#and analyses on here

[hoppipolla]

As early as episode 1, the drama has established that most characters rely on their sense of touch, especially Jom and Yai. Beyond the simple aesthetic of it all, the emphasis on hands is inherent to the way the characterisation is structured. 

The close intimacy between Jom and Yai during their sex scene is made possible thanks to the way their hands convey what they are feeling. 

Yai desires Jom and the way he reaches for Jom’s face as Jom is getting him undressed shows both his impatience and his overwhelming yearning. During this scene, Yai is battling between his physical desire and the fascination he feels towards Jom. His kisses are ardent but also gentle, like when he kisses the hollow of Jom’s shoulder or his neck. His eyes linger on every inch of Jom’s body, his hands slowly slide down Jom’s arms: he is mesmerised. And so is Jom whose expression is quite indescribable: a mix of quiet desire and deep love. 

Although the sexual tension is high, there’s a slowness to the scene that I feel grateful for. The directing lets the characters discover each other’s bodies and it’s so beautiful. 

Jom closing his eyes as he lets Yai’s kisses take him whole emphasises how he gives priority to his sense of touch, making him feel so tangibly Yai’s love for him. 

The two of them drawing each other near in a tight embrace before Yai guides Jom to the bed, doing so without ever breaking their kiss, seems to show how their bodies mirror their feelings. 

Just like @lurkingshan beautifully said in this post, Bright and Nonkul’s seemingly natural chemistry contributes to building such a real feeling of intimacy which is at the core of the story for the two of them (their characters) feel as if they’ve known each other forever. As the monk said, they are destined to meet each other and who knows how many times they’ve already met before? 

When Jom goes back to the past and sees Yai for the “first time”, their world collides and their hearts recognise each other although their minds are at a loss. Memories come flooding back but they can’t quite understand where they come from. 

This irresistible attraction they feel towards each other cannot be expressed in other ways than knowing glances and subtle touches and the directing of this series does both amazingly.

[ranseur]

actual scene as it happened in the show

[collecting-dustbunnies]

The longer I play Obey Me, the more I feel like Obey Me is a story about how the MC, in their quest to seek acceptance by the people they care about, ends up destroying themselves in the process and losing the very thing that made them so special and loved in the first place.

In the beginning of OG, they started off as just a normal human who got whisked away to a weird ass world where literally nobody respects them. Despite this, they recognised from the beginning that these demons and angels were not so different from humans. MC's ability to see the demons as actual people and not just beings controlled by their sins was what allowed them to form close bonds with them. They had good intentions to reunite the demon brothers who had undergone centuries of misunderstanding, resentment, and pent up grief. Even though they were excessively nosy, MC's unique position as a complete outsider allowed them to see just how much love the demon brothers had for each other, and how they can become closer if everybody would just better communicate with each other. Serving as the bridge to better improve the brothers' relationships was what convinced the demon brothers to also see MC as a member of their family.

But as the MC became more involved in the Devildom's problems, they started to adopt the same toxic traits that had created wedges between the brothers in the first place. From relying heavily on their pacts to subdue the brothers, to allowing a curse to control Barbatos (even though they had the ability to break it), to going along with the brothers' manipulative scheme to trick Satan into reconciling with Lucifer when Satan ran away to the human world -- it's almost like MC has unconsciously picked up on some of their loved ones' behaviour. Gone are the days where MC brings in a new perspective to problems. Now, they just embrace the chaos and their more darker traits, for that is what is expected of them to survive in the Devildom. And since everyone within their circle puts them on a pedestal, this further affirms to the MC that this is how they should be.

Dealing with the affairs of the Devildom had also caused the MC to grow more apathetic. In the beginning, they had been actively taking steps to form pacts with the brothers and were generally very invested in freeing Belphie from the attic. They remained true to themselves and insisted that they form a pact with Satan based on mutual trust and understanding, and not just as a means to smite Lucifer. Despite being in a helpless situation, MC never refused to give up their agency. But the longer MC gets involved with these shenanigans, the more they grew... numb to everything.

Solomon bringing me back to the Devildom unannounced? Oh, sure. Diavolo and Solomon hiding the reasons for my sudden return? Not my problem.

