#its just change for the sake of change.

[nomaishuttle]

i dont think tim burton should be allowed to direct things anymore

[heshmmity]

i have an urge to post it here so i post it here. be normal guys

50 shades of "bill we need to stop doing old men yaoi kisses its not very good for my reputation" dude nothing will save your reputation atp.

[creatively-cosmic]

in loving memory

or: what did @pkmn-monochrome mean by this

[ozzo-the-wozzo]

Hey guys so do we want to talk about how Lila’s entire thing is that she lies and yet the biggest lie this season isn’t coming from her... but from Marinette.

How Lila and Marinette match each other intellectually, which Marinette herself says while fighting Lila (‘unlike the other Hawkmoth you’re actually clever!’). How Marinette has always fought against Lila’s lies but is now perpetuating one herself that will probably turn out to be one of the most (unintentionally-don't attack my daughter) harmful ones in the show- and its to Adrien- one of the only people who didn't initially fall for Lila's lies.

How the thing- the lie that is going to break Adrien this season, that will guiltrip him over his final confrontation with his father, make him hate himself for not being there for the final battle, and make him feel the weight of a thousand revelations and implications and betrayal once revealed, comes not from the villain known for lying... but from Marinette.

There is something to be said about villains paralleling the hero, and BOY is this season going to be one of the most heartbreaking and craziest examples of it yet.

[liquidstar]

but for real i love adventure time bc in the face of shitty family members that are also space war criminals, most kids show protags would be all "guys lets not fight... we're family! we can be friends! peace and love!" but finn is like "im going to personally rip off my dads arm because i hate him"

[batcavescolony]

I feel like people aren't getting it. In. The. Books. Perseus. Jackson. Is. An. Unreliable. Narrator. This goes for everything he thinks. Percy loves his mother, so he writes her praises. In the show we get to see what Sally does from an outside POV not filtered through a child that idolizes his mother. It's not ooc for Sally to act like she does in the show. she's a single mother raising a neurodivergent, Demigod, and she's scared that when the Gods get to him they'll corrupt him. She's not suddenly a girl boss we're getting to see her for how she is.

[cent-scratchnsniff]

it was just going to be a few warmup doodles but then she infected the rest of the page like the ever eternal and spreading spores. hod!!! hod. hod :)

[flufflecat]

bill cipher deconstructed, a cosplay

[basketobread]

yeah ok i ship oc x oc even if there are romanceable companions in game LEAVE ME ALONE!!!!!!!!!!!!!!

[ipwarn]

Holy fuck I should delete twitter. Unfortunately, the sole reason I still use it is for Broadway news. And I have yet to find a place that matches it. I set up a Bluesky account and would happily move myself over there but nobody is using it.

Please god can there be a mass migration now? Bluesky looks exactly how Twitter used to look. And it's not run by a pathetic incel like Elon Musk.

[allgremlinart]

you know I call it Ursa Apologism but really it just boils down to: well I think Ursa did her best considering.

[thegreatyin]

to put a long story short: at the end of ffxiv's base game, literally Directly before the beginning of its first expansion (heavensward), there is a series of quests and story arcs that eventually snowball into an hour-long cutscene in which the entire thing comes to a head in the literal worst way possible. like, "the hero's plans all go horribly wrong and several major characters die onscreen, with others going missing (presumed dead), eventually culminating in the player character being framed for the murder of the leader of a nation-state and being Literally Forced To Flee The Country" wrong.

heavensward leads directly on from this plotline. you arrive at the major location of the expansion in the midst of seeking asylum whilst being a wanted criminal everywhere else in the world right now. it's like. A Whole Thing. the game makes such a big deal out of it all. the fandom does as well. and for good reason!! it's a really good moment!!!!!!

and then roughly 1/3rds of the way into heavensward you find out that literally none of it mattered. nobody important actually died, no changes were actually made to the status quo, and nothing comes of being literally kicked out of the country for (what is implied to be) several in-universe weeks, if not months. None Of It Mattered. None.

TLDR; the bloody banquet is a major, exciting, and very infamous twist that seems like it's going to segway into a MAJOR upheaval of the status quo and some really intriguing ramifications for the story as a whole... and then heavensward does away with literally all of that and practically writes the entire thing off as a waste of time.

you may be able to see why i'm so salty about it.

