had laugh tracks and sound effects sequestered away from much of their 'prestige' media, are an artistic choice in their own right that Thai BL has refined over the years to work as leitmotifs (small repeated sound sequences) in the series that reiterate the themes.

Two great examples of sound cues came out last year even as their cinematography leaned more towards a cinematic style. The Trainee, a GMMTV show about a film production company, used computer error sounds as a comedic beat when characters' fucked up, while Kidnap had a pathetic dog whimper, which created more sympathetic characters, like injured puppies who needed love and patience to recover from their injuries.

There's an art to using these theatrical tools in productions. I was rewatching an episode of Little Bear recently and Mother Bear blew out a candle, which was indicated not by a blowing sound effect but a clarinet trill. So much more tender! These sorts of sonic tricks were used beautifully throughout silent films, opera, and symphonies in the West for years. It merely fell out of fashion outside of cartoons and some comedies.

But just because certain tastes or practices were deserted or designated for "low-brow" entertainment in one culture, doesn't mean that other cultures are somehow 'behind' or 'lesser' for their use of it. Both cultures are equally contemporary to one another. One is not more advanced just because it has a stronger economy or easier access to certain goods and technologies. Nor does the designation of 'low-brow' to some art mean that the 'low-brow' entertainment is actually less skillful or impactful. The viewer just might lack an appropriate angle to appreciate it from or there might easily be cultural biases at play, not just across different cultures but regarding social status and rules within a single culture (and bother are something we ought to be very sensitive about when dealing with queer media).

I want to look at one of my favorite aspects that comes out of Thai BLs preference towards theatricality. The performances, and even certain production elements, often burst with spontaneity, clumsiness, exuberance. It can infect an audience with joy as the shows demonstrate what we often call (from lack of clearer aesthetic terminology) "heart." Dismissively, plenty of fans refer to the 'heart' of Thai series as if its unintentional and unrelated to the elements of the series they see as inferior. Its the sweet taste that got them addicted to a guilty pleasure! The 'heart,' though, comes from the Thai creators prioritizing a view of human messiness over the technical precision preferred by a cinematic aesthetic.

Thai BL often has a similarity to live theater in this manner, as well as improvisation-based media. Again, these are not lesser forms of art. I bring up improv specifically because it's easy to believe that the lack of pre-planning and compositional directive ought to diminish it in the made-up hierarchy people have going in their heads. Yet, we have Mike Leigh, a British director of dramedies, and Christopher Guest, an American comedy director, both famed and critically celebrated for their humanist works founded in improvisation.

You won't find me arguing that all Thai BLs are successful or that one country's BLs are somehow better than another's. I just do my best to understand, explain, and make meaningful comparisons to appreciate the aesthetic goals I see shows' evoking. It's also fun to look into influences beyond my own cultural scope and love (and repost) when others' share them. What are specific East and South Asian media reference points that influence the style of the shows (lakorn, literary BL media, Thai traditional theater)? I'd be remiss not to mention, for example, that the theatrical traditions for Thai shows derive mainly from Asian traditions in cinema and theater, despite all my comparisons to Western history!

Then there's the question of local political, economic, and cultural issues and limits that the creators live alongside and must create within and/or against to some extent. I'll never know all the answers, but exploring the questions is so much more fun than disparaging shows for what they aren't and what they can't or don't aim to be.

But look, I personally have a preference for the style a lot of Thai BLs go for. It reminds me of the cartoons, musicals, DCOMs, and vintage tv I've loved watching for most of my life. I like the variant gender and sexuality representations they offer. I like the intricate economic-political commentary I see the writers working into the subtext. It's not going to resonate for everyone, not everyone will see what I see, and all that's okay. I've personally never been happier with the amount of series' that match my tastes.

[hsvh-hp]

Erised 2024 Fic Rec List!

I wanted to put this forward before @hd-erised reveals to maximize the blindness of my recs for this year’s fest!

These were my favourites among those up for offer, in order of posting (note, this is fic only - every single piece of art was gorgeous and is worth looking at it): 

✨ Runaway Train (18k)

This is a cool fic. I can’t think of a better word to describe it. Right from the get-go, the reader is strapped in alongside Harry and we are on a journey. The title fits the feeling of that perfectly. I was not expecting the end result of the mystery, and I mean that in a way that left me with a sense of wonder. It’s so incredibly original. 

I also love a Draco who isn’t afraid post-war of appreciating old magic. There’s nuance in his separation between that which is bad and good! Also, I’m a sucker for when the conflict or tension in a Drarry fic is Harry and Draco versus something else, not them against each other. They make such a great team when allowed! 

✨ At Night All Birds are Black (51k)

This fic put a lump in my throat at the end. The first thing I think about when I consider this fic is the resolution because it brought everything together so beautifully. 

I don’t want to spoil since this is a case fic, but it was just so captivating! The lore and worldbuilding were just incredible. 

✨ Body and Soul (22k)

I find myself rather fussy about both soul mark and creature fics. This one explored the comorbidity of two such things in such interesting fashion that it hit the notes for me! There was also just enough angst to hurt, and the happy ending made it very worth the pain. Bonus points for magical/Healing theory and using framing as a narrative device!

✨ The Pain From an Old Wound (30k)

When it comes to magical theory and case fics, this one continued the trend of me being fed this Erised season. The nature of inheritances and wizarding culture are more tropes that I am very picky about, although this fic did it in a way I enjoy. 

It delved into other tropes that I thoroughly enjoy but don’t see very often in fic, like including things about Malfoy Manor, a bigger role for Narcissa, and (because I don’t want to spoil) THAT SOLUTION to how Draco solves the blood curse placed on Harry. Also, I must mention that I very much enjoyed Ron as a socialite! 

✨ A Soft Place to Fall (142k)

Although the word count on this one was initially daunting, I became very quickly glad that it would take me multiple days to savour and enjoy this fic. It hit so many notes for me that I don’t even really know where to begin. 

