#tragic gay children

[mayowayo]

mitsukou is just a little bit more tragic than hanene in my opinion..

like.. yeah hanene is also super sad but i feel like mitsukou just.. hits a little harder??

maybe its cause they were in the same class and he knew him when he was alive. nene didn't know hanako when he was alive, so.. it just feels a little less painful for her.

kou literally watched mitsuba die. and on top of that he met him again in the hell of mirrors and mitsuba had no memory of him.

also these two panels make me cry inside every time without fail.

WITH HIM LEAVING THE CAMREA?? LIKE STOP IT PLEASE GOD

(also when Kou developed the pictures and was looking at them and he found the one mitsuba took of him.. particularly heart wrenching.)

but wait! theres more!!

its so awesome and great and im didnt cry at all haha.

but seriously i cant with them. kou was just so willing to die FOR MITSUBA.

(even if it was in the picture perfect word and he *probably* wouldn't have died for real..)

mitsuba jumpscare wjnwsrnh

its not tragic just really fucking gay

he watched mitsuba die (pretty much die) AGAIN.

bro straight up asked him to kill him i fucking cant.

LIKE THESE TRAGIC GAY DORKS

IM SOBBING

[joseigamer]

Patalliro! is fascinating to me because of stuff like this. It's unapologetically gay - even within its anime which aired during primetime hours in 1982 - in a way that many later BL manga would never be, like the ones from the early 2000s which would never dare to call their characters actual homosexuals. Patalliro has actually aged quite well in this regard, there's something comforting about how campy it is.

[dollarstoreartsupplies]

im holding horace somnusson so gently like fucking imagine you're twelve and get assigned the horrific prophetic nightmare superpower that makes monsters want to eat your eyes then everyone calls you a coward for being scared all the time of your prophetic nightmares or the monsters that want to eat your eyes

Full background below cut:

[blankvort]

seasonal depression but the season is pride month and the depressive symptoms are looking up photos of lost scenes from the children's hour (1961) and watching the children's hour (1961) in 240p and writing a transcript of the children's hour (1961) in a notebook to read on the bus and

[vclyrias]

me after sympathizing w criston cole and his conflicted feelings about his kingsguard duty vs his attraction to rhaenyra and his near-suicide attempt after killing an innocent man but the ”a spoiled cunt” and ”a cousin, or a brother… or a son” scenes come up

[monsterblogging]

"I know JK Rowing is a terrible person but her books are so good-"

You sure about that?

I mean, just for a start, have you taken a good look at her fantasy creatures lately? A whole bunch of them are straight-up based on malicious and dehumanizing stereotypes about actual people.

Remember the werewolves? And being a werewolf was made into a kind of metaphor for having AIDS?

And you know how AIDS was first associated with gay men? And how conservatives back in the day were claiming gay men were preying on children in order to convert them to gayness?

Remember how Fenrir Greyback preyed on children in particular? Yeah, she put that subtext in there. She was an adult in the 90's. She knew damn well what she was doing.

Remember the house elves? Remember how most of them loved to serve and needed to have a home and a master or else they just wouldn't know what to do with themselves?

Did you know that's literally what slavers in the American South said about the Black people they kept enslaved? Go look up the happy slave myth.

Do I even need to get into the goblins and the antisemitic tropes they're based on? No, folkloric goblins were not gold-hoarding bankers waiting for their chance to stab humanity in the back.

"But the characters are so good!"

Are you kidding me?

Most of her characters are pretty one-dimensional, including Harry. Her idea of making a morally complicated character is giving a tragic past to a bully. Numerous characters are little more than stereotypes. (Looking at Fleur right now.) Literally anybody, including you, can easily make dozens of characters just as good, if not better. (It doesn't exactly take a lot of character designing skill to go, "hey, actually, having a sad backstory doesn't make it okay to bully children" or "hey, maybe I should not base a character on the first stereotype that pops into my head.")

"But the rest of the worldbuilding!"

Sorry, but her worldbuilding is just as basic as her characters. Magical castles and secret passages are stock tropes. Magical people who keep their true nature secret from humanity is the premise of pretty much every White Wolf TTRPG. Most of her fantasy creatures are just common European fairy tale and folklore creatures with shitty stereotypes projected onto them.

