#like it both makes sense from a story telling perspective

[monstersinthecosmos]

Do you see Marius as a villain?

If you’re asking if I personally see him as a relative bad guy in a series of bad guys – no! He’s not even the worst guy in the books he shows up in lol. I stand by my problematic wife.

But asking if he’s “a villain” is a really nice question, this is chewy to me, I love it. Like, villainous as in a bad guy in general? Sure! But as a story mechanism? If you’re asking if he’s an antagonist inside the series, also no!

I think we know that, though. VC does not have simple antagonists, aside from the occasional big bad that shows up (Akasha, Rhosh, Santino) but the antagonist in VC is like, the prison of their reality, their condition, the struggle of faith. It’s GRIEF! It’s disability, it’s the nature of evil!!!!!!!!!! It’s THE UNKNOWN!

Like, we can say that Marius is the villain of Blood & Gold in the sense of like “omg my life is so hard who is making my life so hard! OH NO IT’S ME!” and in the same way I could say that Lestat is the villain of VC overall! But again this is getting into like, trying to make the books black & white, which they aren’t, and Lestat can be both the protagonist and a terrible person who causes most of the problems in the story and he’s still our antihero. And like! Honestly while it’s fun to chat about and analyze, if you’re looking for a simple answer or feel the need to file characters as “good” or “bad”, you’re in the wrong fandom!!!!!!!

I don’t want to get into yet another dissertation about how VC is about bad people because it’s  been discussed to death LMAO but let me tackle this for a few minutes because I’m procrastinating.

You can look at some of the “bad” things Marius has done (threatening Lestat, keeping the Parents to himself, not rescuing Armand) and see ways in which those actions rippled to affect other characters or move the story, but no one in the series is a true villain. THERE ARE GRADATIONS OF EVIL, AFTER ALL. Even when we meet a character who behaves atrociously (Santino, for example) we often also get a perspective of them that is generous and still recognizes their nuance and worldview. If we pinned a single person to the antagonist in TVA you could argue that it’s Santino, but we also see that he’s warm and generous in his own way and that he believes in what he’s doing, that he’s acting from a place of devout faith and isn’t acting from a place of deliberate evil. And villains need that! It makes them believable. But even inside the text, the characters are generous towards each other and forgive each other. Armand has Louis's daughter-wife killed, and Louis still dates him! Santino still gets to come hang out at Night Island!

Even these alleged bad deeds of Marius’s!!!!!! There’s nuance, there’s a reason why he did those things. We can add: groomed Armand, destroyed Mael’s village, had Santino killed, tried to manipulate his wives, refused to participate in Roman society by marrying, kicked Flavius out, committed vandalism. There’s nuance to all of these things, and whether or not they were bad or whether or not they were intentionally evil.

And as a story mechanism it just doesn’t really make sense to think of him as a villain. The shitty things Marius did, even when they’ve rippled outwards and affected others, aren’t the driving force of conflict in the story. The books barely even have a single driving force of conflict, they’re stories about trauma that just compounds and compounds and compounds. You could say “Lestat acted shady in New Orleans because Marius threatened him” but Marius didn’t tell Lestat to coerce Louis for decades or turn a small child (in fact he told Lestat explicitly not to turn a child). And why does it lead back to Marius instead of leading back to Santino, Eudoxia, the Parents, the druids? He threatened Lestat, but he also rescued Lestat and let him into his home and what did Lestat do except immediately disobey him and cause chaos!

This is ultimately a series about being loved and being forgiven. They are saying that all of us deserve love, even when we've fucked up, and that forgiveness is divine. So even if we look at evil events or characters who have behaved badly, it's not a sticking point to build the whole story around. There is no single villain of IWTV - people misbehave and pay for it, and people forgive them. The villain is grief and change and the horror of the unknown.

Every character in this series is atrocious. (Not you Mojo.) They’re all villains. And I think like, depending how you find joy in fandom you can take that time to criticize Anne Rice or the way she handled all these subjects (regarding Marius, the subjects of: pedophilia, imperialism, the hubris of  white male privilege) but if you’re here to kinda play in the sandbox and meet the universe where it’s at, he wasn’t designed to be a bad guy, and we can criticize and analyze all we want and it doesn’t change the reality on the page that he’s not the bad guy. You can go “But Armand was underage!” and the book says “That doesn’t matter in this reality! No one cares!” You can see Armand’s story as a series of traumas that compound and compound and even if you place some of the blame on Marius, the text really doesn’t. You can sketch out a framing of TVA that says “this is the reality of abuse where a child doesn’t recognize their experience as abuse” but when Armand is spilling his guts about his religious trauma, his abandonment issues, being kidnapped by a cult, trying to kill himself, it just isn’t intended to be a book that frames his maker as the big bad of his life. It’s just not.

Like everyone’s of course welcome to make transformative fanworks and write the version “what if the text actually condemned Marius preying on Armand?” and that’s fun if it’s what you want to do. That’s not really my bag so I’ll stay over here indulging in my monsterfucker kink. PERHAPS I WILL CELELBRATE FUCKING THAT OLD MAN ON THE FUCK THAT OLD MAN WEBSITE.

Really though at the end of the day, when we look at all the characters, they all do awful things, they’ve all hurt each other, they’ve all murdered countless numbers of people because they valued their own survival over removing themselves from the foodchain. And Marius, to me, is one of the kinder ones, and even if he’s kind of a fucking loser and even when he’s fucked up, I don’t think he’s anywhere near as bad as Lestat LOL.  

[lemotmo]

This seems like the most logical way forward to me as well. Where do you stand on this?

Q. I'm just curious why you no longer believe that making Eddie gay really works story wise? What do you mean by that? I think the story mostly needs him to be gay given how long it has taken.

A. How long it has taken is precisely why making him gay now doesn't really flow as smoothly from a story perspective as it did in season 5. When Ana was introduced the only thing we knew or saw of Eddie's romantic past was his version of his history with Shannon and their brief reconnection prior to her death. So tying the root of their problems to Eddie trying to force himself to be straight could have and would have worked. If they had been able to go with the original plan for season 5 then it wouldn't have been an issue but the audience knows better now. Sex with Shannon was the one part of their relationship that worked. That was established. We saw it. The Ana stuff was more complicated for numerous reasons besides the fact that she was supposed to be his coming out arc. For one it was during COVID and they simply couldn't film that kind of stuff, she was also the first woman in Christopher and Eddie's life since Shannon's death, and the show made a point of telling that story between Eddie and Chris. Then between the end of his relationship with Ana and now the show also doubled down on his love for Shannon. And then there's Marisol. Physical intimacy was not the problem in their relationship. It was established, by Eddie himself, that prior to her nun reveal they had an active and good sex life. So it's far more believable from a story standpoint now to believe that his subconscious attached itself to the nun nonsense as an excuse for him to sabotage the relationship. Once he asked her to move in the relationship became serious and he needed an out. Which is not unlike Eddie to do.

Yes the original plan for Ana was his gay arc but when FOX cut that, the story they went with just Eddie not being in love with her. A stranger calling her 'mom' caused panic attacks. But the show has also established that Buck is very much a part of their family and it doesn't freak Eddie out in any way. They've already been telling that story so to tie Eddie's feelings realization to that, makes perfect sense. And now makes more story sense than Eddie realizing he's gay. That doesn't mean they can't or won't go the gay route, but it is true that making him gay is not as clean of a story route as it once was. And it's okay to say that. Buck and Eddie's canon viability is not contingent on one of them being gay. It's contingent on Oliver and Ryan's chemistry and the ability of the writing to give them something to work with. Chemistry will never be an issue for Oliver and Ryan, they've already shown they have that in spades. The show is also not going to make both of them bisexual. Again, something that Buck himself has yet to acknowledge he actually is. I just think from the show's perspective the Buck and Eddie of it all is what's important, more important than how they identify individually going forward. And that's also okay. Your ability to ship them shouldn't rely on one of them identifying as gay either. Of course representation is important but 911 is hardly lacking in inclusivity. We ship them for everything else about them that their canon history has already given us. Please understand that I'm not at all saying it won't work to make him gay or it's bad story telling to make him gay, that's not what I'm saying. But it's not as smooth of a story now as it was back in season 5. Identifying as gay will not be a wrong way to go, but it's not necessary for the story either.

Thank you Nonny!

I said it before and I'll say it again: I can see this going both ways at this moment. I've read compelling 'gay Eddie' meta and I've now read Ali's compelling 'unlabeled Eddie' meta. Both are possible in my eyes and I'd be fine with either of them to be honest. There is something to be said for both of these scenarios.

My problem with well-written meta is that it all sounds good and plausible, so I tend to agree with most of it. 🤣🤣🤣

My dream is still demisexual bi Eddie, but I don't think the show would ever go there.

Whatever the show decides to do, I'm just going to go with the flow. These guys deserve happiness, so them finally being together and in love will be a beautiful thing to witness on screen, no matter what label they have.

Heads up! For anyone who is giving me the shifty eyes for reposting Ali's updates instead of reblogging. Read this.

Remember, no hate in comments, reblogs or inboxes. Let's keep it civil and respectful. Thank you.

If you are interested in more of Ali’s posts, you can find all of her posts so far under the tag: anonymous blog I love.

[oathofkaslana]

you know that one thing thats like "you never see anyone whos favorite is the main character" the person who said that does not know honkai impact exists

[prncssguya]

on hwang in-ho/front man, seong gi-hun and their dynamic.

first, idk why people are getting so upset at other people calling gi-hun dumb, we were told that in the first season. lol being bright is not his strongest trait but he has a good heart and we love that about him. however, he is still an idealistic gullible idiot with a gambling problem. except this time his gambling addiction is backed by a sense of justice and righteousness and he no longer gambles with money, he’s gambling with people’s lives. front man asked a good question at the end of the season, “did you have fun playing the hero?” can we even call gi-hun the hero of the story anymore? he gambled with people’s lives and front man showed him the consequences of his moral heroics.

front man only agreed to help gi-hun with his revolution when he mentioned about "small sacrifices for the greater good". i think he reveled in the fact that the “good guy” was willing to allow a few innocent people to die for the greater good to stop the games, which is exactly what the entire VIP theory is to rid the world of 'trash' to improve the world. notice how gi-hun's moral code and belief also changed, from being "nobody should die" into "yeah small sacrifice is okay as long it's for the greater good" at this point, he just proved that front man's belief is actually valid. AND he gets more of his own people killed in the pointless battle with the soldiers that they had no chance of winning. now he gets to feel responsible for all those deaths and the death of his friend and for whatever additional torture they cook up in the next games (as punishment for the escape attempt).

now on hwang in-ho, i believe he was once a good man and the story he told gi-hun was the truth. but in the end he lost a kidney, lost a wife, a baby, lost his money, got fucked over by the wrong people and got into serious debt and had to play this game to help his wife and probably it was too late to save her. he might have played the games like gi-hun but saw how ruthless and greedy people are and resolved that they don't deserve help

i don’t think in-ho wants/will kill gi-hun, but he wants him to understand things from his perspective and show him that his compassion for the people in the games is foolish. you can tell the frontmen (the old man and in-ho) are extremely fond of gi hun. not only did he protect their original front man when nobody else did, he then won the games and thus their respect as he is now as rich as them. he's no longer "trash", he’s an elite like them. i think they both actually kept tabs on him after he won (i wonder if they do that for all winners? inserting them with gps chips?) because they knew he had not used his reward money and in-ho wanted gi-hun to get on the plane and be happy with his daughter

there’s one interesting aspect of the games that makes front man such a complex character. the fact that they’re operating a organ transplant trafficking network. in a way, he’s creating some good to come from a really fucked up situation. but is it really for the good of others who desperately need it, people like his wife, like his brother? or is it just a money making scheme?

