#this was so much fun to write!! i love that song so much man

[superhoeva]

𝐓𝐇𝐄 𝐑𝐈𝐋𝐄𝐘 𝐅𝐀𝐌𝐈𝐋𝐘: 𝐓𝐀𝐒𝐓𝐄

main masterlist | series masterlist | tag

⬩ pairing(s) gomez inspired!simon "ghost" riley x morticia inspired!fem!reader

⬩ warning(s) sabrina carpenter (heavily mentioned), violence (mentioned), guns (mentioned), the kids having a blast, humor (i hope!), confused!dad!simon, mom!reader

⬩ author's note hi my loves! simon and wifey having a night in is still in progress but i still wanted to write something for the rileys! as a sabrina carpenter fan, i absolutely love this one and i hope you do as well. thank you for all of the love on the two fics released so far! much more to come! <3 (lovely divider is by @wethairjoel)

⬩ word count 0.4k

Something… odd is coming from the living room. Upbeat. Annoyingly familiar and Simon’s blood starts to itch when he can’t place it. The man gives in with a mix of a grunt and sigh, easing into the room with furrowed eyebrows.

Simon has to pause at the sight he’s met with. A blast of bright pop music smacks him in the face. As does the way Reaper bounces in a happy dance around his sister, who’s completely enamored by the television screen. A summery music video plays–filled with swimsuits and umbrellas and too much orange for Simon to appreciate.

“Little Devils?”

Reaper answers without pausing his jumping.

“Yes, Papa?”

“What’s this now?”

“A new song we like. Isn’t it nice, Papa?”

Simon thinks for a moment, tongue sliding across the inside of his cheek. “Well, she’s very… blonde.”

“You’re blonde, Papa,” Raven reminds him, and Simon would laugh if it wasn’t for the repetitive melody sounding over and over again.

“Who showed ya this, anyway?”

“Mama.”

Oh, alright. You showed them this–wait… what? You? His beautiful, brooding wife?

“They were talking about her at school, too. She’s very pretty… but not as pretty as Mama.”

Another hm is all Simon can hum in agreement. His eyes trail back to his son, to his daughter, then back to his son again. With the way he’s moving, he’ll sleep just fine tonight.

Simon flicks back to the telly. What is this woman even talking about?

“Wha' is she even talkin’ about, lovies?”

Reaper answers his father, out of breath but still moving. “‘Bout how she has to work late.”

“Why’s she workin’ late?”

“‘Cause she’s a singer,” Raven replies this time, not even noticing how she sings the response. Bloody hell… as long as they’re having fun, he guesses.

Simon finds you in your office, expression scarily similar to Raven’s as you stare at your computer screen. Entranced by the same woman his children are listening to just down the hall.

“You too, pretty?”

You nuzzle against the tender hand he places on your shoulder, Simon warming and pressing a kiss on your head at the affection. “She’s actually quite interesting, my love. Watch…”

Simon sighs but obeys, eyes focusing on where your laptop plays a music video. Very different from the one Raven and Reaper are enjoying. This has knives and blood and shotguns and injury. All of which forces a tilt of the head from Simon.

“This is…” your husband trails off, unable to find the words. “'S quite nice.”

“It’s magnificent,” you mumble, transfixed at how Sabrina Carpenter looks with a wooden fence sticking through her middle. “They’re magnificent.”

Funny enough, Simon is the one who rewinds the video as soon as it’s ending, tapping you to stand so he can take your seat and pull you onto his lap. Arms wrapped around your middle and chin settled on your shoulder. Eyes blazing with delight at the viciousness of the video.

© 𝐬𝐮𝐩𝐞𝐫𝐡𝐨𝐞𝐯𝐚

[earlycuntsets]

06/11/2004 equal music interview with gerard by danielle moskowitz

"When Warner Brothers/Reprise invited me to come talk with Gerard from My Chemical Romance about their new album at their record release show, how could I have refused?

The show was in their home state of NJ, packed with 1300 cheering fans. What made the show even cooler for me was featured artist, Nightmare of You was on the bill too! (NOY is still currently unsigned and have been playing with My Chem. Good for them!) I love when Equal Music bands get together!

Is their latest apart of a trilogy? Front man Gerard explains. He also reveals what why it didn't turn out to be the concept record they had planned it to be and what are they doing in Tokyo with The Beastie Boys? (Original interview from Oct. 31, 2003 follows this latest one from June)

DM: When we spoke last you guys were shopping for a producer. Who did you wind up working with and why?

Gerard: We wound up working with Howard Benson. A big reason was because he contacted us which is always very exciting. He was very enthusiastic about the project. It's not so much that he got what world we came from because he's worked with bands like P.O.D. and Blindside which is a completely different universe but he got what we were trying to do with the music and so we connected on a lot of levels.

DM: How was this experience different from working with Alex (Eyeball Records) and Geoff (Thursday [Island/Def Jam]) front man?

Gerard: That whole experience was hanging with friends and having a really fun time. There wasn't a lot of money or pressure. But then this experience didn't have that much pressure either which was weird. It was very a positive experience that had a really good flow. But yeah it was very different.

DM: You said in October that while you were finishing the first record you knew what you wanted the second one to be called (which is their latest, Three Cheers for Sweet Revenge) and at the time since you knew the name for the second one you had an idea for what you wanted the third record to be called, although there's not going to be a trilogy so how do you know? Where's the connection with that?

Gerard: It's the kind of connection where you kind of always have a sense of what you're band is doing and where it's headed. I think we have a good idea of kind of like what the first record should be.It should be fast and dirty and cheap. Then the second one you really up the ante and really go for it with this one. The third one you try to explore new avenues. We ended up doing a lot of that on this record. We actually ended up being way more experiemantal than we thought we were going to be. It sounded good to us so we said let's keep doing it.

DM: To jump ahead, do you know what the next one's going to be called?

