#talking about how they have lost

[ladyshadowqueen]

what an interesting time to be a bisexual bridgerton watcher

[poorly-drawn-mdzs]

Ooh, you want to know what happens at the gay bar run by ex-pirates, ooh...You'll just have to read Tiger Tiger to find out...

(Inspired by this Disco Elysium comic)

[clouvu]

Save me french yuri... Save me

[hyacinthsdiamonds]

I'm sorry but the irony of Nico calling Max unprofessional is sending me so bad like sir there's an entire garage full of people, who were literally in the trenches trying to survive the Brocedes fallout while just doing their jobs, who might have a few things to say about your (& Lewis') level of professionalism at that time 😭✋️

[astrangergivingthestrangewelcome]

God I can't Stand how people (and many if not most of them women!!) will see a group of girls get together like in the context of a summer camp where most of the counselors are girls, or whatever, and be like... "oh man, the internal conflict is going to be insane this summer, you know because it's all women and no guys." I hate, hate, HATE it. Not because I think a work environment composed of all women is going to be naturally harmonious, absolutely not we're not the fairer sex and we can butt heads and be assholes and all that but like !!! I cannot believe I have to say this in 2024 but that's not an inherently feminine trait!! As if all-male workplaces don't have petty dick measuring contests and are just beacons of community. As if co-ed workplaces don't have drama. Do social constructs affect how people of different genders are bitchy to each other? Sure absolutely. But like... bitchiness is a human trait. Tired of people just treating workplace drama as normal except when it's between women then it's bc they're women

[sysig]

Two skeletons in a trench lab coat (Patreon)

Bonus:

He’s very careful! Everything was fine before you interrupted!

[aroaceleovaldez]

one of the things i'm most disappointed in HoO with is how the series sets up a really beautiful continuity to the first series but now extending from a primary focus on disability to a wider focus on intersectionality (which in itself is a REALLY fascinating place to discuss particularly Percy's character and the overlap between his experiences as a disabled student and how many readers interpret his experiences as him experiencing racial bigotry in part due to his racial ambiguity and how those experiences have overlap and what does that look like for specifically a disabled student of color, etc etc) - like, there is so much set-up for so many things: we have the introduction of a bunch of new major characters, the majority of whom are explicitly not white. We have set-up for queer intersectionality topics (Nico, Jason's bi-coding, Piper being mspec as well eventually). We have set-up for gender intersectionality (all of the girls and the intersection of their disabilities and gender and for everyone other than Annabeth also the intersectionality of gender and race). We even have other forms of disability than just the primary focus of ADHD/dyslexia coming to the table with stuff like Frank having dyspraxia coding, Frank and Hazel both having childhood terminal illness survivor coding, Hazel having seizure coding, Leo having autism coding and Nico's autism coding making a comeback, Percy's book 1 PTSD even gets some references in Son of Neptune, Leo and Nico's depression get big spotlights, also Nico's general grappling with becoming weaker and new physical disability. Heck you could even dive into Jason grappling with gifted kid syndrome and how that plays into his experience with ADHD/dyslexia versus someone like Percy whose same learning disabilities present differently. There's so much set up right at the beginning of the series to dive into...!

...and then Rick does literally nothing with any of that. and it sucks. and then in TOA he does even less with it and just drops nearly all of the disability stuff in general which sucks even MORE. Also it's all made even worse by dropping or magicing-away the existing disability coding because Rick changed his mind about it (Frank's dyspraxia and Hazel's fainting episodes going away, etc etc)

Like, TKC emphasized the themes about how the Kane Siblings grapple with colorism a lot! MCGA talks about queer topics and disability and how those intersect with homelessness! The entire first series has SUCH in-depth metaphors about disability! But HoO and TOA just totally drop the ball about it and don't even try! The most TOA ever gives is the world's blandest directly-spoken-to-the-audience one sentence blurb and pretends that qualifies as representation and that they've fulfilled their quota. TSATS is even worse about the disability erasure and speaking directly to the screen and calling that representation, not to mention how little the TV show erased the majority of references to disability from TLT alongside Percy's PTSD and made Sally an autism speaks mom while they were at it. And while I haven't read it yet I hear CoTG is equally not great about how it handles Percy's disabilities (or Annabeth's).

HoO could have given us so much but it didn't and i will never forgive it for that 😔 also the fandom could stand to talk more about intersectionality cause it's a really interesting topic and there's so much opportunity to explore it in the Riordanverse that does not get nearly enough discussion.

[towards-toramunda]

What do you mean orym is talking about his dead family too much for you what do you MEAN?????

[ruporas]

post ep 11

[the-lonelyshepherd]

party lottienat. is this anything.

[poorly-drawn-mdzs]

"See you tomorrow"

MDZS Disco Elysium AU part 4 [prev parts]

[mintygreencake]

We don't talk about how unhinged early Seth was, bro DEADASS took Boo's phone and started talking his shit to Al 😭 BROOO...

