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#thanking for reading my ted talk
howtokillavampire · 12 days
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do you ever see fanart so tasty that you are then obligated to join the fandom and spend all of your waking hours learning the lore behind the characters, or is that not a universal experience?
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helsensm · 2 months
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farm boys Valentine's Days 💗
+ close up on the last one
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theannoyeddragon82 · 10 months
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wow these bitches are really fucking gay
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I’m like 99% sure that this has been done before but oh well :)
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paellegere · 1 month
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dean's sexuality is an overwhelming recurring theme throughout the show: his fetishes are prominent, he flaunts his sexuality and sexual behavior freely, he's a relentless flirt, and he has the most sexual encounters in the show. what i want to briefly consider here is how his sexuality and, more importantly, his fetishes may symbolize a freudian eroticization of a fantasized domestic life, particularly in his fetishization of femininity.
so hear me out: dean subconsciously eroticizes his mundane desires because he can't externalize them in a safe or realistic way. the desires are, namely, a longing for a domestic, "apple pie" life, which is a desire that has been explored in the show multiple times. dean routinely covets domesticity, through his desire to raise a child (ben and lisa subplot), the djinn fantasy (2.20), his "nesting" in the bunker (8.14), and his displacement of that desire onto sam (who is the primary subject of his erotic fixation in general and a subconscious extension of himself—if sam acquires a happy domestic life, dean can live vicariously through it).
he also routinely denies himself this domesticity because he's given up on getting out of the hunter life. he was raised in a survival environment and never was given a real opportunity to escape (even sam had to fight tooth and nail to get out, and we all know where that got him). the one time he had a chance to reject john and embrace normality he returned smiling because of sam (9.07). he's the one that vehemently secludes himself (and sam, like in 1.06) from society because connections are a liability. he leaves potential long-term relationships preemptively, always choosing hunting (and sam) over them before anything "real" can happen (1.13, 6.01, 6.21, also consider 8.19, perhaps more abstractly). he's so broken inside that he lacks any real desire at all (5.14). et cetera, et cetera. he denies himself his domestic desires to the point that he lacks desire at all—he's a broken shell of a man.
so the violent repression of the id causes the secret desire to leak out through erotic fantasy, a playground of fiction that is used by, well, most if not all people to explore desire in a safe and controlled medium (see: how many women have rape fantasies, for example—the sexual fantasy is a constructed world for safe exploration of certain desires, often abstracted through erotic symbols).
dean is so repressed as an individual, likely by external pressure to conform and control himself via john, that dean could subconsciously transform his secret desire for domesticity, into an erotic fantasy. he displaces those unacceptable desires from the unattainable mundane onto the safer erotic and they eventually distort into fetishes. the fetishes themselves are then abstractions of the things he covets but can't obtain.
and i want to focus specifically on his desire for domesticity and make an argument for feminization as a fetish (thank you rhonda hurley for your contributions to society) and how that relates back to that base desire.
there are several episodes in the show which suggest that dean fetishizes femininity itself, or rather feminization as it pertains to him (4.07, 5.04, also consider 10.05 in a more abstract sense). in 4.07, dean openly fantasizes about living in a "hot cheerleader's" body (youthfully feminine). in 5.04, dean recounts the time rhonda hurley forced him into her pink, satiny panties, saying that he liked it. 10.05 is a meta episode which additionally posits a plotline where dean becomes a woman through supernatural means, suggesting that fans are invited to draw a connection between dean and feminization. (these are the episodes i can pull off the top of my head; it's probably not comprehensive but i can't remember others atm)
so let's consider this feminization kink: we have dean fantasizing about femininity, womanhood, and especially girlhood, which he notoriously eroticizes (again in 4.07 and also in 4.13 and 10.13, to name specific references, but there are so many examples of this) in relation to himself, specifically. you can layer this in the way his deeper desires are of domesticity, and the home is traditionally (importantly) the domain of the woman. if dean would come to associate domesticity with femininity, then he would subconsciously connect his desire for domesticity with a desire for femininity. therefore, this feminization kink can represent an eroticization of his own (perceived) femininity. dean craves domesticity, but the domestic can only be achieved through womanhood, and therefore his desire for the domestic manifests through femininity, and thus feminization.