I'm not saying "basic worldbuilding bad." I'm saying, you could do just as good, if not better, with minimal effort.

Also there's her magical bioessentialism, where only Harry's abusive blood relatives could provide him with supernatural protection from Voldemort. Rowling thus effectively declared that non-biological family isn't quite real family, and that abusive biofamily can give you some essential thing that a loving, supportive family that isn't related to you just can't.

The Hogwarts houses are one of the most insidious elements of her worldbuilding. The idea of being sorted gives you a little dopamine hit because wow now you have a li'l niche where you belong!

But the actual function of the houses and sorting system and the House Cup is teaching children to see each other as rivals, and ensure that the most toxic views of the upper class get passed on to every new batch of kids sorted into Slytherin.

Hogwarts effectively prepares children for a dystopia where magic serves to distract its citizens from how nightmarishly awful it is. Economic inequality is so bad that people like Arthur and Molly Weasley can barely afford to put their kids through school, casual sadism is just an accepted norm in everyday society, and non-humans are second class citizens. Rowling sorta acts like she thinks this is a bad thing with certain lines she gave to Dumbledore, but in the end, her special boy protagonist becomes an auror; IE, a defender of the status quo. So.

If you've never seen it, Lily Simpson's video goes into even more detail on how the worldbuilding of Harry Potter is actually incredibly fucked up, and how it betrays small-minded attitudes on Rowling's part. There's no separating the art from this artist, because Rowling's rotten values pour out of nearly every page.

Yes, there are many things in Harry Potter that evoke feelings and inspire people, but there's absolutely nothing in it that this series has a monopoly on. You can find those same experiences in much, much better media.

[themousefromfantasyland]

My addition to Epic's Manwhore AU

Even if Odysseus fucked both Zeus and Poseidon to survive he probably wouldn't be punished by it.

First, because Amphitrite doesn't usually punish Poseidon's lovers.

And second, as far as I know, Hera never punished Zeus' male lovers.

Remember, we are in Ancient Greece, and even though same sex relationships are not as taboo as they are in Christian societies, we still are dealing with a Hetero Normative society.

For Greeks gay relationships don't count as real relationships since they can't marry and have children, and they can't ruin royal bloodlines with annoying bastards.

Odysseus isn't cheating on his wife by having sex with other men. He's just having mindless fun. It doesn't count if it's not another woman.

Hera wouldn't give a damn. Maybe she would be super annoyed by it, but not to the point as she was with Io and Semele. Remember, Zeus brought a boy toy to Olympus one time and Hera didn't do anything.

Think about all the tales of same sex relationships in Greek Mythology. They all end tragically because of other jealous male lovers, and not because the wife got upset.

So, Odysseus could bang Zeus, Poseidon and his entire crew and probably nobody would use that against him since he never cheated on Penelope with another woman.

[maybeiwasjustjade]

Genuinely, perhaps 99% of me, believes that the only reason Condal and Hess made HOTD Aegon a r*pist/have adult Aegon’s introduction the aftermath of the SA of a maid, was because they knew that if Aegon was just a drunk and a cheat—like almost all Westerosi men—he would be too tragic of a character not to root for, and they really couldn’t have that. No, Aegon has to be the monster to Rhaenyra’s saint, because if you took away the act that made him monstrous, he’s so easy to root for, and the TB/TG divide would be significantly larger.

Cheating and visiting brothels are quite common in Westeros, with the vast majority of male characters doing one or the other or both. Drinking is even more so. Aegon would still be palatable with either or both traits because it doesn’t make him worse than Rhaenyra. Rhaenyra had three bastards with Harwin because Laenor’s gay, so it makes her affair understandable and valid. Aegon was forced to marry his own sister as a young teen, and clearly despises the whole targ-incest tradition. Why is it a crime that he doesn’t find his little sister sexually or romantically attractive???

Aegon’s basically a Greek tragedy made flesh. The eldest son conceived to be a long-awaited heir, yet simultaneously cheated out of a birthright. Born wanted yet unwanted, the heir who is not an heir. Meant to be loved, yet raised without it, with a mother’s disdain and fear as his only companion. His father stopped wanting him sometime after his second birthday (probably around the time Jacaerys was born), and his mother never wanted him anyway. His mere existence is a threat to a crown he never wanted, yet nobody cared when they placed it on his head. He wants love but no one loves him, and contrary to popular belief, that lack of love didn’t just stem from adulthood. He was a little boy once too, who very much didn’t deserve that level of apathy.

