#the Cleveland show reference

[bloodmoon24]

Scene shows ElectroSwing at a funeral

Feedback: *hushed voice at Vox* This would be a good example of what I was talking about when I told you to behave

Vox: Going to a funeral?

Feedback: Causing the funeral by blowing up some guy outside a bar!

[peter-griffin-mpreg-the-second]

CLEVELAND SHOW MENTIONED‼️‼️‼️‼️‼️

[nothingavailable]

The Decline of Certain TV Parents

I feel like something that should be a noticeable difference between The Simpsons, Family Guy (and by extension The Cleveland Show) and American Dad! is the parenting styles of the main adult cast members over the course of each series.

Over the course of Family Guy the parenting methods of both Peter and Lois gradually degraded until they became outright abusive.

In contrast, over the course of American Dad! the only one whose parenting skills really declined was Francine.

By comparison, it seems like throughout the course of The Simpsons both Marge and Homer’s parenting skills have remained largely intact.

When it comes to The Cleveland Show however, we never really see any noticeable changes in Cleveland and/or Donna’s parenting methods due to the show’s cancellation.

In general it feels like the contrast between The Simpsons and the most notable of its so-called “copycats” has become more apparent with the passing of time.

[mrstrangedisaster]

Drew some lazy doodles of some of my favorite rednecks.

Lucky is my favorite ♥

[osterby]

Anatomy diagram time! Here's one I pulled off Wikipedia (for some reason it's ridiculously difficult to find a diagram that shows the reproductive and digestive organs in relation to one another, so we're going to just have to use several).

The big unlabeled white thing that folds to the right side of your screen is part of the intestine.

I've drawn a green circle where the belly button should be. Use that and note the shape of the figure's hips to orient yourself in re scale and position.

This one shows where the bladder is, and also shows skin and belly button so it should be good for understanding scale

The bladder is between the uterus and the skin, here's a side view

All this together should demonstrate that the uterus is very low in the abdomen and pretty small (according to wikipedia, "7.6 cm (3.0 in) long, 4.5 cm (1.8 in) broad (side to side), and 3.0 cm (1.2 in) thick:). I'm pointing out the uterus because it's bigger and more in the way in this context, but the prostate is down near the bladder in this same area on folks who have one of those.

There is also a pubic bone in front of all this. You know how a pelvis is kinda bowl shaped? The bladder and reproductive bits rest in that bowl.

So from all this, we can see that there's a whole lot going on in the lower abdomen. With the bladder, pelvic bone, and [optionally] uterus in the way, it would be hard to see a dragon dick bulging stuff out down there, and getting the bladder and other bits mashed wouldn't feel very nice except for the most specifically kinky among us.

You're not going to see a bulge from doing stuff with the normal sexy areas of the intestines or vagina with an object that can actually fit in there.

****

But, here's the whole digestive system.

That sticky-downy part in blue at the very end is the rectum, it's the part that's involved in buttsex with a realistically sized human penis and is crammed in there with the urinary and reproductive parts. There's a lot going on in that area (which is probably why a lot of people find it fun to stick stuff up there).

Look how much more room there is after it, though, and how the colon goes off to the side. The sigmoid colon is the curving part that leads into the rectum.

Lets go back to the first diagram. Note how the sigmoid colon (the horizontal portion of the white unlabeled intestine) is both above and to the side of everything else.

There isn't much else going on there. The kidneys, liver, stomach, pancreas, spleen, etc. are higher up around the top of the intestines, and all the reproductive stuff is lower. The small intestine (the ropey coiled stuff) is packed in tight behind the colon, but intestine is about all there is in this part of the abdomen.

So if you get an arm or a dragon's entire hemepenis all the way past your rectum and into your sigmoid colon, the only stuff between that fist or hemepenis and your skin is going to be the wall of the colon itself (very movable and squishy), some thin membranes that hold things in place, and a layer of muscle and fat.

A significant amount of fat would hide the movement, and particularily strong muscles won't be easy to squish and wiggle, but on your average twink? Belly bulge is realistic.

https://www.tumblr.com/olderthannetfic/765788712654225408/httpswwwtumblrcomolderthannetfic764421845841?source=share

About seeing the dick bulge through the other character's guts, that seems like it should be unrealistic, but with anal with an unrealistically gigantic dick it might be perfectly feasible.

I once found some anal fisting porn with exactly that. The one chick had half her forearm in the other's ass and was moving her hand around in there so the camera and the chick bottoming could see it. It wasn't dead center the way you see in hentai, it was off to the left because that's where the sigmoid colon curves.

--

I have to admit I have gone on pornhub to research exactly this question. I was surprised at just how many amateur videos of Bad Dragon owners demonstrate that you really can see something.

[fashionsfromhistory]

Knitted Jacket

c.1630-1670

Italy

This waistcoat is a rare example of early 17th century informal dress, which never appears in visual images and with few references in inventories and accounts. References to these garments in wills and wardrobe accounts show that they were worn by both men and women. They seem to have been produced in workshops, knit in ensembles of shaped pieces for the fronts, backs and sleeves. One of the latest references to them appears in a London paper of 1712 reporting the theft of 'a green silk knit waistcoat with gold and silver flowers all over it, and about fourteen yards of gold and silver lace thick upon it.' Similar jackets have survived in many parts of Europe and it is assumed that they came from one centre of production - Italy seems most likely as silk yarns were most easily obtainable there. It is possible that the knitted pieces were stitched together by the purchaser.

