#thats the power of gays

[ratguy-nico]

Hey people I did nothing again today so yeah. But I find a very good steddie fanfic so I share it with you cause I have nothing else to offer. If you are interested in clumsy teenage boys falling in love give it a try. Its very good.

[la-lune-chante]

just watched the x-men movies for the first time because, like all of you, hugh jackman has taken over my mind, soul, and body

and i can’t stop thinking about pretty privilege

about how logan has had loads more trauma than wade, knifes in his hands on top of his mutation, and his personality is- um- less than welcoming

and yet he’s always finding people to surround himself with or ladies to smooch or whatever

but wade, despite being silly and extroverted, gets constant stares in public, constant remarks from other characters, and his roommate is blind so she can’t see his scars. he wears a mask and suit that covers his entire body. he even ghosts vanessa and staples hugh jackman’s face to his face so she won’t see his scars.

he’s scared that the woman that loves him will find him horribly disgusting and leave him just because of his scars

wade is arguably more likable (in terms of being personable, not who’s the more popular character), if not a bit more annoying, than logan and yet he’s always the butt of the joke whereas logan is the wolverine who’s this awesome badass hero

to be fair wolverine is supposed to be a hero starring in action movies and wade’s movies are comedies but i still find it interesting how scarred up wade is the funny character and conventionally attractive babygirl logan howlett is the action hero

and even in x-men origins, the action movie with conventionally attractive ryan reynolds, deadpool is all pale and weird and lacking a mouth

in conclusion, justice for wade and his beautiful funky lookin scars

anyway this is just my late night rambles pls ignore this :P

[yugiohmangaoutofcontext]

[cator99]

out of curiosity, would you consider yourself butch?

used to be a blonde underweight twink and now I'm a based jock still got the chanel bag and the sick albeit matured mind of a suckpig to prove it so I'm gonna let you decide whether you wanna call me that word just cuz I got a pussy and short hair. I promise you that there have been enough advancements made in the art of lesbian sexual dynamics in the past 50 years to broaden the vocabulary used to describe the plethora of types of masculine females.

[giantenemyrobot]

WHY'D HE SIT LIKE THAT

SIR you are NOT beating the gay allegations !!

[lildrea28]

In case you didn't know :3

[theposhperyton]

All evidence suggests yes

[human-being-on-earth]

How on earth did Will reach those lights up top? He was like 11 years old, and isn't the average like 4'9 or smth?

Plus, he's not just 'average height'. He's shorter, I think.

So...how? (Unless he has powers, which I believe and is here for 100000%)

(And i didn't even mention how fast he'd have to be to reach every light)

(Ik some might be bc of the Demogorgon and shit- but like the scene before this, when Will was actually talking to Joyce through the lights)

I haven't even mentioned the scene with Holly- bro must be the flash or smth

[ohmysheetmetal]

my namesake

[kaptain-pastel]

ok so I don't mind most of the mischaracterization in Gatsby Broadway because I can understand why they did it and how it helps the story that they are trying to tell, even if I don't agree with it. But I really, really don't like what they did to Catherine and the Mckees (and Nick but that's through the whole show) in The Met.

(to clarify, I have only listened to the cast recordings of Gatsby Broadway! I don’t know any of the acting in between songs or anything they are doing on stage because I have only listened)

This ended up being longer than I expected so I put it below the cut :D

The biggest problem for me is that The Met characterizes Catherine and the Mckees like they are evil lustful people set out to corrupt pure and innocent Nick. In the song, Nick sets up a predator-prey relationship with them, even calling Mr. Mckee a vulture. It sets up this divide between Nick, who is our protagonist and Can Do No Wrong, and the people who side with the antagonist that the show makes Tom. It is implied that Nick gets drunk unwillingly, is flirted with by ALL party members unwillingly, and is "on top of" Catherine while being photographed by Mr. Mckee unwillingly. He does not want to be there with these people that his precious pure midwestern morals call "wrong" in any way, shape, or form.

This is not only not supported in the original, but also is a gross way to treat these characters--especially since Mr. Mckee is often read as queer, and his interactions with Nick add to Nick's own queerness. The song itself states that Mr. and Mrs. Mckee have a consensual open relationship in the setting of the show, but it is painted as something that adds to their immoral status. In the year 2024 we are portraying two consenting adults as evil for communicating and agreeing to have an open relationship? Ok yeah sure, if you say so. Mr. Mckee's, and by extension Nick's, queerness is not openly stated in The Met, although some lines can be read as innuendos or implications to this ("[Mr. Mckee, to Nick or Tom] I'd love to do more work on long island, if I could gain entry" "[Mr. Mckee, to Nick] I want to capture your musk" "[Nick, about the party] everyone is flirting now / and they're all coming on too strong"). Again, I haven’t seen what is happening on stage so I can't speak to that or how it effects these lines. Something about turning a character often read as queer into a "vulture" trying to take advantage of Nick (who, according to some reviews, was stripped of most of his queerness) just doesn't sit very well with me.

Changing the nature of the appartment party is not a very new thing, so I wanted to take a moment to discuss what actually happens in the original that contradicts Broadway Gatsby's portrayal. Nick is drinking, and describes getting drunk that evening, before Catherine and the Mckees even arrived to the apartment. When they arrive the conversation is pleasant and not all that harsh, mostly covering Mr. Mckee's photography (which he HAS done on Long Island, though he tells Tom he would've to do more work there who suggests Myrtle sets him up to photograph Wilson) and Mrytle's dress. The only possible implication that Nick is uncomfortable is the fact that he mentions wanting to leave to take a walk but is stopped as he is drawn back into "some wild strident argument" every time. The text does not elaborate much on the nature of this, so I don't know if that was in an effort to trap him there or just Nick getting trapped by social convention as they continued to talk to him. Nick also has no explicitly stated romantic, sexual, or even physical interactions with Catherine--most of their time interacting was Catherine explaining to Nick that Tom and Mrytle both hate who they're married to. Finally, after Tom breaks Mrytle's nose, Nick leaves the party with Mr. Mckee completely of his own (albeit heavily intoxicated) volition.

