#this is such a niche overlap it’s so weird i doubt anyone will get this

[apollolovescheesecak]

pathetic loser malewife scientists with depression and bowties with goggles/glasses who are taken over mentally by another being as an excuse to act goofy voiced by tom kenny with the spiky bob haircut thing and partially white hair >>>>>

[latefrequencies]

okay so watching Doug Walker’s take on Pink Floyd: The Wall was such a thing bc in no real order:

while I agree with him that the film is unsubtle at times (although I think it’s not as heavy-handed as he thinks it is), we COMPLETELY disagree on what parts ARE too heavy-handed. I don’t think the bit with the train is as overtly and directly about WW2 as Doug Walker thinks it is, and it’s fucking remarkable how he thought Dictator Pink was a stand-in for Anyone You Dislike when Dictator is CLEARLY the embodiment of fascism. (these aren’t the only examples, these are just two)

speaking of which, Walker COMPLETELY misses the role of WW2 in The Wall (it’s the first “brick in the wall” for the protagonist, one of the film’s big themes is its anti-war sentiment, and to an extent it informs the systemic issues that The Wall tackles). like, I know I’m being generous in assuming he’s capable of having good takes on things, but if he had grasped that part, his take on the film at least would have been more informed? It would’ve been different, that’s for sure

I don’t know what the fuck Satellite City is so I don’t know what the deal with the 3D animated creatures was (are they characters from Satellite City? I’m led to believe they are?) but their presence in the review at all, especially during The Trial, was absurd because, like I said, I don’t know who the fuck they are or what their relevance to either The Wall or the review itself is. I’m under the impression they have none. By contrast, I very much knew who the fuck the animated characters were supposed to be in the equivalent section of The Wall, because the film has by that point spent a good deal of time actually showing those characters and their relationship to Pink. For all I know, the Satellite City characters might have similarities to the characters from The Wall - I doubt it but it’s technically possible - but if so, their presence in the review still expects the viewer to be familiar with Satellite City. I don’t know if there’s a big overlap in Satellite City fans and Nostalgia Critic viewers so idk if Doug Walker could’ve actually expected his viewers to recognize the characters but that’s a big if and it’s still baffling.

imagine if “Hey You” had been in the film of The Wall and Doug Walker had parodied it. he probably would have made it a condescending thing at the viewer, asking them if they really thought the film was deep or enjoyable.

I do not understand why he thinks anybody is going to interpret his album as “a love letter to Pink Floyd”. I know that the Critic character sometimes displays harshness towards things the guy who plays him actually likes, but this. really did not read like one of those times?

The phrase “I have become comfortably dumb” was fucking incredible to hear come out of the Nostalgia Critic’s mouth because yeah. yeah dude you have. that’s an incredibly good summary of your career.

Riding off of that, it was almost surreal to watch Doug Walker assume the role of Dictator Pink when the guy at the start of the video (he’s from Slipknot? I think? Is that correct?) represented regular Pink. It’s weird because my interpretation is that Pink does not identify with or as the Dictator (the Dictator is a dissociative state who textually identifies himself as not being Pink), so it’s like the Dictator is a character who exists to express views in an extreme way that his creator does not believe in....much like the Critic is a character of Doug Walker’s creation, except the Nostalgia Critic DOES express views that Doug Walker agrees with, just in a more obnoxious and over-the-top way than is generally considered acceptable. 

I’m not finished with this part, where the Critic portrays the Dictator. It’s like Walker almost made a point with that. ALMOST. It drives me up the wall (pun intended) that he did this because, in not portraying himself as Pink, Walker is identifying the Critic with the Dictator and only the Dictator, so it’s like. it’s like Walker is saying. that his relationship to the Critic is like Pink’s relationship to the Dictator. It’s someone he doesn’t agree with who exists primarily to act on feelings that his creator knows on some level are wrong. Except Walker’s relationship to the Critic is the opposite of Pink’s to the Dictator?? The Critic is someone Walker intentionally created to express views he does agree with in an extreme way (in the form of overreactions, not physical violence or anything) that he couldn’t get away with exhibiting in everyday life. Meanwhile the Dictator is someone Pink’s psyche created without Pink intending to, and while the Dictator doesn’t have a clear purpose for existing the way the Critic does (simply bc the Critic is an intentionally-created character), the Dictator ALSO primarily expresses views in an extreme way that the person behind him DOESN’T agree with. If Doug Walker had the capacity for subtlety, I would actually think that this is maybe his way of saying that he doesn’t agree with the Critic anymore and he’s becoming increasingly distanced from the character, but again that would require Doug Walker to be able to communicate things in a subtle way and also it would require him to be able to read the relationship between Pink and the Dictator correctly.

