#look i'm not saying it's a bad show

[heretherebedork]

I understand your feelings about the narrative stuff going on with Jack vs. Joke, but I just read a post from @poetry-protest-pornography commenting on the same issue ("Jack was always going to forgive Joke." is in bold on top, can't link to it in an ask) and I rather agree with their take on it- Jack habitually lashes out yet comes around later. Also, did you see Petty's theory that J&J is actually a sneaky retelling of "Journey to the West"? A ton of stuff makes way more sense in that light :)

I did see both of those posts and my honest answer doesn't change.

Because, yes, sure, there was always going to be reconciliation. I never really doubted that.

But the narrative that Joke's trauma doesn't matter is still going to bother me. Yes, Jack is going to forgive Joke and would have tried to find him again regardless.

But that doesn't change that the show is specifically downplaying Joke's habit of self-blame, including basically turning it into a joke with Grandma telling him he's made too many mistakes and to forgive himself.

Because his inability to forgive himself is never taken seriously by the narrative. The show takes his pain seriously at times but it's always because he was wrong and deserves pain and not because he blames himself for things that couldn't possibly be just his fault.

The show lets Jack forgive Save with a single apology and then has them plan a heist together instantly while Joke is entirely absent from the narrative for an extended period of time.

What was Jack's plan if Joke hadn't been kidnapped by Boss? How was he going to forgive him after Joke did everything he could to follow the last thing Jack had said?

And now the set up with the game leaves us with no room for the emotional reconciliation because we've got a hangman game going with bombs and that leaves very little room for deep emotional intricacies and for us to see Jack realize that Joke is also struggling with things besides being murdered.

How many quiet moments will we get in the next episode?

I mean, frankly, my criticism of the narrative goes beyond that and starts to go into 'why wasn't Save a bigger part of the show if he was going to be so important at the end' but if we get into that... let's just not.

Anyway, I do see both their points but I also think that the flaws with the narrative and this specific aspect of the narrative go much deeper than that.

Honestly, despite everything, I was so deeply hoping for a quiet resolution to their issues, for an actual conversation, for something where we got to see that Jack saw Joke's issues and could try to work on his own lashing out so he could push Joke to grow as well.

But nope.

I wanted Jack to have to chase after Joke because he left because of what Jack said. I wanted the emotional reunion to be about them. But now Jack is racing to save Joke's life and of course he's going to call him his boyfriend but it's going to utterly remove so much of the depth of Joke's possible responses and conversations and I am just... whatever. Whatever.

It's not a bad show. I'm enjoying parts of it.

But 'Jack planned on forgiving Joke regardless' is not the aspect of the narrative I have the most issue with.

[golden-lovers]

[triglycercule]

horrortale waterfall game broke me sorry (hey just like horror!)

[ilk-insolence]

Raph Is A Great Strategist

Numerous times in the show Raph has shown to have a preference for straightforwardly punching his problems away rather than think up a more complex solution. Like how his immediate fix to getting Mayhem out of the mirror in Mystic Library was to punch everything in the bathroom but the mirror. However, when Raph understands the situation requires more in depth strategy, he’s shown to be an incredibly capable tactician.

(long post ahead!)

In nearly all the plot heavy episodes like Shadow of Evil, Many Unhappy Returns, and the season finales, Raph gets moments where he’s highlighted for his strategic thinking. In Insane in the Mama Train, he’s the one who figures out which eyeball-button goes to the front car with the dark armor, because “‘it was the only button [the Foot Clan] didn’t want me to press!’” [21:05]. He’s also the one who came up with the scheme to defeat all the (known) combatants in the train, with Leo specifically attributing Raph as the deviser during their mind meld [19:46]. In Many Unhappy Returns, after spending a single night waylaying the Shredder, Raph formulated a plan using all the tricks the team learned, seamlessly transitioning the mystic collar Leo acquired into it [19:53], to defeating the Shredder. Additionally, he’s repeatedly called for a retreat during fights, like in Shadow of Evil, Shreddy or Not (Finale pt 2), and the movie, when he can tactically recognize that a battle couldn’t be won. Each time, the show/movie implied that that was the right call, for the family to lose the fight but win the war.

And it’s not just that Raph is good at strategy when he’s pushed to be more serious; the show characterizes him as passionate about creating plans, he enjoys doing it. Literally in the first episode, Mystic Mayhem, after the turtles’ initial plan failed of getting Splinter out of the living room to touch his Do-Not-Touch Cabinet, Raph immediately started devising a new plan that involved “ten chickens [and] a gallon of rubber cement” [9:35]. It was convoluted, sure, and they didn’t end up using it, but it was inventive and the opposite of reluctant. This is also shown in Bug Busters, where Raph planned out dousing Mikey in honey to attract the oozequitoes [2:52]; Snow Day, with the idea to freeze Ghost Bear like in Jupiter Jim Pluto Vacation 4; and Raph’s Ride-Along (and also Bad Hair Day), where Mind Raph created multiple schemes to get the criminals arrested. The show wouldn’t have made Raph be so creative with his plans if they were trying to characterize him as someone who didn’t like strategizing.

