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bi-hop · 2 days

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coming back to the kabru is like jesus if he was judas comparison. I think it's interesting that kabru always knew that he couldn't be the one to conquer the dungeon so he wanted to find people who could and support them, because he knows he's an excellent judge of character.

but the thing is, he still wants to be the hero. he still has a saviour complex. he's still envious that laios of all people is the one who has the potential to beat the mage. i think he wanted to be the one™ in some way . he *needed* to be needed by laios, he wanted to be like hermes, a psychopomp, or maybe charon, the ferryman that guides laios. so when laios /ignored/ him (not laios' fault truly he just . bad timing. sorry kabru) he felt resentful and yet even more determined to get in laios' orbit, to be the light. to be important in his eyes, like, judas when he said to the woman who used expensive oil to clean jesus ' feet. he said "why not just give it to the poor?" because he wanted praise. he wanted his teacher to look at him and go "look, i listened to you! i know what you teach!"

thats why laios rubbed off on him and he used a nutrition metaphor even because hes like. he wants to be jesus (the one to sacrifice himself and save the world from the dungeons to prevent another utaya) but hes judas (the adversary. the supporter from the shadows. the one who shows the soldiers (canaries) who jesus is. the one who " reported " him in the first place)

anyway yeah I think he has. a Jesus complex and when he met Laios he got mad with envy because he realized he was Judas help me

this is so good, turning it over in my head.

an element of kabru's character that grabbed me early on and is reinforced as he begins to bet on laios is his preoccupation with morality. people complain about the murder (bc people are lame BUT I DIGRESS!) but don't typically focus on the justifications he gives. even without knowing about the demon's nature, he is able to understand that greed and violence will only beget more of the same as those who can adapt will turn worse and those who cannot will be exploited or flee. for him, it's like ripping out weeds from a garden to protect what he cherishes.

I agree that he feels very self-critical when he finally admits that he can't be the knight in shining armor that he wants to be, due to his inability to survive as long as he wants in the dungeon. even without the motivation of going back to save falin, laios and his party had already went further on a regular basis than he has.

(shake me if I'm remembering wrong, but when we first meet kabru's party, isn't it one of their first times ever successfully making it to the third floor? lmao.)

and so the point to me was always that, yes, kabru wants to be the guy and yes, his party supports him as the guy, but realistically? he'd need someone else to at the very least support him. but he's very practical so it made immediate sense to me that he'd start looking for someone who he can either trust to take on the role or who is capable enough to get to a point where kabru could then take over. (again, all pre-finding out what being a dungeon lord truly means)

despite the latter being an option though, kabru's preoccupation with morality still stands. if he was truly the cold rational being some people seem to see him as, it would have been simple to simply throw his lot in with the first strong yet horrible person he observed. but he's picky selective. even with laios as his choice, he's CONSTANTLY fighting The Demons about it. his nightmare alone makes it clear that he has extremely well-rooted doubts and fears about what laios might do.

^ funniest page ever to me btw

but despite that, he still continually does the work of supporting him, albeit with a lot of setbacks and complications OADSJDODSOJD

i don't necessarily think the lens that we're currently taking is what ryoko intended but to conclude it is funny the themes of betrayal because technically kabru does betray laios' trust once lycion's like "ayo, he hates monster food btw, he's a SNAKE" and then he fumbles his way into... sort of regaining it? kinda? of course, by post-canon, he has it fully back, but speaking exclusively of the main story here.

#long post #dungeon meshi #dungeon meshi manga spoilers #kabru of utaya #laios touden

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reyggtv · 3 days

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There's only so much I can say on Twitter to truly express my feelings about the show Hilda, and how much of an impact it has left on me to make me the kind of person I am today, so I'm taking to Tumblr to write all about it.

If you don't know who I am already, hi, I am ReyGGTV, though you can just call me Rey. I like to make YouTube videos, memes, talk with other Hilda fans, and make occasionally make art. You may already know me from the Hilda Crack videos I made since several years ago, as well as some more recent big videos of mine like my comparison video between Aster and Hilda. I am 20 years old, and have been a diehard fan of the franchise ever since I was just 14.

Firstly, let's discuss how I actually managed to discover Hilda in the first place. It was 2018, freshman year of high school had just started, during this time, I was still big fan of another animated TV show at the time called Star vs. The Forces of Evil. I was a fan of that show ever since its premiere in January of 2015 when I was only 11 years old. Honestly even if I don't look at it nearly as fondly as I do now, to its credit, the show did most certainly help me get interested into animation as a whole more than any other show I saw at the time.

Not even like 2 months after I got in though, I was kicked out. Not because I did anything wrong, but because for a while, my parents had me enrolled in a school district that I didn't even live anywhere near in at the time, so once they found out that I actually lived much farther from them, that's when they decided to let me go. This was devastating to me, all the friends I made in middle school, were suddenly going to go away, and it was only at the very last minute, at the principal's office that I received this news. I was upset, literally everything was going great and they just wanted to throw everything away for me, in favor for me going to a school that was so bad, it caused my family to move to an entirely new city with a better school by the time Sophomore year came around.

