#source: big issue

[tayfabe75]

Between his consequences-be-damned outspokenness, confessional lyrics, tattoos in odd places and red-wine-out-of-the-bottle slurping, posturing, leather trousered and typically shirtless stagecraft ("a sort of emo Peter Pan self-lacerating Pied Piper kind of character" is how he rather fantastically describes himself), Healy elicits adoration above all things. Particularly among people of a certain age and gender. "Playing to 10,000 screaming young women who hang on your every word and live their lives soundtracked by your music or a bunch of crusty north London liberals – I'm telling you, anybody would pick that. Because it fucking means something to them."

October 10, 2016: Matty compares himself to Peter Pan. (source)

[ofswordsandpens]

I'm sincerely very happy for anyone who is enjoying the show but every time I see takes that the show has improved the book characterizations or that the book characters are underdeveloped in comparison to the show...

[little-pondhead]

Oops.

While learning to control his powers under the guidance of Clockwork, Danny accidentally curses his own bloodline with the Curse of Sentient Food several centuries in the past. Originally, a witch was supposed to curse his family. Oops. Well, the Fentons were always adapting, and technically, either way, he'd end up battling dino nuggets at three am in his underwear, no matter who the curse came from. So he shrugged and continued on.

Unfortunately, this also means that out of nowhere, the timeline shifted, and some of his very distant relatives are now battling their food into submission at every meal because Danny is ultimately way more powerful than some mortal witch from the 1600s. His version of the curse reached literally everyone he could ever be related to for the last few centuries. Even if they were adopted into the family!

So, returning to the present time after training, Danny is a little startled to see some news clips of people's dinners coming to life and beginning revolutions. Wow, John Fentonightingale really got around, didn't he? He felt a little uncomfortable that now all these random people had to deal with their share of Fenton luck, but from some of the interviews, everyone seemed to be handling it pretty well!

Especially his so-distant-they're-on-another-tree cousins, the Kents, who contacted his family directly, asking how best to prepare a zombie turkey. Their son was coming for Thanksgiving with his new wife and some coworkers, and they just refused to make the guests fight for their lives on a holiday!

They invited the Fentons to join them, of course.

[autisticrosewilson]

Talia even being called an assassin gives me the ick because when she was first introduced she hated killing, felt immense guilt the few times she had to, and most of the time if it looked like she killed someone it turned out to be anaesthesia or a tranquilizer or something. Like she was literally studying to be a doctor when her and Bruce met and she was based off of the stereotypical Bond Girl because it was the 70's. Like I know it's basically her entire character now that she's an "assassin mom" or whatever but that was not who she was intended to be and I hate how it's done most of the time because it's ALWAYS a way to point and say "look at the evil brown woman! She's a cold blooded killer who forced/passively allowed her son to kill as well! It's a good thing that the feral brown boy is now with his good white family so he can learn the value of life and art and how to exist in civil society!" And it's actually really pissing me off. You guys don't even read a characters introduction comic before you start writing the same regurgitated nonsense steeped in racism and misogyny. Damian's whole character as it stands is basically character assassination for Talia and in order for me to be able to engage with him he'd have to be entirely rewritten.

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[sophfandoms53]

If of all things BB decides to bring back this season it’s the BATTLE OF THE BLOCK i’m gonna lose my mind no one fucking liked that twist stop ittttttttt

It was tired in BB16 (FUCKING SET US FREE PLEASE) and it was even more tired in BB17.

I will commit arson if they bring BOTB back before they bring back the Key Wheel BECAUSE BOTB LITERALLY TOOK THE KEY WHEEL AWAY FROM US I WILL NEVER FORGIVE THEM FOR THAT

[hella1975]

idk how to feel about the atla live action show but I just saw that the guy who’s playing zuko mentioned zukka in an interview and I’m kinda foaming at the mouth, going feral at the moment

ENOUGHHHH. T-MINUS ONE DAY

[aesfocus]

Guess who has four cute paws and a roundworm infection! It's SWEET PEA!!!

[zukkaoru]

the disparity in kudos between a skk fic and a fic for literally any other bsd characters/ship :/

[amadryas]

"The hymn is about Demeter" is one of the weakest arguments you can make against modern iterations of the Persephone myth.

