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#i still need to go insane
mishapen-dear · 8 months
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(end of bad’s Acceptance vod, about 1:48:30)
no but im never going to be normal again. LOOK at this. look. IMMEDIATELY before this he gave a whole miserable speech at the graveyard about how much he misses the kids and how he wants them to come home. He was grieving so hard it started to rain. He cried while he sang to them. It was the perfect end to 5 days of grieving- and then he does this.
and the rain isnt about grief anymore- the thunder isnt a peaceful background to a heartbreaking scene. It is rage. the whole context changes. The storm raged on while he grieved like he raged during the Everything Else that happened (“there are a lot of federation workers on today. I need to interrogate them about some things” he said while he was following forever ALONE to distract him. he knew forever was fucked up and about to put more marriage pressure on him and for anyone else that would have been Terrifying. how could you focus on anything but that? but. bad was thinking about tormenting more federation workers)
i just!!!! its so good. its SO good its so scary its so good. bad hasnt accepted the loss of his children but he has accepted how far he will go to get them back. (he will do anything)
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vongulli · 8 months
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Can't get them all outta my head!!!!!!
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saltpepperbeard · 1 year
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Vico Ortiz + Their Sword
(for @stedebonnets)
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mayoiayasep · 1 month
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i know this scene has been talked to death at this point but genuinely the picture of marcille with her hands feet and hair all bloody after fighting the dragon, sorting through the dragon's literal fucking guts and gore in order to find falin's bones after having been squeamish around other monsters. using resurrection magic to bring falin back bc thats what she came down there for and by god she was going to do whatever it took. like jesus christ
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cuddlytogas · 2 months
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So I accidentally almost got into an argument on Twitter, and now I'm thinking about bad historical costuming tropes. Specifically, Action Hero Leather Pants.
See, I was light-heartedly pointing out the inaccuracies of the costumes in Black Sails, and someone came out of the woodwork to defend the show. The misunderstanding was that they thought I was dismissing the show just for its costumes, which I wasn't - I was simply pointing out that it can't entirely care about material history (meaning specifically physical objects/culture) if it treats its clothes like that.
But this person was slightly offended on behalf of their show - especially, quote, "And from a fan of OFMD, no less!" Which got me thinking - it's true! I can abide a lot more historical costuming inaccuracy from Our Flag than I can Black Sails or Vikings. And I don't think it's just because one has my blorbos in it. But really, when it comes down to it...
What is the difference between this and this?
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Here's the thing. Leather pants in period dramas isn't new. You've got your Vikings, Tudors, Outlander, Pirates of the Caribbean, Once Upon a Time, Will, The Musketeers, even Shakespeare in Love - they love to shove people in leather and call it a day. But where does this come from?
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Obviously we have the modern connotations. Modern leather clothes developed in a few subcultures: cowboys drew on Native American clothing. (Allegedly. This is a little beyond my purview, I haven't seen any solid evidence, and it sounds like the kind of fact that people repeat a lot but is based on an assumption. I wouldn't know, though.) Leather was used in some WWI and II uniforms.
But the big boom came in the mid-C20th in motorcycle, punk/goth, and gay subcultures, all intertwined with each other and the above. Motorcyclists wear leather as practical protective gear, and it gets picked up by rock and punk artists as a symbol of counterculture, and transferred to movie designs. It gets wrapped up in gay and kink communities, with even more countercultural and taboo meanings. By the late C20th, leather has entered mainstream fashion, but it still carries those references to goths, punks, BDSM, and motorbike gangs, to James Dean, Marlon Brando, and Mick Jagger. This is whence we get our Spikes and Dave Listers in 1980s/90s media, bad boys and working-class punks.
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And some of the above "historical" design choices clearly build on these meanings. William Shakespeare is dressed in a black leather doublet to evoke the swaggering bad boy artist heartthrob, probably down on his luck. So is Kit Marlowe.
But the associations get a little fuzzier after that. Hook, with his eyeliner and jewellery, sure. King Henry, yeah, I see it. It's hideously ahistorical, but sure. But what about Jamie and Will and Ragnar, in their browns and shabby, battle-ready chic? Well, here we get the other strain of Bad Period Drama Leather.
