#you don't get it it's her vibes

[tuiyla]

Hmm. Xander is officially annoying

I'm also about to watch 3x03 and yes I did read the episode description, and no I can't be held responsible for how much I'm not gonna be chill about Faith entering the scene

[poorly-drawn-mdzs]

Council of lovefools.

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[joyfuladorable]

Baby Junior's First Steps (based on a scene from Bluey)

Prompt from my buddy @vadfannypack! Everyone thank them Right NoW!!

[rocketbirdie]

deranged picnic

[excali8ur]

It's a shame Raph and April didn't spend more time hanging out in the show tbh. I figure their dynamic would be something like this

[utilitycaster]

I think the two most obvious foils for Ludinus Da'leth across all of Critical Role are Essek and Keyleth, which is both fascinating given how different those two characters are from each other (Essek being a foil in terms of isolation, single-mindedness, harm in the name of ambition, knowledge, and other such wizard themes; Keyleth being a foil in terms of people who have lost something at a young age to the gods and bear resentment for it, political leadership, belief that the world belongs to mortalkind, and longevity) but also it's extremely funny that they both are the partners of Liam's character.

[fox-guardian]

today i am thinking about tim's freeze response.

in ep 104, in his statement about danny, he beats himself up over the fact that he couldn't bring himself to move when he saw "danny" up on the stage in the covent garden theatre

[ID: A transcript screenshot reading "I always tell myself there was some force there. Something that held me in place and meant that all I could do was watch. But sometimes when I think back, I remember how my legs shook, and maybe I could move. Maybe I’m just a coward." end ID] ~~~~

and then in ep 39 sasha had to Tackle Him to get him out of prentiss' way after his whole joe spooky bit because he just Didn't Move apparently

[ID: A transcript screenshot reading:

SASHA: Behind you! Run! TIM: Oh… PRENTISS: [Slowly intoning over worm sound] Do you hear their song? SASHA: TIM! [IMPACT, WORMS AND SCUFFLING]

end ID] ~~~~

worm sounds and a full sentence after going "oh" and sasha STILL needed to tackle him.

i don't really have anywhere i'm going with this i'm just thinking about it really hard

[jakeperalta]

I'm curious what's everyone's favourite new release album of the year so far? if you had to only pick one

[genericpuff]

say sike right now, she's actually going back to The Doctor Pepper Show-

Like, this is just "What if The Doctor Pepper Show and LO had a baby?" Because at this point it's very clear Rachel only knows how to write from inside her own head, which is full of unresolved salt towards her childhood and medical fetish shit. The imagery in the first panel is very LO, and the imagery in the second is literally The Doctor Foxglove Show-

Evidently she's been reskinning the same shit for years-

Listen, I've been, for the most part, keeping my lips sealed on a lot of Rachel's old projects and what I've dug up on her previous works, for a few reasons:

1.) We were all cringe on the Internet at some point in time and a lot of these older works, such as Freak Scene Surgery and The Doctor Pepper Show, would have been from when she was in her late teens / early 20's. I'm not here to judge Rachel's personal preferences or whatever kind of fetishes she's into. It's totally normal, expected even, for a lot of creators to have older works they're trying to bury or disconnect themselves from because it's simply not them anymore.

2.) Ultimately I've been focused on discussion around Lore Olympus and Rachel as she currently operates as a creator, so I don't want to go digging up her old skeletons as any sort of "gotcha" towards LO today. Ultimately a lot of these works don't have anything to really 'do' with LO as it exists today.

That said, the reason I'm bringing it up now is because these new series... are bridging that gap that I've been avoiding for ages now. The gap that's filled with skeletons of Rachel's past that she's trying to both disconnect herself from but now fall back on with LO come and gone. It almost goes to show that her being a one-note pony goes back since far before LO - these are literally the only ideas she's able to come up with at this point, and it's painfully obvious in how both these new "graphic novel pitches" are pretty much the exact same and could apply to the same character, and that character may as well just be Persephone, i.e. Rachel, all over again.

Like, I'm calling it now, Patients in the Dark is just gonna be more "moms are bad" rhetoric, and Eleanor's Deathbed is gonna be Hades and Persephone, but replace Hades with some death god and Persephone with a training mortician, which is basically also still just Foxglove training to be a doctor, and Icy Shaw bragging about fondling corpses.

If anything, now that Webtoons is no longer carrying her around on their shoulders, this is gonna be Rachel's moment of "put up or shut up". She can either actually put in an active effort to write something that's decent, or she can flounder under the weight of her own tired mediocrity that's been knocking at her door for years now. As much as she's using her labels that were bought for her to sell these books which aren't even in real development yet-

-Webtoons isn't gonna be there to buy her Eisners forever. This is entirely on her and the imprint that Webtoons shoved her into. Her process is still the same, she's learned nothing from the experience of making LO, she's just got the money and awards now and is trying to run with it, but all she has are the same tired pitch lines that she's been using for decades now and just so happened to work with LO because LO had both Webtoons and the appeal of it being a Greek myth "retelling" to carry it into fame.