But anyways, about 2 weeks before all this happened, I was in a cartoon Discord server, where someone recommended me to watch this show called... you guessed it, Hilda. I took a lot at the promotional material for a while, and put it at the back of my head, not knowing that I would soon revisit it not long later. Fast forward to when I was out of school, I had like 2 weeks in the beginning of October to just cope with everything. It wasn't long that I just became bored, and wanted to do something better, so I pulled up Netflix wanting to find something new to watch. The suggestion from someone about Hilda just so happened to come up on my mind, so I was like "Eh, sure, why not?". I put it on, and the rest was history. I knew from the very moment I finished watching the intro for the very first time, that this was about to be the show of a lifetime for me.

Despite that however, I did not anticipate just how much impact Hilda would leave on the work that I am now doing nearly 6 years after that very faithful day.

I guess the biggest reason why the show left such a massive impact on me right from the beginning is because of its main title character, Hilda. Look, I may be no blue-haired adventurer from the wilderness that likes to munch on cucumber sandwiches all the time, but Hilda at the time for me, was the most relatable character and the character I found the most comfort in when watching it for the first time. Just like me, Hilda too, was also forced to move away from the place and friends she was always happy to be with, despite all her efforts, all it took was one giant, to come and crush it all, leaving her forced to live a new life in a new environment she was not familiar with at all. But, she moved on. She knew that while this was not the ideal way for things go out, life always comes with surprises. But maybe, just maybe, this could be something that could work out in her favor. This whole becoming friends with other humans and living in the big dirty ol' city, could be the best decision she has ever made. And I think it goes without saying that as the series continued, it was.

This was a message that I desperately needed to hear as I was going through overwhelming times at such a young age, and one that I was so happy to hear and watch once I finally finished the first two episodes of this amazing damn show. It showed me that if an 11-year-old girl from the wilderness can be brave enough to move into the big city, be okay and make the best out of it, maybe I too, will be okay with belonging to a new school, finding new friends, and creating new passions for me to follow for years to come. Hilda inspired me to look towards a bigger and brighter future, rather than doubt the bad that comes with the present. For that, I am forever grateful for the creative and writing team of this show, for helping me go through such a difficult time in my life, and convincing me that even despite all that has happened, there will always be something better to look forward to.

I would be lying if I said that this was the only reason as to why I ended up becoming such a huge fan of the show for the next 5 years. Asides from the writing being so good it literally cured my depression. The animation, worldbuilding, and characters were just unlike anything I have ever seen with my own two eyes. It was simple, yet jaw dropping at the same time. Just a silly kid either helping a Raven jog back his memory, try and fight nightmare spirits or ghosts, or help Jellybean out of a scary situation in which everyone wrongfully accuses him of being a big scary black hound. Even if certain episodes of season 1 didn't always turn out perfect, I would always rewatch every single one of them all day for several hours and for several weeks. I had even skipped multiple days of school especially when it was raining, just so I can head to the living room, cuddle up in some warm blankets, with the heater on during the winter season, and just binge the crap out of it for multiple hours a day. This was just the show that I can always count on to bring back the happiness inside of me. Even when I wasn't necessarily having a bad day, I would still continue to watch it for hours because it just kept on getting better and better with every watch I could get possible, it was almost like an addiction almost, haha.

Hilda was the show for me, and I had no intention of trying to watch anything else.

It was also around this time that I started to also get myself more involved with the show's fandom as well, back when it was a lot more populated and not as niche as it is now. While I'm not gonna say that my reputation in it has always been 100% perfect, at the end of the day, I'm just forever grateful I was able to meet some of the most wonderful people and hundreds of fans like myself because of it like @hkthatgffan, @helgafolk618, and many more I can't list here 'cause most of them are not on Tumblr. So much so that I now have the pleasure of creating hundreds, if not thousands of people who are fans/supporters of ME all across all my social media pages. All because I like to talk about Hilda, literally all the time. And to those reading this who has ever left a nice comment on one of my posts, said hi to me on my Discord server, worked with me on a commission, even went as far as to make fan-art of me or just tuned into any of my content whatsoever, thank you. Your support has left a massive impact on me and what I'm continuing to do now. Because at the end of the day, it's not about any popularity points you get from just talking about a TV show consistently for 6 years, for me at least, it has always been about making thousands, sometimes, even millions, happy with my love for it that is the reason that I'm doing any of this in the first place. I love Hilda, always have, and I want to make people happy the same way Hilda did for me, all those years ago.

Surprisingly enough, even though I was already as big of a fan as I could possibly be by the time November of 2018 rolled around, I still wasn't really a guy interested in getting my hands on Hilda merchandise. I knew that the graphic novels by Luke existed, but the only thing I even managed to get for myself at the time was this old T-shirt I bought from the now defunct official Zazzle store they had up for like a few months lol

I guess that all changed when I got my first ever Hilda plush though when I was 15. While it has now certainly showed its age after nearly 5 years, I loved this thing so much lol. It wasn't official because official Hilda plushies didn't exist at the time. I bought it off an Etsy store from AngelinaLily, and I would literally take this thing out with me everyday to everywhere I went to and take photos of it, especially in the wilderness. It was my favorite pastime. My little Hilda, in the palm of my hand 😆. Hey, when you have to wait more than 2 whole years for a brand-new season, what else are you gonna do to entertain yourself during the hiatus?

