#I CONNECTED THE DOTS I CONNECTED THEM

[bemusedlybespectacled]

Thoughts on Steddyhands because I’m at full Pepe Silvia levels of conspiracy thinking right now:

I’m more willing to believe in Steddyhands becoming canon than I think I ever have been before because of the comments both Rhys and Con made at various cons PLUS the teaser

HEAR ME OUT

This is a cast with IMO an unusually high awareness of fan theories/shipping (that goes double for Con “my instagram is just fanart” O’Neill), so Stizzy/Steddyhands has to be something they’re aware of.

Moreover, while cons are less edited/monitored than a magazine article or something, there is still usually a certain amount of prep that goes into them. And while Con is willing to spread shipping chaos, I don’t get the sense that Rhys is.

So for both Con AND Rhys to make Stizzy-bait comments (“he looked good at the end of my sword”/“hunky”) HAS to have had, obviously not scripting, but forethought attached to it. Like, Rhys could have very easily said “Stede only has eyes for Ed” or similar and it would be perfectly fine. That he DIDN’T makes me SUSPICIOUS, especially in light of the teaser.

Then comes the Vanity Fair first look, which IS going to be edited in a way that a con isn’t. And let’s look at what it says:

Izzy “goes on a remarkable journey” this season, says O’Neill. “He understands what love is and whom he’s in love with.’’

By the end of season one many fans speculated that Izzy was driven by something at the intersection of love and obsession. This season, according to O’Neill, Izzy gets even deeper into that dynamic. “Physically it’s been quite demanding, and also emotionally it’s been quite demanding to be playing a man enraged by unrequited love, who’s basically a hopeless romantic, and to be able to play all that and also remember that this is fundamentally a comedy.’’

“What I love about this show is it does allow itself to swing between the two,” O’Neill says. “We’re almost operatic in our darkness at times, and then we swing back to the sweetness of the simplicity of the love of our two guys. It’s been challenging just to get the tone right.”

“We’ve gone further this season than we did last season with those tones,” he continues. “So sometimes it’s quite interesting to remind yourself that you have to take your foot out of the tragedy—literally, your foot—and put it back into the comedy.”

on set there’s been “a lot more spontaneity and script revisions based on what’s happening day-to-day,” says Douaihy. “The cast are so comfortable with one another and their characters, that they move through it naturally.’’

In the trailer, we see:

Stede getting in a fight with someone not Izzy, then getting excited and telling Izzy he threw a punch (which to me only makes sense if Izzy taught him to do it)

Stede just hanging out while Izzy practices swordplay shirtless COME ON

Now, let’s play some matchup.

Both Rhys and Con have an awareness of their characters that lets them just get spontaneous while still in character

Both Rhys and Con have, while speaking from what their characters would say/think, said they both thought the other was hot

Con does not specify “whom [Izzy’s] in love with” even though Vanity Fair literally makes a comment about Izzy’s love for Ed, so it’s not like he’s hiding anything important by not specifying Ed if he means Ed

Izzy’s a “hopeless romantic” “enraged by unrequited love” this season

SO, connecting the dots (I’M CONNECTING THEM), here’s my prediction:

Izzy is going to find Stede and try to get him to Ed. This is the “journey” Con is referencing.

During this time he’s going to be training Stede in stuff like throwing a punch. I think this is actually the emotional journey, not simply him hanging out on Ed’s ship and realizing he loves Ed: he leaves Ed and finds Stede and emotionally grows while spending time with him. (I think this also means Izzy is going to spend more time with Stede, plot-wise, than with Ed, because he’s not going to grow there)

“I just need to find the love of his life and it’ll fix him” is a very hopeless romantic thing to think JSYK

Izzy is standing on one foot in the candles scene, which to me means that “taking your literal foot out of the tragedy and into the comedy” is referencing his toe and sword fighting while disabled… which Stede is present for. So Stede has to know what Ed did to Izzy and almost certainly is going to have feelings about it.

All of that is great fodder for improv while in character.

I can think of nothing more emotionally swinging, more romantic, more enraging, and more funny than Izzy training his rival to be a pirate in pursuit of Ed’s love and then falling for Stede himself in the process, knowing that if they get together he has neither of them.

I will note that this doesn’t mean Steddyhands has to be endgame in a canonical sense (even though I want it with all my soul). I do think that Steddyhands will be referenced/built on in an emotional sense, even if it’s only through Stede and Izzy’s bitch4bitch interactions. I WANT TO BELIEVE.

[kerubimcrepin]

Analysis: Lance Dur Webtoon Episode 5, The Third Death

(aka, Ronik's "let's try reading too much into some comics, and the Lance Dur series" challenge)

TW: Discussion of Child Abuse (physical, emotional, psychological), Filicide, Patricide, Child Neglect. Just the usual things that come up when talking about Lysmee, Agard, Lance Dur, Kerubim, God Ecaflip, and Joris, and their character parallels.

