#getting hyperfixated on film directing

[nemmet]

fred doodles of varying levels of quality!!!! zooms for easier viewing under the cut :)

[naok-iyuu]

Zed Necrodopolis Headcanons

Some relationship headcanons I personally have for him <3 Word count : ~850 words

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Zed would have a friend/to lover, best friend/to lover or childhood friend/to lover relationship

Tall sunshine x whatever you identify as

"You deserve the world" x "no, you"

Pure golden retriever energy, you get it guys ____

Zevon and especially Zed would be masters at styling hair, thanks to Zoe

And so, Zed loves to do your hair when you allow him

He lets you put makeup on him without whining

And do his nails

He is for the girl power all the way ____

Isn't really scared of horror movies but always jump and scream the loudest when there is a jump scare

You don't know which of the movie or his reaction is more stressful

Nonetheless, you took that chance to jump scare him from time to time when you both hang out at your houses

He always end up with a hand on his chest or dramatically on the floor ____

While I mentioned movies, I think Zed would be a musical lover

Along with comedy, action film (super hero), animation, and a now romance lover thanks to you<3

He never complains when you make him rewatch your favorite/comfort show or series for the 20th time

He ends up really liking them anyway ____

Speaking of being the loudest, his laughs are something else when something really gets him

Yet, he always appear out of nowhere when you least expect it

You would be studying at school when suddenly he is at your table and haven't made a noise ____

When you have the time, and want to, he always brings you to his football practice

He is extra careful to never let a ball get tossed in your direction

You sometimes play with him, tossing the ball to one another

You noticed that he is always cautious of his strength and to where he sends you the ball

You always wear his spare jersey at his match

He melt everytime ____

He loves when you steal his clothes and wear them when going out

He thinks that his zombie grunge style really suits you

But you're definitely cuter in his football jersey

His favorite outfit though ? Your at home style

It makes him want to eat you. In a cute way ____

He says that he loves you at least twice a day

Not too much in case you could be overwhelmed

Even says it in zombie "Gar gargiza"

You never go to bed without a "Good night beautiful and sweet dreams <3" from him

And never wake up without a "Good morning love, did you sleep well ?"

Always make sure that you had water and food when it's lunch or dinner

He isn't the type to use the "you don't love me anymore" trick on you no matter what happens

Not even to tease you

He is more of a "Oh come on, I know you love me/love me more" type of guy

Always cuddles you, no matter where you guys are

Big and tiny hugs, even if he prefer to give you the big ones

Always kisses you on the cheeks, hands, forehead or temple when he have the chance

You fell first, but he fell harder ____

Zed is a "family is everything" guy

You met his family rather quickly after meeting him

And of course Zevon and Zoey adore you

You are always welcome in the Necrodopolis house! Everyday and every hour

Always have your favorite snacks in his room

And what you like in the fridge so he can cook for you (or cook together) when you have dinner at his house

You get along with Eliza and Bonzo, making it really amusing when you hang out with the gang

Zed will always accept to go anywhere with you if you want him to, even if it's a day when you hang out with your friends ____

Knows all your favorite drinks, snacks and meals. ALL OF THEM.

He have a note on his phone just for you, what you like, liked to do, or what you want to buy. Even if you just found something pretty you are doomed

Always interested in your current interest/hyperfixation

For example, I recently really got hooked back into a show I loved when I was 10. Zed would watch it in a heartbeat to get your jokes and excitement

Plays video games with you

He have all of your spotify playlist saved on his phone to know your latest new mood ____

Always helps you with anything, but doesn't push if he sees you reluctant

You knows he is always here for you and you for him

You can go through his phone and him through yours

He never ask questions when you use his phone

You trust each other big time

No jealousy, never

Even if he tries, he cannot keep an information or surprise from you

But he will if it's for a date or a gift

Would defend and protect you with all his might ____

Often takes you on dates

Like at least once a week (on weekends)

Or take you to a coffee-shop and bookstores once a week after school when you want to stay home on the weekend

Zed can plan big date's day, hanging out all day long or a few hours depending on your mood and homework you have

Otherwise, you spend a lot of time together at school, football practice and even at your houses <3

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What did you think ? Comment your headcanons for him if you want to share !

[silver-tooth-the-panther]

Today, I have graduated high school. I have closed a chapter of my life that felt like it would last forever, but here it is. The end.

It’s something we all will go through. We will laugh. We will cry. But the most important thing for us to remember is that there is a future ahead of us.

My future is one I’ve thought about a lot. It’s changed courses and directions, but I’ve settled on a route I wanted to take. As you can see, I taped my Murder Drones themed rocket onto the back of my cap. Not only is it my current hyperfixation, but it is also a representation of my dream.

I will be studying film at a college in order to become a screenwriter. I hope that I’ll be able to work for Glitch Productions to get my stories out there and to help do the same for others. I want my writing to make a positive impact on people and the animation industry. I want to be known as an artist who isn’t afraid to push boundaries and help people going through difficult times simply by helping them to relate to something. I want to work for Glitch Productions not only to push the animation industry forward, but also myself.

With that, wish me luck

[ellieslaces]

KISSING LESSONS.

featuring: hazel callahan x fem!cheerleader!reader

synopsis: Hazel’s worst decision was to join her friend’s fight club, until she met you. or, really got to know you, she knew you, you just didn’t know her. she never thought a cheerleader, much less one of the prettiest girls in the school, would ever pay attention to her. until you did.

content warnings: harsh language; mentions of violence; internalized homophobia; light smut; kissing (wlw); so much loser lesbianism; some homophobic slang (faggot, munch)

notes: mentions of violence (duh, it’s lesbian fight club); mentions of reader being bisexual (more toward women tho); homophobic slang (faggot, munch, etc) ; there is no real smut in this as i do not write explicit content containing minors.

word count: 3.13k

chloe talks: watched bottoms and then hyperfixated on Hazel for two weeks before I decided to write this. God, I need her so bad. Chloe has a type doesn’t she? (soft mascs make me hhnngg). hazels so fucking cute I need her to kiss me ok bye. <3 (also, I hate the way this turned out, I’m so sorry it’s terrible)

now playing: kissing lessons ; lucy dacus

Fight Club — a popular 1990’s film, that’s all those two words had ever meant to you. You’d never even seen the film, you just knew it was fucking gay, despite it not actually being about the hot topic of homosexuality amongst young men (or women, in your case). But, I digress.

It had been your friends, Isabel and Brittany, who managed to get your ass to attend your school’s resident Fight Club. A women’s Fight Club. How fucking gay. Oh well, it would teach you how to defend yourself properly. Which, in this day and age — or any day and age of we’re honest — is horribly necessary.

It shouldn’t be, but knowing how to beat the shit out of a grown man is something you should know how to do. Self defense isn’t a topic to be taken lightly, and it seemed PJ and Josie knew this.

PJ and Josie — or faggot #1 and faggot #2 as the school knew more endearingly — where the school’s resident ‘ugly and untalented gays’, as Jeff and his little crew liked to say. Really, you suspected they were all just pissed because the girls knew their way around a pussy better than any of them did. They wouldn’t know the clit if it slapped them in the face.

It had been about two weeks into the girls’ club that Isabel and Britany attended for the first time. They showed up to cheer practice the following day with busted lips and bruised faces. At first, you hadn’t known what happened. Maybe Jeff’s dramatics had finally gotten the better of him. But no, they had willingly gotten beaten up for the sake of learning how to better throw a punch.

Finally, after hours upon hours of begging and pleading, Britany and Isabel got you to attend a meeting. You had walked in, nerves wrecking your body as you trailed unsurely behind the two girls you considered your best friends. You trusted them, they wouldn’t let something bad happen.

You had planned to spend your first meeting simply observing, but PJ tried so hard to convince you to join in. She almost even pushed you into the fucking ring. When you finally conceded, you were face to face with Hazel Callahan.

You knew of her, but you didn’t know her. You’d passed her a few times in the hall, you had a science class with her. Jeff said she was another one of those ‘loud mouth munches’ — to which you nearly punched him square in the nose had he not been Isabel’s boyfriend and a complete moron.

Hazel seemed nice, she’d smiled in your direction when you walked into the gym. It was a nice gesture, no matter the awkward air it held. You felt sort of bad for putting her in the situation she was in, even though it was PJ’s fault that she now had to fight you.

You stood awkwardly, fists raised in a defensive position, eyes on Hazel as she stood in front of you. She smiled again, still awkward as it had been when you walked in. You were set on not getting the shit beat out of you.

As soon as PJ’s whistle sounded, you barely gave Hazel a chance to move. She’d shifted on her feet, sending a spark of fear through you, causing you to send a punch straight to her face. You’d gasped, watching her face scrunch up as her own hands flew up to cup her nose.

“Oh my God, I’m so fucking sorry.” You cried, stepping forward, ignoring the claps and cheers falling obnoxiously from PJ’s lips.

Hazel let out a choked laugh, brows raised as she held her nose. “No uh, nice hit. Fuck, that was a good one.” She blinked rapidly, momentarily lowering her hands.

You let out a small squeak as you saw that her nose was indeed bleeding. “Shit, your nose.” You stepped forward again, trying to find something to stop the bleeding. But of course, there wasn’t anything you had on you.

“Alright, Hazel’s fine. Let’s move on.” PJ droned, giving her whistle another sharp blow — she really abused her whistle privileges, you thought as you ushered Hazel toward the bleachers.

Hazel gave a thumbs up — her hand covered in blood that dripped from her nose — as she walked toward the bleachers. No one seemed to notice other than you as you walked with her. You felt so bad, so terrible because now this girl was bleeding because of you.

“I’m sorry,” you weakly apologized again, sitting in front of her on the bleachers, looking frantically around for something to give her to stop the bleeding.

“It’s okay, I’m okay.” Hazel shook her head, trying to convince you she was fine. Even though you both knew she wasn’t.