I had gotten this in the mail right when I had just exited out the mental hospital because I was actively wanting to h*rt myself and potentially putting myself in danger of committing s*icide. Because while Hilda did definitely help me cope with a lot that I was going through at the time, there was still a lot of overwhelming issues I was experiencing, and my mental health was the lowest that it had ever been. This plush effectively, was a way to help me cope with those thoughts I had, which turned out to be a great thing because I literally couldn't be happier with it.

After that, I just decided that "You know what? What if I just got... ALL of the Hilda merchandise?" Thus... that now leading to my massive hoard of Hilda stuff, that I now have everywhere in my room lol

These photos aren't even all the ones I have!

At 16, I decided to write Luke Pearson an e-mail, thanking him for his work and how much it has inspired me to become the person I am now, explaining everything that I just mentioned in this Tumblr post, and at the end of the day, just wanting him to know, that his creations mean a grave big deal to me, and that I will always appreciate just how much of a positive impact it has left me. I didn't really expect anything to come out of it, but about several weeks later, he said this to me lol

"I just wanted to say thank you for writing and relaying your experience to me. I'm sorry to hear that you've been through such difficult times, but I'm glad that you're able to look back on those times and find yourself in a better place. And if Hilda has played any small part in that, which it seems like it has, then I'm extremely pleased about that and it warms me to hear it. It can be hard to know exactly what good a cartoon can actually do for the world (beyond being a few hours of amusement) which is strange when so many people devote so much of their time and creative energy into making it happen. But hearing something like this goes a long way to making it feel like something genuinely worthwhile. I hope things continue to look up for you and hope you're taking care in these trying times." - All the best, Luke

When I tell you I cried like a baby when I first received this e-mail from him, I really did, lol. Hearing this, from the man who made it all possible, was truly the most inspirational thing I could have ever heard. And I was happy, that he was happy, that I was truly able to tell him for the first time, just how much his creation has meant to not just me, but to soooo many fans just like myself. It was truly something to never forget.

Now I'm 20 years old, still talking about the same ol' dang kids show I fell in love with all those years ago. What's happening now? Well now, I am an aspiring film director and video editor who has been taking film classes in community college for the past like 2 years now, I should've graduated already by now but turns out, college is pretty fricking expensive, and I don't even know if I have the funds to try and even graduate by next year. Asides from that though, I am actually in the works of creating my first ever feature-length Hilda fan-film called The Ultimate Hilda Iceberg. It will basically be one of those iceberg explanation videos you see on YouTube, but with the original source of the iceberg being about Hilda, specifically a version someone made on the r/HildaTheSeries subreddit. I've had the idea for this Iceberg video/fan-film as far back as January 2021, with the current script having started work as far back as nearly 9 months ago. And it's still not even finished! Me, as well as tens of dozens of other Hilda fans like myself, are actively working on it to have it be ready by the time fall of this year comes around, right now as we speak! If you want to support and/or follow this massive project as more updates come around you can either follow the official accounts on Twitter/X (@/HildaIceberg) or on Instagram (@/theultimatehildaiceberg).

Asides from that, the biggest passion project I have for my career moving forward, is directing my own big-budget Hilda movie. Specifically, a live-action Hilda movie. Now now, BEFORE you try and cancel me and tell me that this is the stupidest idea of all time and could taint Hilda's image forever. Let me cook. I am a huge movie bluff, I know which live action remakes are genuinely amazing, and which ones just really suck. My vision for a live-action Hilda movie is to make it sorta like how Who Framed Roger Rabbit was. All of the human characters and outside settings are done with real people and practical assets, whilst creatures like Trolls, Elves, or stuff that would normally be done with CGI, be actually turned into 2D-animation, ideally in the same style as that of the Netflix show. Ideally, I also want it to remain as faithful to at least how the show was as possible in terms of story. Look, if there's gonna be anyone else who knows their Hilda best asides from people like Luke or Andy Coyle, it's gonna be me, just sayin.