either way, i don’t think there is going to be a redemption arc for in-ho, he’s too far gone. we may get to see more of his human side if he manages to see jun-ho again. the only time we’ve seen genuine emotions from him was when he shot his brother like he seemed distraught

the real cliffhanger for me, is will gi-hun stay true to his belief that people can be good, or will he be forever changed into a villain and become the next front man…? after the events of this season i don’t see how his will doesn’t shatter. he’s witnessed how humanity consistently chose money over survival, he’s lost two close friends, his mother, abandoned his daughter. he has gained nothing from wanting to stop the games and this clearly feels like an origin story for the next front man. it’s clear the front man has won this round and i think squid game will either die with 001 or continue with gi-hun as game master

another thing i find funny that i don’t see many mention is how gi-hun is like the luckiest guy in the fucking world. but i don’t think him being alive this long is plot armor, it makes sense. the games exist for the entertainment of rich sadists who have so much money they don't know what to do with it (remember what old 001 said in s1 about life being no fun for both people with no money and people with too much money). and i’d imagine killing hundreds of poor debt-ridden fools year after year gets boring. especially when said fools are desperate enough to gamble with their lives because they think they can beat the system by playing better than everyone else and surviving and getting the money.

gihun is different because he got the money, got out, and still came back. not because he's unfeeling or because he wants more money, but because he's still convinced he can beat the system.

if you're a rich bored gazillionaire, would you rather watch some randos die or would you rather watch this exceptional idiot fail again and again until he learns that his ideals are meaningless and people are inherently greedy and equality is a myth and people at the bottom of the barrel don't get to question the system?

if you're an asshole gazillionaire, you don't want someone to challenge you and just get away with it. you want to hand them 45.6 billion won and make them go away quietly, traumatized, after breaking them psychologically by making them do horrible things until they understand they're just powerless "horses". if they insist on challenging you and your system and your beliefs (money = boundless power), you teach them a lesson and show them their place in the most manipulative and cruel way possible. if gihun dies right away, that's boring. so he can't die, he needs to suffer. he needs to concede defeat.

also, i find it funny how people are comparing hwang inho and gihun dynamic to hannibal and will graham. makes sense, their whole cat and mouse game, front man hiding his true nature from gi-hun the same way hannibal does, trying to corrupt the righteous protagonist, sowing chaos, testing him and observing his behavior like a lab rat, the crazy tension and staring contests, the gaslighting and manipulation. and with the fact that they think lee byung-hun looks like mads mikkelsen. i never put the two of them together but now i can’t unsee it lol

[sofiatarot]

Pick a card: The first impression your future spouse will have of you

(written as individual stories from their perspective because why not???)

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1/2

3/4

Group 1:

The moment I saw you, it felt like the world shifted (the tower). You had this electrifying presence, someone who doesn’t go unnoticed. There was something striking about your confidence (the queen of wands) the way you carried yourself like you owned every space you entered. But beneath that, I sensed a vulnerability, a softness you keep guarded (the moon).

You seemed like a dreamer, someone with big aspirations and a vision for life (the star). I admired the spark in your eyes, but I also felt you’d been through challenges that shaped your strength (the 9 of wands). There was an unspoken depth to you, like a story waiting to be unraveled. Meeting you wasn’t just exciting, it felt fated (the wheel of fortune). I knew instantly I wanted to know everything about you, to understand the fire and the mystery within.

Group 2:

When I first saw you, you felt like a breath of fresh air (the fool). You were radiant, glowing with positivity and a sense of wonder that drew me in immediately. There was a purity to your energy, as if you saw the world through hopeful eyes (the sun).

What stood out most was your ability to balance lightheartedness with grace. You seemed so composed, yet approachable (temperance). I was intrigued by how effortlessly you connected with those around you, like you brought harmony wherever you went (the 6 of pentacles).

But then, I noticed something deeper. Behind your warmth, there was a quiet intelligence and a mind that didn’t miss a thing (the page of swords). You’re not just light and joy, you’re thoughtful, someone who sees life for what it truly is and chooses to focus on the beauty anyway. I couldn’t take my eyes off you.

Group 3:

You took my breath away. There was an elegance about you, a quiet strength that radiated calm and control (the high priestess). You seemed untouchable, as if you lived in a world of your own creation (the 7 of cups). I couldn’t help but admire how composed you were, how you exuded wisdom without even saying a word (the hermit).

But I also saw your passion, the fire that flickered behind your calm exterior (the knight of wands). You’re someone who follows their heart, even if it means taking risks. It made me wonder what fuels that passion, what dreams, what desires, what secrets.

Meeting you felt like standing before a masterpiece. You’re both inspiring and intimidating, someone I knew would challenge me to grow (the emperor). You were unforgettable, and I was already captivated by the idea of uncovering all your layers.

Group 4:

You had this grounded, earthy energy that immediately made me feel at ease (the king of pentacles). You seemed so dependable, someone who could be both nurturing and fiercely protective (the empress). There was a warmth to you, like you could make anyone feel at home just by being near.

But what caught my attention was your determination. You’re someone who doesn’t give up easily, and it shows in the way you carry yourself (the 8 of pentacles). I could tell that you’ve worked hard to be the person you are, and it made me admire you even more.

There was also this magnetic charm about you, as if you didn’t realize how captivating you were (the lovers). You’re the kind of person people dream about meeting, the perfect balance of strength and tenderness (the strength). From the moment I met you, I knew I wanted to build a life with you, one rooted in love and stability.

got me blushing, giggling n kicking my feet

[lilianne-tarot]

PICK-A-CARD: How do strangers really see you ✮⋆˙

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I. II. III.

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How to Pick Your Pile: Take a deep breath, clear your mind, and look at the images below. Which one pulls you in the most? Trust your gut! Once you choose the image, The number below your chosen image is your pile. If more than one catches your eye, that just means there’s extra tea for you—go ahead and read both!

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My KO-FI link: HERE 🫶🏻

MY MASTERLIST🫶🏻

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ִ ࣪𖤐⭑Pile I

This pile is drama. This is walking into a room and immediately giving off main character energy, but not the soft, romantic lead kind—nah, this is the tortured, brooding protagonist who looks like they have a backstory. The type of energy that makes strangers take one glance and go, "Damn, what have they been through?" if I really had go give an example to an Immediate Thought a Stranger Has Upon Seeing You: "Are they okay?" (Which—valid.) There’s something about your aura that feels heavy, like you’ve lived a hundred lives before this one, and each one had some level of heartbreak, sacrifice, and major character growth. you’re giving poetic melancholy But in the most captivating way possible. it's like "sad but make it aesthetic"💅 At first glance, people don’t see you as someone easy to approach. Not because you’re outright intimidating, but because there’s an untouchable quality to you. You exude a quiet, mysterious presence, like someone deep in thought, caught between realities. People assume there’s something weighing on your mind, even if you’re just thinking about what to eat for dinner. Your vibe makes people curious, but also a little cautious. You give off the impression that you’ve seen things—felt things—that most people could never even begin to comprehend. You might notice that when strangers interact with you, they either: Treat you gently, like they don’t want to disturb whatever deep thoughts you’re lost in. Secondly, Lowkey test your patience, because they assume you’re detached or unbothered, and they want to see if you’ll react. Either way, people don’t take you lightly. You see things from a different perspective, possibly because life forced you to??? I can see a majority of this pile is a huge fan of art, poetry or sad music or they may even do these things. You’ve been through situations where you felt like an outsider like you were left in the cold—physically, emotionally, or even financially. The full picture? You carry the past with you, but you don’t let it define you. However, people can see the weight of your experiences, whether you intend to show it or not. You might be the kind of person who has learned to walk away from things before they destroy you completely. It’s not that you want to leave, but when you sense that something (or someone) is bringing you down, you don’t wait for the final blow—you detach, emotionally or physically. And that? That makes people fear losing you, even if they don’t know you well. Like, I want to grab you by the shoulders and be like, “Tell me everything. Who hurt you? Who made you strong?” You’re the kind of person who doesn’t seek attention, but you get it anyway. You don’t have to be loud—people just know there’s something about you that’s different. And they want to figure you out, even though you probably make that damn near impossible. There’s also an artistic, philosophical quality to you. Even if you don’t see yourself as an artist, you feel things in a way that most people don’t. i see that some of you may be even an INFJ???

You, my dear, are the walking embodiment of a Lana Del Rey song—tragic, beautiful, a little detached, but also dangerously alluring. Strangers don’t just notice you—they remember you. Even if they never talk to you, they’ll go home and be like, “That one person… I wonder what their story is.” So my advice? If you ever feel like people misunderstand you, don’t stress about convincing them otherwise. The right ones will see you without you having to explain a damn thing. And the ones who don’t? Well, they were never meant to get past the first page of your story anyway.

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ִ ࣪𖤐⭑Pile II

Alright, bestie, let’s talk. If I saw this pile laid out in front of me, the immediate thought running through my head would be: "Damn. This person has seen some things, done some things, and is probably carrying a whole season’s worth of plot twists in their aura." You, my dear, give off an energy that is intense, hardworking, and slightly intimidating, but in a way that makes people lowkey obsessed with you. Like, imagine someone walking into a room with the aura of a self-made boss—someone who’s been through the trenches, built themselves up from scratch, and now operates with that sexy, quiet resilience that makes people both admire you and fear you just a little. That’s you. That’s this pile. People take one look at you and immediately clock you as someone who does not play around. You exude discipline, endurance, and a "grind never stops" energy that can make people feel like they need to fix their whole life just by standing next to you. You know those people who just look like they have a five-year plan? That’s the vibe you radiate. you’re that person—always working on something, always strategizing, always looking ahead. You don’t give off ‘casual small talk’ energy—you give off ‘I have a deadline and no time for nonsense’ energy. You might have an ‘old soul’ aura—like someone who’s been knocked down a million times but got back up every single time. That kind of energy makes people admire you, but it also means they might hesitate to approach you because damn, what have you seen??? Ohhh, bestie. Here’s the tea. This card in the mix tells me that, despite your workaholic, ‘I have goals’ energy, you have this magnetic, lowkey addictive presence. People may see you as someone who tempts them—not in an overt, flirty way (unless you choose to be), but in a "I don’t know why I’m so drawn to them" kind of way. You carry an air of mystery, danger, or intensity that makes people want to know more, but also feel slightly afraid of what they’ll uncover.

The way you move through the world is purposeful. You’re not just existing; you’re building something, always working toward something bigger. You’re the kind of person who might be polite and civil, but have true access to your inner world? That’s earned, not given. And honestly? Good for you.( I am In LOVEEE with this pile lol 😂) Maybe people don’t expect it at first, but once they get to know you, they realize you are not as predictable as you seem. Oh, I love this pile. Y’all are the type of people who command respect just by existing. You don’t even have to say much—your energy does the talking for you.

You’re the people who bosses and authority figures actually fear a little( I always wanted that for myself😭), because you give off the vibe that you could overthrow the entire system if you really wanted to. You’re also the type of person that people regret underestimating, because when you prove them wrong, you do it flawlessly.That being said, I also feel like you don’t let yourself relax enough. Like, the Eight of Pentacles, Seven of Pentacles, and Nine of Wands together? Damn, bestie, do you ever take a break? Or are you constantly grinding, constantly proving yourself, constantly thinking, "What’s next?" (Go touch some grass. Drink some water. Take a nap, I beg.)