The waistcoat is hand knit with coral pink silk and yellow silk wrapped with silver-gilt thread. It is constructed of five shaped panels, one for the back, one each for the two fronts and the sleeves. The seams are hand-sewn with silk thread and the whole garment is lined with blue linen. A series of regular holes along the front edges of the lining on each front edge suggest that it originally fastened with silk ribbons and metal points. It was once thought that these waistcoats were produced on the early versions of the knitting frame. However research has shown that the frame was not developed enough in the early 17th century to produce purl stitches or such a fine gauge. Each panel of knitting bears a pattern of stylised scrolling floral motifs worked in yellow silk on coral. These may have been inspired by the designs of woven silks. A very similar pattern can be seen on knitted waistcoats in the Royal Ontario Museum, the Cleveland Museum of Art and the Museum der Stadt in Ulm. The design is further delineated by the use of reverse stocking stitch against a ground of stocking stitch. A border of basket stitch (squares of purl and stocking stitch) edges the lower hem and wrists. The knitting is very fine, about 17 stitches per inch.

The Victoria & Albert (Accession number: 807-1904)

[wanderingmind867]

(Legion of Superheroes in the 31st Century #13): A seemingly teenage Lex Luthor (idk, everyone in this comic looks teenage) already building the LexCorp Mech Suit. Impressive. Also love the Shuster Airfield thing - it's nice to see references to Superman's creators. Especially to Joe Shuster, the one co-creator who grew up in Toronto (and met Jerry Siegel when his family moved to Cleveland). Just nice to see references to him. Also interesting to see Lois Lane mentioning Batman already exists in this comic's universe. I don't think he ever shows up, though, so that's an interesting detail to just leave out in the open.

[loiswasadevil]

What do you think of this ship? #Joeland

https://www.tiktok.com/t/ZP8jSNdbr/

I think Cleveland really needs to explore his sexuality further and I feel bad for the references he makes throughout the show about his homosexual side But I don't think Joe would give Cleveland that experience or what he needs Joe is very traditional

[vintagelasvegas]

Travelers Motel, 1100 Fremont St. Postcard, c. 1936

Travelers “Auto Court” opened in 1936. The city commissioners granted permission for a sign on 10/6/36. Actress Sara Haden, Clarence Finney, and Chester Carter were the property owners. Finney and Carter sold their stock to Haden in '37, with Finney remained as on-site property manager.

Clark County Assessor records indicate the motel was built in '26. If this date is accurate, it might refer specifically to the west wing, made of concrete block, as opposed to the east wing of wood frame construction. (More notes on this below.)

Sara Haden sold Travelers to R. M. Dockins in ’47. Dockins also acquired a new, adjacent motel on North 11st St built by Cleveland Schultz, which became Travelers Annex. The rear units of Travelers were demolished, creating a driveway from the main motel to the annex.

A new motel sign was added to the property no later than '62 – it's first seen in a film shot circa '61/62.

In '69 owner Charles Seifert (Charton Corp.) changed the front of the motel, adding a porte-cochére, and a gateway sign by Larsen Electric. In the 70s, owner Ted Candalino added a swimming pool to the motel in the courtyard of the annex, and in '79 the buildings were re-roofed. VMK Corp. acquired the property in '83. The corporation received a notice from the City ordering them to make repairs due to “substandard” conditions in the mid '80s.

Travelers Motel sold to Downtown Project (DTPLV) in 2013. DTPLV closed and boarded up the motel, and later demolished most of Travelers Annex wing, leaving only a two-story section. The main motel and its sign were repainted in 2020.

A note on the Clark County Assessor date: If the '26 date is accurate, the original wing may have been an apartment building. There were no hotels or auto courts in this area before the rise of tourism on East Fremont that followed the opening of Boulder Hwy in '31. An article appears in the Review-Journal on 8/9/30 referring to an apartment building construction at Fremont & 11st which may or may not be the Travelers property. Alternately, another year is referenced in a blurb about the motel's construction on 10/24/47, saying Clarence Finney assisted in building Travelers motel “13 years ago” ('34). Regardless of the building date, there is no record for "Travelers" prior to '36.

Postcard, circa '49 to early '50s. A sign on the far left points to Traveler's Annex entrance on 11st Street. The inset graphic for "Traveler's Hotel Court" was the design of the rarely-photographed main road sign that stood in front of the motel from '36 through the 50s.

In this damaged photo the signs for Travelers and Lucky motels can be seen on the far left. On Fremont St, Hotel Thunderbird's "Academy Awards of Show Business" float cruises the '54 Helldorado parade. Anita Freeman Photograph Collection on Southern Nevada (PH-00245), UNLV Special Collections.

Postcard c. '50s showing Traveler's Annex on N. 11th St. The single story level was demolished in 2019.

The second sign at Travelers was installed in the early 60s. The porte-cochére and gateway sign were installed in '69. Photos by Jane Kowalewski, 4/13/84. Nevada State Museum, Las Vegas # 0130:0107-0108.

