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#especially me lmao
andallthatmishigas · 2 years
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Hopper goes to see Joyce at the coffee shop.
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shootingstarrfish · 4 days
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hes got that wet kitten swag i love him
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blackkatdraws2 · 16 days
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Baby I'm Home [Blank Scripts AU]
[Song: Baby I'm Home - ODETARI (feat. Kanii & 9lives)]
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vaguely-concerned · 1 month
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Visual Language Things in Improbable Cause/The Die Is Cast that are driving me INSANE
the stuff they do with light and shadow in these episodes is just. someone went 'I know artists who use subtlety and they're all cowards' and they were so right for that
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are you telling me... that this man is caught between light and dark in this moment and hasn't yet decided which side his soul is going to come down on in the end. hm. interesting. (especially cool that when the shadows of his face are lit up in the runabout at the end, that's when you see the damage underneath. he's partially made that choice and he's illuminated, but not by a comforting light yet, those are danger colours. odo and garak bonding on a day trip to hell; the episode)
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I think this shot is ultimately my touchpoint for the visual language set up in this episode -- julian bashir standing there in 'wherever you have to go, come home to this afterwards' light as garak walks into the shadows (and towards tain). where does the light in his life come from currently? we may have a clue before us folks
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(This one is literally just because his expression here makes my chest feel weird and aching. oof. I feel like this is one of the rare times he lets himself be really openly soft because he must know there's a decent chance he's not coming back)
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aaaand what's the very first thing that greets him once he 'returns to the light' so to speak? :) little bit of a moral and emotional horror show in the middle there admittedly but thanks to odo he did come home and no one like. died or anything. well. many many people died but that honestly wasn't his fault or responsibility. we'll call it a victory
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some really cool odo shots too in this ep. I love you constable this was so fucking extra for no reason
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fun little detail: when the defiant starts shaking upon taking fire, Julian immediately puts his hand on Garak's shoulder -- the same way and on the same side as Garak did to Tain minutes before, when Odo had to fucking. knock him out to make him let go. (again: odo I love you. a direct and decisive thinker above all)
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spllwys · 12 days
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sleep token rituals 1/? 𝄞 source — "When I open my eyes to the future..."
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marley-manson · 3 months
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the topic is Trapper and the army as foils, you have three hours, go
In no small part the satire of Mash, particularly in the first half of the show, is tied up with gender performance.
The army represents traditional, stifling and violent masculinity. This is shown through everything from freudian jokes about guns (eg Frank and Margaret's flirtations in The Sniper or The Gun), to Margaret trying to cajole Hawkeye into performing a more traditional standard of masculinity while treating him like a soldier in Comrades in Arms Part 2, to many jokes and comments about (usually) Hawkeye not being a real man in contrast to army standards and various specific army personnel (eg Lyle in Springtime, Flagg in White Gold), to Frank and Margaret's worship of the masculinity of the army ("He's twice the man you'll ever be," re: Flagg and Hawkeye, Margaret's lust for MacArthur, Frank pursuing the sniper in The Sniper in an attempt to be a "real man" in Margaret's eyes, etc) to many jokes positioning the military as a sexually aggressive man pursuing Hawkeye ("Sure, the sun the moon the stars, your high school letterman jacket. Same deal I promised nurse Baker." "A receipt please, and promise you'll go out with other doctors," etc.)
In contrast, the main characters all fail to perform traditional gender in some way, from crossdressing to immaturity to indecisiveness to peacefulness to Margaret's masculinity and Frank's pathetic failure to live up to his own masculine ideals, to just about everything about Hawkeye. His cowardliness, his jokes about not being a real man, his jokes about taking the feminine role in sexual encounters with men and women, even multiple double entendres about his average at best penis size.
Trapper is the most traditionally masculine of the main cast. He still subverts masculinity in some subtle ways here and there, such as the occasional feminizing joke and mentions of not being in great shape, but overall he's the more butch counterpart to Hawkeye's fem. He plays the role of boxer while Hawkeye plays the role of diva in their respective manager/star roleplaying episodes. He's broader and buffer and plays football, often seen playing catch with someone while walking around the compound, while Hawkeye disdains sports and doesn't participate. He reads Field and Stream which Hawkeye derides in Alcoholics Unanimous while making a wry comment about shaving his armpits. A past lover nicknamed him Big John.
And there are many, many jokes about Hawkeye and Trapper being sexual partners. The recurring Uncle Trapper and Aunt Hawkeye gag, if my father sees this you'll have to marry me, for me? only if you put those on, your father and I will tell you what we did to have you, that's when I fell in love with him, etc etc etc. It's constant. In these jokes Hawkeye usually takes the feminine role, though not strictly every time ("Me and the missus," is one exception in As You Were, the dance in Yankee Doodle Doctor is another).