“Uh fuck, there isn’t anything — don’t do that.” You’d cut yourself off quick, voice deadpanned.

Hazel paused, her head half leaning backward as she looked over in your direction. Her ringed fingers pinched the bridge of her nose — it seemed she’d had the idea to lean her head back to stop the bleeding.

“Lean your head forward, not backward. If you go backwards, the blood could go into your lungs. Go forward and let it drip out.” You instructed, pulling her hand down gently by her wrist, moving to take off your cardigan so she could hold it below her face to catch the blood as it dripped.

“How do you know that?” Hazel questioned, brows pulled in a frown as she leaned her face forward so the blood could freely drip from her nose onto the bundle of fabric in her hands.

“I had to get a certificate to be able to babysit.” You shrugged, moving the strands of hair from her face without thinking about it. When you’d realized what you’d done, you froze, dropping your hand in embarrassment, muttering a sad ‘sorry’ again.

Hazel shook her head, not responding verbally to your millionth apology. Your cheeks warmed, suddenly so embarrassed for an entirely different reason. Not just for punching Hazel square in the nose, but you’d managed to embarrass yourself by noticing just how pretty she was.

Hazel sat on the bottom row of the bleachers in the gym, watching the rest of the group fight each other in turns, different girls winning. Some had busted lips, others a myriad of bruises spattered across their faces.

You took the time to notice just how pretty Hazel was — a sharp jawline that would make Jeff jealous, brunette hair that mussed in just the right way and looked so goddamn soft, her nose that was long and straight save for the small bump in the bridge that made your throat constrict. God, she really was a sight. How hadn’t you noticed sooner?

Maybe it was the fact that Hazel wasn’t in your social circle. You were a cheerleader, friends with Isabel and Britany, the focus of stares. Hazel was a loser — in the kindest and most endearing way — someone who wasn’t popular. Someone who had hardly any friends. And despite the fact that today was maybe the third time in your entire life you’d ever spoken to her, you wanted to be one of her friends.

A quick, sharp quip of PJ’s whistle brought you back to the present, her loud voice announcing the day’s session was over. You blinked, looking away from Hazel. Who somehow didn’t seem to notice you’d just spent the past five or so minutes just studying her face.

She turned to you, eyes apologetic as she held out your crumpled cardigan in her hands. “It’s really bloody, sorry.”

“No, it’s okay. You can keep it,” you shook your head, holding out your hand. It was only after the words came out of your mouth that realized how stupid that sounded. “I mean, it’s just, you don’t have to give it back. I don’t like it that much anyways. And it’ll probably stain. That sounds bad, I’m sorry.”

Hazel smiled a little at your words that seemed to stumble out of your mouth. You regretted every single one of them. You moved to take the cardigan anyway, acting as if you hadn’t told her to just keep it. But she pulled it back.

“I’ll wash it.” She said simply, standing. There were specks and smears of dried blood on and below her nose. You felt another pang of guilt then, seeing that your punch would definitely cause a bruise across her nose.

“Oh, you don’t have to do that.” You shook your head, standing as well. Isabel and Britany stood a few feet away, clearly waiting for you to come over. You didn’t want to though, for some reason.

“It’s fine. I’ll see you at the next meeting right?” Hazel asked, not relenting and continuing to hold the cardigan in her hands as she started to back away.

“Uh, yeah, I guess so.” You shrugged, somewhat embarrassed. You didn’t really want to come back. Not since you’d punched Hazel and made her bleed on your first meeting. But, maybe this would be a good incentive to come back. To see her.

“Cool,” Hazel grinned, nodding in your direction before she walked toward where PJ and Josie stood. You remained sentient for a moment, hands folded in front of your lap as you watched Hazel.

“Jesus, you hit hard.” Isabel’s voice rang in your ears as she and Britany approached, the latter’s eyes wide as she looked at your hand.

“Might want to wash your hands,” the girl motioned to your dominant hand — the knuckles were spotted in blood from where you’d punched Hazel and blood had immediately started to pour from her nose.

Your eyes latched onto the specks of blood on your knuckles, brows creased as you stared. Bright, rusty red adorned the skin of your knuckles, bits of Hazel Callahan’s DNA there. It was strange, but it made you smile.

The attendance of the fight club had steadily grown — girls coming to the gym after school to brush up on their combat skills. All in preparation for the upcoming football game against Huntington. The fear ever since one girl had gotten attacked by one of the boys and word had gotten around about it.

So, attendance had spiked, the ‘female solidarity’ — as PJ liked to call it — had risen in the school, even the girls were kinder and nicer to one another. And your mind was muddled with constant pictures and thoughts of Hazel Callahan.

It was confusing — you’d never felt such a strong connection to someone you hardly knew. Hazel was as much a mystery to you as the rest of the ‘ugly, untalented gays’. Meaning she was a huge fucking mystery. Sure, you were vaguely aware that her parents had divorced, and that the girl mostly kept in the background in school. But other than that, Hazel was purely mysterious to you. And you found yourself wanting to know more.

To remedy thhs, you continued to attend fight club, naturally. Yes, you shared a class or two with the girl, but nowhere else did you have the chance to actually interact with her. To converse with her, hear her voice, see her smile. God, what a loser you were.

It wasn’t until two weeks later that you’d come to realize how disgustingly and embarrassingly obvious your infatuation with Hazel was. And what made it worse — it was PJ who brought it to your attention.

“Yo!” PJ’s obnoxious voice rang through the gym as you stood in the circle with the rest of the girls, watching Silvia and Brittany spar, your name on the girl’s lips as she spoke. “Quick eye-fucking Hazel and pay attention! Huntington is like, two weeks away.”

Your cheeks flamed a bright red as you sunk into yourself, shoulders curling in. God, you wanted a chance at PJ in that ring to strangle the fuck out of her for that. Your eyes quickly cut over to where Hazel stood — her own cheeks dusted with light pink as she avoided your gaze.

Great, now she probably wouldn’t talk to you at all. Fuck PJ and her obnoxious, loud mouth. Your embarrassment was not short lived as the fight club went on. You couldn’t look in Hazel’s direction at all as you waited out the meeting until its end so you could retreat with your tail between your legs and never show your face in this gym again.

It was as you shouldered your backpack, heart still racing, stomach still uneasy with embarrassment that you heard someone clear their throat behind you. You turned, eyes going wide as you were face to face with Hazel. Your eyes trailed down to a bundle of fabric in her hands.

“Sorry it took so long, but uh, I got the blood out.” She held out what turned out to be your cardigan. The cardigan that you’d leant her two weeks ago when you’d punched her too hard.

“Um, you didn’t have to do that.” You said, offering a sheepish smile as she held out the cardigan. You gingerly took it, eyes locked on Hazel’s face. As you grabbed it, you swore you could feel a spark when your fingers brushed against hers. A fucking spark — cliche but true.

It was silent between you two for a moment before Hazel shook her head, jutting her thumb over her shoulder. “Sorry about PJ. Things kind of come out of her mouth without her brain processing first.”

Yikes, Hazel meant the ‘eye-fucking’ comment. You offered a small, horribly obvious chuckle. “Yeah, I kinda noticed.”

There was another long stretch of silence between you and Hazel, your lips pulled to the side as you held the folded — she’d fucking folded it, Jesus she was adorable — cardigan in your hands. It was strange, but not too uncomfortable. Like that stupid thing from Pulp Fiction, the right person is someone that silence isn’t awkward with.

“I wasn’t eye-fucking you.” You blurted. Great, you made it awkward again. A small groan fell from your lips, head dropping as you closed your eyes with a frown. You shook your head. “Sorry, I dunno what’s wrong with me today.”

“PJ’s just jealous.” Hazel offered with a small laugh. How could one solidarity laugh sound so beautiful?

“Of what?” You asked gingerly, looking up to meet her eyes. For some reason, you were weary of her answer.

“That you aren’t giving her attention. Besides, I don’t think she’d know what to do with your attention anyway, you’re so pretty.” She said it not as an insult to PJ — or at least it didn’t sound like it — but more as an obvious fact. And you were stunned because Hazel had just called you pretty.

You were at a loss. A true loss. How the hell were you supposed to respond to that? So, like an idiot, you just stared at her blankly, eyes confused and wide.

Her own eyes went wide, brows furrowed as a worried look crossed her features. “Shit, was that too much? Too much. Fuck.” Her voice lowered as she cursed, brows knit together.

“No! Not too much, I just… I just didn’t think you thought I was pretty too.” You shrugged, quick to correct her. Quick to reassure that you were flattered and not weirded out.

“I mean yeah, of course I do.” Hazel nodded, her voice soft, words intentional like her statement was an obvious fact.

A smile spread across your face, cheeks warm again. You weren’t sure why, but you suddenly felt so much about Hazel. You’d never had a crush on a girl before. It was new and strange, but you definitely thought this was a crush.

“Thanks.” You whispered, eyes darting down to the cardigan in your hands for a moment before going back to looking up at Hazel. “For the compliment, and bringing back my cardigan. You didn’t have to wash it.”

“It’s fine, I wanted to. It’s a nice cardigan.” Hazel shrugged. It seemed she was at a loss for what to say around you too.

The gym was near empty by now — Josie and PJ chattering away in the far corner, and Isabel and Brittany waiting for you (but not paying attention to anyone but themselves) by the gym doors a few feet away.

So, due to the empty state of the gym and the disgustingly thick tension between you and Hazel, you stepped forward, pressing a quick and gentle kiss to her cheek.

This took the girl by surprise. Her eyes went wide as your lips pressed to her soft cheek. You leaned back, her brows creased as she watched you.

“Thanks,” you said again, with a shrug. Letting her know that was your way of thanking her. Small, but meaningful to you.

It was a long moment that you stood there, Hazel staring at you with wide eyes. For a couple of long seconds, you thought you’d fucked up. Misread the situation, mistook the tension for something else. But, you were proven wrong as she leaned forward, closing the distance between you by pressing her mouth to yours.