Simeon facing a problem to the point of having a quarter of the cast acting as his bodyguards? Eh, I'll just ignore it until I can't anymore.

Watching and waiting. That's what they have resorted to doing.

And that mindset of kicking problems down the line until it lands on MC's doorstep and they have no choice but to act -- that's exactly how they have been acting when they were stuck in NB, hasn't it? MC didn't bother forming pacts with the past version of the brothers until they were given an ultimatum, and even then, they simply relied on the convenient timing of each brother struggling with an inner crisis to swoop in, resolve the situation and tick them off their checklist.

MC in NB seems like an unfortunate culmination of everything they faced so far. They're too apathetic to care about getting sent to an unfamiliar place once again, too desensitised to life in the Devildom to reclaim their agency, and too desperate to earn the love of their former family to even think about anything else. They became so co-dependent to the demon brothers that they seem to think they cannot live without them or their affection, even if the ones they are living with in the past are different people from the ones they grew to love in the present.

The phrase "You either die a hero, or live long enough to see yourself become the villain" fits way too perfectly for the Obey Me MC. After all, MC keeps getting rewarded every time they try to get themselves killed (or even when they actually got killed). Maybe that's the only way they know how to resolve problems.

So if they can't die as the hero, they'll just learn to live as the villain.

[fumifooms]

Dad always said I was like him

Meijack and Chilchuck Tims Dungeon Meshi, Ryoko Kui

^ 1: Moony moonless sky, Fatima Aamer Bilal / 2: Bug like an angel, Mitski / 3: Woodtangle, Mary Ruefle / 4: The Third Hour of the Night, Frank Bidart / 5 & 6: FROM THE MAKERS OF "TWO-MOM ENERGY DRINK," IT'S "LET YOUR FATHER DIE ENERGY DRINK,", Daniel Lavery & Cecilia Corrigan / 7: Batman: Year Three (1989) / 8 & 9 : FROM THE MAKERS OF […], Daniel Lavery & Cecilia Corrigan / 10: Wilt, CJ the X / 11: How Do We Forgive Our Fathers, Dick Lourie / 12: Milk and honey, Rupi Kaur / 13: And My Father's Love Was Nothing Next To God's Will, Amatullah Bourdon / 14: Moony moonless sky, Fatima Aamer Bilal / 15: Someday I’ll Love Ocean Vuong, Ocean Vuong / 16: untitled, Joan Tierney v 17: Drunk, The Living Tombstone / 18: unknown

When your father tried his best to provide for you but he worked all the time and even when he was home he was either tired or stressed and he’s always liked to get drunk to relax and cheer up. When you know he values work ethics and respectability so you grew up to be capable and quiet. And when he says you’re like him you’re sort of puzzled, does he really know you so little, or does he know himself so little? But you like the feeling of your father ruffling your hair so you accept it, and still you stand next to your mother just as silent and just as stoic as her during family gatherings. He leaves again and again and when your mother leaves him nothing changes, really. You wonder if it’s more telling that you know him better than he seems to himself or that you don’t know him as much as you wish you did, or that you don’t think about him all that much these days. Out of sight, out of mind. And he’s never really been there, even when he was there, after all.

[creeperthescamp]

i think one of the least used concepts in elder scrolls lore is its nebulous relationship to truth.

like something i do actually appreciate about that cunt kirkbride's writing in morrowind is that the mythology of the tribunal is allowed to be relatively ambiguous and there's room for poetry and fable and unreliable narrators. there's a strong general tendency in both fandom and dev to interpret lore quite literally and treat every text as reliable sources of fact about tamriel even when the text is like. fiction or written with a clear bias towards certain factions or prejudices.

the main example I'm thinking of is the 'notes on racial phylogeny' lore book. it's literally just racist pseudoscience and in a real life context would be considered unreliable and deeply offensive. but in tes, i rarely see anyone stop to actually consider that perhaps this lore isn't really a factual study of how bodies work but about how the imperial empire categorises the people it colonises and justifies it's supremacy. there's so much focus on determining the rules and metaphysical aspects of the world that there's no consideration that the way factions like the empire see the world is inherently flawed.

it's fun to think of a world where stars are literal holes punched in the fabric of the sky, or that water is made of memory, but i also think it would be a much more fun and flexible world if these theories are considered to be just a few of many lenses that people in tamriel use to try to understand their world. some of my favourite pieces of lore and world building are things like 'cherims heart of anequina' that imply a rich world of culture and art; i love the idea that tamriel has art and art critics and people who discuss ideas for other purposes than trying to figure out what's The Only True Lore.