10/20/2013, in the year the motel was closed and fenced. Photo by Joseph Dennis.

The sign in 2013 by J. Dennis, and 2022 by Robert BC. DTPLV commissioned the Las Vegas Mannequins to add the climbing figures to the Travelers and Fergusons motel signs. The motel and sign at Travelers were repainted in 2020.

During the fire at Lucky Motel, Dec. 31, 2024. Photo by D Shot 'Em.

Sources include: Short Stories of Las Vegas Folks. Review-Journal, 8/9/30 p2; Minutes, 5/14/29 to 2/11/37, p469. Las Vegas City Commission Records (MS-00237), UNLV Special Collections & Archives; Vegas Residents Wed in Kingsman. Review-Journal, 2/22/37 p2; Sara Haden Buys Local Auto Court. Review-Journal, 3/16/37 p5; Brigham Townsend. Making the Rounds. Review-Journal, 2/1/47 p1; Cleveland Motel Has New Owner. Review-Journal, 4/17/47 p3; Personals. Review-Journal, 10/24/47 p6; Jane Kowalewski. Clark County Historic Property, Travelers Motel. Nevada State Museum, Las Vegas. Intensive Level Architectural Survey of Motor Court Motels Along Las Vegas Blvd and Fremont Street. North Wind Resource Consulting, Apr. 2020.

This article was originally published 7/31/2018. Updated Jan. 5, 2025.

[hooked-on-elvis]

ELVIS' DEBUT ON TV — 📺 [CBS] The Dorsey Brothers 'Stage Show'

Elvis with Tommy and Jimmy Dorsey at CBS Studio 50, New York, March 17, 1956 [that would be Elvis' 5th appearance on their TV show, out of 6 total.].

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By December 1955 Elvis had still not made an appearance on national television. His manager Colonel Tom Parker negotiated a deal through Steve Yates with CBS's "Stage Show" for four appearances on the show in January 1956 at $1,250 each and an option for two more at $1,500 each.

On the January 28, 1956, Elvis was broadcast for the nation for the very first time, performing "Shake, Rattle and Roll", "Flip, Flop and Fly" and "I Got a Woman".

[ABOVE: the January 28th 1956 FULL PERFORMANCE]

On Elvis' first appearance on American television, Bill Randle, one of the most influential disc jockeys of the time, was the man who actually presented Elvis Presley to the nation. He said:

"We'd like at this time to introduce to you a young fellow, who like many performers, Johnnie Ray among them, come up out of nowhere to be overnight very big stars. This young fellow we met for the first time while making a movie short*. We think tonight that he's going to make television history for you. We'd like you to meet him now - Elvis Presley. And here he is!" — Bill Randle, Disc Jockey, the man presenting Elvis Presley to America for the first time. January 28, 1956.

After this, things would never be the same, specially the society. Such a good beginning for a year, that special day in a January month! ♥

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🎞️THE SHORT-FILM THAT NEVER SAW THE LIGHT OF DAY (for the general public... at least until now...)

The movie short Bill Randle referred to during his introduction to Elvis was "The Pied Piper Of Cleveland - A Day In The Life Of A Famous Disc Jockey" a short film made by Universal pictures about Bill Randle himself. Filmed on October 20th, 1955, at a concert in Brooklyn High School, Cleveland, it featured the stars Bill Haley & The Comets, The Four Lads, Pat Boone, plus the addition of a little-known Elvis Presley.

The original forty-eight-minute film was supposed to be cut down to a twenty-minute "short" for national distribution, but never made it that far. We're in 2024... 69 years went by since this shortcut was produced but the movie remains unreleased.

There is some dispute over whether or not this film actually exists, although it's said it was shown publicly, albeit only once in Cleveland, and excerpts were also aired on a Cleveland television station in 1956. Marshall Lytle, bass player for Bill Haley's Comets, corroborates the existence of the film in his memoir, "Still Rockin' Around the Clock", but he makes the unsubstantiated claim that Colonel Tom Parker, Presley's manager, bought the film and destroyed the existing copies. According to historians, tho, DJ Bill Randle, before his death in 2004, sold the rights to the film to PolyGram (it has been reported that Universal Studios has the negatives of the film in its vaults).

Much uncertainty about this short film, but can you imagine this film being release in Elvis' birthday centenary celebration? We watched, and listened, on Elvis' 89th birthday a few days earlier this year, to them playing during his birthday celebration at Graceland the original "That's All Right" record as it was cut at Sun Records studio in 1954, so who knows? There's always rare things surfacing here and there, so... we better keep our hopes this Bill Randle's 1955 movie, with some new 'baby Elvis' footage, will be release any day now [such as we know there's 'Elvis On Tour' and 'Elvis: That's the Way It Is' never seen before footage coming our way, as confirmed by the "Elvis" 2022 biopic's film director, Baz Luhrmann — finally! We hope it will be released soon].

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But enough daydreaming... Back to Elvis' 1st television appearances.

After the premiere on America's television on January 28th, 1956, Elvis would do five more appearances on 'The Dorsey Brothers Stage Show" for the next eight weeks. Those would take place on February 4, February 11, February 18, March 17 and March 24th, 1956.