“You’re welcome.” She murmured as she leaned back, your eyes wide now from processing that Hazel had just kissed. That you’d just had your first girl-kiss. Fucking scary, but nice. You liked it. Liked her.

“I’ve never done that.” You whispered, blinking rapidly to ground yourself. “With, with a girl, I mean.” You corrected yourself almost instantly.

You’d kissed a guy or two before. Sadly, your first ever kiss was Tim at the ninth grade freshman dance. He was a bad kisser and you hated it. But, you liked how Hazel kissed. Despite it being a quick peck, it was full of intention and it was gentle too.

Hazel shrugged, a small half smile forming on her lips. “Maybe I can give you lessons.”

You grinned, laughing a little as you nodded, backing away toward the gym doors, needing to escape before you said anything else stupid. “Yeah, that’d be nice. I’ll send you my address.”

“Okay,” Hazel nodded, grinning widely to herself as you mentioned her coming over.

You almost skipped as you walked out of the gym, trailing behind Isabel and Brittany as the girls chittered away, the prospect that Hazel would be giving you fucking kissing lessons. You held the bundle of fabric close to your chest as you walked to your car. And it was then you noticed it smelled like Hazel. The detergent, obviously. But, there was something else that was just Hazel. And you never wanted it to go away. Maybe, you could wear it while she gave you kissing lessons that night.

2023 ©️ellieslaces please do not repost, rewrite, translate, or submit my work to AI or any other platform. please support your creators by reblogging, liking, and following!

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[tobiasdrake]

So, who is the best mom in Dragonball?

Let's see....

Chi-Chi gets a lot of crap from the fandom for being a tiger mom. Some of that is exacerbated by the anime which broke ranks with the manga because they wanted to keep doing tiger mom bits after the point when she canonically cooled her jets. The anime really liked Chi-Chi as a gag and doesn't like to let gags go.

I cannot hold it against her that she wanted to keep her son from growing into a deadbeat hyperfixated hobbyist who coasts on his wife's inheritance like her husband. She wanted Gohan to excel academically and grow up to be a responsible, emotionally mature adult with a stable career. That's what most parents want for their kids.

And it's what Gohan wanted for himself too. Even Goku recognizes that.

But I will ding her for the "delinquent" thing. She is vocally unsupportive of her children connecting with the other side of their heritage, and that's a black mark.

Additionally, the way she chills out and is more relaxed with Goten implies a bit of favoritism. Like many parents, her firstborn is her golden child, her heir, the successor of the family name... and the other kids can go do whatever; It doesn't really matter as long as she's got her successful pride and joy.

Bulma demonstrates a surprisingly personal touch for a woman of her status. She remains glued to the infant Trunks throughout the entire Cell arc despite having enough wealth, technology, and genius acumen that she could easily hire or build someone else to look after him.

It's clear that Bulma cares a lot about her son.

Her main black mark as a parent is the way she exposes her child to Vegeta. Future Bulma sends Trunks back with little warning or preparation for meeting the absolute monster that his father is, and this is in a timeline where she's never known a Vegeta who chilled out and learned to love his family.

Present Bulma does Future Bulma one better and invites the physically abusive and emotionally neglectful Vegeta to live with her and be in constant direct contact with Trunks, while he grows bitter and resentful of them for making him soft.

And then, after he throws a violent tantrum and kills a bunch of people over that resentment, accepts him right back into her son's life with open arms. What the fuck, Bulma.

Porunga may have vouched for him but I'd nonetheless be wary about ever letting this man near my child again. He murdered half a stadium because he was mad that he loved his family. Nope nope nope.

Videl got hit with a ricochet when Super Hero came for Gohan's parenting. They're both workaholics too busy for their kid, which is what drives the plot of that film. As with Gohan, this is relatively tame, but worth noting.

18 seems pretty cool. She blackmailed a celebrity for money and got her daughter away from local sex pest the Muten-Roshi. Good for her. I think the Dragon World's Best Mom coffee mug might be in her possession?

[freeeggbailiffcash]

Appreciation post for my favourite art-ISTS

Im the kind of person to hyperfixate on a fandom for extended amount of time and am stuck between wishing that artist/creator to make more works (songs/films/novels) and wishing I get amnesia so I can fall in love with it all over again lol.

#1 Guy Ritchie

There's a lot of Guy Ritchie works that I adore; from Lock,Shot and Two Barells to Man from UNCLE to the Gentlemen Universe. I love the signature cinematography, the comedic quips and sleek setting of gangster/mob trope.

The female characters he created were iconic; Roz and Susie Glass are my favs😍😍😍 honestly queen icons. I also loved the inclusion of combining Americana flair with posh British drama.

I honestly can't wait for the next season of the Gentlemen series (kinda bummed that we dont get to see more of Mickey and Roz but Eddie and Susie's chemistry and tension are to die for ngl)

#2 Mike Flannagan

I think I've watched all series by Mike Flannagan, (sans Midnight Mass, I've tried three times starting from episode 1 and still gets kinda confused so I dont enjoy it as much as the others)

Haunting of Hill House and Haunting of Bky Manor are both heartwrenching. I love the symbolisms, the damning parallels the devestating ending for some of the characters. Between the two, I loved Hill house more—the horror element was really exquisite.

The plot twist where Nell was the ine haunting himself, the doomed narrative and Poppy Hill subtle manipulations were all beautifully executed. I would love to see more of the victims of Hill House.

The Fall of the House of Usher is another fav of mine!! Generally, I really like the way Mike Flannagan adapts the series he does from famour author's like Shirley and Edgar Allan poe. I love how he combines Poe's works; while I don't extensively follow or read ALL of Poe's works, I do recognize the little details and honestly it's so satisfying seeing it brought to life.

In all the series that he does, (aside from the similar actors bsing re-casted) I kinda like how he ties up the storyline with a neat plot twist and I know several people have mentioned this, but I love that in the horror stories he does, the ultimate device is not gore or indulgant bloodspill or jumpscares. Instead, the plot device, Flannagan uses is the inherent element of love being the binding tool that led people to their doom (Nell's love for her deceased husband, Eleanor's love for her children fueling her paranoia) and human's greed (in midnight mass and Fall of House Usher) that makes the story so grounded.

Another series that I love and am honestly surprised was not directed by him is The Residents because the style and twist were kinda similar to Flannagans.

#3 Lin-Manuel Miranda

Credit video to its owner: theplayerslist

Miranda did a lot of banger for Disney (Encanto, Moana etc) but I absolute love Hamilton and In the Heights. The man's a lyrical genius, enough said.

Hamilton was a game changer honestly, and truthfully he really suited Hamilton's character (sans the cheating part😅😅) because Alexander Hamilton was depicted as this eccentric genius whose tenacity and resilience made him him distinctive and Miranda kinda have those qualities.

In the interviews, how he's kinda this awkward successful theathre kid but the way his mind works is honestly astounding and I kinda hope he does more work outisde of the Disney films (Disney's recent films kinda suck)

#4 Mamat Khalid

One of the best Film makers in Malaysia. I like the Kampung Pisang Universe—the iconic Hussin character and all the kamoung people (will forever miss pak abu and seriously? I wanna live in Kamoung Pisang so bad)

The ambience he brings in his films, the comedic plot and hilarious dialogues as well as amazing execution from them all are literally just chef's kiss.

I like the Perak accent? (Betul kan perak? "Kome ingat teman tahu ke bende ni?") I love all the local elements here and it's honestly so unique and I feel it does bear some semblance of resemblance to P Ramlee's works but distinctive in its own way.

Personally, I kinda detest certain parochial and crude themes that was tossed in it but had to chalk it off as just part of the jokes inserted there.

Hantu Kak Limah and Zombie Kamoung Pisang are honestly my go to comfort shows.

#5 Anuar Darwisy

I feel like Anuar Darwisy is a bit similar with Mike Flannagan in that they both really utilizes the exact momentum to execute their plot twist.

Though in Anuar Dariwsy's case, the horror and supernatural element is inherently scarier and I absolute love all the historical Malay culture within his works.

Amukan Jembalang Tanah—Kedah's lores

Ngauman cindaku—Pahang's lore

The Story Of Maria-an amazing masterpiece combining Western horror takes and the added setting of Covid era was honestly a nice touch. Lagi2 bila dia cerita pasal kat Bangi kan, so sis kat UKM tu dah meremang dah lol

Anuar Darwisy is honestly so underrated and his works are simply spectacular. Reading every paragraph is like having a frame by frame cinematic shot happening inside my brain and honestly couldn't helo but wanting more.

The details, the amount of research he did are always astounding and lowkey excited for his newest novel (AAAHHHH DIA BUAT PASAL DANCER HANTU WEYHHH IM SO FREAKING EXCITED SEBAB MY KAKHRI SOULMATES AU PON ADE PASAL ULEK MAYANG SO I CANT BELIEVE MY FAVOURITE AUTHOR WOULD WRITE A STORY ABOUT THAT)

#6 Linkin Park

I have nothing to say except that Linkin Park is like my coping mechanism anytime I get depressed. I love all their albums especially Meteora and A Thousand Suns.

#7 Eminem

I don't like Eminem just for his Not Afraid song. I think as a whole Eminem is lowkey kinda little shit but that's the energy Im going for in life sebab life's a bitch and sometimes being too nice is kinda taxing.

I think Eminem songs are kinda what got me into liking rap a lot enough that I delved into other rappers like NF, Altimet, Malique, Joe Flizzow and Kmy Kmo.

Eminem and LP are lowkey the songs I turn to whenevr I hit my more depressive moods (which makes my sister argue sebab why the fuck does my sad playlist have Eminem's Killshot and Kamikaze in it🤣🤣🤣)

[pianokantzart]

Have you ever seen the old anime movie “The great mission to rescue princess peach”? Luigi’s in that movie too, though it was made so long ago that he has a different, more Wario-esque personality. What do you think of him?