this "perceived femininity" of the domestic is important because of how dean conceptualizes the world largely through his consumption of media (see also: his "wild west fetish" via 6.18), which enforces gender roles and the relegating of the woman to the domestic sphere. this additionally aligns with dean's lived experiences: he had a domestic life while mary was alive, and when mary died the domesticity died with her. his only personal experiences with a settled home life are inexorably tied to the presence of femininity (his other excursion is when he lives with lisa, strengthening this association), and the absence of it and subsequent domination of john (the masculine) also took with it that domestic life.
and then you could even go so far as to make the argument that his eroticization of girlhood and his fetish for barely legal girls is a symbol of the domestic life he didn't get to live himself. it can represent a longing for youth in an environment that was inaccessible to him, a stability and domesticity walled off by womanhood. his youth was masculine, and his desire is for the feminine. it would stand to reason that when he yearns for an idealized youth, it would be through the lens of the symbolically feminine. and so this desire manifests through a fetishization of youth (girlhood) and his subsequent creep behavior. it all comes back to the life dean didn't get to live, eroticized and represented through a sexual fantasy born of rigidly enforced gender roles and the loss of femininity in his home life.
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green-socks · 3 months
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People often seem to prefer binging fics (and stuff in general but this post is about fic) and waiting until a series is finished to read.
And I get it, to an extent. Sometimes it is so fun to just chomp a series whole and live in that bubble! Settle down and devour a tasty story in one day. Love that shit.
BUT. I feel like people are missing out on a lot of good stuff that way. This week I read a series that has stood unfinished for a year and a half. So I thought, well, I enjoy how this author writes, I'm gonna read what they have so far. And dude, those few chapters alone rocked my damn world. I would have missed out on that experience had I filtered "complete works only" or always waited til WIPs were finished.
All I'm saying is, give them a chance!! I know sometimes an unfinished story can feel frustrating, but you'll get over it, and what'll stay with you is the delight you got from the reading experience. Reading even that first chapter that never continued further has always been worth my time.
Not to be all "no love, however brief, is wasted" but like. You can't waste joy. You can't waste emotions. So let yourself live a little and read a WIP!
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ezdotjpg · 6 months
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wait I have one more ramble in me. botw shows how pinning all of the fate of the world on two chosen ones is maybe a terrible idea, both for how it affects the chosen ones and how it leaves the world doomed if they fail. and it lets them fail! it comes this close to questioning if things have to even be like this at all, if we have to follow what the legends say. but then it can’t really go the full mile, bc this is still a loz game, and you’re playing as link, and only you can defeat the calamity.
but I still think it manages to shake the table in an interesting way. you don’t need the master sword, you can use any old weapon. you can meander around aimlessly forever and leave hyrule doomed if you choose to play that way, and you don’t run out of things to do. your friends (in a more direct manner I feel like than past sages) can do SIGNIFICANT damage to calamity ganon before you even touch him. It feels less like your divine duty and more like you’re righting a past wrong. some of that is a consequence of the new looser open world format but it’s still in the game! It still has story and thematic implications to me! i think maybe that’s another reason why the shift in tone abt how totk talks abt link irks me lol
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swag696942069 · 1 month
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Marauders AU where the Black family are trained assassins and the cousins (Regulus, Sirius, Narcissa, Andromeda, Bellatrix) were trained like how Black Widows are trained (like the Marvel characters, not the bug, if that wasn't already clear enough)
OH!!
WHAT IF THEY'RE STILL CALLED BLACK WIDOWS!!!?
Omg
Anyway
What if, Sirius and Andromeda were the only ones to ever get out, and they're now living, simi, normal lives.