Gerard: From this experience I learned I shouldn't do that anymore because it locks you into something. And this record wound up being half a concept record because so much happened in our lives that when it came time to write lyrics I found out that it was less ficiton and more fact. So it's a very loose concept record. I want to see what happens for the third one and actually not plan anything out. I think that will be interesting because- it's not that we're calculated but we always kind of know where we're headed and kind of vibe on it. For the next one I kind of don't want to have that.

DM: What kind of mood do you feel like the new album has?

Gerard: I just started listening to it as a piece now, not just bits here and there it's really about loss. The first record was more about pain, misery and agression and violence. Although the lyrics can be disturbing at points, it's really about loss. In the end that's what it wound up being more about instead of some story. You can pick it out of at least four or five of the songs. Even the performances that everyone gives too makes it feel like it's really about loss.

DM: Do you feel like it's dark?

Gerard: Yeah. It's already been called that by a lot of people. We got a parental advisory without even having more than one curse in it. I think it's dark but I think it's a lot more positive than the first record.

DM: Yeah, I remember you saying that you felt the ups were going to be more up and the downs more down.

Gerard: Yeah and they really ended up being like that. But, there's definitely more moments of positivity and celebration than on the first record.

DM: What are some of difference of working with an indie and working with a major?

Gerard: This record was really painless so I can't truthfully answer that as a band that's in our position. We are really rare case of-- it was very similar to the first record where we did exactly what we wanted and luckily because they knew who we were when they signed us that's exactly what they wanted. There wasn't much of a difference other than the fact that there was obviously a lot more deadlines and a lot more pressure to get things done on time. That was the big difference but that was actually it.

DM: You're going to Tokyo soon for Summer Sonic Fest. You must be excited.

Gerard:Yeah, it's awesome, we get to play with The Beastie Boys and I've never seen them.

DM: What's going on for you guys for the rest of the year?

Gerard: Pretty much straight touring till the record cycle is over. It's usually about eighteen months from the time you start a record until you're done touring on it and should be starting a new one. There's already stuff I really want to write. I want to start immediately. As soon as we finished this I wanted to just do another. We're very much a live band but at the same time you get in the studio and you remember you're very much all songwriters and we had forgotten that part of us. I'm still in that head fix where I want to write more songs.

DM: Maybe you can still do that while you're on the road.

Gerard: Yeah, we plan to do it on Warped Tour. It will be our first time really on a bus so we're going to have more space and we'll be comfortable. Right ater that we're going back to a van so Warped Tour is really going to be the time that we write.

danielle moskowitz october 31, 2003 (2nd interview below)

Juxtaposing raw vocals and a punk edge against riffs suddenly gone melodic, My Chemical Romance takes you from upbeat drumming in one measure to a moment where you find yourself lost in slow, somber guitars the next. Listen closely as their vocalist Gerard reveals glimpses of himself through his brutally honest lyrics that hold traces of darkness around them.

DM: The bands success seems to have come very quickly. How long were you a band before signing to Eyeball Records?

Gerard: Let’s see—January is when we started playing as a band. We signed around our third or fourth show. It’s been quick since the beginning.

DM: What were you doing with your lives before the band took off?

Gerard: I was doing animation in the city [New York]. I was actually doing toy design in Hoboken [New Jersey], and Frankie was going to school, Mikey was going to school, Otter was a mechanic, and Ray was delivering film I believe and interning and stuff like that for film. We all just weren’t happy doing what we were doing, ya know?

DM: Geoff from the band Thursday and Alex from Eyeball [Records] I know played a big part in the recording of your last CD.

Gerard: Yeah, definitely.

DM: Are they going to be playing any part on your CD that will be coming out?

Gerard: I don’t think so. Sometimes you want to use the same people sometimes you want to see what would happen with other people. I’m sure they’ll hear it and we’ll ask their opinions.

DM: So they’re not going to help produce?

Gerard: Nah.

DM: What made you guys decide that a major was the next best move?

Gerard: It was one of those things where everything else was moving really fast but we had been able to keep up with it, ya know? We had been able to keep up with the shows that we were getting which were like going from playing basements to playing in front of 10,000 people with Jimmy Eat World. So it went from that to that, and it seemed like a very natural progression. And although a lot of people think it seemed quick, all that talk and all that nonsense was happening before our record even came out. It was like, we basically not fought them off, but said hey we’re going to be a band and do that, ya know? And then when we’re ready…Actually it was a lot longer process than most bands that are getting signed today.

DM: What made Reprise the best label for you guys?

Gerard: It was the best company. They were very familiar with us. We had a lot of fans at the company before we had signed. We had a lot of people helping out before we had signed.

DM: And they understand where you guys wanted to go musically, as a band?

Gerard: Yeah, exactly. That was the big thing. They knew where we wanted to go, they knew how we wanted to do things, and they were going to let us do it our way. Very low pressure type thing. Just kind of let us be us and you distribute us.

DM: When is the new album due out?

Gerard: We’re hoping it will come out in about in about spring. We’re going to record in January. We don’t have a producer yet. We’re looking at a few people and they’re looking at us. So it’s kind of that whole game right now.

DM: Do you have a title yet?

Gerard: Yeah, it’s called Three Cheers for Sweet Revenge. And it was a title that… we pretty much known the title for the first record before it was finished and as soon as we were done with that I kind of knew what I wanted the title to be for the second. So it’s kind of in the process where I kind of know what I want the third to be too.

DM: Is it a trilogy type thing?

Gerard: No. This one’s different from the last and it’s more fictitious, but it’s still heartfelt. And it’s more of a concept record than the last one, where the last one was more of an autobiography. But the next one’s more of a concept album about a person; the next one after that I don’t what know what it will be.

DM: While you guys have been on tour you’ve been playing new songs live and they seem to be heavier. Would you say that is the direction you guys are going in?

Gerard: Well, yeah. The heavier stuffs heavier. The heavy stuff we did before is definitely heavier now. Those same elements are there; we’re just spending a little more time on the heavy stuff. But at the same time I think there’s way more melody. Maybe not in the stuff we’re playing out live, but it’s more violently happy. But it’s also very ironically bleak ya know, as far as tone goes.

DM: Track seven on your CD [I Brought You My Bullets, You Brought Me Your Love] is called Skylines and Turnstiles. Is it true that it was inspired by September 11?

