#love a self referential moment

[renjirukia]

Who are you supposed to be?! A villain. BLEACH | Episode 15 BLEACH: THOUSAND-YEAR BLOOD WAR | Episode 18

[welcometogrouchland]

Finally saw Wicked today. I fear it is, in fact, actually all that and a bag of chips. Like it is genuinely that good

[natjennie]

reading the tvtropes page for ghosts. so proud of my sillies for getting a good grade in tv show 🥰✨😊💕✨

[notashadowbutawave]

finally talked my wife into watching 8x06 "confessions" with me and WOW there's quite a lot going on in this breakup scene in buck's apartment (and the infamous glee scene for that matter) that I haven't seen discussed much on this website (though maybe I'm just not finding it?) like this show is always yelling the themes in your face but...

first of all I think it's somewhat intentional that Buck is being written as kind of regressing. So far in the show, he's gotten his confidence in romantic relationships by fulfilling the role with the person that he thinks he should fulfill. with Abby, Buck had just learned about serious adult romantic relationships and how they work and was trying to Be A Partner in a complete speed run. But he learned that no amount of devotion is a substitute for functionality. with Taylor, he was trying to Be A Functional Partner - and he learned that being a partner Has To involve trust, and that trust comes from somewhere else other than just our actions - it has to come from our hearts.

Tommy is the first person he's ever dated where he doesn't know what the next steps are and that's because this isn't something he has a blueprint for - being a Partner and a Functional Partner for somebody who sees right through him and sees exactly what he's trying to do, to make Tommy never leave. Abby was completely clueless (sorry I really dislike Abby) and Taylor didn't realize that an adult man could behave so badly without utter malice in his heart. Both of them kind of make the mistake of being vulnerable to Buck's charms.

Tommy is of course vulnerable to Buck's charms but Buck is more transparently himself with Tommy as well - and what Tommy sees, then, is a person who is deeply insecure and may be trending in the right direction but ultimately still thinks there's a lever he can pull to make Tommy stay and never leave him. He doesn't know that he's not done cooking yet because every new thing he learns about the world or others makes him feel brand fucking new.

So yes, the glee scene:

Josh was absolutely gagged that Tommy was Abby's ex fiance

Buck's first instinct is to see the situation from Abby's side and go into protective mode which is adorably loyal to be fair but also like ; get a grip

I actually love Josh's framing of "you care about this person and if you want a future in a queer relationship you need to learn that we don't all come to this the same way"

Did they need a cultural reference? No. Were they going to self referentially congratulate Ryan Murphy for inflicting it on the world? Yes.

And regarding the breakup itself:

What is wrong with this fandom's sense of humor that I haven't seen a gif of "I'm the himbo" ??? Like yes babe u sure are come here

Buck is really working so hard in this scene to make sure Tommy knows that he's serious. He's like... this freaked me out but I've decided I'm cool with it. She changed my life but not like you !!!

Like bless his heart, Buck thought he was really doing the right thing by telling Tommy about Abby BEFORE ASKING HIM TO MOVE IN WITH HIM. like MY CARDS ARE ON THE TABLE??? SEE??? LOVE ME FOREVER !! it's adorable and it's also cringe as fuck.

I think the real sin of the writing here is making Buck so completely clueless that this is the wrong move. Like he's kind of an idiot (Eddie Diaz's words not mine) but moving in with someone after dating them for six months in your 30s is WILD behavior and I don't think even Evan Buckley would fail to realize that this is a bit much in this moment.

But idk being in love makes one do stupid things? I did all of my messy bitch relationship shit before I turned 30 but I guess it is buck we are talking about

I completely understand why Tommy reacts the way he does in this scene and bless Lou Ferrigno Jr for acting it with such nuance, much more depth than the scene frankly deserves. What a heartbreaker. Like you see him tense up at Buck's request

"I'm not saying let's get married or engaged, even though we would have the right, thanks to the brave people who came before, including you." such an insane thing to say to your boyfriend. Whoever approved this script was trying to take me out like with a gun.

You then see the absolute grief in Tommy's eyes like oh god this kid is killing me. He's so sweet. He's so cute. He doesn't get it. I love him. He doesn't get it.

As an aside, Eddie being stalked in the juice bar by the hot priest was absolutely incredible.

I didn't hate this episode but wow the writing does suck shit, however I fully believe it makes sense for them to break up here and get back together in the future ??? because Buck DOES have some shit to figure out. Like moving in with someone is a lot of fucking intimacy REALLY fast and baby boy sometimes you NEED to pump the brakes a little ESPECIALLY when you think someone might be THE ONE and you just figured out you like guys six months ago.

