#no wonder some people don't watch it

[sandysapphire]

anyone else think hacker's voice acting in a clean sweep sounded really off? like it sounds like they accidentally used the outtakes instead of the final recordings

[vaguely-concerned]

'my cousin is all stomach and no heart' is such a funny thing for illario to tell rook if he maybe is picking up on a little bit of a Vibe going on there. the 'LMAO. well good luck with that friend. better hotties than you have tried and failed and dashed themselves against the legendarily unamorous cliffs of my cousin's complete obliviousness and lack of interest to no avail. (optional 'may I suggest a more hah-hem *undoes another few buttons on his shirt that thing is open almost to his navel now it's borderline obscene* available dellamorte for your consideration. I mean if you're like in the market for one anyway' devious undertone as you see fit)' energy is off the charts.

(illario is above all a funny petty bitch and that's why I love him so indescribably. no no lucanis is right we need him around to drop shade like this he is in fact also an essential crow. we all contribute in our own ways)

[fluentisonus]

working in a factory has you thinking so much about the insane chain of labor & transport that goes into making literally anything

[imjustavenuxwithaboomerang]

finally got back to showing my sister arcane (her fault not mine) and these are her thoughts for episode 4:

she made a face (don't know if it was disgust or concern) at jinx getting close to silco when he was in his chair (i haven't explained that it's just a no-boundaries father-daughter situation yet)

"our most famous protégé, jayce talis" "you fake bitch" (about cassandra)

she did not make any comments about anyone's post-timeskip designs nor did she seem to have any physical reaction

^okay i asked about it hours later: "jayce and viktor pretty much look the same to me" (she apparently did not notice how sunken his cheeks have become) "her hair is way too long, it's a hazard. it's a tripping hazard" (about jinx) "those are a lot of tattoos, some of them look like dirt" (about vi)

she compared the hextech gauntlets to the infinity gauntlet

"that feels targeted, heimerdinger. you know i can't chase after you so you're just gonna waddle your little bitchass away. doggy paddle pretty much" (about heimerdinger leaving after telling jayvik to wait a decade)

she's also not loving heimerdinger's pet thingy...or heimerdinger...

literally went "this ugly bitch" when he first popped up in the start of the episode

we compared cait figuring out what happened at the hexgate attack to william murdoch and her strings and evidence to omitb's murder boards (don't know if the fandoms overlap but-)

"i hope somebody kills him" (about marcus) (who's gonna tell her...)

"what progress? cause the last we saw of him, they exiled him and now i'm giving speeches. i'm that bitch" (after heimerdinger's talk with jayce)

"the only one worth my time, is him. the golden boy" "are you trying to ride the golden boy?" (her joking predictions are spot on)

she was probably one of the only people i've seen that did not think that the pink-haired firelight was vi

"respectfully professor, shut your bitchass up" (speaking for viktor to heimerdinger)

"viktor and i have just the thing" "you and viktor are dating"

"i don't like that powder's going by jinx, i don't like that at all"

ep 1 and 2 thoughts

ep 3 thoughts

ep 5 and 6 thoughts

ep 7 and 8 thoughts

finale thoughts

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[uncanny-tranny]

The funniest thing about my transition is slowly becoming even more of a spitting image of my dad. It sometimes makes me double-take in the mirror because I look like my dad if he were cooler

[theerurishipper]

I took upon myself the herculean task of compiling all Dick and Diana interactions.

Batman/Superman: World's Finest #16

Nemesis: The Impostors #3

Nightwing (2016) #100

Titans (2016) Special 1

Titans (2016) Annual 1

Justice League (2011) #51

Wonder Woman (1987) #161

Wonder Woman (1987) #166

Batman/Santa Claus: Silent Knight #4

Nightwing (1996) Annual 2

Some honorary mentions:

These two ones where Diana doesn't interact with Dick one-on-one and is only a part of a larger group, but it's still a good way to show that she respects and trusts him as a leader.

The Brave and The Bold (2007) #15

Justice League: Generation Lost #1

This one where Dick isn't here but Diana shows appreciation for his skills and is very quick to accept that Nightwing should be honored by being in the League (also this isn't about him but I love Clark's "finally, someone easy." That's a proud uncle y'all).

Justice League of America (2006) #2

This one where Diana isn't here but she lets Dick use her Lasso, I think that counts.

Batman/Superman: World's Finest #17

This one where Diana gifted Dick the fastest horse in the world, apparently.

Justice League (2018) #53

These from the 1966 Batman and 1977 Wonder Woman shows' crossover comic.

Batman '66 Meets Wonder Woman '77 #5

Batman '66 Meets Wonder Woman '77 #6

Batman '66 Meets Wonder Woman '77 #10

And then—

Then...

Yeah. That's about it. It's an unfortunately short list. But what little we do have shows that they have a bond of mutual trust and respect for each other. It's very interesting and I wish they explored it more.

[spookythesillyfella]

ominous and threatening sketchy ... sniffle ...