See, designers like to point to history, but it's just not true. Leather armour, especially in the western/European world, is very, very rare, and not just because it decays faster than metal. (Yes, even in ancient Greece/Rome, despite many articles claiming that as the start of the leather armour trend!) It simply wasn't used a lot, because it's frankly useless at defending the body compared to metal. Leather was used as a backing for some splint armour pieces, and for belts, sheathes, and buckles, but it simply wasn't worn like the costumes above. It's heavy, uncomfortable, and hard to repair - it's simply not practical for a garment when you have perfectly comfortable, insulating, and widely available linen, wool, and cotton!
As far as I can see, the real influence on leather in period dramas is fantasy. Fantasy media has proliferated the idea of leather armour as the lightweight choice for rangers, elves, and rogues, a natural, quiet, flexible material, less flashy or restrictive than metal. And it is cheaper for a costume department to make, and easier for an actor to wear on set. It's in Dungeons and Dragons and Lord of the Rings, King Arthur, Runescape, and World of Warcraft.
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And I think this is how we get to characters like Ragnar and Vane. This idea of leather as practical gear and light armour, it's fantasy, but it has this lineage, behind which sits cowboy chaps and bomber/flight jackets. It's usually brown compared to the punk bad boy's black, less shiny, and more often piecemeal or decorated. In fact, there's a great distinction between the two Period Leather Modes within the same piece of media: Robin Hood (2006)! Compare the brooding, fascist-coded villain Guy of Gisborne with the shabby, bow-wielding, forest-dwelling Robin:
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So, back to the original question: What's the difference between Charles Vane in Black Sails, and Edward Teach in Our Flag Means Death?
Simply put, it's intention. There is nothing intentional about Vane's leather in Black Sails. It's not the only leather in the show, and it only says what all shabby period leather says, relying on the same tropes as fantasy armour: he's a bad boy and a fighter in workaday leather, poor, flexible, and practical. None of these connotations are based in reality or history, and they've been done countless times before. It's boring design, neither historically accurate nor particularly creative, but much the same as all the other shabby chic fighters on our screens. He has a broad lineage in Lord of the Rings and Pirates of the Caribbean and such, but that's it.
In Our Flag, however, the lineage is much, much more intentional. Ed is a direct homage to Mad Max, the costuming in which is both practical (Max is an ex-cop and road warrior), and draws on punk and kink designs to evoke a counterculture gone mad to the point of social breakdown, exploiting the thrill of the taboo to frighten and titillate the audience.
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In particular, Ed is styled after Max in the second movie, having lost his family, been badly injured, and watched the world turn into an apocalypse. He's a broken man, withdrawn, violent, and deliberately cutting himself off from others to avoid getting hurt again. The plot of Mad Max 2 is him learning to open up and help others, making himself vulnerable to more loss, but more human in the process.
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This ties directly into the themes of Our Flag - it's a deliberate intertext. Ed's emotional journey is also one from isolation and pain to vulnerability, community, and love. Mad Max (intentionally and unintentionally) explores themes of masculinity, violence, and power, while Max has become simplified in the popular imagination as a stoic, badass action hero rather than the more complex character he is, struggling with loss and humanity. Similarly, Our Flag explores masculinity, both textually (Stede is trying to build a less abusive pirate culture) and metatextually (the show champions complex, banal, and tender masculinities, especially when we're used to only seeing pirates in either gritty action movies or childish comedies).
Our Flag also draws on the specific countercultures of motorcycles, rockers, and gay/BDSM culture in its design and themes. Naturally, in such a queer show, one can't help but make the connection between leather pirates and leather daddies, and the design certainly nods at this, with its vests and studs. I always think about this guy, with his flat cap so reminiscient of gay leather fashions.
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More overtly, though, Blackbeard and his crew are styled as both violent gangsters and countercultural rockstars. They rove the seas like a bikie gang, free and violent, and are seen as icons, bad boys and celebrities. Other pirates revere Blackbeard and wish they could be on his crew, while civilians are awed by his reputation, desperate for juicy, gory details.
