#so I might be on after 9

[xxskyethetiredemoxx]

Gerard Way at 9/11, the event that started it all

TODAY IS THE DAY MCR WAS CREATED 🥳🥳

HAPPY 23RD ANNIVERSARY (with a 6 year break) TO MY FAVOURITE BAND

(Edit: some people have made me aware that this post can appear insensitive or inappropriate towards 9/11. That isn't my intent, 9/11 was a tragedy, and the aftermath was horrendous. This post is only here to celebrate the start of mcr, absolutely not 9/11.)

[kirby-the-gorb]

[geeky-nightphilosopher]

🦇Batfamily🦇

Jason: *Talking about clearance books* They are very condensed classics. They have pictures. Which I thought you'd like.

Steph: 😐😑😐

Jason: *without missing a beat* You know, so you can follow along.

Steph: 😮

Jason: You know, because you can't read.

[kj-beastboy]

please more fat flug please please please please please pl

here's an older sketch that is kinda cute

I'm gonna use this opportunity to package some current news in the tags here;

[bluvlet]

Okay, some of my rambling, first viewing impressions of Stage/Fright below the cut! (spoilers for the show!)

Always returning to that all encompassing obsession of mine when it comes to in9 - grief. The whole stage show is, effectively, a funeral service for in9.

Like 'Plodding On', it provides quick stop references to the history of in9. It's like the show's life is flashing before our eyes (christine, anyone?); off the top of my head, here are some I picked up on:

the first half is a retelling of 'Bernie Clifton's Dressing Room' (which itself is an episode about grief and looking back and catching glimpses of a beloved past).

the kidnapper's sketch is an obvious 'A Quiet Night In' reference with Rachmaninoff's Piano Concerto, the outdoor lights gag, Reece + Steve's costuming looking identical to Ray and Eddie, and their briefly mentioned future job stealing a painting. There's a single black, man's shoe ('Diddle Diddle Dumpling') in a wardrobe, which is at one point enigmatically stuffed with people ('Sardines'). I also think Steve's (Len's) performance was very much giving Barry Baggs -- a fun TLOG reference. The guest that night was Dara Ó Briain, and at one point during the sketch the guys actually all broke to laugh at each other, which was hilarious.

The La Terreur De L' Asile segment reminds me a lot of 'The Trolley Problem' and 'The Riddle of The Sphinx', particularly Steve as Vince as Dr. Goudron, playing another predator who drugs and assaults vulnerable women. (I promise I still am working on my Trolley Problem and Sphinx comparison, which deals a lot with the parallels between Blake and Squires, and now probably with a tiny segment for Goudron...)

The inclusion of a horror period piece is also just like in each series of the show.

The segment with the actors of La Terreur De L' Asile was very 'Seance Time' to me: Marcus reminded me a lot of Terry, the vengeful that ghost haunts the cast, and the construction of it to conceal that the Asylum section is staged mirrors how 'Seance Time' was presented.

That section also brought 'Deadline' to mind -- especially the brilliant work with the screen and the camera and all the creeping around back stage (thinking of the camera on Reece's head during ‘Deadline’) Also the metatextual element of (fictional) Reece and Steve disturbing the peace of ghosts who died in show accidents and go on to disrupt in9 in return.

And of course there were tons of other little one-liners that instantly transport you back to an episode, or recurring jokes amongst in9 enthusiasts ('Sheridan Smith', the whole 'one of was dead the whole time' joke Reece makes after Steve dies).

The show ends with the fiction versions of Steve and Reece having died (and another callback to BCDR with their dance number). The stage show is quite literally the death of the in9 versions of the two. I'm sorry I really cannot articulate this point properly yet. The underlying emotional through line is that Steve himself is remembering Reece by imagining him still performing alongside him (another BCDR reversal like in ‘Plodding On’); by having (real) Reece performing all night, us as audience members unknowingly partake in (fictional) Steve's grief. And as it turns out, Reece has been haunting the theatre the entire time. Moreso, they point to the audience at 'laughter is my memory of you.' -- it's a memorial service for us too, from Steve and Reece's perspective. We mourn Reece and Steve as they do us, but it’s all about mourning in9. What is a ghost story if not a love story?

Another thing that strikes me is the metatextuality of it all. The show goes through every length to remind you constantly that it is a show. All of the segments take advantage of the theatre and its history and its capabilities as a space and an art form. I find it all utterly brilliant. Again, the fictional versions of R & S return, and references to Stage/Fright itself as we watch a show within a show within a show (at times) within a show. I don't have any fully formed thoughts about this yet, but I am thinking a lot about Stage/Fright's self awareness.

The whole trip was a very late present for my 19th birthday last summer from my mate, Luke (who has been mentioned on my blog before as the mind behind the interpretation of Blake being from working class roots). He's a very casual in9 fan and mostly just entertains my rantings about it, but after the end of the show he turned to me and said: 'I understand why there's RPF of them now.' I’m not into RPF but I find this genuinely hilarious.