Married to his sister despite his clear disdain for his family’s incestuous tradition. Forced to father children on her at the grand old age of sixteen (and she fourteen). The only thing he ever really loved was his dragon, and the children he had. And even those he loses to tragedy, and someone else’s doing.

It’s not at all a surprise that Aegon’s defining trait is his love for Sunfyre. A ridiculously strong bond, born from years of having only each other. Moreover, a dragon is the symbol of power, which Aegon has little of. He can’t protect himself from his own family’s abuse or machinations, and unless he claims the crown everyone he loves will die. Dragons also represent freedom, and the ability to just fly away. And if there’s one thing Aegon wants more than anything in the world, it’s to run away from his family and the accursed throne.

In that, he’s not so different than a young Rhaenyra (pre-personality change anyway). Young Rhaenyra hated having to conform to societal standards. Hated having no choice but to marry, and to whom. She too wanted to fly away to freedom. There’s too many parallels between the two, even down to their ages pre-timeskip. Rhaenyra was about 18, and Aegon now is only 20. Yet Rhaenyra at 16’s only problem was whether her infant brother would replace her as heir, while Aegon’s was being forced to play house with his sister and newborn twins.

Perhaps misogyny and society would always be Rhaenyra’s greatest opponent, and the same Aegon’s ally when it comes to their claims, but it was not the only issue. Precedent declared that Aegon would be heir ahead of her, yet it was Rhaenyra’s position and honor that Viserys defied law for, even when she committed high treason against the crown thrice. She got everything; Aegon had nothing. He’s the underdog of the story, not her. So had they not made him an on screen r*pist (unlike Daemon who was off-screen one and merely an on-screen pedo and wife-killer), it would’ve been very hard for the writers to push their “Rhaenyra good, TG bad” narrative. Those two would’ve had too many parallels and foils for it to work, and they really couldn’t have that, could they.

No, Aegon has to be the villain; Rhaenyra has to be the hero. It’s a black and white war, good vs evil. That’s the story HOTD is trying to sell, and not at all the complex tragedy of a family tearing itself and its dynasty into pieces over greed and idiocy.

[stormythalamus]

agatha finale rant

so I’ve been seeing a lot of people complaining about the finale of Agatha and I wanted to give my two cents on their main points: 

1. “they used agatha’s show as a way to promote a man!!” well yes! that’s how marvel tv works im afraid. or any tv, really. wandavision was used to introduce agatha and monica, which led to their projects in the mcu (aaa, marvels). agatha introduced billy, leading to his future in visionquest or his solo series, which will introduce tommy and vision, which will lead to children’s crusade to reintroduce wanda. this is common for any tv show, but especially a big, connected franchise like marvel. i find it so concerning that even after all the promotion that showed us billy and agatha as co-leads, people were STILL shocked when the finale sets up a future story centered around him. like i hate to break it to yall but marvel wants money. and more shows means more money.

2. “they killed off a lesbian woman and not the gay man!” first of all, in the comics, agatha is a spirit guide for the scarlet witch. this form is her most comic accurate yet. also, did yall really think that was an unfair ending? or an ending PERIOD? all her death made me think of was the possibilities for the future with both billy AND rio. and again; rio was promoted as the ‘antagonist’ to agatha since the beginning. i don’t know how people went into this excepting a happily ever after for these two. they were always depicted as tragic lovers, and i honestly think the kiss of death was beautiful and poetic. i also don’t think this is the last we’re seeing of rio. and, as a side note, homophobia is still not okay! it doesn’t matter if you’re also gay; lesbians can be homophobic towards gay men, and gay men can be lesbophobic towards lesbians. and i’ve seen wayyyy too much of both in this fanbase. you can criticize characters and critique actors without bringing up their sexuality. we have enough incel homophobes doing that for us

3. if you’re still complaining about wanda not coming back i have no hope for you

4. this show, since day ZERO, was promoted as a show with billy and agatha as coleads. while i wish we had more backstory for how agatha and rio met, the salem flashbacks involving nicholas, the road scheme, and the song were much more important to the show. the parallels between nicky and billy were explored throughout the season a lot more than agatha and rios story (whether or not you like it, it’s still true (i personally wish we had a bit more on how they met 😭))

5. sending hate to actors about things their characters did is STILL not okay! and never will be!