I get it and yeah the writing is tragic and the inclusion of Abby in general is just unhinged and unnecessary but like I don't hate the broad strokes here. how else does the blorbo learn if not by ritual torture by the writers. Lou is too good to not have back though. My god what a treasure.

end bucktommy endgame truther transmission

[power-handmaiden]

Day 345: My Overwhelming Gratitude And Appreciation For The Grand Cosmic Rarity Of My Own Existence Gets Me Off

It's always a delight when a tingler gets deeply existential. Those tend to really stick in my memory. Just last night I mentioned "Turned Gay By The Existential Dread That I May Actually Be A Character In A Chuck Tingle Book" in conversation. That one was one of the first to really hook me into being a Chuck Tingle fan, and convince me that he was telling the truth about being sincere in his writing, back when that was something most people doubted. It really impressed me with some beautifully written lines and the way it turned a silly self-referential idea into something genuinely uplifting.

I'm thinking about that one again because this tingler feels like a continuation of it, in terms of the emotions and philosophy it explores. "Turned Gay By The Existential Dread That I May Actually Be A Character In A Chuck Tingle Book" had its protagonist get over the hurdle of realizing his small but significant place in the universe. This story delves into the feelings that go beyond that acceptance, with a protagonist who already understands the basic facts, and is exploring the complexity of the world that has led to every moment she experiences.

She's also one of the tingler protagonists who really stands out as neurodivergent through her behavior and I love it. It's very touching to see her hyperfixation on answering a small question presented as a way of reaching for and appreciating the beauty of her reality. The way that it's highlighted that she feels as profound of an emotion from the act of researching her question as some do seeing a beautiful sunset... oh, I felt that in my gay scientist heart. I'll still be thinking about this one years later, the same way that the tingler I referenced earlier really stuck with me.

[louisupdates]

If you’ve been on social media today, you may have seen a certain word trending: Zouis. But what does it mean? Well, Zouis is portmanteau of Zayn and Louis. Specifically, Zayn Malik and Louis Tomlinson from One Direction.

The pair were spotted together in Los Angeles, with Tomlinson attending Malik’s gig—sending the internet into a frenzy

With Zouis spreading like wildfire on social media, this story operates as an interesting example of how fandoms can deal with grief, and, for once, how the internet can be a positive communal force.

What’s Happening With Zouis? Why Were Zayn Malik And Louis Tomlinson Together?

Zayn Malik is currently on his Stairway To The Sky tour, and is playing several nights at the Shrine Expo Hall in Los Angeles, California.

Louis Tomlinson—who was in boyband One Direction with Malik—attended the show on Jan. 29. This is the first time the pair, known as Zouis, have been together publicly since One Direction bandmate Liam Payne’s funeral on Nov. 20, 2024.

After Malik left the group in 2015, One Direction broke up the year after, and the members have rarely been together since, with each pursuing solo careers.

This makes the appearance of Zouis a special moment for fans, as well as seemingly for Malik and Tomlinson themselves, with the former referencing his bandmate’s attendance at his concert in glowing terms:

How Did Social Media React The Appearance Of Zouis?

The online world went wild for the return of Zouis. There are tens of thousands of tweets about the event. Many of which show pure enthusiasm:

While others contain simple declarations of love towards Zouis:

There’s a sombre tone to some posts which reference the death of Liam Payne:

While difference accounts are self-referential about their own reaction to the partial One Direction reunion:

There’s one overwhelming trend though: pure excitement and adulation.

Why Is Social Media Reacting To Zouis In This Way?

There are a few things at play. Firstly, One Direction fans are renowned for their obsession with the group. Combined with the size of the boyband—3.4 million people saw them during their Where We Are tour alone—this means there’s a huge community of interested people whenever news about them drops. Like Zouis.

But there’s also a more sombre side to this overwhelming online reaction, and that can be linked to a sense of loss.

It’s common for fans to form parasocial relationships with people they follow. Effectively, this is when individuals believe they have a close tie with public figures, even though this is a one-way friendship. Often, this is driven by the perceived intimacy of social media.

This can induce serious emotions. So, when a member of a group like One Direction passes away, as is the case with Liam Payne, it can feel as though someone they’re close with had died.

When Zayn Malik and Louis Tomlinson came together for the first time since the funeral, it can feel like a cathartic moment for fans, as though things are righting themselves. One way of dealing with this outpouring of emotion, then, is to post on social media.

And that’s a key way of viewing this explosion of activity about Zouis: a celebration.

People are not only expressing joy at seeing members of One Direction together, but this enthusiasm also acts a tribute to Liam Payne. This creates a sense of community, of an entire fandom coming together and praising a new chapter in something they love.

Ultimately, the spread of posts about Zouis displays a positive side to social media, one where people share a connection and come together in unity. In these divided times, that’s a beautiful thing to see.

[piratecaptainscaptainpirates]

The reason I think OFMD feels like fanfiction (affectionate) is that it's so incredibly earnest, in a way we're just not used to really seeing. It never feels the need to point and laugh at the earnest whimsy of it all, it never makes a joke of queerness, and it never gets annoyingly self-referential in the way media that's too worried about its own image will be (you all know how Marvel movies have characters be like "ooh wasn't that weird? we have to point out how a weird thing is happening so the audience knows we're cool and above that." that thing never happens).

