#there is nothing inherently wrong with talking to camera

[floralcavern]

No. I refuse to believe that Vivziepop actually cares about SA victims. Every piece of evidence points to the contrary. 

CW for images that discuss or showcase rape. Tread cautiously.

First, let’s look at the Glitz and Glam Valentines merch. In this merch, they’re seen groping each other and making a scissoring pose.

The common excuse for this is that they’re just playing into those twincest tropes because that’s their whole brand in the show. But the merch exists outside of the show. This merch was not made in the show to show how the porn company will do any depraved fetish for a quick buck. This merch was made for people in the real world, people who have actual twincest fetishes. You can have merch of them playing into the fact that they’re twins without making it to where they are sexualizing one another like that.  An example of this trope done right are Hikaru and Kaoru from Ouran High School Host Club. These 2 often times play into the twincest trope for money, it’s their whole brand. But the show is very clear in showing us that this is not truly them. We never see them behave this way outside of work. Outside of work, they act like actual brothers. They’re doing it just for money. (And it’s also kind of trauma, but watch OHSHC if you want to see that in depth lol)

I was discussing something with my friend, how fiction does affect reality, since fiction is a direct byproduct of reality, which is why things like incest or age gap ships are inherently wrong. My friend (who is a big Hannibal fan) goes “I get where you’re coming from and I agree, but I’m also a simp for fictional cannibals.” And to that I said you are less likely to meet someone who is a cannibal or done that heinous crime than you are to find someone who’s a victim to incest abuse. It’s similar to how Vox doesn’t receive hate from the fandom for killing lower income workers, because that’s almost cartoonish in how bad it is.

Then there’s Val. The show is constantly fluctuating between him between a genuine, sinister threat and then him being a ridiculously silly evil man that we shouldn’t take seriously. I can almost understand what they’re going for, showing that he’s an absolute loser that we’re meant to point and laugh at, because he is a loser (fuck sexual abusers). However, there’s a huge disconnect. It’s jarring when you switch between the two on a dime. And I think part of the reason they do this is because of his relationship with Vox. Vox is meant to be a silly, goofy villain and so pairing him with the genuine sinister and disgusting version of Val that we all know and hate, it would feel weird. But here’s the thing. NONE of the Vees should feel cartoonish and stupid like this. They’re supposed to be perceived as actual threats, apparently. So, instead, make Vox genuinely sinister and evil too! ACKNOWLEDGE HIS CAMERA IN ANGEL’S DRESSING ROOM! ACKNOWLEDGE HIM MARKETING VAL’S DATE RAPE DRUG! Don’t add these background details if you’re not going to acknowledge that Vox is a predator as well. 

And then there’s Charlie, who has the power and authority to take Val down if she wanted to. But why doesn’t she? Because, in her words, “That would be so meaaaaan.” …I have nothing to say to that. 

And then there’s Angel. He is not deep in the slightest. They tried so hard but failed miserably. He’s supposedly from a mafia background. You would never know because he’s never seen outside of anything sexual. Sex jokes, comments on how he’s sexy, talking about how he’s a sex worker, all that jazz. He has nothing going for him outside of sex. Which is bad when his whole arc is meant to be how he hates being sexualized deep down! I understand that the show is trying to show us that he’s hypersexualizing himself because of his trauma. But this rings hollow when the show refuses to show us literally anything outside of him being sexual! Apparently, he likes to sing and dance. But you wouldn’t know that! (I know he sings, BUT EVERYONE SINGS. IT’S A MUSICAL. Even Vaggie sings when she clearly didn’t like it in the first episode, so Poison doesn’t count). You wouldn’t know anything about his interests because all he’s used for is for sex. It doesn’t help that literally almost all of his merch surrounds him being sexualized in some way, feeding into the idea of him hypersexualizing himself not being taken seriously. 

This is especially bad when you remember that when Viv was marketing the music video for Poison, THIS WOMAN MADE A CUM JOKE! Yknow, the music video all about sexual abuse? Ya, let’s make a stupid sex pun because that’s not tone deaf at all! Fuck you Viv.

And only certain characters get their sexual abuse shined on. But if you’re, say, Blitzo, Sir Pentious, or Husk, your SA experience is completely swept under the rug and ignored. Why? Well, because Blitzo and Husk are more masculine characters than her twinks who get acknowledged for their abuse. And Pentious is a character we’re supposed to be pointing and laughing at. 