I have! I enjoyed it a whole lot! And though the Luigi in that film was pretty different than the modern version of Luigi, I'm still quite fond of the character. Outside of his interest in money, I don't really see him as Wario-esque. Wario's greed comes strictly from a place of selfishness, while Luigi's greed strikes me more as... well... "worldly" is as close an adjective as I can come up with.

The interesting thing about TGMTRPP Luigi is he lacks the "shyness" so often attributed to modern Luigi, and doesn't exhibit much anxiety outside of situations of immediate danger. This version of Luigi is outspoken, direct, sensible, and grounded, and cares a lot about being prepared and getting properly compensated. He's the one telling Mario to go to sleep when he stays up too late playing videogames, trying to bring him tea to help ease him into a bedtime routine. He's the one who runs the storefront and manages customer relations. He's the one who actually thinks to pack supplies when Mario races out the door. When they start getting hungry he's the one who wanders off to forage for mushrooms, and when they're trapped and Mario starts letting hopelessness and fantasy get the best of him, Luigi is the one who keeps his head enough to dig a tunnel out (once he stops hyperfixating on the gold of course).

While modern Luigi joins his brother out of admiration and a desire to follow in his footsteps, TGMTRPP Luigi seems to follow him around because he's thinking "if I don't help out he's going to get ripped off at best and killed at worst," despite the fact that he himself ends up in trouble just as much as Mario. He's more blind to his own flaws and self-interested than modern Luigi, but he's still a good brother and a decent person. After all, the sage described both of The Mario Bros as "kindhearted, but also money-seeking."

Mario just so happened to have known Princess Peach long enough to develop a crush that usurped his desire for wealth. Luigi, on the other hand, got no such opportunity.

[dnp-pet-rectangle]

WAD reflection from the perspective of a theatre director

Inspired by @/calvinahobbes who did an amazing job breaking down the show’s metaphors & using her English degree in this post, I wanted to share my perspective on it (even a month later) & get use out of my theatre degree lol. Also, warning, this will be very much a long, long essay with run-ons. I have ADHD & I love when my frequent hyperfixations intersect 🤪 There are major spoilers.

My Background:

I am a semi-professional theatre director, but more broadly, a theatremaker. I have a theatre degree from New York University’s Tisch School on the Arts (NYU Tisch), where I did a conservatory program with one of their studios which focused basically on those who wanted to do a little bit of everything and create new works & was the only studio training directors & playwrights. I originally went into the program as a performer. I did not mean to end up concentrating on being mainly a producer & a director, but that’s a whole other story. I also through that program had to take theatre/performance studies courses, which I loved for the most part & is an interesting interdisciplinary field. But I will try to define terms just in case since anybody reading this may not know any or all the specific terminology I might use. In short, I have a fancy degree that apparently should cost $300k 🤡 & I’m gonna actually use it with doing this lol

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Setting the Tone:

While Dan might call this a comedy special or comedy show, and thereby comparing it to other comedians, I actually think he is doing himself and We’re All Doomed (WAD) a disservice. I saw folks compare him a lot to Bo Burnham in the chat (who was actually was accepted and almost went to NYU Tisch for a different studio that focused on solely experimental work), which makes sense considering the theatrical nature of both of them. However, Dan actually goes further into the realm of theatre because of how he utilizes his crowd work (I’ll go into that later). I recognize traditional comedy specials/standup as having jokes or stories, when doing you know like late night talk show interviews, that can be made outside of the context of the show & slip into a conversation. Or with Burnham’s Inside Out, the songs & other parts can be done or understood mainly out of context, as seen through Bo uploading them to his YouTube channel. Comedy specials have the sections of their comedy stand-up thread together, but what Dan has done is weave his sections together. The length along with the intermission/interval being a part of WAD, adds to my point that he is not treating this as different material he tested out at different comedy clubs, but as something cohesive storytelling pieces. I think in terms of testing, Phil was the main sufferer audience member of the initial materials being created.

Anyway, you cannot as easily remove it from the context at certain points, because the transitions & the order of these different sections are treated as equally important, rather than a means to move on to the next section, with some possible space for improv.

Basically, I’m bi. Sorry, my brain started thinking about BIG when I started writing “basically” at the start of that sentence. Actually, what I am trying to say is that I would classify We’re All Doomed as a one-man performance piece/show, so I will be treating it as such in my review/reflection/breakdown. The comedy of it is important and there, but I don’t think it captures what WAD entirely is.

Also, unfortunately due to where I was at mentally at the time & the location it was being performed at, I never saw this live. To be honest, how it got framed marketing-wise did not help me feel connected with the actual purpose of the show, with hope being a key element. So while this was filmed, I am as much as possible trying to remove the cinematography as an element of my analysis. However, some things might be clearer on film, as with theatrical directing, you cannot add a zoom or crop & instead are trying to ensure moments are clear to an audience by what they see and hear through drawing their attention to it. With theatre being mainly about the live output by performers and intake by the audience, at the end of the day, what my job as a director is is to direct not only how the performers share the story, but also direct the audience on what is important to catch for understanding.

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Breakdown of Thoughts

Originally, I wanted to rewatch the show again, and started to, but considering I ended up writing about a whole page worth of things for each minute of the show & I was sleepy by the time I was like 5-10 minutes in, I decided to be nice to myself & stay up all night in my comfortable bed instead of staying up all night at my desk trying to take in-depth notes 🙃

I’m gonna breakdown this analysis/reflection into further sections, just to give myself some anchors & break up the blocks of text. Also as a way to just be that pretentious, maybe with an academic flair, as is fitting to be for something about Dan Howell (said affectionately 💕)

The Script/Writing

When considering the text of the show itself, two things came to mind for me:

(1) This is definitely what I would call intertext. Intertext is a piece of writing that relates to another or more other writings through allusions. WAD is an intertext which alludes mainly to other works of Dan’s on his YouTube channel. The ability to get the true impact of the show relies on you knowing Dan (as his internet persona) on some level. And as a theatre maker & longtime fan, I love that it is, it’s what the piece needed to be. As a theatre producer, the hiatus from engaging with his audience and the limited runway given to reactivate interest in him and his creative work I think made it difficult to get that audience in some venues, along with some other funkiness (mainly with promo) I am less knowledgeable on. But I think Dan has already learned/continues to learn from that, which I think may have been valuable for him. (sidenote: I need the tea on all that because I love knowing how presenting venues work with performers, as well as the lack of understanding they have of internet culture as it relates to venue leadership.)

(2) This was a work he made for himself. He mentions this both in the show & in reference to WAD multiple times. But I think what truly came to mind for me was that it is still powerful for him to write for himself. He is writing for what he needs to be hearing or wants to be processing creatively.

I think why it is powerful is that Dan has discussed before how much stress he put on himself regarding danisnotonfire, and later Daniel Howell, videos, focusing on the audience, and how he was presenting a specific style/quality of video to them. Add in the layer of being closeted & actively fighting internalized homophobia, and the anxiety he built up makes sense. And I might personally attribute that more to his need to pass as straight & catering I believe at one point to an audience of cishet men, whether actual or perceived by him. Not all videos, especially the most impactful ones in my opinion, rely on this, but it was a key piece of what he made during his rise in popularity on the platform. This catering slowly decreased with the amount of uploads he was doing, along with a more tangible understanding of his audience thanks to the tours he did with Phil. Basically I’m Gay I think was the true shift where he gave himself permission to write work that had a main audience of himself. That’s where his best work has come from, and I think since then, he’s been able to have the space to process things creatively through his writing.

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The Relationship Between Performer & Audience

When I was in theatre school, my directing teacher would constantly talk about not just considering the relationship of the performers on “stage” (I did a lot of more immersive work & we only had black box theatres, which is literally a room that is floor to ceiling black) but also the relationship of the performers & the story with the audience. By Dan knowing mainly who his audience would be, the show can now play with that understanding in mind.

This leads to my point that, overall, Dan does not use the fourth wall, and I think that is what makes We’re All Doomed work. It may also be why he called it a comedy show, idk.

For those who don’t know what the fourth wall is, it is a term from theatre originally that is about the way in which a traditional theatre stage (called a proscenium) has three physical walls around it, while there is no 4th physical wall, so the audience can see the performance. If does exist physically, it is only the curtain that acts as the 4th “wall”. So, in order to keep it as a separation between the performers and the audience, the actors treat the side where the audience is as a fourth wall. When someone breaks the 4th wall, this is when they speak to audience directly, rather than to another character. Examples from English-speaking pop culture would be the asides from Hamlet or Ferris Bueller in Ferris Bueller’s Day Off. But when you are the only person on stage, the only way to have a fourth wall is when you don’t reference that you know there’s an audience there. Hence, a monologue where the character is talking to themselves or an entity that is not the audience directly (or assigned to be the audience by the director), it is the closest you can have a fourth wall when alone.

Dan in his videos and in his previous tours with Phil never were without direct engagement of the audience (obvious with the naming of Interactive Introverts). It was never not a variation on him speaking with the audience in any type of dialogue, even if done parasocially.

Some of that is not new to theatre, but I would say is that it has become more of a trend within new theatre starting in the early 2010s to have more interactivity and a more authentic, explicit message that no performance will be the exact same. I definitely saw that in the shows I saw both Off-Broadway (which sidenote, all that means is that there’s fewer seats in that theatre, not about quality of the work or how worth it is to engage with) and larger settings like Broadway and the West End. That’s what I love about theatre, and why my own work is more about immersion and direct audience engagement.

Now Dan’s creative works have never been skit only or interested in telling a story outside of the realm of connecting with an audience as a variation of himself, so again, him not using the fourth wall overall is appropriate and fits in with what I mentioned about intertext. The piece does however start with a fourth wall for the music number, which I will walk through fully sharing why I am saying that about the song & dance opening after establishing some other concepts to help build understanding.