In conclusion, I just want to wrap this up by giving a huge shout out to people like @littledigits and literally ANYONE who has ever done any time making this fantastic and wonderful show (I couldn't think of anyone else to tag so I only tagged you Meg so sorry if that bothers you 😅). As this post has indicated several times, this show, has really made the best kind of impact in my life and I'm forever grateful to the creator Luke, the directors Andy Coyle, Megan, etc, the voice actors, artists, editors, composers, everyone who has ever had a part in making this amazing show just, please let me hug you. While I may not have been as enthusiastic with the show's third season overall as I wanted to in my opinion, Hilda will always have a soft spot in my heart, for years and years to come, for just how much it truly inspired me, to not just not only being able to have the luxury to do the things I love to do now, but do so in a way that has made, and hopefully will continue to make thousands, hundreds of thousands if not millions of people happy, because of the love that I will continue to have for this very show. Just because a show is small, doesn't mean it can't leave big enough impacts on people for the better ❤️

#hilda #hilda the series #hilda the show #hilda fan art #hilda netflix #hilda oc #animation #netflix

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anonymous-gambito · 20 days

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I've began to carry small books to doctor appointments, and damn, when I called Revolutionary Girl Utena "The Little Prince's darkest timeline" I had actually forgotten how sexist that book is

#the little prince #revolutionary girl utena #shoujo kakumei utena #though that just makes the comparison more interesting

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marley-manson · 4 months

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Hawkeye and Frank are the two most diametrically opposed characters on Mash. They clash politically, ideologically, emotionally, intellectually, and even physically on more than one occasion. There is virtually nothing they agree on. But they do have one significant similarity: both Hawkeye and Frank are notably, pointedly effeminate.

Hawkeye is the central protagonist, so he's written to be likeable, even admirable, especially in the first five seasons of the show when satire dominated rather than character drama. He's the character who makes the correct political points and voices the show's ideology, and male audience members are encouraged to identify with him and aspire to be like him. He's witty, he's smart, he's charismatic, he dodges consequences a lot, he's highly skilled in his work, and he has a strong personality and natural leadership qualities.

Frank is the main antagonist up until the end of season five. He's written for audiences to hate him, mock him, and occasionally be horrified by him. He's dull-witted, incompetent, awkward, easily led and manipulated, and always gets his comeuppance. Few audience members are likely to aspire to be more like Frank Burns.

And yet, while most likeable protagonist/detestable antagonist duos in American popular media would also be differentiated in terms of gender performance as a matter of course - the effeminate villain being a standard stock character, always set against a ruggedly masculine hero - Mash takes a different approach.

From his core personality as a sniveling, weak-willed follower, to the way other characters, including Hawkeye, routinely make fun of him by comparing him to a woman or insinuating that he's gay, Frank Burns certainly fits the part of weak, emasculated villain. What's more interesting, and much less commonly seen in Hollywood media, is that Hawkeye is portrayed as just as unmanly, and just as, if not more prone to having it pointed out in the show.

Often Hawkeye's jokes at Frank's expense include the implication that Hawkeye is attracted to him himself, and not necessarily as "the man." He jokes, "Guess it's a marriage, Frank. I know I can do better, but at my age, can I wait?" in Hawkeye, Get Your Gun; he switches from calling Frank one of his vampire brides to taking the feminine part in post-coital pillow talk after siphoning his blood in Germ Warfare; he kisses or tells Frank to kiss him in Major Fred C. Dobbs, For the Good of the Outfit, and Bulletin Board, etc.

Other times, the jokes Hawkeye makes about himself are virtually identical to the jokes made at Frank's expense - their respective attractions to Margaret as a potentially dominant sexual partner, eg, with both Frank and Hawkeye portrayed as eagerly submissive. For instance, in 5 O'Clock Charlie Hawkeye jokes about tying Frank to Margaret's tent, then dismisses the thought with, "He'd probably love it. I know I would." And Hawkeye/Trapper and Frank/Margaret are sometimes paralleled as dual couples, Hawkeye and Frank usually being framed as the more feminine partner in each.

And of course, unconnected to Frank, there are many, many more examples of Hawkeye's effeminacy, both in jokes and in personality traits.

Hawkeye is a self-professed coward who is loud and proud about how terrified he is to be stuck in a war zone. He's emotionally open and highly empathetic, always willing to listen to others' problems and discuss (or scream about) his own. He abhors institutional violence and faces every enemy combatant with his hands firmly in the air. When authority is thrust upon him he strives to relinquish it, and uses it as little as possible.

More shallowly, he has little interest in sports and exercise, derides masculine hobby magazines like Field and Stream and Popular Mechanics, is incapable of performing mechanical tasks to the exasperation of others at least four times (Comrades in Arms which explicitly frames this emasculating, In Love and War, Patent 4077, and Hey, Look Me Over), mocks traditional masculinity in many ways, and enjoys musical theatre and Hollywood gossip. And he makes and takes literally hundreds of jokes about being unmanly and having sex with men himself, many more than he makes at Frank's expense.

But while the jokes are at Frank's expense and meant to belittle him, they're rarely made at Hawkeye's expense, especially in the first five seasons. Hawkeye doesn't make the jokes out of self-deprecation, he makes them out of pride and a desire to differentiate himself from the army men he's surrounded by. He's almost always in on the jokes others make about him, rather than offended - Potter telling him to file a paternity suit against his rival in Hepatitis makes him laugh delightedly, and Trapper's remarks on his effeminacy, such as Miz Hawkeye in Hot Lips and Empty Arms, are sometimes lightly teasing but always a regular aspect of their dynamic that Hawkeye enjoys playing up. Frank doesn't make any jokes directly mocking Hawkeye's masculinity that I can recall, beyond vague "pervert" and "degenerate" remarks, which, while often historically homophobic, in the show's context tend to be treated as a reference to his heterosexual endeavours.