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February 4th, 1956 | "Baby Let's Play House" and "Tutti Frutti"

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February 11th, 1956 | "Blue Suede Shoes" and "Heartbreak Hotel" *

* This is a special arrangement for 'Heartbreak Hotel', so good! Jazzy, dramatic, really rarity. I loved this! ♥

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February 18th, 1956 | "Tutti Frutti" and "I Was The One"

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March 17th, 1956 | "Blue Suede Shoes" and "Heartbreak Hotel" *

* This is the usual arrangement for the "Heartbreak Hotel" song. On February 11th, 1956, Elvis performed this same song onstage of 'The Dorsey Brothers Show' but it sounded something more… dramatic (I guess it matched the lyrics after all, but I love the usual arrangement better yet).

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And the last one... the 6th appearance on 'Dorsey Brothers Stage Show':

March 24th, 1956 | "Money Honey" and "Heartbreak Hotel" | [FULL PERFORMANCE]

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We can see how on those first TV shows Elvis still looks quite shy. Although he moves the usual lot, he doesn't flirt with his audience as much as he would on the upcoming TV appearances (and throughout his life, actually). It's funny how he grew comfortable with being in front of the cameras so fast tho. As his photographer Wiliam Speer said, "I guess you must really like being photographed."

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Elvis with Tommy and Jimmy Dorsey at CBS Studio 50 in New York, on March 17, 1956. That would be Elvis' 5th appearance on their TV show. 'The Dorsey Brothers Stage Show' (CBS) was the place Elvis debut in his TV appearances, on January 28th 1956. He would appear on the show for 6 times total, from January to March 1956. ♥

Performing on the 'Dorsey Brothers Stage Show' at the CBS Studio 50, New York City, on March 24th, 1956. His 6th and final appearance on the show.

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EDIT: THE BLUE MOON BOYS

I hate it when I forget to mention such important, trivial, facts — and this shouldn't be footnote info and I feel guilty it is now but I forgot mentioning — The Blue Moon Boys. I love them so much! I watch those footage looking at them as much as I look at Elvis.

Like, I love Bill Black's energy onstage! I love him hollering, vibing to their sound, as loud as Elvis (on occasion). I love how he seem to love chewing gum (Bill is chewing gum in some of those footage), because it makes me look at the Blue Moon Boys and Elvis as a unit, real close friend who look alike, just how it should be. We know although EP for obvious reasons can't chew gum while singing, he loooooved gum and kept this - should I say "habit?" - throughout his life. It's sounding silly what I'm saying, I know, but I think this Elvis habit in fact date from back when he was rocking onstage with Bill, Scotty and DJ Fontana and it makes my heart warm how close and similar they seem to be, as friends, real friends. Bill is actually said to be the one cheering the crowds onstage when they first begun performing, when Elvis was still learning how to be the great leading man he became. When EP was still learning how to act onstage, how to manipulate the audience, creating the mad passionate reactions he learned to create whenever he wanted, Bill was the one heating things up, joking with the audience, cheering, hollering. Bill is amazing! His energy is intoxicating, and we can see it clearly on those first TV appearances performances. ♥

--

I also love how hot Scotty Moore looks! I kinda laughed thinking 'Oh my goodness' ... So this thing about rock and roll bands always having hot vocalists and hot guitar players as a rule, it looks like it all started from the 50s with EP and Scotty! (really, at least the singer and guitar player in most rock bands are hot AF, am I lying? *lol*). I have a thing for Scotty... When he smiles at times on those footage, I'm like: 🤤🥹🥴🫠 And I also love how he's elegant but at the same time menacing looking holding and playing his guitar like the guitar hero he was. Really, if you haven't yet, do yourself a favor and read Scotty's book "THAT'S ALL RIGHT, ELVIS: The Untold Story of Elvis' First Guitarist and Manager, Scotty Moore", by Scotty as told to James Dickerson (1997). Scotty's life story is fascinating and as interesting as Elvis'. ♥

--

And last, but never least, I love how together, calm and concentrated DJ Fontana looks. Ok, unfortunately being the drummer has it's disadvantages. We can't see DJ Fontana as much as we see the other boys onstage, but I listen to the songs until the very last minute and it's amazing how the music always has the closing, the important and dramatic ending, done by DJ's talented hands. I love that guy. ♥

Elvis Presley and The Blue Moon Boys were the best rock and rollers! I love their energy together. As much as I adore 70s Elvis onstage, the TCB Band, the Sweets Inspirations and all, if I only had one performance of Elvis' I could attend, just one to choose, I would go for - undoubtedly - the 50s ones, when those guys, The Blue Moon Boys and Elvis, were playing together.

That's Rock and Roll royalty. ✨👑 ♥

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There you go. All the videos together so you can watch of them easily. ♥

[bloodmoon24]

Asmodeus: I had to get back home before Fizz realizes I’m not in bed

In the bedroom, Fizzarolli was searching the whole room for Asmodeus

Fizzarolli: Ozzie?! OZZIE?!?

[defire]

Back to the Dregs Part 3

Part 1 Next:

Overall story Cw because I forgot to add this earlier: beatings, kidnapping, captivity, gang violence, explicit rape, nonconsensual nudity, forced to watch, memories of child abuse, flogging (after a fashion)

Cw (for this part): beating, kidnapping, reference to broken bones

Listening to the rumble of the truck's wheels under the floor where his face pressed, Michael felt like he was drowning in panic and flashback.

