#there's obviously going to be a lot more nuance even just in how each of them would approach these but

[declawedwildcat]

I think one thing that's going to be interesting to see play out in Touchstarved is the theme of willing vs. unwilling. I feel like Ais, Kuras, and Mhin's bad ends are going to be largely unwilling; their monster forms overpower their will and attack you out of spite or random animal instinct, or a "this hurts me just as much as it hurts you" greater-good kind of decision.

Meanwhile Leander and Vere are going to be almost completely willing. You were always just a pawn in their game from the start, a means to an end for them. It's a pity they got so attached, but... oh well. There's always whoever comes next.

[kingdomoftyto]

I never did mention, but I finally beat Vesperia! It was okay--a more than solid rpg, but not one of my personal faves from the series. The plot was pretty standard for a Tales game--maybe slightly more deus ex machina-y in the final act, though I may just be forgetting the most egregious things from some of the other titles. Rita stands out as my single favorite character (to no one's surprise) and honestly probably one of my faves overall for the series. Judith was also pretty fun, and I liked Raven's story arc even if it felt a little clumsy or confusing at times. And obviously the Yuri-Flynn dynamic/relationship/tension pretty much carries the entire game.

Speaking of which, I've already devoured a week's worth of Fluri fanfiction (impeccable ship portmanteau, btw) and have a whole stack of longfics still waiting in my Marked for Laters. They're so stupid and noble and good for each other, I love them a lot. I'll have to rec some of these later if I think about it.

(I also found out yesterday that there's a heckign FEATURE-LENGTH MOVIE about the two of them as knights-in-training, which!!!!!!!! guess what I'm watching tonight)

Anyway. Glad I finally played it! Not sure it quite lived up to my expectations, but then again I think Arise simply raised my standards to an absurd level lol, so it's not entirely Vesperia's fault. It also would've helped if I'd been any good at using Yuri in combat, but alas,

[under-lore]

What could Sans find out about Flowey ?

By finishing a neutral route over and over again multiple times, Flowey has some unique dialogues in which he mentions various trivia or shares his thoughts on some of the other characters.

One such character is Sans, who Flowey notably gives us a warning about.

However, the way he words that warning feels a little intriguing :

While Sans is generally a very perceptive character who is often capable of making pretty good guesses from limited information, Flowey makes it rather obvious that he is speaking from experience rather than simply making a general comment about Sans' observation skills.

But a question that isn't brought up very often is, what was it exactly that Sans would frequently "find out" about Flowey to warrant this warning ? And how ?

While the question may seem unanswerable at first due to Flowey not giving us any specifics whatsoever, there are a few details scattered throughout the game which may allow us to deduce our way towards what was most likely the intended answer.

First, we know what solution Flowey ended up settling with in order to deal with whatever that issue was : Simply avoiding Sans.

In any given timeline, Flowey took the habit of avoiding to be seen by or around Sans at any point, unless he specifically had something in mind that required him to do so. (such as in the pacifist ending) As a general rule of thumb, he would avoid Sans altogether as much as possible.

However, even with that effort on Flowey's side, a quick mention of a talking flower from Papyrus is already enough to seemingly get Sans at least a little suspicious that something may be up with that.

This is our second clue : The fact that it took Sans so little information for him to get suspicious of what Papyrus told him about a flower.

Our last clue is the few words we hear from Sans after he sees and hears Flowey at the end of the pacifist route :

In order to find out what to make of those clues, we need to introduce a fourth element : Sans' scientific background.

Luckily, none of the more complicated or speculative nuances of that side of his character are required here, all that we need is to highlight his somewhat-hidden friendship with Alphys.

She knows him well enough to call his jokes in advance :

Or here, the game more obviously points out that these two seem surprisingly friendly.

Sans tries to play it off, but it is clear they know a lot more about each other than seems at first glance.

But how much exactly ?

Well...

To go back to our main point, if one were to call Papyrus' phone in front of Alphys' lab, the conversation between the skeletons brothers would eventually deviate towards the question of wether or not Alphys is hiding dogs inside of her lab.

To which Sans answers, winking :

If it had just been this one joke, it may have been a coincidence, but the game doubles down on this exact same implication if you call Papyrus from within the lab as well, showing that this connection between Sans and Endogeny was absolutely intentional :

While the determination experiments were sorely Alphys' entreprise, it appears that Sans was at least made aware of the way they ended up playing out.

We cannot affirm with certainty how much detail exactly Sans has regarding the experiments, but if he is aware for the dogs and possibly even involved in dealing with them (as he had the dog food bag in his room), then he most definitely would also know about the vessel too. It was the main goal, after all.

This vessel had a few particularities.

First, it was a golden flower, the flower from the outside world, chosen for symbolic reasons.

But second, that specific golden flower was chosen because it was different from the rest.

It was at the center of the garden, it had grown before all the others, those were the ones mentioned by Alphys in her entries. But there was one more specificity which she omitted to bring up :

Golden flowers in Undertale are a species of flowers which has 5 petals.

But our "vessel" had a mutation, resulting in an extra 6th petal.

A design choice in part, perhaps, but one that takes a very real in-world importance within this context.

Adding to this that, from the view of the current timeline iteration, the vessel seems to have suddenly vanished one day and...

Since it is likely for Sans to have been aware of all of this, now, it makes a lot of sense that the mere idea of a new mysterious talking flower that says strange things showing up out of nowhere would immediately put him on high alert. A potential connection with the missing vessel is easy to make.

Actually, now that we have this context, even Alphys seems to make the same connection as well after hearing Papyus mentioning a talking flower just before Flowey arrives.

But most of all, it now feels incredibly clear why Flowey needs to avoid being seen by Sans so much.

His entire appearance, and particularly his obvious extra 6th petal, are all dead giveaways of his origins.

Could Sans, who is skilled enough at analysing faces to tell the difference between the face of someone that has died 9 or 10 times in a row, really miss out on such blaring evidence ?

Of course not.

Flowey might as well have written "i am the vessel" on his face with a marker as far as Sans is concerned.

Chances are that merely seeing Flowey even once would be all it takes for Sans to be practically certain that Flowey must be the former vessel.

Not only that, but given that those experiments were all about determination, the so called "resolve to change fate", Flowey would also immediately be considered extremely likely to be the anomaly, too.

This is what we see in this scene :

Not only does Sans get to see Flowey here, but the speech that Flowey makes during this scene also provides him with definitive evidence that Flowey really was the "anomaly" he had been worried about, as his psychological profile matches extremely well with the one Sans shows us to have built for the anomaly in a genocide route. But, it also shows him that Flowey has, for now at least, lost his anomalous time powers to Frisk, and is thus struggling to keep them in his "game".

This suggests that for now, Frisk actually still has the advantage, and that despite all those crazy speeches, without his reset powers, that weirdo has got nothing on them.

But this is all later on in the story.

During Flowey's earlier RESETs, being seen by Sans, even once, quickly becomes a major pain for Flowey in every timeline iteration in which it happens.

At best, he might get "pranked accross time and space" a number of times. At worst, Flowey might have no choice but to reset and start all over again on whatever he was aiming to do.

Except this time around, without letting the smiley trashbag learn ANYTHING about him.

[prone-to-fleeting-obsessions]

Dating Veritas Ratio Affection hc's

Will not leave you alone...