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ִ ࣪𖤐⭑Pile III

Alright, babes, buckle up because this pile? This pile is a walking contradiction, an experience. Pile 3 is the most intuitive & unreadable of all the three. You ever meet someone who’s all bright smiles and warm energy, but there’s this undeniable weight behind their eyes? You give off an aura that’s both guarded and inviting. You've faced betrayals, heartbreaks, disappointments—but you didn’t let it break you. Nah, you built walls, but not to keep people out completely… just to make sure they don’t get in too fast. There’s a hesitancy in your energy, a subtle checking-the-room moment before you fully let yourself relax. But then—BAM—the Sun bursts through. Ohhh, this is what makes you so intriguing. The Sun is the only major arcana card of this pile so your dominant energy is really bright and welcoming, it is pure, unfiltered light. When you smile? It’s infectious. When you laugh? It makes people feel like they just witnessed something rare, something precious. You radiate warmth, but there’s depth behind it. You’re not the type to sit down and trauma-dump to strangers, but your energy? It speaks. It whispers. There’s something about the way you carry yourself—the slight distance in your eyes when you zone out, the way your smile sometimes doesn’t reach all the way, the way you watch people instead of immediately throwing yourself into the chaos. You know things without needing to be told. You read energy like it’s your first language. Strangers can feel that you see through the surface-level bullsh*t. You don’t just listen—you absorb. You analyze. You clock people’s tells before they even realize they have them. And honestly? That can be intimidating as hell. But here’s the thing—you don’t use this power to manipulate or expose. Nah, you protect with it. That’s the Sun and the Nine of Wands working together. You radiate warmth and kindness, but if someone tries to cross you? They’ll quickly learn there’s a fortified wall behind that glow. A wall built from experience, from lessons learned the hard way. If you picked this pile, you’re the kind of person that leaves an impact. People don’t just forget you. Even if they only interact with you briefly, there’s this lingering thought—like, “What’s their story?” You make people curious, but you’re not out here spilling your soul to just anyone. And honestly? I respect that. But here’s the real kicker—you’re not just your past. You’re not just the heartbreaks, the lessons, the wounds. You are the Sun, too. And the Sun in this spread tells me that despite everything, you still believe in joy. You still find ways to laugh, to love, to spread warmth. That’s what makes you magnetic. That’s why strangers are drawn to you—they can feel that you’re not just surviving. you’re the mystery wrapped in light. You’re the soft warrior. You’re the one who sees but does not always speak. You are guarded but generous, intense yet kind, and above all, you are unforgettable. And honestly? That’s one of the most powerful energies a person can have.

I’d bet money that a lot of you, Have resting deep-in-thought face, Have had people randomly trauma-dump on you because they feel like you’d get it, Feel misunderstood in social situations, Have struggled with isolation (self-imposed or otherwise). Pile 3 is a perfect balance of both the above piles. No matter which pile, these are the kinds of people that others don’t forget.

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Thank you so much for reading all the way through! I hope my reading resonated with you and that you had a lovely time going through it. If you enjoyed it, please like and reblog—it really means a lot! Let me know which pile you chose; I absolutely love hearing your thoughts and feedback on my readings! ♡

Note: tarot cards provide guidance and possible insights into what could happen based on current energies, thoughts, and actions. the cards can highlight potential paths or outcomes, but they do not predict the future in a fixed way. this is a general reading so take what resonates!

[yusiyomogi]

i think that kui portrayed kabru's mental health issues in a very interesting way, but it's what makes it subtle to some readers. the fact that he seems so functional to the readers, especially in the first few appearances, not to mention that a lot of his problems and symptoms are not obvious and can only be seen in additional materials, seems like an intended choice from the character writing perspective.

the way kui constructs his character centers around the idea of duality. he switches between two "faces" in the story constantly, he uses two speaking styles (and two pronouns indicating them), he's a tallman who lived with elves for a long time and carries both cultures, he's caught in the conflict between long-lived and short-lived races, he's constantly stuck between two choices in his inner conflicts (what to think of laios? should he prioritize preventing another tragedy or taking away power from long-lived races?), he's bisexual. kui also made him a gemini, yknow, a zodiac sign associated with twins and duality.

there's a certain theme in this and it does affect the way we interpret his personality and choices and it goes beyond text, it's metatextual too. it's a sway between what's hidden and what's shown to the readers about him.

the thing is, i think his mental health issues are meant to be downplayed and hidden, because it's true to his character. what do we notice about him in the main story and what's hidden? well, one of the first things we see is that he's not great at fighting monsters, he suffers from ptsd that makes him basically freeze up just from thinking about them. images of dead people turning into monsters, tearing each other apart and eating each other haunt him, making him feel ill from monster food. he downplays this a lot, hides it from other characters, straight-up lies about it, but at least readers got to see it.

with a keen eye you might notice that he doesn't eat enough food, almost never eats anything on-screen. he mentions that he's never cooked food in his life: wait, kabru, don't you live alone? in that sense "don't you wanna eat?" moment reveals two details of kabru's character at once: we got to see his aversion from monster food related to ptsd, but also his inability to notice his own hunger in general. he's strong and he almost always wears armor, but we know that he often dies in the dungeon. the armor hides that he's pretty scrawny for someone who fights physically, again, something that we can only notice after he takes off his armor (symbolism!).

funnily enough, here we have our first glance at this through additional materials: in the info page about the importance of calories and fat, kui mentions that kabru has lost a lot of weight since he started exploring the dungeon, because he died a lot. what it means is that he doesn't eat enough to cover the loss of weight. subtle, but clever detail.

speaking of him not knowing how to cook, this is another clever detail that hides bigger truth: kabru doesn't know how to do chores, he doesn't take proper care of himself. extra materials reveal to us that kabru lives in the basement, lacking light and clean air and he doesn't know how to clean his room or how to iron clothes and simply... never cared to learn? this is mostly omitted from the main story, even if it does have a place for it: for example, his journey with mithrun becomes infinitely more fascinating, when you know how little kabru cares about himself. but since those chapters are told through kabru's pov, he basically "hides" this from the reader, takes control of the narrative in the same way he tells a polished version of his tragic backstory.

he talks about mithrun's story like there's no connection, like he's not literally looking at the dark mirror of himself. and, ironically, he chooses to not be vulnerable in front of the readers just like young mithrun wouldn't. extra materials give us a glimpse again: when in the main story mithrun said "i can't fall asleep without spell or potion", in the extra comic (literally behind the scenes) kabru says "i use alcohol to help me fall asleep". there's a connection and kabru sees it, but he's not telling it to us. (and yes. there's evidence that kabru is an early-stage alcoholic. we can see bottles under his bed and what he says basically imply that he depends on alcohol: he's not using it for recreational purposes, he's using it as a substance to make himself sleepy and, probably, less anxious. when that dependence turns uncontrolled, it often leads to full-blown alcoholism).

bigger connection to mithrun is of course kabru's refusal to accept his own humanity, to see that he's alive, that he has his own needs and desires. he's suicidal in the same way: he can only see his goal, he doesn't care about his life, he only sees the value of his life in relation to that goal and he never think what's gonna happen to him after he reaches this goal (because he unconsciously believes that "the after" wouldn't happen to him). and he doesn't reflect on it, again, until he's met with a question "what do you want to do?". the way he doesn't see himself as alive is omitted again in the big portion of the story and only really comes up in the end, when he asks "what was the point of my survival?", in a basically joking moment.

but we can see it through the symbolism, through his connection to death in the story, through his eagerness to sacrifice his life for the idealistic goal in his mind. and of course, we can see it clearly through his mirror: there's a strong parallel between kabru almost committing double suicide while chasing his goals and mithrun literally getting himself killed while chasing his own.

what i'm trying to say, it's interesting that kabru uses his control of the narrative to hide his own vulnerability from the readers. maybe mithrun sees himself as leftovers and it's something cathartic for him to admit in the end, but kabru really doesn't want you to see that he feels the same way. that he's also "leftovers". but you see, they are standing together in that panel. as kabru continues to try shielding himself from your view, kui puts the mirror next to him, revealing what's hidden.

[zzencat]

Your Best Qualities - Current ⏳

From left to right. Breathe and choose.

Some of your best qualities in 5 bullet points! Decided we’d get a post to remind you of your best qualities, in case any of you guys are feelin’ down or going thru some tough weather. Let’s bring it back and focus on the good :)

To enhance accuracy before choosing: Clear your mind. Time is now patient and still. Close your eyes, inhale deeply, fill your chest up to the fullest, feel the soft air brush up against the ridges of your nose. Breathe out.

—————————

Pile 1. Feels like family…

• you’re definitely capable of bringing peace to others or keeping harmony within your own relationships, whether they be platonic or romantic — mediator skills or a person with good judgment

• you think twice before making moves or saying things — able to find balance between being the listener and being the speaker

• your resilience is unmatched!!!! — emotionally stable and can manage finances well

• loyal and uncaring of what others think — you stick to your crew and keep good people around you

• you’re super creative and your sense of timing is impeccable — you grab opportunities like it’s nothing. it’s like you always know what to say to make others feel good, reassured, comforted, confident

Points of Interest: good natured person or has good intentions in general; balanced af; leadership skills; a good head on your shoulders; extrovert-ambivert/very healthy introvert; entrepreneurial skills; ceo/vice president/secretary vibes; the type that listens to both sides of the story before acting; calm and peaceful; bounces back easily; thoughtful; considerate; family oriented; cares for others as well as oneself; clear minded; good work-life balance; open-minded; cautious in decision making; “confident” - justin bieber; good self esteem; good attitude; faith in your abilities; optimistic; creative; cares a lot for animals; people like being around you; possible mbti: healthy exxj, enxp, ixxj

—————————————

Pile 2. I got your back.

• intimidating and classified as a loner, but in the best way possible — you either have an expanse of knowledge OR do a great deal of self-reflection — very intuitive person (EXTREMELY)

• BIG, BIIIIIIG defender energy. when it comes to defending yourself or those you love, no one can do it better than you (have you ever considered being a lawyer btw?) — potential to be materially abundant and wealthy

• you empathize and feel for others easily, even when nobody else sees it or thinks that you do (but I’ll tell ya rn, most of the time you’re the most empathetic person in the room) — in a world full of evil, you’d make villains cry and can actually help them turn a new leaf — your level of empathy and understanding is on a totally different level

• independent and mature — if people come to anyone for advice or counseling, or just a good ear, it’s you

• you are very deep and insanely caring under the surface — you might approach things logically first and try to see things from all points of view before making a decision or advising other people — you really do have the biggest heart and only those who are close can see it

Points of Interest: introvert; very smart; spends a lot of time alone; VERY LOYAL !!!!!! (almost to the point of possessiveness); may need to work on control issues and rebalancing social life; communicates differently from others; sees things from a different perspective; offers good advice; good listeners; prone to pushing people away bc you start caring too much; knows who to trust and who not to; selective; secretly creative; very nurturing but kinda doesn’t want to show it; humble/modest/doesn’t want to be seen; wants to help people but doesn’t want to be put in the spotlight for it; you’ve felt more hurt/seen more trauma than those around you; defending like their lives depend on it; perfectionists; behind the scenes, extremely intuitive; possible mbti: inxj, healthy exxj

————————-

Pile 3. Life of The Party

• confident, outgoing, charismatic, funny as hell — there’s a lot of charm to you — you carry the energy fam, no you ARE the energy — you laugh/smile easily or cause others to

• highly ambitious and have the will to fight for what you want — you’d prob be the last one standing in a mr. beast challenge

• you light up the room !! (i keep hearing “baby, you light up my world like nobody else by 1D 😂😂😂) — potential for fame/someone in the public eye/someone in a position of power

• mischievous and fun to be around/has the most jokes — always up for a challenge or touching grass activities lmfaooo you’re always down to hang out — you don’t care if you look like an idiot as long as you’re having fun or are out with friends/family

• you don’t give up easily and take opportunities as they come — persistent, stubborn and strong-willed — you’ve achieved many things or definitely will in no time

Points of Interest: A-Class comedian; daredevil; extroverted or highly energetic; prominent fire energy, possible zodiac signs that are prominent in your natal chart (sun, moon, or rising): aries, leo, sagittarius; mistakenly seen as the leader of a group; impulsive; instigator; jumps on opportunities immediately; wearing what you want; impatient/bored easily; fast-paced; has the most friends/wants to have the most friends; easily sociable; questionable decision making, but has the most experience; likes to experiment; has seen a lot in life/plans to see a lot in life; probably a fan of fast and scary rollercoasters; among leaders, you’re the “fun” leader; confident with self-image

——————————

Teddy note: what is guuuuuuud guys!!?!?! I’m feelin pretty nice today so I thought I’d put this out for you all as a reminder of your good qualities 😊👍 we’ve all been working pretty hard lately!! Whether that’s on your physical, mental, emotional health—it’s all very draining to do SO I hope this reminds you of things you should remember to be proud of!! It’s a checkpoint! I hope it resonates with you and if not, leave it. Thank you v much guys 😎😎

Feedback through likes, comments, and feedback and very much supported!!

