#or some actual pjs

[pixanefan]

I wanna see P.I.X.A.L with new clothes.

[satans-knitwear]

I put some fishnets on!!

Treat me ~ Tip Me ~ More of me

[pnfc]

i haint watched the dang chibisode and idk if ill actually watch it with sound on sdfjk but i have a hurt feeling about them casually imbuing perry with speech for a one off gag because the idea that he needs to talk to communicate is fake. we had 4 seasons of wacky magic hijinks cartoon where perry never needed verbal speech to communicate. they couldve done this gag at any point in the show but they didn't, and the fact that they didn't felt significant. perry's muteness is such a core part of his character, to me, to the way i conceive of him/write him. i don't wanna overreact to a goofy little side cartoon (even tho i'm doing it anyway) but it's still the characters, and it still upsets me! ok that's it i've said my piece

[anghraine]

me, to myself: I've been ranting for over 20 years about my gripes with the Peter Jackson LOTR movies and especially their tremendously influential (mis)handling of Gondor, Aragorn, the legacy of Númenor, Elrond, etc, and been consistently annoyed by how much their fans insist on uncritical glorification while also trying to present themselves as fandom underdogs who must defend these inescapable behemoths from the smallest slight. Maybe I should try to focus on other things and put them behind me.

[news: Jackson is making a new LOTR project involving Aragorn and Gollum]

me: alternately, maybe I will never be free

[jonahmagnus]

Paranatural fandom rn

[froggyfriend27]

I’m actually unironically really proud of how this patch turned out. (Ignore the box, I needed something to paint on and the string is for friendship bracelets and embroidery) :>

[simple-sheep]

I cannot even begin to explain how much money I would give for dvd's of Dropout shows @dropoutdottv

[artsandstoriesandstuff]

WAIT.

What if the whole Piper James series takes place in a normalized superhero/supervillain world (and the reason Piper was so surprised coming upon the Secret Hero Society was that he didn't know 'rookies' could be heroes)...

This could change the course of the series forever.

[ying-doodles]

my brain is running a million miles a minute rn

help

[earl-grey-love]

Okay here's my BaBs that I got to like... represent Mephi and Barbs 👉👈 I got them a while ago and I love them so much.

[angelmichelangelo]

i’m not immune to buying cosy scooby doo pyjama pants that i see when i first open tiktok

[strangefable]

tagged by @roofgeese for this picrew and the last song i listened to <3

tagging anyone who wants to play too <3

[adhd-merlin]

Ok so, @destielification asked about my Simon Amstell joke, and I'm not going to hijack poor @centurieslove's post but...

(Sorry, this isn't Merlin-related but it's tangentially about Colin Morgan, so it is at least Merlin-adjacent.)

Simon Amstell, if you didn't know, is a British stand-up comedian and certified weird little man.

I'm not, like, a Simon Amstell fan or anything, but I do like stand-up comedy. And I became aware of Simon Amstell some years ago after watching one stand-up show of his on YouTube, which is Do Nothing, which is still available, in fact, and you should definitely watch if you haven't because it's pretty good.

Now Simon's openly gay, and in Do Nothing he talks a lot about his romantic life, or lack thereof, and he jokes a lot about the type of men he finds attractive, who he describes as "ill-thin", "timid" and "vulnerable".

And one of the funniest bits in the show is one where he recounts an extremely awkward encounter with one such man — an actor Simon had "fallen in love with", despite never having talked to him.

So Simon went to see a play starring this actor in the hope of meeting him afterwards and maybe talking to him a bit, which didn't happen.

What did happen, though, is that a few weeks later Simon randomly bumped into the very same actor, love of his life, in a shop. And he decides there and then that it's destiny, and he must shoot his shot. (You can skip the quote below if you intend to watch the show, but I'm pasting it here because it's hilarious).

I saw him there, he hadn't seen me. He was about a metre away from me. There, that thin. And what I thought... For some reason, what I thought would be really cool and seductive would be to just stand in the middle of the shop and shout his full name. He turned round, alarmed. I could see the terror in his eyes, but because I'd started at a certain volume, I thought it'd be too odd to get any quieter. So I'm there just shouting about the good reviews this play has had and he's going, "Oh, I don't really read reviews." And he's all timid and vulnerable, which is why I love him. And I think the difference between us, because I think we were both quite shy as children... I say, "I think" — I did a lot of research on him.

And that man's name? Ben Whishaw. Apparently.

Look, I have no idea who claimed it first. I don't know if Simon admitted it in an interview at some point, or what. But it became An Established Fact™️ that the actor he was talking about was, indeed, Ben Whishaw. And if you watch Simon Amstell's show, and you know about Ben, well. It tracks. It makes perfect sense, actually.

Anyway, Simon talks to Ben, gives him his email address with some excuse or another. Ben promises to email him. And then, he doesn’t. Cue sad noises from the audience.