This isn't all of why I like the costuming in Our Flag Means Death (especially season 1). Stede's outfits are by no means accurate, but they're a lot more accurate than most pirate media, and they're bright and colourful, with accurate and delightful silks, lace, velvets, and brocades, and lovely, puffy skirts on his jackets. Many of the Revenge crew wear recognisable sailor's trousers, and practical but bright, varied gear that easily conveys personality and flair. There is a surprising dedication to little details, like changing Ed's trousers to fall-fronts for a historical feel, Izzy's puffy sleeves, the handmade fringe on Lucius's red jacket, or the increasing absurdity of navy uniform cuffs between Nigel and Chauncey.
A really big one is the fact that they don't shy away from historical footwear! In almost every example above, we see the period drama's obsession with putting men in skinny jeans and bucket-top boots, but not only does Stede wear his little red-heeled shoes with stockings, but most of his crew, and the ordinary people of Barbados, wear low boots or pumps, and even rough, masculine characters like Pete wear knee breeches and bright colours. It's inaccurate, but at least it's a new kind of inaccuracy, that builds much more on actual historical fashions, and eschews the shortcuts of other, grittier period dramas in favour of colour and personality.
But also. At least it fucking says something with its leather.
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tofixtheshadows · 1 month
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So I've been thinking lately about how Mithrun is Kabru's dark mirror (more on that another time- it needs its own post), and I thought it interesting that one of their parallels is that they were both cared for by Milsiril, but in opposite directions. She took Kabru in as her foster after he was orphaned and tried to convince him not to become an adventurer. On the flip side, she helped rehabilitate Mithrun specifically so that he could rejoin the Canaries.
And I kept wondering: why?
For Kabru, obviously she loves him a whole lot- despite any other shortcomings in their relationship, I do believe that.
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So I get why she tries to convince him not to go dungeoning, and, failing that, at least prepares him as thoroughly as she can.
But why help Mithrun? She used to hate Mithrun, but after realizing what a secretly twisted person he was, she actually thought of him more positively (oh, Milsiril). So it wasn't as if she held the kind of grudge that might motivate her to make his already-depleted life even more miserable by sending him back to the dungeons. And it wasn't that she felt bad for him either, since she didn't visit Mithrun for the first ~20 years of his recovery.
The Adventurer's Bible says that Utaya was the impetus for Mithrun returning to the Canaries, but Milsiril is the one who made the trip to see him and tell him about it.
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Why would Milsiril work so hard to get her old coworker back into fighting fit? Why encourage him to return to such a dangerous lifestyle, when she was the one who chose not to mercy-kill him?
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That last panel is such a crazy thing to hint at and then never elaborate on. Without it we could have just thought that Milsiril wanted the Canaries' work to continue without her, even if it seemed out of character. I think some people even assume she's just a natural caretaker as a foster mom and handwave it to include nursing Mithrun too. What could Milsiril's suspicious motives be? What does she gain from Mithrun joining the Canaries that isn't an altruistic desire to see dungeons safely sealed? Feeling a sense of responsibility for the work she left behind isn't an ulterior motive.
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My theory is: Milsiril, knowing that Mithrun was empty save for the burning desire to face the demon again, wound him up like a clockwork doll and pointed him back at the dungeons.
Hoping that he'd eliminate the biggest threat to Kabru's life, before it was too late for him.
Milsiril the puppetmaster.