They want Stede to write the man he loves little love letters every day? He kisses the bottles before he throws them into the ocean. He lays awake thinking about a moment where he almost kissed Ed under the moonlight. He has dreams of running to Ed across a beach.

They have a character who wants to feel like he deserves to get married so bad, and who also wants to feel safe to explore more feminine gender expression? They have him paint a bride cake topper to look like himself.

They want a character to make the decision to live because he hears the voice of the man he loves, challenging his belief that no one cares if he lives or dies? They have his lover appear to him as a beautiful mermaid and give him a huge, lovesick smile, and it's sweet and campy and 100% genuine.

I'm used to seeing so many of the things in OFMD in media as just jokes. A fat, Black man being seen as extremely desirable. Women of color in positions of authority. Queer love and desire. Drag shows! But OFMD never, ever punches down, and it's always so earnest, and it cares so much.

Just...damn. I feel lucky every time I think about it. We've got a special show here.

[hotvintagepoll]

can yo utalk more about how the costume designers are different?

Sure!

There are no hard-and-fast rules for telling one designer's work from another, because most designers adapt their style to the story they're telling—a sign of a good design is if you don't notice it, because it feels so natural and a piece of the world of the movie. But I still think you can see connections and quirks in a designer's body of work that show what they specifically bring to each project.

Walter Plunkett—sense of humor. I mentioned this earlier but there's a brightness to Plunkett's work, a sense of perspective on the story he's telling and how he's translating it into clothes—Seven Brides for Seven Brothers has dresses made of Salvation Army quilts, which shows some creative thinking about how his stranded characters would build outfits from nothing; Singin' in the Rain is self referential to the silly things he wore and designed as a young man in the 20s; Gone with the Wind has that fun curtain dress, where he intentionally keeps the tassel as a tell on its origins. That kind of thing might sound easy, but keeping a sense of humor and context present in the costume design is vanishingly rare. His clothes can trend a little camp, but I think that's part of the fun.

Edith Head—high fashion styling. Edith's favorite movies to design for were pieces with High Fashion Moments™, things that leaned heavily on sophistication, suits, and showing the clothes as clothes. You can see this in Grace Kelly's gowns in Rear Window, Kim Novak's suit in Vertigo, Bette Davis in All About Eve—elegant designs that have minimal trim or color, that get their power from their clean lines, tailoring, and very specific detail points.

Helen Rose—also trends toward camp, but less because of little humorous touches like Plunkett and more because of her fondness for gaudy colors and extravagant details. She rarely nails the tailored elegance of Head, but she makes up for it by going bold—her designs have a sense of big-ness to them, plus that love of color where they punch right off the screen.

Adrian—if there's a weird shoulder pad or some angular tailoring happening, Adrian is probably involved. You know Adrian's work from The Wizard of Oz—he loves high proportions, and builds his work off of them.

Orry-Kelly—I haven't found a consistent tell across his work, but if he's the designer you can tell it's going to be a banger.

[silencedrowns]

rating Halloween toilet decor at my local Michael’s

The classic skeleton on a skeleton shaped toilet. 8/10. you cannot go wrong with a spooky dookie but the book made of bone is definitely not it

Ichabod Crane toilet. 7/10. Points for originality with a less common Halloween figure and the satisfyingly smug pumpkin face, but points lost for confusing denim boot covers and the way the pumpkin isn’t reading the book whatsoever. Also makes me wonder if the axe is for toilet paper.

Dracula toilet. 4/10 for boring sculpt, bad paint job, baffling makeup, and the fact that Anne Rice says vampires don’t need to use the bathroom. Not that I believe Anne Rice about everything, but it’s funny to bring up the time Lestat gets body swapped into a normal body and spends way too many pages describing the feeling of peeing.

Frankenstein’s monster. 10/10 this is perfect. The pose, the sculpt, the self referential book… this monster knows what he’s about and even though like all these other toilet figures he’s wearing pants, it’s fine. Top tier silly. I love his face and I genuinely contemplated buying this for about 30 seconds before I realized then I’d have to own and find a place for a Frankenstein toilet figure.

Edgar Allan Poe on the toilet. 9/10 this is the only time I’m deducting points for “but he’s still wearing pants!” because this is an actual human figure, but I’m adding a ton of points back for how scrunkly he is and the large amount of accessories.

Laptop skeleton toilet. THIS IS PERFECTION 100/10. The pose, so familiar to anyone who’s had to use a computer for news or bad social media or zoom. The silly ghost not quite Apple logo. The jointed knees letting you bat at the feet like a cat with a toy. You cannot improve on this. One of my favorite objects in the Michael’s Halloween section of all time. This skeleton is a mood and an icon and I love it so, so very much.