And don’t even get me started on Raphielle. This person is a storyboard artist for the show, and the storyboard artist for Poison. AND THIS MOTHERFUCKER HAS A RAPE FETISH! I kid you not! This person has even drawn art of Angel being raped by Vox and Val. I refuse to believe Viv cares about abuse victims when she has someone like this on her pay roll (whom she actively defends, mind you). She even lied, saying that this person is a victim of sexual abuse, to which this person admitted was a LIE. 

Also, how she treats fans who are also victims of SA. Everytime someone comes forward, saying that they didn’t like the depiction of sexual abuse in the show, Viv will dogpile on them (the most famous example of this being Limus). But then if a fan who is a victim of SA praises the depiction, she will put them on a pedestal. This is tokenization at its finest!

And, hey, let’s talk about Viv’s catcalling comic, too!

In this comic, two women are being catcalled. One hates it and the other likes it, saying that it means they’re attractive. The one who hates it then starts yelling at the other girl and based on the framing of the scene, it feels we’re supposed to hate the first girl and think that the second girl was right. FUCK. THAT. This comic could’ve been such an interesting commentary on victim blaming and unhealthily coping with SA by justifying it to yourself. But no. That’s not what was done here. Great. 

EDIT:

I feel like this video is also appropriate to add here

This was her response to people’s criticism about how she handles SA in her shows. She dresses up as the rapist from her shows, flaunts around, and says he’s based on her. Classy.

[nerdietalk]

In the original Adventure Time, Fionna wasn't really given any kind of personality. She's a self-insert for the romantic plights of other characters. Her stories revolve around love triangles, quirky relationship drama, and romantic foibles. And even within these stories, the drama is largely conflict free. No one's really at fault and all misunderstandings are cleared up without issue.

In comparison, Finn experienced a lot of major conflicts. He torpedoed his relationship with Flame Princess in one of the most uncomfortable and ill-advised manipulations I've ever seen in any fictional medium, to the point I was reluctant to ever return to the show afterwards. But through that mistake came growth and change. Finn made a lot of mistakes, but he learned a lot of lessons.

What's really interesting about Fionna and Cake is how it characterizes Fionna through that lens.

Fionna, created as a "copy" of Finn and Jake, was always the most mature person in the room. She was cute, graceful, and solved every problem without issue. But when she's only written like that, there's nowhere for her to grow. No room to change.

Adult Fionna is inherently irresponsible. She's flighty, abandons problems on whims, and she's oblivious to people's pain unless its extremely visible. When she travels through the multiverse, she views problems through narrative tropes. She talks about apocalypse rpgs and heroic fantasies. She's shockingly self-centered and ignorant to the suffering of others. When she looks at Simon, she can only see that she's "boring" compared to Ice King's "fun." She lived in a world with clear cut moral lines. No complications.

When adventuring for the "first" time, Fionna complains about the outfit. She can't move around well in the skirt. Prismo is baffled. "You never had any trouble with skirts in my stories." She wasn't written for practical considerations in mind. She was written for easy fun for a first-time writer.

As a form of escapism, Fionna is flawless. In the real world, Fionna has never faced a real challenge that forced her to grow up.

And what really just absolutely sells this writing choice is that the narrative doesn't make this as a potshot against fandom or womanhood. It doesn't look down on Fionna, it just communicates that this is the kind of person she became as an adult. There's nothing demonized about the idea of fandom or Fionna's womanhood. It writes Fionna this way because its interested in how she can be a real person, with real flaws. The moment to moment existence of Fionna and how she can function as a real person when the cameras turn off.

Fionna has to face challenge to grow as a person. She can only be a fully developed character when she gets the opportunity to be wrong, to make mistakes, when she's forced to think through her actions. And the show's willingness to confront this idea and what it means for Fionna's existence is so genuinely smart and compelling.

Adventure Time whips is what I'm getting at.

[charmtale]

Shameful secrets cause a person to become haunted. She cannot sleep, for a shaming secret is like a cruel barbed wire that catches her across the gut as she tries to run free.

(Clarissa Pinkola Estés, Women Who Run With the Wolves)

the fact that no one* knew about akio's abuse of anthy is far from the only thing wrong with it, but the inherent shameful secrecy of it was an integral part of her abuse, something that significantly served to isolate anthy from her peers.

it was definitely akio's plan for utena to see anthy and akio at the end of ep. 36. (anthy's hands disappear into her hair = she had no hand in this. + the way the scene lights up like how lights come on at the beginning of a new scene in a play (anthy's previously black silhouette gaining color and features) = it was staged. not to mention her bleak expression) akio thought that utena would just be disgusted by her, and/or feel betrayed, and that would be that. however, he sealed his fate (anthy being able to ditch him) with this action, because utena offered anthy compassion and understanding instead of condemning her.

utena acknowledging anthy's pain as a result of being abused by akio touched anthy more than any of utena's other actions up to that point. while utena says a lot of stuff in that scene about utena's ego and being a prince, anthy only has visible reactions to two of utena's lines until utena is completely done speaking.

