#brilliant answer

[becausebuckley]

“what’s going on with buckley and diaz” a question we’ve been trying to answer for six seasons

[flowercrown-bard]

To all the aros and aces and aroaces, you're wonderful and valid and you don't have to prove to anyone that you're "queer enough"

[youngpettyqueen]

I know the decision to have Julian's parents have him augmented was made on the fly but imo its pretty obvious from early on that Julian has Family Issues because he avoids talking about his family like the plague and I think they should've incorporated this into the Julian and Sisko dynamic right from early on because I think it would've made for some really compelling stories and moments and could've set up a REALLY interesting Julian and Jake dynamic which they kinda started to do but never fully went for

[poorly-drawn-mdzs]

your horse meshi comic made me think that laios would have the craziest monster fursona just a thought

I would give anything to have your fresh eyes upon the story and plot of Dungeon Meshi.

[shhhsecretsideblog]

I thought of the unthinkable in that moment. What I was about to do would cause you more pain on top of the labor and ring of fire that would take you soon.

This wasn't the romantic or intimate birth either of us had imagined, but it was the one we were having. We're an hour away from making the descent and this is my last resort. The small pushes you were giving slowly increased in strength as your body took the reigns of the birth of our baby. The counter pressure I provided was the only thing slowing it down. Your entire body heaves between the short reprieves, the quickly tightens and shakes with resistance

"Your doing so well, babe. You're being so strong," I kiss you on the cheek and hold your hand tight.

You barely respond in anything more than a muted moan as you lose another struggle to your body demanding strong pushes. The head is filling your canal to the point I can feel your crotch bulge against my hand.

"Need...out..." You say through barely parted lips. Your sweat soaked shirt twists with your belly. "It stings, oh babe it burns. I-I-"

Your voice slips into a silent weep.

I grit my teeth and look away from your struggling body. I cup my hand around the small sliver of the crown. This baby wasn't going to be born on this plane if I could help it.

Each contraction unravels you further, yet I keep my hand steady to hold our baby in. I can't let your whimpering undo me now when we've come so far.

I continue to hold it there as the plane begins to come to life with activity and your begging becomes more audible. The descent is about to begin.

[Part I] [Part II]

I could barely breathe, barely think. Everything was on fire… stretching, burning, squeezing. I wanted to throw up; I wanted fresh air; I wanted to push, but I wanted to keep this baby in until we landed… My wants didn’t matter though, this baby, our baby, was working on their own schedule.

The lights in the aircraft came on and crew began their routine checks throughout the cabin, getting the plane ready to land.

“You’re doing so well sweetheart. Just half an hour to go until we land.” You whisper softly in my ear.

“I c-can’t do it…” I sob, my sweaty hair falling across my face. “H-hurts… so b-bad… mnnnghh… is the baby nearly o-out?”

I don’t notice the hesitation in your voice when you assure me the baby is not nearly out and that we have plenty of time. It certainly didn’t feel like it…. My eyes were watering with the pain, I’d been pushing so hard, I don’t know how the baby wasn’t crowning by now. I would have moved my hands to feel but they were gripped so tight on each arm rest I daren’t let go, it was the only thing keeping me semi-grounded and held off my screaming.

“We need to put your seatbelt back on honey.” You said fearfully. “And put your chair back upright.”

“You can’t be- hoooo- serious! I’m trying not to have a baby here and you wanna mnnnghh move me?!” I grit through my teeth.

“Yes, we’re so close, nearly home. Just a little bit longer I promise.” You say gently. “Are you having a contraction or can I move my hand? You can’t push when my hand isn’t there okay?”

“Ooooh okay, yeah go - do it.” I panted.

Moving the chair was easy enough but the time it took to get the seatbelt over my heavy swell another contraction was already happening.

“Mnnnnnnghhh gotta-pushhhhh!” I grunted, my body contorting as it pushed the baby further out and I felt it reach a full crown.

“No babe don’t!” You tried to say but my chin was already on my chest, hair falling over my face, as I pushed again with all my strength.

“Is everything alright?” Came the voice of an air steward from the aisle.

With my head dipped it wasn’t obvious I was a woman deep in labour and actively pushing, so it was easy for you to assure the crew member everything was fine and that I was just a little tired and unwell.

Despite my pushing the baby stayed at full crown, stuck by the tight denim of my shorts. I pushed and grunted again, gasping for breath and begging you to help me.

[carlyraejepsans]

What’s your opinion on mettaton x burgerpants? i personally ship it because i think it’s really funny

i think they just hate eachorer not even in a sexy way.. sorry..... mtt SHOULD crack burgerpants' egg tho i think that would be even funnier can you imagine how mad bp would be

[unknownarmageddon]

Sorry.

BAHAHAHA

Jaa oh my god this is brilliant FHFHF WEEPING

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below cut!