6. this might be a hot take but if you’re only watching a show for a ship and don’t care about the story at all your opinion is irrelevant to me. like people who started watching after it was revealed in the show that agatha and rio were lovers (because, correct me if i’m wrong, this was never revealed before the episodes dropped) have no right to be upset when the show focuses on other things. and this is coming from a MASSIVE fan of agathario. and a lesbian. i loved the fact that i was watching characters who just happened to be lesbians have their own story. yes, i wish there was more agathario in the flashbacks. but i’m really not upset at all by what we got. and don’t get me wrong, people have every right to be disappointed, but they don’t have the right to hate on the creators and actors of the show. that’s not cool.

this is way longer than i thought it was gonna be 😭😭 hope everyone enjoyed the finale

[buff-muffin]

See to me at least, his insistence on joining the Navy meant something a little different for me. I always thought, that he truly thought that maybe if Ace was a part of the navy, strong enough, useful enough, so it would be more convenient for the world government to keep him around, maybe they won’t kill Ace. Because Garp knows this shitty world. He knows the government sucks and hates the celestial dragons. It’s one of the reasons why he won’t take that promotion but he also knows that being on the government side ensures protection.

This, again. Does not excuse ANYTHING. Because he is so desperate for this idea to work, to be able to protect his family by essentially making them government tools, Garp has A) abused his grandchildren from a young age. B) decided to ignore all the things wrong with the navy and world government by in a sense falling for their threats, and is doing nothing to make a world for them where children like ace don’t have to hide.

Garp is a shitty person. He knows the navy is shit and is an army that only exists to protect the one percent, but unlike LITERALLY EVERYONE ELSE IN HIS FAMILY he continues to stay as a way to in force his own justice and do what’s right ignoring the bigger picture.

Yes he wants the best for Ace but trying to make him a government weapon to ensure his protection is NOT ok???

I love this shitty old man so much and I’m so SO curious to see if he is going to change

I'm by no means a Garp defender. i think he's a pretty shitty person and that's why i enjoy him. but i saw a post about him and calling him a shit parent (fair enough) but one thing at least in my opinion I wanna point out is this scene.

because a lot of people rightfully say he should have comforted Ace in that moment and told him he does matter cause he is no older then ten in this moment and thinking he should be dead and Garp says nothing. which again you're right, shit parent moment here.

But i genuinely believe there was nothing Garp could say that would convince Ace any different. Ace has thoroughly convinced himself and believes he does not deserve to live and Garp saying any different would either not be believed or simply treated as pity and hated. that "you just saying that to make me feel better" mindset. And i think Garp knows this. he knows this stubborn angry kid and knows he cant convince him any different. Ace needs to decide who he is as a person and maybe he will find the love and acceptance and ANSWER to the question. That doesn't mean Garp is blameless. or a good parent or ANY of that praise. Garp sucks but he knows this was something Ace had to decide himself and so, he told him as such. even if he should have said more.

[im-subtextsexual]

I’m glad so many people picked up on the vibes between Eloise and Cressida. Not a ship I ever considered before, but the tension was palpable. I’ve been a Queer Eloise truther since reading the books. Her portrayal on the show only made it more obvious in my mind. I didn’t think the writers would ever go there, but the set up is just so explicit, now I’m not sure. I don’t think they’d actually make Eloise / Cressida canon, but I do think they’re testing the waters for wlw Eloise. And it makes perfect sense. 

First off, the character is queer (I’ll hold off from labeling her a lesbian outright, because there’s definitely room for other identities like bi, demi, ace…. etc.) Even in the books. I legitimately think Julia Quinn accidentally wrote a sapphic character and then didn’t know what to do with her. So what we got is “To Sir Phillip, With Love”, widely considered to be one of the worst in the series. Believe me, if there’s any story that could stand to deviate from the books, it’s this one. And the story could so easily be adapted to a wlw romance, it would be a wasted opportunity not to do it. Like… the story would be better if they tweaked it to fit a queer canon. AND it could be done in a historically accurate way to shut up the naysayers that “a lesbian storyline wouldn’t fit in this universe.” How? Allow me to explain.