He's like a tall, very vocal shadow

It's basically just become common place for him to immediately follow you whenever you're heading, without saying a single word, continuing the focus on his activity of writing or reading or whatever as he follows a step behind you

Occasionally he'll look up and be sort of surprised about where exactly you've unconsciously led him, but won't actively admit he was just following you mindlessly

It's very common for him to be constantly solving your minor problems, too

He doesn't want to encourage you relying on him for everything, of course, but any small way he can make your life easier is an action of second nature

Obviously, he has a drink you like all set out and ready for you after an exhausting day, of course the bills, taxes, and other horrible legalities are already taken care of, and yes there's a bath drawn for you, don't look so surprised

He's basically constantly anticipating potential problems or dangers you might face, and takes preemptive steps to keep things safe and pleasant, you can be pretty much positive any action you take has been preemptively thought over thoroughly on your behalf

He's not necessarily going to tell you what to do, but if there is a 'right answer', he will be making it known

Despite his schedule, he is almost borderline devoted to taking some time out of the day to more thoroughly learn about your hobbies and current interests

If you are going to be engaging in stimulating conversation, it wouldn't be fair to make it only about his interests, and all knowledge is beneficial knowledge

Really, engaging in thoughtful conversations and taking real initiative to show he values your interest is his love language

Pretty much any hobby you love, he'll be making an attempt at, if only to spend more time together

If you go searching, you might occasionally find little sticky notes written around his working area, a lot of which are simply fleeting thoughts to be explored in greater depth later (including design plans for a little gadgets he thinks you might get use out of), but a good handful mention your name specifically and different things he wants to bring up with you, or even gift ideas for down the line

Once he realizes that you've been digging around there, he'll probably start writing them in code, giving you just enough time to crack exactly what the conversion is before switching to another, making it into a sort of puzzle

Due to his connections, note taking, and overall general perceptiveness, he is utterly fantastic at giving gifts

If he realizes you two are growing sort of disconnected, or even drifting, because of your need for emotional support, he begrudgingly takes a course or reads extensively on emotional intelligence to better understand and respond, without directly telling you of course

On days when you two aren't able to see each other because of his traveling, he writes stupid long texts filled with his usual style of difficult to read sophisticated language detailing everything you're missing out on and a good handful of check ins for what exactly you're doing and if you're fairing ok

Definitely won't admit to it, but he gets a little paranoid sometimes

His physical affection is usually subtle, that's not his specialty after all... But it's common to find a hand resting somewhere on you keeping you close, or a subtle small kiss on your hand or cheek as a reminder that he does really love you, even if it's done with a rather stoic face

Genuinely doesn't get embarrassed over PDA

Why on earth would he care what anybody else thinks? It's not their business, he's certainly not going to hold back making you feel better over something as stupid as how other people think of him

His compliments tend to feel a bit blunt, as with the rest of his speaking, lacking any sort of nuance or emotional flair, but they all feel incredibly genuine too, like a real testament to your character and accomplishments, always catching you off guard when they do happen

At the very least, you can be thoroughly sure any sort of compliment is given genuinely and with plenty of thought put into it, as he isn't known to hold back on telling his real feelings about somebody to their face...

[adoptourcrew]

Here is a transcript of Rhys talking about OFMD cancellation. You can listen to his full interview on Spotify and on Apple Podcasts.

Talking Strange Paranormal Show with Aaron Sagers: Rhys Darby Returns!

Timestamp: 37:52-41:49

Aaron: I can’t help but ask about Our Flag Means Death…I absolutely love the show. It has such a huge fan base. It even has the massive queer community support and we are now in the midst of Pride Month. For you, how do you view the legacy of Our Flag Means Death professionally. How does it rank in your work?

Rhys: Very highly. It’s an odd one, because in my mind, and I’m sure all the fans' minds, it was slightly rudely cut short. We should have gone more and I think it’s because we felt like the aim was to go for three seasons, to tell the whole story. And because it was so good and it had a lot of fans and it was representational, it was funny, it was beautifully shot, awesome costumes. We’re pirates on a boat attacking each other and making out. It was a unique show and I’m still getting over the idea that they can just go “we’re canceling that” when other things, I won’t name any names of certain other comedy shows and things, that just keep running. And I think, who the hell is making these decisions and there might be a financial element to it, yeah sure. But the budget was stripped by 40% on the second season and we shot it in New Zealand, we saved a lot of money by going to another country, which seems odd. But still, then they called it quits there at the end of number two. So it’s bittersweet in a lot of ways for me because personally, for my own journey, it was the best thing I’ve ever done because I was the lead and I got to obviously use my comedic skills, that’s easy. But I got into the drama side of things and there was some real emotional pathos and nuances that I didn’t know I was capable of doing and I got to do, and I was really proud of my work on that thing. It’s like my mum always said, “pride always comes before a fall.” (laughs) And now it’s gone. But hey! Move on, we’ll move on.

Aaron: Would you and Taika ever consider, as some other creators have, perhaps completing the story in another format, another medium, comic books for instance. A way that you could tell the story that you wanted to.

Rhys: I think the fans have already done that. The fanfiction is through the roof. But I think the show that we made was something to behold and hopefully it will stick around. It’s just two seasons, there are a lot of shows that ran for two seasons, like Flight of the Conchords, for example, there are only two seasons of that. And I look at these things now as pieces of art and there they are. And you can watch them over a long weekend or whatever you want. But it’s finite and it’s done and you can enjoy it and you can always go back to it. It’s a happy place. It’s art and that’s it.

[shaunashipman]

i am genuinely a bit scared for my fellow bucktommies because with all the love eyes for bucktommy and tommy, i am not sure if people don't happily-ever-after too close to the sun with their expectations about how the bucktommy relationship will continue. 911 is still very much a drama show that will create drama out of thin air if it has to, oftentimes in ways that feel very dumb and will make the characters look very bad. we have seen in the past that resolutions are usually very lackluster, or sometimes even off screen. i personally really look forward to see buck and tommy, but i hope we all remember that buck AND tommy will fuck up at some point, and maybe even fuck up Bad. please be careful out there with how high you set your expectations, my fellow bucktommies, and don't forget that buck and tommy will have conflict again, with the others or with each other, sooner or later! (i hope it will be compelling and nuanced and interesting conflict that fuels their development, at the very least 🤞 but i also know that i am watching 911 so...)

so nonny, this isn't really directed at you, but i'm gonna use your ask as a springboard cause i'm seeing this sentiment pop up a lot

people need to stop conflating fanon actions with desires for canon

by this i mean, 99% of what i post about bucktommy, are things i never expect to happen in canon, and some of it quite honestly i would not want to happen in canon. i obviously can't speak for everyone, but most of the people i interact with are well aware that the characters on screen are not really the characters we're playing with in our sandbox.

and that's okay. that's how fandom is supposed to work. fandom is separate from the source material. we didn't used to need to post disclaimers about how no, we don't actually think this is going to happen. no, we don't actually think their relationship is going to be sunshine and roses. ppl in fiction act stupid cause sometimes the writer needs stupid to move the plot where they want. I, as a fan, can choose whether to incorporate said stupidity into my existing fanon, whether to analyze it to see how it could fit with my existing fanon, or whether to toss it out, baby and all.

part of the reason fandoms start is because we find the source material lacking. so honestly, when buck or tommy, or any characters, inevitably acts like a dick in a way that seems counter to their previous characterization, it's just more fodder for fandom, a new facet of their character that we then get to analyze and decide why they're doing it. well behaved women rarely make history and well behaved characters rarely make fandoms

so, just so it's clear, at least from me, unless I specifically state that this is what I think will happen in canon, everything I post about bucktommy, and basically all of my fandoms, is not even wishful thinking, it's just me playing with my dolls.

[blitzwhore]

I just saw Blitzø get called Stolas stockholm victim I can't with this fandom anymore😭

😂 As outrageously incorrect and stupid as that take is, I'm going to go on a tangent here. I hope you don't mind.

