#get me OUT of this fucking NARRATIVE

[feral-anthropologist]

I’m full of feelings and queer rage tonight, so here goes.

Fuck the narrative that being trans is never a choice. I chose this. I’m not some poor little boy trapped in the wrong body. I’m not some sob story wasting away. I probably would’ve been fine living my life as a woman and then I found trans people and related to them and I chose to embrace my identity and join them. I was born into my body with my gender and I will shape them with my bare fucking hands into what I want them to be.

I’m not making my identity more palatable for cis people. I chose this. I chose this and I chose to be myself and don’t you dare try to take that choice away from me.

[vaguely-concerned]

the more I think about it the more hilarious AND moving it is that of all people, dorian 'you're asking me to become a unicorn when I've never even seen one' pavus and iron 'did not grow up with even a cultural conception of romantic relationships/attraction except as a sort of regrettable mental illness that gets you sent to the secret police for Reeducation' bull, with the full nonsense of their romeo and juliette-esque sociopolitical backgrounds and the pressure of having to be long-distance most of the time bearing down on them to boot, can somehow manage to stumble into one of the most stable and committed background relationships in the entire franchise fjdskaflas

[blazing-spectre]

Is the pathologic to disco elysium pipeline real

If it’s not it absolutely should be. Basically if you like one game, especially for the writing, there’s a 90% chance you’ll like the other

The way I see it is less of a, “One leads to another,” and more of a, “They’re two rooms in the same house, and they’re next to each other, and once you open one of the doors, you’re more likely to open the other.

[teeth-draws]

Mild spoilers for a romanced Blade in @shepherds-of-haven chapter 7 💌 🤭

[naruhearts]

I’m done keeping my composure.

Sorry, this will be a LOADED post! (And I’ll be repeating the points others have made)

for real, to everyone being nasty and telling heartbroken fans that “Dean was always supposed to die get a grip you’re just butthurt etcetera etcetera—” F you royally.

How dare you police the brutal feelings that’s been embroiling us since the Finale That Must Not Be Named aired. 

The show you think you all watched, the show you all believe was the same SPN from Season 1-4, changed at some point. Kripke wrote his original vision, put it to screen, saw it through in S5 as he intended, and closed the door on that era.

In 2008, Supernatural was adopted and inherited. As you know, there was a supreme paradigm shift post-Kripke era. The show FLOURISHED (we won’t talk about Gamble thanks). It evolved, transformed, grew beyond trauma-induced self-worthlessness and toxic masculinity and endless death and hegemonic social ideals and conservatism and repressive anti-revolutionary ideas. Castiel, the iconic favourite and beloved staple of the series portrayed by Misha Collins, was introduced in Season 4 as the core lead character, and he ushered in a brand new era of Christian mythos that SPN took advantage of. Longevity SKYROCKETED. Audiences were INTERESTED. SPN amassed an incredibly groundbreaking fanbase infused by non-nuclear principles. A massive subversive wave began, fighting the Status Quo of the times since 2008. It’s precisely why such an abysmal ending to a show of extensive Freud-Jungian metanarratively meta META complex stature and social POWER will render us totally and unbearably broken for years to come.

Point is, DEAN WINCHESTER NO LONGER WANTED TO DIE. HE WANTED TO LIVE. HE WANTED TO SIT ON THE BEACH, PLUNGE HIS TOES IN THE SAND, AND SIP UMBRELLA DRINKS WITH HIS BROTHER AND HIS BEST FRIEND. He said this in Season 13. And then, a season later, he told the ghost of his long-deceased father — the source of his deep-running trauma and the figure of self-reductive authoritarianism permeating his arc since Season 1 — after being questioned why he didn’t pursue the Nuclear Fam, that he already has his own: his brother Sam, his adopted child Jack, and Cas.

Dean’s best friend Cas. Oh god, Cas, who made his inevitably permanent mark on Dean’s soul beyond allyship. Castiel, renamed to Cas, God’s -iel removed by Dean. Dean, the human spark that lit the fire of pre-existing autonomy in the inherently rebellious angel who was, this entire time, the catalyst for free will in God The Writer’s puppet show. Their friendship set on goddamn fire. I can also write paragraph upon paragraph about my love for Cas while devastated tears stream down my face, but I digress—

Cas’ romantic love for Dean pushed our main Heart of SPN to love himself. Love is free will. Free will is also love. Of note, Cas’ love confession in 15x18 was supposed to offset something so vastly important and fundamental...to maybe (read: most likely) pull the trigger on SELF-TRUTHS in conjunction with free will. And The Great Anticipated Follow-Up to the episode penned by the passionate Berens should have included (read: seemed like it was going to be) Dean, closeted trauma survivor in love with his best friend, being given the opportunity to do it right: to SPEAK HIS TRUTH, and then that very singular opportunity was STOLEN so grossly. After poring over it for days, I refuse to believe we made their years-long story up out of thin air, spun it out of fantastical-delusional dream cotton candy, because we DIDN’T. IT WAS REAL.