[vaxxman]

What do you think about 5cp TF2 map Gullywash?

Getting autobalanced on Gullywash feels especially tragic.

More sketches and more impressions under the cut.

In order to draw this, I watched some highlander matches on Gullywash, due to finding no matches in competitive, and the aimbots going rampant in casual. I was only able to play 5 proper matches on casual, (2 of which my teams won purely due to team imbalance,) so some of this is based on what I saw other people were doing in competitive match recordings, as well as how it feels to play on community servers with AI train bots. No one was playing whenever I was queueing up :(

I learnt very fast that Gullywash is one of these maps where you will die a lot, or steamroll the capture points, and there is no in-between, because you either position yourself correctly or you don't. While this goes for every map in tf2, I never really felt frustrated when dying here. I could always find a reason for my mistakes and generally it turned out to be a very rewarding learning experience.

I think Gullywash is extremely fun and fast paced. I especially enjoy giving scouts and pyros overheal buffs, because of how much flanking you can do here. The symmetry of the map is immaculate and the amount of objects that just lie around allows demos to place a lot of traps and players to just hide in corners.

(Using Scouts as your Uber Driver here is also especially fun, so many near death situations!)

For some reason, the soldiers and demos who play on this map are really good at protecting medics? That's the impression I got, everyone knew when to retreat and not push, everyone turned around when they saw my health go down, everyone was shooting the spies for me when we were in the open and I was too focused with healing the people fighting death matches at the front so we could capture.

(My personal heroes who just rocket jump over to you just to shoot the spy 2m away from you, and then just rocket jump away again)

Snipers aren't much of a problem, since there are so many options for hiding properly while still being able to reach your team mates. The same sadly doesn't apply to spies and I think I have died more to spies on this maps than to sticky traps.

While I love the vaccinator, I think Stock and Kritz are the better options on this map. Nothing cries geneva convention war crime more than entering the door to the last capture point and ubering a soldier who starts spamming everyone with rockets in this rather crammed up room where everything can give you splash damage.

Shoutout to a pyro called Joey who carried the last game I played, it was a blast ubering you through the last capture point.

[warlenys]

just. mac gave dennis a rocket launcher dennis loved it despite the lack of rocket…. it wasn’t about functionality it was about being known and seen and loved…… but then when the rocket came mac turned their relationship real and dennis didn’t want it anymore….. couldn’t handle a loaded gun…… only the safe illusion of it…... only the outline of power……. but mac could…. and so he used the rocket to blow up dennis’ car after dennis left him for giving him it…………

[duckwnoeyes]

I'm not sure how to articulate it, but I am obsessed w Giles/Willow and Buffy/Jenny being direct mirrors of each other and yet they all refuse to accept it. Giles wishes he could see himself in Buffy, bc yk that's his kid. But in actuality the two of them aren't all that similar, (aside from being gay for their arch nemesis). Buffy, as the kid forced into a destiny she doesn't want, is so much more like Jenny Calendar, which Lord knows is a fact Buffy is very uncomfortable with.

And then there's Willow wanting to see herself in her favourite teacher (Jenny Calendar) but actually being pretty much a direct mirror to Giles. To Ripper. While Giles is so adamant they are nothing alike, so there is no need to monitor what Willow is getting up to in regard to magic. Until the moment she drags her best friend back from heaven and tries to end the world and Giles is forced to acknowledge that Willow is the true successor to his legacy. (Gay and maybe sometimes evil)

(This makes Buffy and Willow a direct parallel to Jenny and Giles. Which could mean nothing.)

[duckiemimi]

perhaps gojo’s impossibly indestructible tight black t-shirt is another metaphor for the walls he put up after being abandoned in shinjuku, much like his infinity; to keep people out when on the contrary, he yearns for human connection. perhaps the only person capable of taking that shirt off is geto—*security pulls me off stage*

[sneakywingeddude]

I’m so obsessed with the relationship Ace Attorney has with the color blue so i wrote a really shitty underdeveloped analysis on it. Apologies if it’s out or character or wrong or the grammar is fucked up, I’m new to this type of thing.