"And the night I learned about you and Akio...!"

the camera focuses completely on anthy, nothing else shown, as anthy slightly tilts her head up. there is no dialogue while anthy makes this small movement; anthy is listening intently for what utena will say next, and the show wants us to notice that.

"I thought that you had betrayed me. Even though you were suffering so much...!"

when utena talks about suffering- acknowledging that akio's treatment of anthy caused anthy pain- anthy uncurls her body significantly. a visual indicator of feeling less shame, immediately in that moment.

anthy does not move in reaction to anything else utena says until utena is fully done speaking, when anthy and utena are now shown kinda-holding eachother. utena may or may not know the full impact of her words, but it is clear to the viewers what moved anthy to say:

"It doesn't matter now. Just leave this school. Forget about everything that happened here!"

in anthy's opinion, this has to be the kindest, most honest thing she can say in this moment. utena leaving would ruin akio's plan and anthy would be the obvious reason why (likely leading to punishment), not to mention how anthy would obviously miss utena. the fact anthy said it anyway shows how impactful utena's statement was

it's good to talk about utena's obsessive girlprincing and how it was damaging. it's good that utena acknowledges it herself. but i think the fandom commonly overestimates how much that mattered to anthy, especially in relation to this scene. i feel that people sometimes abbreviate it as 'utena apologized to anthy for her egotistical behavior, and that brought them closer together!' like yes, she did and that was positive and indicative of utena maturing. but i do not think that was the most important aspect here

[hymnsandhauntings]

The Trouble With Power: Sabrina Carpenter

Let me begin with a confession: I was charmed by Espresso. The flirtation, the boldness, the winking lines that toed the edge between self-possession and seduction: Sabrina Carpenter was in her pop star bag, and I was rooting for her.

Espresso was sticky with self-awareness. Fun without being frivolous. A femme-pop high that made space for cheeky sexuality without leaning on the predictable scaffolding of male fantasy.

It was clever.
She was clever.

But now, watching the rollout of her Man’s Best Friend era, I find myself pausing.

The kind of pause that catches in your throat.

The kind that says: "I hope this isn’t what it looks like."

‘Manchild’ and the Fantasy of the Dangerous Road

Let’s talk about the Manchild music video.

It opens with Sabrina hitchhiking in a pair of platform heels and cutoff denim shorts, somewhere in the sun-bleached desert. It’s a familiar pop trope: think Lana, Britney, Madonna, but one with deeply uncomfortable roots.

This isn’t just a fantasy of freedom.
It’s one of exposure. Of danger. Of woman-as-bait.

Hitchhiking is not a neutral image for women. It carries with it decades of danger narratives: from true crime stories to horror films to cautionary tales whispered between girls. The woman on the side of the road isn’t empowered, she’s vulnerable.

Yes, Sabrina flips the script in the final act of the video, turning the camera around on the men who pick her up. But does a bloody reversal erase what’s been stylised in the first place? Or does it re-perform it?

That’s the trouble: when you borrow the language of trauma to be edgy, and then don’t interrogate it, you risk reinforcing the very harm you say you’re undoing.

Man’s Best Friend and the Aesthetic of Submission

Then there’s the album cover.

Carpenter, on all fours. A man, faceless, anonymous, clutching her hair. The title: Man’s Best Friend.

It’s striking. But not in the way Espresso was. That was empowerment through wit. This feels like submission without satire.

Kink aesthetics have a place in the art world. There’s nothing inherently wrong with invoking power play. But the missing ingredient here is framing. Where’s the context? The metaphor? The invitation to look deeper?

Without it, this isn’t performance: it’s posturing.

And when the line between critique and replication is this thin, we have to ask:

Who is this for?

Pop Stardom, the Gaze, and What We Pass Down

Sabrina Carpenter is no longer an emerging artist. She’s the pop girl of the moment. Millions of young fans watch her every move, not just what she sings, but how she frames womanhood, agency, and sexuality.

That kind of visibility is power. And with power comes responsibility: not to sanitise or censor, but to consider the impact of the art we present on a global stage.