*SPOILERS FOR BRIDGERTON SERIES BOOK 5*

In the book, Eloise strikes up a correspondence with Sir Phillip Crane. Yes, THAT Phillip, the one currently married to Marina from season 1&2. Marina kills herself because she can’t stand to be married to Phillip and deal with their children in the wake of her lover / his brother’s death. His initial interest in Eloise is to find a mother for his children. She is intrigued by his intelligence and decides she doesn't want to be alone, but isn’t necessarily eager to marry or have a family. Due to romance novel shenanigans, she runs away to Phillip's house and is forced to marry him. Even as they grow to kind of love each other, it's far from some grand romance. It’s the very definition of “settling”. The most interesting part is the narrative structure of their story being told through letters in the beginning. We could keep all that, but make it gay. 

*Imagine*

Eloise meets some dapper gentlemen new to the marriage mart. We’ll call him Emmett. Very little is known about Emmett and his family as they keep largely to themselves at their estate in the countryside. The only thing that’s widely known is the family suffered a tragic accident where the man of the house and his oldest daughter died, leaving his son (the other twin) to take on the responsibility of rank and title very early. Emmet is making a rare appearance in London to find a wife (there are rumors of stipulations in his inheritance requiring a match). ALL the debutantes are fawning over him because he’s mysterious and extraordinarily good-looking. One might even say “pretty”… To everyone’s great surprise the season’s most eligible bachelor takes a special interest in Eloise after overhearing her talking about her disdain for the social convention of marriage, and how she would only consider it if it were an in-name-only, marriage of convenience. Emmett strikes up a conversation with Eloise and she is taken by his humor, wit and shockingly deep empathy for the limitations society puts on women. They continue to gravitate to each other through the first few events of the season, but Emmett has to return home suddenly because of a family emergency. Eloise is shocked to find herself disappointed, but they promise to write. Cue the correspondence romance.

Eloise grows more and more smitten with Emmett every letter she receives, but still has the same reservations about marriage especially when she thinks of the intimacy a relationship like that would require. When Emmett hints that he may want more than friendship, Eloise's feelings get the better of her and she goes to visit Emmett unannounced. He is shocked to see her, but let's her stay and she gets to know his mother and two younger sisters. The Bridgertons go looking for Eloise, worried something has happened to her. When she is found to have been staying for days in an unwed man's home without a chaperone, the potential scandal causes Anthony to force Eloise and Emmett to marry. Surprisingly, Emmett actually agrees so Eloise does too (all of this is essentially what happens in the book).

Eloise confesses to Emmett that she's nervous/resistant to physical intimacy, but he assures her they never have to be together that way. In fact, he would prefer the marriage of convenience they always talked about. Eloise is relieved until their kiss at the wedding sparks an attraction she wasn't expecting. They spend the first month or so of their marriage sleeping in separate rooms, enjoying each other's company, and letting the tension build. One night, Eloise's control and curiosity finally snaps and she goes to Emmett's room to initiate a physical relationship. She catches Emmett off guard in his sleeping clothes which makes it VERY clear... Emmett is a woman (cliffhanger of episode 4, and where we deviate from book canon to make it queer).

After the initial shock, Eloise allows her new "husband" to explain. Emmett is really Emma, the daughter believed to have died in a carriage accident with her father so many years ago. It was her twin brother that actually died, but since there were no other male heirs, Emma's family fortune would have gone to a distant uncle who is cruel and abusive. To save them of that fate, Emma's mother conspired with the local coroner to make it look like Emma was the one who died, so "Emmett" could inherit everything. Emma has been living as Emmett ever since, successfully keeping up the deception by keeping a low profile in society. The only reason Emma came to London that year is because her uncle died, and a cousin had come around asking questions hoping to inherit. She thought getting married would help secure her identity as Emmett and the cousin would back off. At first Eloise is outraged. She feels betrayed by Emma's duplicity, and is terrified if any of this ever got out everyone they know would be ruined forever. She agrees to keep the secret to save her family's reputation, but shuns Emma. Eventually, Emma (already aware that she's in love with Eloise) attempts to make amends and Eloise is charmed enough that she relaxes back into the relationship they had before the Big Reveal. The only problem is the attraction is still there, even more so now that Eloise knows the truth. Things come to a head, and they go at it Bridgerton style.

