#or new music out or something

[caterjunes]

i'm the girl who makes up all the fake folk etymologies. it's fun and easy for me. nobody pays me, i just do it for the love of the game.

[yumieio]

Athena being all gentle parent with Telemachus

odysseus who literally did not get that treatment: WTF

[chanoeys]

I have friends but I never do friend stuff with them, and as a permanent singleton I don’t have a partner to do stuff with either and I’m finding myself being increasingly more lonely and that sucks.

[korolation]

There's just one lingering fear, Oh my soul, is it here? Or is it rotting somewhere with my head?

[teaboot]

you're so like. inspiring. or i wish i could be inspired. you reblog that post with the blue critter and you're like "im glad i was born on this planet". how do i manage to get that mindset. how do i manage to not want the pain to stop at any cost and enjoy what's still possible to enjoy

It's my first time here and I'm never coming back

[blackkatdraws2]

There are more things in the Parable than Stanley knows about. [Blank Scripts AU]

[lululeighsworld]

it was literally their moment and they just let us watch

(if you need me i'll be marinating in this for the foreseeable future)

[madbard]

While listening to Epic, I noticed an interesting pattern with how antagonists are portrayed, and how Odysseus’ interactions with them are coded.

In Epic, the monsters Odysseus faces are rarely fighting for their own sake. Polyphemus attacks Odysseus’ crew to avenge his sheep, and Poseidon destroys his ships as revenge for his son’s suffering. Similarly, Circe only threatens Odysseus to protect her nymphs. Odysseus does not kill any of these enemies, and while he is occasionally criticized for letting them go free, the overall implication is that he did the right thing by sparing them.

Then we hit the Thunder Saga, and Odysseus begins his arc as a ‘monster’ by killing the sirens. His actions here are brutal, and whether or not they are justified is, I think, up to the listener. However, it’s significant that the sirens are the first foes Odysseus faces on his journey who aren’t either defending or avenging what they love. They attack unprovoked, and while Odysseus’ method of execution is gory, he is never punished for it by other characters within the narrative. Apollo is the only one to protest, and even he is swayed easily when Athena says (among other things) that the sirens were “trying to do him worse.” The sirens attacked first, and while Odysseus’ response was ‘monstrous,’ his crew obeyed his commands and he was not challenged or ostracized for giving said commands. He is only treated as a monster when he yields to Scylla, who also attacked without provocation.

Thus, in Epic, the monsters fighting to protect or avenge their loved ones are protected by the very story - killing them may be more convenient, but it isn’t the answer. However, the monsters who attack without provocation, for their own amusement or satisfaction, do not receive such respect. Killing them is acceptable, and cooperating with them is monstrous.

By this logic, Odysseus is justified in his actions, however atrocious. He attacks to protect his family, and therefore deserves mercy.

The suitors, on the other hand…

[targarrus]

generacija ljubezni

[raiiny-bay]

alien emoji

[qwakque]

dooodlees

[asthedeathoflight]

The reason I think the Bizzies being gender swapped works way better than having the Lizzies be gay is because it makes space in this musical for women to have sexual appetites and agency towards men in a way that's fairly rare in depictions of heterosexual relationships. For the Bizzies to seduce the Warriors by offering what they know the Warriors want and have the Warriors feel empowered to take it is imo more subversive than just like. The concept that women can be attracted to other women. Within the context of Warriors, because the text does address queerness in other places, I think it ends up being a more powerful statement to depict (some of) the Warriors as heterosexual women who have sexual agency than just being like. Well in a lesbian relationship someones gotta be the "guy" and tonight its gonna be the Warriors. Cowgirl is a heterosexual woman and she likes sex and the narrative never calls her a slut for that, and even when her sex drive gets her into trouble its still explicitly the fault of the person who tricked her, not her fault for wanting to get laid. When Rembrandt is listing the needs the Bizzies are offering to fulfill for the Warriors, she lists sex right up there with food. And thats something that I feel like doesnt often get talked about with heterosexual women especially in fiction. Theyre expected to be passive. The idea that the Warriors could need to get laid as badly as they need to eat and take a nap is just treated as like yeah duh. They've had a bad night. And that IS a revolutionary thing to put in a musical.

[staticvoidzz]

I kinda made a bucket list for stuff I want to see in a hopefully greenlit season 2, and I have more ideas, but my brain can’t think of them coherently, but I know they are there. Anyways, keep streaming FOPANW

[aropride]

i cannot even describe how sure i am that there will be another mcr concert someday . Like ive been known to falter in my mcr5truthing (in the same way as peter when he tried walking on water & jesus reached out a hand to save him) but truly genuinely from the bottom of my heart those bitches will be back i know they will be

[artist-issues]

Want to Analyze Together?

Listen to what the music does in this clip, and pay attention to what the Beast is saying about Belle. What can we get from that?

share with me in the reblogs! lightning round!

[the-one-that-weeps]

Over Rad Squad happened so long ago but I'm still not over how much of Kohane's arc is about love.

It takes her 3 events to fully connect to Vivid Street and she does it through the love for music they share. And that love helps her realise that Vivid Street is also stuck, also scared of taking that first step, like she used to.

She's blowing up the wall for Vivid Street too.

So if Kohane is the only one who could blow up that wall— that means the only one who could ever save Vivid Street was Kohane.