This isn't who I am.

I'm not six years old with a mom that hates me. I'm not twelve with a backpack full of drugs.

I'm a man. I have a job. I have a guy on my side, and coworker that… well, I like him.

Michael wasn't that helpless kid anymore, no matter how trapped, angry, panicked…

He squeezed his eyes shut as if he could block out the feelings and focused on rotation of the wheels under his head.

The singing of a highway meant they were now probably going around sixty. If he could find a marker for time, maybe he could figure out how many miles out from Cleveland they'd gone based on miles-per-hour, and then he could make a few guesses about what area they were in when they arrived.

His wrists and arms hurt, stressed and sore, with the hard plastic ziptie digging into his bare skin and the circulation slow and pulsing.

He groaned and got to his knees, lungs aching with the deeper breaths.

"Stay down." Someone warned.

His old instincts told him to obey, stay quiet, hunker down, and hope for mercy.

Fuck that.

Michael wasn't that kid anymore. Anything but that; anything to get away from that old identity that he hated.

Even as he pictured being crushed and beat down under six people, hands tied behind his back, bones breaking, he was getting to his feet.

He staggered a step back as he rose, and an invisible hand swiped in front of his face in the blackness. His back thumped against the wall, and his fingers were too numb to sense the metal that chilled his forearms.

The second swipe got him by the shoulder, and a punch immediately followed up, sending him back down with a wail of pain, this time falling onto a pile of tires halfway to the floor.

"Turn on a light, will you Gabe?" Jordie's voice came out of the darkness.

Gabe didn't answer, but there was a click and the truck, which was now rumbling away from Michael's house, was lit up by one of those stick-on LED lights, which was stuck to the ceiling.

The light showed Gabe and three others in the back, and two much scarier thugs in the front. One was the first guy with the gun. The one on Michael's right, Jordie, he was pretty sure, was wrapping his knuckles with medical tape.

"Thanks." Jordie said to Gabe without even glancing back. He was glaring at Michael as he wrapped the white tape around his knuckles, not even looking down to check his technique. If he kept that roll of tape in his pocket for occasions like this, Michael was not surprised that he had a lot of practice.

"You bust my lip," Jordie said. "I bust your jaw."

Michael's eyes widened.

"Fuck, wait, I was only defending myself--"

"Now wait, Jordie," The first man put a hand on his arm. "We need him."

"Then let's record me breaking his jaw." Jordie shrugged, reaching for Michael, who recoiled back reflexively, only to hit the wall with his back.

He had to fight back. Being known as a fighter could make people decide that you weren't the trouble of fucking with. Besides, it was much better for his mental health than just taking it.

The man's hand closed around his jaw, middle finger jabbing into his cheek, pressing into his molars.

"We need him to be able to talk, Jordie."

Jordie's eyes sparkled with rage.

"I'm not taking whatever you dish out." Michael pushed the words out through his teeth.

Gabe, back in the other side of the truck, chuckled.

"Took it pretty well back there."

"Fuck you."

Michael attempted to get to his feet again, but Jordie struck his head against the metal side of the truck.

"Alright, fine," Jordie said, not letting go. "I won't break his jaw."

Let me know if you want to be tagged

Taglist: @fleur-a-whump @watermelons-dont-grow-on-trees @whumped-by-glitter

[lavender-twilight23]

CHARLES XAVIER CHARACTER STUDY

(monster-post alert lol)

(this post is referring to prequel Charles specifically)

There’s an X-Men headcanon I’ve had for a while about prequel Charles that is only a headcanon because it’s never been explicitly confirmed, and that is that Charles Xavier has a savior complex.

I’ve heard people talk on and off about Charles and his empathy and him helping people and everything, but I’ve always subscribed to the idea that Charles has a full-blown savior complex and I’ve never heard anybody else mention it before so I wanna talk about it and talk about why I think that is because it’s fun to bring up examples.

As I was digging into this, I found an article by Cleveland Clinic that, among other things, details what a savior complex is and what some of the traits are. Here’s some of what the article says:

“The savior complex, or white knight syndrome, describes the need to “save” other people by fixing their problems for them. Someone with a savior complex often feels the compulsion to go out of their way to help other people, even if those other people don’t need or want their help.”

And here are some of the listed signs of a savior complex, the ones that I think line up most with Charles:

“You’re attracted to people in distress and/or toxic situations.”

I mean, Charles teaches mutant children for a living, many of whom have probably been cast out by their families or treated horribly, so nurturing hurt children is in his career.

“You’re always trying to change other people or improve their situations.”

*coughs very forcefully into a napkin and almost chokes on it*

“You make excessive personal sacrifices.”

*coughs even more violently into the napkin*

“You need to solve everything and you’re the only one with answers.”