Emma and Eloise live happily in a true marriage for a bit until Cressida and Penelope come for a visit. They both find out about Emma, but are sworn to secrecy. Pen easily swears her loyalty (having already suspected Eloise), but Cressida is sickened. In a rage, she threatens to out them all, and storms back to London. Eloise follows her and begs Cressida to keep the secret, and tries to explain why the "wrong" feelings she has for Emma are very right for her. To Eloise's surprise, Cressida isn't upset about what she's doing with Emma, but who she's doing it with. She didn't know what they're doing was an option; that she was an option. Cressida confesses that if she'd known a life with Eloise was a choice she could make, it's the life she would have chosen. Eloise lets Cressida down easy by explaining they didn't have that choice. Everyone in the ton knows who they are. The only reason her relationship with Emma works is because of the ruse that allows Emma to be Emmett. Cressida takes this in stride, and vows to keep the secret, but her mother overhears and causes the biggest scandal London Society has ever seen.

The Bridgertons and a few friends (like Lady Danbury) are as understanding as possible, but the rest of the ton is rabid. Things escalate to the point where Emma and Eloise have to appear before the Queen. Emma pleads her case about pretending to save her family, and insists that Eloise didn't know until well after they were married so she's innocent. Eloise can't help herself and gets on her soapbox about the way society limits women, and that the Queen should understand their plight. Shockingly, she does. She annuls their "marriage" (because they didn't consummate anything... RIGHT?!) but she agrees to let Emma control her family's estate until one of her sisters produces a male heir. After that, she and Eloise will receive a pension from the Crown so they can live independently (the real Queen Charlotte actually did this for suspected historical sapphic couple The Ladies of Llangollen). Since Emma and Eloise would never be able to find husbands now, they decide that they'll just be two spinsters growing old together in their house in the countryside. You know... just two gal pals. No one believes that shit, but they rarely interact with the ton, so they're largely left alone to live as they please.

Happy ending, close to canon, historically accurate, and super gay. It's not that hard. You're welcome.

[thisis-an-original-name]

here’s my perspective on the Noah Schnapp situation as someone who is in his shoes and is actually biased FOR him (Jewish college freshman, stranger things fan)

Noah Schnapp is wrong. He is violently, repulsively, dangerously wrong. The original idea behind Zionism (the concept where Jews get their own state), for me, is so far removed from what we have now, Zionism (the concept where we mass murder a bunch of innocent people just for living on land that we’re trying to steal). It’s imperative for every single Jew to pull their head out of their local Hillel’s ass and acknowledge what’s really happening here. Yes, Hamas is a terrorist organization that has caused undue suffering. But let’s be real: Netanyahu was waiting for an excuse to bomb and murder innocent Palestinians civilians (and children. Actual fucking BABIES.)

And furthermore. Even if I was a Zionist (to reiterate, I am not) those stickers would NEVER be okay. [complex and tragic political issue] is sexy??? Are you kidding me? It’s giving teenage boy who made a million dollars when he was 12. It’s giving Netflix Sweetheart. It’s giving goes to UPenn because he’s famous. It’s giving white Jewish gay man who believes that he’s incapable of oppression because he’s Jewish and gay. It’s giving celebrity who doesn’t take shit seriously. It’s giving… well, dare I say it’s giving Noah Schnapp.

[raayllum]

Sometimes it hits just how tonally different The Dragon Prince is from virtually every other kids show on TV and I lose my mind. I'd argue something like Infinity Train gets closest with its emphasis on psychological horror and morality, or even Transformers: Prime (if you know, you know) with its severe focus on war (aka one of the more lowkey episodes is a main character having a suicide bomb forcibly strapped to their chest). Steven Universe Future and Jurassic World: Camp Cretaeceous/Chaos Theory are also probably honourable mentions.

All of these shows have mature content in them, which isn't different from more popular shows like Owl House, She-Ra, or even ATLA, but often times in aforementioned three that content is presented in lighter ways and/or interrupted by bathos (this is true for She-Ra in particular). Most of TOH's heaviness is reserved for S2 Hunter or S3 Luz; ATLA has some episodes that particularly emotionally heavy (The Southern Raiders, Zuko Alone, the Southern Air Temple) or are quite hitting in exploring themes of colonization (Imprisoned, City of Walls and Secrets, Northern Air Temple), but a good deal, I'd say even the majority, are also pretty fun shenanigans, too. To be clear as well, a lighter tone is not a Problem never mind a negative (ATLA has a very strong thematic point to its own about the sanctity of children and childhood amid the horrors of how imperialism strips it away), but it is a tonal difference.