[dirtytransmasc]

I hope we get a scene of Alicent with Aegon's body. If her son is damned to die, if she is damned to spiral into insanity, if she is to lose her life too the grief, let me see her with his body.

let her hold her baby in her arms one more time. let her wipe the blood that poured from his mouth and nose as he died. let her run her fingers over the viscous burns that adorn his skin. let her fix his hair. let her bathe him with a cloth as she had when he was a babe. let her kiss his cheek, his forehead, his hair, his hands. let her lay her head against him, hugging him like she had failed to do for years.

he was her firstborn and yet, her heart was still beating and his was not, she was not yet cold in her grave, no, no her son was cold, her flesh was warm, too warm. he was her baby, her son, the boy she tried so hard to protect, who had loved even when it hurt, who she had stood in front of a dragon for. she loved him, the very bones of him, and now he was dead.

let her lose her mind right there, in that room, still clinging to her body, one that's too cold, too still, too quiet. let her scream out to the gods, damning them, cursing them for taking her eldest son, amongst everything else in her life.

I want her to drive away anyone who tries to take him from her, forcing the silent sisters or whoever would be left to deal with his body at that point. let her curse and spit and claw at anyone who comes too close.

she would stay there for hours, reflecting on her memories of him. maybe she talks to him or hums a lullaby until she finally loses her battle with what remains of her consciousness and sanity, falling still against the table.

she dreams of Aegon, she dreams of the life she wish she could have provided, the life she had tried so hard to give him. a life where he was safe, a life where she had been a better mother, a life where she didn't need to live in and impose fear up on her children. maybe if she had tried hard enough he would still be alive, she'll think as she floats in the space between consciousness and unconsciousness.

she'll wake in plain chambers she only partly recognizes, she'll learn of her sons lackluster and sparsly accompanied burning, she'll learn her son was gone and she was alone. there won't be much of her left to care. she just continues dreaming, dreaming of her dead children and spiraling to madness until her broken heart finally gives out.

[my previous post inspired this, cause all I can think about now is Alicent mourning her son and its gonna put me in an early grave]

[kaeyapilled]

i am still not over the fact arlecchino is referred to as "father" by the house of the hearth kids btw. the gender of it all

[thewhizzyhead]

hi its me so back when wattblr was at its peak (2020), watt basically gave me a drug that made me really fuckin creative and want to do a bajillion musicals. 4 years later, warriors has now force-fed me this drug again. Welcome back to me being annoying as fuck woo here's the Izzy Original Rambly Musical Masterlist - Part 1

+ Misfits - been developing this SINCE I WAS 13 and um its Basically A Show Within A Show idea inspired by my past experiences with my former church and their Christmas musicals. TO UNDERSTAND THIS HERE IS SOME BACKSTORY: so when I was 10-13 I used to be in Christmas musicals staged by my sunday school. These musicals were Pilipino translations (the songs stayed English) of Typical American Children Christmas Musicals found on youtube (check out A Rocking Royal Christmas on YouTube yes we did a Filipino translation of that and I played the narrator when I was 11 I'm not kidding). When I was 13, I wanted to make something more resonant to the teen crowd as um to be quite honest the stuff my fellow Sunday school people were going through were Fucking Heavy and i wanted to feature that + I always knew that the Very Kiddy Musicals we set up were mainly a show for the parents and all that. I wanted a message of faith that actually resonated with my age group - and i developed it far enough that at 14, i was commisioned by my sunday school teachers to work with the church's orchestra in actually having this developed! But 15 happened and I started questioning a lot of the stuff my Sunday school and church does in terms of like politics, mental health stuff, sexuality and identity and pressuring me and my fellow teens to become something we were not, and it really felt alienating, almost as if I was simply putting on a show to appease all those that look to me and want me to be the Best of Young Christian Soldiers

So the concept of Misfits is um okay just read this ramble i wrote 3 years ago that is MUCH MORE COHERENT AND COHESIVE than the descriptions ive been whipping up for three hours now:

There is more to this like I have been developing this for 7 years now and there IS A TRACKLIST and each character has a storyline and a certain dynamic with all of the characters - like all are connected one way or another - but the basic gist is:

1.) The Narrators Put On A Show For The Religious Audience, then Start Crumbling at The Questions Presented and Prompted by The Misfits, but also Upon The Realization Of How Much Pressure They Are Under in Supporting A Narrative They Are Conditioned To Unquestionably Trust + the reveal of the secrets they hide and deny about themselves in order to seem as the Perfect Model Christian (sexuality, mental health issues, parental/pastoral pressures, abuse, psychological trauma as a result of Putting On The Show - the Time Travel element is not just there for the purposes of the show, it has a very important plot element too that connects the leader of the Narrators with the defacto leader of the Misfits) + how do they deal with these secrets being slowly revealed when They Know They Are Being Watched