All in all, I understand why these changes are often made to the appartment party, and specifically the purpose The Met in the show. The Met is what changes Nick's mind about helping Gatsby meet Daisy. The party is used to give a reason to why Nick chooses to help Gatsby because most modern audiences don't want to root for a character who helps his cousin cheat on her husband for no good reason. The audience wants to relate to Nick--which means that they want him to be a fundamentally good person. And therefore we must see that Tom is bad and awful so that we can be ok with Daisy leaving him for Good and Awesome Gatsby. The problem with The Met is that all of that could still happen without villianizing Catherine and the Mckees. Tom is still an asshole apart from their behavior--he still breaks Mrytle's nose for mentioning Daisy and is, you know, cheating on his wife. Nick's decision to organize tea with Daisy in Gatsby Broadway is based mostly on the way Tom treats Mrytle and Nick himself at the party, not particularly on how the other guests behaved. The Met could have come to the exact same conclusion without portraying Catherine and the Mckees as people trying to corrupt Nick's purity and moral standing, and I think that is what makes it so uncomfortable and off-putting for me.

[bookshelfpassageway]

with all due affection i am taking the word "twink" away from the Captain Laserhawk fandom until it can be used responsibly

[anonymous-hopeful]

Hi, is the ship headcanon request still open? Can I ask for Angus/Izaack?

(do they have a shipname... this fandom is in dire need of an official shipname list...)

Of course it's still open! It's open till I say it's closed. Also, I humbly dub this ship BusinessReport.

Getting an official shipname list sounds like a fun project...

Headcanon below!

What do you get when you put two bombastic extroverted flirtatious men together? You get two people with very, very poor skills at hiding a relationship. Not that anyone particularly minds them dating, of course, but pretty much everybody knows that they're together before they state it themselves...and once they do announce it to everyone, the entire building hits them with the "We know".

It started with the two exchanging glances every time they met up in the queue line for building entry, locking eyes for so long that the line before them had long moved up and anyone directly behind them (doppleganger or otherwise) knows exactly what they are.

Once they got to the security window, the not-so-subtle flirting didn't end. Whether or not Angus or Izaack were first in line, they'd conveniently forget their ID and Entry Request just to be able to look back at the other as they slid the papers through the hatch. Does the doorman care? Not particularly. If anything, unless the dopplegangers suddenly decided to get together, watching Angus and Izaack make eyes at each other in the most obvious way at least provides some sort of hint towards them being human. As soon as the both of them are in the building, the two unfortunately have to part ways since Angus lives on the first floor and Izaack on the second. This doesn't mean they have a quick goodbye, of course, it just means that they'll spend the next couple of hours standing by Angus' door talking about how they'll miss one another and can't wait to meet again tomorrow. They think they're being quiet, but really, everyone on the first floor can hear them.

One time a doppleganger got in, saw their public displays of affection, and just...turned around and left. What were they gonna do? Interrupt? Nah, let the gays be.

[eyluvu]

the JOY when i see that stupid monster james p sullivan on my screen again

[average-hua-cheng-fan]

it's actually so important to me that in the memory loss extras xie lian finds out he doesn't have spiritual power anymore (because he's been having sex). it means

he feels comfortable relying on hua cheng

he's able to be 'selfish', and choose what he wants rather than what other people think is correct

he's free from the responsibility of being the most powerful martial god in heaven

he's getting thoroughly dicked down

[my-fancy-hat]

I can definitely see the vision that Yoshida's perse Denji's personal arc and relationship can be read as the queer closeted experience too as some people have pointed out in these past chapters. Both who share the same feelings of disconnection with their environment, in addition to an inherited social ineptitude and naivety about what it really means to be normal, in which they assume that the origin of their frustration and sadness comes from their weirdness and not from the rejection that the same scheme who ignored them now inflicts on them. This uncertainty of knowing that, despite the fact that you are doing what the manual says, what the majority does, you still do not get the same results of satisfaction and personal fulfillment that everyone gets, is what increases this frustration and pilled anger against their surroundings and against each other; Yoshida has faith that this is the path to take, that the results are guaranteed by logic so tries to persuade Denji to trust on his good intentions, while Denji is submerged in an existential crisis from said normality that feels more transgressive than comforting, even though he already has what he wished for and maybe what Yoshida envy of him. Them forcing each other to do things they both know it won't make them feel any different from the usual apathy and sense of losing themselves in the progress with so little reward such as doing the expected of their asigned gender roles (men always wants girls, always wants sex) for example, only increasing their solitude as a result.

Like, we all know the obvious, that all of this comes from their respective backgrounds and duties, Denji as the extremely poor orphan kid forced into child-labor and, taking Yoshida's subtle wording, it makes you think he's not so different from him, like a child soldier raised by the state similar to Makima and Reze. These feelings of the uncomfortable normality that secures your place as the "social failure" despite your desperate attempts to prove yourself to be worthy of acceptance, are very common around a lot of groups incluiding the one mentioned on here, as on top of that is so valid to take in consideration the not so-subtle tension (and poor tasted jokes), misunderstanding but at the same time complicity between Yoshida and Denji makes this interpretation really interesting, to me.

[killjoy-prince]

Long time, no manga haul