#god i can't stop talking

[soundwavefucker69]

bastille has done more for the queer community by just making all of their love songs about "you" instead of specifying a gender than taylor swift has in all of her discography. thanks for coming to my ted talk.

[keferon]

“Mistakes on mistakes until” ch 69 spoilers below!

Ahahahahahahah here I go again

Mistakes on mistakes until until I can draw Jazz with my eyes closed

I woke up, checked my phone, woke up for real and decided that whatever plans I had for this day yeah no they can wait a little bit kfkgnfk

Also. Consider listening this while reading. Or don't who am I to tell you what to do~

[nellasbookplanet]

The fandom god discussion is interesting, but I feel it’s sometimes hindered by an unwillingness to separate gods from mortal society, or even a sort of over-eagerness to project our own reality onto them, which simply doesn’t work. I've seen the gods referred to as rulers or tyrants demanding worship (which I kinda understand because it’s something Ludinus says in-game, though it’s funny to see fandom corners confidently repeat the inaccurate talking points of the antagonist) but more interestingly I've also seen them referred to as a higher/the highest social class, as colonizers imposing themselves on mortals, the raven queen specifically as new money. Overall these comparisons tend to talk about the gods and their actions regarding Aeor in the past and predathos/the Vanguard in the present less as if they're about saving their own lives and more as if they want to preserve their powerful position.

The gods, by their very nature, are above mortals. They cannot be compared to any mortal ruling class because they didn’t choose or strive for that power and cannot feasibly get rid of it/step down/redistribute it (nor do they actually in any sense rule; killing the raven queen, unlike killing an actual queen, will not end the 'tyranny' of death), they simply have it by virtue of being gods. Saying that’s unfair or unequal and that the gods should be killed because of it is akin to saying it’s unfair a mountain is bigger than you and demanding it be levelled, except the gods, unlike mountains, are living, feeling beings who shouldn’t have to die because some people can’t stand the idea of not always being top dog. Thing is, the gods themselves ultimately understood this power imballance and that they can't help but hurt Exandria the way humans can't help but step on bugs, and thus removed themselves from the equation by creating the divine gate. Saying this isn’t enough and that they're clinging to power is just demanding they line themselves up to be killed.

[gingermintpepper]

In my Zeus bag today so I'm just gonna put it out there that exactly none of the great Ancient Greek warrior-heroes stayed loyal and faithful and completely monogamous and yet none of them have their greatness questioned nor do we question why they had the cultural prominence that they did and still do.

Jason, the brilliant leader of the Argo, got cold feet when it came to Medea - already put off by some of her magic and then exiled from his birthland because of her political ploys, he took Creusa to bed and fully intended on marrying her despite not properly dissolving things with Medea.

Theseus was a fierce warrior and an incredibly talented king but he had a horrible temper and was almost fatally weak to women. This is the man who got imprisoned in the Underworld for trying to get a friend laid, the man who started the whole Attic War because he couldn't keep his legs closed.

And we cannot at all forget Heracles for whom a not inconsiderable amount of his joy in life was loving people then losing the people around him that he loved. Wives, children, serving boys, mentors, Heracles had a list of lovers - male and female - long enough to rival some gods and even after completing his labours and coming down to the end of his life, he did not have one wife but three.

And y'know what, just because he's a cultural darling, I'll put Achilles up here too because that man was a Theseus type where he was fantastic at the thing he was born to do (that is, fight whereas Theseus' was to rule) but that was not enough to eclipse his horrid temper and his weakness to young pretty things. This is the man that killed two of Apollo's sons because they wouldn't let him hit - Tenes because he refused to let Achilles have his sister and Troilus who refused Achilles so vehemently that he ran into Apollo's temple to avoid him and still couldn't escape.

All four of these men are still celebrated as great heroes and men. All four of these men are given the dignity of nuance, of having their flaws treated as just that, flaws which enrich their character and can be used to discuss the wider cultural point of what truly makes a hero heroic. All four of these men still have their legacies respected.

Why can that same mindset not be applied to Zeus? Zeus, who was a warrior-king raised in seclusion apart from his family. Zeus who must have learned to embrace the violence of thunder for every time he cried as a babe, the Corybantes would bang their shields to hide the sound. Zeus learned to be great because being good would not see the universe's affairs in its order.