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heartorbit · 3 months
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i'm sending this endless melody to a nameless you
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theoldkyokodied · 1 year
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Uploading all my Tomgreg art at once from the past few week before season 4 hits, who knows in what kind of mental state i'm gonna be once it does :')
#tomgreg#succession#dont even talk to me i started watching this show when i had nothing to do at work and now i watch it with averiel my good friend averiel#and we are going to watch s4 together and i feel physically ill from bein so excited#so ya thats what ive been up to... anyway. i love these idiots they desever nothing but the worst (affectionate)#im also a tomshiv lover btw. im the one who yells 'THIS IS HOW TOMSHIV CAN STILL WIN' while they are actively losing on screen#thats the kind of person i am#dont look at me (lying on the floor)#okay i was not going to say stuff in the tags and let the art speak for itself but i NEED to point out details in the wine Painting..#i put a lot of work into that one. thinly veiled metaphors and symbolism yknow..#greg is gripping the stem of the wine glass with his full fist. tom and greg are dressed in the same outfit (sock garters included)#greg look appalled but he is not doing anything about the spill. tom is fondly pouring greg more and more wine. he is doing him a favor#i colored the red wine the same way i would color blood :) oh and tom is not really touching greg#only holding the chair in place. greg is making himself look smaller than he is like usual#oh and @ the person who said that it's the inverse of the tom and nate scene i love the way you think. i did not think of that before#but god. yeah. i actually thought about the scene change from when roman uhh.. christens his office in s1. the one with the coffee machine#i always go insane at that cut. this is not exactly the same since it's more.. about emotions but yknow.. it can be.. the same...
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ghostlyheart · 3 months
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How I (roughly) imagine this scale:
1- I see myself as a faster reader than the average person. I can breeze through a text quickly and still understand almost all of it
2- I read at a "normal" speed. I need to pace myself but can consistently read and comprehend a text in a reasonable time frame
3- I see myself as a slower reader than other people. It takes me a long time to get through a text and if I try to go too fast I won't understand it
Obviously this can vary by your mood, the type of text, etc. and this is a very imprecise scale with some overlap, I'm just casually curious!!
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gayspock · 1 year
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i love it when a tv show has lows that are so low you're so ashamed to ever show it to anyone ever but then highs that melt your brain a bit, like, "good fucking god, this is genuinely such an astounding piece of craftmanship... my perception of the medium, and perhaps of myself, has been challenged/changed in 40 minutes" but you cant even express that to ppl without feeling like youre fucking deranged bc my god the lows .....
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moderndaypandora · 1 year
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The LAYERS needed in a modern/human Dreamling au.  Some level of Endless family dysfunction, obviously.  Hob's family can be be dead or not, it's all good. Are they old enough to have individually gained the awareness they are off-puttingly intense and should hide it a bit at first, or still in that "no, why would I need to Elsa this" stage?
Option A is both of them trying to play it cool, like "don't scare him off" except they so badly want to go from zero to sixty.
(Death and Desire have ruthlessly drilled Dream with flashcards about how to react appropriately in situations.
Desire: it's your one-month anniversary, what do you do?
Dream: [hesitantly] NOT propose?
Desire and Death, conferring, because that's technically correct but the delivery was suspect.
Death, encouragingly: Good start. And?

Dream: a nice dinner and maybe a walk?
Desire: well done!
Death: and for a three-month anniversary?

Dream: give them a key to my flat.
Desire: [airhorn] NO. RED CARD.)
Option B makes them the classic anecdotal "my grandparents got engaged within seven days of meeting each other and still are happy together".
(Death, rubbing her temples: so you met this guy--
Dream: Hob
Death: -- Hob, and within 1 day you gave notice to the Registrar's Office and figured out the best day to get married. And Hob agreed to this?
Dream: NO.
Death: oh thank go-
Dream: Hob SUGGESTED this.
Death: . . .
Dream: are you going to be a witness or not?
Death, 29 days later in the Registrar's Office, to Hob's witness: Is he sane?
Johanna Constantine, drinking heavily from a large flask: unfortunately yes, by all legal definitions.
Death: fuck
Johanna: [passing the flask over] if your brother's even a tenth as intense as Hob, they'll be fine. Probably.
Death, brightening: Is Hob that bad?

Johanna: You know how sometimes you meet somebody and think "oof, they're a bit much, best give them a wide berth"?

Death: yeah.
Johanna: Hob's like a camouflaged hole in the ground of muchness. Except he's done the hole up all nice and he knows that sometimes you just want to be left alone in the hole to sulk and rattle the spikes for a bit, and occasionally get a F&M hamper tossed in.