When looked at from the lens of symbolism and motifs, this comic is one of the more important pieces of Kerubim lore we have. And I really, really mean it. I need to talk about it.

But to talk about it... I will have to do something bad. Something I really wanted to put off for as long as I could:

THIS POST WILL SPOIL THE ENTIRETY OF THE LANCE DUR CARTOON, THE LANCE DUR WEBCOMIC, AS WELL AS THE CIRE MOMORE WEBCOMIC.

For this reason, I will be placing this analysis under a read more.

The thing that really gets me about this comic, is that it explicitly makes Kerubim a character foil/parallel for Agard and Lysmee.

Once or twice, I might have said things like, "Joris parallels Yugo, Atcham parallels Joris," and so on, — because of similar troubles, or character beats, — but let it be clear when I say "parallel" here, I don't mean conjecture, or correlations. What is happening here, is a bit... different.

Through his inclusion in this comic, and the role he takes in it as a victim of the Cire Momore curse, — the same way Agard was, — an explicit parallel is drawn between Kerubim and Agard.

And, by that logic, between Kerubim and Lysmee as well, — for Agard is already her foil and parallel.

In a way, their being a trinity really enriches the way one can understand these characters, — they form a sliding scale, I think, — because for every mirror image they have, there is a small deviation.

From Lance Dur's genuine love for his son and failure at showing it for all those years, and Ephedre's hatred of everything, to Ecaflip's godly "love" being both cruel and transactional.

In a way, despite Cire Momore not actually picking victims in-universe, symbolically speaking, she is the unhealable, unbeatable wound of parental trauma, personified.

It's no wonder, her long-term targets, within canon, are Agard and Kerubim.

Something can have many different symbolic meanings in the same story. From the march of death, to the weight of parental trauma.

The past, with all the horrible things that happened in it, is as real as the future, and the ending it holds. And it's always coming for you.

Sometimes, they are actually two in the same. At least for Lysmee and Kerubim.

This is the level of parallels that Lysmee, Kerubim, and Agard operate on. Even though Kerubim being their parallel is only a minor thing, because Agard and Lysmee's stories are mostly intertwined between one another, it is still a good way to analyse things.

(I hope someone makes a similar post to mine, but mainly about Agard and Lysmee. I'm too much of a Kerubim fan to be talking about them...)

All three of them grew up with parents who weren't supportive of who they were as people. The onee person who was supposed to nurture them, treated them like an object at best (Agard, Kerubim), — or derived pleasure from their suffering at worst (Lysmee, Kerubim).

Between the two, Kerubim seems like the middle ground. Agard has a toxic, distant parent, Lysmee has a horrible, physically abusive mother, and Kerubim has a toxic, emotionally and psychologically abusive parent.

Their stories diverge, yet remain reflections of one another.

Lysmee dreams of breaking free, but is killed by her own mother in the end. Kerubim cannot die, or get rid of, his father. And Agard kills his father, — obtaining a tragic sort of freedom, an actual ending to their relationship.

Lysmee and Agard reflect one another with violence, with poison. They both plan their parents' death, but for different reasons, — a want to be free of abuse vs. a twisted way to show love.

Kerubim and Lysmee reflect one another in inability to die or move on, — cursed to live forever by their parent, out of hatred, or out of love. But it differs, — for Kerubim, an eternal life, marred by death, by disease, is a pleasure, because he has his loved ones. But Lysmee... isn't living. She is suffering, forever.

Agard and Kerubim reflect one another by loving their fathers despite how bad things were, but having a way to move on, just a little, and try to be better fathers themselves, — separate from their toxic parent. But Kerubim will always have to look behind his back, to police his speech, to try and please Ecaflip, — because he is always watching, and he can always take all of Kerubim's freedoms back, at the snap of the fingers.

The way Kerubim experiences his haunting by Cire Momore is emblematic of his relationship with Ecaflip — everpresent, clouding over his thoughts, yet, if he focuses on moving forward, he can ignore it, if just for a bit.

The way it ends, is also a reflection of their relationship: only Ecaflip can choose, when, exactly, Kerubim stops suffering, — and he will keep him in danger, until Kerubim gives him what he wants.

Kerubim tries to free himself of the pain that his relationship with Ecaflip brings him by using fatherhood, but only ends up mirroring the dynamics that caused him pain. Joris wishes he could help him, but he is literally seven, and he has no idea how, — besides staying by his side, together, for eternity. Suffering from a very similar pain to Kerubim, but because of Kerubim himself.

Forcing himself to parent his own parent, to try and lead him from his pain.

Lysmee tries to free herself from the pain of her mother's abuse with romance, but the circumstances against them are far too strong, — Gustav can't even begin to help her. No matter how much he wishes he could. The only thing he could do for her is to die and be cursed together for eternity.

The same way Ecaflip is the only one who can save Kerubim, and the only one who could have saved Lysmee was Ephedre, the only one who can save Agard is Lance Dur, — because, as I had pointed out, all of them are the reason of their pain.