Until Sirius gets a message from his baby brother, asking for his help to destroy the "family business" because Narcissa is pregnant and they don't want the next generation to go through what they went through
I'm talking Black brother angst! I'm talking minor/background ships! I'm talking Regulus not understanding very many social cues cause he was literally only taught how to unalive people. I'm talking James/whoever you ship Reg with, going fearl when they see him fight so effortlessly! I'm talkin Sirius having a hard time letting Regulus do what he does best, assassin, cause in his mind, he still sees Reg as the little boy who was afraid of thunder and would crawl into his bed at night. I'm talking angst with a happy ending! I'm taling Walburga/Orion bashing! I'm talking freedom!
Please someone write this
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alyona11 · 1 month
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Ok time for my big Hadestown hot take and that’s that West End Hadestown doesn’t give you a 100% Hadestown experience. It’s still ridiculously good and 100% worth seeing, don’t get me wrong (I used my opportunity and saw it twice and will likely see it again if I’m in London), but it kinda made me realise a couple of things about OBC production that will always be my Roman Empire and make me deeply upset Broadway is too greedy to give us an OBC proshot.
So, here are some of my thoughts and reflections based on seeing Hadestown live on West End + seeing different versions (including London National theatre proshot) in boots. I think you can pretty solidly say that in Hadestown there are 2 main stories: Orpheus/Eurydice and Hades/Persephone. And even though arguably Orphedice is the main most important story, it my opinion it also wins from Hadesphone story being strong. Which works perfectly in OBC due to Amber Gray and Patrick Page delivering a very deep nuanced performances as their characters.
I think part of the success of Hadestown when it works on its fullest is how it creates a very deep emotional journey. And I feel that regardless which pair of Orpheus and Eurydice you have (if we take Broadway/tour/West End take on the characters) it’ll still work! Like you need to try really hard to mess up orphedice the way people wouldn’t root for Orpheus or wouldn’t empathise with Eurydice because they are so relatable and cute. You instantly love them, they are so so lovable. So orphedice part is one thing in Hadestown that imo works if not always then in 99% of the cases.
Hades and Persephone’s part of the story in the contrary is VERY hard to nail on 100%, in my opinion, and this is literally driving me crazy. Maybe seeing Amber Gray and Patrick page in professional recording awoken some feelings in me, I don’t know. I will state straight away that I also do enjoy other actors’ takes on characters and I do see some very interesting character moments there and there. However, I keep returning to the thought that Amber/Patrick’s characterisation works SO WELL for the main narrative. I’ll try to explain why I think so. Consider it my love letter to the OBC.
First and foremost, I feel like Hadesphone story has a very fine dynamic that the actors have to nail, so you would feel that: 1) these two still love each other; 2) these two are buried under their problems and see no way out, only a miracle (aka Orpheus and his song) can save their marriage.
And if the first one usually works at least due to Epic 3, the second one, imo, often (at least partially) falls victim to acting/directing choices which can cause troubles with point 1 as well. I think one big thing I’ve noticed is that often Persephone’s alcoholism gets forgotten in the acting performance. Like yeah sure her choreography includes drinking from a flask but in comparison to Amber you never get a feeling that she is absolutely wasted. Which, is in my opinion something that you should feel when you’re watching the show and something I was constantly forgetting about when I was watching the show on West End. I feel in Amber’s performance you can constantly see that her Persephone’s feel good attitude is a façade of a broken person who knows that her marriage is going to hell in front of her eyes yet she is too passive and hopeless to try to make an active change (well, she does try in Chant and nothing happens), so her only way is to chase the sense of normality that the “medicine” gives her. But when she is alone, if you get to catch a moment when people are not looking at her, you can see a deep sadness under her positive front and her memory of the old days when everything was more simple. Nevertheless, the main point that the lyrics literally say is that Persephone is blinded by the river of wine. And this is crucial to her character and her relationship with Hades because the story states that even though Hades is a problem and he is an active actor in creating more problems, he is not the only failure in this relationship. Persephone needs to be woken up from her apathy almost as much as Hades does and this is something that we see during If It’s True.