As I said in another post: “I’ve just been feeling physically ill for the past >40 something hours with the terrible knowledge that 19/20 undid years of vital progression towards healthy interdependence, autonomy, and a positive endgame, where Sam, Dean and Cas close the ring of found family in final empowering self-fulfillment...where Dean, no longer repressed and set free, is able to use his words and speak his truth as a queercoded trauma survivor, henceforth confirming and self-affirming his own bisexuality since S1 by reciprocating — by telling Cas that he always loved him, too, loved him endlessly, which would have altogether divested Supernatural of its cult status and catapulted it into global worldwide significance as the longest running sci-fi genre show in American broadcasting history that actually dared to defy and, by proxy, empower LGBTQ2IA+ everywhere who found profound personal meaning in Destiel through VALIDATION,” — found themselves mirrored in Dean and Cas’ respective character journeys individually and as each other’s queer love interests.

THIS IS WHY DEAN WASN’T MEANT TO DIE.

THEY WERE SO ESSENTIAL, NOT JUST TO THE OVERARCHING STORY AND HEALTHY INTERPERSONAL THEMATICS OF MODERN SPN, BUT ALSO TO THE SOULS OF THOUSANDS OF PEOPLE ACROSS THE WORLD WHO FOLLOWED THEIR JOURNEYS, HOPED FOR THEM, ASPIRED TO BE LIKE THEM, TREASURED THEM, WEEPED FOR THEM, AND FOUGHT FOR THEM, LIKE YOU AND ME.

Heck, how could anyone think Sam Winchester had a well-deserved characteristic ending? He didn’t. Dean’s brother was shafted so badly. He stopped hunting when seasons ago, he had canonically accepted that he no longer wanted an apple pie life. He simply...turned the lights off in a resoundingly empty bunker and left — abandoning his dead brother’s room — never to return (he did return later to get the Impala, family photos etc, I mean this symbolically)...as if — dare I say it — Supernatural itself eerily told us, in the negative-spaced pitch blackness, that the organic show and the wonderfully complex, matured characters we’ve grown to love weren’t going to survive or be revisited...that it was all going to perish, and that they no longer gave a single shit about their own show, which, to me, is the worst cardinal sin, because how dare they throw Team Free Will, an immovable and indomitable and passionate found family they built from the ground up, a found family CHOCK FULL TO THE BRIM OF LOVE AND LIFE RAGING AGAINST THE AUTHORITARIAN MACHINE IN ORDER TO ACHIEVE FREE WILL, under the bus no matter who is to blame. Growth was stomped on.

Then Sam married a faceless wife who wasn’t his textually established (and deaf) love interest Eileen, named his son Dean Jr., and grew old miserably, still mourning the passing of his older brother, shaken and sombre. Back to square one. IT WAS ALL ANTITHETICAL, even OUTSIDE a shipping context, and I ripped my hair out at this point in sheer disbelief.

This 15x20 ending would have fit somewhere between S4-7. Now? IT DOESN’T FIT. IT’S A JAGGED PUZZLE PIECE THAT DOESN’T BELONG ANYWHERE. IT’S THE FOREBODING UNKNOWN STRANGER IN ITS OWN LAND, BOTH LITERALLY AND FIGURATIVELY. This kind of ending was basically an illogical, unsound cluster of metastasized cells that, to me, ruined the viability of previous seasons to sustain bold praise and respect and dignity and rewatches and classic nostalgia in such insidious ways.

Dean Humanity Winchester and Cas, after everything they’ve been through, were silenced and lost in death, ripped apart from each other, unable to love each other the way they deserved, because of disappointing, vile incompetency and homophobia. The greatest love story ever told, again obliterated in less than 60 hollow minutes.

You know what this tells your audience, CW SPN? Death without self-growth is the way to go, and no one is allowed to forge their own path to freedom.

HOW INSULTINGLY HARMFUL IS THAT?

I don’t think I’ll ever stop grieving.

We all deserve answers.

[essektheylyss]

Not gonna lie, even as genuinely stressful as it was to watch it unfold, the fact that there was perpetually a major time limit put on the Nein through the Aeor arc was such a smart move on Matt's part.

The last two days (so to speak—before and after the time gem) were four initiatives and two initiatives between rests respectively, and quite frankly, even considering there were two revivifications, the final fight against Lucien never felt particularly dire—and if they'd started that fight fresh, I do think it would've felt properly anticlimactic.

The Nein were a mechanical powerhouse and I applaud Matt for actually managing to give them a run for their money.