Hey Michael’s? What in the actual fuck is this. I’m not even going to rate this because this is literally just a regular toilet, not a Halloween toilet. “Oh it has a snake on it” snakes alone do not make something Halloween or have we all forgotten about Britney Spears with the yellow python (top 10 “how did I think I was straight” moments). Send whoever designed this embarrassment to remedial Halloween school where they have to design anatomically improbable skeletons. IT DOESN’T EVEN HAVE A SEAT YOU’D FALL RIGHT IN THIS THING SUCKS

[twoidiotwriters1]

Chapter 1. Fun Times & Potty Rooms

Summary: Dearest Gentle reader, as another season starts so do the surprises. Masterlist // Next Chapter Words: 1,517 Listen to: What's Up? -by Non 4 Blondes A/N: Don't forget to leave feedback, please! -Danny

Dear Diary,

Mother insists I write even though she knows this isn't what I meant when I said I wanted to write. I'm not a self-referential lady who enjoys talking to herself; in fact, I believe it is quite silly and embarrassing. But alas, I am writing. To myself. 

Why, you ask? Well, for the first time in my five-and-twenty years of living, I'll spend some time away from home. Mother thinks it's time I do so, otherwise I'll be a perfect stranger to other royals and no one will know of me once I become Queen. When I said in jest that it was my intention, Mother didn't laugh. Which hurt plenty, because she usually laughs at the nonsense I spit. Which means she must want me to mingle and socialize. Lord have mercy on all of us.

Mother used to be just like me when she was my age, but she is so regal nowadays that you wouldn't believe she used to trip over armour and set fire to gentlemen's suits. My father fell in love with Mother because she was fire, he often jests.

Are these the things one writes in a diary? I must admit I'm doing this with half a mind since I'm also watching over my twin brothers, Richard and Rowan, and my younger sister Marie, so they do not fall off of the moving carriage. I wish I were more like Marie, graceful and charming, she's all dad. 

I'm boisterous when careless, with my head in the clouds and unable to land swiftly... How is this journey to England going to change that? A bunch of mummies live in that palace. My maid said they are the most rigid crowd I'll ever meet.

The fun awaits.

Benedict rises from his slumber tangled in two different bodies, with the sun streaming down on his face and immediately heightening the dormant headache. When he props himself up, the man on his right rolls over groaning and covering his head with a pillow, then the woman on his left curls away from him, pulling the covers closer to her bare body, baring Benedict and showing the marks all over his body. He used to find satisfaction in them, but lately, the day after his love affairs has been causing him a most unpleasant irk.

Maybe it's time to... settle down?

Benedict shrugs off the thought with a grimace. A boring aristocratic life accompanied by some sensible woman sends him reeling, it's all a bit too serious, and deep within his heart, he's always felt that he could not possibly abandon this type of life. Such a wide variety of companions to love... Why would he quit it?

No fun at all.

You step out of the carriage and your foot slips. Helped by the footman, you give him a soft thank you and offer him a kind smile, but he doesn't look up at you at any moment. You sigh, realizing this trip is bound to be exactly what you imagined.

Your siblings hurry after you and you chastise them. Even though you're around the same age, the twins are just entering their twenties, therefore it's hard to make them understand being loud and bold isn't cute anymore. Your sister holds your arm as she looks up at the castle with curiosity.

"Ample..." Marie says bemusedly.

"All that wasted space," you sigh. "They don't have toilets here, so you'll have to go in your room in a pissy bowl—"

"Y/N," your mother, Queen Amelia, stops beside you giving you a look. "Don't even think about complaining in the Queen's presence... but call it a potty if you are to be funny. Pissy bowl makes you sound five."

You and your sister giggle, which makes your mother send a conspiratory wink your way. A lovely woman. Your father, King Nicholas, comes up the steps and presses his hands to your backs, urging the two of you to enter the castle. 

"In girls, it looks like rain..."

"Are we to spend all of our time indoors, then?" Your sister pouts. 

"That is less than ideal, considering Y/N is here to be outdoors for a change, but I suppose it depends on the weather," your father glares at the sky. "England wishes to give us a proper welcome."

"No, thank you!" Marie picks up her pace.

"I spend time outdoors," you argue under your breath.

The man smiles. "Let me rephrase, then. To meet new people and spend time with them outdoors."

As you enter the wide hall you're welcomed by the Queen of England and her many children. A few are closer to your age, but you do not like the way the male part of the bunch eyes you and your sister. Or the way the Princesses look at your brothers, for that matter.

"Your Majesty, Queen Amelia of Genovia. King Consort, Nicholas Devereaux, and their children— Princess Y/N Devereaux, Princess Marie Devereaux, and the Princes Richard and Rowan Devereaux."

While the girls curtsy and the boys bow, the queens greet each other. Queen Charlotte spares a brief glance toward your father and a little 'hmph' escapes her lips with no further comment. King Nicholas, a man with a sense of humour, glances your way and pretends to loosen his cravat anxiously while gulping, which makes you giggle.