Gerard: Yeah, and in fact that event happening was a big thing about why we started the band because, I was on my to a meeting with Cartoon Network and then that happened and I was like what the fuck am I doing with my life.

DM: You saw it happen? You were in the city?

Gerard: Yeah, I was in Hoboken, on the way there. I was right across the river and I was on my way in right around that, very close to that area, but more around Canal, and I was like what the fuck am I doing?

DM: It made you feel like life’s too short and you need to go for what you want?

Gerard: Yeah, yeah exactly. Like obviously life is way too short, you don’t know when your numbers coming and I also felt like I wasn’t making a difference at all, ya know what I mean?

DM: There are a couple theories circulating about your repeated mention of vampires in your lyrics. Can you clear that up?

Gerard: It’s a metaphor for being in your twenties and getting sucked into that singles, alcoholic nightlife culture, ya know what I mean? It’s interesting, because you’ll find that a lot of bands use the supernatural as a gimmick, and that’s really all it is, it’s just like horror punk, and that’s all it is. We’re not really into vampires. I like to wear black, but…

Contact Danielle@equalmusic.com for more about My Chemical Romance. Check them out on select Warped Tour Dates later this year

[shutyourfacemonsterlover]

Overall thoughts and opinions on the most famous Phantom adaptations / most famous Eriks

Because these things are fun, i thought maybe it could be interesting for me to reunite my overall thoughts on the most popular adaptations, because everybody has opinions on them (and maybe my takes are super cold and vanilla). Still, it's fun!

I'm also gonna go with the most popular because there are like a million Phantom adaptations and I don't have the energy to rank them all. (i'm also mostly doing the ones that are series / shows / musicals- the books i would pretty much mostly mention the Leroux OG and Kay, and i'm already going somewhere with the second one). (Forgive me all Ken Hill / Song at Midnight / MazM fans)

-The 1925 silent film with Lon Chaney: I'm really biased, but I admit this is my favorite Phantom adaptation, even if i know as a film it's rather limited by the constraints of the era (bad acting, slow pacing, the weird whitewashing of the Persian etc etc). It downplays the tragic romantic elements of the story (Christine is very one-dimensional and seems more afraid of Erik than empathetic), and Erik is written a little too "generic evil villain", but there are elements to suggest that there's more to Erik than meets the eye, and why he's an engaging figure in the first place. Yeah, like most, i hate the ending, but it's saved by overall faithfulness to the novel (he's born deformed! he has a death's head! he has a life of tragedy! he loves Christine! you can't imagine the number of adaptations that don't get these simple things RIGHT), and the subtle moments Chaney adds to make his Erik more three dimensional (the moment in the Apollo's Lyre scene where he holds his mouth in pain lives in my head rent free) It has my favorite movie Erik, and that's all that matters to me. <3 8/10

-The 1943 film with Claude Rains: I always call this film "missed potential". It looks beautiful, it sounds beautiful, it has good quotes, I like the film delving more into Christine's character; but the Abbott and Costello comedy of the two Raouls is out of place, and the writing of Erique is kinda of a mess (and considering he's the most important character in POTO...YEAH a good adaptation depends a lot on his writing). You don't really understand what is his connection with Christine, and how his initial sympathetic scenes kinda clash with his more violent streak (he gets thrown acid in the first place because he kills a man pre-Phantom); making the character come off as a little inconsistent and not as sympathetic as he should be. This movie also started the "disfigured in an accident, no Persian" versions of Phantom that I feel kinda cheapen the story later on (a lifetime of tragedy is what shaped Erik, not "one bad day"). A real shame, because Rains carries an elegance to Erik that I think helps with the imagery of the character (a monster trying so much to be "human"). Hmm...6.5/10

-The 1962 with Herbert Lom. This one also changes a bit, and normally i'd be bitching and moaning about it, but i prefer the changes here to the Claude Rains version since they're more consistent in portraying Erik's character. You feel for his music being stolen, and want to see this artist have such a simple dream as seeing his creation come true. People don't like it erases his obsession with Christine, but i think here it works, since you can believe his passion for his art is what drives him. (Also, i think this movie is what started the trend of Phantom adaptations having another villain, which is something explored better in Phantom of the Paradise). It doesn't look as nice as the Claude Rains film, tho, and something in the acting stops it from going the most. 6/10

-Phantom of the Paradise: A BLAST. It changes a lot about the source material, but considering even the setting is different, everything works to its advantage. Winslow is the first Phantom that really delves well into the "tragic monster" element of the character, with even his violent tendencies being a consistent trait from the start of the story (he attacks Philbin for making an inoffensive comment about the Juicy Fruits). The imagery is distinctive, Swan is a very compelling villain, and the songs are fantastic. Winslow's sacrifice, like Lindsay Ellis said, is simply a progression from his acts in the novel (yes, I believe Erik would sacrifice himself to guarantee Christine's safety, post development). What only sucks is that I don't feel you buy Winslow's passion for Christine / Phoenix, and she comes off as inconsistent in her ambition and not as empathetic (still, she sings very nicely and I love that the actress resembles Mary Philbin (1925 Christine) at times). Also while the Faustian elements add to the movie, i'm not sure how they can relate to Erik's' character in general (not to mention the Dorian Gray element). Also the pacing in the last 10 minutes is rushed and kinda sucks. But still...As a movie? It's my favorite. 9/10

-The Maximilliam Schell 1983 made for TV film: My least favorite, and it all has to do with how slow and dull the pacing is, you just don't get the sense of dread or tragedy. The reincarnated wife subplot is really random, and it makes Sandor pathetic and delusional instead of empathetic and tragic. And i'll take bad over boring any day of the week. 2/10

-ALW's musical (add here the 25th version too): Oh ho ho, the one piece of media that got us all into Phantom I think. It's a big, bombastic musical, and you can see the appeal. While i don't like some characters are turned more one-dimensional (Raoul, Christine); I do like how it pushes forward Erik's trauma, and how it has broken him; he's not a good man, no, but not a monster, either. And this idea that abuse victims can turn cruel as well...But, you know, they still deserve love. Perhaps they always did! And the focus on the romance which puritans complain about...Boy you will not be ready to hear me when i tell you the original novel implies Christine is indeed into both Raoul and Erik, for different reasons lol. I dont like the omission of the Persian, but I like that this cements that again, Erik wasn't a rando who one day snapped, it was a life of tragedy that turned him into what he is....We can dislike it, we can like it, but we can admit it has influenced our perception of the story in more ways than one. 8/10.