Because when you’re being watched by the next generation, your visuals don’t live in a vacuum. They echo. They teach. They land.

So What Are We Reclaiming, Exactly?

We talk a lot about “reclaiming” imagery: owning the gaze, choosing objectification as power. But if the image we’re reclaiming is still a woman on all fours with a man above her… what are we actually taking back?

Because if the answer is “everyone gets it,” but the execution is indistinguishable from patriarchy’s greatest hits: then we’re not reclaiming.
We’re reselling.

And at that point, are we even subverting?
Or are we just packaging old power in new glitter?

A Raised Eyebrow

Let me be clear: this is not a cancellation. This is a raised eyebrow.

A quiet “Are we sure?”

I’m not here to label Sabrina Carpenter as anti-feminist, nor demand that every pop star become an activist. What I’m asking is: if we’re going to play with fire, can we at least explain what we’re burning down?

Because if this is satire…let us in.


If it’s critique… frame it.


If it’s empowerment… tell us who is empowered.

Right now, it’s not clear. And in the silence, it’s easy for the male gaze to take over again.

This is not about outrage.
It’s about care.

If I didn’t respect Sabrina as a writer and performer, I wouldn’t be asking these questions. But I do. Which is why I am.

If this era is an experiment, then let’s ask: what are we testing?And who are we making space for in the results?

Hymns And Hauntings

[montammil]

June of Doom Day 25 - "I should have listened to you."

| Guilt | Backseat | Failure |

Characters: Rowan, Sawyer

Also kind of rushed and stuff, but I keep reminding myself this is a challenge, not something I need to be ultra perfectionist about lol.

Anyway, I thought it'd be fun if I showed Sawyer having a bit of stockholm syndrome since I usually give that to Marshall XD

CW: Yandere/creepy whumper, stockholm syndrome, dubcon touching (nothing inherently sexual), non-sexual nudity, mentioned branding

...

Sawyer didn't want to admit it, but after just two months of freedom, he was starting to regret his actions.

Rowan had been the source of most of his trauma, both physically and psychologically, and it was obvious that Rowan was as deranged as deranged got... but he didn't understand what he was doing was wrong. Rowan just needed help, and Sawyer learnt that his family had installed the idea in his mind that therapy would be a bad look on the Burnett name.

Each day, questions ran through his head. Would Rowan finally get the help he needs? Would Rowan continue searching for him until the day he's dead?

Would Rowan just find another person to replace Sawyer with?

As guilty as Sawyer felt for it, that question made him more upset than it should have, and for the wrong reasons. He was aware perhaps he had gotten a little stockholm syndrome during his time with Rowan, but he didn't think it was that bad.

Sometimes he felt comfort around Rowan... as long as he didn't get on his bad side, he could be such a nice guy. He'd bring him flowers, cook for him, spend a lot of time talking and laughing. He even played the piano for him.

At the same time, Sawyer couldn't let go of the fact that Rowan stalked him for god knows how long before he finally snatched him. Rowan burnt a brand into his flesh and held him hostage for four months.

The guilt was eating him alive. Guilt over something he knew he shouldn't feel.

It didn't help that he didn't even have a place to stay. His savings were almost depleted, and he knew he was close to getting kicked out of his apartment.

He was relying on his job at a fast food restaurant to support himself, but that didn't pay him enough to afford more than a week of groceries.

He wasn't thinking logically when he was fired for snapping at a rude customer. Sawyer never let his emotions get the best of him, but he was so tired and in a terrible mood that he let his filter go. He ended up getting into a screaming match, and was kicked out of the establishment.

Now, he had no idea what to do. He knew it was only a matter of days before he'd be out on the streets.

He couldn't exactly go back to his parents or sister. He didn't want to explain to them why he was in his situation. Plus, he would have to travel for days to even get back to the town he used to live in.

There was only one option he could see. He was depressed, about to be homeless, with no one who loves him.

Except Rowan.

Sawyer didn't realize how long he'd been sitting at the bus stop. It was late, past midnight. The streetlights were the only source of light in the pitch black of the night. He kept zoning in and out, unable to concentrate on anything. It felt like he was moving in slow motion.

He searched in Rowan's name, wondering if it'd come up. To his surprise, it did.

Rowan Burnett: Insurance Agent, 31, Oregon City. It was surreal seeing Rowan's name there on the screen, like he was just another ordinary person, leading an ordinary life.

He had no idea he was so successful, but that must've been due to his family's wealth. He clicked on his profile to see pictures of Rowan in suits, smiling for the camera, holding business meetings, attending charity events.