"Ah, Benedict, there you are," Violet surveys her son over the teacup she's holding. "Took you long enough to join us. Where have you been?"

"Morning, Mother, I apologize," he smiles and sits next to Gregory. "I woke up early and walked around Hyde Park hoping for inspiration to strike."

"Seems to me you were the one striking," Colin mutters across the table, eyeing his brother's neck with a grin. Benedict pulls his cravat higher up and glares at his brother to keep quiet.

"Benedict, did you hear the news?" Hyacinth speaks, almost shaking with excitement. "A royal family is attending the first ball of the season!"

"There is always some royal family at balls, isn't it?" He retorts without interest.

"The Queen and King of Genovia are staying in London for the whole season," Anthony says carefully. "Along with their two daughters and sons. I expect you to keep the family name as pristine as ever."

"Is this why you're here and not at home with your wife?" Benedict asks. "You came to scold us ahead in case we were planning to make a fool of ourselves?" Anthony doesn't dignify the question with an answer, he looks at his brother with a steely glare for a few extra seconds before he goes back to his food. Like I care about flimsy princesses, Benedict thinks with disdain.

"Whistledown says this will be the first public appearance of Princess Y/N!" Hyacinth continues, unbothered by her brothers's lack of excitement. "I wish I were old enough to attend the ball..." She turns to Francesca and Eloise. "Will you try to befriend her for me? She must be your age."

Eloise scoffs. "Befriend a princess? If she's anything like ours, she'll be all night fanning herself looking down at every poor mortal that dares walk within her breathing distance."

"They're not quite like us," Colin points out, just as fond of gossip as his sister. "Ever since Queen Amelia ascended to the throne, Genovia has been known for their... er... forward thinking."

Benedict snorts. Whatever royalty considers "forward thinking" is not even halfway there. Eloise, however, leans on the table wanting to hear more of it. "What do you mean, brother?"

"Women are encouraged to get higher education. They participate in sports, hunts, arts— and can wear male's clothing—"

That pulls a gasp from their mother and Eloise, although they're both different sounds in nature. Violet blushes and replies in a shy voice. "Oh, well... if it works for them..."

"They're well on their way to becoming a leading nation," Colin continues excitedly. "Which is why the Queen has invited them. Whistledown made a joke last month... something about England living in the Dark Ages and being the reason why people branch out and leave the country, claimed that Genovia would double in size thanks to us... it was quite merciless."

Anthony shakes his head. "You let women do stuff they're already doing in the privacy of their homes and call it revolutionary. Please."

What would the Queen of Genovia think of people like Benedict? Maybe he should visit the country, perhaps this very season, he would try anything just to escape the usual horde of debutants and dull social events...

"Well, there is a great deal of difference between having to be private and choosing to be," Francesca argues. Benedict smiles at her, a silent compliment he gives every time she outwits Anthony.

"There are other things happening in Genovia, it's not all about women," Colin shrugs it off. "I was just giving an example I knew would interest Eloise the most."

"And which ones were left out of your consideration?" Eloise grins.

"The potty rooms," he states, making Gregory choke on his tea.

Next Chapter –>

Taglist.

@babypink224221 @Booknerdlife @djsporks @lght-roastcoffee @marii-ren @mythical-goth @omgsuperstarg @creepytoes88 @sarahskywalker-amidala

[exhaustedwerewolf]

okay not to waste energy being mad about the minecraft movie of all things but I am actually kind of heartbroken by how cynical it feels.

for example, making the creatures that inhabit the world offputting is so indicative of the underlying attitude the film seems to be taking to me. how many millions of minecraft animals, despite being pixels and code, have been genuinely loved by players around the world?

minecraft, despite everything it’s associated with these days, is incredibly earnest in a way that I feel few properties are these days… and genuinely one of the most beautiful games I’ve ever had the pleasure of playing. in its surprisingly melancholic moments in a solo survival world. in the laughs it’s given those far apart from beloved friends, allowing them to be roommates in a beautiful forest cottage or a volcanic fortress or a treehouse palace they’ve built together when thousands of miles apart. in the things people working alone and together have made of it- libraries of banned books made accessible through the medium of the game, scale models of worlds real and fictional, redstone machines with intricate circuitry and incredible intelligence and diligence behind them, in the friendships forged in the pursuit of these creations.

minecraft is collaborative and creative and contemplative in a way few games can be. minecraft, to those who have ‘beaten,’ it, says: everything you need is within you, the darkness you fight is within you, the light you seek is within you, you are not alone, not separate from every other thing, you are the universe tasting itself, talking to itself, reading its own code.

minecraft, when so many games are about escaping from yourself, is about connection with your self, your creativity, the plants and earth and animals and structures around you, the people around you.

for it to be, in this context, a self-referential, debasing cash grab, is not a surprise to me but does feel like a disservice to what the heart of this game is, and symptomatic of a wider trend in a storytelling climate increasingly dominated by spin-offs and reboots and tie-ins and remakes. the writers could have had the courage not to break the fourth wall, not to point and laugh and decry the silly memeable ‘get a load of this guy,’ block game, (and by extension ridicule themselves,) but I understand. it’s the same instinct to make the self-effacing joke before you can be laughed at by others for showing your honest self, to cringe from the vulnerability earnesty demands. that’s fine. personally- and I’m probably not alone- I just wish it wasn’t this game.

