#realme tv

[ailithnight]

DPxDC Prompt #8

Danny was practicing shapeshifting with Amorpho when he felt the tug of a summoning and heard the distant words drifting into his mind.

Normally Danny would just ignore it. Or if it seems like this was a group that needed some sense scared into them, he'd shift into his Horror form and terrify them into never pulling this shit again. But then he heard them mention live sacrifices, and Danny just had to step in before that happened. So he let the summoning pull him on through, briefly forgetting he was shapeshifted into a... less than ideal form.

Danny lands in the circle right on top of one of the intended sacrifices, a group of people in weird outfits and, is that guy green? Irrelevant. Immediately Danny on knows something is very wrong. His powers feel muted and far away. His form suddenly feels, locked somehow.

He casts his gaze across the summoning circle and, to his horror, recognizes the binding ritual. These cultists wanted to bind and seal him in one of these mortal's bodies after they were sacrificed. But they fucked up the spell. Or maybe Danny fucked it up by coming in too soon? Irrelevant again.

What matters is the spell went sideways. Instead of locking Danny into one of the sacrifice's bodies, it locked him into his own form while pulling most of his abilities just out of reach. Now he's here. In the shape of- He's stuck as-

"Dude, is that a pigeon? Did the Ghost King, like, send you to voicemail?"

[poppetsisters]

Fake Reality Prison

[fayzart136]

Lol get hotdogged idiot/overflowing with affection

[bionicboxes]

Give the comfort you never got (as seen on TV)

[bisclavret]

like many who have suffered at the hands of bbc merlin before me, i recently indulged in a thought experiment in which i outlined my own version of seasons 3-5 that stay thematically and tonally in line with the show (except they're less fucking stupid). but then i quickly realized that focusing on details is pointless: all you need is to solve the one Big Problem the show has, and the rest will follow. the problem in question? ✨morgana✨

i like the first two seasons. s1 achieves what it sets out to do and has fun while doing it, and s2, while flawed, sets up a ton of potential that the following seasons unfortunately squander, beginning with the insidious season 3. you can only distract me with cute knights and goblins and fart jokes for so long before i start seeing through you, evil, evil season of television.

my hypothesis is that if the writers had crafted s3 morgana into anything more sympathetic than a violent half-alive poltergeist that can never be reasoned with because she's suddenly terminally off her rocker, everything would've fallen into place. a sympathetic morgana would've made real, valid arguments against uther (and arthur) that wouldn't just be the ramblings of a woman possessed. her betrayal of arthur would have stemmed from her feeling increasingly morally superior to him because of his complacency in the face of their father's tyranny. under morgause's guidance she would stop believing that arthur is capable of change, and the whole point would be that she might actually be right. arthur would have to actively try and prove her wrong, instead of getting praised for doing the bare minimum because the bar is on the floor.

furthermore, morgana's prophetic dream about arthur and gwen becoming king and queen and her decision to prevent this however she can is a direct parallel to merlin learning about that same prophecy and making it happen by any means necessary. merlin's desires about his and arthur's futures are subtextually fueled by gay love and devotion, so why couldn't morgana's be? why couldn't she properly express her bitterness that arthur gets to be with gwen in a way she can't "took gwen away" from her, instead of suddenly declaring that gwen is nothing more than a servant, after two seasons of demonstrating again and again that she loves, values, and respects gwen more than anyone else in that godforsaken castle?

following this, an angry and emotionally volatile but still sensible morgana asking gwen to stay by her side during the coup of the castle in the s3 finale and gwen going behind her back to help arthur and the knights would've hurt like a bitch. double-sided betrayal! gwen having a real plot! the proper beginnings of a toxic yuri that would shape a generation!

then there's the utter hubris of having morgana shoot arrows at the same civilians she worried herself sick over for 2 seasons — even morgan, her medieval counterpart that was rooted in every sexist trope in existence, doesn't just go around killing senselessly but instead has (often petty!) personal vendettas against gwen, arthur, and the knights. morgana had every right to be sick of the pretensions around chivalry in camelot (she was always quick to mock it, even in s1), and to lash out at the knights and soldiers after years of feeling powerless in a castle full of armed men that blindly followed her oppressor. the show conveniently forgets that morgana was victimized as a woman as well as a sorcerer those first 2 seasons.