Death: [hmmmmmmm'ing approvingly]
Johanna, morose: the bastard.
In the background, Hob and Dream are pressing their foreheads together and basking in each other's presence)
#dreamling#the sandman#it's underappreciated how many red flags hob probably is buried under his amiable exterior#he looked at dream of the endless and went 'yeah'#not even as a 'i can make him better'#very much as a 'i can vibe with his current state and frankly even if he was worse i'd still be like that's my husband [shrug emoji]'#'what am i supposed to do? i knew who he was when i married him'#everybody around them: [extremely done with their shit] STOP ENABLING HIM#hob: he's my goth sweetheart#dream's entire family: he's ten sulking cats in eyeliner and a dramatic coat#hob: i know :D i love him!#johanna constantine is like 'hob's insane'#and everybody's going 'oh no don't be so mean he's just a little boring next to dream'#johanna: he saw dream being dream and went 'i need to stamp my name on him. how do i permanently tie us together'#johanna: he'd never safety pin a condom but i can just see the gears turning in hob's head about how to get to spend more time with dream#johanna: just radiating smug contentment over his insane wet cat#hob: i cannot wait to spend the next 60 years with that man#hob: and ideally die in our sleep together still holding hands#death and johanna: [staring at him over their fourth round of drinks]#dream: [heart of eyes and pink of cheeks]#dream: we should never not be holding hands#hob: okay but what if occasionally we stop holding hands just to then appreciate the feeling of starting to hold hands again#dream: [mulling] acceptable#death and johanna could probably start an entire benefriends or actual romantic relationship entirely based on judging dreamling
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An example of queercoding in Alhaitham and Kaveh's relationship: Madam Faruzan edition
Due to the rules in place for game development in China, the possibility for queer confirmation within Genshin Impact is denied, which therefore renders the usage of characters alluding to the potential romantic connection between two same-sex characters as impossible. However, the same insinuation can be made by omitting specific language which strictly conveys romantic sentiments, such as ‘couple’. Instead, the idea of secrecy or something unmentionable can be drawn upon as indicators, as this draws parallels to the taboo of homosexuality practiced within certain cultures and media forms, which the real world audience can identify.  
For example, Alhaitham and Kaveh as secret housemates. This can be used to convey an idea of ‘taboo’ as Kaveh desires to protect his reputation by concealing his shame of having to live with Alhaitham. In-game, the context here is that Kaveh wants to uphold his reputation of a successful architect, but within Alhaitham’s Story Quest, upon the player’s discovery of Kaveh living with Alhaitham, this context is omitted for some time. This prompts Paimon to question what exactly Alhaitham and Kaveh’s relationship is, with Kaveh denying that the two used to be friends but are not anymore: “I wouldn’t say ‘friends’ exactly”.
This tactic of double entendre can be seen again in A Parade of Providence when Paimon almost reveals Kaveh’s living situation to Faruzan.
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Faruzan’s can be observed to resort to a thinking pose, in comparison with Layla, when Alhaitham is mentioned in relation to Kaveh wanting to buy property, as Paimon almost ‘outs’ the truth, that Kaveh resides with Alhaitham.
She then seemingly dwells upon the subject, as she returns to it after Kaveh requests for a change of topic later in the conversation. Here, Faruzan follows up on whether Kaveh lives alone, which he fails to deny. 
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Here, it can be seen that she has already began associating Kaveh and Alhaitham, possibly speculating that the two live together. When Kaveh fails to supply an answer, therefore not denying her theory, she explicitly ties the two together, and asks if the two are “hiding” something.  
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This question evokes a physical reaction from Kaveh, as he denies this question out of fear of being revealed, with Paimon opting to leave in order to cover her role in revealing Kaveh’s predicament.  
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A deliberate potentiality has been created here in regard to what Faruzan has inferred, as her phrasing of “are you two hiding something from me?” is non-specific. Rather than asking: “are you two living together?”, she asks a question which holds multiple connotations. Due to the ambiguity of her meaning, her question can be observed as a non-explicit version of the: “are you two a couple?” question.