I think every fandom has annoying people with awfully terrible takes in it. People with zero media literacy. People who hatewatch. People who think they're entitled to the exact show they would've wanted, which has nothing to do with the actual, existing show.

This is especially true for queer media, and especially true for queer cartoons. (Hi, yes. I was active in the Adventure Time, Steven Universe, Voltron, and She-Ra fandoms when those shows were airing, respectively. I've seen some stuff). Some people just can't handle queer cartoons, period. If the queer characters/ships are soft and wholesome, they're infantilising and boring, and if they're complex and nuanced and actually have conflict, they're abusive and problematic. You'll hear the same recycled arguments over and over again. Like, the shit some people are saying about Blitz and Stolas after The Full Moon? Is literally almost word-for-word what they said about Catra and Adora post-season 3 of She-Ra (and even at the end of the show).

Here's the thing, though! Those people and their bad takes are not what I want to think about what I think about a fandom. Those aren't the people I want to call the fans. They don't deserve that title. Not when so many other people are out there dedicating their time to making gifs and art and meta posts, and writing fic, and commenting/reblogging to show support, and sliding into people's DMs to scream and squee together about a thing they love.

At the end of the day, "fandom" is just a lot of people each doing their own thing. Which people you engage with and allow to stay within your line of sight will determine your fandom experience. Fandom can be a huge, convoluted, online space full of people who are constantly arguing with one another and whose takes make you unfathomably angry... Or it can be you and your 5 friends and mutuals who scream gleefully at one another in 2-note posts. You can't control what others post online, but you can control your engagement with it.

How? Well, here's what I personally do to avoid getting upset by people's stupid opinions online:

Filter 'critical' and 'anti' tags (eg. #anti stolitz #anti vivziepop #Helluva Boss critical #HB critical #vivziepop critical). Many people actually do tag their critical posts because they know it's the respectful thing to do!

If I come across a post that has one or more of those tags, obviously, I don't click through to see it under any circumstances.

If I stumble across a stranger's untagged post with hate/criticism that upsets me: I stop reading and BLOCK. Immediately. I don't look back. I don't finish reading. I don't engage. I just block block block. I <3 the block button, seriously.

If I feel my mind reeling from a bad take I just came across: I take a step back, close my phone, breathe, remember life is beautiful sometimes. Go back and watch an episode I really like. Clean my living space a little. Vent about it to a friend (but only if I really need to, because if not, I'd rather not dwell on it).

If I'm starting to feel the need to reply to someone's bad take (directly or via my own post), I instead make the decision to channel that energy into making fandom posts out of love. (I don't do this just with fandom. If I see something transphobic online, I usually react by reblogging a bunch of trans art or trans positivity posts on my main, for example). I like to think of it as putting some positivity out into the world to compensate for the negativity I just saw. So, for example, if I see someone shitting on my blorbo, I may make a silly post just saying how much I love blorbo. Or I'll make (or draft) a post about how interesting I find some of blorbo's actions. Or reblog another person's positive/interesting post about blorbo.

And finally, I stay the hell away from Twitter. Or at least, if I go on Twitter, I try my best to avoid any tweet that has text in it instead of just art. Even the people who have good opinions spend too much time arguing with the people who have bad opinions on there. I don't want to see people's bad takes! No, not even while reading founded and perfectly articulated criticism of those bad takes! So I just limit my time on Twitter. And again, if someone is putting bad takes on my TL (even if it is to counter them), I unfollow and block as needed.

All this to say, yes, it really fucking sucks to read the opinions of people who don't understand and who hate the characters and ships and worlds you love. Gosh it's the worst. But you can curate your fandom experience. You can focus on the things you can control. You have the power to decide if your fandom experience is draining or fun!

And because I don't know how to finish this, here, have a Stolitz kiss to heal you:

We will keep winning and there's nothing the haters can do about it. 😌

[olderthannetfic]

I feel like such a hypocrite reblogging all these posts about how people like male characters more than female ones even if they have similar personalities/roles/wtv, but I read about this stuff precisely because I relate to it. "People think everything men do is cool and everything women do is either weak or Mary Sue" -- yes, it's me, I'm people. It's not like I do it deliberately or I'm proud of it, but I can observe and acknowledge the empirical fact that female characters just produce a very different emotional reaction in me than male ones.

I guess I like the safe distance of projecting onto characters who 1. are more obviously not me and 2. are judged less harshly than me (bc everything men do is cool) and that's not my fault, it's the patriarchy's, but then I can't challenge it. I can't say "women can be just as cool and we shouldn't be judged more harshly", I can only say "yea women suck let me forget I am one" like I'm still in my 9gag nlog tween phase -- or well, I can *say* the former, but I keep *acting and feeling* like the latter. And btw I'm not just talking about consuming media, where all you can choose from is what's on offer; I'm also talking about creating my own fanfics, which are all about men.

--

The reason a lot of those posts are so obnoxious is that they're just people wallowing in guilt and projecting.

The fact is, lots of people do like female characters. There's plenty of fiction about women. There's plenty of fic about women. There is not, in fact, some grand, existential problem where nobody cares about the ladies. If you aren't seeing this fic or original media, that's different from it not existing.

Two, your own fanfics? FFS. If you consume media that is a sausagefest, then of fucking course, your fic will be about dudes.

Just the other day, I spotted a story I hadn't read by a fantastic fantasy novelist. I hadn't looked her up much beyond buying her trilogy, and what do you know: she actually says who she is in fandom openly!

I was entertained to find out that her big thing is kylux. You really wouldn't guess based on her pro work, which is about a harried female doctor taking care of supernatural patients. I remember those books being a refreshing change from my usual diet of nothing but slash fic. It's not just that there's a female lead but that they take a nuanced look at female characters.

Personally, as a writer, I wasn't ready to write much about women until I was better at writing overall, and my more self inserty characters aren't usually going to be women anyway unless they're like Julia from the Hilary Tamar series.

--

If you're uncomfortable with yourself, you can try to change, sure.

But fandom is full of this obnoxious plague where people think that it's the job of each person to make there be more female characters. This isn't necessary. Even if we want media or fic to be more balanced overall, it doesn't follow that each person needs to produce a balanced body of work.

Why should you in particular care about female characters?

--

But beyond all that, oh my fucking lord, I am so tired of that species of post that's like "Gosh, why is slash fandom, where people go to be horny over dudes and/or have self inserty feelings about them, not more full of stuff about ladies? It's so tragic how we all want to get rid of our boobs and wear men's clothing and be addressed as sir, just like all the other girls. What's up with that? It must be misogyny."

With a totally straight face.

Every god damn time.

[pommedepersephone]

Buck up, Hamlet! or how Aziraphale and Crowley's blocking helps communicate the evolution of their relationship

Can we talk about the blocking?

Specifically, I have been rewatching S1E3, one of my favorites. I love how the development of the relationship between Aziraphale and Crowley is shown through these little vignettes. There have been some great explorations of the costuming and dialogue, but what always strikes me is the BLOCKING. The way their placement and movements add such depth and tell the story of living as a queer person, having to communicate in coded language.

Through the episode, we get 4500 years of history - Eden, Mesopotamia, Golgatha, Rome and Wessex - to see Aziraphale and Crowley standing on their opposite sides. Aziraphale always on the right, Crowley always on the left. But after the Arrangement, their blocking changes drastically and becomes much more fluid and nuanced. Each scene after this is distinct but the scenes in at the Globe and the Bastille have the most development, and I find myself rewatching them A LOT. Here is what I see. 