but like i said, this is not just about morgana. allowing her to remain a real and multifaceted character even as she betrays everyone in pursuit of her ambitions would've given the rest of the core four more interesting conflict to work with: merlin because he would have to experience real consequences to his actions, arthur because he would watch his sister go against his father (and his knights, and his birthright) and experience some actual internal dilemmas about it, and gwen because she would be forced to choose between morgana and arthur without the pretense that it's an obvious or easy choice for her to make.

even morgause and gaius would come off more interesting as mentors: neither one inherently evil or inherently good, both jaded by events that happened before our protagonists were even born, both heavily influencing morgana and merlin into fulfilling roles that they think are appropriate, but that morgana and merlin may not have chosen for themselves had they not been under their care.

you get the gist. if the show followed its own setup, morgana's mistakes wouldn't lie in cheap and senseless acts of violence but in alienating the people she loves because she is too hurt and jaded to trust them. meanwhile, everybody else would feel guilt over "failing" her and yet they would be too caught up in their own (sometimes flawed!) beliefs of right and wrong to truly see her point of view.

arthur would convince himself it was sorcery that corrupted her. merlin would know that isn't true but he wouldn't be able to argue without confessing everything, which is the defining conflict between him and morgana and it's cheapened when she's just an evil witch caricature and merlin is framed as inherently virtuous in contrast. gwen, too, would become a more active participant in her own life by choosing arthur over morgana and choosing to rule camelot with him instead of just waiting politely to see where things go.

and, of course, uther's downfall and death would be quick, final, and completely earned — when and why did the show even decide he of all people was the sympathetic villain, anyway?

lastly, and perhaps controversially, i think morgana should've learned merlin's true identity by season 4. her being the first of the main characters to find out makes perfect sense considering their shared history and their interconnected and mirrored arcs. even the show seems to agree, considering she does find out a little before arthur. but the narrative itself tried pointing flashing neon arrows towards this way earlier — there is a whole entire episode in s4 where merlin being emrys is repeatedly spelled out for morgana and she still isn't allowed to see it. that episode makes her look like the stupidest person to ever live, which is pretty funny im not gonna lie, but also another frustrating thing in the endless string of frustrating things that make up this show.

morgana learning that merlin has magic would've transformed the source of merlin's anxiety from a crippling fear of being outed someday to the crippling fear of knowing she could out him at any moment. this would make him want to beat her to the punch (perhaps he'd consider killing her for a minute and decide against it because she isn't a cartoonishly insane evil person in my version of events) and maybe he would even feel some tentative excitement at the idea of coming clean, now that it seems inevitable. after all, he always intended to tell arthur eventually! and i think gaius would have to admit outright that he does not want merlin to tell arthur he has magic because he, gaius, simply cannot risk such a gamble. it would be so interesting to see gaius and merlin clash and disagree once it becomes obvious that it's not merlin that isn't ready for the reveal, it's gaius. delicious!

with morgana's knowledge looming, things would inevitably spiral into a magic reveal by the end of season 4. i picture this season as an absolute mess of miscommunication between everyone at camelot, which is, y'know, canon. growing increasingly cunning and vengeful, morgana would use this tension to her advantage, destabilizing the court from the outside while she creates alliances with other sorcerers outside of camelot (instead of living alone in a hovel for no reason — morgana le fay i'm sorry i'm so sorry they gave you agravaine instead of your all-female entourage oh my god).

and here's where the events would change beyond recognition (aka here's where the meta becomes the fanfic i refuse to write). picture it with me: a militia of sorcerers infiltrates camelot and arthur and gwen have to set aside their differences (assuming gwen kissing lancelot and arthur overreacting happens, which it should) for the good of the kingdom as well as for love. picture high priestess morgana in her element, side by side with a bunch of misfit sorcerers that aren't so easily vilified, chopping down camelot's soldiers and knights and assuredly making their way to the newly-minted king.

then, just as it starts to seem that all hope is lost, in swoops merlin (the actual merlin, not his old fart disguise) on dragonback (kilgharrah hates morgana so much i know his sexist ass would stoop to anything to stop her)!!! imagine merlin showing off the extent of his powers in front of everyone and preventing the sorcerers from getting any further, declaring loud and clear that camelot is protected by him, by emrys. imagine that display of power alone being enough to send everyone home.