So does why Raph do stupid shit sometimes where he doesn’t think things through at all? Well, even though Raph is good at strategy and enjoys doing it, it’s clear his immediate impulse is still “punch the problem in the face”. In fact, all the turtle boys contain the fascinating dichotomy of being incredibly smart in some areas, and the dumbest teenagers alive in others. Just look at Donnie. It’s also how Raph is a loving protective older brother, and the guy who shoved Leo into a wall so hard he disappeared in one frame for shits and giggles (The Mutant Menace x). None of this means that Raph is bad at strategy though.

tldr: Yeah, Raph has a lot of dumb and, frankly, insane moments in the show, but he’s still an incredible tactician who’s plans consistently saved his family and sometimes the world. He's a great strategist.

[what-am-i-doing-in-this-fandom]

STOP I'm thinking about the part in Gravity Falls where Stan shows up with freshly bought (stolen) light bulbs only to see Ford screwing a new one in surrounded by family.

And OH my GOD. AGH.

Stan gets a little (ir)rationally upset about this because... It's.. Guys,,,

Stan perceives it as Ford once again easily receiving the praise and love of their family when he had to fight tooth and nail to receive even half of it.... I'm not well ✋😔

[deoidesign]

"what do hands mean about a character?"

Their hands mean they love eachother

(webcomic)

[necrotic-nephilim]

i personally have very complicated feelings on the Gotham Knights video game and the routes it takes with characterization. i think it has a charm to it and it goes in an interesting direction with everyone (especially within the confides of the plot of the game) but it does have certain moments that veer painfully fanon for me. (such as: the dialogue where Tim drinks too much coffee) it's an interesting story for what it is but i don't view it comics-based for characterization and therefore don't care to interact with it much for like. fanfic purposes.

that *said* though. i do have to give the game some kind of credit for giving one of the top five JayTim moments that lives rent free in my mind. every since i played the game, the cutscene lives in my mind daily. it's the specific cutscene where Jason and Tim are arguing about whether or not Jason's non-lethal bullets are too dangerous for the field, and the argument leads to TIm *standing in front of the target* Jason is shooting and telling Jason to shoot him. it lives rent free for me. i never stop thinking about this.

the absolute certainty Tim has that he is in no danger standing in front of Jason, who has a loaded gun pointed at his face. the way Jason *hesitates* for just a moment before lowering the gun. he thinks about it for just a second. Gotham Knights JayTim seem to get along very well and can rely on each other, but Jason still clearly holds a bitterness about his death and Tim that flickers through in some lines of dialogue under the guise of jokes. especially since this game deals *heavily* with concepts of Pit Madness causing an altered state of consciousness, i think it's believable that occasionally, Jason fights the urge to fight and hurt Tim for the feeling of being replaced.

i like their tension so much in this canon. they get along but you can *tell* Tim is afraid of addressing Jason's trauma or even addressing Jason head-on, and Jason leans into spooking Tim about it. which isn't very comics feeling in their dynamic, but it is an interesting way to place their dynamic if you're playing with a more timid Tim who's newer to the role of Robin. (which he seems to be in-game) he really doesn't want to offend Jason, or worse, piss him off. but he'll still face Jason head on for things like this, while completely aware of what Jason could be capable of.

and Jason seems very protective of Tim and respecting Tim as a Robin in typical Jason fashion. if Tim pushes, Jason *will* relent. he knows this is a kid who's proved himself and should be treated with equal respect, sometimes even more than Dick and Babs do in-game.

so for all that to culminate in Tim stepping in front of Jason's loaded gun that he *knows* is on the edge of being too dangerous, just to force Jason to listen? it's the most unhinged way Tim could've gotten his point across in this scene. he was literally daring Jason to hurt him and playing with a very dangerous fire. but he did it anyway bc he believed he could make Jason heel just at the thought of hurting Tim. and he was *right*. they're gay and i'm feral ty.

[bacchuschucklefuck]

pygmalion and galatea for aroace people

you should tell your friends what I look like, riz gukgak.

[tea-cat-arts]

I simply think this fandom doesn't give Wei Wuxian enough credit for the various ways in which he saved Lan Wangji

[anyroads]

British people: these avocados must go they're past their prime please won't someone eat them

The avocados:

[kindaorangey]

i really like the bit in TVL where lestat and armand briefly form a "fumbled louis du lac" social club

[crookedfivefingers]

3.13 | ᴛʜᴇ ʟᴀꜱᴛ ᴏꜰ ᴛʜᴇ ᴛɪᴍᴇ ʟᴏʀᴅꜱ

link to the post I accidentally wound up prattling endlessly about in the tags 💀

[monstermoviedean]

finally put my finger on what bothers me about the setup for jack and dean's relationship. it's that i personally don't find it exciting or interesting to parentify someone who's been parentified for 30 years already. i know people disagree with me here and that's fine! but i feel that adding another layer of parentification without any meaningful change to the first layer is just. insult to injury i guess.

dean finally gets to tell mary what he went through and he forgives her and it seems like maybe he's going to get to be his own person, finally, with that weight off his back, and then one episode later cas and mary are gone and jack is there and sam needs him too. and sam pushes dean to push down his grief and parent jack. and that's it. dean becomes jack's parent. in some ways he's still acting on how he was parentified for sam. and that could be explored in interesting ways i suppose. i just don't find the execution compelling. in fact it just makes me really sad.

[fnaf-flags]

The Gay/Transgender Flags picked from Henry Emily and William Afton!

Requested by Anon

[tippenfunkaport]

When Catradora have kids, Catra sends this to Glimmer just to be a little shit and because she knows it will make her absolutely cackle

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)