All the World's a Stage

This is the first meeting we see that isn’t a chance encounter, though the two try to stage it as such. It takes place in a theatre - and they are acting, playing their roles as demon and angel. Even the humans are complicit in this performance, with Shakespeare stepping in to address the two "in your roles as the audience." Oh, delicious.

But once it's been firmly established for anyone watching that they AREN'T friends, they DON'T know each other (cough cough) the following moves are clearly choreographed and have been played out many times before. Crowley sashays to the right, opening the dance, and Aziraphale accepts the invitation to dance with: “What do you want?” 

“Why ever would you insinuate that I might possibly want something?” Crowley is just playing his role as cheeky demon offering up a temptation - but his position to the right of Aziraphale speaks to the fact that they are both very complicit in this performance.

“You are up to no good.”  “Obviously. And you are up to good, I take it? Lots of good deeds?” Just standard character establishment, here.

“No rest for the, well, good." Ah, this line, the inversion of the well known idiom. Because the line between good and evil (and between angel and demon) maybe aren't so distinct, and Aziraphale acknowledges this with his words. We are moving into negotiations now. "I have to be in Edinburgh at the end of the week. A couple of blessings to do, and a minor miracle to perform. Apparently, I have to ride a horse.”

“Ah hard on the buttocks, horses. Major design flaw, if you ask me. I’m meant to be headed to Edinburgh too this week. Tempting a clan leader to steal some cattle.” The way Crowley moves AROUND Aziraphale here, intimate but also careful, watching for his reactions.

“Doesn’t sound like hard work.” Said with a little sideways look, because Aziraphale can see where this is going. And he's open to suggestion temptation.

“That was why I thought we should… well, bit of a waste of effort. Both of us going all the way to Scotland.”

“You cannot actually be suggesting what I infer you are implying?” A little bit of pretense, because Aziraphale has to pretend to be tempted, right?

Crowley presses. “Which is?” Because he is willing to play the part of tempting demon, but only if it is clear this is a farce, that this is indeed mutually agreeable. He is making sure they are doing the same dance.

"That one of us goes to Edinburgh and does... both. The blessing and the tempting."

Yes, they are doing the same dance, and what is left is the formality of concluding the dance - a moment of Aziraphale expressing his concern for Crowley, the coin toss - they both know how it ends. It's a ritual, an act of give and take.

But if it were ONLY the Arrangement, a simple quid pro quo, it would have ended there. It doesn't. Instead, the two offer each other a more intimate exchange - "It'd take a miracle to get people to come and see Hamlet."

Aziraphale doesn't even have to ask with words, just a look, and Crowley happily agrees. That is the final part of the dance, a small acknowledgement that this isn't just about making their jobs easier.

A Free Man in Paris

Paris is something else. This is a HUGE step beyond making sure that audiences like a show your angel is particularly fond of. This is a stolen dangerous moment, an OUTRAGEOUS flirtation that takes place outside of time, conducted in clear view of others but beyond their understanding. Isn’t that how their entire relationship is now conducted, hidden in plain view and so clearly affectionate? 

And look, Aziraphale is BITCHY in this scene. Peak That Bitch. He's just purchased a bookshop, he's creating a very permanent place for himself here on earth - Aziraphale is feeling quite proud of himself. In fact, he's preening a bit that he has figured out how to exist, even in some small limited way, as himself within the confines of the system of Heaven. Buuuut he may have gone just a bit too far, and gotten himself in a spot of trouble. He has landed in a prison, threatened with "death" and stuck because he's already gotten a warning about being frivolous with his miracles. Oh jolly good that Crowley is here to save the day!

There is something raw being communicated here here, where both Aziraphale and Crowley are presenting themselves to the world in ways that are dangerous. Aziraphale's reaction tells us that Crowley's look is doing things to him, but also in a way that it is NOT socially appropriate. Aziraphale may have showed up in all the trappings of an English aristocrat, but here is Crowley as a French royal sympathizer. NEITHER of these are safe choices in the middle of a revolution. The costuming is so critical to fully appreciating this scene, so check out the amazing clothing overview with @cobragardens.

When Crowley arrives and stops time, he and Aziraphale find themselves situated facing one another, but angled so they aren’t facing straight on. Interestingly, from Crowley’s perspective, he is where he is supposed to be - the left of Aziraphale. But Aziraphale, from his perspective, is also to the left of Crowley. It was Aziraphale after all who initiated this situation, who put himself in danger by being too… Aziraphale. It’s dangerous to be yourself when you don’t fit into heteronormative social expectations, isn’t it? Still, the two keep up a very flirtatious banter as they discuss the situation, and Crowley maintains his very-intentionally-unbothered sitting position up until Aziraphale goes too far and thanks him for coming to his rescue.

While Crowley is also flirting with danger in the way he is dressed, he also didn't just pop over for a nibble dressed this way. And whatever he might have been up to was interrupted so he could rescue Aziraphale from the consequences of his own reckless authenticity. After removing the chains, Crowley pushes Aziraphale to reconsider his honest expression of himself in this exact place and time - for the sake of survival.

Aziraphale, willing to risk himself alone, rather quickly adopts a more acceptable appearance when it might impact Crowley. It is only after Aziraphale is safely disguised and returned to his proper place to the right of Crowley, ONLY then does Crowley restart time. They can go enjoy lunch now, with the proper precautions and masks in place.

For these two particular human-coded occult beings, this is also such an honest moment. They both showed up damn authentically - Aziraphale so fabulously ostentatious, focused on chasing down some pleasure (in this crepes) and Crowley wrapped in a clear protest against the current violence. Just as Aziraphale indicated with his "Oh good LORD" as he looked the demon up and down with obvious thirst, Crowley's request to Aziraphale to change his appearance and mask better is done in such a way that affirms that Crowley LIKES who Aziraphale is without the mask.

The scene is so playful on the surface, the body language and dialogue flirtatious. It's something so familiar to the queer experience, making light of the absolute danger that we must sometimes navigate just to exist. The more I watch it, the more obsessed I become.

A Spot of Bodysnatchin'

It is worth remembering that we didn't get this scene in S1.

I am going to go through it soon, because again they dance back and forth beautifully in this minisode, but suffice to say we all know... it didn't end well for Crowley.

No Walk in the Park

The moment in St. James Park is brief, and it wasn't until S2 and the meeting at Edinburgh that we got the full context for this meeting. But even without this, we can clearly see that things are weighing heavily on Crowley. The scene in the Bastille took place in a prison, with the threat of execution over their heads. The juxtaposition of this conversation taking place in a park - a place that is not only NOT inherently dangerous but looks lovely and welcoming - only highlights the change in Crowley's attitude. He still attempts to be playful, but he's afraid. Look at that paper, it's a bit crumpled, he's been carrying it around for a while.

They are firmly entrenched on their assigned sides for the entire conversation, both very stiff. It feels uncomfortable to watch. When Aziraphale refuses his request, and indicates whatever is between them is just "fraternizing" with the enemy, we get a glimpse of how fearful Crowley really is. In none of these flashbacks has Crowley ever spoken to Aziraphale with the anger we see here. When they part in anger, it feels wrong.

Take Me to Church

So there is a long break between meetings now. But then, ah, the church. The place Aziraphale realizes his feelings. (Look, if Michael says this is where Aziraphale realized he'd fallen in love, I am not here to argue.) What I love is that again we see Crowley and Aziraphale swapping sides. Crowley is here to save his wayward angel, AGAIN. Despite feeling the ill effects of walking on consecrated ground, Crowley is here to save his angel and defeat Nazis. It's definitely not remotely evil intentions.