Trapper's masculinity is differentiated from traditional military masculinity in a few ways. Most obviously, Trapper abhors the military's violence. He never uses guns and mocks Frank's obsession with them, he's a healer rather than a soldier, and he's disgusted by the results of military violence on the men on his operating table.
He's also secure in himself. The military's brand of masculinity is strongly characterized by insecurity and overcompensation. Frank is the main representative of this military insecurity - a coward who insists he's brave (The Army Navy Game), a man who clings to a phallic gun to compensate for his sexual and gendered inadequacies (a main theme of The Sniper, perfectly mirrored when the army itself comes in with a vastly disproprotionately powerful automatic machine gun on a helicopter to shoot down one sixteen year old), a homophobe repressing his own attraction to men (As You Were, the original script of George), etc. We also see this in Flagg, who implicitly sublimates sexual urges into violence (seen when he suggestively caresses his gun while describing how he wants to torture a boy in Officer of the Day).
Trapper doesn't need to overcompensate. He's well-endowed physically, he's portrayed as a competent and considerate lover, he's a brave man who doesn't mind being seen as a coward, and he may or may not be attracted to men but either way he's not a homophobe (George) and he doesn't express his sexuality through violence. When Margaret proves herself stronger than him, his response is to be impressed rather than offended (Bombed). When he dances with Hawkeye for a gag, he doesn't mind letting Hawkeye lead.
He's also differentiated in terms of tradition, with the mliitary representing a more propagandic 50s traditionalism, and Trapper representing a 70s, countercultural freedom from tradition. We see this in the way Trapper has plenty of sex despite being married, while adultery is a court-martial offense in the military. It's notable that he's open and carefree about it, while Frank and Margaret are surreptitious and hypocritical in their affair. This lack of traditionalism is also shown in his disrespect for authority, often in direct contrast to Frank and Margaret's worship of it, and his allyship to George who the military would persecute for his sexuality.
So ultimately we can see that while Trapper and the military are both examples of masculine performance, Trapper's masculinity differs from the military's in being more flexible, less violent, less traditional, and more secure. The military's masculinity is far more toxic than Trapper's, particularly in the context of 70s counterculture media, which aligns womanizing with sexual liberation rather than a lack of respect for women, accurately or not.
This contributes to their respective dynamics with Hawkeye.
Hawkeye, we've established, is usually more feminine, and there are a myriad of jokes characterizing Trapper as his sexual partner, as well as the military as a sexual pursuer.
The jokes Hawkeye and Trapper make about their relationship tend towards cozy domesticity. They're Radar's "aunt and uncle," they directly roleplay marriage ("Martha, we're going to have to move, the people upstairs are impossible,") and less directly behave as though married (the bickering in Alcoholics Unanimous, the discussion about naming their pony in Life With Father). Occasionally they're treated as a healthy couple in contrast to Frank and Margaret's toxicity ("While I'm gone, promise you'll go out with other doctors," vs "Touch anyone else and I'll cut off your hands" in Aid Station).
In some instances the jokes lean towards predatory - "If you're trying to get me drunk, it'll work," or "Who is this man in bed with me?" "I followed you home from the movies," but they're always playful, always fond. If Hawkeye takes on a submissive or victimized role in these jokes, it's one he has fun with and discards just as easily in the context of the rest of his relationship with Trapper.
So, it's important to note that Hawkeye and Trapper support each other and look after each other in an equal, enthusiastic friendship. From Trapper ensuring Hawkeye gets to sleep in Doctor Pierce and Mr. Hyde, to Hawkeye supporting Trapper when he wants to adopt a child, to Trapper right at Hawkeye's side as they attempt to procure an incubator, they are there for each other every step of the way. If their relationship is a marriage in some ways, it's a healthy, strong, and non-traditional marriage, an equal and open partnership free of jealousy and insecurities.
Compare that to the military's relationship with Hawkeye. In jokes it's characterized as powerful and predatory, far from an equal partnership. Sometimes it approaches positive - in Carry on Hawkeye, much of the humour is derived from Hawkeye and Margaret's gendered role reversal as she assumes military command of the unit. Hawkeye playfully calls her sir, seductively lies on her desk like a secretary in a porn film, and most notably treats an immunization shot as sexual penetration in a prolonged gag about sexual role reversal. Hawkeye has fun playing a sexually submissive role to a representative of military authority in this episode, but it is a submissive role.
Several of the one-off jokes have a similar sensibility, such as the double entendre of "My bellybutton's been puckering and unpuckering all day," in response to a representative of MacArthur assuming their excitement over the general's arrival to the unit, or Hawkeye's "Okay, take me, I'm yours," to Colonel Flagg. They demonstrate a willingness to play the receptive role on Hawkeye's part, but they also, pointedly, disturb the object of the jokes.
