#anyways this song too is so her

[hereconduct]

THE ISLAND OF DOWN1979:‎ ‎ ‎ ‎ ‎ ‎‎ ‎ ‎ ‎ ‎ ‎M.ARTHA JONES‎ ‎ ‎ ‎ ‎ ‎‎ ‎ ‎ ‎ ‎ ‎(FT.‎ ‎ ‎ ‎ ‎ ‎R.OSE TYLER).

[rystiel]

i keep seeing people say the doctor shouldn’t have feelings for rogue because he’s married to river…? river song… who has also married multiple people… one of the most polyamorous characters in the show…?

[hinamie]

もう一回、もう一回

[tsukasalover]

did the blorbo chart with wxs

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[carnivalcarriondiscarded]

blurry sketchy puppets in a lime. line. limelight line

[xulips]

attachment issues

[rabbit-rays]

and the war has been over for years since you gave up.

[midnightsslut]

wanting to feel wanted is another recurring theme I’ve noticed on this album. she wants her lover to want her back and prioritize her (imgonnagetyouback, the alchemy, the albatross, so high school). she wants her exes to wonder about her (the black dog, chloe or sam or sophia or marcus, peter). as soon as she feels wanted again, she makes drastic decisions, whether it be leaving her current relationship or rekindling it (guilty as sin vs imgonnagetyouback). she’s at her lowest when she feels discarded or resented. she’d rather be experimented on and broken over and over again than left stranded (down bad). he runs because he loves her. she’ll bolt before he gets the chance to.

[raineyraven]

just watched vide noir (2022) and i have to say the tragedy of a man whose love leaves him because he wasn't what she needed him to be, who through his journey to find her again became the man she wanted him to be so that he could get to her, only to reach her and find that it's too late to get her back, who grew and changed in his quest for someone who was always going to be out of his reach and he didn't know it until he'd undergone that change?? that shit fucks oh my god.

[kizki-art]

Drew the Hazbin Hotel Cast since A LOONG time ago. I just forgor to show them here

Like the rest of my drawings that i was planning to post here

[luck-of-the-drawings]

[<==PREV PAGES] [NEXT PAGE==>(not out yet.wait a year.or maybe more.imagine.]

saw alot of comments on prev pages; saying 'i HATE that mean teacher! im gonna FIGHT HIM!!' & i LOVE the energy!! it WOULD be nice. to have that catharsis. but the story of young tidestrider is Not one of catharsis. it is a story of being so small and so special and sucking so bad.

[skunkes]

do you really want to huuurt meeeee

[bring-cringe-back]

Okay I might just be reading too much into this. But while I was watching the episode *cough cough* procrastinating *cough cough I realised that they don't show how the Doctor and Ruby got there.

And I know that it's probably just meant to be vaguely like 'they just went for fun'.

BUT this is the third episode in a row where we haven't seen them arrive. And for 73 yards it was clearly a doctor who episode when it started but it immediately gets rid of the doctor. ( I know that for 73 yards and for dot and bubble it was because Ncuti Gatwa was filming other stuff but let me cook) In Dot and Bubble you could effectively be forgiven for assuming that it was a random Black Mirror episode or something similar until the Doctor turns up, and tbh if you were just flicking through channels and haven't been watching Doctor Who you could probably basically not know for much longer. In Rogue they are just there, except for the title screen (the same for dot and bubble) you could basically watch it as a Bridgerton episode until the Chuldur turn up.

(And there's whole other rant about how the Chuldur fits into the theory about this basically being a TV show within a TV show, I don't know the name for this theory)

But anyway these episodes are increasingly separated from the Doctor and Ruby as plot points particularly in the beginning of episodes. They are more and more like an excuse to tell the story or explore the topic that the writers want to explore. Which isn't totally different from the occasional episode of previous series, but this is a lot more in my memory at least from previous series. So it feels a lot like they are skimming over the more sci-fi doctor who elements. Which fits in in my mind to the idea that the 'One who waits' is a representation of story telling. I've seen theories that it's Ruby but she doesn't know it which makes sense, I think it would also make sense for it to be her parent(s) who left her, or alternatively just it's own thing all together. But it feels very like that bit where Amy is living a life and starts to realise it's all fake.

The narrowing down of these episodes into not showing them arriving, and at least in Rogue - I can't remember in the others - not showing them leaving the story, feels very different.

It feels more and more like story telling. They have covered fairy tales, Period pieces/Romance, Dystopia, War/SciFi, Musicals, Political Drama. They are also showing the doctor playing his role, something that we see companions doing often enough but we seldom see the doctor doing it.