It isn't like the Bastille, but some of the parallels exist - Aziraphale failing to grasp the risks of his actions. And the silliness of his little dance coupled with just how deadly serious this situation is harks back to their flirtations in the prison.

Crowley is to the right of Aziraphale from the time he arrives until the bomb drops. Then in the rubble, with the danger past, we see them on their assigned sides again. UNTIL Crowley hands Aziraphale the books he saved with a "little demonic miracle of my own." He then crosses Aziraphale, and we see the look of absolute adoration as the angel watches him walk away to the right.

Sweeeeeet baby Jesus, baby girl has it BAD.

Always Crashing in the Same Car

This extremely heartbreaking scene has been dissected, chewed over, breaking our little hearts with it's sharp pieces.

But it is purposeful that this scene took place in the Bentley. Being in the car is symbolic because Aziraphale is here making an offering to Crowley, in his space, something that he Aziraphale feels is WRONG which is highlighted by his placement to the left of Crowley. He is scared, acting against all his own desires, but he does it anyway because he cares for Crowley. It's simple, powerful placement. Need to hurt more? Yeah, thought so. Take a deeper look at the dialogue with @zionworkzs.

[pumpkinandcoat]

My TUA4 thoughts

Its been a week now since the final season premiered and I have finally been able to compile all my thought together

This is an essay.

Spoilers for season 4 of The Umbrella Academy

(obviously)

With the fourth and final installment of The Umbrella Academy finally released, brings the long awaited conclusion of the Hargreeves family. And suffice to say… people hated it.

Even when this show is at its weakest with its plot, the thing that makes the show so good and what many people love about the show are its characters. They are all very distinct and memorable. And in TUA3, while it's riddled with plot holes and frustrating choices, is still a lot of fun to watch because of the character moments and the relationships between the different siblings.

That is why TUA4 is so infuriating, because it takes these special and memorable characters and it morphs them into these weird versions of themselves. Every single main character falls victim to this. They regress as characters into these versions of themselves that shouldn’t exist anymore.

Luther has become a stripper. His arc has almost no dignity from the get go. This only very loosely connects with his arc in TUA2 where he works at a bar, but as a bodyman and not as a ‘professional dancer’ so as to why the writers chose to make him a stripper is weird. He has returned to live in a run down version of the academy. There is no follow up on Sloane and he mentions her only one or twice in the whole season.

Diego is somewhat resentful of fatherhood, and he misses his old life of excitement when he was a vigilante. He is unhappy with his life and he seeks the higher purpose that he thinks being a criminal deterrent will give him.

Allison yearns again to be a star and neglects her relationship with Claire in the pursuit to regain her fame. 

Klaus, as soon as he regains his power, turns back to drugs. There is no attempt for him to hold onto his sobriety, even though as we see in TUA2 and TUA3 he is (mostly) sober for three years with his powers fully intact. We don’t even get a scene of him struggling with the ghosts coming back to haunt him before he is off to go buy drugs, and then he becomes a victim to sex trafficking. 

Five’s working at the CIA. After a lifetime of hardship and struggle, after he is forced into organizations where he has to complete different missions - first as a child with Reginald in the academy, and later as an adult with the commission - and after he is ready to retire at the end of TUA3, he joins into another organization instead.

Viktor moves away to Canada and is again isolated from his siblings and alone. Shown to have no lasting and meaningful relationships in his personal life.

Every single character is reverted back to an old version of themselves that they have grown from by now. The writers strip them of all of their character growth and substance and reset them to their base characteristics. Worse than that they write them as stereotypes that they are portrayed as at the beginning of the show, in which they are shown to be more than just those stereotypes and have at this point for a lot of them grown from them all together. They are now reduced back to them but without any of the nuance or layers that they had before, and again stripping them of all of their character growth and personality. 

The writers absolutely refuse to let these characters grow in meaningful and satisfying ways.

The relationships between these characters as well are also poorly written. Many of the strong relationships we see in the past seasons barely have interactions with each other, such as Klaus and Five, Diego and Klaus, Allison and Viktor to name a few. With Allison and Viktor we only really have one meaningful scene between them where they talk about how they aren’t close anymore and then there is no further discussion or resolution between the two. And with many others at best they get fleeting minor interactions where they maybe exchange one line or comment. Then there’s the characters who we’ve been waiting to interact for a long time, like Five and Claire, where in the first season Five expresses his desire to live long enough to meet his niece but in season 4 we don’t see them interact even once.

But by far the most insulting relationship is the one between Lila and Five and Diego. 

Two fucking words: Character Assassination.

The way that they wrote Five in this season is so completely baffling. Because the writers felt the need to give Five a love interest this season they decided to pair Lila and Five up and in doing so they destroy both Five and Lilas character, and the dynamic between Five and Lila, Five and Diego, and Diego and Lila.

There are two faucets as to why this relationship doesn’t work: the in-show context and the real life implications of the pairing.

In-show: Five and Lilas relationship hinges on the fact that they are stranded together on the subway for 7 years, unable to get back to their families. In the second to last episode of the entire show they are taken away from the rest of the characters to be put in this pocket dimension for the sole purpose to develop a romantic relationship between the two of them. 

For Lila as well, but especially for Five this makes no sense for their characters and butchers everything they represent and everything they stand for. Fives' driving force for his whole character is his family. Everything that Five does, every action that he takes, everything that he endures and pushes himself though, is for his family. His family's safety and survival matter more to him than his own physical, mental and emotional well being. They are the only people in the whole world that Five cares about.

Five survives 40 years in the apocalypse, with abysmal chances to get out, where any normal person would kill themselves, Five endures for the miniscule chance to get back and save his family. He spends years working for the commission, killing hundreds of people, after being the only surviving person on earth for 4 decades, to buy time so he can get back to his family. Five spends 45 years trying to claw his way back to his family. And when he does make it back to them, Five spends 28 straight days trying to prevent three different apocalypses across three different timelines so his family would live.

After 7 years on the subway Five gives up on getting back his family, and when he discovers a way back he keeps it a secret, even when he knows they are facing the apocalypse and certain death again? It doesn’t make sense for his character at all. Yes, he was tired at the end of TUA3 and was ready to lay down and die with his family by his side, but that was again after three failed attempts at preventing the apocalypse in a very short period of time. He also isn’t with his family, separated and isolated once again.

In terms of Five and Lilas relationship - It doesn’t make sense for Five, whose sole driving force throughout the entire show is his family, to turn around and betray his brother by engaging in a relationship with his wife. 

The dynamic between Five and Lila throughout the seasons has progressed from enemies to begrudging allies to a close friendship between the two, a progression that could not have happened without Diego. At the end of TUA2 and the start of TUA3 these two hate each other's guts, but because they both love Diego they are willing to put their shit aside and be somewhat amicable. Then, because they also both have a connection through the commission they team up and to go back and investigate and it's here where they can move past their past and are able to slowly form a friendship.

Yes, they are very similar characters and they have a unique bond. They can understand each other in a way none of the others can, because of their unique experiences at the commission and as being used as tools of The Handler. But this doesn’t mean they are suited for each other romantically and in fact is exactly why they aren’t. They both have deep trust issues, paranoia, and a kind of bitterness towards the world because of their experiences. With Lila and Diego, the reason that they work so well is because Diego's trusting nature and goodwill in people shows Lila that she can open herself up to people and to trust and love.

And the showrunners take all of this characterization, all of the love and devotion and the deep bonds between these characters and they throw it away because they wanted to give Five a love story. In the second to last episode of the entire series we see a three minute montage of Five and Lila on the subway for 7 years, and then three scenes of them in the greenhouse before they return back to the main time.

The writers destroy these characters and destroy these relationships for 15 minutes of screentime.