The magical theory (again, fed) was incredible, and how it tied in with trauma and healing for Harry. I found it subversive in the sense that it touched upon trauma post-war that I don’t usually see, focusing more on his childhood than the war itself (although of course that is not forgotten). 

It also features a Professors-but-not-Professors AU, with Healer Draco and Harry teaching physical ed. I always enjoy Healer Draco anyway, but I loved seeing the non-explicit ways that he has changed his life since the war. He’s great with the students who end up in the hospital wing. He had a hand in physical ed being offered at Hogwarts, as well as the fact that Muggle sports were incorporated. When he realizes that something is off about Harry (following an incident), he puts aside their initial tension in order to fulfill his Oath. It’s completely organic that he truly begins to care. That is never brought into question for the reader (Harry takes some convincing, but what do you do lol). 

Other things I loved: ZACHARIAS SMITH (it’s possible!), the students (they are so cute), and Harry’s relationship to his trauma and how he learns to love himself. And, of course, it goes without saying, how Harry and Draco grow together. This will be a go-to comfort fic for me, in future. 

✨ Seven-and-sixpence (35k)

There are some tropes that are very difficult for me, infidelity (although it is NOT between Draco and Harry here) and open endings among them. HOWEVER, sometimes a fic will come along with those tropes on offer and I will be pleasantly surprised! 

This fic was that for me. There was something about Harry having such a deep need that going to Draco regardless of his current relationship that really spoke to me. And as for Draco, this is pretty much the only way I like him portrayed when he doesn’t feel worthy of Harry. He’ll still take him, and he’ll build him up, and then his sense of inadequacy only increases because if he didn’t deserve him to start, he certainly doesn’t now. I really enjoyed the complexity of that. 

✨ Prescription (2k)

In contrast to the previous one, very sweet! Also a perfect bite size. Draco is Harry’s favourite Healer, and they go from there. ❤️

✨ Old love don’t rust (20k)

A case fic, although the case (however interesting!) is merely the backdrop. I thoroughly enjoyed the non-linear narrative, and how Harry and Draco’s history was gradually built while they’re dealing with coming back together in a tense, high-stakes sort of way.

I struggle generally with ‘getting back together’ fics, since I have a hard time seeing them letting go of each other once they have a hold, although to me it’s very understandable that life gets in the way, especially when you’re young and just getting started. This was handled in a satisfying way to me. 

✨ Equipoise (88k)

More magical theory! And another case fic! I love case fics when magic itself has something to do with the solution, as well as magical creatures being included. The way magic itself as a quantity is handled in this fic had me spinning up theories and hitting Next Chapter through to the end. The secondary plot, based on a creative play with Unbreakable Vows, was also a nail biter. Poor Harry, but thank god Draco was willing to help him out. 

✨ Victory Lap (4k)

There’s a lot of story here for under 5000 words! The Wizengamot case that Draco was sequestered for is HELLA interesting, and seeing as I’m always a hungry sucker for Established Drarry, Draco and Harry’s reunion was a lovely (and hot) read. 

✨ As Luck Would Have It (12k)

I am very weak for canon divergence Drarry, especially in 6th year. Do you want Half-Blood Prince, but Draco and Harry are weird and unable to stay away from each other? Do you like it when the canon plot is changed in interesting and creative ways, and comes up to an exciting conclusion? Well, I do, so I loved this fic, and if you do, you’ll love it too. 

✨ Storm’s Eye (12k)

The chemistry is on point here, the lore/theory intriguing, and the race against time palpable. I’m a sucker for Draco being protective of Harry, and of calling him ‘love’ and ‘darling’ so naturally. I melted every time (and so did Harry lol). Extremely satisfying. 

✨ Kiss Me, Fuck Me, Love Me (5k)

Yay, more non-linear narrative! This is another thing I am being fed on this year. 

The fic balances being sweet, hot, and funny perfectly and creates an explosion as Harry and Draco ride out the last night of their mutual pining and the first night of their relationship on New Year’s Eve! I realized while reading this that my favourite kind of Drarry mutual pining is when it’s their friends who are suffering, not so much them, lol. Pansy and Ron’s individual theatrics about Harry and Draco was hilarious. 

So those were my favourites! I'm very excited for reveals to find out who the authors are! ❤️💚

[queereads-bracket]

Queer Adult SFF Books Bracket: Round 2

Book summaries and submitted endorsements below:

Saga by Brian K. Vaughan (illustrated by Fiona Staples)

The sweeping tale of one young family fighting to find their place in the worlds. When two soldiers from opposite sides of a never-ending galactic war fall in love, they risk everything to bring a fragile new life into a dangerous old universe. Fantasy and science fiction are wed like never before in a sexy, subversive drama for adults.

Graphic novel, science fiction, fantasy, adventure, series, adult

The Last Binding trilogy (A Marvellous Light, A Restless Truth, A Power Unbound) by Freya Marske

Endorsement from submitter #1: "A trilogy of books set in a magical Edwardian England, the Last Binding series focuses on three queer couples who come together in order to solve a conspiracy threatening all magic. It’s a masterful blending of fantasy, historical fiction, and romance, with a splash of mystery and Wodehousian romp. Expect magical manor house parties with beautiful wallpaper, as well as explorations of power, trust, and what we owe the land. The prose is absolutely gorgeous and evocative. The characters and their emotional arcs form the beating heart of the story, intertwined with beautifully crafted romance. The worldbuilding feels organic and deeply rooted within this hidden magical society. These books are thoughtful, tender, scorching, and fun all at once."

Endorsement from submitter #2: "Utterly fantastic historical fantasy. Each book focuses on a subset of a larger character set. There is an overarching high stake magical plot, as well as different queer romances explored in each individual book."

Robin Blyth has more than enough bother in his life. He’s struggling to be a good older brother, a responsible employer, and the harried baronet of a seat gutted by his late parents’ excesses. When an administrative mistake sees him named the civil service liaison to a hidden magical society, he discovers what’s been operating beneath the unextraordinary reality he’s always known.