Frank's effeminacy is a point of mockery and derision, but Hawkeye's is a point of pride, and not intended to make him any less likeable to an audience. Antagonists don't get to score points off of Hawkeye by mocking his feminine traits, but Hawkeye makes fun of Frank regularly by mocking his feminine traits.

This difference in framing can partially be explained by the nature of their respective gender performances.

While Hawkeye and Frank are both effeminate, they're effeminate in many opposite ways. Frank is weak-willed while Hawkeye is strong-willed. Frank is unappealing to most women, while Hawkeye is something of a lady's man. Frank cannot face his fears to rise to a challenge, but Hawkeye can. But on the flipside, Frank refuses to admit to fear while Hawkeye openly proclaims it. Frank strives to attain authority while Hawkeye refuses it or takes it on only begrudgingly. Frank is obsessed with guns to a freudian extent while one of Hawkeye's most famous monologues of the show is a speech about refusing to carry one. Frank worships the concept of traditional masculinity even while he can't perform it himself, while Hawkeye mocks the concept and would refuse to perform it even if he could.

The Sniper is an excellent case study of these contrasts. In this episode, Hawkeye is effeminate and at ease with it, while Frank is desperate to prove himself masculine. Frank and Margaret flirt with strong Freudian overtones while Frank shoots a gun while nearby Hawkeye flirts with with a nurse with a line about "tasting" her. Hawkeye connects with the nurse he's wooing by relating to how scared she is and huddling in fear with her, while Margaret demands that Frank prove his masculinity by going out and taking down the sniper himself. Frank carries a gun while trying to approach the sniper, while Hawkeye carries a white flag. Frank tries to make fun of Hawkeye for wanting to surrender, but he can't bring himself to approach the sniper while Hawkeye does.

This contrast of gender performance is a consistent aspect of Hawkeye and Frank's dynamic throughout the show, but The Sniper makes it a central theme so it's a useful example to show how their relationships to masculinity are a deliberate aspect of their dynamic.

And while Hawkeye makes fun of Frank's femininity, it's significant that he also regularly makes fun of Frank's masculinity - his love of guns (eg The Sniper), his sexual affairs (eg the exchange about Frank as a "fantastic performer" in Yankee Doodle Doctor), his numerous attempts to exert authority (eg Welcome to Korea), his desire for socially approved success (eg Hot Lips and Empty Arms), etc.

Both masculine and feminine sides of Frank are comprised of negative character traits, while Hawkeye embodies the best of both - emotional expression and healthy ways of coping by talking about his feelings; bravery but not machismo; intelligence and skill as a doctor rather than an officer; empathy and a willingness to listen; sexual prowess but largely through his love of foreplay rather than his dick game (which, in the context of the early 70s, is a somewhat feminine attribute that distinguishes him from a typical traditionally masculine man); etc.

Hawkeye demonstrates some of the most appealing and healthy qualities of both masculinity and femininity while Frank demonstrates, or strives to demonstrate, the more toxic qualities of both. Through including a few positive masculine traits in the mix, the narrative is able to depict Hawkeye as likeable, admirable, and desirable in his effeminacy while Frank is depicted as loathesome in his. Hawkeye gets one of many, many women in The Sniper by showing vulnerability, while Frank only appeals to Margaret, and Margaret is portrayed as borderline pathological in her sexual attraction to violent masculinity (the scene where Frank excites her with his gun, for example, also includes an electra complex joke, and there's a running rape kink gag in this episode as well).

Another aspect to consider when it comes to differentiating Hawkeye and Frank's respective femininities is hypocrisy. Similar to how Frank and Margaret's affair is mocked because they can't admit to it while Hawkeye and Trapper's affairs are glorified, part of what makes Frank's effeminacy so mock-worthy, while Hawkeye's feminine qualities are a source of pride and rebellion, is that Frank refuses to admit to them.

Frank desperately wants to be the ideal heroic army man and often play-acts the part, poorly. When Hawkeye mocks him by calling him a woman, for example, he's drawing attention to Frank's failure to live up to his own ideals. And when Hawkeye calls himself a woman, he's mocking those same ideals. The message is that Frank is pathetic not so much for failing to be traditionally masculine, but for wanting to be traditionally masculine at all.

Ultimately the ways Hawkeye and Frank perform masculinity and femininity are pointedly in opposition, from which masc and fem traits they embody, to how proudly they embody them. The show itself draws attention to these gendered similarities and differences between Frank and Hawkeye through a constant barrage of jokes, and even whole scenes and episodes. In this way the show portrays Frank as a hypocritical loser who wants to be masculine but fails to embody all but the worst traits, and Hawkeye as a cool, admirable guy who disdains the traditional pillars of masculinity and embraces his own effeminacy.