They were all from a year ago at latest. He hadn't updated since he met Sawyer.

The bus pulled up, breaking Sawyer out of his trance. He stepped on, shoving his wallet back in his pocket after handing the cash to the driver. He slumped down at a seat near the back.

He didn't know what he was thinking. Rowan was probably so furious with him, he was probably waiting for the opportunity to take Sawyer back and never let him go.

Yet in Rowan's absence, Sawyer learnt to miss his possessiveness. It was something he'd take to the grave, but he truly missed having someone who cared about him, someone who loved him, even if it was under the guise of obsession.

He remembered how to get there from his stop, his feet bringing him to the location instinctively. His memory still recalled the layout. He was thankful he remembered his escape route, which wasn't far away from Salem and another national forest.

It felt like a blur. Almost in a blink of an eye, he was outside the lake house. The lights were on, so it seemed Rowan was still up.

Sawyer hesitated. This was his last chance to turn back. And maybe Rowan wasn't even at the lake house. Maybe he was in his house in Oregon City, or even looking for him right now...

But his car was parked out front. Sawyer heard his heartbeat in his ears. This was stupid. He should've turned back, but he spent almost an hour walking all the way here. If he wanted to escape again, at least he now knew the way out.

That is, if Rowan ever gave him the opportunity to escape again.

He felt his hands reaching up to knock. Before he could stop himself, he was already rapping his knuckles against the oak door.

The sound resounded throughout the area. Sawyer held his breath, he didn't know what to expect. He hoped for the best, but that seemed too optimistic for him.

He heard the locks turning, and then the door cracked open. A familiar pair of lavender eyes appeared, widening when they saw him. It was silent.

The tension was so thick, he felt like he was going to suffocate.

"Sawyer...?" Rowan whispered. He let the door swing open, his mouth parted in shock. His hair was a mess, and his outfit was wrinkled. He looked like he hadn't slept in days. It was all an unusual look on him. He stepped forwards, and Sawyer noticed how his hand twitched. Rowan looked like he was unsure if Sawyer was really there.

Sawyer nodded, biting his lip. He let out a shaky breath. "I..." He looked away. "I shouldn't have run. I'm sorry." He let out a self-deprecating chuckle. "You were right. No one cares about me, no one wants me. I should have listened to you."

He was expecting Rowan to yell, to scream, to even slap him. When Rowan raised his hand, he braced himself. Instead, Rowan gently cupped his cheek, lifting his gaze up.

His eyes were still wide, like he couldn't believe Sawyer was back in his arms. Sawyer hadn't once seen such a vulnerable look in his eyes. He was only gone for two months. He felt so ashamed. He had no real reason to return, yet here he was. He was pathetic.

Rowan pulled him into a hug. "My love," he exhaled. He hugged him tighter, as if Sawyer was going to disappear if he let go. "You came back to me. You really came back to me." He pushed Sawyer's bangs out of his face and looked down at him with an adoring smile.

Sawyer melted. He didn't know why, but it felt nice. He didn't have to hide anything, and he didn't have to pretend to be someone he wasn't.

Rowan guided him inside. He was still trembling, like he was holding himself back from touching Sawyer all over. Rowan shut the door behind them and locked it.

"I missed you," Sawyer admitted. He didn't know why he said that. It just slipped out, and he couldn't take it back now.

Rowan breathed out a sigh of relief. "I missed you so much, my darling. You don't know how hard it was to fall asleep without you beside me. I don't know how I managed it."

Sawyer normally would have rolled his eyes at how dramatic he was, but he found himself relating to the statement. The bed always felt so empty and cold without Rowan, he had gotten so used to sleeping by his side.

"But it doesn't matter anymore," he continued. "I have you, and you're staying. Right?"

"Yes," Sawyer replied. He didn't believe in his statement, not completely, but he knew Rowan wouldn't take no for an answer. "I want to stay with you. I'm yours."

Rowan grinned and kissed him roughly. "All mine." He kissed him again, his hands roaming over Sawyer's body. He kissed along his jaw and neck, humming against his skin.

Sawyer's heart was racing. He missed the way Rowan touched him. It wasn't a romantic touch, it was rough, dominating, and maybe that was the way he preferred it.

He let Rowan touch all over his body, only managing to ask, "Are you mad at me?"

He contemplated his words. "If I had to hunt you down--which I have tried-- I would've had you tied outside like a dog by now." Sawyer shivered at the thought. "But you willingly came back, and for that, I am beyond pleased. But if you dare even think about leaving again," he continued, voice dipping to a growl. He licked along his Adam's apple, sucking a bruise on it. "I'll have to get creative with my punishments. I don't need to do that, do I?"

