#I’M SAYING LIKE

[olivers-cocoapuffs]

what’s your favourite “weird” marauders ship?

[queer-is-future]

so when straight people ask me why I say I’m “queer” or “gay” instead of sharing my actual identity as a panromantic demisexual non-binary sapphic queer I just tell them “ok look, when you’re talking to someone who isn’t local and they ask you where you’re from and you either say the name of the largest city nearby or ‘town name, suburb of large nearby city’ so they can get some geographical context of where you’re located right, bc they’re probably not going to know the name of the little town you actually live in.”

but if you’re talking to a local you can say the name of your actual town bc they have a greater chance of knowing where/what that is.

ok well when I’m talking to a straight person I start with queer bc chances are they aren’t as familiar with the context of all the little towns in that big queer city and need gps (gay positioning system) to find me.

if I’m talking to another queer person and I say I live in a suburb of gay city in a town called panromantic on the demisexual side of the tracks which is in the county of queer and I live off the intersection of non-binary and sapphic, they’d probably be able to find me with little to no problems, make sense?

[brawnie]

*grabbing mlm shippers by the shoulders* guys nobody needs to be the twink. nobody needs to be the sub. nobody needs to be the femboy. they can both be big fat hairy men who bask in each others masculinity or they can both be unspeakable monstrous creatures with inhuman genitalia it’s okay I’m holding your hand. Let me show you the way

[zoomvis]

this ruined how I interacted with the world forever

[notherpuppet]

When you’re trynta be cool with your crush but she’s a freaking smokeshow 😩🪦

[elodieunderglass]

changes and trends in horror-genre films are linked to the anxieties of the culture in its time and place. Vampires are the manifestation of grappling with sexuality; aliens, of foreign influence. Horror from the Cold War is about apathy and annihilation; classic Japanese horror is characterised by “nature’s revenge”; psychological horror plays with anxieties that absorbed its audience, like pregnancy/abortion, mental illness, femininity. Some horror presses on the bruise of being trapped in a situation with upsetting tasks to complete, especially ones that compromise you as a person - reflecting the horrors and anxieties of capitalism etc etc etc. Cosmic horror is slightly out of fashion because our culture is more comfortable with, even wistful for, “the unknown.” Monster horror now has to be aware of itself, as a contingent of people now live in the freedom and comfort of saying “I would willingly, gladly, even preferentially fuck that monster.” But I don’t know much about films or genres: that ground has been covered by cleverer people.

I don’t actually like horror or movies. What interests me at the moment is how horror of the 2020s has an element of perception and paying attention.

Multiple movies in one year discussed monsters that killed you if you perceived them. There are monsters you can’t look at; monsters that kill you instantly if you get their attention. Monsters where you have to be silent, look down, hold still: pray that they pass over you. M Zombies have changed from a hand-waved virus that covers extras in splashy gore, to insidious spores. A disaster film is called Don’t Look Up, a horror film is called Nope. Even trashy nun horror sets up strange premises of keeping your eyes fixed on something as the devil GETS you.

No idea if this is anything. (I haven’t seen any of these things because, unfortunately, I hate them.) Someone who understands better than me could say something clever here, and I hope they do.

But the thing I’m thinking about is what this will look like to the future, as the Victorian sex vampires and Cold War anxieties look to us. I think they’ll have a little sympathy, but they probably won’t. You poor little prey animals, the kids will say, you were awfully afraid of facing up to things, weren’t you?

[tragedykery]

I ❤️ self-loathing characters, characters who struggle with monstrosity (either fearing or embracing it), characters who are so lonely, who have a gaping hole in their chest, who bottle up & repress their feelings, who claw their way up & have ambitions, who fall down & lose everything, who search for identity & purpose yet can’t see themselves outside of what others want from or expect of them, who are hurt & hurt others, who long & grieve, who lie & pretend. characters who are messy & flawed & human

[wewindondowntheroad]

That post about 30 year old coming of age stories?

I’ve been thinking about it all morning. What would the plot points be for that? What makes a 30 year old coming of age story?