Now Robin must contend with the beauty and danger of magic, an excruciating deadly curse, and the alarming visions of the future that come with it—not to mention Edwin Courcey, his cold and prickly counterpart in the magical bureaucracy, who clearly wishes Robin were anyone and anywhere else.

Robin’s predecessor has disappeared, and the mystery of what happened to him reveals unsettling truths about the very oldest stories they’ve been told about the land they live on and what binds it. Thrown together and facing unexpected dangers, Robin and Edwin discover a plot that threatens every magician in the British Isles—and a secret that more than one person has already died to keep.

Fantasy, historical fiction, romance, magic, Edwardian, series, adult

[queenlucythevaliant]

Okay, here we go. Rating literary allusions in Taylor Swift songs:

The Outside: "I tried to take the road less traveled by /but nothing seems to work the first few times/am I right?"--Starting off pretty well! She tried to take the road less traveled by, but it didn't make any difference. 8/10

Love Story: Whole song allusion to Romeo and Juliet-- All those 2008 jokes about Taylor not having read R&J weren't funny then and they aren't funny now. It's a fun, satisfying subversion. However, I am going to dock points for the fact that Romeo and Juliet aren't a prince and princess, just rich. 7/10

Love Story: "You were Romeo/I was a scarlet letter"--Is the Juliet character in "Love Story" being publicly shamed? Did she do something scandalous? There are zero other lines in this song to suggest that she did, and a fair amount of evidence that she didn't. This allusion confuses rather than clarifies and tbh this is the one people should've made fun of in 2008. 2/10

New Romantics: "We show off our different scarlet letters/ trust me, mine is better" --Hooray! She figured out what the book is about! This is a beautifully executed allusion, where "scarlet letters" represents a mark of something shameful which, in a fun subversion, is being shown off with pride. Fits the song really well. Most improved award, 11/10

Getaway Car: "It was the best of times, the worst of crimes" (A Tale of Two Cities) -- Goes in the category of "fun wordplay, but doesn't really mean anything deeper" 5/10

This Is Why We Can't Have Nice Things: "Feeling so Gatsby for that whole year" --This is a perfectly serviceable allusion, but not a super interesting one. Sub "Gatsby" out with "nostalgic" and the song wouldn't change at all. She could've done a lot more with the reference, given the subject matter of the song. 6/10

cardigan: "I knew you/tried to change the ending/Peter losing Wendy" -- This works! You get a sense of Betty losing her innocence and choosing to leave James and of it being inevitable somehow. Plus, it imbues the song with a lovely fairy tale quality. 10/10

illicit affairs: "take the road less traveled by/tell yourself you can always stop" -- To take the road less traveled by is to do something risky, unpopular, or unfamiliar, not just to take a route through town where you won't run into people. Not totally egregious, but the regression from Debut is disappointing. 4/10

invisible string: "and isn't it just so pretty to think/ that all along there was some/ invisible string tying you to me."(The Sun Also Rises)--Ugggggh. Okay, so "Isn't it pretty to think so?" is this sad, tired, ironic note in The Sun Also Rises. Brett tells Jake, "We could have had a damned good time together" and Jake says "Isn't it pretty to think so?" because their whole situationship was never going to work. It's not a positive thing; it's pure, bitter Lost Generation irony. Completely out-of-place in a song about how two people we're supposed to believe will actually work as a couple. This one drives me nuts, and I don't even like Hemingway. 0/10

happiness: "I hope she'll be a beautiful fool/ who takes my spot next to you" (Gatsby)--Saying this about an ex's future SO is so... off. Like, the reason why Daisy hopes her daughter will be a beautiful fool is because it's easy. The two situations have nothing to do with one another, and not in an interesting way. 1/10

The Albatross: whole song allusion to "The Rime of the Ancient Mariner," but most notably "She's the albatross/ she is here to destroy you"--The albatross in the Rime is a good omen. The Mariner shoots is for no reason, and the albatross's death is the ostensible source of bad fortune. I wrote a whole separate post on this here. That said, culturally "albatross=bad omen" is common enough, so whatever. 3/10

I Hate It Here: "I will go to secret gardens in my mind/ people need a key to get to/ the only one is mine" -- I like this one a lot. Exactly the right vibe for the song, trying to escape something miserable by going somewhere pleasant. The key is a nice touch. Poor Archibald. 10/10

The Prophecy: "I got cursed like Eve got bitten" --No Taylor, that's not what happened. Famously, Eve was the biter in that situation. 0/10

Cassandra: whole song allusion -- correct me if I'm wrong (I haven't actually read the Illiad), but my understanding is that Cassandra died fairly far into the Trojan war, and not by burning. 4/10

[seasurfacefullofclouds1]

What were your favorite Louis outfits in 2024? or your favorite piece of clothing

1. Might be a little boring of me but I adore the Burberry suit. It’s so beautifully tailored on Louis, especially the shoulder fit and the arm length, the regimental British school tie, the perfect pants waist. The tattoos peeking out of the suit are so hot?

2. Not so much this MM6 Maison Margiela wool vest on its own, but the way Louis wears it so that it crosses from couture to something punk and subversive. Rock n roll without kitsch. Apparently Louis liked it too.

3. Santiago has the distinction of giving Louis iconic fan projects for every concert, and Louis has given Chile one of his indelible tour looks, the Wales Bonner Power Jacquard-Knit Track Jacket. The close-cut jacket was paired with slim-fitting pants, and every shot, whether close or far away, is incredibly vivid.

4. Louis had so many good looks during the South America promo and Latam leg of tour. Clean, sweet, elegant. Somehow the simplicity of baseball cap + white tank works on him. Givenchy tank top, Ray-Ban sunglasses, Adidas hat.

5. The devil is in the details. Louis arriving to the Sydney airport in a £3,500 casual outfit is the definition of quiet lux. Stone Island cap, Dior sunglasses, 1017 Alyx 9XM T-shirt, Balenciaga pants and shoes (x).