I'm gonna go into a bit of a tangent here, but it's been weighing on my mind since I found out this news and have been discussing it with pals within the ULO circle. Rachel once said in an interview that she wanted to use her platform to raise awareness of issues regarding sexual assault, mental health, and "the patriarchy":

"Who do you know that hasn’t been sexually assaulted? The number is depressingly low, right? Why is that? There is no short answer or an easy fix. I have a platform. I can tell a story that will hopefully educate and help others feel acknowledged and vindicated." - Rachel Smythe, Interview with Gossamer Rainbow

"...obviously I'm very feminist, and that sort of stuff really matters to me, um, the best way to approach this question is… I began, the pilot was written in sort of mid-2017, and I think what I wanted, what I wanted to achieve, and I don't even know… probably in 5 years time I don't know how I'm going to feel about this but I'm taking the risk, I really wanted to write a story where, uh…this female character goes through these things and I think what I wanted to do, what I wanted to achieve, was like a really common, I can't speak for like, men, but I can definitely speak for like, you know, if you're sitting in a group of your female friends and you're like "Hey! Who's been sexually assaulted?" … The response is going to be really depressing… Most female people that you know have probably experienced sexual assault to, on one level or another, and I'm like, for me I'm like "Why is that? Why?" And is it because there is a lack of information, lack of education, like what is it? And I'm lucky enough to have a platform and I'm like, if I could just provide some information in story format, would that help? Is this what I can contribute? So I feel like, especially, when writing sexual assault in media often it's… it's a way for the main male character to be, like, uplifted to hero-ness by, usually like, violence is the way to fix the problem, and that's not the approach that I want to take… um, I think [sighs], oh god, sorry I've lost my train of thought, [sighs], yeah, I think a lot of the time in movies when they, like, show rapists or something it's generally someone who's jumped out from behind the tree at a lady in a park and it's not really how it is like 90% of the time [laughs], so I just wanted to make something realistic where people could at it and be, like, "hey, nagging someone into sex isn't cool" or like removing all of their opportunities to say no isn't cool, or for someone to look at it, and just like feel validation, this is me trying, trying my best to make a difference with the platform that I have, and yeah, this is my roundabout answer for it" - Rachel Smythe, Interview with The Comic Source

And yet not once has Rachel actually used her platform for good outside of herself. She just asks the question, "Sexual assault?" and then writes off the answer "yes, it's bad!" and it especially shows in LO where the resolution to the one plotline she kept around to draw in readers was "assaulters are sent to the timeout corner!" Sure, it works for the readers who are simply seeking validation that their experiences aren't unique to themselves, but is it actually doing any real work to talk about the systems in place that leads to people like Apollo being created? Is it doing anything to address purity culture as it exists and the double standards that exist for women who are navigating sexual relationships? Is it doing anything to take the discussion outside of the narrative and put it into action through support of women's shelters, charities, mental health support for men, etc.? Not really. Like many of Rachel's ideas throughout LO, she simply goes, "Men, amirite?" and the answer is "yeah men suck!" and nothing more. The answer to the entire SA plotline is "rape is bad, don't do it" when anyone who could even relate to that conclusion in the first place already knows that.

Ultimately the activism she claims she's trying to do doesn't actually service the issue at hand - it just services herself and her own insecurities, her own unresolved trauma, her own need for validation through Eisners and merch sales. She asks the question, "Who hasn't been assaulted?" so that when she responds to the women who come forward and relate to Persephone, it's with the intent of getting them to read LO and buy her merchandise. She winds up making herself the center of other people's experiences, even ones that she cannot relate to. At BEST her attempts to "use her platform" as a means of starting discussion around ongoing societal issues like the patriarchy and sexual assault towards women is about as effective as Bell #LetsTalk, it's purely performative, self-profiting, and offers nothing of real tangibility.

If she just wants to write her own self-empowering personal works, that would be fine. Plenty of creators do it. Art is, at its core, self-expression. But it's extremely telling that she's built a platform off her self-expression, and twisted it into what she believes to be "activism" and "feminism", so that she can continue to profit off it in her future works such as this, which, again, are just reskins of her previous projects which were largely centered around the fetishizing of abuse towards women.

I don't want to claim that this is what it is, but... how much of the "feminism" in LO is done purely through the lens of victimizing women? Why is there more effort put into torturing female characters like Hera, and Demeter, and Minthe, and even Persephone to a certain degree, than there is into actually addressing the larger issue that she's claiming she wants to shed light on and resolving her questions with actionable answers?

That is the only question I will leave you all with. I am absolutely 100% not planning on touching these works with a ten foot pole, even if they should come to fruition. With the recent realization that she was into artists like Trevor Brown, alongside the fact that we've known for a long time she's into Lolita and there are very clear parallels to draw between it and LO, I think it's safe to say at this point that Rachel's work is not something I want to continue to support even when it's "hate reading". Again, I'm not going to outright accuse her of anything, but I feel like the writing is clearly on the wall here and I'm taking that writing as my warning to steer clear.