Well, he runs a school for mutant children. His name is IN the school. He’s the person who’s SUPPOSED TO ALWAYS have the answers. And even before he became a professor, he was very in tune with other people’s suffering.

~~~~~~~

Anyways, the article goes on to describe it and talk about it in more detail, BUT what I want to do with this post is to outline every major moment I can find in the X-Men prequel canon that lines up with him having a savior complex, this includes lot of dialogue that he says that points to his obsession with helping and saving people.

I think it’s also important to mention that there are many moments in which Charles tries to save someone and he SUCCEEDS. And, yes, all well and good if someone gets saved, but if Charles’ method is something that I think was driven by his savior complex, then it REINFORCES that in Charles. If he tries to help someone guided by his savior complex and it works and that person’s life seems all the better for it, Charles is just going to keep falling back into his old patterns, which HE DOES. He exhibits savior complex behavior THROUGHOUT THE ENTIRETY OF THE PREQUELS, and that’s actually something I really respect. This pattern of deep-rooted behavior is consistent from beginning to end, and it makes me love his character so much more because it adds such a interesting layer that I want this post to help me peel back.

Here we go!

EXHIBIT 1:

The first instance is very very early on the prequels, it’s actually the VERY first scene with Charles in it, when he takes Raven in and saves her from her life of theft and poverty.

EXHIBIT 1.5:

And in the scene where Raven asks Charles if he would date her, they have THIS exchange:

R: “Well?”

C: “I’m incapable of thinking of you that way. I feel responsible for you. Anything else would just feel wrong.”

UHHHHHHHHH CHARLES YOUR SAVIOR COMPLEX IS SHOWING 🫢

Charles saved her when they were both kids. That, along with their childhood together, could’ve built a sort of hierarchy in that dynamic without even them intending to.

EXHIBIT 2:

Then we have, of course, Charles saving Erik!

EXHIBIT 2.5:

Also, in the scene in which Charles talks to Erik and tries to convince him to stay, Charles says this:

“I’m sorry, Erik, but I’ve seen what Shaw did to you. I’ve felt your agony. I can help you.”

I CAN HELP YOU?? You just did!!!! You pulled him out of the ocean and saved his life YESTERDAY.

This goes to show how Charles is ALWAYS looking for people to help, and even if he doesn’t notice it himself, he’s always look for people to SAVE.

EXHIBIT 3:

At the tail end of the mutant recruitment road trip, Charles and Erik are playing chess in front of the Abraham Lincoln statue. Charles says THIS:

“Can’t stop thinking about the others out there. All those minds that I touched. I could feel them. Their isolations, their hopes, their ambitions. I tell you, we’re at the start of something incredible, Erik. We can help them.”

AGAIN WITH THE HELPING PEOPLE OH MY GOD–

I didn’t even remember that he said this until I was rewatching this scene for this character analysis.

But yes, that also reinforces the idea that Charles has a savior complex: He’s always looking for people to help, always TRYING to help people, even if they don’t ask for it.

HEADCANON RAMBLING:

This isn’t really an exhibit as much as it is me talking about something that’s just implied, but throughout the entirety of First Class, Charles tries to instill in Erik serenity and peace because he can see how much trauma Erik is carrying around and he wants to help Erik find peace. Charles tries time and time again to bring him down from the vengeful high that Erik’s been on his whole life: the satellite dish scene, the chess match scene before Cuba, and then Charles’ last ditch effort to ‘win him over,’ when he tries to stop Erik from putting on the helmet. And then he’s powerless to stop Erik from killing Shaw.

And then this line from Erik in the chess match scene:

E: “I’m not gonna stop Shaw. I’m gonna kill him. Do you have it in you to allow that?”

E: *stares at him, waiting for an answer*

C: *says nothing*

E: “You’ve known all along why I was here, Charles.”

So maybe Charles thought that he could heal Erik’s trauma by doing what he’s always done, what he’s always wanted to do: Help people.

C: “Listen to me, very carefully, my friend. Killing Shaw will not bring you peace.”

Maybe after Charles saved his life, he then got to work trying to save his conscience. One thing after another.

EXHIBIT 4:

Moving onto Days of Future Past! When Charles is presented with the idea of freeing Erik and helping Raven, he goes up to his room to take the serum. He thinks about Raven and ends up deciding to help her. But WHAT memory does he think of out of the countless that I’m sure he has of the two of them? It’s the VERY FIRST TIME THEY MET, when Charles ‘saved’ her. That is what gets him to agree to Logan’s plan is when he imagines a situation in which he can help or ‘save’ her again.

HEADCANON RAMBLING:

When Erik and Charles are talking over chess in the plane, Charles says:

“Your cause. The girl I raised, she was not capable of killing.”

I wanted to mention this because there it is again, there’s that hierarchy. It lines up with Charles saying, “I’m incapable of thinking of you that way, I feel responsible for you,” in First Class.

EXHIBIT 5:

When Charles, Erik, and Logan crash the Paris Peace Accords and get to Raven, Charles is talking to Raven off-screen, and Logan and Erik have stuff going on so his words aren’t the focus, but Charles says:

“I made you a promise a long time ago that I would protect you…”

And then he says a couple other things, like how he hasn’t kept all of his promises over the years, but yeah, Charles has always been trying to protect her and save her.

EXHIBIT 6:

THIS IS A BIG ONE, and this one actually takes place during a deleted scene that I’m assuming would’ve been in the Rogue Cut storyline. This is when Raven shows up at the mansion and she, Charles, Hank, and Logan are all talking in what I’m assuming is the kitchen.

Here’s a clip, and in the clip, Charles is incredibly overbearing in his desires to take care of her, calling her ‘his girl’ (the hierarchy thing again), and then upon being asked by Logan what he’s trying to do, HE LITERALLY SAYS AND I QUOTE: “I’m trying to save her.”

EXHIBIT 7:

In the finale of Days of Future Past, Charles is talking to Raven telepathically and he says:

“I’ve been trying to control you since the day we met.”

So essentially, he’s admitting it there that he’s always been trying to save her and protect her and look after her even when she didn’t want it.

EXHIBIT 8:

So technically even we’re only shown this in Dark Phoenix, chronologically, Charles takes in Jean in-between DOFP and DP, so he starts up that lie about her parents soon after he meets her. I’ll showcase a few moments later about Charles saying things that point to his intentions when it comes to keeping up that lie, but his savior complex guides that lie and that’s what keeps it up for years upon years. Him lying to her to ‘save her’ is consistent with everything we’ve been seeing from him, so in my opinion, it’s completely in-character.

EXHIBIT 9:

X-Men: Apocalypse time!

When Charles is talking to Erik in Cerebro, what is one of the first things he says?

“Come back to us. I can help you.”

CHARLES IS SO OBSESSED WITH HELPING PEOPLE 🤣

And yeah, it’s all well and good to help people, but I get the sense that Charles has a toxic obsession with helping people and that he finds his identity and worth in helping people, in ‘saving’ people.

EXHIBIT 10:

And then of course, there’s the line:

“Those with the greatest power protect those without.”

Fire line, Hell yeah, but then also, again, that’s pointing to Charles finding his identity in protecting and helping people.

EXHIBIT 11:

This one comes from the conversation between Erik and Charles at the end of Apocalypse:

“I was right about Raven. I was even right about you.”

This one’s interesting, because he’s hinting at the many times he’s tried to save and protect Raven and Erik and that he was right about them being good, he was right to save them.

The fact that they were good and they were saved isn’t the point, it’s the fact that Charles succeeded and nothing went wrong. Because of these successes, Charles doesn’t see how damaging his obsession with saving people can be because he’s succeeded so many times, which will then lead us to Charles’ stubbornness in Dark Phoenix and how adamant he is about his lie with Jean.

EXHIBIT 12:

In Dark Phoenix, when Raven asks “what end is that?” Charles responds, “Keeping us safe.”

EXHIBIT 13:

R: “What did you do to her, Charles?”

C: “I saved her.”

(and then when Jean is confronted by the X-Men, Charles says “we can help you, I can help you.”)