6. Louis dressing for the occasion is always very fun for me. Tennis whites at the Australian open (Balmain Polo, Garrett Leigh Wilson M sunglasses), and slutty for Formula 1 Monza GP (Axel Arigato vest, Ray Ban sunglasses, Casablanca silk shorts). Bonus extra slutty for the after party (Sex Pistols vintage tank).

7. Louis’ selfies make me feel some kind of way, and this one of him bundled up in a huge hoodie (Vetements Kiss Titanic split logo hoodie) in the middle of the killer Los Angeles desert summer takes me out. Very “Blue like the light surrounding me/ It all seems so different when I'm around it.”

8. So many iconic tour outfits. Shoutout to the Martine Rose baseball cap at the Victorious Festival, the Curitiba gender goals outfit (Adidas Y-3), the Lollapaloooza Amiri silk shorts, our favorite travel hoodie (1017 Alyx 9SM), this beauty from Phoebe (Burberry hat, Vetements hoodie), and bless the English football team (Umbro shorts).

[mswyrr]

"The Terminator" (1984)

Now that it's 2024, this film is 40 years old (!!!). I thought I'd finally sit down and give it a proper viewing (instead of the bits and pieces I've caught of it over the years) and it holds up very well.

Assorted thoughts:

-It's way more of a Horror movie than I'd expected. I knew Sarah Connor as a kid in her T2 Badass form (and from "Sarah Connor Chronicles"). It's neat to see her begin her journey as a Final Girl

-The deliberate pacing was also unexpected - but rewarding. Cameron does a great job building tension and weaving the deepening understanding of what's going on into that. Starting off a police detective plot only to have the detectives die like punks within minutes of coming up against the Terminator? Great subversion of genre tropes that were popular at the time and very effective in raising the stakes.

-THE ROMANCE. oh. delightful. it unfolds in such a way that you see an entirely new side of Reese - first, learning his first name is Kyle and then his deeper truth, who he is as a person that feels rather than a soldier who exists to kill machines.

-huge kudos to the actor playing kyle as he exposes his vulnerability - "i love you. i always have." and you can see the shifts between the hardened soldier he's had to be and what he's kept of his softness and how much she means to that side of him. the chemistry works v well.

-him being a virgin sort of -- consecrated by fate to love her? carrying her photograph with him. (the photograph where he noticed and felt connected to her 'sadness' - not realizing that, in the moment it will be taken, she is sad over his loss). choosing to go back. makes her side of the 'fated to have a kid together' thing less uneven?? kyle is fate's bitch even more than she is. i thought i'd be bothered by how she's destined to be the mom of an important man. but the way kyle is handled makes it work for me. he carries the tragedy deep in his heart and dies gladly for her and their child, not even knowing the truth about john. gorgeous!

i can see why people point to the sex scene here as an example of one that is beautifully in character and specific and INCREDIBLY PLOT RELEVANT lol like, it's absurd that people say sex shouldn't be in movies because it's "not relevant to the plot" but this is the single most plot relevant sex scene ever loll

i really liked:

-repeated shots of their hands gripping tightly -the way kyle is just drinking her in, in awe of her and this moment -linda hamilton's earthy/sincere performance of female desire and sarah working toward orgasm -the final time their hands grip each other tightly - and then the slow release of their fingers and the way the editor chose to have their hands letting go be a fade to black…. poignant, given what's going to happen 😭

"in the few hours that we had together, we loved a lifetime's worth" - love that quote and everything coming together in the end, as you see how the photograph was taken. lovely tragic romance!

[be-gay-find-cryptids]

(Part 1) Film & TV Recommendations for Halloween

1. Over the Garden Wall (Miniseries, 2014)

Over the Garden Wall features two half-brothers, Wirt and Gregory, who have become lost in a mysterious wood called The Unknown and attempt to find their way back home.

...

This beautifully crafted animated miniseries is the best thing to come out of Cartoon Network even after ten years. The unique atmosphere, which blends fairytale charm with Gothic eeriness, perfectly compliments the early 20th-century Americana-styled animation. At just ten episodes, Over the Garden Wall is a short but impactful experience that lingers with you long after it ends. I highly recommend this series.

2. Coraline (Film, 2009)

Wandering her rambling old house in her boring new town, an 11-year-old Coraline discovers a hidden door to a strangely idealized version of her life.

...

This stop-motion animated film is a deeply unsettling and visually stunning experience. Blending a dark fairytale narrative with otherworldly imagery, it presents itself as a psychological horror for young and older audiences alike. Coraline explores the complex ideas about family, identity, and the dangers of wish fulfillment with grace. I strongly recommend this film.

3. ParaNorman (Film, 2012)

Norman Babcock, a young boy who can communicate with ghosts, is given the task of ending a 300-year-old witch's curse on his Massachusetts town.

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This heartfelt stop-motion animated film blends humor, horror, and themes of ostracization and acceptance. While blending classic horror movie tropes with a coming-of-age story, it manages to portray strong themes of prejudice by using zombies, witches, and ghoulish imagery. If you're looking for a unique spin on classic B-movie horror, I highly recommend this film.

4. Happy Death Day (Film, 2017)

A college student must relive the day of her murder over and over again in a loop that will end only when she discovers her killer's identity.

...

Happy Death Day is an entertaining mashup of slasher horror and Groundhog Day-style time loop storytelling. This film stands out from all the rest of the horror-comedy franchise due to its emotion, mystery, and character growth. While it doesn't push boundaries for horror, it makes up for its uniqueness that balances humor and suspense. If you're looking for a horror-comedy film, I strongly recommend this one.

5. Jennifer's Body (Film, 2009)

A newly-possessed high-school cheerleader turns into a succubus who kills her male classmates and devours their flesh in order to survive.

...

Though it was sorely misunderstood when it originally came out, it has recently garnered rightful attention for its subversive take on the horror-comedy genre. This film blends teen drama and supernatural horror and uses its genre to touch upon the objectification of women in horror and in reality. Its wit, self-awareness, and social commentary have made it a standout in the horror-comedy genre, and for that, I strongly recommend this film.