2.) The Misfits Try To Navigate The Strange Musical Scenario and Why The Narrators Seem Preachy, While Also Being Forced to Address Their Pasts and Presents on why They Are Deemed "Misfits" in the First Place (outside of Christian conservatism, there exists undeniable concern for the wellbeing of the "Misfits" aka juvenile delinquency and poverty, mental health issues, and um the defacto leader being a Former Member of the Narrators wHICH WILL BECOME THE RUNNING THREAD TO THE PLOT TWIST which is why they were chosen in the first place), so basically The Misfits Are Challenged to Acknowledged that They Are Indeed Troubled (especially with carefully planted plot points and script prompts used by the Narrators to have these in the open) - but the original Producers Approved plotline has them Turn Back To God, but how can they do so if the problems they face are rooted in the current religious institutions in place? That is the question presented by the Misfits to the Narrators - which is what causes their show to fall apart

3.) Through Questioning The Mission They Were Given and the Environments That Mandate Them To Do So Despite Their Own Struggles (Narrators), and Through Questioning Themselves, Their Struggle, and The Acknowledgment That They Do Need Help (Misfits), the two groups face what I want to be the ultimate thesis question of the musical: when you grow up, where does one find hope? This is my attempt at breaking down the concept of religion because ultimately, people look to a higher figure in the dream of hope and the want for answers - thus, religion cannot ultimately be taken away from people who truly want and seek it. But we gotta deconstruct the narrative that hope is only limited to these religious institutions - and criticism must be relayed to the institutions that mandate that people serve them for the hope they supposedly provide but subsequently break because of prejudice, conservatism, and close-mindedness towards the people the Bible says to serve above all.

So yea the thesis slogan is basically: grow as you go, redefine your mission, and break the script if needed be.

Also it's pop rock, very inspired by SPRING AWAKENING, we are the tigers, and a dash or rent. The songs are English when They Are Part of the Producer's script, and Tagalog when They Are Not Part of the Script (like the characters being honest or unexpected rebuttals to the narrators' preaching moments or when the narrators themselves reveal their secrets). Otherwise, dialogue is taglish YAY

[eri-pl]

Silmarils, grief and hope.

We all know grief is a big theme and all that, and related to Tolkien's life. But. The Silmarils.

Long chaotic post about "wanting the Silmarils is related to having unprocessed grief" and "the Silmarils are hope, but Not Like That".

(I'm not sure how many there are for whom it makes a difference, but I assume it's a non-zero amount: sort of Morgoth-pov at the very end which may be emotionally intense. For convenience, it's separated with a picture. The rest is much more calm, I think. Just chaotic and may have autocorrect errors.)

Why do so many people (allegedly) want them more than it would make sense, even if they aren't cursed?

So many events on the story of those jewels are related to grief. Feanor makes them after his mother does and he cannot process his feelings properly (which is not his fault; where would he learn to process them? But it is a thing.)

Then he loses them when his father dies and really wants them back, swears the oath. Then he does and his sons swear the oath again, and of course they don't process their grief properly either.

Oh and I forgot, before that, the Valar. They lose the Trees and want them back. Interestingly, it's not Manwe (the king) who is most focused on getting the Silmarils for that, nor Varda (most associated with them), but Yavanna (sure, it was her trees, but also she's the most loss-avoiding Vala, she misses each tree that is being cut) and Tulkas (lowest emotional intelligence of all proper Valar). Again, the perceived need to get the Silmarils is where there's some unprocessed grief, and most intense in those Valar who would have the hardest time processing it.

(and Aule! He actively advocates for granite keeping it. But I'm sure the "my best Maia joined Morgoth, I'm constantly bullied, my wife doesn't like me, and I am never a jerk despite it all" guy is pretty good at processing his negative feelings.)

(Also, how the sun and moon are made? The fruit grow when Nienna cries, and it is Nienna, she is processing the grief in a proper, healthy way. And it... It solves the problem (lack of light) for which the Silmarils were "necessary". Sure, the moon and sun are lesser, not as beautiful... But there's a theme there. Namely, the third of them. 🙂 Things change. You can't fix anything important by going Ctrl+Z on it. You have to go forward, not backwards.)