[still-a-morosexual-help]

Fucking hell Nightbringer really gave me everything huh god

Henry 1.0 origin story

Cerberus origin story

Satan's cat thing origin story

"Goldie in Freezer" origin story

Levi's Ruri-chan obsession origin story

Mammon being scared of ghosts/horror origin story

More in depth version of Solomon & Asmo's first meeting/pact origin story

A painful reason for why Asmo's room looks like that

What the tsl characters would have been like irl (the absolute worst wtf simeon)

Mammon's issues finally discussed in depth

Mammon being extremely ride or die for Lucifer

Almost instant Mammon & MC friendship

Mammon being just so amazed by MC and also insanely supportive of them

Mammon being willing to do anything for his brothers, being more sure of himself, almost instantly following Lucifer's orders and making the others do so as well

Levi's issues discussed in depth.

Levi straight up saying he was depressed and still is

Levi's friendship with MC!

Levi & Lucifer's relationship!!!!!

Levi being shy and scared and just so 😖

Things being bad in the Celestial Realm even before they left

Asmo's issues being discussed in depth

Asmo very explicitly having body dysmorphia

The brothers being much more supportive and loving of each other

Lucifer being visibly scared of losing another family member and being insanely overprotective because of it

The brothers being slowly overtaken by their sins (something that was always a part of them but also something they could control as angels) and losing control of themselves

The brothers gaining new magic

Satan being a fucking mess

Satan not really fitting in and all of them being really awkward around him

Satan's issues being discussed in depth

Belphie's issues being discussed in depth

Belphie expressing passive suicidal ideation

Belphie talking about how he needs someone to blame for what happened to Lilith so he can process it/make sense of it even if that someone is himself

Lucifer's issues being touched on from from different perspectives/angles

Diavolo's issues being hinted at

Simeon's issues being vaguely discussed

More about Lilith! (remember my post about how lilith definitely wasn't a sweet little angel because there's no way the universe would let lucifer catch a break? I was right!!! She was as much a little shit as the rest of her family!)

More about the demon king! (He wanted to stop the war too🥺 also a whole line of previous demon kings!)

More about god/how angels work (all angels are brothers & sisters but not technically family the way lucifer & his siblings are!)

ADAM!?!?!?!?!?

Solomon & MC's Sorcerer & Apprentice relationship seen in full detail!

MC being absolutely amazing

MC being competent and powerful and dangerous and resourceful and confident and the brothers realising all that but them also being funny and snarky and chaotic and outgoing and homesick and caring

References to present (s1-s4) brothers (& how they'll tear solomon apart if he doesn't bring MC back)

NIGHTBRINGER!? BARBATOS!!!??? but past barbatos doesn't seem to know anything about MC and present barbatos is helping solomon bring MC back....so who...?

References to Noble demons and conservative demons and devildom politics

Angel - Demon prejudice /racism from both sides explicitly shown

The brothers being war criminals and how the devildom sheltering them nearly re-started the war between the two realms

None of them being able to identify MC as a human (it takes Diavolo a long time + Lucifer straight up denies it when MC tells him), Adam & Nightbringer saying MC has the "power of angels", MC's favourite manga being one where the youngest child out of 7 is described as being angelic (*cough*lilith*cough*), Diavolo, even after knowing MC is a human, going "what are you"..... me softly chanting: nephilim!mc nephilim!mc nephilim!mc

The lessons flow better? It doesn't feel like one arc is squished into two lessons and then you must immediately jump into another different arc. It feels like it's all just happening in a connected sequence?

Better pacing in my opinion. It doesn't feel rushed.... like the part where satan discovers cats and then later is seen still sitting next to the cat and watching it? It feels appropriately spaced out

MC's relationships with everyone doesn't feel isolated. Like earlier there'd be a lesson or two dedicated to one character and we won't see much of the other characters during it. Now it feels like everyone is there interacting with everything in a normal, natural way. Yes there are lessons dedicated to getting to know one brother but the others are there, interacting with each other and MC during that time as well

The emotions & relationships are discussed/written in a way that feels very real and believable that it becomes actually really moving (s1-s4 also did this well but in nightbringer because of arcs/scenes/relationships not being isolated, of things flowing better and having a better pacing, of them outright discussing their issues it has a greater impact - yes I cried more than once shut up)

In the end, Nighbringer is darker than og OM! but not in the "grrr gonna kill you" way. It's "darker" because they address more serious topics in depth

[starsinthesky5]

you are in love: a snapshot into the past || joe burrow x reader

description: some background information to fill in some gaps about this series! covers what led up to their meeting, her albums & their stories, and a little bit about when they first met

universe: you are in love (click for parts 1-4 of the series)

a/n: this was mostly for me and i had lots of fun making it but i hope you enjoyed if you took a peek at it ;) i should've made this FOREVER AGO but here we are

taglist: (ask to be added): @joeyfranchise @joeyb1989 @joeyburrrow @softburrow @burrowbarbie @yelenasbraid @lovelyburrow @majestic87 @grittysbiggestfan @definitelynotdomanique

───────⋆⋅☆⋅⋆───────

her previous albums:

album name: woodvale (first studio album)

about: With her debut album Woodvale, Y/N establishes herself as a masterful storyteller, blending deeply personal experiences with vivid narratives that feel both intimate and universal. From the very first note, she invites listeners into a world of nostalgia, heartbreak, and longing—where past and present blur, and every lyric feels like a carefully crafted confession.

Pulling inspiration from her own life, she weaves a cinematic experience through her songwriting, turning quiet moments into emotional landscapes. Tracks like “The 1” and “Cardigan” capture the bittersweet ache of what-ifs and lost love, while “The Last Great American Dynasty” expands her storytelling beyond herself, painting a rich portrait of a life lived wildly and without apology. The dueling perspectives in “Exile” (feat. Bon Iver) bring to life the unfortunate disconnect between two people who once understood each other completely--the song feeling like a conversation between two ill-fated lovers.

Her ability to capture emotion through complex lyricism is undeniable. The haunting “My Tears Ricochet” and the aching surrender of “Tolerate It” showcase her raw vulnerability, while “Mirrorball” reflects on the exhausting performance of always trying to be enough. She shifts effortlessly between different lenses—nostalgic and dreamy in “Seven”, reckless and longing in “August”, and unapologetically bold in “Mad Woman”.

But Woodvale isn’t just about heartbreak—it’s about self-discovery. “Willow” traces the pull of fate, while “Tis’ the Damn Season” and “Illicit Affairs” dive into brief love and the temptation of what’s never meant to last. “Cowboy Like Me” tells a story of two outlaws in love, pulled in by deception and desire, while “Betty” unfolds a tale of regret and redemption with the emotional weight of a late-night confession. Closing the album, “Hoax” leaves listeners with a quiet devastation—the realization that even the most painful love can still feel impossible to walk away from.

Through it all, Y/N proves that she is not just a songwriter but a storyteller in the truest sense. Woodvale is a world of its own, rich with characters, emotions, and moments frozen in time—an album that lingers long after the final note fades. A stellar debut from an artist who refuses to be confined by expectations, Woodvale is more than just an album—it’s an experience, a testament to the power of storytelling, and the mark of a rising star whose voice has already touched so many hearts.

noteworthy achievements at the grammy's: best new artist, song of the year: cardigan, best music video: willow, record of the year: willow

tracklist:

the 1

cardigan

the last great american dynasty

exile (feat. Bon Iver)

my tears ricochet

mirrorball

willow

seven

august

this is me trying

illicit affairs

tis’ the damn season

mad woman

cowboy like me

betty

tolerate it

hoax

----------------------------------------------------------

album name: is it over now? (second studio album)

about: Following the success of her impressive debut album, Y/N returns with her deeply personal sophomore album, Is It Over Now?—a raw, unfiltered reflection on love, betrayal, and the painful process of letting go. Split into two distinct halves, the album untangles the emotional wreckage left behind by a five-year relationship that was never what it seemed.

For years, she believed he was the one. He was charming, adored, and in the public eye as much as her, if not more—an actor (literally and metaphorically) who knew how to play his part. Even after the first betrayal, she clung to his promises, convincing herself that love was worth the risk. That he was worth it all. But when the lies continued and his betrayals became a spectacle for the world to see, she was forced to confront the truth: this wasn’t love. It was manipulation, disillusionment, and a lesson she never wanted to learn.

Side A: Confusion & Denial captures the internal battle—clinging to the good memories, questioning everything, and trying to convince herself that things could still be recovered. From the restless anxiety of “Out of the Woods” to the desperate plea of “Say Don’t Go,” she narrates the emotional highs and lows of a love that was always on the edge of collapse. But then, there’s "Opposite"—a moment of raw, painful clarity. In a bold move, she takes the risk of directly acknowledging his unfaithfulness, comparing herself to the other girl in a way that’s both heartbreaking and self-destructive. It’s the sound of a realization hitting all at once—that she was never what he truly wanted, that she spent so long trying to be enough for someone who was always looking elsewhere. The lyrics cut deep, the delivery is haunting, and for the first time on the album, she stops trying to rewrite the past and instead forces herself to see the truth.

It’s the turning point of Side A—the moment where the illusion starts to shatter, even if she’s not quite ready to let go yet.

Side B: Realization & Mourning is where the heartbreak settles in. With “You’re Losing Me” and “loml,” she accepts that the love she fought for was never real—just an illusion she refused to see. He promised her the world, giving her all the love she could've ever wanted, and she fell for it. But when he took it away, she got lost, she fell through and drowned. The ballads on this side are devastating in their honesty. "The Great War" paints this love as a battlefield, a war she fought tirelessly only to realize she was the only one still fighting. "The Moment I Knew" captures the exact second everything changed, when she could no longer lie to herself. And then again, there’s "loml"—possibly the most gut-wrenching track of them all and an album highlight. It’s not just about losing someone she loved, but losing the future she once saw so clearly. The title alone is a painful contradiction—love of my life—but he wasn’t, not really. He was the love she thought would last forever, but instead, he became a lesson, a ghost of what could have been. In the album's final track, “Would’ve, Could’ve, Should’ve,” she looks back, no longer grieving the relationship, but regretting everything, and mourning the version of herself she lost in it.

After battling for her voice in the industry less than a year before working on this album, she never expected to have to fight for herself in love too. But Is It Over Now? isn’t just about the destruction—it’s about survival. It’s about facing the truth, even when it’s painful, and finding the strength to finally walk away despite the painful ache in your heart.

Where Woodvale introduced her as a masterful storyteller, Is It Over Now? proves just how versatile she truly is. Sonically, this album expands far beyond the dreamlike, folk-infused melodies of her debut, diving straight into a more dynamic and emotionally, even pure pop charged production. From the explosive, frantic energy of "Out of the Woods" to the stripped-down devastation of "loml", every track is carefully crafted to match the emotional weight of the lyrics.