The wonderful thing about sympathy is that we never run out of it. There's no rule stopping us from being sympathetic to multiple plights at once, there's no law that necessitate things always exist on the good-evil binary. Yes, Zeus sentenced Prometheus to sufferation in Tartarus for what (to us) seems like a cruel reason. Prometheus only wanted to help humans! But when you think about Prometheus' actions from a king's perspective, the narrative is completely different: Prometheus stole divine knowledge and gifted it to humans after Zeus explicitly told him not to. And this was after Prometheus cheated all the gods out of a huge portion of wealth by having humans keep the best part of a sacrifice's meat while the gods must delight themselves with bones, fat and skin. Yes, Zeus gave Persephone away to Hades without consulting Demeter but what king consults a woman who is not his wife about the arrangement of his daughter's marriage to another king? Yes, Zeus breaks the marriage vows he set with Hera despite his love of her but what is the Master of Fate if not its staunchest slave?

The nuance is there. Even in his most bizarre actions, the nuance and logic and reason is there. The Ancient Greeks weren't a daft people, they worshipped Zeus as their primary god for a reason and they did not associate him with half the vices modern audiences take issue with. Zeus was a father, a visitor, a protector, a fair judge of character, a guide for the lost, the arbiter of revenge for those that had been wronged, a pillar of strength for those who needed it and a shield to protect those who made their home among the biting snakes. His children were reflections of him, extensions of his will who acted both as his mercy and as his retribution, his brothers and sisters deferred to him because he was wise as well as powerful. Zeus didn't become king by accident and it is a damn shame he does not get more respect.

[snek-eyes]

See you in hell.

[ID: A series of gifs from the Good Omens 2.2 minisode "A Companion to Owls."

Sitis looks disbelieving as she says, "…No. God wouldn't!" Crowley gives an exaggerated frown and replies, "Are you sure?"

Sitis looks horrified and says, "But they've done nothing! They're innocent!" Crowley nods impassively: "So were the goats." Sitis stares at him in horror.

In the cellar, Aziraphale looks back over his shoulder, seeming offended. "God's [side], of course!" Crowley reclines, raising his eyebrows and nodding. "Oh, really. Same God that wants me to whack the kids?"

Aziraphale looks very uncertain, and slowly says, "…Yes. But…" Crowley grins slowly, gesturing to Aziraphale and saying, "That's just how it started for me."

Back in the house, Sitis looks devastated and desperate. "If my children are dead, then… I will curse God, and—"

Crowley swings abruptly around the doorframe and rushes over to interrupt Sitis. "WHOA! That never ends well."

At the cliff's edge overlooking the sea, Aziraphale looks on the verge of tears but determined. "Well. I'm ready to go." Crowley asks: "Go where?" Aziraphale swallows. "To hell."

Crowley sits down on the rock and says, "I'm not taking you to hell, Angel." Aziraphale looks over at him, his tearful expression turning confused. "Why not?" Crowley replies mildly, "Well, I don't think you'd like it."

End ID.]

[imrllytootiredforthis]

sub yuta okkotsu agenda 😔

no bc i got THOUGHTS, i got so many thoughts about my babygirl named yuuta okkotsu, you don't even UNDERSTAND how badly i want him

him in the movie-*aggressive eye twitch*, his big sweet innocent puppy eyes-fuck it just *short circuits*

AND THEN afterwards when he's his anxious, tired, emo self (me too fr), like he's still just my cutie patootie and it's a literal CRIME how little sub fics of him there are bc take one look at that baby AND TELL ME that he is a daddy dom in bed-you'd be lying to yourself and me-and we do not tolerate lying in this house

no but fr, he is not domming for his life. a service top-perhaps, he would still cry a lot though and if you were making HIM fuck YOU he would beg for you to just take over, his arms shaking on either side of your head as he tries to make you feel good. because it's not the same like this-he wants you to fuck him, he wants to ride you as your hands grope over his body, he wants to pinned against a wall and fucked hard and rough within an inch of his life.

babyboy just wants to be loved and taken care of by his so

[heartsgettingwiser62]

Anywayys so I may be lowkey highkey having a bit of a miraculous ladybug phase and I read @buggachat 's drowning (in plain sight) and. Jesus. Christ. When I tell you it CHANGED MY LIFE. Sooo I made a short animatic out of it.

A little warning, this is my 1st time trying animation and it's basically testing the waters, plus I'm not even used to digital art. So, I tried my best.

Hope y'all like it anyways!!!

[eerna]

So. After 5 years of waiting. I saw Hadestown live last night. And I am still going Insane from it

[mewtwo24]

I just started reading the svsss volumes (and re-read them again because A LOT IS GOING ON) but like. This shit is so hysterically funny I don't even know where to begin.