Apologies if I've misremembered anything! I usually need 2-3 watches of things before anything properly sinks in, so you'll have to bear with my single viewing and shoddy memory.

[cantheykillmacbeth]

I'm in love with this blog, sorry if sending so many asks feels like spam, but do you think Guts of Berserk could defeat Macbeth because of The Brand of Sacrifice? I feel like that might qualify him for the Unique Exception.

Okay so admittedly I can't find anything prophecy-dodging about the Brand of Sacrifice (I'm sure that there's something I just can't find it) BUT-

Yes, Guts from Berserk could kill Macbeth!

Look, all I'm saying is that if Shakespeare considered being born via C-section to be Unconventional Birth Clause then being delivered posthumously from a woman's corpse should count too.

Thank you for your submission!

-Mod Anthem

[mickittotheman]

16 for the kiss meme if you feel inspired? 👀💖

Of course!

16. ...lazily

Mickey wakes with a soft little snuffling sound, his cheek rubbing against the pillow, his grip tightening on Ian’s bicep.

Ian’s breath hitches. The sappy smile on his lips stretches wider.

Gone are the days when Mickey would wake with a jolt, with a kick and a curse and a wild, haunted look in his eyes. The transition from rest to ready used to be so sudden and jarring and violent.

Now, Ian can barely even tell when it’s happening. Is only able to notice because he pays very close attention to the cadence of Mickey’s breaths.

Mickey cracks an eye open. Glares at Ian sleepily. 

“Fucking creep.”

Ian laughs softly. Brings a hand up to smooth over Mickey’s hair, relishing in the way Mickey nuzzles into it instead of batting him away or shoving back. “You oughta be used to me watching you sleep by now.”

Mickey’s response is delayed by a yawn. “Yeah, well, you oughta be used to me calling you out on your creepyass behavior. Goddamn weirdo.”

“A goddamn weirdo that you love~,” Ian teases.

Mickey’s glare softens. His eyes slip closed, one brow arching, a smile tugging at his lips.

Ian can’t not kiss him. 

He leans in, seals their lips together, as easy and familiar and comforting as breathing. Mickey hums happily. Wiggles against the sheets. “You gonna fuck me, tough guy?”

Ian nips at Mickey’s lip. Thinks about it. Shakes his head, lips brushing together, noses bumping. “Nah. Just… wanna do this, for a while.”

Mickey huffs. Gets a hand up to tangle in Ian’s hair. “Fuckin’ sap,” he grumbles, but there’s a smile on his lips that Ian can taste.

They trade lazy kisses, and fall back asleep still melted into one another.

send me a number~

[illmoraineakoi]

So how many times do you think Victim tried to commit suicide after Mitsi's death, but never actually got very far because of the fear of potentially waking up back on the PC?

And how many times do you think he was so far beyond caring that he actually did try?

And how many times do you think Agent found him before it was too late?

IMO, all three are a non-zero number.

[cubbihue]

do i celebrate the itty bitties fop au for reaching 200 art pieces or 200 updates bcs the pieces and the updates arent lined up for some reason but also ive hit a massive followers milestone

i might reopen asks again for a fun celebration event since ive already recorded all the asks saved onto my files but when and how and hrm.

[supermarine-silvally]

Portada fam~

I have no idea where they got the Whitebeard Pirates onesie from lol

reference here

[snailfen]

being a kaai yuki fan is awful. i want endearing edutainment-styled songs about cat behaviors that sound like a kid with a cat obsession writing a song about them not this lolicon-styled trendbait SLOP 😭

[mushroompollution]

Ch 56: Rabbit Eyes

Previous Chapters: The Sablier Arc Masterpost (35-42) || 43 || 44 || 45 || 46 || 47 || 48 || [ Ceremony Arc: 49 || 50 || 51 || 52 || 52.5 || 53 ]

Read the manga: imgur || mangaread (ad warning)

Behind the protection of Raven's wings, Gil tends to Break's wound while the swordsman yells at him for leaving Oz. But Gilbert yells right back at him, calling Break an idiot for fighting, and giving up, without ever asking for help, when he has so many people to turn to.

Something finally clicks, and Break goes quiet for a moment.

But that moment can't last too long, using Raven is exhausting for Gil. Break points out that the Baskervilles are probably closer to Chains than humans, making his Chain-destroyer Mad Hatter a much more effective weapon anyway. He promises not to overdo it, though. He can concentrate his Chain's power into his sword without summoning it.

And finally, Break asks for help.

As a coughing fit throws Break off, Lily pulls a gun from her robes. But a familiar voice screams her name from somewhere in the woods nearby, making her hesitate. As she looks over at the shadowy figure, Break doesn't hesitate to take the opening and go for the kill.