She experiments more than ever before—incorporating synth-pop with raw, heartfelt ballads, balancing soaring vocals with moments of quiet destruction. It’s proof to her ability to evolve, to push her sound in ways that feel both unexpected and inevitable. With this album, she’s taking control, writing her own ending, and proving that she is far more than just the girl who got her heart broken.

noteworthy achievements at the grammy's: coming after part 5 ;)

tracklist:

side a: confusion & denial

is it over now?

out of the woods

wonderland

question…?

all you had to do was stay

say don’t go

opposite

now that we don’t talk

side b: realization & mourning

the great war

the moment i knew

you’re losing me

loml

how did it end?

would’ve could’ve should’ve

----------------------------------------------------------

What led up to her meeting Joe?

After barely surviving the worst breakup, betrayal, and fallout of her life, Y/N was left shattered. She had already spent an exhausting year fighting to prove herself in the music industry—drowning out accusations that she was just a "one-hit wonder," an "industry plant," or that she only made it because of her "connections." She was constantly battling for her place, for her voice, for respect despite breaking records and adding beautiful achievements to her name. And just when she thought things couldn’t get worse, the breakup happened.

It was everywhere—plastered across every screen, magazine cover, and news report. There was no escaping it. Her ex, in a desperate attempt to salvage his own reputation, spun lies and manipulated the media, trying to paint her as the villain to cover up his own repeated affairs. It was humiliating, exhausting, and isolating. She didn’t know who to trust, how to navigate the relentless scrutiny, or if she would ever truly escape the shadow of it all. Her mind was a madhouse, filled with thoughts such as, "it was all my fault" or "i wasn't enough. i'm never enough", and even "what he did was right. i'm not worth it".

She was drained. Tired of fighting. Tired of proving herself. Tired of trying to find solid ground when the world seemed determined to pull her under. Tired of trying to find someone who would reciprocate the love she gave. Music was her outlet, and then came this album. It was met with immense criticism and skepticism because of the way her ex was running the story in the media, but as much as that destroyed her, she couldn’t show it. This was her work, her passion, her love.

Before she drowned in those hellish waters, she felt a hand reach down and pull her back up.

Joe.

It wasn’t really an instant fairytale. She had spent so long being burned by people who claimed to love her, by an industry that made her question her worth, by a world that had watched her heartbreak like it was a scripted drama. She didn’t trust easily—not anymore.

But Joe was different.

He was patient. He never asked for anything, never demanded pieces of her she wasn’t ready to give. He saw the walls she had built around herself and never tried to tear them down—he simply stood outside of them, waiting, showing her in quiet ways that he wasn’t going anywhere.

He was steady. In a world that never stopped spinning, he was the one thing that didn’t waver. He understood what it meant to be under a microscope, to have people expect you to be perfect, to never show weakness. But with her, he didn’t pretend. He let her see the exhaustion behind the confidence, the weight of the pressure he carried. And in return, he let her be real too—no cameras, no expectations, just her.

He didn’t see her as a headline. Not as the girl in the tabloids, not as the singer everyone had an opinion about. He saw her—really saw her. The way she overthought things, the way she tapped her fingers against her leg when she was anxious, the way her eyes softened when she talked about music. He listened, not just to respond, but to understand.

He never pushed, never asked her to let him in before she was ready. He just was—constant, unwavering, a presence she didn’t realize she had been missing until he was there.

And slowly, something shifted.

She started to believe again. In herself. In love. In the idea that maybe, just maybe, she was never as alone as she thought.

With Joe, she discovered what love truly was. It wasn’t the whirlwind promises or the flashy gestures, the "I’m going to marry you" act that her ex had put on for so long—those grand declarations that ultimately meant nothing when they were just empty words to cover up his lies. Joe didn’t need to put on a show. He loved her without needing to perform for her, without any manipulation or games. He showed her that love didn’t have to come with conditions. It didn’t need to be proven with flashy promises or grand, public declarations—it was in the quiet moments, the consistency, the way he would show up for her without hesitation.

In the past, she had been so caught up in the illusion of what love was supposed to look like—the idea that if someone truly loved you, they would chase you, claim you, make bold promises about the future. That’s what her ex had given her—the "I’m going to marry you" act that, in hindsight, was just a performance, a way to keep her tied to him while he continued to betray her. It was about control, not love. She had gotten lost in it, thinking that because he talked about forever, it meant forever was guaranteed. But she had learned the hard way that promises made in the heat of a moment could be shattered with the same ease as the person who made them.

Joe showed her love was different. He didn’t just say the words—he showed them through actions, through trust, through patience. There was no rush, no need to lock her down or convince her she was his. He never pressured her into any promises, never made her feel like love came with deadlines or expectations. He simply loved her for who she was, not for the version of herself she thought she needed to be.

He knew she was for him. He didn’t need her to figure it all out overnight—he was willing to give her the space to heal, to trust again, to find herself in a relationship that wasn’t defined by pressure or insecurity. And slowly, piece by piece, she started to feel it too. She started to trust that this love wasn’t momentary, that it wasn’t built on promises made for the wrong reasons. It was steady, real, and above all, it was hers. Joe had never tried to rush her, never pushed for more than she was ready to give, and in return, she slowly began to realize—he was the one she’d been waiting for all along.

But there was still a part of her that couldn’t shake the weight of her reputation. After the public breakup and the media circus that followed, she felt like every move she made was under a microscope. Her reputation was in the dirt—scrutinized, distorted, and painted with all the wrong colors. The tabloids fed off her heartbreak, and her ex had done everything in his power to tarnish her name, making her feel like her worth was wrapped up in what the media said about her. She couldn’t escape the whispers, the judgments, the assumptions that followed her every step.

But then, Joe showed her something she hadn’t realized she needed: he loved her because of her. Not because of the persona the world had made her into, not because of the reputation she was forced to wear. He loved her for the person she was behind all of it—the one who laughed too loud, the one who stayed up late making music, the one who cared deeply and unapologetically. He didn’t care about the headlines. He saw past them, past the layers of gossip and scandal, and loved her for her heart.

And that’s when it clicked. Slowly, she began to understand that her reputation wasn’t defined by the media or the public. She didn’t have to be a product of what people thought of her. She made her own reputation. She wrote her own story. With Joe by her side, she realized that she could be more than what the world had decided for her. She could rewrite her narrative, build her legacy, and finally, feel at peace with who she truly was.

When and how did they meet?

July 4th. The Hamptons.

A party she really didn’t want to go to. Especially not while being the talk of the town…for all the wrong reasons. There were no friends, nobody she felt like she could talk to or lean on for the night, but according to her team, it would be good for her reputation if she was seen acting unbothered, happy, and fresh, even though she was far from it.

She almost backed out last minute, knowing the media would be there, waiting for any sign of weakness. But, as always, her team had convinced her it was the right move. So, reluctantly, she walked into the crowd of people, putting on the mask of someone who had everything together—when, in reality, she was falling apart inside.

She tried to keep to herself at first, avoiding the cameras and trying to stay away from conversations that felt like traps. It wasn’t long before she found herself standing by the railing, looking out over the water, trying to escape the noise and the pressure. And then, there he was.

Joe Burrow.

He wasn’t like the other people at the party. He wasn’t trying to impress anyone or play any part in the show. He just stood there, leaning against the wall, his eyes calm and steady, as if the whole world didn’t exist except for the moment they shared. And maybe, just maybe, that’s what drew her to him—he seemed unaffected by the world around him.

When their eyes met, she felt something shift inside her, but she couldn’t quite place what it was. He smiled, just a small, genuine smile that seemed to say, “I get it.” Without any words, he made her feel…seen.

She knew of him, but not too much about him. He was a star in his own right—one of those people who seemed to exist in a different world, far from hers but also so incredibly close. She had heard his name, seen the headlines, but the details never really stuck. At least, not until that night.

But him? Oh, he knew more than she realized. He’d never admit it, but he’d definitely spent more time than he’d care to tell scrolling through her Instagram page, his finger hovering over the follow button more times than he could count. There was something about her that pulled him in—something in her eyes, her story, the way her music resonated with him in a way he hadn’t expected. He admired how she carried herself, how she navigated everything thrown at her with a grace he couldn’t help but respect.

They ended up talking, first about something insignificant, just filling the space between them but eventually agreeing that small talk felt too calculated. That's when the conversation quickly flowed into something deeper. She felt comfortable with him in a way she hadn’t felt with anyone in a long time. She talked about the media storm she’d been in, about the pressure she was facing, and he listened, really listened. There were no judgments, no comments about how she should act, no advice on how to handle her image. Just quiet understanding.

And then there was her beauty. He couldn’t deny it, no matter how hard he tried. It wasn’t just the kind of beauty you saw in photos or on red carpets. It was the kind that lingered, the kind that came through in the smallest moments—the way she laughed, the way her eyes lit up when she talked about something she loved. There was a depth to her that went far beyond her image, and that was what drew him in.

She was too cautious, too guarded. But in that moment, she saw something in him she hadn’t seen in anyone else for a long time: a genuine connection, a space where she could be real. Slowly, very very slowly, she let herself open up, and for the first time in a while, she didn’t feel like she had to pretend. Even though she was only opening the door a crack, it was more than enough for Joe to understand her.

Joe wasn’t trying to fix her or be her savior. He wasn’t even trying to impress her. He was just there. And somehow, that was enough.

They left the party together, not because they had some grand plan but because, in each other’s company, they found a sense of peace. That night marked the beginning of something neither of them could have predicted—but something that felt right.

----------------------------------------------------------

And then, in the blink of an eye, they went from two strangers who had been through hell and back, to two souls who connected and found each other when they needed each other the most.

It wasn’t anything like a grand or dramatic revelation...it was quiet. Subtle. But in those moments, in the way they spoke to each other, the way their worlds just fit, something clicked. They had both walked through their own storms, faced battles that left scars, but now, they were standing together, joined by the unspoken understanding of what it meant to fight and survive.

In him, she found someone who could see her for exactly who she was—no duplicities, no expectations, just her. And in her, he found a strength he hadn’t realized he needed. It was like they had been written into each other’s lives, without even knowing it.

And that’s when he became her muse.

Her heart, her story, her music—all of it began to reflect him, not in the obvious ways, but in the quiet, soulful details. The way he showed up for her, the way he understood her without needing to explain everything, began to pour into her songs, her lyrics. She started to write not just about her pain or her past, but about something new—a love that didn’t need to be perfect to be real, a love that gave her the freedom to be herself.

He inspired her, not by trying to be someone she needed him to be, but by simply being who he was—steady, patient, unwavering, loving. In that, she found the courage to open her heart again, to let someone in without fear of what the world would say.

And in the way he loved her, she found herself again.

----------------------------------------------------------

album name: reputation (third studio album)

about: Reputation isn’t just an album—it’s a statement, a love story, a resurrection. It’s the sound of someone who’s been torn apart by the world, stitched herself back together, and come out stronger than ever.

The first half of Reputation is fire and fury. A continuation of Is It Over Now?, it picks up the shattered pieces of betrayal and weaponizes them. She isn’t just mourning anymore—she’s setting the record straight. It begins with "…Ready For It?", a pulse-pounding, electrifying opener that feels like stepping into the arena, lights flashing, heartbeat racing. It’s the sound of someone who’s been through hell and come out stronger, faster, untouchable. She’s setting the stage, daring anyone to come for her again—because this time, she’s ready. "Cassandra" also opens the album like a warning shot, the voice of a woman who’s always known the truth but was never believed. Then, she unleashes her anger with "Who’s Afraid of Little Old Me?" and "I Did Something Bad"—tracks dripping in revenge, anger, and unshakable confidence. "Look What You Made Me Do" is her reckoning, a complete shedding of her past self and the media’s portrayal of her. And then there’s "The Smallest Man Who Ever Lived"—a ruthless, poetic final word to the man who shattered her trust. She takes shots at the industry, too—those who tried to control her, silence her, toss her aside. But with "My Boy Only Breaks His Favorite Toys", she turns the camera back on the men who love to build women up just to break them down. It’s biting, it’s brutal, it’s cathartic.