6. Sinister: Recut (Film, 2012)

Ellison Oswalt is a struggling true-crime writer whose discovery of snuff films depicting gruesome murders and strange supernatural elements in his new house puts his family in danger.

...

Said to be one of the scariest films ever from a research study, Sinister is a deeply unsettling horror movie that perfectly mixes supernatural elements with psychological tension. The haunting score combined with the grainy, nightmarish footage of the murders results in an unnerving experience that sits with you long after you turn the lights out. Instead of watching the original movie, I strongly recommend this fanedit version of the film. It elevates the movie by removing some of the cheesy jumpscares and awkward dialog. If you're looking for a genuinely haunting movie this Halloween, I recommend this one.

7. 1408 (Film, 2007)

Author Michael Enslin, who specializes in debunking paranormal occurrences, checks into the fabled room 1408 in the Dolphin Hotel in New York City.

...

This film excels in building suspense, using minimal special effects, and relying on our main characters' isolation and psychological unraveling to create fear. While this movie isn't as overtly terrifying as other horror films, 1408 offers an eerie, slow-burn experience, blending supernatural elements with personal trauma. The film has two different endings, the theatrical version and the director's cut. I'd suggest watching both to come to the conclusion of your favorite. It's a must-watch for fans of psychological horror, and I strongly recommend this film.

8. Midsommar (Film, 2019)

A couple travels to Northern Europe to visit a rural hometown's fabled Swedish mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult.

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This is a visually stunning and disturbing horror film set against the backdrop of a bright, idyllic Swedish village. The movie stands out for its unique approach to horror, unfolding almost entirely in daylight, creating a sense of unease through its striking visuals, unnerving atmosphere, and slow-building dread. Midsommar is a polarizing piece of media, mixing folk horror with psychological drama, and is filled with symbolism and unsettling imagery. I highly recommend this film if you're looking to be disturbed this Halloween.

9. Skinamarink (Film, 2022)

A young brother and sister wake up during the night to discover that their father is missing and that the windows, doors, and other objects in their house have vanished.

...

Skinamarink is an experimental analog horror film that trades traditional narrative for a surreal, nightmarish atmosphere. Shot in grainy, low-light cinematography, the film immerses you in a disorienting and eerie world where fear of the unknown takes center stage. The film’s strength lies in its ability to evoke childhood fears, using abstract visuals and unsettling sound design to create a sense of dread. However, its unconventional approach may alienate some people who expect a clear plot or resolution. The minimal dialogue and deliberate pacing make Skinamarink more of a mood piece than a traditional horror film, relying on atmosphere over jump scares. For those willing to embrace its experimental nature, Skinamarink offers a haunting and disquieting experience that lingers long after it ends, tapping into primal fears of isolation and helplessness. For all these reasons, I highly recommend that you check out this film.

10. Heck (Short Film, 2020)

A child wakes up in the middle of the night to the sound of his mom's television blaring.

...

Heck is a short film that shares a similar atmospheric approach to the creator's feature-length film Skinamarink. Like Skinamarink, it explores the feeling of being trapped in a surreal, dreamlike space. The film's minimalist aesthetic, with grainy visuals and a haunting soundscape, creates a disorienting atmosphere that leaves much to the imagination. It builds tension through its slow pacing, relying on the viewer's discomfort with the unknown rather than traditional horror tropes. For people who thought Skinamarink's runtime was excessive, Heck is a great substitute that captures the same atmosphere of the former. I highly recommend this film to people who have enjoyed Skinamarink's take on horror.

[lurkingshan]

your top 5 good finales of BL (not necessarily of 2023)?

This is such a hard question since most shows have mid to weak finales, but I did come up with five from shows I watched this year (though not all originally aired this year).

I Cannot Reach You

If you haven't watched this jbl yet, please do so immediately. It's on Netflix now in most regions. Truly a perfect friends to lovers narrative that is so smart about the tropes it deploys, and sometimes subverts. The finale left the relationship in such a strong place, paid off the sexual tension in a way most jbls don't, and did one of my favorite trope subversions of the whole show.

La Pluie

I know some of y'all complained about the pacing of this finale but I gotta say, you're just wrong. We needed to see Tai make his long slow journey to work through his own bullshit and be the one to find Patts and finally use his words. It was a fitting end, an important conclusion to Tai's character arc, and a final exclamation point on the show's themes.

Jack O' Frost

I love love love this underappreciated jbl about the lies, big and small, that we tell in relationships and how they affect trust, and I love that its message was ultimately that it is worth sticking it out with someone you love even if they have disappointed you. Ritsu's realization that he had also been dishonest, even if not on the same scale as Fumiya, and his realization of how much joy and confidence the relationship brought him, opened a door for him to see his way to forgiveness.

Wedding Plan

THE GAYS WON!!! Yiwa told her parents to fuck off and eloped with Marine. Sailom was freed from his fake wedding and any expectations that he would ever marry a woman. Nuea got the love and devotion he deserved. And we got a beautiful story about finding the bravery to live an honest life and rebuilding your family with the people you can trust. Such a beautiful show.

What Did You Eat Yesterday?

This show originally aired in 2019, but I watched it for the first time this year, and its first season has one of the best final episodes of all time. The show is slice of life but there is an ongoing relationship arc playing out across the season, and the season finale pays it off beautifully, with Shiro and Kenji experiencing a moment of emotional catharsis that was so well-earned. Not sure anything will ever top it.

Ask my top 5 anything in bl

[moonchild-in-blue]

I need everyone to watch Kaos (from Netflix) right now, please and thank you. Quite possibly my favourite modern retelling of the Greek myths / Olympic pantheon.

The story revolves mainly around Orpheus and Eurydice (Riddy), and around Zeus and a certain not-so-great prophecy. Dionysus is one of our main stars and he's great and amazing and hot and absolutely babygirl.