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Design Can Work With You or Against You

I just want to say out the gate that the design was done really well, and I immediately felt a need to emphasize it after watching the first 10 minutes again.

First, let’s talk about the orange & black aesthetic of the show. Dan may have simply said that the orange just looked cool, but I think I would attribute more meaning to that color. Orange brings to my mind at first instance both a bright happiness/warmth and a sense of caution and warning, like road signs (at least those in America). The themes of the show reflect these two ideas and plays with the tension between them. I don’t know if he or the team meant to have that be a conscious choice, but there’s a joke I’ve had with other directors of when they get complimented on something unexpected, they just nod and say “yes, that was a choice”, even though it was just a random thing that happened or was something that you just thought would be cool to do. Orange runs through the show’s designs and it becomes clear that it is a tool for contrast and emphasis for the points Dan & the director want to make.

Now with the design team of costumes, lights, sound, and media, I can see a clear cohesion. Good theatrical design has the designs act as a character or highlighter in the story. Bad theatrical design can take away/distract from the core intensions of the show. It was so clear to me that the design was a character. And seeing that there were two media designers make complete sense considering the labor lift of both creating the projections displayed, but also creating/filming pieces of the media itself. The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. For costumes, I think Calvina did well in her post at articulating the elements of the costume and the progression it goes throughout the show. I’d rather not take up space to say the same thing truthfully.

With all the design elements, I think three characters could be defined (not including the audience), two as main characters, and one as a supporting character. I would name the main characters as “the Circle” (the looming set piece throughout hosting the projections used throughout) and “Dan On Stage/Dan performing” (the one in the physical space) with the “voiceover Dan/inner voice Dan” as a supporting character. The voiceover only exists in the beginning, and it is only shared with us to demonstrate the way in which the Dan On Stage singing is not really that aggressively optimistic and wholeheartedly believes the words he is singing. He is not the Dan we know from the Internet, so we can cathartically laugh at the attempt to pretend everything is fine. The voiceover only has one role, and it is to force Dan to confront this breakdown has an audience.

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Staging an Opening Sequence: Our First Stage Character is the Circle

In directing classes, often what you focus on is called stage pictures, which is meant to help you consider what the actual imagery you want to ensure the audience absorbs for their understanding of the piece. The first and last stage moment of each act should tell a basic story of what happened, and therefore, are heavily emphasized as important for directors. The Circle (capitalized for reference purposes) being lit up before the show starts and then again in conjunction with the light flashes and sound establishes the importance of the Circle to the show. When the projection comes into play, showing the speech of a 15-year-old Greta Thunberg before beginning to add more, we are then introduced to the purpose of the Circle to be an output/portal for the overstimulation of messages, in this case, I would claim it being what comes from the Internet.

The music/sound and lighting work well to articulate the manic feelings it means to instill in the audience and seeing it as a director, I assume part of the creative discussion was about parts of the media played they wanted to make sure were heard, and the lights help catch attentions in service of those pulled out moments. The Circle also through some of the lighting moments, mimic that of a clock, which again adds to the doomsday, the "end is near" type energy. To have the end of the opening sequence build to an explosion which then shows solid orange at the end while Dan is in silhouette begins the introduction to the orange emphasis & proposes a sort of prophet-like version of him after the apocalyptic imagery disappears as he rises to be seen. What we have opened with is setting the tone to how we should view these two characters of the Circle & the Dan on Stage.

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Song Time!

Dan is such a theatre kid & I love that for him. His dramatic side shows through the moment he used a rise to start his show at the top of the stairs, first in a place of seriousness with the sharp lighting and smoke to then bring in a very happy music number. The contrast & switching of expectations is a key of comedic works, and shows through most of the phandom who did not know WAD started with that, as it is indeed funnier if it comes as a shock. The movement & music mimic what folks attribute to as musical theatre, which is campy, happy singing. Knowing he was the one who suggested the song for TATINOF, I am loving Dan clearly wanting to have that opening number of a musical moment, even if it is dripping in irony. The Circle & the lights in this acts as a supporter to the message of it being sunshine and rainbows, with literal rainbow lights included. (Sidenote: I am 99% sure the pigeon coo is Phil, so if anything, I’m disappointed he was not credited as Pigeon sound effect AND remote crisis manager. Idk why I could tell, but both times now, it’s what I immediately thought when hearing that part)

I think of the musical number as the only place where he does have a fourth wall, because the number does not directly reference the audience at the start. It’s a one-man moment and it is about the performance not the audience engagement. It starts falling away when he starts pointing out the “and you”s, but the voiceover is the real break in our understanding of the world. It is emphasized by the color inversion of the sun & sky media of the Circle. The director is saying, this is important to how you now interpret what you’ve seen & will see, this is another shift from what was established of this world.

I should mention “world” is the terminology used to name what the environment the story is being told in with consideration, especially in theatre, of how much of a need there is for suspension of disbelief. I believe this term is also referenced a lot when discussing the fantasy and sci-fi genres, since those also requires some distancing from reality for the audience. This ties into a phrase I will probably end up using a lot of “rules of the space”. When establishing this world for the show you are presenting to an audience, there is a type of logic that must be established in order to understand what is the baseline for what the audience will be engaging with over the span of the show. But the voiceover immediately changes the rules of the space, because it messes with the Dan on stage, and messes with the messaging of the Circle. It adds a new context to the Dan On Stage, as while a fan will know that this song is not in alignment of our knowledge of Dan Howell, we get confirmation that this indeed ironic and outside of the branding that Dan has boxed himself into over his time on YouTube.

But the voiceover is also not in alignment with that “branding”. It expresses concerns related to the Dan On Stage’s mental wellbeing. There is no irony or subtext in that voice, it is the most direct in speaking to Dan On Stage, because it is being said by a variation of Dan in voiceover to himself. These could be seen as questions he knows to ask himself, but as someone who advocates for mental health & shares now about being openly gay, I interpret that he may feel he cannot express that outside of his mind for fear of undermining his advocacy points. The discussion of the “wonders” of the Internet also continue building in the tension that exists throughout WAD of how Dan feels about that space. The voiceover then proposes at first a type of equal extreme, which only sees the Doom, and as someone with clinical Depression myself, I think is only a furtherance of the breakdown, rather than the reality check it started off being. Not that what is listed is wrong by any means, but the barrage of it is meant to expand the drowning feeling, not act as call to action or consideration of the intricacies for engaging in the world. With the Circle’s sun imagery & the music having been inverted and shifted to something more sinister, Dan’s movement up the stairs fits a type of circular moment from the first entry of him, where the image of the prophetic figure is questioned on how he alone will solve the climate emergency. The slap & break of character for the Dan on Stage serves to confirm our understanding of the voiceover as the voice in Dan’s head & indeed there are not two Dans.

Also, the sparklers 🎇 showing up really make the key change for the song, but my producer brain is going, “girl, of course you lost money on this show, was that so VERY NECESSARY?” But the dramatic Gemini theatre bitch in me would 100% want this too. I just don’t have a capita£ester working to get sponsorship money in my life, so I have to be reasonable 😔 Also, the confetti with the high note is peak theatre gay so I again, love that for him. And of course, the confetti is orange.

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Hints of Orange

When the song reaches its end & the Circle starts showing squares of orange, rather than a full background, this acts as a seed for the breakdown and waterfall of cubes, which Calvina speaks to the orange cube hint at the beginning in her post. The sudden cut-out with Dan simply lit replicates a moment the Circle is not present. The Internet is not present. To crawl to a microphone, the message is not “hey this guy needs two mics”, because we see one on his face, but that the wired mic (which I will now label as “The Microphone”) is a metaphor. It’s a crawl towards sharing out, not suppression. Only when the voiceover of himself points out the audience does he does a full fourth wall break. The suppression did not work, and neither he nor the audience can believe that it was the Truth.

The wire of the Microphone being orange showcases that it was meant to be seen. I don’t think it even in play in terms of the sound, like it might not even be on, considering the feedback nightmare it would likely cause. And no standard microphone used on stages has orange wires, because that would pull the audience’s eyes to it. But that’s the point here.

The rules of the space are now this: the Circle is not always active, the Microphone has significance, the Dan On Stage knows there is an audience. None of these were true before, even the Circle was on before the start. This draws the audience to know there has been a shift & to have the first words said into the Microphone be “We’re All Doomed” solidifies the song moment was a blip, that this is really where we start at. As an example, in the social media section, Dan does a deliberate wrapping of the wire on his hand at the same time the Circle scrolls to the social media icon. It is how the director & Dan are ensuring that we understand “what he is saying and what is been shown on the screen are in tandem”, so if you’re paying attention to that wire, it signals you should look up too.

Every other prop, except I believe the gavel and wig, is also orange. The bubble gun is mainly what comes to mind for me, since the cubes are not as activated as props necessarily. But if an item is to enter the stage, what I interpret it as is that it must be orange, there must be high contrast, nothing in the physical world on the stage can become blurred, only screens have that privilege(?) to have things blend together.

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The Power Struggle Between Dan & the Circle

Once Dan has begun directly conversing with the audience, the rules of the space are:

(1) Dan On Stage acts, the design elements react (not including the Circle)

(2) The Circle and Dan have a symbiotic relationship, as neither have complete control over the other & react to what each other are doing

(3) The icons are our guides in understanding the sectioning done throughout the show

(4) Having “One Good Night” is the goal to reach at the end of the piece

As a person, as well as discussed throughout the show, we know that Dan has a contentious relationship with the Internet. It is what has given him his living but has also caused some of his worst moments mentally (2012? I don’t know her). It is the space in which lets him have an audience who have mainly showed him support, but also the space that has fed the cynicism that fuels his clinical depression. There lies in the way in which the Circle exists on the stage & looms over Dan in the background. It’s a necessary evil of what appears on the screen.