And it's not as though TDP doesn't have episodes where there are fun shenanigans (Callum and Rayla's initial exploration of Xadia in 3x02 is nothing but fluff, Soren and Corvus are a more gay comedic duo in 6x02) but the series more or less operates like "What if every episode was The Southern Raiders?" due to its consistent emphasis on grief and morality. They use words like kill and death and murder all the time.

From the pilot / opening episodes

and to when characters are having breakdowns because they murdered someone (and we're still supposed to like them) or have done horrible things, with the show's heaviness ramping up particularly from S4 onwards.

When loved ones die (and the show has a body count of 20+ named characters who have died, six seasons in, some even being children) the show depicts mourning in all its stages and ugly glory. The sadness, the anger, the revenge, the desperation, shifting blame and cognitive dissonances, thinking you had moved on only for that wound (which never fully healed) to be ripped wide open again.

Characters get tortured by being electrocuted or having their blood frozen in their veins or beaten up (5x08). There are successful assassination attempts (1x03, 3x02). People, even children younger than the main cast of characters, are put on trial with the death penalty (4x06, 6x09). Within the first three episodes, a character is running down stairs and tripping over dead bodies.

Sometimes three different characters in one episode will be having a breakdown or dealing with something absolutely devastating to their emotional state (2x08, 3x07, 6x01, 6x09, 7x01). The magic system is a trolley problem on steroids. Do you kill a monster to feed starving kingdoms, or to save yourself, or to save someone you love? What makes it a monster? What if the monster isn't a monster? What if you have to kill a child? What if it means killing your child? What if it means killing yourself?

There are two characters who canonically have cannibalized other people, one being a blood-drinker / vampire variant.

This doesn't mean the show isn't fun or funny. One character consistently thinks bathroom humour is funny (while being one of the most tragic characters in the entire show). The characters cheer each other up, take care of each other, are goofy, etc. The show is ultimately hopeful.

But the emotional weight afforded to the choices the characters are making, even good-intentioned ones with unforeseen disastrous consequences, the way show focuses on their emotional processing (or lack of) is very unique in the landscape of western animation, especially to this degree, I think. Never mind the increasing amounts of blood. Nor does this make the show inappropriate for children! Tiny me was morbid as fuck at 7 years old, I would've loved it, and I know many kids from ages 7-12 who do in my work as a tutor. But when people say "TDP isn't like most kids shows," I think what that means is sometimes lost in translation in conflating it with what people usually say aren't 'just kids shows,' when TDP... really, really isn't.

The show begins with assassins sent by a grieving mother to execute a father and his child in revenge for the father killing her partner and child, and it never lets you forget it.

[loving-family-poll]

Ultimate Incest Tournament - Semifinals

Propaganda under the cut:

Sam/Dean:

I'm sorry but they have it all. children of metaphorical incest just continuing the cycle in any way they can. they are brothers and mother + son and wives and each other's scorned lovers and life partners they've had multiple infidelity arcs they are sexually psychopathic together they have forsook life and morality and the earth itself for each other and just love each other so much . They are literally in a heaven of their own making together for eternity, incestuously. Come on!!! Blueprint!!!!! It's not gay if he's your brother!!!!!

dean did stuff to sam's dead body in ahbl. i just know it

Messed-up, isolated sibs with all the daddy and abandonment issues. Their lives are so claustrophobic with the brothers no more than five feet apart in the car, a motel room, or standing next to civilians (face it, they are frigging magnets). Can't leave out that they are always touching each other to check for wounds which is a huge PLUS for any shipper.