Then comes "The Prophecy"—the final moment of doubt. Was she always meant to be the girl who was burned by love? Was her fate already written?

Then, "I Can See You" happens. Track 9...a special ode to a certain someone. A turning point. The moment she lets herself feel something new. The production shifts—lighter, warmer, more hopeful. Suddenly, she’s no longer writing from a place of anger or pain, but something entirely new: desire, love, and happiness. "So It Goes…" turns up the heat, sultry and hypnotic, a slow-burning realization that love can be intoxicating in the best way.

Then, "So High School" bursts in—youthful, giddy, pure. It’s the rush of falling, the way love makes you feel like a teenager again, sneaking glances across the room, giggling at inside jokes, feeling untouchable. The euphoria of it is undeniable.

"Delicate" is hesitant, but the moment she realizes this is different. "Gorgeous" is playful, full of infatuation, while "Labyrinth" captures the beautiful fear of falling too fast. And then, "You Are In Love"—a song so soft, so certain, it feels like an exhale after years of holding her breath. "Dress" is all-consuming passion, love in its most vulnerable, intimate form. And "Call It What You Want"? That’s her reclaiming happiness on her own terms. A standout in this beautiful album as she tells the tale of the past year of her life, herself.

"But Daddy I Love Him" is playful defiance, a rebellious whisper, a knowing smirk—she’s heard all the warnings before, but this time, she’s listening to her own heart. "New Year’s Day" is love’s quietest, truest promise—the kind that lasts long after the fireworks fade.

But it’s "End Game" that cements it all. A bold, sweeping declaration of two people with big reputations, two people who have seen the worst of the world and still found each other. It’s love against the odds, the thrill of knowing that despite everything—despite the noise, the criticism, the doubters—this was always meant to.

And then there’s Karma—one of the most satisfying moments on the album. A reminder that she doesn’t need revenge anymore. Karma will handle that for her. Because she’s too busy being happy.

Sonically, Reputation is her most dynamic, most versatile work yet. It moves effortlessly from dark, moody production to shimmering synths, from bass-heavy anthems to stripped-down confessions. It’s grand and cinematic, yet deeply personal. It’s both a middle finger to the past and a love letter to the future.

She told us she was going to write her own story. And this? This is the greatest plot twist yet.

noteworthy achievements at the grammys: coming soon...

tracklist:

...ready for it?

cassandra

who's afraid of little old me?

i did something bad

look what you made me do

my boy only breaks his favorite toys

the smallest man who ever lived

the prophecy

i can see you

delicate

gorgeous

labyrinth

you are in love

dress

call it what you want

so high school

daylight

so it goes

don't blame me

but daddy i love him

i don't wanna live forever (ft. zayn)

midnight rain

this is what you came for

"slut!"

sweet nothing

new year's day

i can do it with a broken heart

this is why we can't have nice things

endgame

karma

----------------------------------------------------------

--The End--

[saurongorthaur9]

Potentially unpopular opinion for the ROP fandom:

I really wish people/interviewers would stop pushing the Hot Sauron and Haladriel stuff directly into Charlie's face.

I woke up this morning to drama in the fandom about Charlie (yet again) very politely deflecting Haladriel questions, as if this is some sort of insult to the fandom and shippers. And I know it's not going to stop, but I wish it would.

To make it very explicitly clear, make all the stupid sexy Sauron and Hot Sauron memes and jokes you want within the fandom. Ship Haladriel to your heart's content and create glorious fanfiction and fanart of them making out as they ride into the sunset (or as they simultaneously attempt to kill each other, if that's your vibe). All great. All fantastic. Everyone knows I'm a huge fan of sexy Sauron both inside and outside the ROP fandom, and I am a thorough Haladriel enjoyer at this point.

But I really, really, really wish people would stop pushing it on Charlie himself.

It just makes me so sad and uncomfortable for him. I saw the interview yesterday that I'm pretty sure was what caused everyone to be up in arms where he was being shown Sauron memes and fan posts and a lot of them were very Haladriel/shippy. He is obviously SO uncomfortable with those and the "Hot Sauron" comments. You can see it in the difference between how he answers questions about Sauron's motives or psyche or his research into Tolkien and how his eyes light up and he gets so animated and he just starts gushing vs when he's asked for the millionth time if Sauron has feelings for Galadriel and he gets quiet and reserved and gives a short, diplomatic answer.

And he's been so gracious and polite to the shippers and about all the shipping questions that he keeps getting asked. Each time, he gives basically the same answer: that he doesn't personally see it as romantic but that he's happy people care enough about the characters and story to be passionate about what they see in it. He's not going to suddenly flip a switch and start passionately shipping Haladriel.

I personally like to view it as Sauron (particularly as Halbrand) having some genuine feelings for Galadriel: genuine sense of connection, genuine sense of shared purpose, genuine attraction on both a spiritual and physical level, and yes, even some genuine admiration and love, mixed in with the complex mess of other things Sauron feels, which is why he's a great, complicated villain. The fact that this doesn't 100% line up with everything Charlie has said that he feels about the character is fine with me. I respect Charlie's opinions and the clear thought he's put into portraying that character. But I can also have my own thoughts and perceptions of the character and story apart from that, without needing him to validate them.

I know this isn't the first time an attractive man playing a charming, sexy villain has been inundated by thirsty fans (I remember Loki's Army very clearly) and that some level of it is to be expected. But he's clearly put such thought into portraying Sauron and I'm so grateful to him for that, so I'm sad to see him having uncomfortable questions shoved at him that reduce everything he's done to "what do you think of being Hot Sauron?" and "Do you think Sauron and Galadriel should kiss?" And I'm even sadder to see fans reacting negatively to him simply because he won't validate a particular ship or perspective.

From everything I've heard of fans who have gotten the opportunity to meet him, he's an absolute sweetheart and very kind and appreciative towards his fans. I hope dearly that I can meet him some day and tell him how important it was to me to see Sauron portrayed on screen as such a wonderfully complicated character. But I truly hope that the constant barrage of nagging for him to openly endorse Haladriel and the backlash whenever he gives one of his reserved, diplomatic answers about shipping doesn't sour him to his fanbase. He's given us a gift that I wouldn't have even dared dream of only a few years ago; why can't we focus on that instead of whether or not he's enthusiastically pro-Haladriel or not?

[novlr]

How would i politely describe body types without being vague?

Characters are as diverse as the writers who write about them, but when it comes to describing them, it can be very easy to default to what we know or to succumb to clichés or stereotypes. This can be especially challenging when describing characters’ bodies. When you need to describe body types, it’s really important to strike a balance between being specific and respectful while avoiding harmful stereotypes or vague descriptions.

Why description matters

Description is essential to really bring a reader into a scene and connect with the characters you’re writing about. Physical descriptions help readers visualise characters, which, in turn, can influence story dynamics. Body descriptions can reveal a lot about a character and even affect the way that other characters interact with them. Like people in real life, the way we look influences both who we are and how we interact with the world. 

As a personal example, I am quite short, but I have very long limbs. This gives me the illusion of being tall. Consequently, I am often asked by people taller than me to help them get things down from high shelves because they perceive me as taller than I am. This is a common interaction in my life that has changed the way I dress and carry myself. You probably have similar anecdotes in your own life, which is why building those descriptions into your characters can be such a great way to really make them feel real. How a character looks is not all they are, but it does help create a well-rounded sense of character if we get a feel for how they interact with the world around them.

General guidelines to describe body types

Thoughtful representation matters in modern writing. Descriptions should exist to make your characters feel like people and not like stereotypes. To achieve this, you must:

Focus on relevant details that serve the story — don’t just describe a person’s body because you feel you need to. Everything, even character description should exist to serve the story.

Avoid loaded terms or judgmental language.

Use specific, relevant details rather than general statements for the sake of it. 

Consider the character’s own perspective of their body instead of only through the eyes of other characters.

Include dynamic descriptions that show how the character moves and interacts with their environment to give a sense of who they are instead of info-dumping a description.

Common pitfalls to avoid

Don’t make a character’s body type a central part of your narrative if it isn’t plot-relevant.

Don’t rely on stereotypes or clichés.

Avoid using food-related metaphors, as they’re often problematic.

Don’t make assumptions about health or lifestyle based on appearance. Only include this information if it is relvant to the story you’re telling and you’ve researched and fact-checked to ensure its accuracy.

Don’t over-focus on your character’s body as a defining character trait.

Don’t use derogatory or outdated terminology.

Don’t over-describe body type to avoid saying what you mean. Fat and skinny aren’t dirty words. Short and tall don’t have an implicit bias. You can be direct. In fact, it’s often better to be direct in your description than to labour over someone’s body in minute detail.

Effective techniques to incorporate body types in the narrative

Describe clothing and style choices.

Show how the character navigates their environment and how their personality shines through movement.

Consider cultural and historical context.

Include relevant occupational influences on physique or vice versa.

Reference genetic or familial physical traits when relevant.

Include distinctive characteristics or style choices that aren’t related to their body type.

Note how the character’s appearance changes in different situations (i.e., dressed up or casual, at home or at work).

Focus on functional strength and capability outside of their body type.

Consider historical context if writing historical fiction and be aware of changing beauty standards.

Avoid cultural stereotypes and generalisations.

Don’t make a character’s body the centre of their story if it’s not relevant to the plot.

Use precise, specific language – don’t beat around the bush. Say what you mean.

Choose words that match the tone of your story.

Describing body types doesn’t have to be a minefield. Writing a character respectfully doesn’t require any more technical knowledge than simply writing them like a real person. While description is important for reader immersion, it’s also not something you need to focus on in too much detail if it’s not relevant to the plot. 

Describe body types in a way that serves your story. Every character’s physical description should contribute to their overall characterisation and your story’s themes, and never distract from it. Physical description is just one aspect of character development, so the most respectful way to describe a character’s body type is to make it a natural part of who they are and not the focus. 

[artist-issues]

Tell me every reason you enjoy Zootopia enough to give it all the rewatches you do.

Every? Oh boy.

Good Story

Perfect Characters

Visual Appeal

Earnestness

Let me break it down.

1. Good Story

Zootopia’s main point is: “Try to make the world a better place by realizing we’re fundamentally the same.”

That’s a really good main point.

It has the benefit of being true. Right now our culture is super into “self-identification,” and this crazy contrast between, “I want to be able to identify as something special” and “Now that I know what categories I fit in, I can choose who’s ‘one of us’ and who’s ’not one of us.’” Okay well that sounds pretty and I’m sure it fulfills some emotional need at some point, but it’s actually super divisive, and self-serving, and it’s the seeds for all prejudices. Including racism.

Do we have differences in origins and experiences? Yes. Of course. Do we also have some fundamental things in common? Yes. Of course. Which truth are you going to give the highest priority to? If it’s “no, I’m a prey animal, I know exactly where I belong, that’s who I am, that’s how I dress, that’s my compass for how I interact with others” then you’re getting all your security from your “sense of self,” and being able to understand what that is…which is just a fancy way of saying “I’m all about me. My own perspective informs everything I do.”

Anyway. Zootopia’s message was super true.

And the coolest thing about it is that if only Judy were in the wrong, and the other half of the dynamic duo, Nick, was this open-minded, un-prejudiced guy…and she just hurts him and has to apologize…the movie’s message wouldn’t be as well-communicated.

They have their prejudices and their hurt-from-being-prejudiced-against in common!

They’re the same…because they’ve both felt what it’s like to be treated like they’re not “the same.”

Nick isn’t the only character being mistreated and written off because of his species. The whole first half of the movie is about Judy being mistreated and written off. They think she can’t be a cop because she’s little and cute and a prey-animal. They think Nick can’t be trustworthy because he’s sneaky and small and a predator.