~~~~~~~~~~~

And there we are, those are all of the moments I could find in the the prequel franchise that line up with him having a savior complex, and I think it makes his character so much more interesting and multi-layered!!

I don’t really know what else to say here but if you got to the end of this monster-character-study post, then thank you! Hope you enjoyed my ramblings :P

Gifs made by me in Canva!

[countriesgame]

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Info: Ohio is not a country. The blog is open to non-country polls now. In this case, it refers to the state of Ohio in the United States.

[getbacktoblogwarts]

Wrote a thing after feeling some kind of way after trans choir this week:

Tuesdays are for transgender choir practice. We moved rooms this semester to be closer to a gender neutral restroom. Soon it'll be illegal for me to use the men's bathroom there. For your safety, of course. Because I'm a danger.

Most members are students at the university, were referred by friends, or saw us perform. Naturally, you have to email our director to get information, because our practice location can't be posted publicly - for our safety, of course. Because people want to hurt us.

We talked about Cleveland Pride this week. The deadline for performers to apply is closing in. We'll get accepted, we always do. Only trans choir in the city and all. We decide to submit an application. We might back out later if things get worse - for our safety, of course. Because people want to kill us for daring to exist publicly.

In the middle of warmups, our director pauses to make sure we've all touched base with someone in the past week - a therapist, a psychologist, a counselor. "It's going to get worse," she says. We make appointments - for our safety, of course. Because maybe not all of us will make it to the end of the semester.

We sing and crochet and laugh, anyway. We breathe through the terror of mismatched documents and news of confiscated passports and forget deadnames that still show up in the group chat. We don't have the luxury of safety anymore.

No, your trans friends aren't okay.

[blueikeproductions]

@nukeli Ok so “DEI” refers to Diversity Equity & Inclusion, a relatively new initiative that was designed to show off minorities, women, and people of color more.

Now on the surface, that’s not a bad thing, we’ve had plenty of diverse shows before like Diff’rent Strokes, Cyborg 009, Family Matters, Everybody Hates Chris, Kim Possible, My Life As A Teenage Robot, The Golden Girls, The Magic School Bus, and more.

This includes people behind the scenes like actors, writers and directors. Stuff we’ve had before too.

But the modern version of it, via DEI, has evolved into let’s just trash white people, and to quote the South Park line grifters use annoyingly as their rallying cry “Put a chick in it, make her lame & gay!”