-The 1988 cartoon: The most faithful adaptation of the novel is also the cheapest movie of the bunch. Whew lads...Tho I do like Erik's character. He's got the redemption, the deformity, the sense of humor (when i read Erik i often headcanon him having this Erik's voice). I also like Christine, she's not written as a bland damsel, she shows a bit of an attitude. And hey, rare Persian appearance! I even like the ending, with the cast showing compassion towards Erik's misfortune. It's just that the technical limitations of the movie avoid the film from reaching high status. 6.5/10

-1989 with Robert Englund: An unpopular opinion, but I love this film. It's strange in that it's both very faithful to the novel, adapting the gothic horror of the elements, but it changes way too much Erik's character (the crux of the story) into somebody who isn't really tragic or sympathetic. A musician who sells his soul to the devil (an element it took from Phantom of the Paradise...I have the theory that Phantom adaptations take elements from each other more than from the novel) and gains immortality...and kills people for no reason??? Normally, in another adaptation, I would dislike a lot this change, but Englund's interpretation turns the character into more layers than simply a psychopathic asshole. He gets the "allure" and horror of Erik, which is a big part of the character. I feel with a more book accurate backstory, and impulse more the angle of "doomed dark lover" with Christine (yes his love is also...downplayed), this would easily be one of the more popular Eriks. Yeah it steals a lot from Nightmare on Elm Street, but there's an interesting movie in here, amidst the music and the beautiful cinematography...8/10.

-The 1990 miniseries with Charles Dance: Cherik! The phandom darling! This one is strange since i feel it diverges from the novel as much as the Robert Englund version, yet it's one of the most beloved adaptations. It offers an interesting interpretation of Erik, he's not as cruel, but the movie delves more into the aspect of him being a doomed romantic lover. He's not as manipulative to his Christine (i'd argue this is one version of the story where they should've gotten together imo), and has a gentler approach to life. The series takes the element of the book of him having arrested development and runs with it. Still tho, the gentler approach kinda cuts the tragedy of the character; what with loving parents and all being something Erik DIDNT have growing up. The appearance of the father is what dulls the film, and makes Erik come off as more dependent and childish. Still, Charles Dance gives his Erik a quiet dignity, that avoids the character falling into a manchild interpretation. 7/10 (not bad, just that i like my Eriks more lonely and threatening)

-The 1998 film of Dario Argento: Y'all owe Gerard Butler an apology, lol. This is the ONE truly shit adaptation of Phantom, lol. It feels like a fever dream. It's more gross than scary, it's not tragic, it's not romantic, Erik is not in any way sympathetic or complex or alluring...Like the fuck lol. 3/10 (and that 3 is because it makes me laugh...)

-Wishbone "Pantin' at the Opera" episode: Eh, "Phantom for kids", not a interpretation of the story I like, but it's accurate to the novel, which makes it stand out. And it gives Erik a rare happy ending! Tho, as expected since it's for kids, it downplays a lot of the more complex themes. Still...gotta praise the accuracy. 5/10

-2004 with Gerard Butler: I don't think it's as bad as the phandom made it out for years. It could be better, but i think the technical details and the bad makeup are what drag the film down, since it doesn't diverge massively from the story or themes (except the weird grooming thing...ew). This Erik is interesting in that much like Cherik, he grew up inside the Opera House, and it's an unique view of the character, that he's got arrested development due to never leaving his own "house" growing up (a bit of a plot hole then how he learned magic, engineering, architecture, etc etc, but eeeeh). He's also more vulnerable and emotional compared to the stage counterpart, who seems more self assured and angry. It's not horrible, just average, and could be better. 6.5/10

-The cartoon episode of the Triplets with Phantom (aired in the 2000s-something): Phantom for kids again. it's not an interpretation of the story in general that i like (too fluffy for my liking), but this episode gets the points of the story; Christine's complex feelings and Erik's redemption, while still keeping his initial wickedness (he even gets a sorta happy ending! my boy!). also it's funny at times, so there's that. 6/10

-Love Never Dies: This is...frustrating. I'm of the unpopular opinion that a sequel focused on Erik can work, but I feel his story with Christine is over, and dragging it back again just places the characters in square one, their development null. As an original story, it can be a potential good drama, but with these established characters, a lot of the emotions feel forced and manufactured. 5/10

So overall...My favorite versions of Erik and the story are...the musical and Chaney? And Paradise and Robert Englund for the wild out there versions. But there's always something missing, i can't always point to one and go "THAT is the definitive Erik". Erik is a very complex character, made of light and shadows, and the movies never reflect that.

I don't think most of these movies are good, we like them because they're Phantom content, but still, it's interesting to observe how this story has changed reflecting the interests of society at the time being. Before, we wanted this cruel monster punished...Then we turned him into an 80s slasher...And now in the monster fucker era we see him as a potential romantic lead...Huh.