So literally…if Judy represented one race, and Nick represented a completely different race…the movie would be saying that both those races are discriminated against. They even have discrimination in common. AND, if Nick represented men who people make assumptions about because he’s a man, and Judy represented women who people make assumptions about because she’s a woman—the movie would be saying that both those genders are falsely judged.

I mean. Wow. Right now, your movie is either pro-woman or pro-man. Right now, your movie is either BLM or white-supremacy. Everybody’s lining up on one side of the line or the other. Zootopia says, “it doesn’t matter what character you’re looking at, from the elephant that can’t remember anything to the two main characters—every single one of them has fundamental things in common, and one of those things is that they all live like they’re in their own special category. When actually, they’re all fundamentally the same.”

I don’t want to keep beating the dead horse. But I have a post somewhere that lists every background character and points out that each animal is the exact opposite of what you would assume they are based on their animal-stereotype. The otters are never shown being playful or snuggly, only traumatized and ferocious. The cheetah is fat and slow, not quick or even quick on the uptake. Etc.

Even if you look outside of characters—look at the sets. Look at the environments. The whole city is designed “for animals, by animals.” But it’s in neat little segments. The animals organize themselves by habitat. Of course, in one sense that’s practical—the polar bears can’t live in Sahara Square, etc. but the point is, by making Judy and Nick, the main characters, small animals, in a city where everything is built to accommodate by species—UGH this is so good—they have to figure out how to problem-solve in situations that weren’t made to accommodate them.

Little Rodentia? Judy has to avoid stepping on all the mice or knocking over their buildings. Parking tickets? She has to figure out how to jump to reach bigger animals’ windshields—or she inconveniences smaller animals because the tickets are all printed at the exact same size. Stuck in a cell? The guards didn’t think about the fact that small animals can fit down the pipes made to accommodate big animals.

Zootopia is a city advertised to be where all the animals can come together. But the way they do that is by trying to accommodate every species’ preferences. So then actually while they try to come together, everything from their cars to their districts remind them of their differences. The whole idea is that they prioritize the wrong truths. Yeah, mice can’t drive giraffe cars—but they still have “driving” in common. See?

And oh my word. Initially it was supposed to be a spy story. But they changed it to a buddy cop story. Why? Well because justice doesn’t discriminate. Or at least, it’s not supposed to. So then there’s another lens to look at the story’s main theme through.

It’s just that every layer, every perspective you look at the movie from, is just hammering that truth into you: “Try to make the world a better place by realizing we’re fundamentally the same.”

2. Perfect Characters

Every character is so well-thought-through in this movie, even the side characters. You get the feeling you could watch a whole movie based on the side characters, because that’s the amount of love and nuance built into them.

Look at the main ones, though. Bellwhether is supposed to be soft and a follower. She’s a sheep. Instead, she’s hard and bitter—and she’s a leader. A villainous leader, but a leader, nonetheless. Even as she tries to keep animals divided based on fear of their stereotypes, she’s not fitting her own stereotype. Her voice actress has this strained, half-hoarse, but sweet voice. Like you can tell that this character has spent a lot of time under pressure and trying to manage appearances. Appearing like she’s fine, and she can handle it—until you realize that the appearance she’s really managing is “the cultural fear-based identify of the city.” They dress her in plaid and flowers and she’s a farm animal, because that’s the kind of character Judy would be most likely to trust. But she still has green eyes, and jagged teeth, so that when she does start making evil expressions there are some caricature-pieces in there that come out and accentuate that.

Nick Wilde—everybody’s favorite—is supposed to be sly and smooth and shifty. And he is. He’s a fox. But he’s also brave, helpful, and trustworthy. The first time you see him is when he’s dodging out of the way of a bigger animal ignoring him and about to run him over. Well, that’s important.

Because Judy knows what it’s like to have to get out of the way of larger animals, because they overlook her.

So right off the bat, this character she has to get along with and work with, this character who furthers her development and nails the main point, is introduced in a way that has something in common with her. But he’s also introduced in a way that gives her an opportunity to focus on a different truth—that he is different from her. Because the sheep is yelling that he’s a “fox.” Right away, we’re back to species-as-identification.

And that’s what the movie does, all the way through. It presents new animal characters, and with those new animals characters, more than one thing is true at a time. And Judy has to try to focus on which truth is more important. “Try to make the world a better place by realizing we’re all the same.” Yes, Nick is a criminal. But Nick is also brave, helpful, and eventually, becomes trustworthy.

Judy, too. Judy is an incredibly well-done character. Because she believes, in her head, that anyone can be anything—which is not what the movie ends on. In fact, she goes from saying, “anyone can be anything,” to saying, “we all have limitations.” It’s not true that a fox can be an elephant. But it is true that a fox can be trustworthy. Figure out what’s true, and try to make decisions for the better, based on that.

I could talk about character design and acting. Ginnifer Goodwin gives just the right amount of smugness and self-confidence to Judy without making her unlikeable—you don’t realize she’s smug and her self-confidence is misplaced until she does, when she fails to make the world a better place for Nick.

Judy wears tight, actionable, well-fitting uniforms for the whole movie. In her civilian clothes when she comes to Zootopia, she’s wearing athletic t-shirts and shorts. Ready for action, that’s Judy, even in her civvies. Meanwhile, Nick? Nick wears loose-fitting clothes. Loud, patterned clothes that don’t match. Like he didn’t even what, ladies and gentlemen? Like he didn’t even TRY. “Try to make the world a better place…”

Because when you meet Nick Wilde, he’s long since given up on trying, in life. So his character design reflects that. He rarely even stands up straight, or opens his eyes all the way—his default is drooping. And guess what?

When Judy “gives up?” Quits her job? Goes back home? Stops trying? Her civvies aren’t ready-for-action, trying clothes. They’re loose flannels. And her “ears are droopy.”

SERIOUSLY, you can find things like this in every corner of the movie. For every character. Not one character is a throwaway, not in voice acting, not in design, not in animation, and not in narrative.

3. Visual Appeal

Which leads me into this point—no other animated anthropomorphic animal movie is as visually appealing as Zootopia.

What Zootopia does is it matches the best of the best anthropomorphic animal designs from past Disney movies:

And they marry it with this incredible intentionality with modern CGI.

Did you know Disney invents its own software for things like fur textures?

The sheep’s wool, the velvet pig skin, the fox fur, the bunny fluff—it’s all completely different textures. There’s no one “fur” covering all the hairy mammals.

Nick isn’t just orange. He’s orange with deep red and dark tufts. Judy has black tips to her ears, too—which helps the two of them look like, in some sense, they belong “together” in every shot.

It’s so important to the movie that the animals feel like animals that they worked this hard to do this. And then that extends to the textures of the snow, the ice, the sand, the wet leaves, the grass, the fire.

Every character moves like their animal, and like themselves. Nick and Gideon are both foxes, but they don’t move similarly at all. Gideon is aggressive and glowering and physical. Nick, again, is slouchy, leans on everything, completely non-confrontational.

Other anthropomorphic animal movies like Sing or Puss in Boots—they’re not doing both as well. Zootopia is appealing, without sacrificing realism completely, and without cutting character acting.

The lighting. Nope. This post is too long, I can’t talk any more.

4. Earnestness

There is no disingenuous moment in this movie.

The animators are never lazy. They always go for the challenge. They don’t cut corners. Have you ever seen “Over the Hedge?” I like Over the Hedge. But I watched it recently and it’s crazy how many shots are strategically placed so that the animators don’t have to solve a certain effects problem.

For example, when RJ sprays Hammy with cool whip to make it look like he has rabies? He doesn’t. You never see the cool whip leave the can. It just cuts away, then cuts back when RJ is pulling the can away from his face. The shots are also cut so that you never have to see gas actually come out of Stella—and you never see Vern’s full body as he gets back into his shell, just the upper part of the shell as he wiggles it around, going through the motions of putting it back on.

That’s because that stuff would be painstaking to animate. Any time one character has to interact with props or substances (especially liquids) that are not part of their model, it’s harder on the animator.

Zootopia? We’re getting full-on views of characters getting wet, fur and all, characters touching various objects and elements, foam coming out of the mouth, new clothes, new set pieces, multiple models, huge crowd shots of different animals in different outfits, all with their own movement patterns and acting.

And all that hard work and effort, aimed so totally at the main theme of the movie? Making sure it looks as good as it can? Not just that, but the way it’s written, the acting, is so genuine. They don’t hold anything back. They don’t shy away from real emotion.

Judy Hopps’ apology scene is brutal. She’s crying, having a hard time finishing a sentence, her voice is all tight. It’s not pretty, it’s not romantic, it’s like…ugly crying. And her character is wrong in a super embarrassing way. They're not afraid to go there. The writers, the actors, the animators—they’re not afraid of being too vulnerable with these character flaws.

So many movies, especially kids’ movies today—they just pull up and shy away from being real through their characters. They think a quick sad facial expression will get the point across. And it does. The audience gets that the character feels sad about whatever the circumstance of the scene is. But not as powerfully. Because you didn’t put as much work and heart into it.

Zootopia is all heart, from work ethic to vulnerability to the filmmakers enjoying what they’re doing, enough to make it as good as it can possibly be. I can’t explain it better, other than to say, you feel like they would’ve been happy making this movie much much longer than it was. You feel like they’re cramming every bit of joy and passsion into every little joke, every side character, every hair on a CGI bear.

There you go. Long post, you did ask for it

[buskingalbatross]

AmazingPhil channel marathon musings

during a pre-show q&a back in november, in response to a question about what show someone should binge next, dan said they should watch all of the AmazingPhil channel from the start. I was not the person who asked this (nor was I at this show), but regardless I did decide I wanted to take dan’s suggestion seriously. just a few days ago, I finished watching all of AmazingPhil in chronological order. and now i really want to talk about what it was like and why I would recommend marathoning his channel to pretty much anyone—because it was a blast.

I watched all of the 369 currently public AmazingPhil videos over the course of 35 days, which is from my perspective a pretty casual marathon. 369/35 = roughly 11 videos a day, though due to algorithm and monetization policy stuff, phil’s videos became longer in duration around 2015-2016; for many years, most of his videos were around 4 minutes long or less, which for me meant that early on in this marathon I was watching more videos per day, and then later on my pace slowed. phil’s videos with dan are usually pretty long as well, so if I had something like a baking video or wdapteo up next to watch, I might have only watched one or two videos that day. 

unsurprisingly, watching all of phil’s videos in order in a relatively short span of time gave me a really cool perspective on how phil has grown as a person and as a YouTuber over the past eighteen years. surprising to me, though, was how I felt like watching his channel in such a linear way felt a bit like coming to know who phil is for the very first time, again. despite having watched his videos for over a decade, i feel like i understand his style and creativity and personality more fully, and in general better, than I did before. watching 2007 phil become 2009 phil become 2011 phil and so on in the span of a few days or a week meant seeing clearly how his sense of humor evolved, how his editing and creativity developed, how his perspectives on life and relationship with his audience shifted. much as when you binge an entire tv or book series and immediately afterwards feel like you’re brimming with information, and have all the context, that’s sort of how I felt. and it was new for me because I’d never done that with phil’s content before—I’d never followed the course of his life the way you might a fictional character’s. 