Was no one????? Going to tell me that one of the cornerstone jokes in the damn series is that lbh's adoration for his one and only 'tism person who literally cannot express his emotions to save his life is basically genetic?????????

Was no one???? No one AT ALL going to tell me that Mobei-Jun straight up yeets Airplane at the problem in one of the scenes?????? And that in the most hilarious twist of fate Airplane then unyeets Mobei-Jun not twenty minutes later?????

It's one thing to see people joke about sqq and lbh being unable to communicate but it's on a league of its own when you have to read HUNDREDS OF PAGES of sqq's inner monologue be like 'that's my darling boy. my baby. my sugar plum pumpy umpkin you're my sweetie pie' but on the outside he says "get lost binghe" and somehow deems that an effective expression of his affection that lbh will surely understand. 'Why is lbh whining and crying and tugging at my sleeve like a plaintive wife, why is he so angry?' Sqq asks, the entire circus, as lbh is about to fling himself off a cliff for attention--

In short, MXTX is the queer comedian of our generation and nobody appreciates her enough

[cuddlytogas]

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

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

so

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[necrotic-nephilim]

there is not enough femslash in batcest circles. the girls deserve to be just as weird about each other as the boys are. if BruDick gets to be weird father/son/brothers/lovers/friends/rivals/soulmates then it is only fair that Babs/Cass get to be mother/daughter/sisters/lovers too. Something about that deep intrinsic but undefinable love that is born out of trauma, especially if you consider Cass not knowing what healthy love looks like in the first place. i think it's fun and deserves just as much fandom content.

besides that, you can get even more niche with rarepairs like Helena/Steph. Huntress/Spoiler: Blunt Trauma is already a fantastic comic and even though it's their only real canon interaction it has so much potential. very comparable to TimJay in how Helena tries to get Steph to understand her morals and the corruption you could play with it.

batman: huntress/spoiler: blunt trauma (1998)

that comic also highlights on how both Steph and Helena are outcasts of the Batfamily and don't have the approval of Bruce to be doing what they do in "his city". I think there's so much Potential in Helena taking Steph under her wing because Bruce won't let her in and it becomes a weird codependent toxic sapphic mess. I think the protectiveness Helena feels over Steph from the get-go is so clear and the way she wants to look out for Steph, wants to make sure Steph understands the real world? I love them. Helena should be allowed to steal Steph, actually. I think it'd be fun.

there are a lot of other possibilities too like Babs/Steph or even getting weird with Helena Bertinelli/Helena Wayne and the existential question of "is it selfcest or not." But these two specifically live in my head rent-free, especially Helena/Steph and one day I'll convince everyone else to ship it too.

[bisexualfagdyke]

Adventure time fans when you enjoyed the Fionna and Cake finale and don't want their miserable unnecessary nitpicky opinions on a silly happy cartoon ruining ur joy and love for the show:

[stillbreathing-aer]

"...I would go to the ends of the earth and back for you. I would die for you.

And now I don't know what it means. If it means anything."

[girlwiththegreenhat]

hey when they wrote "knight behind bars" and they wrote kitt helping a couple get together and they gave him the line "Some day, it will be my turn" [to find love]. did they know what they were doing. did they know that in some 40 years some gay autistic robot-obsessed little freak on tumblr would not stop thinking about it for weeks and write literal dozens of paragraphs screaming about it on discord. did they know they were going to ruin Me, Specifically, with this concept that feels like the culmination of everything kitt has gone through through the show and such a fascinating thing to think about in regards to michael and kitt's relationship,

one of the themes of knight rider is kitt developing as a Person, developing a line between the Knight Industries Two-Thousand, and Kitt. discovering humanity, his own emotions, the joys of the seemingly and logically pointless, and often through the lens of his own driver, his partner, his friend, Michael - his primary guide through all these experiences, his reference for those human things he doesn't understand. and as much as he initially claims to not be capable of experiencing emotions, of understanding feelings, he learns to. he experiences a wide range of emotions through the show even while claiming he doesn't, he even learns fear and insecurity. perhaps it's only natural a robot would learn to love, or at the very least be terribly curious about it and wonder if such a thing could ever exist for Him

the majority of people are not exactly kind to kitt. they talk about him like he's not there, they talk about him like he's a machine, a novelty, some people are even scared of or disturbed by him when all he's trying to do is make polite conversation and company. he's always Othered - there's no other cars like him (at least not anymore), but there's no other person like him either, he doesn't truly belong among humans or vehicles. some of the technicians at FLAG don't even seem to fully respect him as a person, at least they don't based on my vague recollection of how they talk about him in Junkyard Dog. when Michael asks him after KARR is destroyed if it feels good to be one of a kind again, he doesn't say yes or no - he only says it's a "familiar feeling." it may be familiar, but it's surely also isolating, and i think that's something he'd realize as he slowly picks up this curiosity about love. where could he even find it when so few people see him as an equal person to begin with?