I didn't want to discuss the elephant in the room - her older works as they exist in the distant past of the early 2000's - but she's now riding the elephant.

[dailyloopdeloop]

loop and mirabelle. That's it that's the ask

DAY 84: enrolled in the gossip wars

[wavesoutbeingtossed]

Fuck it, I'm doing the poll even though I know what I feel and I'm not changing my mind about my own interpretation, but I've seen people interpret it both ways on social media so I'm curious.

[poorly-drawn-mdzs]

No time to play. You are being sent away.

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[sillyfudgemonkeys]

Interviewer: Avatar Aang, why did you run away from home? Aang: I was told I was the Avatar at like 12, and the pressure got to me so I childishly ran away. :( Ironically that ended up being the right choice, but that's a diff story. Interviewer: Fascinating. Did you take anyone with you? Aang: Of course! My best buddy, ol' pal Appa! :D Appa: Moo Interviewer: Avatar Korra, why did you run away from home? Korra: Well the first time- I don't want to talk about the second time- it was because those jerks wouldn't let me BE THE AVATAR! So I ran away to do my duties! Interviewer: Fascinating. Did you take anyone with you? Korra: Of course! Only the best girl ever, Naga! Naga: Woof

Interviewer: Avatar Kyoshi, why did you run away from home? Kyoshi: After witnessing the death of two of my loved ones. I swore to escape my sifu's control and to get revenge by any means necessary. Interviewer: Fascinating. Did you take anyone with you? Kyoshi: Of course! I took my totally 100%, platonic bestie Rangi! Mmmhmmm just friends, totally, ONLY friends. Haha. No secret longing feelings here, no siree. Rangi: Platonic???? Not by the end of this trip, not if I have anything to say about it!

[aquanutart]

Nyaha~! Caught in my electroweb! ♡

[tititilani]

I am the biggest fan of whump and self esteem issues ever in fic but you know what I would love to see? An "I believe in her (him)" moment. (dw fans ifykyk)

Just imagine it.

Some monster of the week is wrecking havoc. It feeds on sadness, terror, all the bad stuff, and it has found a feast in Edwin. All of that pain from seven decades in hell marinated in his hell-tempered soul means that it can feast on him for a long time already without worrying about its meal dissolving from the stress.

It snatches Edwin in the middle of them trying to vanish or destroy it, whisks him away over the crumpled body of Crystal, of Niko, of Charles. It straps him down with manacles of iron and Edwin stares it down without flinching even over the loud sizzling and pops of his own skin bubbling. But even if he's stoic, his pain is still delicious.

"Your friends are dead," it hisses to him with a vicious chuckle designed to make a shiver race down Edwin's incorporeal spine. Which it does. "They never cared about you. They never wanted you, probably were thankful I took you off their hands."

The thing is, Edwin has no way of knowing if it's telling the truth or not. His friends could be dead, had been left lying limp there on the ground, or worse in the case of Charles, who is already dead.

It has him at its nonexistent mercy for hours, poking at his weak spots both physically and mentally. Physical pain, it finds out, doesn't give up much of a meal, though the particularly distant look Edwin adopts is fetching. It doesn't do any significant damage because it wants this meal to last but Edwin has still resorted to his death state when it changes tactics.

Emotional pain, it knows from plenty of experience, can be the most delicious pain.

"I think that friend of yours - the one with the earring - probably was thankful I took you off his hands," it says offhandedly, tone almost too casual for the vicious words it's spitting. "Do you think he started celebrating immediately or maybe waited a few minutes?"

But it doesn't work the way it's intended.

Edwin, bloodied and vulnerable in his nightclothes, pushed past a point most ghosts wouldn't have been able to handle without breaking, looks up at the thing. His wrists have been bound this entire time, the skin around the manacles blackened and oozing ectoplasm, and he looks vulnerable.

But the look he gives the monster is not.

Edwin's gaze is vicious, the normally warm green replaced by shard of green glass, and the monster can see the strength and resolve in his eyes and realizes it may have miscalculated.

"I have seen the worst of people, and monsters," Edwin says with every ounce of scorn he can summon. "I spent seventy years in hell surrounded by them and I do not believe in much anymore. If there is one thing I believe in, I believe in him."

Cue Charles smashing his way in ten seconds later to save the day, looking at Edwin in awe, like he is seeing him for the first time all over again, faced with the steadfast faith Edwin has in him even when he has been given no reason to still.

[kevindavidday]

allison chronic divorcee until renee confesses and they live happily ever after but this trope is not for the angst...its for the idea of putting the foxes in multiple weddings just andreil watching allison walk down the aisle and going "five months" "i say three" and renee being the only one who's super upset over these weddings but doesn't realize she has a chance (she's the only one who has a chance)