There is no resolution to this plotline. There is no reconciliation or understanding about what happened. Lila dies on dubious terms with both Diego and Five. Five and Diego die hating each other.

In real life: The actor who plays Five, Aidan Gallagher, was a minor during the filming of TUA1/2/3, and this was the first year he filmed where he was legally an adult, being 19 years old when filming TUA4. 

From the first season of the show, when he was 14 years old when filming, he has been heavily sexualised by a certain group of the fanbase. 

And the creators of the show, who have known him since he was a young teenager, at the first opportunity they could, paired him with his 34 year old costar - They met in the filming of the second season of the show, when Aidan was 15.

They waited - literally waited - for him to turn of legal age so that they could make his character have a love story, and then regardless of morals, regardless of plot relevance, regardless of if it even made sense for the characters, proceeded to pair Five and Lila up. Completely uncaring of the story, the established relationships between the characters and the overarching arcs of these characters.

The writers literally had to completely separate and isolate Five and Lila from the rest of the characters in their own timeline for over half a decade in order for it to make sense for them to develop a romantic relationship between them.

The decisions of the creators in this season are just so insane.

In continuation of Fives character this season - he abandons his family twice. Firstly when he finds the cipher to the subway and can return home, but chooses not to. Then secondly while his family are facing a life or death situation and another apocalypse, he physically fights Diego, and when Lila intervenes and implies that their relationship is over, he abandons them in the middle of the fight, to return to the subway.

And finally we get to the finale, where Five - again whose entire character is built on the love and devotion he has for his family - decides to erase himself and his entire family's existence from not just one timeline, but across every single timeline in order to correct the universe.

Five has never cared about the timeline. In fact he has always actively been working against it for his family's survival. They are supposed to die in TUA1 but Five will not allow that to happen and he goes against everything and every one to ensure that they live. He does this in every single season - goes directly against time and the universe to make sure his family makes it out on the other side. Now he is happy to give up and give in and not just to let his family die, but to have them permanently erased as if they hadn’t existed at all.

Even with the Five diner, we see all these Fives who have given up on trying to save their family after trying and failing to save them countless times - over 100,000 times - they resign themselves to a life of solitude with only alternate versions of themselves for company. Surely some of these Five have had to make the same connection that our Five makes, but they won’t sacrifice their families existence for the sake of the main timeline. But our Five, the Five that we follow, the Five we’ve personally seen struggle and fight to make sure his family is safe is the one who does.

I just cannot express how much this season disappoints me. The fundamental misunderstanding the creators have with their own characters and their own show is unbelievable. Even at the show's weakest, what makes it so engaging, what makes it so great, is this dysfunctional ass family who love each other. Their unbreakable bonds even when they are at odds with one another. How in their own weird way they do care deeply for one another. 

And the creators when telling the final story of these dearly beloved characters, destroy the bonds between them and send them off with a big old Fuck You to the audience to boot.

I cannot fathom how the same people who made TUA1 and TUA2, created this. Truly I cannot.

The conclusion from all of this I have come to is that the creators of this show are obsessed with writing perverse storylines. More subtle in the beginning, but now at the expense of the story and the characters themselves. Even since TUA1 there have been very weird romance story lines. Luther and Allison, and though not explicitly stated, the dynamic between Five and The Handler in the first two seasons is extremely uncomfortable.

And in TUA4 it all comes to the forefront where despite all of the complexity and nuance in the previous seasons of the show, they are willing to throw it all away to write these weird creepy storylines that nobody but themselves asked for or wanted. Luther becoming a stripper, Klaus being sex trafficked, Lila and Fives whole relationship.

Again I cannot express how much this season disappoints me. I cannot comprehend the decisions the creators of this show made. I cannot understand why they chose to destroy everything that made this show great. I cannot fathom how they could end this show in such a way and then pat themselves on the back for a job well done.

This has made me so deeply upset in a way that I just can't express. I have completely lost all respect for the creators of this show. I’m glad that it's finally come to an end so the creators can’t keep continuing to ruin this show and its characters.

Goodbye, Hargreeves family. You all deserve so much better.

[anodymalion]

ok I am in fact using this as an excuse to make a long post about this thank you thank you asjksdjfaljdf

---

Interpreting Yuri as asexual is my very very favorite type of headcanon, which is one that 1. is compellingly coded in the source material (even if that wasn't the creator's intent), 2. is thematically relevant to what the piece of media is Trying To Do as a whole, and 3. just means a lot to me, personally, because I said so.

Coded in the source material

Yuri’s short program is “eros”, aka desire (you can interpret what “eros” means in various ways, but YOI itself explicitly refers to sexual love, at least in the English translations). Yuri struggles with this. Hard. He can’t come up with an answer when asked what eros means to him. His big revelatory moment about desire is that it’s how he feels about wanting to eat his favorite food (omg… boy). Even as the season goes on and the way he views the Eros program changes, the program doesn’t ever really embody the idea of eros as sexuality or romance (which was how the other characters expect him to interpret it) but rather as a desire to keep Victor in his life.

Like look. I’m obviously not going to say that the creator intended any kind of ace subtext to be there. I kind of doubt it was her intent. But goddamn is the subtext there.

2. Thematic relevance

The central theme throughout YOI is “love”, and especially loving people in a way that inspires you both to be your best selves: Yuri learning that the people in his life truly love and support him; Victor finding someone who makes him feel joy about skating again.

Like, Yuri’s whole skating theme for the Grand Prix is literally about him exploring what love looks like to him, even when it takes a form that other people don’t totally understand. Viewing all this through a lens of him being ace is really compelling. It adds depth to the idea of learning how to express the way you feel love even when it looks different than what other people expect. I think it’s a really delicious layer that adds even more nuance to what the show is getting at.

Besides, it’s an interesting way of viewing the criticism of the show that occurred for it not being 100% explicit about them being a couple (aka people getting mad because the kiss in ep 7 is blocked by Victor’s arm lmaooo). Like, ok, did you see the ending scene of ep 9? Did you see ep 10??? They definitely, definitely love each other, in whatever way that means for them. Their relationship takes a form that’s pretty different than the other way people in the show are going about romantic relationships, but that doesn’t mean it isn’t real for them. That is very much in line with the main themes of the show.

3. Means a lot to me

In the final scene of the penultimate episode, Yuri tells Victor that they should end their coaching relationship after the Grand Prix ends. This is because he thinks he’s holding Victor back, that Victor would be happier being free to go back to skating on his own instead of being Yuri’s coach. When I watched this (and, I’ll be honest, this is completely me projecting here) I REALLY interpreted this as an ace thing. I think it’s pretty easy to internalize the idea when you’re asexual that you just won’t be… enough, for other people. In my case I ended up a strong impulse to self-sabotage relationships because I would rather be the one to end things than to let someone else tell me that who I am as a person is fundamentally lacking. Yuri destroying a connection he desperately wants because he thinks there’s something about him that is holding Victor back from a life he’d be truly happy with? Oh yeah. I can fucking relate to that.

Also: YOI came out in 2016, which was the absolute peak of hostility to ace people I was seeing on this site. It was bad here. At the same time Tumblr was going wild over this show. Everyone was watching it. Seeing a whole site of people absolutely adore a character I very deeply in my heart believed to be ace? Extremely vindicating.

---

In conclusion Yuri is asexual because it is fun and interesting that way, and also because of this:

[professionalchaoticdumbass]

in the past week or so ive seen a lot of people posting about how there's this oversexualization of trans girls on the site, and I gotta agree, there are way too many people (including other trans women!) who act like we're all dtf 24/7 or always super kinky and horny. I've been tired of that stereotype for ages and i am saying this as a rather sexual trans girl myself...