[comicaurora]

YOU WATCHED CENTAURWORLD?!

YOU USED IT AS AN EXAMPLE IN THE TROPE TALK!!!!

It is my favorite and I require to know your thoughts on it.

It's. Hm

So I think it absolutely accomplished what it set out to do, which means it is a successful work of art. But I think what it was aiming for didn't work for me?

In its efforts to play with centaurworld's ridiculousness versus the gritty nightmare of the "real world", it tonally undercuts almost all of its profound moments and then tries to get profound character moments out of squeeky-toy inflatable cartoon characters. Of the main cast, Horse and Wammawink are basically the only ones who get sufficient development to feel like real characters capable of carrying impactful moments, and the rest of the crew are basically walking punchlines - even speedrunning their respective Tragic Backstories doesn't do much to strengthen them, because in the present of the show they're fundamentally joke characters incapable of emotional subtlety. It kinda feels like if a Looney Tunes episode randomly dropped a flashback to baby Daffy Duck being moses'd into the bullrushes as if that mattered to how he functioned now. Plus, once we start jumping back to the Real World again, it turns out all those characters are also wacky in their own way - lots of very quippy dialogue and self-referential humor. Instead of Horse feeling broadly representative of her world's tone, she feels like the most serious character in the entire show - at least until season 2 where her dialogue starts being 50% fart jokes by volume.

Overall I think I loved what they set up in season 1, but not how they paid it off in season 2. There's the themes they establish in season 1 of how centaurworld has a cartoonifying effect on everyone who comes there, and the way this plays to Horse early on is full on cartoon body horror - a realistic horse slowly and inexorably transforming into a parody of itself. I thought that was a fascinating way to frame it, and it was nightmarish to contemplate! It comes to a really strong head in the Whaletaur Shaman episode when her friends seem to finally realize how much she's been struggling and suffering and how, despite it looking like a big joke to everyone, it's profoundly unfunny to her. But while she gets a nice emotional resolution at the end of that episode, the underlying horror is never addressed again. She still seems unhappy with her new cartoon body, but the transformations are from this point forward framed as uncomplicated positives that everybody thinks are funny.

It's purposefully blending comedy and horror together, but the execution feels like the disparate ingredients are hindering each other's effectiveness. The horror stuff rarely gets sufficient gravity and is just left as Hey Look Horrifying Implications, and the jokes are often undermined by all the seriousness left lying around. It's a flavor combination that doesn't work for me.

And then the stuff with the Deertaur and the Princess is incredibly interesting and profound and tragic, and I don't understand why it's happening in the same show as everything else?

Also, this is a minor nitpick, but the musical numbers were astounding in the first season but seemed to experience some sort of weird categorical downgrade in season 2. All the solid numbers were reprises from season 1.

Centaurworld was doing something very much on purpose, and I just don't think I got what that something was.

[aroace-nut-case]

Very long In Stars and Time rant under the cut. It’s breaking down how ISAT coded Achilles Come Down by Gang of Youths is. Also Tw for discussions of suicide

I have an idea that has reduced me to tears and I need to share it somewhere. It’s the song Achilles Come Down by Gang Of Youths but it’s act 6 Siffrin and the first voice is the party and the second voice is Mal Du Pays. Also side note, mal du pays is apparently the French expression for homesickness which 😭😭😭😭 AAAAAAAAA!! But I digress.

I imagine this would be set during the Bigfrin boss fight at the end. The first verse would be the party begging Siffrin to come down, to talk to them. I guess this would be more of a metaphorical coming down than actually trying to get someone to come down from a roof but the imagery is there. Also them being called a cosmonaut because their whole religion revolved around stars.

The French part “On the other hand, I see many people die because they judge that life is not worth living (Loop). I see others paradoxically getting killed for the ideas or illusions that give them a reason for living (The party). What is called a good reason for living is also an excellent reason for dying (Siffrin himself. They’ve died dozens of times for the party, their reason for living).

I feel line the second verse would have to be Loop talking, especially because of the “There is no me without you” line. Remember the pact of our youth (The wish).

Loathe the way they light candles in Rome But love the sweet air of the votives Hurt and grieve but don't suffer alone Engage with the pain as a motive This seems like it would be Odile talking. Not as openly emotional as the others, but trying all the same.

Today, of all days, see How the most dangerous thing is to love (Siffrin has gone through today over and over for those that he loves). How you will heal and you'll rise above (They will be ok at the end). Also this is Loop talking

The second French part Of an apartment manager who had killed himself I was told he had lost his daughter 5 years before, that he had changed greatly since then, and the experience had “undermined” him. Maybe someone Sif met on their travels, who “lost” his daughter because she was on the forgotten island when it disappeared, similarly to the sister of The Daydreaming One in Dormont.