#mash #marley on mash #mash gen #mash gs #frank mash #hawkeye mash #since you guys liked that trapper gender meta a lot more than i thought you would here have another one #though this is written a little less formally lol #i have more examples of whole scenes that make these comparisons than just the sniper but i'm trying to keep this from being #even longer than it already is #but eg white gold is another good example wrt how they relate to flagg; yankee doodle doctor; army navy game; george; the gun; etc etc #(also it's interesting that when frank leaves hawkeye gets the pathetic loser portrayal more often... though i think that's a coincidence #the shift from early to late mash could be yet another essay on mash and gender lol)#long post

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sparebutton · 9 months

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Animation in Frozen before (left) and after(right) story changes.

#been making a little collection of comparisons lol #I feel like there was more stylization before but the changes helped with clarity #and characterization #Frozen is still very stylized though #just interesting how many small things they changed #frozen #disney #elsa #the snow queen #I have a couple more but these were the most significant #I thought about posting this on art of frozen but I have some other stuff related to this I need to post on this blog

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miraneko19 · 6 days

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Realized this while playing Birushana. Tomomori. You know.

#birushana #birushana rising flower of genpei #otome #wizardess heart #shall we date #blanking on what other morally controversial otome games ive played #but seriously that trope of “im lowkey obsessed with the heroine and even seeing the hate in her eyes as she looks at me is perfect.”#to “i would love to see what other expressions i could bring her to make-”#ALL the way to the final installment of “oh. when she smiles.. when shes happy.. and looks at me with such happiness?#that is the best expression she has ever made. she looks beautiful like that... everything else pales in comparison- no.#i actually dont care to see her tears or to have her look at me in anger ever again.“#and just. falling in love with her happiness and doing everything they can to make her smile and laugh among other things??#because they feel really good doing it??#sorry i know thats common with villain love interests but im REALLY a sucker for it okay i cant help it #but also no seriously what other games like this have i played again?? i havent played any of the villain routes in hakuouki yet #but i feel like this trope is probably in there so.#hakuouki #JUST THE LOOK OF SURPRISE ON THE LOVE INTEREST'S FACE WHEN THEY SEE THE PROTAG SMILE AT THEM FOR THE FIRST TIME #AFTER ONLY EVER PREVIOUSLY SHOWING FEAR OR HATE #I LOVE IT AAUUUGHHH #oh!! thats right!#steam prison #paradigm paradox #piofiore #BECAUSE YANG I FUVKING LOVE YANG EVEN THOUGH HES AWFUL UGH #even if tempest #ill tag that in here too bc Tyril was that way for a hot second in the beginning of his route/timeline when he was first meeting Anastasia #i definitely know theres more but damn #anyway #we support character development in this house

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sysig · 5 months

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A bit more Defeated, and thinking about this post (Patreon)

#Doodles #SCII #Helix #Max Vyer #Dexter Favin #But actually starting with chibi Maxes because cutes!! He's the cutest!!#I was looking through some old doodles of my own and my chibi style from 2019 was so flippin' cute ugh #That Zedaph in cold weather clothing? Honestly still a fave of mine Zed is So soft in all my doodles of him lol #Figured it'd be nice to float some cute loves Max's way :) And I was right! Though I am out of practice lol #Was still fun to do tho haha #And then since I'd reread Defeated poor ZEX got a chibi as well! I'm sure he appreciates it poor lad haha ouq #Didn't even use my white ink to put a shine in his eye for that one haha :'D #And then a bit more with Dex </3 I had these ideas on the first reading (or so - in the same time period anyhow) but only got to them later #Dex speaks so.....patronizingly about ''Max's'' attachment to Caleb :) It's interesting to me :)#For a lot of it he's very understanding and gentle with him but it really seems like Caleb is something of a sore spot for him huh #Still ♪ I wonder if he'd consciously acknowledge it - and what his reaction would be at himself if he did hmm #He's no help to Max if he's caught in his own feelings! That doesn't make them not meaningful or important tho #And then to a bit of silliness ♪ No subtlety with the guard dog comparisons pffft #I will not apologize - if ZEX gets to play with a collar and leash with the Captain then let Max have just a little! As a treat!#Besides we all know the Real Dynamics here lol #Max and Dex do stupid couple's costumes for Halloween - who doesn't love a callback lol - and Dex is Not Amused lol #Hey I mean if the shoe fits!#And then the last one is just silly lol I may be misinterpreting the intended message but I couldn't not give it to them lol #And also Max in a ponytail for funsies :D Cute lad ♥

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unproduciblesmackdown · 10 months

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more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair. More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking. Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction.

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are: "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself. They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory. As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it. Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

#summer stock #dearth of peak relevant info for our purposes otherwise lol but hey #pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's #which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow #also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy #further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great....#and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it #(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not #go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the #material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here #and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more #herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also #meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process''#but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still #finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines #rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this #and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single''#whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol #hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours #but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life #(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...)#(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?)#long post ///

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divinekangaroo · 4 months

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furthering tommy-sexuality and intersection of ethnicity discussion with @deadendtracks from this post:

I do wish I could be more concise about this so sorry for the ramble - too much I think is still trying to sort it out through the process of writing it. These moments I really appreciate your concise, coherent meta posts! I also don't think I've properly answered the question, but contains more broader context around my thinking.