Why do I then say that the design elements are reacting? Well, if we remove the Circle from the equation, the lights, sounds effects, and props are all cued off of something Dan does like the clown honk. However, the Circle sometimes cues off what Dan does, but sometimes instigates what Dan speaks to. That especially is evident when video clips play that invoke what media Dan has been contending with on the Internet and the consequences of those things.

The Circle exists throughout both Act One & Act Two, but only becomes passive to the piece when Dan directly shows vulnerability & the removal of protective irony. Calvina spoke to this when discussing the costume choice of him opening the jumpsuit in Act Two to show the orange tank underneath.

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Cubes as Articulators

Oh Creator did I have to dig deep into my brain for this term of articulators. So my directing instructor had some key terms that I think I don’t think are universally used, even by American theatre directors or at least in academic settings. She defined articulators to basically be elements that helped give almost like checkpoints for the progression of a throughline in a show. For WAD, that is easily those orange cubes.

When static is displayed on the Circle’s screen each time we transition to a new section, it is not the typical emulation of TV static, it is that sea of orange squares. It is an articulation of those fear, issues, concerns, all those pinpoints Dan speaks to why he says “We’re All Doomed”.

That’s why there is the culmination of the orange cubes falling on him, when he reaches the top of the stairs at the end of Act One. When he circles back to the same stage picture of him at the top, it can been considered a repetition of the prophetic imagery I pointed out from the opening sequence. What changes is that the orange squares enter the physical world, falling onto Dan. He can no longer say they live in his head. They are here and stay in the space until the end of the show. In Act One, they are the looming issues that signal the Apocalypse. In Act Two, they are the rubble that must be sorted through.

Calvina was the one who named it rubble and the cubes as representations of Dan’s problems. To have the audience actually able to take a cube home, she argued, would be symbolic of the audience helping carry that weight. While I’d love that, I mentioned in my tags on her post that I think mentally, that rubble would still be at his feet, even with taking home that visual metaphor. This is Dan we’re talking about, and with personal responsibility being a topic of the show, while it’s not his burden to bear alone, he does have to recognize it exists.

I think the repetition of the prophetic imagery comes to its climax when in the aftermath found in Act 2, voting who to fire into space can and does end up with him being sent by the audience. It represents an understanding of where he exists now from where he did at 18 in terms of social, political, and economic access and the possibilities of his influence. There is a responsibility there that ties to how he can move in the world now publicly, so why wouldn’t he have an existential crisis?

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It is a Comedy Though, Right?

This is hundred percent comedy, and obvious dark humor at that. As a director, I love comedy, especially this type, because when an audience gets to laugh, the armor gets stripped away. They have no built-up resistance that let’s any uncomfortable point be heard effectively. It’s why the end’s vulnerability is effective, because we have already joked and laughed about our pains and our desire for escapism. Now we are able to move on into a place of reflection.

To underline why I say this is not stand-up comedy is that Dan has made it a stage show, just one that has comedy as a vehicle for telling this “story”. His interactions with his audience, through both quips based on audience reactions or “heckling” as well as explicitly asking for input into who to shot to space or what to add as a mad lib (generic brand for law purposes), are about being blended into the loose narrative constructed already, not actually to be reactionary like most crowd work I associate with stand-up comedy.

If anything, I could argue that it could be considered a comedy special that “Dan On Stage” is trying to make, but there is actually conflict being introduced that disrupts his set (both the comedy one and the physical one). There is clearly a showing of meta, as Dan makes sure to share thoughts on the creation of the show, the reactions from his overall show branding & imagery, the use of the lift because it was expensive to have. Dan’s comedy style can never be told without reference to behind the scenes, because if this is a creative means to process feelings, there are things about the show & its making that impact what needs to be processed too. It is also related to how his work is strengthened by acknowledging the two-way street of being in a parasocial relationship with his audience.

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Can We Have One Good Night?

Another term central to what my directing teacher spoke of was the “Core”, usually a question, though not always, that motivated what was being explored over the course of a theatre piece. At the top, as Dan on Stage exaggerates that love doesn’t exist (which Dan refutes as being an actual belief of his during the afterparty) and other sardonic phrases, he also states he wants to give his audience one good night, because he recognizes the escapism his audience finds in his solo and joint content. We’re All Doomed’s Core is “can we just have one good night, even in the midst of the horrors we have outside of these theatre doors?”. But I would also say that in terms of where his writing was at the time of WAD’s inception and the naming of his mental health book as You Will Get Through This Night, it feels more like Dan himself has been grappling with a Core of “can I have one good night? Or a full 24 hours where I feel mainly happy when all I am bombarded with about the world is suffering?” I think night can be both literal, since we know he has had sleep issues, and metaphorical, as the night can represent this depressive episode he was writing himself out of.

When the mood tracker gets discussed in the last portion of WAD, to see a sea of neutral or uninterested emojis demonstrates when he took the time to do it, the answer that night was “no, not really” 😕. The main one mentioned is the ritual of “Fry Day” he has with Phil (sidenote: why are these British men not calling it “Chip Day”, since this ritual falls on a Saturday?), which is a rare smiley face. The question he likely has then is “can I ever have a good night again?”

So for him to then turn to his own videos during one of those nights, to a video where he states his famous “embrace the void and have the courage to exist,” that showcases what I mentioned of his best work being written for himself, in this case, a future version of himself.

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Ending Sequence: Where Do We Land?

When the Circle does not display any media, it again shows the orange square motif, but after mentioning his own video, he turns to his audience for glimpses of what joy exists even in the face of Doom. The Circle changes into a display of different submitted clips showcasing this joy and hope that Dan was clearly looking for throughout this piece. He walks towards the top of the stairs to witness these clips. I cannot for my life at this point having now been separate from it for about a month, but I believe before the submitted media sequence, he states the famous line again of “Embrace the Void and Have the Courage to Exist”. With this last thing spoken, it gives that emphasis needed to take in the message emotionally and then witness what the Void (in this case the Circle) can offer.

--

A Good Director Should Go Unnoticed

When someone is not versed in theatrical directing, if the audience cannot tell what was a choice by the director or even consider the director themselves, this is weirdly a good sign. It means that it feels natural to what they are witnessing and to the messages that are meant to be communicated to the audience. As someone who also works in government, it feels very similar, as only bad work is evident to the general public. Obviously that is not true for everyone, but is an overall trait I think impacts both an understanding of public service and directing.

I am not familiar with any of the work of Ed Stambollouian, who through research, looks like he has done work with comedians like Joe Lycett (who I am also not familiar with) and directed TATINOF, but also more stripped down, exploratory theatre. Through a quick review of his portfolio, one, I am not shocked that Dan tapped him to assist with directing since there is a familiarity and two, his background tells me he knows how to direct for writer-performers, which is what comedians really are at the end of the day.

To direct for those who are doing one-person shows that they both wrote and performed, it is especially tricky to have the artist hand the reins over to the director. The director in this case acts as the artist’s eyes, because an artist cannot clone themselves. It is impossible for them to wear multiple hats at once, where they can give quality, objective feedback to themselves while also doing a full out performance. For Ed to be someone Dan has worked with before, there is already an established understanding of each other’s work styles, and a trust that otherwise would have to be built up before the work can truly begin to finalize the piece.

In short, Ed Stambollouian and the creative team on We’re All Doomed did an incredible job bringing what I understand Dan intended when he started writing this down in isolation. And @danielhowell you whole-heartedly deserve to call this your magnum opus. What can I say (sorry I can't help lovingly poking fun at you), your artistry shines throughout the show. I hope this too can be something your future self can turn back to.

🧡

(bonus) Thoughts on Orange Carpet & the Phil element

I didn’t fully rewatch the orange carpet, just to keep myself on task & not bring Phil too much into the main reflection without explicit reference in the show, but hearing Dan go “I’m alive in 3, 2…” made me laugh both times. He understands that we just want to know he has a pulse, ya know? Also them pretending it totally was live, when those fools (affectionate) cannot run a real live broadcast from their home for their lives. It just ran too smoothly, esp. in the transitions, for it to be anything but some very, very light editing on one improvised take they did. But I always support them in their acting, no matter how bad, like with DITL Australia’s opener or pretending there were not two apartments or that Google Feud being back was unplanned or Dil being pregnant with a statistically rare alien child or Phil living in a tiled, cramped bedroom or...

Also, Dan’s little laugh at the end of Phil’s sign-off is so fond it hurts. It also hurt that the VOD was hard to scrub through, so another deduction for the Kiswe platform.

Anyway, I’m glad that Dan was able to find space outside of the Dan & Phil branding of the 2010s as well as the image he was forced to manufacture for his YouTube presence, but also realize that with having a core audience that wants him to simply be happy, he can recognize that Phil is part of the things that make him happy. And can do so openly.

He is his own person, but it has been clearly emphasized now that Dan has no interest in not acknowledging that Phil always is and will be part of his present and future. He has made work like WAD & "Gay and Not Proud" to explore his way of thinking without the support of Phil present in the filmed/performed aspect. Dan acknowledges this intention, which is evident with him shooing away Phil at the beginning of “Gay and Not Proud” to process it alone.

It is also evident with the ending of “Daniel & Depression” and the WAD end credit of remote crisis manager showcasing the caretaking role Phil often plays in Dan’s life. But we know that caretaking is reciprocal, considering Phil's tactics with glue as well as his continuing health issues and anxieties. Dan has seen who he is without Phil by his side everyday in the public eye & has no interest in maintaining that Phil is absent for public projections.