I just think it’s so interesting how Phoenix is blue and edgeworth is red like obviously “oh haha redblue gays” trope but like I think about how blue specifically is the color of loyalty and red is the color of passion, and blood and aggression despite the fact that edgeworth cold and calculating(or he at least appears to be) and he’s passionate about prosecuting to a fault, he falls to fully consider the truth in his passion and pays for it with the blood on his hands of his possibly false convictions. He’s constantly draped in the blood of his past.

whilst blue is a calming color associated with high class yet Phoenix is loud and crude and a rookie nobody art student. I doubt I need to go into the specifics about his loyalty honestly lmao.

But the color language extends so much farther then just them.

I think so much about how Trucy goes from pink to blue as she aged and is no longer Zak’s daughter but Phoenix’s and adopts his signature color to visually establish this.

I THINK ABOUT HOW PHOENIX HAD A PINK SWEATER THE FIRST TIME HE APPEARS IN COURT I THINK ABOUT HOW HE WORE THAT PINK SWEATER WHEN HE DECIDED HE WAS GOING TO STUDY LAW.

I THINK ABOUT HOW KRISTOPH HAS A BLUE SUIT AND RED TIE AND SUPPOSEDLY HATES PHOENIX’S GUTS, THERES SO MUCH IMPLICATION HERE HOW HE DRESSES EXACTLY LIKE HIM. HIS JEALOUSY HIS ENVY HIS INABILITY TO BE PHOENIX, IN ALL HIS FAME AND RENOWN AND LOVE, HIS BLINDING LOVE FOR THE PEOPLE AROUND HIM AND RENOWN FOR HIS ACCOMPLISHMENTS.

I THINK SO FUCKING OFTEN ABOUT HOW THE PROSECUTORS BADGE IN MEJI ERA JAPAN IS BLUE AND THE DEFENSE BADGE IS RED.

I THINK ABOUT HOW KAZUMA HAS RED ACCENTS AND RYUNOSUKE HAS BLUE.

I THINK SO MUCH ABOUT HOW RYUNOSUKE HAS BLUE ACCENTS YET HES A DEFENSE LAWYER AND KAZUMA HAS RED ACCENTS DESPITE STARTING OFF AS A DEFENSE LAWYER AND TURNING INTO A PROSECUTOR AND THEN KEEPS THOSE RED ACCENTS…

I think about,

how the colors switched at some point.

[multicolour-ink]

Something interesting to note about this part of the trailer.

Here, we see Tails diving from what looks like the Ark. In the background we can clearly see Knuckles in the doorway (as shown by the build and the red colour).

But interestingly, there looks to be another figure beside him.

At first I thought this was Tails diving after Sonic after he got thrown off the Ark or something, but then I saw the other figure, and I'm wondering if it's something else.

The other figure looks to be blue, so could easily be Sonic. But it could also be Shadow. It's really hard to tell.

If it is both Sonic and Knuckles there, maybe this is a character development moment for Tails? Maybe he's going after Eggman, or volunteering to fix something wrong with the Ark, and Sonic and Knuckles have to watch with bated breath, scared for their little brother?

[ashertickler]

aaron and smartass.

enemies to lovers.

i'm talking office tensions, forced proximity, interpersonal standoffs, and miscommunication

JUST SAYING. THAT WOULD BE DEVOURED BY ME AND MY FELLOW AARON STANS... NEED IT SO BADLY... UGH GIMME IT FIC WRITERS PLSSS

[anglerflsh]

get Apollo'd idiot @sheerunfilteredhubris

[knickynoo]

Sometimes I forget that there are casual Back to the Future fans. People who just watch it to have a fun time and who don't care about or notice the depth the films have. Like. I forget that Tumblr BTTF fans are a whole different breed.

I occasionally find BTTF posts on other social medias (mainly reddit) that leave me scratching my head. Saw a comment where someone made note of Marty being "just some kid Doc probably hired that week to be his cameraman at the mall." Another one where a person answered a question with something along the lines of, "Doc likely only knows Marty because he needed someone to test out the giant amp."