Achilles, Achilles, Achilles, jump now You are absent of cause or excuse So self-indulgent and self-referential No audience could ever want you You crave the applause yet hate the attention Then miss it, your act is a ruse It is empty, Achilles, so end it all now It's a pointless resistance for you This is absolutely Mal Du Pays speaking, as it is an entity made up of Siffrin’s thoughts, doubts, and insecurities. It even uses stage metaphors (like referring to the party as an “audience) just like he does. Also trying to get them to give up.

The third French part What sets off the crisis is almost always unverifiable (Siffrin still not having any idea what trapped them in the loop). Newspapers often speak of “personal sorrows” or “incurable illness.” These explanations are plausible (Siffrin trying so hard to figure it out, why he’s trapped here, why he can’t move on). But one would have to know whether a friend of the desperate man had not that very day addressed him indifferently (this is about Siffrin and Loop although Siffrin doesn’t know that quite yet).

Achilles, Achilles, just put down the bottle, don’t listen to what you’ve consumed (Siffrin would be an alcoholic if the House had more wine). It’s chaos, confusion, and it’s wholly unworthy of feeding and it’s wholly untrue ( this is also about Siffrin’s self esteem issues and intrusive thoughts). There may not be meaning so find one and seize it, do not waste yourself on this roof (The loops may not be a grand plan by Change or The Universe or whatever, but they can still mean something if you let them, if you live).

Hear those bells ring deep in the soul Chiming away for a moment (“WHAT’S HER NAME!? The Housemaiden, the one that wakes me up, I CANT REMEMBER!!” “It’s Mirabelle”) Feel your breath course frankly below And see life as a worthy opponent (Siffrin being too strong for everything they can fight in this one day they’re trapped in).

The fourth French part The memory of a lost home (The island) or the hope of a promised land (Vaugarde). This divorce between the man and his life, the actor and his setting, is properly the feeling of absurdity (first of all, stage metaphors again!! Second of all, Sif not fitting in or understanding Vaugarde at all but it’s all he knows now because his own country is gone).

You want the acclaim, the mother of mothers (it's not worth it, Achilles) More poignant than fame or the taste of another (don't listen, Achilles) But be real and just jump, you dense motherfucker (you're worth more, Achilles) You will not be more than a rat in the gutter (so much more than a rat) You want my opinion, my opinion you've got (no one asked your opinion) You asked for my counsel, I gave you my thoughts (no one asked for your thoughts) Be done with this now and jump off the roof (be done with this now and get off the roof) Can you hear me, Achilles? I'm talking to you I'm talking to you I'm talking to you I'm talking to you Achilles, come down Achilles, come down This is, to me, Loop and Mal Du Pays arguing in Siffrin’s head. Regular text is Mal Du Pays, text in parentheses is Loop.

The fifth French part (god why are there so many) Either yes or no. This would be too easy. But allowance must be who, without concluding, continue questioning (The party, going after Siffrin, trying to make sure he’s ok even after what happened). Here I am only slightly indulging in irony: this is the majority (Loop is the exception). I notice also that those who answer “no” act as if they have thought “yes”. As a matter of fact, if I accept the Nietzschean criterion, they think “yes” in one way or another (Isa and Sif’s multiple attempts to get him to confess).

Throw yourself into the unknown With pace and a fury defiant Clothe yourself in beauty untold And see life as a means to a triumph This is the afterwards, the beautiful falling scene. This is the party’s response to Sif asking “Well what do I do now?” Also, the unknown being the future, because Sif knows every beat of today because he’s lived it over and over.

And that concludes me yapping about In Stars And Time!! It’s a fantastic game, it’s 20 bucks on Steam, and it makes me want to cry!! Thank you for your time!!

[lumaconstante]

'The Softest Touch' [ Ominis Gaunt x Muggle!Reader]

Background: After years of suffering and repression under his family’s rigid expectations, Ominis finds love and acceptance in the arms of a young Muggle woman who makes Jason feel truly free. They have shared moments of tenderness and emotional intimacy, but tonight, after a small wedding ceremony and in their modest home away from the Gaunt family’s control, they allow themselves to explore a deeper love.

Warnings: Fluffy; hint of intimacy

The fire in the grate cast soft shadows across the stone walls of the small cottage. The night was quiet, the occasional sound of the wind picking up outside drowned out by the chirping of the chas. Ominis sat on the couch with her beside him, their fingers intertwined in a gesture of silent comfort.

He turned his face toward hers, his dull eyes seeming even softer in the warm light.

“You’re so quiet,” he murmured, his voice low and hesitant.