When Hawkeye makes these jokes that sexualize military authority, he's attempting to be provocative as well as defiantly drawing disruptive attention to his own powerlessness as a drafted surgeon. The power dynamic between Hawkeye and the authority of the military only goes one way, and Hawkeye gets a kick out of pointing it out in ways that perturb the representatives of that authority, but it's a power dynamic that takes its toll on him.
Many of Mash's plotlines revolve around Hawkeye rebelling and attempting to seize some scrap of agency back from the military. Adam's Ribs, for example, in which he starts a mild riot over the food he's being fed and spends the episode attempting to procure barbecue ribs from Chicago (which Trapper procures for him), or Back Pay where he tries to charge the military for his forced labour. A particularly notable example is Some 38th Parallels, in which Hawkeye complains about being paid the equivalent of a nickel per operation, and his frustration manifests in impotency until he can perform a gesture of rebellion against the military.
One unfortunate consistency of these episodes is that the army ultimately retains its power. When Hawkeye achieves his goals, it's only in small ways that do little more than satisfy his own need to assert his sense of self. Often, Hawkeye doesn't achieve his goal at all, but is thwarted by the army, such as in For Want of a Boot. In every instance he remains powerless in comparison to the authority of the military.
So the context in which Hawkeye makes these sexualized jokes about the military literally fucking him is one of abject helplessness. In a sense, all he's capable of is pointing out what the military is doing and putting it in his own, audacious terms. He's not capable of preventing it. His jokes usually have an edge of bitterness to them in delivery, and when they don't, that tone is imparted anyway by the greater context.
With Trapper, Hawkeye can play-act a marriage or an assault, but in either case he's an enthusiastically consenting, equal partner. Trapper's performance of masculinity allows for Hawkeye to take any role from victim to wife to husband, and enables Trapper to respond in kind from a position of equality and respect. The military, in its insecure, domineering performance of masculinity, is a dictatorial authority, never allowing Hawkeye perform any role but a feminized, victimized one, and only ever giving him the choice of whether to perform with a wry smile or a sneer.
In short, Trapper is the cool, considerate service top to the military's insecure domineering boyfriend.
I'm tagging everyone who enabled this lol, share the blame. @beansterpie @majorbaby @professormcguire @rescue-ram
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dizaryswrites · 8 months
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Reading UTRH and in awe of how calculated and planned out all of Jason's little schemes are. Last minute shipment no one knows about? Red Hood does and he's blowing you up. Secret little meeting? Red Hood is crashing the party after leisurely eavesdropping. Oh wait he's cornered and fleeing? Nope, that's a microgun and wearable box of ammo he hid outside the door, you're still the sucker here.
Jason was putting in WORK
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lovegrowsart · 2 months
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it's pretty wild to me that people don't see that aang running off to save katara in CoD is his luke in empire strikes back moment, where he runs headlong into his want and attachment and he's narratively punished for doing so and not learning his lesson - aang runs after katara despite guru pathik's warning, like luke runs after leia and han from yoda on dagobah despite yoda's warning; similarly, as a result, things go to hell in ba sing se like they do on bespin - aang enters the avatar state before he's ready and gets killed, and ba sing se falls to the fire nation, luke fights vader before he's ready, loses a hand, and symbolically commits suicide after vader tells him he's luke's father.
the difference between their character arcs is that george lucas and co. actually went thru with luke's hero's journey and understood the fundamental difference between attachment and love, whereas I don't think bryke understood this difference and then dropped this from aang's arc pretty much completely and replaced it with aang digging in his heels into his want and attachment and he gets rewarded with energy bending from a lion turtle, the avatar state from a random pointy rock, and his forever girl from the self-indulgent white men that couldn't bring themselves to give their hero a compelling character arc that meant he might not have gotten everything he wanted at the end.
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bbreaddog · 7 months
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Practising Goncharov Theme by @caramiaaddio on violin bc I thought it would add an extra layer of haunting…ness (is that a word?)