Just. So many people confused as to why Doc and Marty seem to care so much about each other when they've probably only known each other a short while, and isn't Marty just some random assistant??

There are really people watching these movies who think there is no history between Doc and Marty. They think they're practically strangers in the Twin Pines Mall scene and only grow to be friends over the week in 1955. There are people who look at the lengths Marty goes to to save Doc and ask, "But why does he care so much about some crazy old scientist??"

THEY THINK THIS IS THE BEHAVIOR OF A KID WHO WAS JUST HIRED TO BE A CAMERAMAN DAYS PRIOR.

[saruslumber-01]

Quick take on Jiaoqiu’s trailer

As always, I love to take screenshots whenever there’s some images flashing and this time, I did the same thing.

Before I actually talk about the trailer, I want to point out how (to me at least), the theme/ost doesn’t really match him. Or rather, how he appears to be.

(Imo it’s a similar case to jade’s trailer, you’d think she’d have something more… idk tempting in a unsuspecting way, like when you believe you made an amazing deal, only to later meet the terrible consequences.

Well anyway, the thing that I noticed is that both in jade’s trailer [or at least splash art and references/motifs] and in jiaoqiu’s, they hold an apple in their hand. I get why in jade, but in jiaoqiu’s? That very weird to me)

(Here you go, the moment, I’m talking about ^)

What I ACTUALLY wanna talk about that caught my attention, is the eyes we see all over the trailer.

I get it, he always keeps them closed, but from the trailer it seems it was not just a stylistic choice to make him this way, but actual lore behind it. (Ofc I might be wrong since we still know NOTHING about his backstory, and I’ll probably talk more when I’ll read his char stories after his release)

Idk, to me this feels kinda weird to get his eye to pop out like that (and it reminds me of firefly’s trailer). Not only that, but we get a moment where we see a fox spirit (?) made out of fire which is oddly similar to Tail’s ‘true’ form (huohuo ult). AND then from the fox’s eye it smoothly transitions into jiaoqiu’s eye. Coincidence? I don’t think so.

To me, it might foreshadow that the “eye thing” that is going on with jiaoqiu is becase those are not his natural eyes. Rather, they’d ‘changed’ (idk how to explain that) into the golden ones, as if he got possessed by that fox spirit (or maybe I’m just reading into things too much, who knows).

More eyes screenshots (which kinda remind me of sunday AND bring us to my next point)

What I want to talk about is the placement of those eyes.

Please don’t tell me I’m the only one who didn’t think it looked somehow familiar…

Rings a bell now?

I also ‘circled’ the flower she has on her ‘crown’ as it resembled the anise jiaoqiu uses in his skill, and ALSO popped up a few times in the trailer.

I know I might be digging too deep, but I feel there something very eerie and off about jiaoqiu as a character in story, and as a playable character.

I’m sure everyone remember how jiaoqiu’s a cook, a healer, right? Then why on earth is he a nihility unit? I’ve seen sooo many people being confused about it, and I’m sure HoYo wouldn’t mention it that much, unless it was important to the story.

And before anyone goes and says “wdym phantylia got a new victim?” NO. That’s not what I’m talking about. I’m trying to prove that jiaoqiu isn’t probably just some random foxian who knows how to cook (and take care of feixiao). That there’s connections that all come back to the word “possessed”.

Tingyun? Possessed by phantylia (and spexulated to return in later versions)

Huohuo? Got her tail ‘possessed’ (I don’t remember too well, sorry) by Tail, AND in her trailer (which has a lot of flashing images and yin yang in there [I’ve got screenshots for both trailers to prove]) she is possessed by Tail, a heliobus. And what is a heliobus? Some kind of fox spirit! (Or at least I think so…)

What I’m trying to say is that there’s some kind of ‘possession’ when it comes to jiaoqiu.

(And another character that got flashing images and got possessed [outside of jade and huohuo] is sparkle! And don’t you agree that in terms of the overall vibes, their trailers does seem quite similar?)

So uh, yeah! That’s all I wanted to share.

I’ll probably do one more post for just the similarities in the trailers of jiaoqiu, jade, huohuo and maybe sparkle

Thanks for reading my ramblings and getting through to whole thing, I appreciate it a lot!

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)