and then there's michael. oh my god, and then there's michael. no matter what flavor you choose to read it in, the whole show is about their relationship, they're a duo, a set Not to be separated, they're Partners. they work together, they worry about and look after each other (forever insane about when kitt was a melted shell, Michael stuck around the garage for hours, waiting for any news like a worried spouse, constantly checking on him every opportunity he got... encouraging him to recover, and even helping paint back on his protective coating... kitt always looks after michael, but for once, it's michael's turn to look after Him), in a way they were Made for each other - Kitt more literally, being programmed for Michael and holding his namesake, but Michael was also made in a sense for the pilot program, hand picked and given a second life to work for the foundation and with this strange supercar. and even if they had a rocky start, michael comes to view kitt as a person - car, TV set, or computer core, Kitt is his partner, his buddy. he helps him find himself, guides him and teaches him about these things that make us human, and in a way, kitt becomes human - but his entire experience is still through the perspective of an AI in a car, it's still very unique and isolating, and I think he sort of grows into his own limitations, he's finally brushing against the walls that define him.

he learns of love, and then he learns to dream Of love. these things he sees in the movies, that michael tells him about, that he so often sees michael Partaking in that he gets so oddly jealous of, doesn't it all seem so wonderful? he's very curious. but who could ever love steel and circuitry, who could ever see him as an equal let alone a partner in a romantic sense? who would ever love a car and all the limitations That comes with? it's a problem for a hypothetical hopeful Some Day, in the meantime stuck between two worlds where he doesn't perfectly belong to either, where no car Can love him and no human seemingly Would love him...

and michael loves him anyway. before either of them really realize or talk about it, in spite of everything, in any form, regardless of the fact it wouldn't be a typical relationship by absolutely any means, michael loves him anyway. kitt is as much a person to him as bonnie or devon or RC, and that person is someone he loves and cares for deeply. the feeling is mutual, kitt's world revolves around michael, he's one of the most important people in kitt's life, and he'd do anything to protect him.

and it is michael that will finally teach him to love, and what it means to feel loved in turn, to be loved as the person he undoubtedly is.

[hungerpunch]

stop engaging the person with a huge fanbase and giant platform about rpf ships!!!! stop engaging the person with [checks] almost 40k followers + monstrous amplification power through reposts, reblogs, screencaps, etc. about rpf ships!!! stop it stop it stop it STOP IT!!!!!!

[oneread]

I’ve been introduced to the concept of ace x law and I think I have the funniest possible version of this.

Luffy catches up to Ace in Impel Down and they escape. The government isn’t going to admit they let two high profile criminals with such complicated history get away and their connection to each other stays a secret.

They go their separate ways again and Ace either meets or reconnects with Law. Law has heard a million and a half things about Ace’s baby brother but he has not heard a very crucial fact, his actual name. Whether this is because Ace is secretive to protect Luffy or because the brothers are allergic to plot relevant information sharing is not important.

What is important is Law goes to Punk Hazard without Ace. He makes an alliance with Luffy and is perturbed at every turn by the Straw Hat crew. These people haunt even his dreams with their absolute nonsense. He has very few opportunities to bitch to his [boyfriend, casual occasional partner, fwb, qpr, however you want to see the relationship] about this horrible crew. Their conversations are short due to plot and there are other things he would rather talk about. So it somehow happens that he never says the name of the crew or the insane captain.

Ace is going to meet them in Dressrosa and Law is relived that finally he will have reasonable, enjoyable company. He’s waiting for them when they dock, but while they are still far away Luffy spots Ace and flings himself off the ship, tackling his brother and calling his name. Law is in shock, poor Ace is also caught in this annoying crew's trap? Why had he never mentioned? And then Luffy is calling out to Robin, Franky, and Brook and telling them to come meet his brother Ace.

Law just lies down right there on the deck of the Sunny while his brain bluescreens. Ace has to come pick him up and drag him off the ship.