imagine the loyalties clearly drawn: merlin on arthur's side, morgana on the sorcerers'. imagine arthur, feeling confused and betrayed by everyone at this point, banishing merlin despite everything he's done for him in the angstiest, most emotionally dysregulated scene the show had ever put to screen. imagine merlin starting season 5 free at last but very lonesome, an embittered dragonlord like his father. imagine the absolute mess camelot would become without him, even with gwen — now queen guinevere — there to pick up the slack. imagine arthur actually earning merlin back, finally growing into his role as king as he does so. imagine the reunion.

all this and more could've been not just possible but inevitable if morgana was allowed to remain a complex character that is neither inherently good nor inherently evil: it was undeniably the biased and one-note treatment of morgana's downfall by the writers that set the precedent for literally everything else that happened after merlin chose to poison her. the show wouldn't have even had to jeopardize its tone or the monster-of-the-week vibe, all it would've had to do is admit that even the "good guys" are capable of mistakes and what makes them good is the ability to feel remorse and change for the better. (as opposed to uther, who was miles beyond redemption since way before the pilot and deserved to lose everything and die alone. OBVIOUSLY???)

in a world where morgana remains multifaceted and sympathetic, mordred would get a better arc as well, so if we really wanted to, we could still end on the same tragic note that the show ended on. with so much harm inflicted onto so many innocent people by the pendragons for so long (including mordred and the many druids and sorcerers that raised him), it could realistically end up being a little too late for anything more than one shining glimpse of king arthur and the sorcerer merlin's short-lived golden age before fate catches up to them. glimpsing that reality just to immediately lose it would've been far more satisfying and far more tragic than whatever the writers thought they were doing with all that pointless carrot-dangling.

and finally, an ending in line with morgana's new and improved arc. in this version, rather than bleeding out on the forest floor alone, she would channel the morgan le fay we know from the legends: sobered up by the reality of her brother dying, she would use her high priestess status (and perhaps also her pendragon status) to be granted passage over to avalon alongside arthur on the boat — a one-way ride — just to make sure he gets there safely. this is her penance for the harm she has caused, the same way arthur's penance is to die and leave the true ruler of camelot (gwen) behind to achieve everything he was too slow and indecisive to build while he still had time.

merlin's penance, then, would be to stay behind and watch them cross over without him, waiting and waiting and waiting until they come back or until he can finally join them. which is a bit fucking harsh if i'm honest, so i'd at least make it slightly more faithful to the legends by having him return as an old man and letting him take a long nap under a tree by the shore, his body slowly enveloped by vines like the cobwebbed fisher king in 3x08, never fully sure if he's dreaming or if there really are strange shapes fading in and out of the fog over the lake. still tragic, but nevertheless a little more open-ended and whimsical than [TRUCK NOISES] THE END!

[dragonloanshark]

sometimes the pink opaque feels more real than real life

[thelonecalzone]

"What if I really was someone else? Someone beautiful and powerful. Someone buried alive and suffocating to death… very far away, on the other side of the television screen." — I Saw The TV Glow (2024)

[chicafinal]

so sad that commentary tracks are becoming a lost art. they should lock up the iwtv cast in a recording booth so that we can have something that reaches the same level of magic as the cast commentary track from david fincher's the social network

[7seasofem]

user 7seasofem posts traditional art ‼️

[puppet-purgatory]

so let me get this straight, watcher:

An unknown party is planting VHS tapes on your own set weekly, containing ad reads by:

a self-proclaimed professor

who mentions unfortunate encounters with horses

who has an 'estranged wife'

whose jacket is tan and tie and red

who is a 'gamer'

whose image flickered in like a hologram in an earlier ad read,

and you want us to just like, not think Something Smells Fishy. OK...

[buttercuparry]

And what about the other Joe? Whose body is being used as a mere prop in this story to distinguish the before from the after? We, the viewers, are being told the story of a stand in. We saw our Joe asking Ming, if he wasn't just a sex doll for him when his frustrations over Tong got too strong. We sympathized with our Joe, when he realized that now he has to perform the daunting task of playing the stand in for this woman's son. But what about what we are doing as viewers of the story? What about the Joe who never was in the story...we don't know him and I don't think we really want to know him. Only in hospital mirrors and in puddles do we get see that there was this whole other person. A whole other life. A son, an aspiring star, a human being. And then are we not shocked into realizing that how easy it is to dismiss a person when we are focused on watching the story unfold for those of whom we care for? I mean we don't really care about the Joe who never was because the story doesn't give us that space. We are getting povs through Joe's subconscious(?), so onscreen we are watching our Joe going through this new life. I wonder if this is an unintentional parallel to Ming's treatment of Joe. We have a body but we don't care for the personhood of that body. The personhood that's now lost because it is our Joe, whose soul is occupying the body. So Joe who never was is a meatsuit for the viewers...a stand in through whom the story plays out. In the story, we see the actors/characters playing out their part, and only in backstage ( through glimpses in puddles) do we see the stand in.