And that could have been the end of it, except that Simon, certified weird man, decided to be weird about it. And instead of letting it go, he elaborates his trauma by incorporating it into his writing.

And in case you think I'm exaggerating — here's what Simon himself wrote about it some time after the fact, in his own book. Straight from the horse's mouth.

A year later, the actor was in another play at the Royal Court. So I thought I’d give myself one more go at making him love me. I felt I’d written and performed all the insanity out of my head and was now ready for something real. I believed this because it would have been unbearable to accept that after all that transformative, healing comedy, I was still the same lunatic. (source)

So what Simon did was write a sit-com, in which he played a fictionalised version of himself, and in it he put a character called Ben Theodore, a pretentious theatre actor and also, basically, Ben Whishaw. (Like, if you know Ben Whishaw, you cannot not see it. That's him talking.)

But hang on, you might say, I thought this was going to be about Colin? Why are you going on about Ben Whishaw?

Well, Simon, in case you don't remember (and at this point I hope you don't) is also the writer and director of the film Benjamin (BENjamin), starring Colin Morgan as the lead and title character.

A Colin Morgan who, I might say, has something of a young Ben Whishaw about him. And he doesn't play a pretentious actor this time — in fact he plays a version of Simon Amstell himself — but the fact remains that he's exactly Simon Amstell's type, kind of looks like the man Simon was admittedly obsessed with, and even bears his name. And Simon cast him in his film to play himself, which is weird but also funny and very on brand for him, because he's self-obsessed like that.

So, to come back to my joke — I just thought the idea of Simon Amstell developing an obsessive crush on Colin Morgan and going to see The Tempest specifically to see him and missing him was hilarious.

But he did get to have him in his own film, so.

(I can't censure Simon too much for his obsession with Ben because... well, same, and also it resulted in Simon giving us Colin Morgan looking Peak Gay and serving cunt in Benjamin — in his own accent! — and I'll be forever grateful for it).

here's another post about it

[anghraine]

Today's unhinged "good God I hate how much extreme generosity I'm expected to extend to the Peter Jackson films by people who make wildly bad faith arguments about things I like" rant:

I am very deeply tired of people insisting with zero evidence that of course the LOTR films are imperfect, but the difficulties of adapting LOTR are such that it wasn't possible for them to be better than they were—in, apparently, any respect. They just couldn't be done better, at all, because it was so hard to make something watchable at all.

This is always just like ... really? Really?? Just what prevented them from making better decisions about anything? What exactly made casting every actor of color as barely differentiated villainous hordes in the twenty-first century so necessary and unavoidable? The glamorization and vast expansions of battle scenes and insertion of "heroic" war crimes was the highest film as a medium could aspire to in the early 2000s because of what insuperable force?

What made it impossible to give Arwen a coherent character arc? The films could not have been made without the underlying assumption that most of the cast are NPCs who will only do the right thing, when they will, if prodded or manipulated or influenced by main characters? In what way is this an inevitability of adaptation or film that simply couldn't have been conceptualized differently, much less better?

There is zero explanation or justification for why any of this stuff (or the myriad other flaws) had to be that way and couldn't have been done better in any way at any point. It's just stated that the films that exist must be the best films that could have existed because they're the ones that do exist and are popular. QED.

That doesn't make any sense, though, and it doesn't convince anyone who doesn't already agree. The idea that they could not have been better in any way (including their worst quality, which again, is the extremely racist casting), that some force was preventing not only the actual filmmakers but any filmmakers that could possibly exist from doing anything better just seems patently absurd.

You can like them and respect what they did achieve without demanding that everyone buy into a baseless and irrational argument that their pop culture success means nothing about them could possibly have been done any better. Look, I was in my mid to late teens at the time. I remember the early 2000s quite well. It wasn't now, but we are not talking about an age so divorced from our own that any of these things were somehow fundamental to the media landscape.

There are ways in which the LOTR films were very good that were essential to their popularity then and now. This does not require anyone to accept that it was literally impossible for them to be better than they are or that some defense is required against every criticism of them ever.

I am not, incidentally, talking about removing Bombadil, an entirely understandable and defensible decision that the film defenders in my notes somehow always feel the need to bring up. I know that changes had to be made, that adaptation is not a word for word transcription, that it would always be a difficult text to adapt, that structurally minor elements had to go, that they are cinematically beautiful films that a lot of work and love went into. I know this. EVERYONE knows this, because for the last 20 years it's been impossible to criticize anything about them without being reminded. Their accomplishments, and their existence, do not mean that any choice made by the filmmakers must definitionally have been the right call and could not possibly have been better in any way.

[da-riya]

really feel like just getting myself an energy drink or something

[pollinarys]

Late night watching hunger games.

No cameras, no commentary, no lies. And no one around. 👁️👁️

version without cursed tv lighting