Yes there are a LOT of references and myths and characters beyond the main Olympians (Zeus' famous kids don't even appear). Yes you see Prometheus having his liver pecked. Yes, we do get to see the Minotaur & Co. Hades and Persephone too, obviously. Yes, there is A TON of great poc and queer rep. Yes, there is blood and sex and violence and poignant society AND religious commentary. Yes, you do get old man yaoi. Yes, Jeff Goldblum as Zeus is incredible and no joke my new favourite portrayal of him (Zeus). Yes, they are faithful to the "doomed from the start" narrative of Orpheus and Eurydice. Yes, Hera does have her peacocks.

Please please please go watch it please it's so great and visually beautiful and amazing. Pirate that thang if you must.

My thoughts whilst watching the show - no plot spoilers but be warned for mild thematic/ character/ setting commentary. Generally safe to read if you haven't watched it yet and don't mind a little preview:

SOUNDTRACK IS WOW. Don't Fear The Reaper? On episode one?? The song I've been listening over and over because of a certain beloved band has made a cover of it???

Love how they portray the worship of gods as something that is part of their daily lives and culture without seeming too "gimmicky".

There are clear parallels to Catholicism in the way they conduct themselves (either in favour or against the gods; all the little rituals and traditions), and it's quite interesting to see how would modern society function if Hellenism (or rather the ancient practices. pls correct me if I'm wrong) were the primary (and as far as I got it only) established religion in the world.

The "Vero" declaration with the hand gesture as part of Olympian liturgy? Amazing. Interesting choice in using Latin rather than Ancient Greek, but very cool nonetheless.

A significant amount of casual mentions of horrifying violent acts by the gods, and even some healthy dose of violence/ blood. Thought it was very interesting to see Zeus discussing infanticide and natural catastrophes the way we discuss the weather or grocery prices. They really leaned heavily into the whole grandeur and arrogance of gods in regards to human life which I super appreciate. I'm tired of seeing passive, Cool and Hip and Benevolent Zeus & Co.

Also the amount of criticism by the god-haters (Blasphemes? Non-sympathisers?) feels very refreshing (and on the nose concerning irl organised religions), especially in contrast with the more devout and how they put their life in second place in lieu of worship (yes I'm thinking about the Tacitas AND the Celebration Ritual™ iykwim).

The subversion of the "doomed from the start" narrative surrounding Orpheus and Eurydice is done so beautifully it hurts. Right from the first moment they appear, you know how it'll go. And yet!!

You know what happens, of course. Their story was never meant have a happy ending. But the way they took that and put a modern spin on it it's just!!!! My heart !!!!

I was rooting for Orpheus the entire time, knowing damn well it was a lost cause. I can't blame Riddy, but my God is it painful to watch. LOVED the actor who played him, he just the right amount of earnest love and rockstar flair. Riddy is SO cool - there's not much I can say beyond that that isn't a spoiler but. Yeah. We love complex female characters.

I'm gonna be really petty and pedantic here, but for a show revolving GREEK mythology, set in Olympia / Krete, with sooo many little references to the myths, it is CRIMINAL that they insist on calling Heracles by his roman name (Hercules), and that they refer to Hades as God "Of Death" instead of God "Of The Dead" / King Of The Dead. There's a major difference there - Thanatos would like a word.

Troytown? Where the Trojan refugees (displaced war victims really) are *literally* segregated to (their exact words, segregation), and even use those nose lines/tattoos as way to identify them? Where they face scrutiny and police brutality and prejudice from the Kreteans? As a clear reference to minority poc urban areas and how they are unfairly mistreated and deemed as "others" by the same governments who put them there in the first place??? YES YES YES.

A lot of queer and poc rep. And I mean A LOT. The Fates alone are a whole vibe.

Again, it doesn't feel gimmicky at all, nor does it fall under the "okay they're definitely trying to hit all the quotas so everybody is gay and ethnic and uses neo-pronouns" trend some media are starting to follow, which really just end up falling flat rather than significant (looking at you Sex Ed 4). An actual diversity win.

If you're familiar with the story of Caeneus, you'll love how they portrayed him here.

Dionysus is everything and some more. I love him. Prometheus is incredible. Jeff Goldblum as Zeus goes above and beyond expectations - he brings that Goldblum Flair™ but with an intense violence and paranoia you could only pull off as King of the Gods. Hera is just wow, truly a queen.

Hades and Persephone have an *interesting* dynamic - have never seen him being portrayed like that before. Usually Hades and Persie are the "dom goth Mommy and Daddy" of mythology retellings, and yet here it's completely different. Certainly *A Choice*. I don't mind Hades, but would've liked to see "goddess of spring & dreaded" Persephone.

I understood the vision, but I don't think it worked *quite* as well as the other ones. She's still super cool nonetheless - that sandwich scene was incredible.

Also - VERY COOL how diverse the actors are. With the exception of Dionysus who is objectively Young and Hot, pretty much all the other gods (and adjacent) are middle-aged or up, with visible signs of aging (grey hairs, wrinkles, sagging skin, belly fat, etc), which is cool cus usually the gods are made to be a specific flavour of "hot".

The Furies, who could've been all snatched and sexy and token Femme Fatale characters, are actually older butch women with mean lesbian energy and I think that's very cool and awesome and wonderful.

Even the human cast is so diverse and interesting and REAL, rather than yet another yassified ensemble - it's great to see. Not everyone is conventionally hot and attractive, and THAT is sexy af.

All the little Easter eggs and references to the myths and general ancient Greece culture are SO nice to see. I giggled when Polyphemus first appeared. That first scene on the cereal aisle was very funny. Gagged at Cassandra.

Stylistic choice of the Underworld environment and on-camera portrayal is chef's kiss. That's all I'll say.

LABYRINTH AND DAEDALUS YES. Would smash the Minotaur, 1000%. That Scene™ was. Hmmmmm yeah.

Overall I loved it and high key might re-watch it again. What an amazing show. This was a win for all of us Greek Myth nerds, and I'll be truly devastated if Netflix doesn't renew it for a second season.