[7eraphim]

get it girl!!!!!!!

[seventeendeer]

hrrr I Saw the TV Glow is still rolling around in the back of my mind. it's hitting me somewhat belatedly that what seemingly starts as mainly an identity story turns out - toward the final act - to also be a love story. two queer kids finding each other (again). the bond they forge (have always had). the feelings that start to grow (were always there) despite the lie they're living. one trying to save the other, and failing. the frail hope at the end that maybe what they had mattered after all, even if they never see each other again. maybe because they knew each other, someday things will be better.

idk. so much of the story feels so lonely. they're awkward with each other at first and they don't really "get" each other and they're absent from each other's lives for long periods and they don't have anyone else. but it's all a lie - they were best friends, they knew each other better than anyone, they are who they are because they knew each other, they were not alone. no matter how bleak the setting is, this fake world can't obscure the truth. they'll never forget each other. it will always have happened, it will always have mattered.

it's so hard to put into words but Owen/Isabel and Maddy/Tara make me so crazy, the way everything in the world works to drive them apart and yet not even losing their memories can destroy the connection between them. and it's not enough to prevent the world from tearing them apart but maybe it's enough to save their lives

queer love portrayed not as supernaturally resilient or invincible (god knows it isn't), but as a precious fragile thing that can and will grow back over and over in some form no matter what ...

[owl-house-facts-i-just-made-up]

OWL HOUSE FACT #72: Willow is convinced she could easily single-handedly beat the entire cast of Wizards of Waverly Place in a fight.

[ao3-anonymous]

Fastest Growing Fandoms on AO3 This Week (10/30/2023)

Every week I pull data on how many fics are in each fandom and compare to the previous week, then calculate the percentage increase to determine fastest growing fandoms.  Since this naturally skews towards smaller fandoms, I have included the same data filtered to Over 1k, 5k, & 10k fics.

Overall:

Over 1,000 Fics:

Over 5,000 Fics:

Over 10,000 Fics:

Source: AO3 Fandom Dashboard

[dungeons-are-too-cold]

just got home from i saw the tv glow...

SPOILERS FOR I SAW THE TV GLOW

thats gonna need a rewatch

and a long long long long nap

because i am not entirely sure how to deal with everything i saw and the ending and my emotions???? I did not cry (its been a weird day and i am cried out) but like im kinda stunned by it ya know? it was really hard, and really rewarding, and really hard. like not depressing just, sobering? like really hard lmao

like theres something about it thats not frustrating or difficult but like dry and bland (the plot and the feeling not like the movie was bland, but like the emotions within the movie were emmulating a sort of bland unmoving everyday feeling that the characters were feeling) and like overwhelmingly mundane. Just the whole experience owen has throughout the film is so quiet and deeply shameful and protectively mundane, like how he says hes too scared to look inside to check if something is missing... like thats, holy shit man. ya know?

and that's not to say that's bad, i don't want that to be what people think i think, cuz its very very very the opposite of bad. its an incredible piece of cinema in general, but especially queer cinema. I am absolutely dumbstruck by its brilliance. Its just hard. and that's good and the point and okay that its hard. its supposed to be, because it is.

i feel like an asshole in away though because i didnt cry. But I think i was just like, stunned by it more so. Like i was sobered by it, and i have this quiet sort of emotional hollowness in relation to owen and maddie and their friendshipn and their journeys and everything. I feel at a loss for words. I feel like i dont know what to do or say or how to live my life now? like i feel like im in the midnight realm. but the pink opaque feels so incredibly far from my reality that there is almost no attachment to it. I know its real, i just cant get there.

I feel like, in my queerness, i cant see a pink opaque for me. But not in the same disbelief and fear and insanity owen has for maddie in the planetarium like it cant be real at all, but idk like in a resigned kind of dead ache on the inside of me kind of way. I know its real, i just cant get there. And i think that's whats so unsettling and terrifying and humbling and subduing and solemn about it i guess. Its just like, its hard

im sorry I keep saying its hard, its the truth.

as u can see i am unwell about this film in a very scary way i think.