[gaybellethorn]

mh having its central theme be 'embrace your freaky flaws!' immediately followed by eah's central theme of 'repression. repression. secrets. guilt. etc' is so funny

like cerise never gets to take her hood down. cedar never gets the truth curse lifted. the ohairs have to keep hiding the truth of their heritage because it's just easier.

eah is in this weird doll franchise storytelling limbo where the plot itself is allowed to grow and develop and change but the characters have to remain totally stagnant because otherwise it might hurt brand recognition. briar can decide to turn rebel if she wants but ultimately her story still needs to hinge on her destiny of the 100 years of sleep because she's 'the sleeping beauty one'.

and then i, gaybellethorn, eah understander, argue that it's actually very clever and big brained and thematically resonant because it encapsulates how these characters are like self aware stock characters, they know they're one dimensional with just enough characterisation to experience grief at their lot in life but no agency to actually change it because they have to tell us a story, the same story, over and over, prometheus and the eagle. the premise of the show is predicated on the fact that these are the sons and daughters of fairy tale characters, they're not fairy tale characters themselves YET, there's still time before the fall, they could save themselves if they wanted, but youre a doll in a toy franchise called ever after high. obviously you can't.

[qwertyfingers]

decided in my secret good spn rewrite chuck wouldn't Be God all along; in s4 he really is just a prophet channeling the inspired word, the narrative is exactly as terrifying and out of his control as it seems. prophets are not just vessels for the word of god, but also vessels of god. the first hint of this we get is in season 8, when something possesses kevin to protect him from gadreel, but we don't find out what. kevin doesn't remember anything, and gadreels only recalls seeing an incredibly bright light. chuck's appearance in fanfiction is exactly the same, as is don't call me shurley. we only learn about the prophets being god's vessels in all in the family, when kevin steps out from behind chuck and tells us about it. kevin's not a prophet anymore for Reasons

[n-ugg]

I am try to figure out what to draw and how to write a oneshot after watching the new Slimecicle video. I fucking love it so much and this was the best thing to drag me back to my scu bullshit.

[wolves-in-the-world]

It's an awkward angle, but there's a knot in the wood at the back of a drawer that feels a little off when he brushes his fingers over it. Eliot lines up the key and it goes in smoothly. Their voice washes over him, filed away by the part of him that's still assessing, trying to make sense of their deal, as the small drawer on the side of the desk - invisible until now - pops open. He has just enough sense to poke a pen inside to set off any traps before reaching in. He takes out his dog tags and feels the weight of years hanging from the chain. Lives lost, lives taken; all the siblings he fought for and all those who fought for him; the person he once was before he got his hands bloody in the service of what he loved. It's a mistake he seems doomed to repeat. He loops the chain around his neck and tucks it under his shirt, resting his hand there for a second as if feeling for a heartbeat. All the things he gave Moreau, all the things he can never get back, and he never thought he would see this one again.

(in which moreau is the kind of pretentious fuck to have a writing desk with secret compartments and someone made eliot's decision for him by killing moreau before eliot had a chance to leave. also in which moreau maybe kept the key in a hidden pocket behind his left lapel definitely coincidentally over his heart, don't think about it too hard, it's fine.)

[doodlebloo]

Does everyone on this fucking server have a Dream Manhunt Compass that fucking points to Michael_B at all time like good God. Why was the narrative "We're keeping Michael a secret from everyone so that he doesn't get hurt" and then suddenly everybody on planet fucking Earth knows exactly who he is exactly where he is and wants to harm him for no fucking reason like.

Eret tweeted on the day of the lore that "I would never have betrayed someone who trusted me" or something meaning that cEret didn't GIVE Michael_B to cSam he was taken. But like. Why does cSam know Michael_B exists why do ANY of them know he exists and why does nobody give a fuck about the plot hole of cTubbo LIVING WITH HIM and not noticing he's gone why doesn't anybody care to even attempt to explain it.

(don't reblog)

[antidotefortheawkward-art]

Life’s much more fun when you ignore white people and decide to dress how you want actually-

(he/him/佢）

Rightmost outfit based on hanfu by 沐汉风汉元素, referenced from @hanfugallery. Everything else is my own design!

[redshcdes-archived]

it’s the way Hussie like... Had these narratives and could’ve went somewhere with them but in the end just like.

had bread crumbs for a good story and a proper narrative for some of these characters and they just like

slam dunked it in the trash.

[boasamishipper]

so bill lawrence basically said the only reason sam became such a star on the pitch this season was because the writers thought it would make for a more equal power dynamic with rebecca and now unfortunately i have to go kill the entire writers room with my bare hands 🙃

[polyboros]

once again i am thinking about the recontextualization of tales of zestiria's worldbuilding premise post-tales of berseria

[mjvnivsbrvtvs]

SERVILIA What sort of man asks for mercy in the first place?

hbo rome +  Masculinity, appearance, and sexuality: dandies in Roman antiquity, Kelly Olson

[the post for antony]