"This is a very interesting approach that I don't think I fully disagree with, but where I hesitate is that Tommy's the only character in his family or extended kin group who uses his body like this. / What do you make of the fact that Tommy is the only "subaltern" character we see who uses himself sexually the way we're more used to seeing a woman do?"

I think Polly and Ada do it too, though? And I also think Arthur does it particularly with Linda but it’s in a very differently articulated way, but this definite sense of the use of the body. (I *headcanon* Tommy also saw his father do it, too, paying off a debt to some English woman with authority this way, and one day some husband/brother etc cut up Dad as a consequence, but off I spiral -- this was born out of very micro hints of Arthur Shelby Snr as a wandering Casanova using sex as a (theoretically) no-personal-cost way for a man to slide out of situations or obligations, and Arthur Snr's association with prostitutes without any war-soldier-prostitution linkage to drive that connection.)

But, I also feel there’s a deliberate presentation of Tommy’s consideration of his ethnicity as different to how most of his family consider it (long different conversation), because of the alignment to his mother that none of the rest of the family have (another long different conversation). This assumes a reading of his mother as far more closely associated with his (rather silent/compressed) relationship with his ethnicity, too. Polly and Uncle Charlie's comments reinforce this reading in a few points. So this different relationship he has with his ethnicity also leads into a different intersection of that with his sexual activities.

When Tommy does use his body, I think it’s repeating behaviours he’s seen and understood as an available way for those with no power and limited influence to exert more influence, and those behaviours were drawn from watching the behaviours of primarily women of his family. And will mostly talk about Polly because that's what we do see on screen, extrapolating there was more of this sort of exchange going on around Tommy in his youth, too.

And while there’s an argument to be made that using sex/body is a behaviour available to any person with no power trying to exercise influence (many stories of women over time) without the subaltern/ethnic layer, it’s difficult for me to detach ethnicity from Tommy and Polly's on screen behaviours, because their ethnicity is a huge contextual-for-the-time part of what limits their power/influence in the first place. I think the show also includes significant hints of the Othering/exoticism associated with Tommy’s (and Polly’s) ethnicity in a way that shows it is connected to sexual behaviours/body trading – May talks about everyone laughing about when he’ll steal the silver, which is a Romani stereotype more than working class or racketeer; I think you mentioned once Tatiana does it too with the allusion to Tommy squatting in his own house. Polly has Campbell (the whole exchange is subaltern coded) and Abarama which is also ethnically *heavy* if not in the same way as with Campbell because Abarama is Romani too. And for Tommy: Campbell, Hughes and Mosley’s sexually charged ethnic slurs (or ethnically charged sexual attacks?) towards Tommy are a whole essay on their own.

For Polly, feeding into my thoughts around subaltern coding: stolen children and Polly’s sexual behaviours, including approaching Campbell. Stealing children from certain cultures/families is not just a poverty/class thing, taking children was a deliberate targeting of the Romani culture (amongst other cultures) to detach children from the culture and destroy/degrade culture, in a similar way (if not as governmentally sanctioned/policy-driven) as the Stolen Generation in Australia and other colonial government policies over indigenous (subaltern) cultures. So from that particular approach, I’ve then read every one of Polly’s actions to protect Michael (sleeping with/rape by Campbell, sleeping with Abarama, even her actions with Tommy in his clannishly coded position of masculine/head of family privilege) as coming from that place of the woman-subaltern, lower even in status than the male-subaltern. So Polly’s behaviours with Campbell and Abarama translate directly into my reading of the subaltern coding around her sexual behaviours, which then has a copy/mirroring in Tommy’s own sexual behaviours.

There’s also an interesting question I ask myself as I ponder why I've taken this reading. If Tommy were instead a Romani woman who engaged with her cultural/ethnic signifiers in the same way Tommy does*, and she used her body for sex with higher class English men to obtain influence where she cannot obtain or apply power, would the exotification / Othering / subaltern coding associated be a discussed layer? A Romani woman using sex as trade to gain influence? And I think, but of course it would, this is a tale as old as time...but because Tommy’s a man, there’s always that sort of mental hiccup first?

*which he does in fact do, it's not non-existent. But I think the complexity starts to come in with what and how exactly these cultural/ethnic signifiers are engaged with by Tommy / his partners, and how obvious it is or isn't, because the show doesn't always treat this as a direct or foregrounded thing. For example, to reframe that question, is Romani Tommy (male or female) exoticised/othered/[consciously acting as or unconsciously portrayed as] subaltern in sexual encounters for influence, if he and his partners *don’t in any way* acknowledge his ethnicity in any way? Probably not, BUT, his partners (and sexual aggressors) actually do acknowledge his ethnicity if with varying directness, and using uncomfortable stereotypes/terms. Tommy either forcefully silences his ethnicity in their encounters, or, he acknowledges his ethnicity but it’s in difficult and uncomfortable ways.