AmazingPhil is also an incredible capsule of 2000s, 2010s, and 2020s Western internet culture, obviously. it’s like an anthropologist from the future with a very hyperspecific thesis topic’s dream treasure horde. what a person can learn about one corner of the world, and one corner of society, from AmazingPhil’s videos is, well, a lot. I see so much cultural value in AmazingPhil, it’s insane. his videos are not sketches, essays, and commentaries on society and life like Dan’s, but I’d make the argument (as I’m sure most of you would) that they’re just as important and critical to helping people understand themselves and the world they live in. and the kind of people they want to be, too, perhaps.

there were also certain videos that stuck with me more than they had in the past. I discovered new favorite videos and videos that I considered more interesting than I previously had. (I tried just now to make a list of some of these but it rapidly got too long, so instead I’ll restrict myself to mentioning only one, a new favorite, from 2021: “I Got Catfished.” - which i think is a fantastic example of phil’s storytelling style). dnp have both said before that they view life as a performance – and phil is without a sliver of doubt a magical and incredible performer. he knows so well how to tell stories with words, pacing, structures, and effects that are hilarious and entertaining; he turns anecdotes from his life into these amazing whimsical pieces of art made in a way no other person has ever made things. YouTube has from the beginning presented him with the perfect way to be creative in a way that suits him. and more than that, i found that it was never even remotely unpleasant to watch his videos every day for over a month. there is simply not an AmazingPhil video that doesn’t bring me joy and make me sit there smiling like a fool. my cheek muscles are probably stronger than they were 35 days ago. 

so, to you I say, go: watch all of AmazingPhil, draw your own conclusions from his current oeuvre and deepen your parasocial relationship with Phil Lester in ways you cannot yet comprehend. I really recommend. 

(final notes: one side effect of watching all of phil’s videos was being unexpectedly yet thoroughly convinced he does indeed possess psychic talents. even though i don’t believe in magical anything, i do now believe phil lester inherited prescience from his grandmother.) 

(also dan is completely right that every time phil changes his hair, he regenerates into an entirely new man.)

(also also I made an AmazingPhil spotify playlist that is highly specific to my music tastes but that anyone is welcome to listen to all the same) ✨🐗💙🥱

[loudclan-clangen]

Ooh!!!! Has Songpaw always had his ghost sight, or did he just get it after his first exposure to the oil?

Songpaw has always had what I would describe as "ghost sense", where he could feel presences, and maybe hear whispered words, but he couldn't see any spirits until he touched the black water. Dancepaw also has a ghost sense, they both inherited it from Eklutna, who used this sense to lead her to the black water, and later to Loudclan.

Eklutna is the best girl in my heart. I enjoy changing her ghost based on whose perspective we're seeing her from. Silt hallucinates her as this menacing, leering figure because Eklutna is THE villian of their story. The version of her watching her kits play is a more true version, that's what someone would see if they visited her in the blackwater pool. Meanwhile when we see her through Songkit's eyes she's faded and hard to understand because he's actively trying to block her out. He's refusing to let her appear fully to him, which is causing her to be more and more upset and incoherent.

You are not insane, they have little crushes on each other (moreso on Juneaucliff's part) and I think they are very cute together!

It is 100% okay to be an Owlstar lover! It is okay to be an anyone lover! I love all of them, no matter how bad of people they are so you are never alone no matter what character you love. My asks are a (nearly) judgement free zone.

He is! Sorry I didn't get to your ask earlier, I get a lot of asks, and I can't answer all of them, so while I LOVE and appreciate comments like this I tend to prioritize questions that I think would provide new information to the majority of people or line up with an upcoming plot point. I promise I am not ignoring anyone's ask for a "bad" reason, if someone or something was bugging me I would reach out to the person and let them know. Truly I am not telling anyone to stop submitting asks, they make me so happy, even if I don't answer them I see all of them and they are so kind. And if you have a burning question or comment that you feel has been missed please feel free to resubmit it, I do not mind repeats! /not mad

WARNING: Depiction of Decomposition/Decaying Body Below:

Yes! Because only the Leader and Lead Healer can truly commune with spirits, skulls are exposed after decomposition so that loved ones can speak and connect to the deceased. This doesn't happen until several moons to a year after the burial (depending on what season the cat died in), however, as the flesh must be allowed to decay. It goes something like this:

[apple-onigiri]

hi can you talk more about your reading of siffrin and loop's relationship please. I'm so curious 👀

(omg hii i love your analyses)

well i guess now i gotta huh!! the demons (the people on my computer) are telling me to do it, do it, do it, so here it is!! most of it below a cut! because this ended up being really really long!

so! self-love and self-hatred play a big role in isat in general. the whole story is kind of about accepting that you are capable of being loved, and not, in fact, inherently repulsive so maybe you should open up, siffrin. imagine that. and i'd argue these themes crystallize into their final form with sif and loop and how they interact :) my ants. my mentally ill ants

(this sidesteps the curious meta element of how both the narration of siffrin to himself and loop addressing siffrin as they talk uses second person. it's very interesting but this is already gonna be long enough)

looking at all their interactions, especially through the lens of knowing who loop actually is, gives a pretty good idea of loop's attitude towards another version of themselves, and, by extension, their own self (this is a bit confusing because there are Too Many Siffrins Here)

the long and short is the resentment they feel towards themselves - because loop never went through the realization they're not unlovable - is externalized and often taken out on siffrin.

they are very condescending with how they interact with him. he's just a silly little stardust! so stupid, so naive! knows so little about literally everything. awww, let me help you out, stardust, before you hurt yourself.

on my first playthrough i actually initially distrusted loop a lot because of this. i saw it as the last thing siffrin would need when they already put themselves down so heavily; how they call themselves "stupid" multiple times for any and all mistakes they make and how unforgiving they are to themselves (especially the key hidden in the classroom exemplifies this). but with the knowledge of siffrin and loop starting out as the same person, it makes a stark amount of sense. when you have a mindset similar to siffrin's and loop's, no one will ever be more critical of you than you yourself.

it sometimes feels like loop's forgetting they're not talking to themselves internally and that this is a whole separate being they're talking to that they can't just externalize their own self-hatred onto, enough that they have to backtrack and apologize because hurting yourself in a way that resembles hurting someone else makes you think twice about what you're doing to yourself. there's a healthy dose of regret there, and guilt that they said something you can't easily erase from the mind of the person you said it to.

there is still care in loop's behavior. conversely to the previous statement, nothing will make you more sympathetic to your own plight than literally seeing it from an outsider's perspective and being able to acknowledge that you need help (sidenote, but kinda twisted of the universe to grant loop's wish in the most roundabout way possible. you want someone to help you? okay! help yourself! your other self, but hey, it counts, right?)

(cut here because this is getting out of control and i can't let it appear in unabridged form on anyone's dash, especially on mobile)

as acts go on and quests progress, loop gets these moments of honesty and empathy for siffrin more often. they obviously have been helping before but you know what i mean, don't you. those moments where loop's facade drops and we get a feeling that this isn't them acting, this is their true... shades, lol. examples!!

aftermath of touch therapy! of course they'd know what the root problem here is and how to best help. this is something acutely familiar to them and they're able to tell what siffrin needs to stop spiraling. and!! siffrin reciprocates this! haven't talked ab him and his attitude towards loop specifically a lot but this too is important. i'm rapidly becoming ill btw

forgetting the party's names upon waking up on the meadow and calling loop! it happened to loop before so seeing it happen to another version of you must make one feel... complicated. they patiently remind siffrin each name and make sure they're fine.

honestly, throughout the entirety of the story, but especially by the end of act 4, they find it very crucial to make sure they reassure siffrin they're there for him, that he's not alone in this. they know where feeling completely alone leads.

okay i can't take it anymore i gotta talk about this.

loop so doesn't want siffrin to use the dagger on themselves. it's genuinely heartbreaking to see their distress about the idea

they even try to dissuade siffrin from it later on, when you first attempt to use it, and are very very upset still afterwards

they care about siffrin!! they don't want to see him hurt! they don't want siffrin to befall the same awful fate they met where self-destruction melts into the natural state of being and you just spiral spiral spiral! they don't hate him, and seeing them fall so far from okay that they're fine with stabbing themselves to save time in a time loop where literally no time is wasted because it loops back anyway is awful for them.

this is where loop transforms from the voice in your head pointing out your deepest flaws to one that can tell what you're doing is self-destructive and bad for you and you really, really should stop. the, pardon my wording, tug on your stomach, like the one you get when you're standing over the ledge and looking down. and when you get the stupid thought how easy it would be to fall, your brain reacts by jolting you away. loop is the jolt.

loop is the inner instincts of siffrin personified at many points of the story. sometimes they're hurtful towards him as instincts of a self-destructive person are wont to do, which is justified with them just wanting that other version of themselves to Be Better, Get Better. and sometimes, it's self-preservation they depict; feeling at home with your self and expressing empathy towards yourself and your own awful situation.

when act 5 comes, loop is clearly crushed about not being able to help siffrin out, about not being able to get them out of their despair.

then, just like he's done with everyone else, siffrin rejects loop too. when siffrin shuns loop here, it's out of anger for being kept in the dark, yes, but it's also a rejection of any positive thoughts they might have about themselves.

siffrin's rejection of loop isn't only rejecting one last person they're close to like they did with their family members. it's a rejection of any and all instincts to care for himself and his well-being. it's the same thing that allows him to use crafts with no cooldowns. it's the same thing as memory of emptiness that lets him loop to the point where he died and just keep going. it's what lets mal du pays take form.

this refusal of loop's help is, in my opinion, the ultimate act of self-hatred in isat.

okay depression time over act6 twohats happy times yayy!!!

after a little bit because loop is - kinda justifiably - upset at how their suffering amounted to nothing and now this siffrin gets their happy ending. and they don't!! how is that fair? we have to keep in mind a lot of what we've learned was news to loop too. they spent so long in the loops, not knowing why, to the point where they begged the universe to get them out and help them.

their roles from act 5 essentially swap here. here loop is the one self-destructing and rejecting any help at all, and projecting the hell out of themselves onto siffrin, just like siffrin did in the "friendquests" in act 5.

so i haven't talked a lot about siffrin's outlook on loop before now (when his psyche is not literally split into tiny pieces, that is) but my little pet theory is that, just like they really hate repeating their lines, being all fake, and only do so because they feel they have to, they're often annoyed by loop because they can kind of sense the front they put out. if you hate the way you pretend, these feelings are most likely gonna transpose to another version of you doing the same thing.

but in this fight, the siffrin in it is not the one still trapped in the time loops. this is a siffrin tentatively learning that maybe it's okay to not hate yourself. so, just like act 5 is the greatest act of self-hatred, the ending of this fight is the ultimate act of self-love and self-acceptance, regardless of how it ends but with some caveats to both outcomes.

if siffrin wins, he refuses to hurt loop, stating outright that they don't hate themselves enough to do so. he won't do it even if loop is literally begging for it.

if loop wins, they cannot bring themselves to hurt siffrin. they feel too much empathy towards them. it's impossible to hate him - and themselves - the same after seeing the struggle from outwards.

regardless, they both exhibit the kind of care only you yourself can give yourself after fighting tooth and nail to prove to your own self-esteem that you're worth it. siffrin wouldn't be satisfied with killing loop because it would mean a rejection of some fragment of themselves.

siffrin went through a capital-C Change due to the loops (the theme of change in isat is another thing i could write on and on about), and part of that Change was having a version of you, your past self, still stuck in how they used to be and the situation that made them so. a healthy type of growth means changing for the better, yes, but also learning to love and respect who you used to be. if you met your younger self, would you resent them? or would you want them to know that all their struggles weren't for nothing? Change means leaving something behind but not forsaking it, letting it rot and fester unacknowledged

(insert rant about how isa's Change was actually kind of partial because he decided to completely sever ties with who he used to be instead of being appreciative of the aspects of himself he seems to still like, like being smart, and him resorting to hiding it instead WE DON'T HAVE THE TIME RIGHT NOW ASK ME LATER IF U WANNA but tl;dr actshually isa Change doesn't need to be full-on destruction because the eggshell is still there the Change God told me okay enough of this)

this. this is love. self-love given form. to me.

"you matter. your suffering mattered. it helped me become who i am right now. nothing was in vain. it hurt, and might still hurt for a long time - but it was never for nothing." that's what i got from this scene.

anywayyyyy i warned you!!! that this would be long!! if you let me yap! it's yap central over here. if you got all the way down here, thank you for enduring. have a cupcake :)🧁