Sam and Dean ARE literally the blowjob brothers. They walk into a situation and everyone goes well well well if it isn't the blowjob brothers....... And they say. Yep. That's us. And then they fix the situation with their epic love story

THE classic, iconic, show shopping, never done before etc. etc. incest ship. It changed fandom and it changed the world

Dave/Rose:

Daverose blondetwin sweep because they were codependent without ever meeting from growing up seeing each other in their dreams

What does it mean to be an abused teenage boy growing up alone and seeing a girl in your dreams every night who is also your best friend. and when you finally meet her you go on a suicide mission together even though nobody was asking you to die with her. and then you are the only two human beings left in the recognizable universe on a cold meteor surrounded by aliens but you’re glad it’s with her. and when you finally touch the girl from your childhood dreams she looks exactly like you. because she’s your sister

I don't have words for how good these snarky assholes are together. DaveRose is brain chemistry changing. They both put up so many fronts, and engage in so much snarky wordplay, and are constantly trying to get under each other's facade. They play off each other so well, witty and sharp, I need them to be together always

We all die & we all die alone are the two cold truths of the universe but dave and rose broke both simultaneously by ascending to godhood together

Their twincest wins because it is just so confusingly tragic? profound? dave leaving rose behind in a doomed world, dave following her to the bomb. they are both so closed & cut off & curt its hard to imagine the depth of these things. but that is their love language: giving up their lives for each other over and over, in a confusing and fumbling and heartfelt love song. i can’t say i love you but i know we’ll die together anyway. because we’re made of the exact same stuff. i’ll find you again at the last moment. that’s love.

THEY DIED TOGETHER, YOUR HONOR

Confirmed canon by the author, (something happened) between them. Parallels of dying by each other's sides in EVERY timeline. They are THE womb-to-tomb. There is nothing platonic about winking at your brother while talking about crushes, that shit is incestuous. Seer/Knight archetype. They will die protecting each other.

do you realize love someone if you don’t follow them on a suicide mission into the gaping maw of a literal fucking sun after they knock you out and psychoanalyze you in your dreams? the blueprint of the “ethereal androgynous blonde boygirl twins” trope. witch/knight dynamics. they find each other to die together in every timeline no matter what (but they’re still emotionally constipated teenagers who bicker and make fun of each other in pesterchum). kids with grown-up powers. perfect little freaks of nature. what if we looked exactly like each other’s eyes

[jeza-red]

It's tragic, but recently I became convinced think that Zuko's Character Arc did irreparable damage to the children media landscape 😞

Good as it it for the story it's written for, it tricked a whole generation of young viewers into believing that:

a: kids' media can be just as complex as adult media has the freedom of being

b: that it is morally obliged to strive towards that end

c: consuming well-written kids' media equalls consuming well-written adult media

A whole generation of young viewers that grew up holding onto that lie and becoming adults that are unable to cross the bridge into the mature complexity of storytelling and moral vagueness of the real world. A whole generation of adults that hold kids' media on a pedestal on one hand, and keep it to impossible standards on another.

A whole generation of young people who grew up to become writers and showrunners. Who now hold kids' media hostage on the account of Inserting Complexity Into The Narrative in the rush to appease other adults of their generation at the cost of leaving the current young audiences behind.

It's "we either re-capture the complexity of Zuko's Redemption or we won't bother at all". It's "we either address the trauma of a teenage hero or we won't bother ". It's "we either up the ante on gay rep or we won't bother".

Gone is the metaphor, gone is the analogy. Gone is the subtlety in storytelling for a younger audience. We either get the gay kiss/war imagery/ptsd attack/mental issues on the screen or it doesn't matter! If I, the showrunner, don't get to address my personal trauma in this series advertised for 10 yearnolds, but actually written for the people who were 10 when I was 10 and can only quantify our lived experience in hindsight, then why bother telling this story at all?

What, why would I work on/engage with material directed at more mature audiences when this feels so safe?

[wickjump]

sun and moon fnaf are in love and are also so painfully tragic and nobody gets them like me. imagine sharing a body with your lover. knowing them so intimately and also never being able to hold their hand. familiar with every inch of your shared body and yet not knowing how it feels to kiss them (or whatever those weird faceplates are capable of).

and then there’s also the doomed part. watching your lover become more and more corrupted, until your other half is gone and replaced with something almost mindless and violent and a pawn in the game of people who want to hurt what you were made to protect. and then just being stuck like that. stuck in the constant light, terrified of what will happen if you let them out again (even though you once loved them, and honest to god you still do, but you just can’t trust them anymore). you can’t trust yourself anymore, not when you know that your body—your shared body—has participated in harming the children you were created to care for. idk gay people blehhh im so tired rn