I obviously do not know Dan Howell, or anything about him outside what exists on the internet. But in performance studies, there is a foundational understanding that there is no way to not be performing in some way during your day-to-day. Performing is not inherently a bad thing, as there are different roles you take on in your life, where how I engage at work is different from how I am hanging out with friends. This also has basis in gender studies, such as ideas that you can perform your gender "wrong". What has been so interesting to me in this phandom renaissance is the way Dan and Phil each perform as themselves in front of the camera now. What they share out and the layers they include--or choose to not remove--have been stated by them explicitly to be the most authentic they have ever been, without obviously removing their right to privacy. During the height of the glass closet that was their 2018 content, I remember thinking that it was going to be the most they would show us in the vain of "if you know, you know, and we know who will know". After the coming out videos of 2019, obviously that's not true, but the return of dapg has signaled a message of "we know you know, if you've been in the know" while veiled in a way that is not immediately perceivable by those who are casually engaging with their content. It is an authentic portrayal of themselves without filter, while also providing themselves space to not have to announce everything to the world. When you are in the know, it definitely targeted and causes psychic damage, but I am ready for anything and everything they throw our way.

[r473n]

Finally managed to sit down to do this!!

Thanks for the tags @mayurisstalker and @kenpachissluut 💙💙

GET TO KNOW YOUR MOOTS 💙

Origin of your username

Comes from my name - Raven

Otp/fav ships

I'll have to go with Kenmayu, although tbh I ship Mayuri with almost anyone cos he a lil freak

Fav colour

Cobalt blue since I was a tiny snot

Song stuck in my head

Atm "Blow my brains out" by Tikkle Me

Weird habit/trait

I have too many to count... I asked my partner and he offered: "you drawing or writing for over 8 hours and forgetting to eat or drink is pretty weird to me" so ig I'll go with - hyperfixation.

But also, I have no sense of direction. I mean NO sense. I get lost if I go from home to the shops if I'm not using a sat nav. Yes, it's the same shop I've been going to for the last 10 years. Yes, it's only about 3 miles away, and theres ONE (1) roundabout that I ALWAYS get wrong. Yes, I have tried to "train myself" and not use the satnav. No, it didn't help, I got lost a third of the time. I do think it's a disease. I swear on my life I might have an idea of where the place is but I will still HESITATE on which turn it is.

Hobbies

Writing, drawing, crocheting (tho I've not done it in a while), moss hunting, cat petting

If I could get any job what would it be

Wildlife rehabilitator

Something you're good at

Becoming moderately decent at something then quitting when it gets hard

Something you hate

Bigotry and people who pretend to be stupid to make you waste your time explaining stuff they don't really care about.

Something I forget

Which turn to take at the roundabout on my way to the shops

Your love language

Words of affirmation and quality time

Fav movies/shows

Bleach ofc. Most films and shows I used to love have aged poorly so I'm really struggling to find any other examples tbh. I'm watching a lot of true crime docs atm.

Fav food

Pizzaaaaaaa!!!!!! But also - chickpea korma, tho I can't eat either 😭

Fav animal

Cats. Small cat, big cats, all cats!

What were you like as a kid

Brave, very sociable, well adjusted until I turned 9. Then depression hit :)

Fav subject

Science

Least fav subject

French 🤮

Your best character trait

I'm very empathetic and will listen without judgement

Your worst character trait

I'm a people pleaser, and can't say no.

If I could change one thing about my life what would it be

I would like to be healthy

If I could travel back in time who would I want to meet

My mum in her early 20s, to convince her to love herself so she can leave my dad. I wouldn't be born if I were successful so not sure the time lords would allow it. Cos of the time paradox not cos my lack of existence would change anything in the present/future lol

Wwooooooww that took a while!

I'm leaving some zero pressure tags for @toxictaicho @srtruth @villainsrtasty @whitefoxfiction and anyone else who wanna participate, I wanna read about you all!

[getvalentined]

I'm gonna say something really important here that was inspired by one specific event but applies to several others I've seen over the last few years. This is not vagueblogging to call someone out, this is a pattern I've seen a few times now that I'm genuinely concerned about.

If a series, whether books or television or films or video games, is so all-consuming in your life that a new installment going in a different direction from what you want is enough to make you have an emotional breakdown, you need to unplug from that series. If you sincerely refer to characters in this series as "[your] people" or "the love of [your] life" or "[your] family," not as a figure of speech but as something so genuine that having them handled in ways contrary to your preference makes you feel like your way of life is under attack, you need to distance yourself from those characters.

I'm saying this as someone who literally can't get into fandom debates anymore because I get so wrapped up that my heart rate spikes to the point of danger to my person. Because of a specific experience with a specific person (related to events outside fandom, but triggers are triggers) I have a very real trauma response to these discussions, and I can't engage with them anymore. I'm not saying this as "it's just a show calm down" or "why do you care so much about a video game" or as any kind of insult or passive aggression; I'm saying this as someone who understands firsthand that feelings get caught in specific places, and sometimes we just can't seem to pull them loose.

If you feel like this over a work of fiction, you need to get help, because there is something wrong. Something in your head and your heart has gotten caught on this work of fiction, and you need to pull it loose for your own wellbeing, but when it's gone that far it's all but impossible to do on your own.

I need to be very clear that I'm not talking about special interests or hyperfixations. I'm not talking about people who throw their lives into loving a specific thing, learning everything about that thing, expressing their interest in that thing, and so on. There's a line between passion and obsession, and a difference between what appears to be an obsession but is harmless and what appears to be passion but is an unhealthy level of obsession.

It's easy for those of us on the outside to write this kind of behavior off as just more entitled fans being entitled, but there's a point where what looks like entitlement exposes itself as something very different, something much more dangerous. If you're feeling this way—you need distance and assistance. If you're seeing friends behave this way—they need help, not rallying cries to "speak [their] truth."

I cannot express this strongly enough. No fictional character, no fictional story, no fandom is worth your health. Not one. Period. You are a real human being who deserves to be alive and safe and happy. The creators of a work of fiction are not attacking you or belittling your efforts by continuing to create within the boundaries of the fictional universe they created.

To put it as simply as I can:

If a work of fiction that you did not create existing in a state that you can't control is seriously damaging your mental and emotional wellbeing, you need to step away.

[nikibogwater]

Hey! So sorry for being absent on Discord, lots of stuff has been happening!

Anywho I had a Tangled thought...

Did you watch Tangled the series and if yes, did you like it?

What are your thoughts on a possible Tangled sequel where they age the characters up a bit like they did with Httyd?

I'd imagine that a time skip where Rapunzel gets to mature as a Princess and where Eugene has to come to terms with his past, as he is a mistrusted future king, would fit the story really well!

No worries, fam, I know how life be sometimes.

Oooooooooooooof....Okay, so, I'm about to say something that many would consider borderline sacrilegious--I did not particularly enjoy the Tangled series.

Now, to be clear, I don't actually think it was bad, per se. I could tell that the people behind it loved and were passionate about the original film (a boon I will never again take for granted after what happened to Star Wars and Lord of the Rings). I adored the art direction and music (no surprise there, since both the art director and composer also worked on the movie). And a lot of the expansions made to the world and characters were genuinely interesting (at least in theory). The problem was that for every one episode that had me going "Oh shoot, this is getting good," I had to sit through at least four episodes of just ....meh. And any time there was an interesting development, I never felt like it was explored enough to actually feel meaningful. I also found Rapunzel's character kind of one-dimensional and boring. It felt like she was never allowed to be wrong or make mistakes. She wasn't allowed to really need her friends, her family, or Eugene, which made the character relationships feel superficial to me. It's possible that the writing improved later on in the series, but I had to stop watching halfway through season 2 because I was just so bored.

As for the possibility of a sequel....I don't know, I kind of think Tangled should just be left alone. It's such a perfectly self-contained movie that adding anything on to it almost feels like bloat. The film's simplicity is what makes it such a masterful adaptation of the original fairy tale to me. I do think there's potential for further interesting character development (like the stuff you suggested--Rapunzel growing as a leader and Eugene dealing with the people's mistrust), but that's not enough to justify an entire movie or tv show, in my opinion. If I were told I had to come up with some kind of sequel to the movie, I think I would just do a mini-series about Rapunzel and Eugene adapting to their new life together over the span of a few years. Maybe have the final episode feature a flash-forward at the end where we get to see their kids (because I am in LOVE with the headcanon that Eugene's narration in the film is actually him telling their story to their children).

Thanks so much for the ask, Red! It was very sweet of you to let me indulge in a bit of hyperfixating on my favorite movie, haha. ✨

[alpaca-clouds]

Why I got obsessed with Comparative Mythology

I have now gotten the question too often, so let me quickly answer it here: No, I (sadly) do not work in comparative mythology. I just so happen to be autistic and as such have my sweet little collection of hyperfixations. One of which happens to be mythology and comparative mythology.

Basically, as a kid (like kindergarten age) I started obsessing about Ancient Egypt, which very much included the mythology, too. Later on I had a brief stint with the Tolkien stuff (though that never got a hyperfixation for me - but a classmate had this specific hyperfixation) and I learned through Tolkien about philology and comparative linguistics. Which kinda got me already set in that direction. And then, as I talked before, the entire "Izanagi and Izanami kinda mirror a lot of cthonic Greek stuff" thing got me into the comparative mythology stuff.

But really, what got me into high gear with the research was... writing my Urban Fantasy.

Urban Fantasy to me was always one of the genre that spoke to me the most. Partly because it really made for great escapism to imagine that indeed magic was real in our world. Partly because it was the kind of fantasy where you actually could get queer stories.

But within Urban Fantasy I was always frustrated with one thing: How Urban Fantasy would usually make use of a lot of mythological stuff... but only in the most generic way imaginable. Most Urban Fantasy never engaged with actual vampire or werewolf mythology, rather it used vampires and werewolves inspired by Schlock Horror films. And if Urban Fantasy used gods (most of the times Greek or Norse gods) it used them in the most generic way possible, sanding it down and removing all the interesting bits. Or, for that matter, really doing much with which gods showed up were (Stray Gods so far sits alone with American Gods in the category of: "Actually gives a good explanation of why European deities are hanging around in America") This got me in my early 20s to start thinking up my own Urban Fantasy universe, which I called Manmade Myths. Or M³, because I am a cheeky idiot bastard.