...but I think people are overcorrecting a bit now, and are starting to veer into "trans women shouldnt be talked about sexually / need to be shielded from it" territory. and, to me, that's really dangerous, because outside of some queer spaces - and even within them- the sexuality of trans girls is heavily scrutinized, as is attraction to us. as much as I dislike certain aspects of the memes and jokes that kickstarted the stereotypes, I'm kinda grateful for them as well. girldick jokes helped with my bottom dysphoria, voice kink shit helped me like my voice, and the whole "tgirl tummy tuesday" thing gave me a lot of confidence in my body where I hated it before. I think this open appreciation of trans sexiness has done a lot for both me and others on tumblr.

again, obviously its got its problems - people end up assuming every trans girl is horny, or only spread positivity if its related to sex with us, and of course the people who do have dysphoria from the things that are being sexualized are left out (like those the "girls without dicks are like angels without wings" memes, ugh, feels icky every time). and on the note of comparing tgirls to angels, we also started getting treated like we're ethereal fertility goddesses and that t4t sex was some inherently sacred ritual. spoiler alert, trans girls are normal-ass people and t4t sex can be holy for the participants but its generally a pretty normal thing to do as well

coming back to the "don't sexualize trans girls" posts now, I think they were initially going in the right direction, but at this point I'm starting to raise an eyebrow at more than a few of them. I'm not gonna whip out the "youre a sex hating puritan if you post about it" accusation because that is obviously wrong but again, I think people are definitely overcorrecting and starting to turn this into a (false) dichotomy when it's not. its a complex topic and each individual trans woman will feel differently about it.

(I feel like the internet just erases any nuance in favor of a two-sided, highly polarized flamewar with unrealistic views on both sides. actually i wouldn't even say this is a super-nuanced discussion because its really not that hard to say "fetishization is bad, but so is suppression of sexuality". will this post just end up being a void scream and people will continue drawing lines between one side and the other? probably. but I am a stubborn bitch and I have hope that we can be reasonable.)

anyways I'll close this off by saying that I wrote this between around 1:30 and 2 AM on terrible sleep the night before, that I hope what I said is coherent enough, and that I will keep being a trans girl who is openly sexual, gets horny over other trans women, and is proud to be transsexy as fuck. I will keep being critical of jokes and trends and memes that stereotype us, even from our own community. I will keep being angry at how poorly us trans folks are treated with regards to our sex lives, bodies, and relationships between the two. I will keep loving and lusting over trans women without fetishizing them. And I will keep doing all of these til the day I die.

[buckley-diaztruther]

there is a lot of folks really heated at eddie for this last ep and I gotta say yall, none of it felt ooc to me. I think in the lead up so many folks built up a fantasy of what they WANTED from the ep (eddie fondly exasperated but indulging buck completely in contrast to cruel skepticism from temu) when the reality is eddienhas ALWAYS been a bitch(affectionate) when it comes to his skepticism. Just because it feels weird to us to see him getting along w temu again doesn't mean it's ooc. I think we also built a fantasy of him now aggressively hating temu because he saw he was classic petty eddie at the bachelor party. but 1. I don't think the show would be THAT overt w Eddie's jealousy, he always displays it in little looks and comments but is otherwise generally neutral if not nice to bucks partners. 2. it is possible for eddiento be jealous and still like temu as a friend, much as we wish he didn't. they've effectively written put temus dark past and it's all about him just being dry humor and sarcasm, which at times can line up well w Eddie's humor. there's a reason they got on so well at the beginning of s7, no matter how we as temu haters feel about it.

also, folks are really defensive of buck being roasted by both of them purely bc theyre defensive of buck in general (same bestie same). the fandom has clocked very early on that buck is some flavor of adhd and the RSD is out the wazoo on this guy. and a lot of us empathize w that, can relate to it. and inthink that leads to a LOT of projection. not a bad thing, but I think that it can make folks a little blind to the nuance. buck can be genuinely hurt by the dismissal from eddie and eddie can still be ok and fine for laughing and poking fun to an extent. him and buck have always had a relationship that was heavy with friendly jabs and mocking and roasting bc thats a very normal thing in relationships, esp ones that are secure. it's easy to be comfortable ribbing each other the way they do (and they've said some BOLD shit even early on) because they trust each other to not go too far and that their relationship is still secure at the end of the day. it's newer, less certain relationships where you're going to tip toe around sensitivities until you really understand a person's boundaries. and while buck has clearly struggled w being put down and rejected, outside of the divorce era it's never been something that is obviously a crossed line for buck and so I don't think this is anything more than a silly 'et tu brute' kinda feeling from buck. I don't think he's really THAT torn up about eddie laughing.

also I'm gonna say something a lot of folks hate to hear. even if buck genuinely is so distressed at every perceived rejection, that is NOT Eddie's responsibility. eddie is his friend (and future husband I know) and yes, he should and does have care for bucks feelings and boundaries. but sometimes people act like eddie has to coddle buck and treat him like a baby to protect his feelings or that eddie just never would ever be mean or dismissive to buck and 1. that's not true and 2. RSD means something that was 100% ok yesterday might feel like a devastating rejection today and unfortunately, that's for buck to contend with. he's an adult and responsible for his own emotions and reactions. he can be hurt and work thru them (solo or w eddie) but even in romantic relationships it's not all gonna be sunshine and rainbows and not every hurt feeling needs to be met with a thousand apologies and amends because sometimes w rsd your reaction can be disproportionate to the cause and that's up to buck to tackle w his therapist.

I say this all, BTW, as someone w extreme rsd who v much was amd is buck in a lot of my friend groups - the 'immature', naive and hyperactive kid who won't shut up and gets their feelings hurt at every little thing and then youre getting hurt more because you're laughed at for being sensitive. it fucking sucks and a lot of that was extrapolated by having shitty friends. and yall, the 118 are not that.

Anyway sorry that got way out of hand and I went on a huge tangent but tldr stop acting like eddie is ooc and a dick for laughing at buck and stop treating buck like a baby when he's a grown ass man thank u love u

[thrashkink-coven]

Okay I’m going to say it because I’ve seen like 10 posts about this in the last week and it’s kind of aggravating.

Before you start practicing paganism or dual faith or anything of any kind PLEASE PLEASE PLEASE learn the meaning and history of Syncretism. PLEASE.

Please stop saying that Christmas is only a Christian holiday, please stop saying that Christmas was stollen from the pagans. Please stop insisting that Yule and Christmas are the same holiday! Please stop saying that pagans cannot celebrate Christmas or that Christians shouldn’t celebrate Christmas! Christmas is many things to many different groups of people and ideas and customs evolve through time!!! There is NUANCE to these very complex ideas!!! Christmas does not need to be reclaimed, please stop.

Please stop saying that it belongs or doesn’t belong to any given group especially when humanity is so prone to spread messages and customs amongst eachother!!! “Similar” does not equal “the same” and different does not equal “the enemy”. Please stop trying to create these illogical divisions where they do not exist!!! Please read about the history of faith !!!! I beg of you!!!!

So often we see the blending and unity of concepts as “appropriation” and I’m sick of it. Our beliefs connect us so much more than they divide us. We learn so much about the world from each other and our different interpretations.

Likewise, just to touch base- nearly every single mythology or faith in the entire world takes its inspirations from somewhere. You are no superior to a Christian because you think your faith and customs are “older”.

We live in a paradoxical universe where multiple things can be true at once. You DO NOT get the authority to tell a Christian that their God is XYZ just because you’re a pagan. You do not get the authority to redefine how a group of people sees and interacts with their personal name of God. And you by no means get to claim credit for how different cultures interpret the natural world.