[tayfabe75]

"Studded with sex, drugs, neurosis, self-interrogation and soul-bearing, and sounding like a mad amalgam of INXS, John Hughes film soundtracks, Jimmy Jam and My Bloody Valentine, The 1975's music willfully isn't for everyone. Songs such as The Sound, which hitches retro bubblegum house beats to floridly self-mythologising lyrics and R'n'B informed tear-stained synth-pop ballad Somebody Else could nonetheless give many grown men a head-rush. Their effect on teenage and early 20-something girls must be practically levitational."

October 10, 2016: Big Issue compares The 1975's music to a John Hughes soundtrack. (source)

[pancakeke]

chromecast was being the piece of shit that it is and wouldn't cast any pirate movie sites to our tv. I jokingly asked if the steam link did whole screen capture and guess what lol.

[starlooove]

“There is no fanfic on Stephs treatment I have checked” that’s like the whole point.

[freckliedan]

Do you have any other examples of Dan flinching away from contact with people who aren’t Phil? I’m curious bc I haven’t noticed that before

not of dan flinching but like, it is so widely known that dan doesn't like to have his neck touched and is completely unbothered by phil touching his neck. i know there's videos where dan's neck thing with other people is mentioned and also video of him being fine with it from phil. i don't have specific sources really but i know i'm not the only person who's noticed this & have definitely been in conversations about it in gcs with people?

[floral-hex]

bad news. ya boy’s got wicked low testosterone. I’m outta boy juice!

[dirtytransmasc]

Hi!!!!

Do you have any hcs for how Alicole would try and solve and argument with the kids? Like, their dynamic (especially Aegon with Alicole cause he’s the oldest) is just so interesting and I’ve always wondered how an argument/disagreement would play out with them

ooh, tasty concept.

with arguments amongst the children, they try and get them to take a step back. they'll each take a kid (or two if it involves all of them) and give them a hug or something of the like, easing the tensions, before helping them come to some sort of compromise or agreement.

when it comes to non petty arguments that every child has, the source of issues amongst the kids is the following;

with Aegon they have to settle his need to compensate for feeling as though he is lacking. he tends to pick on his siblings when he's feeling down on himself. so it's a lot of affirming words and hugs while also chiding his cruel behavior. he's definitely hard on himself about being cruel as well, he doesn't like being mean it just sorta comes out of him when he's not in good spirits about himself. he shoves his siblings away over little things when he's upset which only makes him feel worse in the long run. the whole situation makes it hard to parent, as it's not right how he treats his siblings at times, but it's also awful how he feels and how it presents itself. there's typically long talks after the fact. Aegon's usually in his dad's arms, more often than not, while he mom comforts him.

with Aemond it's cooling his temper and frustration, deep breaths and grounding. they remind him that he can't let every jab get a rise out of him, that he always had them to turn to when he needs help, that he's not alone to handle his anger. they try and learn more and more each time, what triggers his anger, what helps him calm down, what to avoid, etc. sometimes he needs to just be held other times he needs a moment alone to breathe. they also try and help him learn how to self regulate and also make his siblings aware that he's getting upset prior to him lashing out (they also talk to them about it).

with Helaena, arguments tend to be because she thinks so differently from her brothers. not only is she a girl in a house of boys, but also because she's autistic (I was the autistic 'sister' in a house of boys for most of my life, it definitely brewed some unique arguments, and I'm gonna project god damn it), their ways of thinking and doing are so different sometimes that she just loses it. so with her, they let her talk, they let her ramble and decompress until she can ground herself, then they have to try and explain the boys point of views, how they see may not be the right way, nor is hers, neither are, but they have to learn to agree. then it's hugs and kisses and talking it out, before they go back to hashing it out with the boys.