It should be noted: Out of my Manmade Myths stuff I got one book published in German, though by now the book is out of print and the publisher never paid me a cent for it. So, yay. Technically though I have several books within the universe written - and there are a couple of published shortstories as well as my written webseries with four seasons... Though I never fully published it, even though it is all prewritten on my computer. Mostly due to the lack of interaction and stuff.

But basically Manmade Myths is "Comparative Mythology as Urban Fantasy". Playing around with the ideas of the development of myths and the meaning of remembering mythology.

The general concept is, that it is an Urban Fantasy world working on the concept of "Clap your hands if you believe"... But a bit differently. While in this world gods get their powers out of believe and veneration (and are originally created by it), they also do not disappear as soon as people stop believing in them. Rather they hang around and slowly become corrupted. Many of them being angry with the humans who have forgotten them - though some of them also have a big issue with the Abrahamic God, who supplanted so many of them.

The world at large was very much influenced by this conflict, which tied back both to colonialisation, but also to the pegan hunts of the early Christian period. With a lot of the old gods being angry at the Christian God.

A lot of (more or less) mortal characters kinda roped into that entire conflict through the concept of "chosen ones". Basically, gods and all sorts of named characters from mythologies hanging around, would have "chosens", with whom they shared their powers, and who - whether they wanted or not - got roped into that conflict.

And there was a whole thing going on about the mythological apocalypse being close but most of the gods being too caught up in their conflict, that they did not see it or did not care.

Only some gods and heroes actually realized how the world actually worked and how a lot of stuff was linked to the development of myths.

But... yeah. Problem really is that as a no-name author you do not get to publish a multi-series urban fantasy thing that is fairly high concept and also features a majority queer cast. lol Especially not in Germany.

Which is why I have a total of six written books in this universe (four within one series, two standalones) here, out of which only one got published.

Now, I have started uploading the first few chapters of the webseries Mosaik in English on Ao3, though kinda forgot about it due to a lack of engagement. Though I absolutely could be convinced to continue uploading it. It shough be noted, however, that the entire god-conflict related stuff does only show up midway through sequence two and then only slowly gets more pronounced throughout sequence three, with the characters understanding what kinda bullshit they have gotten themselves into. xD

But yeah, it is that entire universe that really, really got me reading all those books on comparative mythology and development of myths. And it is why I love this topic so much.

[destiny-in-the-universe]

Full Muse Requests + More

Okay, this is a direct follow-up post from https://www.tumblr.com/destiny-in-the-universe/751758009129107456/account-updates-more?source=share where I honestly just plan on nonstop talking about my asks, requests, and other stuff I feel like adding!

Muse List

Emoji Key

⭐️ Primary Hyperfix

💫 Secondary Interets

TV SHOWS (Cartoons)

⭐️ Randy Cunningham: 9th Grade Ninja

~ Randy Cunningham

~ First Ninja

~ Human! Nomicon

⭐️ Danny Phantom

~ Danny Fenton / Phantom

💫 She-Ra: Princesses of Power

~ Adora / She-Ra (Open/Primary Muse)

~ Catra

💫 The Owl House

~ Eda Clawthorne

~ Luz Noceda

⭐️ My Little Pony: Friendship is Magic

~ Twilight Sparkle

⭐️ American Dragon: Jake Long

~ Jake Long

⭐️ Gravity Falls

~ Stanford Pines

TV SHOWS (NON-CARTOONS)

💫 Once Upon a Time

~ Mr. Gold / Rumplestiltskin

(Words are hard. I honestly haven't watched any tv shows lately, so please be patient with me- this will be updated later-)

ANIME

💫 My Hero Academia

~ Midoriya Izuku / Deku (Open/Primary Muse)

~ Todoroki Touya / Dabi (Open/Primary Muse)

💫 Fruits Basket

~ Akito Sohma

~ Kyo Sohma

💫 Attack on Titan

~ Eren Yeager

~ Levi Ackerman

💫 Black Butler

~ Ciel Phantomhive

FILM / MEDIA

DreamWorks Movies

⭐️ How to Train Your Dragon

~ Hiccup Haddock

GENERAL SOURCES

⭐️ Sanders Sides

~ Logan Sanders

~ Remy / Sleep

Fandoms -> Available Requests: x Reader, Fluff (Light Romcom), Angst (Hurt/Comfort, Injuries, etc), Headcanons

For c.AI - please let me know what scenario you want! Canon, alternate universes, and others are accepted!

Accepted AU's: Anything! (Please ask first- I just don't want to individually list out everything unless I make an entire masterpost for it!)

DNI: Sebaciel, Danny/Vlad, illegal shipping- heavy gore

If there are other sources you might be interested in, let me know but honestly I already have quite a few muses for your selection here! I originally planned to individually list out what kind of asks and/or requests but that was going to take too long as it's honestly incredibly repetitive!

The last time I tried to use c.AI today, it was acting a little testy and wouldn't load but you're more than welcome to request things for it and I'll get to it once c.AI decides to stop being a little menace.

Honestly, that's it for now! I do plan on making tags to know which character is getting asks and/or requests! It'll make it so much easier to navigate, so-

[louiisaa]

about me!!! (intro post)

i'm louisa and i'm an autistic teenage girl from the uk

this blog will consist of posts about:

my experiences with autism

films (coming of age, indie, 80's/90's, pixar)

heartstopper

music (whatever im into, rn it's chappell roan, taylor swift, olivia rodrigo, conan gray, billie eilish, green day and 1D (a man's worst nightmare how on earth will i get a boyfriend))

ANY AND ALL minor inconveniences i face

content creators (sidemen, arthurtv, chrismd, useless hotline, i LOVE the bach and arthur podcast, sam and colby)

life as ME

general interests:

music (i'm in a band and orchestra!! i also love analysing music, if anyone else does gcse music that is my jam)

football (i honestly don't even watch it that much i just enjoy playing sunday league and have been playing for nearly 7 years)

heartstopper

pixar

taylor swift (i went to the eras tour guys it's my banner did u see it go look at it pls)

CURRENT HYPERFIXATION(S): ONE DIRECTION / YELLOWJACKETS

if you can relate to me in any way please message me!! i wanna make friends and be able to help people!

i also desperately want book reccs please message me with any books you've enjoyed recently

[rose-and-clover]

10 people I’d like to get to know better ✨

Thank you for tagging me @willesredlights  💜

A song you currently have on repeat? Nobody Knows by Autograf

Your current hyperfixation? Young Royals, baby

Favourite colours/aesthetics rn? purple, always! rn: pink for my phone, warm for my laptop

An album you'll never get tired of and has no skips? Wild World by Bastille and Danger Days: The True Lives of the Fabulous Killjoys by My Chemical Romance

Dream date with your celebrity crush? I don't have many celebrity crushes, tbh, or dream dates as well. Oh! I know! I can imagine going to see Redwoods with Aurora. It's just my dream to see Redwoods, and I love Aurora. Also, hanging out with Omar, you know, might be really cool. He seems like the right person to spend a day with. Laughing, walking around the city, grabbing some snacks, just chilling.

A YouTube video you'll forever watch? Come Swim Film Directed By Kristen Stewart link

Something you're looking forward to? when I start my driving lessons

No pressure tags (sorry if you've done it before and I missed it out!) 💜@books-books-smolderinglooks  @simonsapelsin @jordensgolde @gulliblelemon @grapehyasynth @vvachillessongvv @unfortunate17 @piebingo @saynomorefic  @goldenwilmon

[mrslittletall]

1 for Lum, 2 for Tempest, 5 and 6 for Kuro, 30 for Rispale!

oc asks that reveal more than you think

1) Do they sleep with a stuffed animal? If they have multiple, who’s the favorite? He used to but not anymore. Now he prefers to cuddle with his husband. You can bet though that he always has a bunch of stuffed animals and plushies on his bed, most of them won from the UFO catcher from the arcade, some of them gifts from his fans. It is rather rare the he cuddles with them while sleeping though, if he cuddles with them, he is likely awake. 2) Can they take care of a plant? What about a pet? What about a child? The little Storm as a caretaker?! Now that is a difficult question! I guess he could take care of Ornstein who is like a housecat? ^^ Okay, going through them, he would not be able to take care of a plant. He would simply forget about them. Ornstein has to take care of his herbal garden himself, Tempest will only think of watering it when he is there. If he isn't in the mode of wanting to get some herbs, he straight up forgets it exists. A pet it depends. He would be able to take care of a cat or a dog, a dog even easier because of their high maintenance. Pets that keep him busy will make him realize they exist and he is less likely to fall into a hyperfixation spree. Low maintenance pets like snakes could have the trouble of him forgetting them, so better not. A child... To be honest, I wouldn't let him take care of a baby. There is a too high chance he would accidentally drop them. And Tempest feels the same. He does not want to carry a baby in his arms. Leave him alone with them. He also does feel like the type who does not want children. 5) Speech! Speech! Speech! Speech! Will they give one, and what about? Safe sex, STDs, why sex addiction is fine, how to figure out you are queer etc etc. All the sex talk that is too uncomfortable for school. And yes, if he would give a more serious speech it would be about the problems in the porn industry like young actresses being forced to film porn even though they never wanted to and abuse directed at the actors etc etc. He will let the people in charge know that they fucked up. 6) Who will they take advice from, no matter what it is? Who won’t they take advice from, no matter what it is? He will take advice from Lum always. Lum normally knows better and is actually quite intelligent. There is rarely a moment where he cannot trust his husband's advice. Well, I don't think he would ever take advice from Amala. She is still so locked into her prejudice and internalized homophobia, sexism and what else she has that she has a loooong way to go before he ever considers her to give good advice. 30) What would they do if they knew it would be forgiven? Eat all the food and not leave any leftovers for the overs. Also peeing in water but he already does that without feeling remorse, so yeah. My boy turns more and more into a typical cat, huh? xD