Yes, Christians obviously have a lot of practices that mirror pagan ones, they are not pagan, do not call them pagan. I don’t care how you feel about the Abrahamic God. So many of us hold a deep resentment towards Christianity because of religious trauma and I completely understand that, but when you try to massively oversimplify such complex topics like religion and faith, you not only risk sounding like an asshole but you make yourself look straight up stupid because you’re just wrong.

I am a devotee of Lucifer and I believe him to be the divine masculine aspect of mother Venus. I still need to understand and respect that for Christians, Lucifer represents something entirely different and that’s okay. They’re not necessarily wrong even if I fundamentally disagree. I disagree with what Lucifer is among other Luciferians and Satanists. That’s OKAY.

We have GOT to stop talking about mythology and folklore so literally. It leads us to have this “one or the other” mentality when more than one thing can be true at once! These myths are flexible and meant to change with culture. We can have respectful debates and conversations but holy moly please stop insisting that Christianity has “stollen” from you, and please for the love of God please stop trying to ruin a day that is significant to them by telling every Christian you see that Christmas is actually a pagan holiday.

(- and when I say this I am not referring to the atrocities of assimilation and slavery that forced pagan cultures to become Christian/catholic due to racism and xenophobia, that’s obviously very bad. My argument is simply that the entire Christian/Jewish/ Muslim faith cannot be discounted simply because historically, bad people used it to do bad things).

Thank you. 🙏

[doorhine]

I think the show does a really good job at validating and empathizing with Akemi’s concerns as a woman living under a patriarchy while also acknowledging her privileges, not just as a wealthy person, but as a literal princess. There’s a lot to be said about Akemi’s dynamic with Madame Kaji and the other sex workers but right now I’m focusing on her and Mizu as two main characters whose experiences as women contrast each other the most. I specifically want to talk about the end of episode 5 because it’s a culmination of so many things.

*SPOILERS BELOW

Mizu obviously isn’t there to personally see the misogyny Akemi experiences so from her perspective, she has no real reason to empathize with her running away. Mizu also just has her own priorities with her revenge quest. But even with the lack of context or understanding of Akemi’s situation, Mizu and the other sex workers' judgment of Akemi isn’t unfounded because she has real privilege over them. As a princess, she has an unfathomable amount of wealth that lets her live a life of comfort and luxury so far removed from other people’s experiences to the point where, Akemi herself states that being rich like that makes you forget that you’re rich. And while Akemi is clearly shown to utilize the skills sets she does have to her advantage when she runs away, it’s not an insult to her intelligence to acknowledge that getting as far as Madame Kaji’s establishment was also the result of luck because there’s so many ways that things could’ve gone wrong on the way there. 

So for Mizu to encounter Akemi

A princess who ran away from all that luxury for the sake of a failed marriage with a guy who bullied/hate crimed Mizu as a child and wants to duel and kill her for his honor/social status in the present (when social climbing was never truly possible for Mizu even when disguised as a man and because we know how her marriage ended)

A princess who tried to kill her and says she only regrets not doing it immediately 

A princess who calls her a monster just like everyone else 

A princess who has no idea Mizu’s even a woman or all the experiences that got her to this point, including the assassination of Kinuyo (who didn’t want to die) at Madam Kaji’s request because women have to be practical and think of the results (not how they get there) when it comes to revenge 

A princess who may have fought to help defend Madame Kaji and her girls but then expected a mentally, emotionally and physically exhausted Mizu (suffering from multiple puncture wounds after doing the majority of the killing/defending) to fight Akemi’s own guards like a personal attack dog when doing so would’ve more than likely killed her and Ringo while Akemi still lived and got taken back home…. *takes a deep breath*

It’s totally understandable why Mizu just lets them take Akemi. 

On Akemi’s part, she doesn’t know the context around why Mizu is the way that she is but at the end of the episode assumes that she’s not capable of love when they’ve only known each other for… not even a day and half technically speaking. Meanwhile Mizu’s assessment of Akemi’s privilege is still accurate in certain ways despite her lack of context that makes Akemi empathetic to us as the audience. Also, not that Mizu sees this happen, Akemi is able to maneuver her way around the shogun’s court and her new husband while also uplifting and hiring Madame Kaji and her girls to both their benefit. A path she chooses to continue taking at the end of the season. It’s still within the confines of the patriarchy and not without its challenges, but Akemi is taking advantage of the privileges she does have when she previously took them for granted. 

Both Mizu and Akemi are just so nuanced and well written and this scene is a perfect example of how and why they clash due to such drastically different lives shaped by their social status. I’m curious to see how their journeys will go from here and what circumstances reunite them (for better or worse) given where they left off with each other during the season finale.

[nightfurynova1217]

Crazy revelation I just had about Soichiro's death. This occurred to me while writing a Beyond Birthday fic, and specifically having to keep in mind that death does not surprise him. Sure, he doesn't know how it'll happen, but he always knows when.

It's glossed over if not outright cut from the anime, but it's addressed in a blink-and-ya-miss-it way in the manga, that Soichiro was planning to commit suicide after the raid to Mello's base (for those who were unaware of that fact, it's because he believes his involvement in the case is putting his family in danger, as evidenced by Sayu being kidnapped). The reason he doesn't is obviously because he dies before then, because he cut his time in half after making the eye deal with Ryuk, and instead dies via gunshot wounds and the explosion. Soichiro's life was not taken by a death note, his lifespan was not completely cut short "before his time". My point is, his timer ran out.

MISA. HAS. THE. EYES.

Whether or not she would have figured out the exact formula for how long each tick is, or if she would have calculated the exact date and time, she would have at least seen that Soichiro didn't have much time left compared to everyone else. And she ABSOLUTELY would have told Light. A shinigami would never tell a human how much time they have left, or their loved ones, but there's no rule saying a human with the eyes can't. Even if she never calculates the exact time, she'd notice how much it's ticking down per day and could gauge about how much longer he'd have left. If you think she wouldn't, I'd like to point out that this is her future father-in-law. She would have made the effort. Even if for no other reason than to tell her long-term lover and boyfriend (whom she has lived with for nearly five years now, is her literal partner-in-crime, mastermind behind the schemes, and friggin Lord Kira himself), that his father is going to die in roughly X amount of time. Misa lost both her parents. She knows that pain. She would absolutely want to spare Light from it. She can't save him from it completely, she can't prevent Soichiro's death, but she can brace him for it.

All that now to say, it makes me wonder. Did Light know he was more-or-less sending his father to his death on that mission to raid Mello's base and get the death note back? What we see in both the anime and manga, it seems to suggest that he didn't know and it took him completely by surprise. But logically... he would have at least had an idea that it would be soon.

Now with that lens, while in the hospital and his dad is literally dying, it makes his internal dialogue about "how would a normal person react to this" make a lot more sense than that he has to pretend to care that his dad is dying. It's much less a matter of, "Light is a psychopath and doesn't care about anything other than his goals". It's now more like "he knew his dad's death was coming and has already come to terms with it". That's why it's not fazing him. I will concede that he didn't know that this would be how, or again, he knew it'd be soon but not today, so there's that aspect to consider (I bring that up to say that I like to think Light didn't put on a performance when he started crying, I wanna believe that was legit and he was grieving). But I'm totally open for friendly, civil discussion here.

I rewatched and reread the scene in question and, from a meta standpoint, I'm sure that Ohba just forgot and didn't consider that Misa would know he'd die. But from a character standpoint, I think it shifts the perspective on the scene and adds some interesting nuance.

Thoughts?