So we’ve gotten stuff like Tee-La from He-Man being the stereotypical butch lesbian with a side shave haircut who just seems to hate everyone now and feels personally attacked, pushing Adam/He-Man aside to be the hero, and similarly Skeletor being pushed side in favor of making a similarly stereotyped butch lesbian Evil-Lyn the main villain. A big complaint among other things was how Tee-La was just incredibly unlikable and hard to root for, along with giving her and Evil-Lyn The Power in a manner that doesn’t make sense for their previously established characters in the 80’s and 2000’s cartoons. Thankfully the sequel show to MOTU: R corrected these problems, bringing Adam/He-Man & Tee-La on equal footing like they always were, and making Tee-La far more likable. Also Tee-La inheriting The Power from her mother The Sorceress, is used much better here and it makes more sense how she uses it here, vs the previous coddled, stereotype “I am woman hear me roar” direction they tried.

DEI has also poorly affected other things, like little people not getting jobs in the Snow White reboot movie to play the Dwarves, both because it was seen as offensive, and also Peter Dinklage running his mouth (somewhat justifiably in areas) and ruining it for everyone. Cleveland Brown in Family Guy being recast because his original voice actor was white being replaced with a black actor who impersonates the voice rather than doing his own thing with it, and DEI informing a new form of segregation, as only black actors can be black characters, whites can only be whites, Asians Asians, and etc in animation. Never mind popular black actors like Kevin Micheal Richardson and Phil LaMarr have done non black characters before with LaMarr famously being Samurai Jack, an Asian character. Some Asian actors who were for the casting changes realized too late it affected what they could do as it meant they can’t do anything other than Asian characters when they wanted to read for a non Asian human character. The point of voice acting is everyone can be anything like how many male characters are voiced by women like Tommy Pickles or Timmy Turner or how some female characters are voiced by men like Linda Belcher.

DEI also tends to over focus on how a show has only diverse actors and characters, and ergo EarthSpark’s marketing was going all in on how it had black characters, putting them as top billing over the Autobots on toy packaging. It also tended to favor its female cast, making the (non Megatron) men look incompetent. Like how GHOST is almost exclusively female, with the few male members being complete idiots. (To be fair, Schloder is supposed to be more of an Inspector Clouseau type but still.)

The more egregious instances to me is despite emphasizing kali, they don’t do anything with it that would make it look cool to all kids watching. Like Twitch using it to fight a Decepticon, outwitting him or her, using a skill she inherited from her adopted human father makes sense! As well as emphasizing the Terrans being Earth natives and learning its culture. Instead it’s just left hanging there, and I feel like someone internally said it’d be cultural appropriation if Twitch or Nightshade used it.

The production notes also intended Robbie to be the leader, something the second season went back to, but the first season emphasized Mo way more leaving Robbie little to do, to the point when he was practically dead, his parents instead showered Mo with affection for her problems when he was laying right next to them barely holding on.

Also Nightshade’s everything, causing the controversy that saw more casuals and parents reject the show hard. Nightshade is another example of DEI, over focusing on their being nonbinary as their sole character trait, despite their geeky, scientific side being just as important. The second season again corrects this, focusing entirely on their personality more and properly showing off their gift of science. It was too little too late though.

Really when you look back on it, the first season, despite its decent ideas, emphasized a lot of the DEI stuff casual audiences hate, with the second season going back to a traditional Autobots vs Decepticons conflict, and using more of the earlier ideas in the production bible. I still believe the more intriguing Megatron steals the Emberstone plot was repurposed into Starscream wanting it, because someone clearly didn’t want Megatron to relapse into being evil again.

This also feeds into another modern problem of not really having true villains anymore, and how due to DEI, most of the villains we get are only entitled white people to antagonize the people of color or female heroes (now we HAVE had this before off and on but not to this extent, and even then it was handled organically and made sense), vs stuff like the modern Invincible adult cartoon having a diverse villain cast like its comics did. A lot of modern stuff similarly tries to paint the Decepticons as being the true heroes despite the writing and the audience not supporting it. It’s why the Micheal Bay films are still popular because despite making the Autobots into more violent 80’s-90’s action heroes, they’re still defending the Earth and humanity from the monstrous Decepticons who intend to blow it up to obtain the trendy MacGuffin of the day. As for the cop/military stuff, one, it makes sense that the Autobots would ally themselves with the Earth military to help humans have a fighting chance, and two it’s not going away, because of the movies shifting to incorporating GI Joe as the human military force over NEST/Sector 7. Even Noah was ex military via RotB. The only bad cop was Barricade, a Decepticon, and any bad faith humans in military power were usually proven wrong for their hubris in thinking they didn’t need the Autobots.

Even TFONE has largely returned to a more simple black and white approach in having proper heroic characters in Orion’s miners turned Autobots, and properly evil villains in the Quints, Sentinel, Airachnid, and Starscream. Even D-16 makes sense as being evil again as he let his frustrations and anger at Sentinel, who he looked up to, consume him in a more believable way than Prime and Cyberverse making it look like he was just throwing a tantrum for 4 million years because Optimus got what he wanted: control.

So ultimately diversity is still a good thing, but the modern approach to it by embittered people who thought they knew better has instead pushed us back a few decades when things were largely ok in terms of diversity and making natural strides in improving.

Family Matters and Static Shock were among my favorite shows growing up, but now, because of current trends, I can’t look at characters like Liko from HZ or Hazel from New Wish without thinking they were the result of DEI and not an organic desire of trying out something else. And that’s not at all how it should be thought of.