The Silmarils are the feeling of hope (see: reactions to Gil-Estel, and it's very name) they are a promise that it all will be good. They are a good thing, but to an untrained eye the promise seems much more immediate, much more like something that can be done here and now.

If I only had them, all would be fine.

And they are not this, Nienna would know, I'm pretty sure Varda knew too when she blessed them (she may have not realized how others see it). They are just a reminder of something unsaid. Estel, not amdir. (It's a little funny to me how this means "looking up" but it's not for this post)

Anyway, the Silmarils. Thingol who realizes he'll lose his daughter (doesn't know how much he would lose her, but a sad marriage to a diet Man is enough, also a kid growing up can be a grief in itself. Or maybe it is because she will be mortal, maybe he suffers from what @dfwbwfbbwfbwf called "pre-traumatic stress disorder"). And a Silmaril is the only thing that could let him through the pain of losing his daughter.

And then he carries it, of course he does, if he let it go he would have to face his pain. He dies and Luthien wears the jewel, then after her death - Dior. A chain of deaths and losses and a beautiful gem.

It is too much for their half-mortal eyes, too much hope to be able to let go of it even if they had a reason.

And Maedhros starts demanding it after Unnumbered Tears (unnumbered, unprocessed, unhealed), which sure, has also a more political/reasonable explanation (he's out of other options), but also, it's a lot of grief.

And it goes into a chain of deaths.

Melian never cared about the Silmaril (she cared about it as a problem, but not about having it). Beren gave it up easily. Earendil have it to the Valar (they have it back later).

The dwarves... There are two things here. One is generational trauma of "the sindar hunted our ancestors for sport"+general racism. The other is that dwarves generally have more need of hope I think... Elves are reborn, Men are said to go somewhere beautiful and mysterious, and the Dwarves??? It's very uncertain.

And at the end it is Makalaure "singing apology songs which doesn't make me less of a murderer, just a hypocrite, but at least helps me process my traumas" Kanafinwe who throws the hope away because someone else would make a better use of it probably, and goes on to live through his darkness.

It's so hard to face your pain and start looking not only at hope for you, but at hope for the others. And sometimes what the world needs to have more hope, is you facing your pain.

I can't find a clear name for what the Silmarils are/mean in this... Something close to hope, but also something you must let go of to process your grief... It's inherently good, but can be overused... I'm sure there's something fitting, I just can't find it.

And the "Feanor will break the Silmarils" thing? For the trees? Seriously? No. He will break then because he will learn to live without them, to live with his pain. He breaks then because they aren't relevant anymore. (Who said that about fulfilled hope not being called hope anymore? My favorite "I can write more weird and more enigmatic stuff that you, but it makes waaay more actual sense than your posts anyway" guy?) He breaks them, but it's not necessary, it's just natural.

(but also tbh they do look a little like seeds so idk why not have new trees, they are kinda cool... well my perception of them looking like seeds is based mostly on "need to break" anyway... My thinking goes in atypical ways)

And there's Morgoth. Oh of course there's Morgoth. The dark Vala who couldn't (wouldn't) process his feelings even if they came with a manual. (He's an Ainu. They very likely initially came with a manual. But he thought he knew better)

He wants to steal hope and blacken it, and destroy it, right?

So... He feeds the Silmarils to Ungoliant? Tries to break them? Hides them far away?

No.

He wears them on his face, even if it hurts terribly. It hurts like dying. This is how clinging to your ego defences feels like. "the pain demands to be felt", to quote my favorite psychology YouTuber writing someone else. If you don't face it, it will still burn. If you run away from it, it will still be there. If you cling to the "I am not sad, everything is fine, it's great", it will burn your face.

But anything else would mean admitting there's a problem. Admitting that they burn would mean admitting that he was wrong. That his pain is there, and also it's not purely (not mostly tbh) others' fault, that he's not the victim in here.

What pain?

Well if you want my opinion, it's funny that it was Finwe who guarded the Silmarils. Finwë who favored his older, more temperamental, more brilliant son and made him the crown prince. Finwë who never told Feanor to sit down and cut his BS. Finwë who everyone says it's such a great father. So if everyone says that, it is rational to expect such behavior, right? It's valid to be angry about being treated in a different way? It must be. Anything else would mean that he was wrong.

It's better to burn.