From Hades’ side I feel like it’s not a good decision to make him a total villain because when he is irredeemable you don’t feel like the whole “song that will fix the world” has any chance of working long term. I think Patrick nailed a deep antagonist very well. His Hades is weird and lowkey creepy and alien. He does objectively bad things but when you look at him you can’t stop thinking that he doesn’t operate in regular human logic or morality. When I look at him in Chant, it feels to me that his words about building stuff to impress Persephone are absolutely sincere, and I can absolutely see that his Hades doesn’t understand why she is so upset about it when his intentions are so so clear. Maybe it’s my vision but even before Epic 3 when he is so far gone and buried in his projects and messed up ideas I don’t have a single doubt that Persephone is a single motivator and goal of Patrick Hades’ life and that he literally doesn’t need any other being to care about. And tragically this fixation is what makes him blind to all other things he does even if those things ruin Persephone’s life (and other people’s but tbh I don’t think he cares).
I feel like by removing Persephone’s Chant 2 verse Hadestown created more problems for Hades and Persephone part of the story making it a much harder job for the actors to prove to the audience that Hades and Persephone have a chance to make their relationship work. Like I get that maybe it was a necessary things to do (even though I think the show is much better with it) but it made it so much harder to empathise with this particular part of the story unless the actors use the choices that work in the narrative. Because for example when I was watching the show on West End part of me was wondering “what is Persephone’s deal in all of that, what does she win by staying with Hades?” With the verse, and with Broadway Previews or London 2018 in particular this part was clear: Persephone still loves Hades and believes that he has the opportunity to change and become a better man he used to be. Without the verse, however, the actors should give you the same idea during the show which is a hard task considering Hades and Persephone have only 2 big conversations together (Chant and How Long). So apart from those songs there are only subtle mostly silent moments they get together through which the actors have to convey the same thought which is hella difficult and probably hardly will be appreciated by anyone apart from the people who sit closely.
So, maybe because in the actor combo I saw (Zachary and Lauren), I got a feeling that even though they were great separately, I didn’t feel much chemistry between them as a pair. I think, Persephone seemed pissed and tired of Hades all the time until How Long and I didn’t feel that she still believes in his willingness to change. And Zach Hades despite being entertaining, kinda gives the impression of Hades who has other options, he is not into Persephone enough. The only sparkle appears between the two in Epic III which is still cute but I’m not sure if it works just as well if that’s the first time you see the show? Also considering Zach Hades gives more malicious intent in His Kiss, The Riot it seems that he is not even slightly interested in Orpheus having any opportunity to succeed with his quest. Which is not bad, don’t get me wrong! But in comparison to Patrick who is deeply self projecting into Orpheus to the point where you could see that even though he doesn’t want to let him go, part of him does because it would prove he too could succeed in his challenge of waiting for Persephone, this take seems a bit lacking. And overall because of His Kiss, their promise in Wait For Me doesn’t seem as giving much hope that the story won’t repeat itself next Sunday. Which in its turn makes Orpheus’ sacrifice feel a bit… worthless. If on Broadway, when Orpheus turns, but spring comes again you feel like it is the start of something new: hopefully a kinder and softer time. On West End the show also wants you to feel it but when you think about Hades and Persephone you feel…less certainty that this sacrifice will have a long term effect?
I guess the creators wanted to concentrate on Orpheus and Eurydice more and forget about Hades and Persephone by making them more secondary story or maybe there was a lack of director’s involvement to give the cast some hints on how to make this particular part of the story work better, but it feels to me that in its current state the show works in its 85% power which is still great but once you know there is something missing you can’t stop thinking about it and wishing the show would give you those 15% you crave.
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justchenford · 11 months
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TOP 8 THE ROOKIE (CHENFORD) SONGS
#the butterflies in my stomach are real and going
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lila-pitts-apologist · 9 months
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Not to rise from the dead and post on here after months, but I wanted to touch on an aspect of the show that I feel is misunderstood by the fandom, especially in season 3.
I hate to bring it up at all, but I’m talking about Luther and Allison’s relationship(?). I know it’s a part of the series that most of us ignore or joke about, but in actuality it sheds light on how the siblings were raised, especially Allison, in a sadly realistic way.
While I obviously see Allison and Luther’s relationship as troublesome and unhealthy/weird, I don’t think I have the same ‘gawk in disgust’ reaction other people in the fandom seem to have when the complexity of the relationship is brought up.