[another-day]

the last episode in review for inanimate insanity EVER!!!!

as always, SPOILERS FOR EPISODE 18 OF INANIMATE INSANITY SEASON TWO!!!!!

holy shmowzow

this was a fantastic episode, such a fun and satisfying way to end everything off yknow

let’s get into it!!!!

this first segment was heartbreaking.

seeing mephone reflect on everything he’s done and seeing the consequences of his actions was such an incredibly crafted sequence. his disassociation, his distance from what’s happening, it really shows how traumatic all this is for him. mephone has lost everyone he has ever loved, and he’s stuck with a man who has done nothing but demean and hurt him. he feels hopeless, and the song in this segment also gorgeously captures that.

his slow walk to the cliff edge, looking over everything he’s lost, only for cobs to pull him away? amazing, mephone’s not really there because there’s nothing to be there for, and cobs is trying to pull him back into reality.

this idea of like a cloud in mephone after everyone was deleted was so interesting, like i get it was forshadowed and all but its so cool that its so non-linear too

anyway, BOX?? i’ll be real, i was always a box hater, and i’m glad to know that alive box is too. she’s actually such a cool character though and i totally love her. her and suitcase both having experiences with drowning was so interesting too, like okay i see you brown retangular characters who were somewhat meek but grew from that and also have had bad experienced with water.

also, ahem ahem, new suitcase ship?

also, just because i understand that tumblr has a photo limit, seeing mephone stand up to cobs by warning the prime shimmer was wonderful. he’s finally taking action to amend what he’d done. granted, it didn’t really work out, but what matters is that he tried right?

i am so glad they canonically met

they’re two characters that have grown from their anger filled behaviour and (ultimately) end up making a sacrifice for the people they love. they’re also just violent idiots at some points, and i think that’s really great for them.

also, KNICKLE CRUMBS, 4s comforting knife after he expresses his upsetness about pickle ough my heart.

now all of the hug scenes were very cute but WHAT.

this felt like a 35 minute payjay makeout scene because i was not expecting this. salt’s total freakout was hilarious too, alongside pepper’s awkward congratulations, though i can tell salt will NOT be coping well with the realisation of the guy she’s pining over being gay.

also, i’m not adding the photo for this one, but the starfruit and guava drama went crazy i loved it

WAAAAAH

this was an incredible scene for mepad, because it really emphasises his core values. its clear that he adores the contestants, his actions since he’s arrived have made that very clear. but he’s also incredibly selfless, you have to be to make a sacrifice like that. he’s always seen potential in every character, and i think people forget that sometimes. he dislikes mephone because mephone doesn’t acknowledge the contestants’ efforts, and that he withholds information from them for his own benefit. he’s just such an incredible character

also, i’m honestly not all that surprised that the genocidal business ceo pulled out a branded knife to stab his creation, thats all i wanted to say.

this is such a pivotal moment for knife.

it’s representative of his atonement for what he’s done wrong as a whole. he sacrificed his safety for someone who despised him due to what heMd done in the past. he was the type not to tolerate these kinds of people, and its just wonderful seeing him overcome such things and move forth yknow

this was hilarious actually, also offering it up to mephone was insane

knickle crumbs,,,,,,,,, i love them so much

also knife becoming a ghost was hilarious to me because i’m currently writing a fic about PICKLE being a ghost but oh well new au i guess??

DO YOU SEE THESE LOOKS OK like you’re in love with him little buddy

also taco being petty about pickle’s forgiveness for mephone shows that she still has a really long way to go in terms of genuinely apologising, and i really hope she gets there eventually yknow

this was overall a really sweet ending for a fantastic show, and i am so happy it ended the way it did. sure it was a little silly at points, but inanimate insanity always has been. a bug musical number featuring all the songs from episodes past just felt like the perfect way to finish up a show like this.

as someone who’s been watching this show since 2015, this ending meant a lot to me, because its an ending to a big part of my life as well (to a degree, i will not be ceasing posting). and i feel like this episode beautifully shows that yes the future’s unpredictable and unknown, but that doesn’t mean you shouldn’t keep going anyway. build your own future yknow!!

but yeah, this was fantastic, and words cannot express how grateful i am for inanimate insanity as a whole. thank you animation epic, for everything.

[lambden]

for the spotify wrapped meme: no 69 for Geraskier or any ship of your choice? listen i just had to go there

unfortunately (luckily??) for you, darling anon, my sixty-ninth song of the year is an anthem for returning to a relationship that has hurt you and falling back in love with them >:3

M, 2.6K words, infidelity (yenralt lol) and some mentions of alcoholism (jaskier lol)

Jaskier, despite his best efforts, is only human. The chattering of his teeth is not something easy to hide, especially not when his travelling companion and only company for months is laying only a few feet away. Jaskier could perhaps mistake his repose for sleep if not for the nearly constant hitching of his breath. The witcher inhales, long and deep, into lungs magically crafted to breathe better and slower than humans. Jaskier shivers, curling and uncurling his toes and rubbing his bony calves together for warmth. The witcher’s breath catches in his system, throat and lungs and chest and body still. Jaskier exhales, a small puff of white air against the clear, dark night. The witcher exhales, two seconds too late— deep, and false, and unless Jaskier is reading the signs wrong, definitely annoyed.

The cold would be easier to stand if he could just fall asleep; surely in the night his unconscious body would find some miraculous and impossible way to retain heat that his conscious self lacks the muscle memory for.

If he falls asleep, the witcher that he met will leave him. Jaskier grinds his chattering teeth together, and closes his eyes tightly, and buckles himself in for a long night of shivering.

Across the campsite, the witcher inhales. Before Jaskier catches his exhale, the edge of his thin blanket behind him rises up into the air, cruelly exposing his already cold back to the night air. Jaskier gasps, then gasps louder as a furnace presses against him. The witcher had moved towards him in stony silence, and he does not speak now either. His legs press into the back of Jaskier’s, thick knees finding the hollows and thick, warm thighs offering support for his frozen ones. His arm wraps around Jaskier’s chest, finding purchase on the breast pocket of his thin jacket and holding on as if he’s likely to blow away. His other arm winds under Jaskier’s neck like a heated pillow for him to rest his head on, and the blanket falls over them both.

“Thank you,” Jaskier shudders, the two syllables disintegrating into many in his cold mouth. He continues anyway. “Thank you, Geralt.”

The witcher makes a grunt like an animal. An animal would not have thought to share its warmth. Jaskier snuggles back into the witcher, and Geralt’s grip around him only tightens. He begins to thaw.

-

“We would save coin if we shared a bed,” says the witcher. His hair is dishevelled from the hunt, hanging loose and dirty around his pale face. He’ll need to bathe for at least half an hour to scrub off all the guts that thankfully only belong to monsters, and then he’ll probably dawdle for another hour in the bath because he enjoys it more than most things.