Then he OFFERED Boo to come find him if Al leaves them OH NAHHH 💀

Dame near gave Al a heart attack when he answered the phone and HE KNEW THAT 😭

[andaniellight]

GODDD the fact that Yoichi had TWO months of being away from his brother. TWO MONTHS OF YOICHI LIVING WITH THIS MAN WHO SAVED HIM FROM THE GRASP OF HIS TOXIC BROTHER. TWO-FUCKING-MONTHS OF THEM THINKING SO DAMN HARD TO FIGURE OUT HOW TO GET RID OF HIS QUIRK WHILE ALSO TRYING TO AVOID ALL FOR ONE AT ALL COSTS

...Horikoshi. HORIKOSHI.

They fucked without protection didn't they-

[fatalism-and-villainy]

Rewatching season 2 had me really struck by the sheer amount of time Will spends performing for other people, and how few fully authentic interactions he has. In fact, I’d say one of the biggest through lines between the first and second halves of the season is Will learning how to wear masks, and then actively deploying that for the purpose of catching Hannibal.

(And how fitting is it that the promo for season 2 had Will wearing the iconic hockey mask? Not just a franchise in-joke, but a reflection of the fact that he “becomes” Hannibal in this season, begins to symbolically merge with him, to the point in which his own goals become clouded to him.)

It's a natural extension of season 1's establishment of his empathic abilities, where he begins to more actively use his ability to read other people and discern their motivations as a tool, or weapon. Simply telling the truth about his innocence doesn’t serve him - so he adapts a façade very quickly, in his faked tears for Hannibal and Alana. All of his interactions with others while in prison - Chilton, Lounds, Matthew Brown, etc. - are very deliberately engineered, and lean into what Will knows (or thinks) each person wants to hear - all setting the stage for him doing the same thing to Hannibal. Every word, everything about his intonation, is so precise - something that specifically struck me in this stretch of episodes was when he talks to Gideon and very carefully leans forward as he’s trying to drive his point home:

(And the body language, interestingly enough, is not just persuasive, but also mirrors the way Gideon sometimes leans/dangles his arms out of the cage when talking to others - and it reminds me of Will also mirroring Hannibal’s body language during the “not now that I finally find you interesting” scene, when he bites his lip in the way Hannibal so often does.)

It really highlights how so much of how he interacts with others during this entire stretch of the plot is a very carefully crafted performance, with so many of Will’s actual feelings and motivations subsumed into his manipulations. I remember watching the DVD commentary on Su-zakana, and they talk about how Will’s visible surliness with Hannibal was meant to stem from the fact that he didn’t want to be too friendly with Hannibal right away, because it would look suspicious. And I think that gets at something that’s present with how both Will and Hannibal manipulate others - they’re not necessarily lying about their feelings, just consciously using genuine feelings or motivations as a method of influencing others. With Hannibal, he frequently does feel genuine affection for others, and his care for them stems from that, but it’s also often used to put them at ease, serve his own ends. Will, for his part, is genuinely angry with Hannibal, but actively uses those feelings to fashion an aura of standoffishness. And of course, Hannibal has a genuine pull for him, and he deliberately leans into and cultivates that enjoyment for the sake of entrapping Hannibal. …Which of course leads to a situation where he has to put on a show for Jack as well, in which he downplays how deep into it he’s getting.

So it’s entirely fitting that the opening of Mizumono features the two halves of Will’s face - the front he’s presenting to Hannibal, and the front he’s presenting to Jack - merging, mask-like, in the middle of the screen.

They’re both the real him, and they’re both masks - and he gets so subsumed into his performances for others, the modulation and accentuation and sublimation of his feelings that they require, that he gets lost to himself (and is also terribly lonely and isolated). No wonder he’s confused and unmoored in early season 3.

[isan0rt]

One of these days I really need to get around to writing an actual essay about the strong narrative and thematic parallels between Dedue and Edelgard. Today is not that day. But one of these days I will write the essay.

(It's about two people who lose their entire families and their entire worlds and react by covering themselves in literal armor and picking up a physical shield the size of their own bodies to defend their hearts from further pain. It's about picking up an axe and deciding to change the world with your own hands. It's about how only one other person in the world at the beginning of the story knows their true selves and loves them as an individual first. It's about how totally human and ordinary Dedue would be the perfect example of the deserving in Edelgard's ideal crestless meritocracy if Dedue didn't fundamentally reject Edelgard's worldview, and if Edelgard didn't completely overlook him. It's about how in the only route where Edelgard doesn't turn herself into a monster as a futile last ditch desperation effort to save her dream of a better future, Dedue does to try to save his.

It's about wanting a savior to reach out their hand to them in the worst moments of their lives, and how Dedue gets that and Edelgard doesn't and that emotionally and thematically makes every single bit of difference.)

[spitblaze]

Transfems are not 'privileged' for being forced to live in hostile panopticons and transmascs are not 'privileged' for being forced to live at the bottom of isolated wells and any 'benefits' that either incidentally incurs are canceled out if not outweighed by the drawbacks. Are we done here. Can we all please just go home