★ some extra stuff under cut :

some concept drawingz i made for the little guyz of an unfinished fic of mine

and headshotz that i redrew digitally

[camellcat]

some doctor who cyanotypes I made for my photography class that I just realized I never shared

[breakbeatbun]

y'all have gotta learn to act normal about other people's characters

just bc you think they're hot doesn't mean the person who made them wants to know if, or how, you'd fuck them. i feel like that's common sense. it doesn't make it OK now just because it's not a real person you're sexualizing. you don't know what they mean to the person who made them, and if you do, well what the fuck, then.

[couldneverhurtusnow]

[chemistry] it's not a word that actors [use]. but you must endeavor a little bit to try and fall in love, in whatever that capacity is. and andrew is a very easy person to fall in love with. he's kind, generous, talented. we shot the film at the perfect junction in our friendship where there was a lot we didn't know about each other, but there was mutual admiration and respect. and a similar sense of humor. (...) yeah, it felt fizzy when we were acting. especially with that first scene at the door -- it's so well-written. you feel like you're dancing through the scene, you can go in loads of different ways, and if i went one way, andrew would go another. if that's what chemistry is, i was aware it was happening.

-- paul on chemistry and whether ‘they (andrew & paul) knew instantly that their onscreen relationship was working’ in all of us strangers, screendaily.com (1/31/24)

[teddybeartoji]

i stop eating my popcorn when it's a quiet scene lmao i stop eating it because i know it Makes Noise and i want everybody to just be able to focus on the film . while some people decide THAT'S the moment they have to tell their friend something????????? you couldn't wait until the scene was at least over??????????

[loverboybrightsideghost]

it must be sad to be someone who can't find and doesn't want to look for the meaning in anything. thinking art is boring, thinking the long, drawn-out semi-abstract explanations musicians and artists give before they show their work is meaningless fake bullshit. it must be such a dull world to live in where one doesn't obsessively examine every word, every note from a work you love to find the beauty and the message and meaning and purpose in every grain of sand that gives it form. how sad.

[gottagobackintime]

I liked that we only got to see Trent look at Colin this episode. Having him observe Colin and then deciding what to do feels like a very Trent thing to do. Yes, Colin kissing Michael where anyone could see is bad if he wants to keep it a secret. And that's a conversation that I'm not getting into now. BUT, what does Trent actually know about Colin in terms of being out or not. He knows that Colin isn't out to the public, obviously, because it would have made headlines. But he doesn't know if Colin is out to his teammates and leaders. We know he isn't but Trent doesn't. He saw Colin and Michael kiss and he heard what Colin said in the latest episode. Yes, Colin brought Michael to Sam's restaurant and introduced him as his pal, his wingman. Trent could have heard that, he was sitting close by, but did he? I mean every shot we got of him he was clearly deep into his own conversation with various people at his table. Would he have picked up what Colin said, and remembered it? I don't think so.

So he observes Colin, because now he knows something new but not enough. And I know that a lot of you feel like Trent should warn him, tell him that he saw them kissing. But honestly, Colin is an adult who knows that there are no out players. He knows that it would make headlines, he knows he's not out to the team, and he still chose to kiss his boyfriend in an alley. Sure he could have been drunk or just wanted to kiss his boyfriend, consequences be damned. But he still chose to do it. So Trent has two choices, act like Colin doesn't have a clue what it's like being gay, telling him he needs to be careful because people can see him if he's kissing his boyfriend in public (which would honestly be condescending) or he doesn't say anything, he waits and sees how Colin acts, to see if he should mention anything to him. Trent has clearly chosen the latter option for now and we'll see where this goes.

There's also the "is Trent gay or not" aspect, I say he is. And if we're going with that assumption we also have to think about, is Trent himself out? Or rather, is he out to people at work. Because coming out isn't a singular event, you'll always come out. Every time you meet someone who doesn't know who you are, you'll have to decide if you're going to come out to them or not. I'm leaning towards him, not being in the closet, but rather him keeping his private life to himself and being open with friends and family. He's not hiding it and he's not ashamed, he just doesn't tell anyone, because it's not relevant when he's at work. And I say that as someone who loves reading fanfics where he is an openly gay sports journalist.

Where am I going with this? I don't know, I never know what my point is. BUT, I do think that we'll see similar scenes of Trent just observing Colin until perhaps the Amsterdam episode. And that's where he tells Colin that he knows and/or that he's gay himself. And then we might see Colin confiding in him and Trent might help him with a statement for when he's ready to tell the world. Because I do believe that he will tell the public. I don't know if it will be because he's been outed or he's doing it of his own free will. I don't really mind, I think they'll give us something that will rip our hearts out either way. But I am a believer in "gay mentor" Trent Crimm, giving Colin someone "in the business" to confide in.

[maddymoreau]

ConnorDawg worded exactly how I’ve been feeling about the internet lately:

Source: Click Here

[ranchthoughts]

Many of you have already been keeping me abreast and I appreciate you all very much but to put an announcement out there for everyone else...

I probably won't get around to watching many of the gmm 2024 offerings (especially the het ones) so if you ARE watching and want to slide into my asks or messages with info about who kisses who I would greatly appreciate that!

(As a reminder, kisses in trailers do NOT count... we are waiting till these shows are actually airing)