But the difference is that Lance Dur truly loves Agard. He might not have been the best father, he might have hurt him, but he loves Agard, enough to make sacrifices.

And if it took her mother's hate to doom her, it's quite poetic that it took a parent's love and determination that can finally set Lysmee free.

[bogmonstergeneral]

crowley. crowley’s new hair color is 6.66. That’s the color coding. his hair is literally demonic. i love this show

[ghost-bxrd]

Prompt:

Tim is the first to find out the Red Hood’s identity and from then on sticks to Jason during patrol like glue (much to Jason’s chagrin, dammit, it would feel wrong to beat up Robin when he’s that starry eyed…)

Cue: PANIC from the rest of the Batfamily, who still think Hood is a forty-something year old crime lord and now assume they’re dating.

[theoldkyokodied]

One wedding and three funerals

Background paintings under the cut

[coquelicoq]

one of these days i am going to get herman melville's name right on the first try. i am going to say "herman", and then i'm going to say "melville", and i'm not going to have to stop myself in the middle of "merman hellville" and start over. not today, though. but hopefully soon. maybe tomorrow.

[aulerean]

postmaster pearl and her *ahem* postmaster pigeons

[exfil]

you know how ghost left soap in las almas and saved himself to the church even though soap got shot (so you left me - i'm used to working alone)? hear me out. i don't think ghost knew johnny got shot.

you see, when graves shoots soap, ghost is behind the car stabbing shadows, he only sees soap (go johnny, get out of here!) once soap is already on the ground. then, when he checks in with johnny after reestablishing contact (thought we lost you), he does ask if soap is wounded (you injured?) meaning he wasn't sure, and johnny denies it either way (i'm not a medic - what's the difference - i'm good).

when soap takes the stim, ghost blames it on the situation not a gunshot wound (graves tried to kill us, would stand to reason if you were a little off), and he frequently alludes to keeping soap uninjured (tryin' to keep you alive and get you here in one piece), talking about soap getting injured as a hypothetical (keep your blood in, you will need every drop). and if ghost didn't know johnny got shot, that changes the dynamic of the whole escape.

because soap jokes about ghost abandoning him (so much for no man left behind), and ghost plays into it (i'm used to working alone.) but if ghost thought soap was uninjured albeit without a weapon (you will need to improvise to survive), do you think he went ahead to the church to save his own skin?

or was he trying to ensure that one of them survives by keeping them apart (one of us has to survive to live the tale), taking the chance on where they would search first (don't make me bet against you)?

and if so, who do you think he was trying to save by choosing to stay in one spot, in range of the unsecured comms (i got company in the church and they are not looking for forgiveness)? himself? or his seargant?

(i like you alive.)

[transmothofaman]

“I really like that one (romantic) movie from 2011 that James McAvoy was in where he mostly just pines for his red-themed counterpart throughout the movie while said love interest is destined to be on the other side of the growing conflict going on that is bigger than the two of them” my guy WHICH ONE?!

[suzieloveships]

I did a thing

[mind-lost-in-the-stars]

I think I’ve seen a post about it before, but I’ve connected more dots and I feel like it should be talked about more because..

that guy from La Dee Dah Dah Day is totally Max right?

a couple things make me believe this!

- character is a jock played by Jeff, and Jeff was heavily considered for the role of Max before he got involved in other projects

- we see Peter (hot cocoa boy) is also infected during this number which could be a coincidence and they just needed an extra, buuuut….in the “Nerdy Prudes Must Livestream” livestream, Nick mentions how NPMD was the first completed work in the Hatchetfield trilogy

-we do see the same letterman jacket being used later during the working boys segment

however we know this is (very likely) a different character because of how Jeff’s hair is up and how the letterman is now buttoned

-bonus points for the “J” on the letterman possibly standing for “Jägerman”

-the demeanor of the character (even though his is infected) gives a very Max like energy and yes this could be Jeff just being an asshole jock, but NPMD was the first finished Hatchetfield show which means they would have known what Max’s checker was going to be like

I think this is fun to talk about because like….how the hell did max get infected??

I know this is a question that can pertain to many of the first few infected characters we see, but I feel like most of them can be covered by “oh yeah they went to the starlight that night”, but there’s no way max would have. we know he got infected before the rest of hatchetfield high because of the later scene of Alice being trapped in the high school, so that didn’t infect him. that means he was killed and then infected or some how infected unknowingly like the patrons in beanies. the ladder is more likely obviously, but imagine if it was the former and instead of Max coming back as a ghost after he died in the Waylon place, he came back as a part of the Hive.

boy do I love thinking about the implications!!

[dizzybizz]

they got that ND swag

these shirts man omg pls i love em so much

[ruporas]

green haired guy that has haunted my character types for 10+ years

[asleep-kat]

Mentor & his successor

[cynomain69]

maybe the real doomed yaoi was the hermanubis one sidedly pining for kasala all these years we met along the way

[industryhbo]

MARMALADE (2024) + gender