“I was just thinking,” she replied, her fingers tracing small circles in the palm of his hand. "Thinking about how you make me feel... safe." Her words made Ominis's heart leap. Security was something he had always wanted to give her, especially since he knew what it was like to live without it. "You gave it to me. More than I could ever imagine," he said softly, his fingers coming up to touch her face. He was always so gentle, exploring her like this, learning every curve and contour of her features. She smiled against his palm, leaning in to place a soft kiss. The gesture, so simple, seemed to carry the weight of his love. The room fell silent again, but this time there was nothing uncomfortable. It was a stillness fraught with anticipation, something they both felt but didn't know how to express. She was the one who moved first, leaning into him. Her lips met his in a slow kiss, like many they had shared before, but there was something more there—a depth and vulnerability that made his heart beat faster. "I trust you," she whispered against his lips. Her words struck him like a spell. He stopped, cupping her face in his hands. “You know I would never do anything to hurt you, right?” She nodded, even though she knew he couldn’t see it. “I know.” He wasn’t the impulsive type. Every movement, every touch, was measured, careful. Omnis was extremely self-aware, aware of his condition, his limitations, but in that moment, all of that seemed to disappear. He gently guided her until they were both lying side by side on the man-made rug in front of the fireplace. The heat of the flames seemed pale in comparison to the feel of her touch against his skin. “If you ever want to stop…” He began, but she cut him off with a kiss, silently reaffirming her trust in him. Everything about him was referential—as if he were worshiping something sacred. His hands explored carefully, learning more about her than her eyes could ever reveal. And she, in return, touched him as if he were a sculpted work of art. Both lovers kissed and caressed each other as their bodies rolled on the carpet, each unwrapping the other's body like a gift.

The moment was marked by soft laughter, sighs, and a connection that transcended words. For Ominis, it was not just a physical act; it was an affirmation that he could love and be loved, despite everything his family tried to teach him about hatred and the separation between worlds.

When the newlyweds' bodies finally stopped dancing to the rhythm of the burning love they both felt for each other, they lay still, contemplating the silence with panting breaths. Their bodies intertwined and the heat of the fireplace beginning to fade, Ominis held her close, his lips pressed gently against the top of her head.

"I never thought something like this was possible for someone like me," he confessed, his voice low and thick with emotion.

"Something like this?" She asked, tracing lazy lines on his chest.

"To be loved... The way you love me." She lifted her head to look at him, her eyes full of tenderness. "You deserve this and much more, Ominis. You always have." He didn't answer, but the smile that appeared on his lips was answer enough. That night, while the world outside continued to be full of prejudice and uncertainty, the two newlyweds found a piece of peace in the warmth of each other.

[girl4music]

Yeah, I think that’s the best way to put it with Xena being a completely canon non-canon queer show.

The Xena creators/cast/crew takes the piss with the subtext. They have their laughs with it - absolutely.

But the major striking difference is that they take the piss and have their laughs WITH you and not AT you.

The point is you’re involved. You’re in on the jokes.

They’re total jokes. But they’re not at YOUR expense.

Only actually completely canon queer shows do that. Like ‘Wynonna Earp’ for example. They love their jokes too but those jokes aren’t made BECAUSE they’re queer. They’re made because it’s actually really funny.

And as I keep saying - the intention was very sincere.

If they ever missed the mark and those queer subtext moments were crude, it’s only because their humour was crude in general. Had nothing to do with personal bias or judgment about queerness unlike other shows that did the queer subtext thing with their female leads and every joke they made about any perceived queer romantic implications was maliciously aimed your way as that queer person that you are when you watch it.

The Xena lot were never like that because they were always on your side whenever they did this. Therefore every queer joke they made was just them being the self-referential insane in-solidarity lot that they were.

Those queer jokes were just as much for us as they were for them. We were part of whatever was funny.

We weren’t WHAT was funny. That’s the difference.

And all those queer jokes were absolutely hilarious.

Queer subtext in terms of providing comedy is never ever a bad thing… unless it’s intended to be negative.

Any media literacy skills whatsoever tell you what it is. You should be able to tell the difference between any comedy that’s about you but for you, not against you.

All actually completely canon queer shows have these comedic moments too. But obviously, because it’s a canonically queer show, they’re only ever a positive.

Xena is a unique experience were it was technically both canon and non-canon at the exact same time and that’s because the creators/cast/crew did not agree with the network/studio/censors but they still had to adhere to the rules of whatever those executives said.

It is very “have your cake and eat it too” - as the saying goes - but you can excuse it. It was the first WLW show.

Intentionality is always the key thing to remember here.

What do the creators/cast/crew intend? Figure that out before you put your entire support behind a production.

I have provided more than enough evidence for Xena. The truth is they never started that way,… they never intended it to be queer but they embraced it anyway AGAINST the demands and obligations of the studio.

They gave you a very queer narrative all the while providing extremely paper thin plausible deniability. Other shows that do this (unless they’re meant to be canon from the start) don’t give you queer narratives.

They don’t intend for you to see yourself in their media as anything more than a joke. A caricature. Be careful.

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.