This isn’t because I think incest (what I would label the relationship, even if it was more emotional than physical!) is acceptable, but because I think it makes total sense within the show, especially within the character dynamics of Allison and Luther.
Even though it’s a hard thing to bring up, sibling incest is more common than we think. It’s not always full-out or malicious, but it does occur way more often than most of us would assume. Specifically, it’s more likely to occur amongst siblings that are not properly socialized as youths, or ones who are full on isolated.
When we think of isolation we think of olden time families living on a farm cut off from any other societies, and I feel like that makes people underestimate how much the Hargreeves siblings were isolated from their peers and just other people.
I mean, we’ve seen Reginald’s parenting! The kids make their superhero debut at age 11, and by the way it’s described who knows if the kids ever even properly went outside before then. Growing up the Hargreeves had only the seven of them (6 if we account for Viktor’s separation).
All of the personal growth, all of the curiosity about the outside world, all of the teenage melancholia and growing pains, all of it has to occur within the bounds of the seven siblings because there’s literally no one else.
So of course this is going to make for oddly bonded children! Of course they’re going to blur the lines of what siblings should act like, because they know no objective standards! We see this in their competitiveness stemming from being pitted against each other, we see it in their ‘ride or die’ mindset even when they don’t like each other, and we see it in Allison and Luther.
I see the fandom spin it into Allison and Luther being freaks, especially as the other siblings find it odd as well. While I agree it’s weird, I think it’s unfair to paint it simply as ‘grown adults have a thing for their own sibling’ because we’re then ignoring their unique upbringing.
I mean, i find it hard to even treat the siblings as adults on an emotional level, because they were never truly allowed the development needed to grow into stable, mature adults.
You have one sibling who is reared to crave attention and validation, who didn’t see much kindness or empathy due to his envy-inducing status as Number 1. And you have another sibling who is purposely left devoid of proper morals, who is used to getting everything she wants and being wanted by everyone in the way she wants them to, by charm or by force.
Is it really hard to see what those siblings would find in each other, the validation that they surely would’ve found in non-relatives had they been allowed to grow up normally?
One of my favorite parts of TUA is that it’s not afraid to give us a fucked up family, exploring how such an unorthodox childhood allows for ugliness to rear its head in the craziest places. To me, the too-intimate bond of Allison and Luther isn’t something to just be written off as an awkward writing choice, it’s another very real and sad example of how the Hargreeves’ morals and minds were doomed from the start.
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treasureplcnet · 5 months
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Hello! I adore your Bodies fanart. I was imagining Karl in 1890 and how much havoc he would wreak. Also Henry and Karl would get along very well, I think, and Karl would be a *terrible* matchmaker for Henry and Alfred... I'd love to see your take on any of this, if anything comes to you 😍
HELLO OMG THANK YOU FOR THE EXCUSE TO JUST DROP HOT TAKES INTO THE BODIES NETFLIX TAG <3 all these drawings are very scrappy and i lost the plot and this became more like sharing all my hcs but still :')
now that you have brought it to me i really do think henry and karl would be unstoppable, i think they'd constantly have a fun, back-and-forth banter !!! i also can see karl dropping multiple not-so-subtle hints, and all of the detectives being quite supportive. gently too, considering the period-typical homophobia. i do think sometime along the lovelorn pining looks, he gets tired of seeing them orbit each other without anything happening, and this exchange occurs:
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more doodles and crying under the cut :)
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i will die on the "karl weissman bisexuality" hill. HE TOLD ME IN A DREAM!!!! it's just a little messier for him because he really likes women and will not figure it out ever. charlotte hillinghead TO ME also has the exact opposite problem where she is very much in love with her husband and doesn't have any incentive (or freedom considering the time period) to explore her sexuality. the way she accepted hillinghead's feelings for henry, and was less rejecting and more devastated over thinking he didn't love her or polly, just read queer to me somehow. an acceptance because she's like that too, yk? (maybe a bit of a reach but i don't get to choose who my mind designates as being bi)
i like to think that charlotte-karl experience a spider-verse mindmeld "YOU'RE LIKE ME" moment over being bisexual but they're not quite sure why they're feeling that way because they have no idea they're bi. if you are me you will understand perfectly