[theromanticscrooge]

Rob, Gumball, and the Villain Rivalries That Belong on a Sitcom Set and in Couples' Therapy

So, the episode "Glory Hog" of the 2009 cartoon League of Super Evil follows the attempts of a lame supervillain team to net a big-time hero rival. They manage to draw the attention of Captain Glory, an even more extreme boy-scout parody take on Superman. L.O.S.E. are known for playing Ding, Dong, Ditch and jaywalking. They're a better fit as the opposite of an aspiring Scooby Doo gang vs a guy with super strength, flight, and laser vision. Captain Glory's usual nemesis is Skullosus, a skull in a jar atop a mech suit. He has a full flank of minions, a space ship, and a planet-decimating death ray.

Skullosus almost destroys Earth in Captain Glory's absence, but gives up when his beloved hero rival fails to make his timely appearance. When the two finally reunite, Captain Glory and Skullosus' rivalry carries the subtext of a romantic couple making up after one of them was caught exploring their options or emotionally cheating. They're a Rupert Holmes Pina Colada situation where Skullosus reminds Captain Glory about the mutual excitement they glean from fighting each other. Skullosus is an even match for Glory Guy's powers, might, and tenacity; just like the jaded man's wife in the aforementioned Pina Colada song hates yoga and loves getting caught in the rain as much as he does.

Another fun and more well-known take on this goofy hero-villain dynamic are Batman and the Joker in the 2017 Lego Batman movie. The Joker considers Batman a centerpiece of every villainous scheme and exploit. How the Bat will react or interact with various parts and pieces of his plan, as well as the Joker himself, are elements he actively anticipates and consciously thinks about. It's a highly personal and devastating blow when Batman asserts the Joker's rivalry is one-sided.

As Batman learns to appreciate and better understand the importance of having other people in his life, one of his penultimate "I'm learning" moments is when he finally delivers a heartfelt, genuine "I hate you" to his rival. That's all the Joker wanted. It's his equivalent to a rough, stoic sitcom husband telling his taken-for-granted housewife "I love you." That first confession opens the floodgates. From now on, the Joker can have the meaningful banter and earnest effort he deserves from his heroic rival.

More serious hero vs villain conflicts in comic books present the hero and villain respectively as opposite sides of opposing themes. In the specific case of Batman and the Joker, they can be generalized as order vs chaos. They're both the most extreme ends of a very black and white sense of morality. Both are deeply traumatized men with enough presence and power that whatever actions they take can shape Gotham for the worse or the better. Most stories focusing on the Batman vs Joker dynamic are interested in exploring the consequences of two clashing extremes in regards to social issues or exploring the psychological impact of this all-consuming obsession with each other on Batman or Joker respectively.

A huge part of what makes Lego Batman work as a satirical lens is that Batman becomes a self-obsessed narcissist and the Joker becomes an "I'm evil for the fun of being evil" villain that exists more in the realm of Saturday morning cartoons than otherwise. The Batman caricature is a subversion of the generally gloomy, dark, and severe character most modern takes are. This combines the camp of the 60's Adam West series or even the 90's live action bat credit card antics with the fixation and obsession superhero pop culture has with Batman at large. When Batman is such a self-interested figure, it makes sense to paint this variant of the Joker as more sensitive than he would be otherwise. Gotham is at the mercy of a "notice me, senpai" Joker instead of someone that wants to watch the world burn.

In a nutshell, the rivals with romantic subtext framing works beautifully in a more satirical work. If these characters can pull from a more serious framework where the characters are so fundamentally at odds they have to seriously consider whether or not they should kill each other, it's that much funnier to place them in a strained sitcom couple dynamic. The more extreme debate of this fictitious world would be a dramatically different place without this hero or villain becomes a simmering argument about whether the hero or villain is sleeping on the couch tonight.

Keep this in mind and then look at The Amazing World of Gumball episode "The Ex." Both previous examples rely on the existing library of comic books and characters as a foundation for their goofier hero and villain. The Amazing World of Gumball can similarly pull from this library but builds up the characters and story involved to the point they can and do stand alone. They present a new and deliciously bizarre template that other future stories could borrow from for setting up further hero and villain rivalries with a frustrated set of not quite sitcom spouses.

In general, TAWOG is a delightfully subversive series, whether it's poking fun at a wide breadth and depth of pop culture, delivering fantastic social commentary, or sneaking in surprisingly insightful and heart-wrenching character writing.

To set the stage, the wacky and colorful world of TAWOG relies on characters remaining unaware that they live in a syndicated TV cartoon outside of very limited, special circumstances. Its a couple of steps above how the 90's Animaniacs casually leaned on the fourth wall for jokes and comments vs the very active, deliberate part the fourth wall holds in TAWOG's world-building. The fourth wall becomes the static-filled void just on the outskirts of Gumball's reality. Characters are aware enough of the seams in their world that episodes like "The Money" use storyboards and unfinished CG rigs as parts of jokes about the world falling apart without a healthy budget.

Though, the physics and overall stability of this world rely on characters staying blissfully ignorant or outright forgetting parts of their reality that an amorphous creator, an unseen entity, or what is referred to as 'The Universe' itself deemed as unimportant. Usually, these forgotten 'parts' are jokes about how unanimously unlikeable disco music is, how unfashionable mullet hairstyles are, or bad ideas like the general construction of the Hindenberg blimp. Then, TAWOG takes this one step further and invents the tragedy behind the character Rob as a more existential dread-flavored look at the cartoon's overall relationship with its fourth wall.

Originally, Rob was just a playful background character. The Universe decides that he's a negligible part for whatever reason alongside the tertiary character Molly and mercilessly ejects both of them into this static-filled void. In show buildup to the discovery of the void follows Gumball and Darwin progressing from seeing its existence as a tin-foil hat conspiracy theory to diving into the void itself to save their friend before she's completely erased. In-cartoon logic of scrubbing any part of the world clean is a gradual process. The process can be stopped if its caught soon enough or a particular item is retrieved and reinstalled into the world at large before it dissolves or however else deletion/dissolving occurs within the limbo of the void.