Tommy almost deliberately omits engaging on any ethnic line of dialogue with any of his partners raising it to his face. (I swear the only time he says Gypsy all 6 seasons is when he shouts at Lizzie in S6 in his panic.) Class dialogue, yes; ethnicity, no. And Tommy's silences say a lot. Vulnerability, shame, tool, sense of self, etc: the ethnicity is almost more sensitive and can't be talked about because it's something he can't change, whereas he (sort of can) with class via money and rank. He does *use* his ethnicity as a tool (his Romani connections/forces, the way gangs even being formed tend to occur on ethnic lines in the first place because general society even working class shuns that ethnicity, aspects of trying to find comfort like potentially his retreat to the road and Zelda after Greta died; seeking the first Barwell sister after Grace died; the protection motifs around Ruby; using the language in front of others to speak secretly but in plain sight) but it's almost more frequently a vulnerability and liability (the reason for his disadvantage, the weight of inevitability of suicide, seeing visions etc).

I also think on how he has this repeated motif of being almost physically incapable of talking about the things most close to, hurtful, risk of hurt to him, and it seems his ethnicity fits into this, too. He doesn't even talk directly to Polly about it except in his fit about his mother in S4, and even that's a sideways, indirect mention. He says something like 'going like Mum, speaking to the dead, scaring the kids' - but because we've seen Polly's behaviours we understand that 'going like Mum' means Polly leaning hard into her take on Romani mysticism and calling it her Gypsy blood/opening the door to Gypsy foretelling/seeing things etc; from this I make the link that Mum = Romani; Tommy's complicated relationship with his mother = Tommy's complicated relationship with his ethnicity. Every time Polly raises their Gypsy blood, he lets her speak but won't engage. Even Uncle Charlie's commentary around the mother's suicide, everything framed around that is Romani - the horse, the travelling, the Gypsy mythos. And again Tommy says nothing when he hears all that. It all feels like a wound he can't touch, ethnicity / mother. (He also never engages with Alfie on this line, despite multiple times Alfie opens that door.)

And so the deliberateness of his omission conversely makes his ethnicity feel quite dominant in his sense of self and identity for me, in the way this series frequently uses silences and omissions to show the shape of something there.

Where it gets to his sexual actions as [partially consciously subaltern] or [unconsciously subaltern but consciously portrayed as such by the show], I suppose the guts is that I feel like he carries his awareness of how other people view the Romani, and his discomfort with that awareness and the discomfort/hurt with that part of his self that he can never get away from and that has disadvantaged him, into his sexual encounters (except for Grace in S1) -- but that in parallel, his decision to proactively trigger sexual encounters as a way to win/exercise influence is also weighted by a sense of ‘this is what I need to do because this is a tool I have available’ and his internal definition of ‘I’ includes (amongst other things) ‘Romani’.

I also think, like: a Romani woman using sex with upper class men to gain influence, becomes a conversation about stereotyping, authorial and period specific contextual justifications, as well as character justifications; but given it's a Romani man doing it, I've been fascinated in fandom discussion it's almost automatically honed in on masculine vs feminine behaviours only. The Romani layer is silenced in so much fandom discussion -- as if the masculine v feminine becomes the sole question rather than as well as, why does a Romani man in particular in that position maybe think to behave that way/why did they choose to portray a Romani man in particular behaving that way. Like, could any of his thinking to behave that way (or, could the expectations and approaches of his sexual partners/aggressors) have anything to do with the rather abundant late 1800s/early 1900s literary and pseudoethnographic texts which exotify and hypersexualise his ethnicity? (watch out for that gypsy man stealing women, the tinker sleeping with your wife while you're at work, etc etc; then he looks at someone like May, and maybe Arthur and John only see a hunger for working class cock, but Tommy is maybe consciously just a little bit leaning into that exotic stereotype as well, horses and goldfish etc, because it might gain him advantage?) Or even authorial intent to really hammer home the subaltern nature of this character because look, even in sex as a man who is in theory has more privilege in bed, this character still can't be free of behaviours and manners which tie back to his ethnicity?

But I know and sorely feel how much harder it is to write and think effectively about ethnicity in a public forum, because it can be so much more hurtful and real and intersectional, than it is to consider slightly more abstract concepts, such as the masculine animus and feminine anima, and mother-parallels, that become more symbolic, character-only, and which can be contained and referenced within the source material alone, hence, IDEK, it's a safer dialogue, and so~?

#i think i've touched on some key points which hopefully allow some dialogue.but do feel free to point me more clearly at your question #idk what's happened to my reading comprehension these days XD losing all my essay writing skills #also i have whole essays around polly arthur ada and johns approach to ethnicity in comparison to tommys.he's just soooo alone in this spac #all these things for which he hasn't got the words #some interesting snips in fanfic here and there though so fans are aware of it it's just not easy meta-making material methinks #the show did go there though; the gutpunch of shit getting real I felt in the S5 scene when Mosley refers to the 'wog language'#tommy's absolute stillness and silence in response; even words even those words which were always just him and his family stripped from him

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