Also maybe it’s bc I’m used to seeing the Critic wearing his hat so I don’t conceptualize him as bald, but Doug Walker not wearing the hat during the Dictator Pink segments even reminded me of the shaving of the eyebrows in the movie (and how Bob Geldof was supposed to shave his head too but he refused). like. does Doug Walker know that. does he know that detail of the production of the film. is he aware that the character was supposed to be bald. like. okay I get that maybe this isn’t common knowledge to average The Wall enjoyers watching the video but it’s knowledge that at least some fans have so it’s uhh something that people with great familiarity with the thing he’s criticizing can apply to his criticism. which is so weird.

What the fuck was that, during The Trial, when the shitty animation during the Goodbye Blue Sky bit was juxtaposed with the actual quality animation done by the Satellite City guy???? that was hysterical actually

I don’t think I have anything more to say about this now. I’ve only watched Doug Walker’s video once and I might watch it again for the sole reason that sometimes I watch videos repeatedly bc I forget what was in them. if I have anything new to say then I might. I know I had new things to say about it every time I watched Pink Floyd: The Wall and I feel like my love for that movie is going to cause me to develop incredibly niche and specific criticisms of Doug Walker’s The Wall. but that’s all I have for now.

[crisisoninfintefandoms]

All right, I’m finally caught up with The Magnus Archives, and now I can’t stop thinking about characters from Hannibal as different avatars or worshipers of various entities. 

Hannibal I can’t decide whether he would be either linked to the Web or the Flesh (or possibly both? Can that be a thing?) cause while manipulation is definitely a Thing of his, and can’t get around that at the end up the day it really is mostly about the “meat” for him, and then of course the Ripper’s displays seem very “sculptor” or “bone turn-y.” He’d certainly be the most sophisticated servant the Flesh has ever had, lol. I guess the Spiral is also a possibility, with the whole “psychiatrist pushing patients towards madness” thing, but honestly he really only does that with Will? And that’s just cause the opportunity presented itself with the encephalitis. With all his other patients, he manipulates them, sure, but we don’t see him getting them to doubt their own minds or reality so much. So, yeah, Web or Flesh, or some weird unholy union of the two.

Will I think could definitely be a Hunter, or maybe even something more than a Hunter, some primal manifestation of the Hunt or something. While he’s certainly capable of primal violence, I think he’s a bit too focused for the Slaughter, and none of the other ones seem quite right. The Hunt has a good balance of cold calculation and vicious killing that seem to fit him really well, plus the whole thing of how a lot of servants of the Hunt these days hunt monsters seems really perfect for him. I also like the implications of what we hear about the Hunt and Hunters in regards to Will, how actually catching the prey is their least favorite part and so they sometimes will do things to let a really good prey get away, just to keep the chase going a little longer, which I think could relate to his dynamic with Hannibal in really interesting ways, AND a Hunter that can empathize with his prey is...just really interesting to me. The only other one I might be able to get behind is the Eye, with his ability to just Know Things, but I think he’s a little too active and violent prone for that to really suit him. Maybe he’s a product of BOTH the Hunt and the Eye, and then Hannibal is the Flesh and the Web, and they’re the start of some new alliances that the entities are making to make themselves stronger or something. That could be kinda neat.  

Dolarhyde, with his Great Red Dragon manifestation, I think would be a form of the Desolation. Sure, it could be the Hunt, with the animalistic pursuit thing, or even the Slaughter with the violence, but with his habit of specifically targeting happy families, it really reminds my of how servants of the Lightless Flame would seek out targets with the most potential happiness to destroy. He kills children in front of their parents, specifically so they see what they lose, and then every other “perfect” family fears that all they have will be ripped from them. Plus, all the fire imagery, with the Dragon and all. 

Mason could be the Flesh too, what with the whole slaughterhouse angle, BUT on the show at least I think he might be more tied to the Lonely? When we see him with that kid, when he gets his tears to drink, he makes him cry by making him feel unwanted and alone. And of course he isolates Margot, like many abusers do. He doesn’t seem to have many connections himself, and even his loyal servants he keeps at arms length. In fact, I could even imagine the Vergers as a family that has long ties with the Lonely, much like the Lukases in The Magnus Archives were, out living in this vast estate, away from everything, no one around except the people they pay to be there...

Anyway, those are all the thoughts I’ve had so far, anyone else overlapping these two very niche fandoms????