Jaskier has a twinge in his back that threatens to cause serious damage if not dealt with in the next day, and the last thing he wants is to spend the night bathing and then fucking his witcher. He never enjoys the baths afterwards as much as the ones before, even if it is nice when Geralt waves his fingers below the surface of the gauzy, soapy water to cast his magic fire spell. He just needs a good seven hours of uninterrupted rest.

Those eager, golden eyes fall on him. Jaskier inhales, and Geralt’s nostrils flutter too as if he’s breathing in deep to catch the scent of his bard. Which, really, he is. Jaskier gives in— he is, after all, only human. “You’re taking the bottom bunk, then.”

The witcher laughs, loud and unencumbered. He would never have laughed like that when they first met. Jaskier takes this kernel of information and shoves it deep, deep down inside his heart, like a dragon hoarding something very special to admire later. Then the witcher reaches down to fumble for his coinpurse, and in the process accidentally-except-actually-very-on-purpose fumbles around Jaskier’s trousers.

They never even make it to the inn. Jaskier, despite how his body aches the next day, swears it’s one of the best nights of his life.

-

The flaps on his tent flutter— not in the evening breeze rolling down from the peaks of Caingorn, but from someone trying to drunkenly find the ties holding them together. Jaskier stares across the tent, letting whoever it is struggle. He’s already halfway through a bottle of vintage Toussaint white, and the sourness is beginning to give way to sweetness with each new sip. He can’t even remember why he was angry enough to drink himself into a stupor.

With a triumphant exhale, the witcher unties the opening to Jaskier’s tent, and slides inside without asking. Oh, right. There’s his anger. 

Jaskier doesn’t shy away from Geralt’s questing gaze— he’s drunk too, although he’s had a considerably less enjoyable night. He doesn’t try to summon any composure or lessen his glare, not even as the witcher ties the tent closed again without asking. Not even as the witcher comes to kneel at the end of his bedroll, his hands splayed comfortably out on his thick thighs and his shoulders sitting low and relaxed. Not even as the scent of lilac and gooseberries hits his system— a scent more sour than the dry wine.

Neither of them speak. Barbs rise unbidden to Jaskier’s tongue, but he swallows each and every one of them. Should you be doing this drunk— hypocritical. I thought the dragon hunt was important to you— stupid. Astonishing that an infertile mutant still has enough stamina to fuck two of his lovers in one night— cruel, and bigoted. The dwarves will hear us, you know— as if either of them give a shit.

Geralt’s mouth is warm as ever, leaving a trail of wet marks along the side of his throat. If Jaskier closes his eyes, he can visualize them— like angry, beautiful bruises. Except Geralt doesn’t nip hard enough to bruise, even as Jaskier wishes he would. If Jaskier had everything he wished for, they wouldn’t have chased an insane sorceress up the side of a mountain. They’d be somewhere else. Somewhere coastal, maybe. Somewhere he and his witcher could stand in the surf together, and bruise each other so intimately that the marks never faded.

The witcher reaches between his legs, his aim true as ever. As Jaskier’s head lolls to the side to make more room for the man kissing his neck, he is surprised to find himself blinking back tears. Of course, nothing gets past his witcher; the kisses move up his chin, past his jaw, and onto his cheek. Jaskier laughs, somewhat hysterically. Geralt doesn’t stop kissing him until his lips are pressed right against his wet eyelid. There, he mutters into the salty skin, “Okay?”

“Of course,” Jaskier’s breath hitches. Then Geralt does that thing he really likes with his hand, and his breath leaves him entirely. “Oh— yes, of course, yes! I’m alright.”

“Alright,” echoes the witcher quietly. He kisses Jaskier’s forehead. It feels more intimate than anything else they’ve done. Jaskier steels himself not to hate the man he’s fallen in love with, and not to fuck up a good thing just because his heart sings for a better one.

In Geralt’s arms, Jaskier glows brighter than a candle in the dark summer night. In his lover’s hands he is made immortal.

-

At Bleobheris, Jaskier heals in a way he thought impossible. Old wounds close up; blisters on his heel from walking behind a horse for more than twenty years, and soft spots on his heart from walking behind the horse’s rider for the same amount of time.

New wounds open, ones that hurt much more. He learns of the oppression that he took part in by travelling the Continent and singing anti-Elven slander to anyone who would listen. He learns of more oppression than he could possibly imagine, and he stops thinking of his own life so seriously. He does not choose a higher calling; during the raid, it chooses him. The alias claims him. This new group of wandering souls— the oldest wandering souls— need him, in a way he has never been needed his whole life. When the great oak is raided and his friends and lovers and family are massacred, Jaskier resolves himself not to give in to survivor’s guilt. He knows he was left alive for a matter of utmost importance.

He forms new connections, a new underground community, and in doing so connects with countless others who need him. It is exhausting to have found his purpose. The exhaustion fuels his art; he doesn’t sing Toss A Coin no matter how many coins people offer to toss. His new songs are thinly disguised fuck-yous to monarchs, rallying the Continent against those who would tear it apart from the inside, and hope for a better future. People hate it. People love it. He’s never made any music like this before, and he’s never spent less time selfishly waffling over his own music, either— his nights are spent sleeplessly ferrying refugees to secret meet-up points, and learning new codes and languages spoken only by those in the know. He doesn’t have time to feel sorry for himself.

He celebrates each victory with a bottle, and then one triumphant bottle becomes a bottle and a shot, and soon he’s racked up a tab at most taverns that will still let him play. No matter how far he distances himself from his old life, the last sip around the ring at the bottom of every bottle tastes like death, destiny, and heroics. And, of course, heartbreak, heartbreak, heartbreak.

The song comes to him after one especially lonely night. Jaskier would love to say he had been planning this song full of empty threats and hollow lies for years, spitefully scrawling lines into his journals between other fantastic romantic affairs. But the affairs would be as false as the rest of the story. He doesn’t write the song, it arrives written; he merely pours it onto the page. What for do you yearn? Good, poetic rhymes. Or at least they would be if he could sing them without his voice cracking.