Old folks sound off in the comments

[sameboot]

Simon petrikov coping FAIL compilation

[hamable]

Riz giving Fabian disadvantage while getting a gold tattoo in hell is killing me for two reasons:

1. Fabian receives disadvantage on remaining calm and conscious because his best friend can’t stop making nervous eye contact, and

2. Said best friend is canonically covered in less-than-advisable tattoos of clues from a previous adventure.

BONUS

3: Riz immediately passes out

[lesbalisious]

Everything everywhere all at once is a film about a girl ripping the entire universe apart just to find a part of her mother that she feels understands her. And everything everywhere all at once is a film about a mother ripping the entire universe apart just to understand her daughter. And my chest feels like it’s caving in when I think about it too long

[finisnihil]

“They finally made this theme more blatant-" Why does it need to be blatant. What's wrong with subtlety? Concepts can be underused but subtlety is not neglect.

Blaring all your concepts and themes is not good writing. It's so disruptive to a story's flow when the characters look off the screen to be like "See? This is the concept. The idea. The theme."

If you can feel the hand of the author becoming too heavy that's bad.

For example: I see people saying Azula's abuse in ATLA is more blatant in the live action and it's good because "it's being discussed more". It already was discussed at length. The show made it clear she was a victim at every turn, every behavior, every reaction, it came from a place of trauma. It was made clear that she was scared of ending up like Zuko because Zuko was an example of what would happen to her if she failed. When she says she's better than Zuko it wasn't just because she was raised to think hersef superior to him but because Zuko failed and failures get mutilated and exiled, failures are abandoned. In that final Agni Kai the music is morose and somber because this isnt some epic battle its a fucking tragedy, the burning out of "Ozai's brightest light" and Azula finally succumbing to her terror and trauma she was repressing now that her worst fears are realized. How can you see a fourteen year old girl chained to a sewer grate wailing and writhing and breathing fire desperately as unsympathetic? Even Katara and Zuko are horrified as to what has become of her.

The writers weren't looking us in the eye and saying "See? She's a victim too" when they wrote this, they weaved it in. They weaved it into her obsesison with symmetry, her extreme perfectionism, the way she talks about Ozai, the ways she calls herself a monster, her isolation from those with healthy home lives, all the ways she held herself together and ultimately all the cracks and seams that she shattered down when she fell apart. It did not need to be blatant to be clear.

[thatlittleegyptologist]

Where’s that “correct a guy on the internet and he’ll write a missive from the revolutionary war” meme? I need it

[lazylittledragon]

Please please tell me that Tara just loves baby dekarios

oh she’s invested from day ZERO

top 10 pictures taken right before a specimen jar ‘accidentally’ falls off a shelf ^^^

[locusfandomtime]

The maths fandom is wild. “Real” and “imaginary” numbers? I think you mean canon and non-canon. You guys seriously go “this is my number oc his name is i and he is the square root of -1” when in numbers canon lore it’s actually impossible to square root a negative but sure whatever. “Complex numbers”? I think you mean a character x oc ship. “f(x) = 3x - 5”? That is self-insert fanfiction.

[ikiprian]

Clone’s Best Friend

“Cute dog!” the girl says. “What breed is he?”

“Uh,” blinks Kon. "Are you asking what breed Superdog is?"

“Uh, duh?”

Well. She’ll have to forgive him his stunned expression, ‘cause he doesn’t usually run into other dog walkers on this path. This is, of course, because “path” is used in the loosest sense, the one that connotates direction and not tread ground, and the “walk” bit is entirely inapplicable, with all of them currently flying one thousand feet above sea level.

“Cujo’s a rescue,” she continues, swinging her feet in the sky, “so we don’t know for sure, but my sister thinks part husky, part shar pei. Half-and-half, like me!”

Cujo is also, apparently, half green and half glowing. He wiggles happily in a play-bow. It’s very cute, except for the way he’s the size of a small house.

Krypto’s tough, though. He barks and chases his new friend through cloud cover. Gamely, Cujo flees. They frolic in the chilly condensation, occasionally poking a head out before diving back in, like a fox in a snowdrift.

Neither of them see anything surprising about this. It’s all good fun. And, well. Krypto’s always been a good judge of character.

Kon turns back to the girl and gives her a megawatt smile.

“He’s Kryptonian. Like me. But he looks like a white lab!”