Daeron's the most agreeable with the siblings, very adhd coded in my mind (so I'm going to project my brother onto him cause they're very copy pasted in my mind) so when he gets into an argument it's because he's going too fast, too passionate, and/or too much. so again, like most of their children, it's grounding first talking later. like Helaena, they have to explain that the way he is isn't bad or wrong, but that's sometimes we need to slow down, take a breath, cool off, and than continue.

with arguments they take their kids separately, normally separated into different rooms and they visit them together. depending on the exact situation they may just offer hugs and softness, or they'll play a slight game of good cop/bad cop, though they're careful with it. the goal is to solve the problem, not slap a bandaid on it. they tend to each kids needs before handling the actual issue at hand and then being them together to find a solution.

they can both be soft and stern in their own ways. Cole is typically softer on them, as he gets to their levels, takes them close while talking, but he has a stern voice and makes it clear he's willing to put a foot down if need be. while Alicent tends to be a bit more formal and stereotypically authoritative, sitting at the table with them, even if she holds their hands in hers and pulls their chairs close so she can stroke their cheeks.

normally the kids can make right up, or at least come to peaceful terms, but if it doesn't, cause kids can hold grudges like no one's business, Alicent and Cole are forced to remain wholly neutral which is much harder than one would think. most of their fights that lead to grudges are very childish so it's really just waiting for them to crack and realize it was a stupid argument. this is made easier when they don't get involved, so they just laugh amongst themselves where the kids can't see them, and try and keep face in front of them (they can smell weakness and betrayal. send help. a 4 kids household isn't easy). they definitely have moments where they wave the white flag cause one of the kids accused them of siding. the "get along" shirt is also an active and well worn member of the family (Aegon and Aemond share it often)

this video is very much Aegon and Daeron. they feud often. they're either acting like Aegon is a second dad to him, or they are actually going to war and have been sworn enemies for generations, fighting a battle to honor their forefathers (Alicent and Criston are so tired). speaking of Aegon being a second dad, he definitely oversees a lot of arguments between Daeron and his friends... does he understand little kid drama? no. is it entertaining as all hell? you fucking bet, he wants to hear all about what little James did at daycare.

when the kids are arguing with them, which with the way they run the house is pretty rare, but not impossible, they first take a step back for themselves. they will never show anger or cruelty towards their kids, so they make sure they're ok before they even think about talking to their kids.

talking will always be their goal, they never want to use threats or punishments to get what they want from their kids, and they have different ways about it. because their kids know how their household works, that things work on their time, and that just being open and honest, they really just need a day or two to themselves, if the reason for arguing isn't time sensitive, and then they can just take it out.

Aegon is sulky, he just closes himself in his room or flees to a friend's house (which they let happen so long as he leaves a note, leaves his location on his phone, and checks in every few hours) if its really bad. he'll drag himself back to the kitchen table in 48 hours tops, wanting nothing more than for his mom and dad to love him again (they never stopped).

Aemond is just frustrated past reason, so he'll go out and fence with his dummy or just something physical, then he's more willing to listen to reason.

Helaena normally had a boundary or nerve pushed, which was normally accidental, either cause she was already frustrated with something or something changed and it just put both parties in bad positions. space is all she needs.

Daeron is a bit of all the above. he's sensitive, though hard to cross, its often more about other things, something his parent did just broke the camels back, so a long run brings everything back to reason.

Alicent and Criston care so much about their kids, every argument they have with their kids, typically one-sided as they refuse to truly yell, breaks their heart whether or not they did anything or not. they never plan to punish their kids for arguing, they were kids once and they know that its good that they feel safe enough to stand up and fight for what they believe to be true, that they feel safe to shout and disagree with them. they would rather that over anything else, cause they know their kids trust them.

while they aren't permissive with their kids, their are rules and hard limits, they don't count arguing as something to be punished, and their kids don't tend to strand into punishable territories. so resolving a fight is a long talk at the kitchen table, no man's land so to speak, where all parties air their grievances. the problem is discussed, apologies are said on all sides, and sometimes it doesn't always end in a hug, but it does end in feelings being soothed and bridges mended. no one walks away with hard feelings.

they're not perfect, but they make it work, and because they've put so much time and effort into making their home safe and sane, the whole family in therapy, making active efforts to be nothing like their first "home" true arguments are far and few between, and when they happen they're equipped to handle it. Alicent and Cole are such good parents, their kids love and trust them, theirs so much space to talk and negotiate and handle issues early on that there typically isn't any reason to fight. I think that's what makes them such a good family, cause its so hard for me to picture them actually fighting outside of petty things.