WHAT A TIME TO BE ALIVE

With the triumphant ‘So Much (For) Stardust’ capturing a whole new generation of fans, Fall Out Boy are riding high, celebrating their past while looking towards a bright future. Pete Wentz and Patrick Stump reflect on recent successes and the lessons learned from two decades of writing and performing together.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

PETE: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

PATRICK: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that. It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

PETE: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone’s favourite song makes a lot of sense in this era. PATRICK: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do. And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there. PETE: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now.

You seem generally a lot more comfortable celebrating your past success at this point in your career.

PETE: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. This was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we’ve always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome. PATRICK: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour’, that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do. I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realised that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them.

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained a part of your process since then?

PETE: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We had very disparate music tastes and influences but I think film was a place we really aligned. You could have a deep discussion because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. PATRICK: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. So when we talk about what has remained the same… I didn’t want to be a singer, I didn’t know anything about singing, I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things I’m frustrated about. But then I’m listening to it and I’m like ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’

On ‘So Much (For) Stardust’, you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

PATRICK: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also the weird aspect where the last time we worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other… as much as we do anyway. We say that and then that myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time has passed as people but the four of us got on better so we had more to bring to Neal. PETE: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little but scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit.

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

PETE: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing. PATRICK: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everyone liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love From The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love From The Other Side’ than it does here. When the whole song came together, it was the statement of the record.

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’.

PETE: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art that she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there.

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

PATRICK: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had written called ‘Dark Horse’ and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day. PETE: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chose to update one of ours, we’d be like that. Let them do their thing, they’ll have that version. I thought that was so fucking cool.

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it.

PATRICK: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other bands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it. PETE: It would be super egotistical to think that the wave that started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I  remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on, and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. PATRICK: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

PETE: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh, my God, are we gonna die?’ because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise that the fans over there are real fans of music. It’s really awesome and pretty beautiful. PATRICK: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavour… PETE: This is why me and Patrick work so well together (laughs).  PATRICK: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavour of it, everything, it’s like a different vibe. The UK audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?’ But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen.

[sneez]

digital study of a scene from the film eerie tales/unheimliche geschichten (1919) :-)

[rozaceous]

ive read mdzs years ago and stalled on tgcf (mainly bc i got really busy and then forgot everything lmao), but never really tried scum villain. if you don't mind, can you share why you like it? personally, the summary didn't really draw me in and the animation looked unfortunately really .... low budget.

hi anon! you've activated my trap card, which is Talking About Things I Enjoy At Length! congratulations! congratulations! congratulations! important things must be said three times!

(i also stalled w tgcf btw, bc it's so long that i could never summon up sufficient interest. and i will say that the svsss donghua is less than inspiring. i thought it was fun but that's speaking as someone who watched it after already being in love w the source content, so ymmv. i wasn't a particular fan of the animation style either, but considering that scum villain is the black sheep of mxtx's works in terms of the official content that gets produced, i was glad for what i could get.)

reasons to love scum villain!

hilarious use of unreliable narrator. shen qingqiu is one of my top favorite characters ever. he's not stupid or even, despite common fan depiction, all that oblivious--he's just incredibly genre-savvy and hasn't realized that the genre has changed. also he's hysterical.

but then sometimes, too, you look more objectively at things he glosses over and have a 'wait a sec' moment bc it's actually deeply disturbing.

it has a really fun way of of playing with transmigration stories and tropes. this was, in a sense, my intro to chinese web novel conventions as a western reader, and you can learn a lot bc mxtx is busy poking fun at all of them.

phenomenally meta.

luo binghe is a fantastic character. ppl who don't like him--i'll meet you out back. ostensibly the protagonist of the novel sqq has found himself in, supposedly blessed with every talent and the world prepared to fall at his feet, but MAN is it hard being luo binghe.

ppl will make a big deal abt lbh being obsessed w sqq but fail to acknowledge that sqq is just as weird and obsessed abt lbh. epitome of that AITA response of:

liu qingge

mxtx does so much with her villains, always.

as much as some of the miscommunication between sqq and lbh is contrived, it's also literally the only way that things could play out and makes absolute sense.

this classic scene, given utterly without context:

After a pause, Shen Qingqiu changed his angle. "What's your name?" The first one replied. "Six Balls." "What does that mean?" "When I was born, my pa held me and said I was six balls heavy." Shen Qingqiu was speechless. Shot put balls or ping-pong balls?! This kind of name is absolutely meaningless.

i think, honestly, my favorite thing abt scum villain is that you can read it quickly and have a good time, but if you're taking your time and paying attention, there is so much more happening underneath the surface! it's such a clever book, i'm honestly stunned (and humbled) that mxtx produced this as her first novel and at such a young age.