Gumball and Darwin go to rescue Molly from the clutches of the static, but ignore Rob's desperate attempts to draw their attention and get their help to escape. He was already an unnamed background character, but now he's been knocked down one level below that already dubious narrative hierarchical position and doomed to oblivion. He literally clings to the back of Mr. Small's van on the tail end of the Molly rescue attempt, unseen by Gumball and Darwin, and forces the Universe to acknowledge him. When Rob does return to the 'normal' world, he's in an incomplete state. He doesn't remember who he was or what his original connection to this world was. Most of his body are rough polygons with patchy, glitched-out textures and TV static. One of his feet is an incomplete CG wire frame.

Because TAWOG is a satire series, Gumball establishes that all of the recognizable on-screen characters fill some sort of established character archetype. All of the other 'good' archetypes have been filled. Rob is assigned The Villain role and starts to fill said role in large part because he was forced into this. Depending on the episode, Rob is playing a required narrative part as much as any other character in the cartoon, but he also has moments addressing his unique frustration and fight with the construct around TAWOG as a whole. Rob is definitely a sympathetic character.

His worse actions aren't excused but his tendency towards more extreme and forceful solutions or behavior is understandable. He had to claw his way back into the world and more or less fight to maintain his right to exist. He feels unseen and unheard; this isn't helped by Gumball immediately jumping towards "what's Dr. Wrecker's evil scheme today?" vs any kind of more thoughtful and substantive discussion with Rob. There's never a moment of "How are you?" unless Rob literally steals the spotlight and tells Gumball, as well as the watching audience, where his thoughts and feelings are.

After the events of "The Disaster" and "The Rerun," Rob has successfully achieved his goal of destroying everyone Gumball loves. He destroyed Gumball's life by tearing apart his family through the right set of wrong loaded phrases or emotional manipulation and even temporarily erasing all of said family from existence. He backpedaled on and ultimately corrected these actions; as he's said, he never wanted to be the villain but he feels so forced that he has fully become the role where he was just playing at it before. After such an intense scrap with his nemesis, Rob wants something more casual and low-key. He's so locked into villainry, he's downgrading from a Level 10 threat to the more manageable Wile E. Coyote ventures he started with.

"The Ex" also immediately follows the awkward tension between Rob and Gumball at the end of "The Rerun." He isn't sure if he can hate Gumball with the same intensity as he did before and those fierce, bitter feelings were a significant motivator in his interpersonal relationship as Gumball's nemesis. Because of these more lukewarm feelings, he "breaks up" with Gumball and shifts his attention to Banana Joe. Joe is more compatible with Rob's Wile E. ventures as a promising Roadrunner. He's annoying and dim, but the lack of wit is offset by enough sheer dumb luck that helps him avoid Rob's complicated traps. There's strong potential to maintain an ongoing, evergreen unseen nemesis role that Rob had with Gumball before Gumball finally acknowledged him and strong-armed him towards something worse and more sinister.

Gumball is devastated by the breakup. He's been bragging and gushing about Rob to his girlfriend Penny ever since Rob became his official nemesis. There's personal attachment. Gumball is partly responsible for goading Rob towards the horrible, evil depths he's achieved. He was Gumball's project. This new nemesis doesn't know or deserve the results behind the fruits of his labor. As far as Gumball is concerned, there's no Rob without his lovable, rapscallion nemesis Gumball Watterson.

It's especially ridiculous how active a role Penny plays as Gumball's emotional support and advice in his misguided ploys to win Rob back. In other setups like this, such as 2017 Lego Batman, Batman does have a female love interest. The hero-villain rivalry can exist alongside an established heterosexual love interest or love story. If anything, having this dynamic exist next to a blatant, straightforward romance further drives home that the sitcom couple subtext is a comedic framing device. Penny's relationship with Gumball is a separate and distinctive thing from the unique, intimate bond that Gumball shares with Rob as his nemesis.

What's really fun about Gumball expressing such strong jealousy towards Banana Joe is that he brings the same grand gestures and harebrained desperation towards winning Rob back as he would to romance Penny. Rob has carved out a special place in Gumball's life that nobody else could fill. Gumball follows the conventions of a classic "make my ex-boyfriend jealous" story up to the mature move of trying to move on and be just friends instead.

But then he inadvertently reignites the fire of Rob's hatred towards him and gets his own shoujo-romance fireworks and goopy-eyed "I hate you!" declaration. These two have the same kind of chemistry that makes more grounded takes on the Batman-Joker rivalry work mixed with the framing that makes the more satirical takes work as well. It's a weird tight rope walk, but TAWOG has firmly established itself as a story that can swing between genuinely gripping drama and more absurd, outlandish situations. Granted, Rob and Gumball have enough of a genuine connection that there's room for Rob to segue from a nemesis to a real friend. There could be a redemption arc. Every major scene Rob has reinforces the idea that he is on the teetering edge between maintaining his villain role and an honest desire to be allowed to just exist.

Outside of the nemesis story, Rob presents interesting commentary that fits a wide variety of people considered 'other' by society that get brutally demonized, ostracized, and ridiculed. Rob is a case of someone that was pushed so hard that he becomes exactly what society expected and feels so lonely and unsupported that he doesn't see a realistic alternative. Being the Villain is his only means to survive, to protect himself, and is the only tool set he knows of to achieve any kind of results. This is why Rob resorts to kidnapping Banana Barbara and posing as Superintendent Evil in late season 6 episodes rather than trying to launch a meaningful dialogue with anyone else. He's convinced that force is the best method and has no proof of otherwise.

I'm still hoping for some kind of closure for Rob's overall character in a yet-to-happen Amazing World of Gumball series finale. He deserves it. And viewers deserve one final bro hug between Gumball and his closest interpersonal relationship outside of his family and his girlfriend Penny.