On the surface, this question is a reference to their situation as roommates, however, her phrasing is non-specific, and hints to another cause for “hiding” something. For Faruzan, Kaveh’s blatant evasion of the topic and dismissal of Alhaitham’s name, could easily be inferred as “hiding” a romantic connection – which is something that the player, too, can pick up on from her gesture of suspicion, her inquisitive questioning, and her excitement when piecing together the clues. The ambiguity of her question generates multiple meanings as to why she has surmised the two could be “hiding”.  
This overt secrecy in Kaveh’s living with Alhaitham, another man, prompts the player to generate associations between this in-game secrecy and real world queer shame. In this, there is an implication of the need for Kaveh to confirm the status of his relationship between him and Alhaitham. Not only does this scene connotate an ‘outing’, in which a queer character has their queerness forcibly revealed to a heteronormative audience, but this creates a sense of secrecy, which, again, can be interpreted by the player as ‘taboo’.  
Kaveh does not want to tell anyone of his living situation out of preserving his stellar reputation, however, Faruzan is missing this context. She relates Alhaitham and Kaveh together in the phrasing “you two”, coupling them together in a secret that they “hid[e]”. The player understands this as indicating to their living situation, however, this creates a separate context which Faruzan has interpreted and that, we, as the audience are not privy to, but can interpret based on her allusions to cohabitation between two men being a secret.
Whilst this is not explicitly romantic within Genshin’s world of nameless sexuality, Faruzan’s ambiguous questioning here draws parallels between real world understanding of sexuality and the connotations of queerness which stems from two men living together in secret. 
(Update: For more analyses like this, the essay this is taken from is now uploaded! It can be accessed here and here as as a pdf <3)
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beanghostprincess · 3 months
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If somebody had told me Ling and Edward were so fucking gay in this show I would've watched fmab years ago
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lucy-ghoul · 12 days
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can't believe a show based on a videogame (usually games adaptations are notoriously bad, which isn't the case here tho) gave me the beauty and the beast/twisted mirrors/enemies to traveling companions/ruthless antihero+optmistic but still badass heroine who takes none of his shit/age gap but make it sexy dynamic of my dreams. as much as i love maximus and i think he deserves the best writing ever because 1. he's a clever deconstruction of the aspiring Knight bro who's actually a bit of a loser and, as much as lucy, sees the world in black&white at first and then doesn't get what he thought he wanted but what he needs (or at least i hope he'll eventually get it), and 2. he's a cutie and i want an epic love story for him too, it's very funny how they tried to give us a puppy kind of romance and the tumblr girlies still fixated on the "toxic ~she bites his finger off and he cuts hers off and sews it on his hand in what we'll pretend it's a symbolic marriage rings exchange or whatever~ asshole who used to be a nice guy/good girl™ with a lot of spunk and hidden anger but unshakeable morals" kind of relationship.
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xmaruu11 · 8 months
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HELLO PEOPLE
YOU. TRAFFICBLR.
FEEL FREE TO INFODUMP ALL YOU WANT ABOUT YOUR FAVORITE DUO/GROUP OR CHARACTER HERE ON MY REPLIES AND RTS !!!
I DONT MIND HOW LONG IT IS OR IF MY NOTIF DIE GO AHEAD
TELL ME EVERYTHING IM ALL EARS
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peggingeddiediaz · 22 days
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Tommy really smelled the bottom energy from Eddie, like, he invited him to a sold out fight in Vegas and took him there via helicopter, took him to a karaoke bar trivia night in the middle of the week (just the two of them, that could've easily be an outing for more than 2 people) "muay thai sparred" with him at Tommy's garage, showed him how to fix cars and drove him to the basketball game. All of that while having Marisol and Buck watch Christopher. This show is a comedy really.
Tommy was sugar daddying him so hard, and Eddie was loving it. I need all the fics where BuckTommy toss Eddie around like a frisbee.
I sound like a broken record but Eddie was loving getting wooed to hell and back while having Buck be a little jealous.
Now Eddie is topless while Buck and Tommy take turns railing each other.
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