In Space Babies he is scared of a new creature. In the Devil's Code he sings a song that makes little sense in the story, he doesn't question the road making noise. In Boom he's more himself but it's also the closes to his 'normal' environment. In 73 Yards they just fully remove him from the story, which I realise was done for filming requirements but would have been so interesting to see the doctor in a Political drama. In Dot and Bubble he plays the role of the outsider bringing information to those living under a Dystopia, how is he UNABLE to access the inside, sure he plays a role that's fairly similar to himself but Doctor Who is really Dystopian.

In Rogue he is becoming more and more his role, he is playing the role of a sort of Elizabeth Bennet style character, a strong romantic interest for the brooding man. Which is great, he makes fun of the genre, but he is hyper aware of the genre and still ends up in its pitfalls. He trusts a man so quickly he ends up handing over his sonic, he gets proposed to and basically immediately accepts. Now I am really hoping that Rogue gets to stay around I really liked him as a character, regardless of which theory of his identity if any are true. But the Doctors reaction to him is still a little out of character, he is feeling what he is SUPPOSED to feel and he is acting how he is SUPPOSED to act.

It just feels to me like an increasing number of these episodes are more and more story like and more and more separated from the more Doctor Who elements. And the lack of an introduction of how they get there, and the lack of them leaving in the TARDIS is so unusual to me and stands out to my brain so much.

It feels like they are removing elements that don't fit the genre. Anyway not sure if that makes any sense but I'm vibing with it.

[spiderin-space]

Update Update Update U

[sparrowsoupp]

they are the working dead! and they lurch for minimum wage!

[stone-stars]

a while ago i saw a post by @sideblogdotjpeg about how the cycles in c3 seem a lot more personal/familial. and i kind of went insane in the tags at the time and i’ve been thinking about it a lot since because like…

you have the heroic cycles that the band of boobs parallel/break on this large scale. the idea of these broken trios of adventurers is there throughout the campaign, but they really start to engage with it towards the end— with the divine hearts, and thiala, and the wheel of suffering/wheel of joy idea. the thing hardwon says as he takes the divine heart, that no matter what anybody chooses from then on it’s with love in their hearts, i feel is very relevant to how they break the cycle. they love each other, and they choose over and over to hold each other tighter rather than be driven apart.

and on the other hand, you have duck team’s refusal of fate vs their family’s resignation to it. look at swag working with mothership, oliana’s contrition, and the stuff that is currently ongoing with gowan. you know— sol is a version of swag who fully rejected mothership and found his friends instead. callie refused to be a part of her family’s business, and her love for the wild and the serpents is giving the world a chance. calder, when he makes the deal with ultrus, telling callie and sol that he trusts them to save him. and now calder is refusing to sit back and let gowan handle things in the ice knife.

it's not that duck team aren't trying to save the world. they are. and it's not that the boobs didn't have a personal connection to the cycles they were breaking. they did. but it's like... well... how do i put this into words. right--

the song melora's boon plays when the boobs arrive at the heart of the world and speak to melora. when she talks to beverly about duty, shows him the places he faltered and how at the last second, he gets back up. (later, when they face thiala, bev doesn't go unconscious once. at one point, he's the only one standing.) for sol, this is the song that plays when he expresses his fear of going down again. when he admits to callie that he's scared of the day that she and calder are down and he's the one that needs to stand up alone. when callie says she's not afraid of that day, and sol finds himself empowered by the mushroom in his chest. the moment that sets up sol's long death monk ability, where he's able to refuse to go down and keep on fighting.

melora’s boon is also the song that plays for moonshine’s boon at the heart of the world. there are actually two songs in this scene, hardwon’s is different, and the transition back happens when melora says there’s a part of herself that moonshine hasn’t embraced. when she speaks to moonshine leading her people to a better future like an alpha wolf leading her pack. for callie, it plays when she tells hardwon and sol that she’s a liability and she needs to change— to embrace winter— in order to get calder back, even as they reassure her that she doesn’t. it also plays when callie asks the others to help her protect honeysuckle while he’s weakened. when they promise to lead honeysuckle home and free him from his connections to gromdal.

the writing on the wall plays when the boobs reach the court of gods. there's the wall of prayers there, and they hear the prayers of the people of bahumia, reaching out to them. prayers of protection-- for and by them. prayers that put the future of bahumia in their hands. for callie, this is the song that plays when she sees aryox's carving of her reaching the cave. when she realizes her mother acted the way she did because she could see what was coming in the future. when she realizes her mother was leaving the world in her hands.

the songs that the boobs first encounter at the end— when they’re basically demigods stepping up to face thiala— return for duck team in these personal moments. when sol finds the strength to refuse death. when callie talks about embracing winter, her mother’s season, something she eventually finds strength in, to save her friend. when callie asks the others to help honeysuckle, one of the serpents that she’s promised to protect partially due to the harm her family caused to the wild. and when callie realizes her mother saw the future and acted as she did because of it, pushing callie to walk the path she’s walking now.

anyway. this was a post about naddpod music.