He knows the song will hurt the witcher, should it ever travel far enough to reach his ears. He knows, too, although it turns his stomach once he’s sober, that songs hold enough power to do serious damage. But even though he convinces himself he’s forgotten the specifics of his decades-long infatuation with the witcher, he cannot, and will never, forget how the witcher made him feel.

Despite knowing it’s wrong, Jaskier plays the song for an eager and wide-eyed audience. Heartbreak, heartbreak, heartbreak. They lap it up. He burns. His voice cracks— he’s only human.

-

Threadbare both at the seams of his sleeves and the cavities of his heart, Jaskier wonders when he stopped feeling the cold. 

He should feel it here more than ever. None of the witchers have put any work into maintaining their drafty fucking fortress atop their frigid fucking mountain. That’s still a word that it’s hard to wrap his head around— not fortress, which he’d always known about, nor mountain, which he has more than enough experience with. Witchers. In the plural. A whole family of them, thicker than any family united by blood and hard-pressed to accept visitors.

Except they had accepted him, for some fucking reason. Bewilderingly, it was likely Yennefer’s doing. And also, he can hardly call them a ‘whole family’ after their school lost more than half its ranks to an insane power-hungry demon who possessed a little girl who looks just like a princess that Jaskier once played at court for.

Maybe that’s why he doesn’t feel the cold; maybe his head is still spinning from the last few days. He had never expected to run into half these people again, and in fact has complicated relationships with more than a few of them, and those relationships have only grown more complicated since his arrival here. He supposes things will get easier soon as he descends the frigid fucking mountain and leaves the drafty fucking fortress far behind him. Maybe once he’s on proper flat ground he’ll be able to clear his head. He’ll have a drink without being worried a demon will kill everyone if he sleeps off a hangover, and he’ll light a fire without his burnt fingers shaking too badly to strike the match.

The real reason he has to leave is more selfish than any he could admit aloud. Even in this place he’s never been, there are too many memories— ones he swore to leave behind when he left his old life. He doesn’t want to see the spitting image of Pavetta bundled up in a wolf pelt, somehow also resembling her adoptive father. He has no desire to remember exactly how mad he used to get at Yennefer, and even less desire to rekindle their strange new friendship. He feels too raw and exposed and sober and vulnerable up here, as the memories dance on the edge of his consciousness.

No. Holes in his jacket or not, he’d better get going.

Hands actually on the lever to push open the courtyard gate, he moves to do so— and is blanketed from behind by a furnace. It takes Jaskier a moment to identify the witcher, and then another moment to identify the embrace as not exactly Geralt shoving him up against the gate, but. A hug. He’s… this is a hug. He’s being hugged, by Geralt.

“I need to go,” Jaskier mumbles, muffled, into the witcher’s broad shoulder. They’ve always been of a similar height; he isn’t sure why he remembered Geralt so much taller. He turns his head to speak more clearly, and he catches golden eyes already watching him intently. “Don’t,” warns Jaskier, even though the witcher hasn’t said a word.

“I need you to stay,” Geralt tells him, firmly but quietly. His tone leaves no room for an argument. Jaskier still reaches for that old familiar urge, for all the anger that brought him to write of burning his witcher. His witcher. He finds his pockets empty, and with no barbs to throw, he’s left speechless. A rare thing, for a bard. Rarer still, Geralt breaks the silence to speak again: “If you go, I’ll follow.”

“You’ll— well— you— you won’t just follow—”

“Yes. I will.”

“You have a child—”

“She can come.”

“I don’t— I mean, shouldn’t she stay? She just went through some severe trauma, and she’s supposed to be safe here—”

“She’s safe with me.”

“Right,” Jaskier huffs. Apparently he does have one barb left in him— he regrets it immediately. What happened to Ciri hadn’t been Geralt’s fault, much as what happened to the Wolves hadn’t really been Ciri’s. But he searches the witcher’s gaze for offence, and finds none. “Why would you need me to stay? Party’s over, isn’t it? Not that I was an integral part of the operation—”

As he’s done a hundred times before, Geralt kisses Jaskier quiet. It should, by rights, annoy him. But just like the previous hundred times, it delights him too much to play on his nerves. How could he be irritated as his heart sings?

Then Geralt breathes him in, deepening the kiss, and Jaskier realizes, oh. The witcher is kissing him, all these years later— after so much hurt between them both, and so many changes that neither one of them could call himself the same man, the witcher— his witcher is kissing him.

Jaskier kisses back. He’s only human.

[pardonmydelays]

i also think it's kinda cool how tyler makes me want to learn stuff

[byanyan]

need y'all to know that some time ago xeno brought it to my attention that jesus of suburbia is an incredibly byan-coded song and i haven't stopped thinking about it since

[unopenablebox]

possibly the biggest shock ive ever gotten from the numberones column & associated commenting community is that so many people love fun.?? like, they think 'we are young' and 'some nights' are really good songs. lots of people think this, it turns out. which fascinates me, because i found them so grating when they were getting radio play that i think i got my first set of over-ear headphones literally in an effort to more effectively block out specifically the sound of we are young on the middle school bus driver's radio

[sluckythewizard]

GUH. i started writing more. ill see if i can find the time to write a lil more while im at work (i will be working for 3 grueling days straight) but in the meantime heeere HEEERE have a small small sip.

[dudeyuri]

the thing ticking me off is that squandered potential rankles more than just a bad story. you can argue (successfully probably) that ANY Fucking Up of PatPran is sacrilege squandering but I mean an interesting story WAS THERE. THEY HAD IT, flaws and all. the characterization grew wacker and wacker sure but before that THEY SOWED, OKAY!!!!