She's too late to reach Fang, but Lottie scoops up Lily and escapes with her. Sharon and the others are on their way to help Break, and they can't forget their mission.

Sharon comes running out to their aid, but Break is distracted by that voice from the woods. He can't see the face of the figure as they collapse, but he'd know that voice anywhere.

Sharon is able to use her Chain to send the injured Reim through Ada's shadow to safety. As he disappears, he remembers the way Lily had smiled when she'd seen him, right before Break's fatal blow to Fang--

And then we transition into a flashback, Isla Yura explaining his wicked plan to Oz before his rescue.

All the events of the world are recorded in the Abyss, he tells Oz. The Tragedy of Sablier was a trauma for the Abyss, and he theorizes that recreating the situation will build pressure, opposed by the magic of the Sealing Stone. If he shatters the Stone at the perfect moment, it will create a flashback of the Tragedy, allowing everyone to witness the true event as they're dragged into the Abyss themselves.

Disgusted, Oz asks if he really believes the Abyss holds the salvation he promised his followers.

Vincent asks Oz to stop spacing out please, and reminds him he's only helping because Gil asked, not because he cares about Oz.

They find a window overlooking the site of the ceremony-- and the Sealing Stone.

As Oz and Elliot both race into action to save the people they care about, Vincent sinks down against the wall. So much for the element of surprise. Oh well. He doesn't have a clear shot at Yura from that position, so he tells Echo to focus on breaking the Stone, using the chaos as cover.

Oz runs into the scene blow, only to be stopped suddenly by a bright flash of light and sudden pressure that leaves him unable to move.

Oz does his beat to remind Phillipe of the truth. His father had tried to give him a happy life. Oz had tried to do everything to keep him alive. But in the end, he couldn't keep his promise. Phillipe screams for him to shut up, but Oz keeps going. Begging him to remember his father's love and determination, begging him to understand his father would want him to move on. Begging him not to forget.

Oz summons that scythe, slicing through Humpty Dumpty. As he does, Yura shrieks in surprise, and Vincent notices that Oz's eyes are red.

On the table nearby, Alice is awakened from her unconscious state by the feeling of her power being used without her permission.

And Elliot races into the adjacent chamber.

[chiimeramanticore]

waow

[elmelloill]

whenever people asked how i liked my 4-(ten hour)-day work week, i would always say i truly couldn't decide which was better because the 3 day weekends are really nice but ten hour days suck so so much, but i've been working 5 normal days starting at 9 for a few weeks to cover for my coworker's leave and. maybe this is it. my ideal schedule.

[thedreadvampy]

legitimately insane how to some people, "we should wipe out this ethnic group that we've violently constrained to a ghetto because they're just genetically more violent and dangerous" is a reasonable and justifiable statement but it's Nazi Rhetoric to say something like, "it's bad that Israeli civilians are being killed but acknowledging that as tragic includes acknowledging that the almost daily state-sanctioned murder of civilians by the Israeli government is also tragic and unacceptable"

btw guys speaking of Nazi shit - can we check in, alongside what's been done to Palestinians in the last 75 years, what's the Israeli government's take on the Azerbaijani government's newest round of ethnic cleansing of Armenians? oh are the Israeli government's actions maybe not determined by Jewish identity, but by a commitment to colonial supremacy which puts them on the same page as other violently genocidal states like Azerbaijan, the US, and the UK? god can you Even Imagine?

(framing speaking against Israeli war crimes as inherently antisemitic requires understanding the Israeli state as representing all Jewish people, when it doesn't even represent all Israelis.

framing Israeli war crimes as synonymous with Jewish identity is pretty fucked up if we're being honest. I don't think that controlling water and power and movement for a captive population and shooting children dead for throwing stones is an inherent value of Judaism, any more than I think the torture carried out at Guantanamo Bay is an inherent value of Christianity - in both cases they're atrocities carried out by a far right genocidal government using religious identity as a shield.

Calling statements like "Israel is committing genocide against the people it's displaced" inherently antisemitic is doing more to further the idea that all Jewish people are associated with Israel than saying "the Israeli government is doing war crimes," which is a statement of fact about a country that exists and does war crimes. Is criticism of Israel as a nation often used as cover for antisemitism? Absolutely. Does that mean the Israeli government isn't doing literal war crimes repeatedly, on record, while talking publicly about scrubbing an ethnic group off the map? Uhhhhhhhhhhhhhhhhh well in the last 48 hours they've definitely cut off water and power to almost 600,000 civilians and allegedly used white phosphorus against civilians so in an extremely factual and unambiguous way yeah man those are Literal War Crimes whoever does them.)

[thegreatyin]

alright at the rate im going i should be done with getting caeru to notability 3 just before estival. which means that from there i'll only need 2 more levels to make him a licentiate.

which means the only thing currently standing between caeru and getting a license to kill,

is marriage