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and i am a henry/alfred/charlotte poly truther as well (please see above discord ranting from my dms with a friend lol)
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on more notes of just giving whichever character i want the bisexuality card, hasan is bi to me too. i think hillinghead and her bond a little over that shared religious guilt, of having their respective institutions be homophobic, and the feeling for so much of their life that they're different, so there must be something wrong. it helps her empathise with him and they quickly become closer because of it :) possibly also introducing him to queer lit, and maybe some non fiction lgbt history books
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and one last final doodle because i think alfred as the only detective with an active love life where he's pursuing someone would make the others pretend like they can be adults but they want to know SO BAD and they also give advice once in a while because they're rooting for alfred :) they're all pretty good at hiding how badly they're invested in this (think iris 'casually' asking hillinghead how it's going and the other two perk up in the background) like i refuse to believe any of them are totally immune to the equivalent of office-gossip
this was so so long LOL i hope any of that is coherent !!!!! a lot of it ofc is my own projection bc i am bi, but it's real to me <3
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romidoes · 15 days
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— my heart is yours to take
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soup-sponge · 11 months
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every time i watch this show i fall in love with it all over again.
i am so in love with the way lockwood and george work together like a somewhat well oiled machine
i am so in love with watching lockwood and lucy fall so hard for each other and yet stay blissfully unaware
i am so in love with watching the whole cast grow closer and watching the bonds that form between them and feeling the love that forms there
i am so in love with finding new little details every time i watch (george has a sign on his door with his name on it despite it only being him and lockwood in the house)
i am so in love with these actors and the way they continue to blow my mind with their talent and how well they bring these characters and their journeys to life with such vivacity
i am so in love with the way the cast and crew managed to take this perfect universe and transfer it to the screen in a way that feels so true to it’s origins
i am so in love with this community and the way that we all come together to share the love that we feel for this world
i am so in love with this show as a whole and i REFUSE to accept that we might lose it.
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hedwig221b · 10 months
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PSA: if I tag my fic with insecure Stiles you cannot honestly expect him to suddenly be bamf (in the beginning, nonetheless). No, he would not, in fact, stand up for himself. He'll blame himself for everything that happened and do what he thinks is right. He is insecure for a reason.
I get that my Stiles is wildly ooc. One can argue any characterization created in any fic is ooc, simply because it's not written by the initial creator. That's why I don't tag him as ooc.
Sure, canon Stiles is bamf. He's an annoying dickhead. He would not care if someone's an alpha or a deranged hunter, he will always fight and snark for those he loves.
My Stiles is a kitten, baby, princess, angel. I took his pale-ass awkward self and babygirlified him. I dunked him in softener. I like him that way. It's fun. It creates an interesting dynamic. I also love insecure Stiles. It's my cuppa tea, my jam, my three layered cake.
Will he always be like that in my fics? Probably not. In fact, I want to make him very prickly in my next fic. Will Derek soften him up? Fuck yeah.
And if I add the tag 'everyone wants Stiles' you cannot honestly come into my comments and tell me it's a giant plot hole bc 'it could only work like that in omegaverse'. I can make Stiles sensitive and soft without making him an omega or a girl!Stiles. I do not need that excuse.
I want to rant more and defend the specific characterization I created (in the au fics, mind you) and the choices the character makes, because it's my fic. But everyone's taste is different and I get that I'm being sensitive and defensive, but I guess I just had to put it out there. If you don't like something in my fic, if you missed the vibe completely, I gently ask you to close it and go read something closer to canon maybe. Our vibes are not the same.
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mooncello · 6 months
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okay i've now seen/heard multiple ppl ask 'how does murderbot come across to you? male or female?'
first: murderbot is a robot.
second: yes, it makes itself more human-looking to disguise itself.
third: hi, we enby ppl exist. it doesn't have to be either/or.
/rant
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