There was a chance to interrogate Pat's helpfulness-verging-on-selflessness, Pran's taking advantage of it and subsequent realization that maybe he shouldn't. There was a chance to interrogate what it might be like if they weren't always by each others' side, if Pat wasn't "always there for [Pran]" if they weren't "neighbors" anymore--like, they manifested this in such an extreme way, with Pran and Tian and the kid lost in the woods, and then turned it into a wild goose chase. There was a chance to utilize the parallel between PhuphaTian's conflict and theirs to reach a resolution (and goddamn it they ALMOST HAD IT in the fourth quarter). (There was a chance to connect all this to Pran going to Singapore for two years but that wasn't even on the table, truly we are asking too much). They didn't have to set ANY of this up but they did and twas not reaped let me tell you!!! I'm not crazy, right? This was there, right??? And is the squandered potential in the room with us right now??

It makes me really curious about the circumstances in which the script was written because WHAT

I'm taking the goofy holiday special too seriously I don't know how to have fun yes true BUT LISTEN we can't even walk away from this silly special (spun off from an entry in the romance genre might i add, lest we forget, IT BEARS REPEATING APPARENTLY) with cute fluff because, honestly, call me greedy, but we were denied that too!!

[stars-n-spice]

RAAAAAHH!!!

it's actually so fucking unfair that I can't have Wrecker over for Korean BBQ and then end the night dancing and singing away to Selena.

[zhongrin]

Evening! I’ve got a special package from Liyue for one Albedo Kreideprinz. Sign here please…

The package contained a vast amount of art tools and art supplies along with a note. There were handcrafted paintbrushes from Fontaine, fine soft pastels and chalk in the colors of Mondstadt’s flowers and the paint…Glowing blue paint made from starconches, shimmering gold paint made from Cor Lapis, pure white paint made from crushed Qingxin petals, a small waterproof and bombproof artist’s pack to carry tools with Albedo’s name engraved on it…

‘Dear Mr Kreideprinz, I am the consultant who asked if it was possible for you to come to Liyue so you could paint a portrait of my wife.

She has gone missing, you see and I am not sure when she will return. I miss her quite terribly and would like this painting to be a surprise when she returns.

The young Xingqiu from the Feiyun Commerce guild had nothing but praise for your abilities. We had discussed my commission and how I would pay you in quality supplies instead of mora, but the Pearl Galley had returned to the harbor and you mentioned how you had to leave early to return to your special someone.

I hear you occasionally stay in the Dragonspine Mountains and invite you to come to the Wangshu Inn as a treat. This way you won’t be far from your dear someone. In fact, I would like to invite you and your significant other for a stay at Wangshu inn.

The expenses will be covered by me, I only ask that you take my commission as one of high importance. ——Regards, The Wangsheng Funeral Parlor’s consultant.

Thanks for signing, enjoy your package!

icy blues skim through the contents of the package calmly before glancing towards the various art supplies and all the high-quality materials laid on top of the table.

for a moment, he considers throwing them all out. it was too dangerous. sometimes, a seemingly insignificant variable in the equation could become the undoing of all, and he would rather not undo all the hard work they have been putting into creating this reality…

his gaze moves toward the two forms sleeping on the bed, and the edges of his lips curve downwards.

as much as he would be thrilled to see the despairing look of a certain someone, the risk of it all stopped him from acting brashly.

besides….

… yes. the alternative plan would work best in his favor.

to drive out an annoying weed in his side, as temporary as it would be, fills his being with warmth and giddiness.

oh, this is going to be f̸un.

with the art supplies all packed back into the exquisite box, he set off to personally pen the reply letter, wondering if he should send back a box of cecilia tea along with it, and what excuse he could give to make it as airtight as possible.

……

......

Unfortunately, my significant other is quite swamped with work, so she will not be coming along to the trip. Rest assured that I am putting this commission at the top of my priority, and so I predict I will be arriving at the appointed place in around four to five days.

Again, my heart goes to you in these trying times, and I sincerely hope you will reunite with your partner soon.

Signed,

𝒜𝑙𝑏𝑒𝑑𝑜

[boy-armageddon]

YES my username on yt is a blood bros reference :33 i need to go to crimes world again i know in my heart and soul that i love her but i seldom show her attention .. i need to care her more ..

HOOFRAY!!!! also pretty please do!!!!!!! for me!!!!!!!!!!!!!

[camping-with-monsters]

Listened to The Stupendium’s “Neath!” enough to say “ah fuck it. Let’s make an oc out of this song.”

His name’s Cyrmic. Sometimes people just call him Ol’ Danderdilly. A bit of a curious existence— one that was believed to have such low odds that it was almost considered impossible, as he is half human and half cryptid!

In Bliss (which he’s debatably canon to it, not a whole lot of development has gone into his relevance, but he wouldn’t even be a considered character in the first act(??) but likely in a later act.), as long as both parties can consent and the cryptid is sentient (because it’s likely that there are cryptids that have mindsets closer to humans and others closer to animals) than a human and a cryptid can peruse a relationship. By default, humans and cryptids are not compatible to reproduce— but the gene for cryptids does in fact exist. It’s just a rarity. Most who do bare the gene usually don’t end up courting with a human for either the obvious reasons, don’t even end up with a human (which is more common than not) or just decide not to have a relationship at all. It’s a mixed bag.

However, in Cyrmic’s case, his cryptic parent did in fact bare the gene when courting with a human— and learned that the hard way. What kept them optimistic about it, we don’t know. Regardless, Cyrmic exists now. Not much going back on that.

Known to be kind of a peculiar character, Cyrmic plays the role of an oddball with a fascination for all things old-timey. He leaves a questionable taste in other’s mouths with his somewhat intimidating demeanor that’s both charming and suspicious which is reflected on his gestures and dignified dialect. Some people are led to believe he might be plotting something. But maybe they’re just not used to seeing something considerable as an eighth wonder. He’s not really trying to scare people. He’s just like that in general, and he genuinely means well!

But all in all, he’s looking for someone to love. Someone he can settle down with that can humor his curious point of view.

[poems-of-a-lover]

i loooove love love older love songs. shout out to head over heels by tears for fears and good old fashioned lover boy by queen. <3

[tvrningout]

kim nari moodboard below bc vee has me thinking and scheming and i feel so dang nostalgic and full of love for my lil ray of sunshine singer :’ )))