Here’s the excerpt I’m playing in the video:
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Despite it being in a fuck off key for violin it is a really beautiful piece and it’s absolutely worth the trouble of practising in second position (world’s most hated position) and I’m HOPING 🤞 I can record and (maybe) post a full cover of it someday
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lunarin64art · 13 days
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That feeling when he can't stand to see you that way, no matter what you do, no matter what you say😩😭💔
#scott pilgrims precious little life#scott pilgrim vs the world#spvtw#spto#scott pilgrim#wallace wells#lisa miller#scollace#kim pine#natalie adams#envy adams#don't rlly know if I like how this turned out but oh well;;;#hope its obvious that this is based on the song “Scott Pilgrim” which the creation the comics were inspired from#the lyrics always make me think of Wallace and Lisa's feelings for Scott every time I hear it#ofc you could also relate it to Kim especially since the singers voice kind of reminds me of her#but overall the lyrics fit these two much better since Scott never truly “saw them that way” despite how long they've liked him#and they always seem happier to see him compared to Kim#Im surprised tho that I havent yet seen anyone draw these two together now that their dialogue parallels have been acknowledged more lately#also tho I wish more people pointed out that they both got cucked by red heads LOL#and Kim and Envy actually do look really similar when scott first meets them#makes me wonder if Scott subconsciously went for Envy since she reminded him of Kim (which would be fitting given that you could argue that#Envy dated Scott because he reminded her of Todd. Since he and Scott are confirmed to be meant to be seen as similar to one another#so much so that even their first and last names rhyme#last thing I'll add tho is that while Wallace and Lisa are very similar even personality wise#the one big difference is that despite that whole conclusion on vol4 of Scott not cheating on Ramona with Lisa because he loves her#the writers apparently think it would be “organically correct” for him to have an affair with wallace LMAO#but I guess we shouldn't be surprised since Wallace and Ramona are both in the front of the official valentines art which is clearly#a deptiction of Scotts wet dream or smth (oh and you could also argue that Wallace and Lisa parallel on that art since they're both#shirtless with white socks.. which could be a reference to how lisa wears skimpy clothes for Scott and Wallace often only wears boxers#to like sexually frustrate Scott for fun or smth
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archersartcorner · 3 months
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I think the Bad Kids deserve to cry a lil. As a treat. IT’S CATHARTIC!!!!!!!!!!!
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figmentof · 1 month
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Rick & Michonne in THE ONES WHO LIVE | 1x05 | "Become"
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qwertycake · 11 days
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fishin’
happy birthday to mr. drift king pioner himself
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transjudas · 1 year
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x, x
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thefrogdalorian · 2 months
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A little love letter to Din Djarin writers... 🤍
I love that some of you write him as soft and gentle while others focus on the darker, harsher parts of his personality. I love that he can be both a quiet, kind man caring for his child or an intimidating, terrifying bounty hunter who is a lean, mean killing machine... depending on what the fic warrants.
I love how you write him with other characters from The Mandalorian or even with those who would never cross paths with him in canon, from Star Wars or elsewhere. I love how you write him interacting with yourselves and us, and some of you even create your own original characters to exist a long time ago in a galaxy far, far away alongside him.
I love that some of you ship him with that one other special person, while others recognise how desirable he is and ship alllllll the ships. Not forgetting those of you which are here for none of those ships and/or even headcanon him as ace. I love that any of those options allow you to explore your own identities and sexualities through him.
I love that you can write the most tooth-rotting fluff or filthiest smut, and all of those things in between. Whether it's for general audiences or explicit and strictly 18+ ... all of your fics have an audience and someone out there who appreciates your writing.
I love how differently you can interpret him, but there are also so many common themes and tropes running through your writing. I love that there is room for all of your Dins here.
I love that he means so much to you and that all of us here hold him in our hearts a little bit. I love that we can all watch the same episodes and come to entirely different conclusions about him. I love how much we love him.
Getting to be a part of this wonderful community and interact with so many people who love the space tin can man as much as I do has truly been one of the best things that happened to me recently. I'm so glad I made this little blog... It reminded me just how good fandom can be. I am blown away by the number of talented people here!
So, I just wanted to take a moment to express some gratitude towards all of you! Thank you for writing your Dins and please don't ever stop. Finally.... last, but not least:
I love Din Djarin!!!
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natelia-aldelliz · 1 year
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1 : Soap never had any idea that woman wanted him carnally, he's not the most observant on that front (he never noticed Ghost flirting with him and thought his love was one-sided for the longest time, but tbf Ghost was also very discreet about it)
2 : He sewed the hat, eyepatch and hook himself, because he's the best uncle and then got distracted as he was wrapping it up, so now he's watching a tutorial on youtube about how to build a voice box. Honestly how hard could it be, he builds explosive devices as a hobby (listen, Price doesn't have to know)
3 : He is out to his family, but doesn't want his mum to know he has a boyfriend because he knows she'll insist on meeting him and welcoming him to the family and making a big deal out of this, and he knows that Ghost isn't ready for that.
4 : Christmas is obviously a very hard time for Ghost, but he is very very in love with Soap and some days still can't believe that it's mutual, but then his Johnny does something like that and his head gets quieter while he's melting a bit.
5 : For the people that didn't see my other post : the bird is a Caique parrot, and they're supposedly very energetic, a bit loud, medium sized, unintelligible, very friendly to what they consider their family, adventurous and danger prone, with an explosive personality and a hate of boredom, so basically the adhd bird.
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