[utilitycaster]

Do you think that Laura and Marisha are deliberately making their relationship somewhat toxic and unsustainable or do you think they see the relationship as healthy? It is just so different from all of the other relationships they have been a part of and not really in a good way. Would love to get your perspective on it if you have one

I am honestly unsure. I would like to say it's deliberate. Prior to it becoming canon, in fact, I, and a lot of other people who were less than enthused by Imogen and Laudna's romance and weren't entirely sold from the start, made the case that we expected they would be talking to each other and would put together a compelling story, not the dull fluff so common in fanon. While whether it's compelling is a subjective judgment, we know for a fact they didn't talk to each other. We know for a fact Marisha was surprised by the question of "Can I kiss you," and Laura was surprised by the answer. We know from a 4SD not long after (4SD #16, Kiss and Tell) that several episodes later they still hadn't talked. We know that Marisha perceives Laudna as holding Imogen back (and that Laudna perceives herself as doing so) from the Rose City Q&A. We know that from 4SD #20 (Episode Twenty) that Laura doesn't like conflict in narrative and Marisha does, and that Laura was thrown by Laudna's regression following Ashton's attempt to absorb the shard (4SD #19, Shard Candy).

I don't know if it's deliberate or not; I don't have any extra insight that isn't public knowledge any fan can easily access. But man, it doesn't feel like these are two actors on the same page about what's going on.

I've touched on this before but mostly in tags or whisper posts but I've always felt ill at ease with a number of for lack of a better term "fandom-approved opinions" and one of the ones that has baffled me the most is this idea that Marisha and Laura have exceptional chemistry. I watched Campaign 1 knowing the endgame ships but deliberately avoiding the fandom, and Vex and Keyleth did not even once occur to me as a thing. I watched the first year of Campaign 2 without a ton of fandom interaction because I was avoiding additional C1 spoilers and it seemed crystal clear that the obvious ship was Beau and Yasha; it felt like Beau and Jester only even had enough potential for me to multiship it as my general "whomever Jester picks" for like, 30 episodes. And yet people - people who didn't even ship either of the above ships and in some cases disliked them- would just say "oh man I can't wait until we get to a campaign where we can finally explore Marisha and Laura's incredible chemistry!" and it's like. I feel like I'm the kid in the Emperor's New Clothes on this! I understand that chemistry is to an extent a matter of taste and subjectivity, but it just increasingly feels like people looked at two campaigns of tables where Ashley was frequently absent and said "well, if I want an F/F ship that's between two of the women in the cast, I guess this is what I have to work with" and repeated to themselves that a flat pamplemousse La Croix was a Piña Colada until they started to believe it. I mean if someone wants to explain it to me in good faith I suppose be my guest and I will try to take it in, but it feels like people just treat this as incontrovertible fact and if you doubt it they're like "don't you have eyes" and it's like, well, pretend I don't. Explain like I'm eyeless and five because I have never understood this. They both have more chemistry with every single other cast member; it's not all romantic but man, I didn't even buy Laudna and Imogen as platonic best friends of two years. I have never had this problem with any other pre-existing character relationships Marisha and Laura have played, platonic or otherwise. It's literally just them. I just never feel like they're quite on the same page.

Back to the relationship between Imogen and Laudna onscreen, this was easily the best conversation since the start of the gnarlrock fight, and it is my hope it doesn't fizzle out the way that did. You can't keep kissing Laudna whenever she fears she's lost forever to Delilah, Imogen. Or you can, but that won't fix the problem. Again: are you disgusted? Do you feel betrayed? If you're not, why did you say that? If you are, how will you move past it? Do you want to be with someone who never feels like they're good enough for you? Laudna, do you want to be with someone who, no matter what they say, you feel you're holding back?

Early in the campaign, my feeling was that of our current situation, switched - Imogen felt her powers were a burden and a curse and Laudna kept referring to them and to her glowingly. It's just...ships passing in the night, no pun intended here. I hope it's on purpose and whatever comes from it is a good story - and either a tragedy or a happy story could be a good one. But I have a nagging sensation that Laudna wants out but is afraid to say no, and Imogen is afraid to let go, and I honestly don't know if the actors have realized this impasse and how the characters might resolve it, one way or another, besides the insufficient bandaid of a kiss whenever the conversation gets too uncomfortable.

[sciderman]

Demanding more lisp

posts in which it is imperative that wade be read with a fruity obnoxious little gay lisp:

[pocketgalaxies]

liam imitating laura 30 years from now and putting on an old lady voice and going "and i said 'make her hot!' and they did!" when i tell you i spit

[oscargofast]

would do almost anything to be privy to what exactly is in oscar's contract with mclaren

[superloves4]

“Nerdanel the wise” ”Celeborn the wise”

There’s something potentionally very funny here but I’m too tired to write it

[phykoha]

Literally my live reaction to you casually pulling out a shiny deoxys while playing SV earlier /silly

HFDJSBJFDBSJFFHDSJFS he's my silly guy...