Sawyer shook his head. "No, Rowan."

"Good. Now let's get you a bath, you smell like you haven't had one in months." He reached down to intertwine their fingers, leading him down the hall. "This is why you need me to take care of you, you never take care of yourself." He ushered Sawyer into the bathroom.

He waited patiently for him to finish drawing a bath, dumping soap and oils in it. He was soaking up the feeling of being back, Sawyer felt at peace. It felt wrong to feel that way, but he couldn't stop the thoughts.

Rowan began undressing Sawyer, kissing him every few seconds. He couldn't stop touching him. Given how lonely he imagined Rowan must've been without him, it made sense.

Sawyer subconsciously ran his fingers through Rowan's hair, and it caused him to grin ear to ear. Sawyer had never seen him look so blissful.

He entered the tub, watching Rowan get undressed as well. It wasn't the first time, and it definitely wouldn't be the last. He had no issues with it anymore. This was the routine he had gotten used to for several months, and it felt right. He sighed when he felt the warm water soak into his sore muscles. It was nice.

Rowan slid in the tub as well, pulling Sawyer in his lap. He wrapped his arms around him, peppering his shoulders and the back of his neck with kisses.

"You have a lot of freckles," Sawyer muttered. He ran his fingertips over his skin, tracing a few of the prominent ones.

"Do I? I never paid much attention to them." Rowan dipped his hand in the water. He reached over to grab a loofah, using it to wipe down Sawyer's back. "I was a mess when you were gone. It's funny, I even called in some family friends to look for you." He chuckled.

Sawyer tensed. "What?"

"It's okay, you don't have to worry your pretty little head about it," he assured. "I mean, you're so small. It was hard to imagine you managed to survive all by yourself. It's only reasonable I'd get worried for my soulmate's safety, right? It's such a cruel world, even you admitted that yourself." He set the loofah aside to grab shampoo and conditioner.

He decided to just ignore Rowan's earlier statement. He knew it was dangerous to prod for answers, especially with the topic of Rowan's hired men. It made him wonder what kind of family he had.

"Tilt your head back for me, please." Sawyer followed his command. Rowan poured water over his head.

He put shampoo in his palms and began scrubbing at Sawyer's scalp. He worked through his hair until it was free of knots, and then added conditioner. He made sure to get his body clean as well, washing the dirt off and admiring his handiwork.

"There. All clean." Rowan pulled him back against him again, resting his head on his shoulder.

Sawyer's eyelids felt heavy. He leaned into Rowan, already feeling drowsy. He closed his eyes and just focused on the feeling of the water surrounding him.

Next thing he knew, he was dressed in silk pajamas and being carried to bed. He was half awake, but couldn't manage to open his eyes. Rowan placed him on the mattress, but Sawyer refused to let him go. He hugged him around his waist. "Stay with me."

If he could see Rowan's expression, he knew it'd be on the verge of tears. The bed dipped, and Sawyer was wrapped in a firm embrace. He nuzzled his face in the crook of his captor's neck. He'd regret this, but that was an issue for tomorrow.

For tonight, he just wanted to get lost in Rowan's affections. He didn't feel so alone when he was with Rowan.

"I love you," Rowan breathed out. His grip tightened. "I love you so much."

"I know. I love you too."

And maybe, if only just for this one night, he really did mean it.

[mania-sama]

It's been a while since i've done a song analysis, so I'm going to come back into it with That's So True and how it is so incredibly KevJean core at the time that Kevin fled Edgar Allen and Evermore/the Nest that I HAVE to write it. This song has been haunting my nightmares and playing on repeat in my car. All I can think about is them when I hear it and scream the lyrics.

"I could go and read your mind / Think about your dumb face all the time / Looking into your big blue eyes / Did it just to hurt me, make me cry." -> Jean knew Kevin was different from Riko since the get-go. Riko thrived in the Nest. While Kevin was good, Kevin also had aspirations and dreams that tried to take flight from the cage it was trapped in. A history degree, in spite of the required business degree, for one. Jean was pulled in by Kevin's inherent charisma, his beautiful face, and it was what hurt him. We see in his point of view how badly he regrets letting himself get close to Kevin, letting himself trust him, even into his Trojan arc. We see how much that hurt, when Kevin left. How not only did Kevin leave Jean, but also revealed their secret that Kevin made between them. At the time, Jean could only think that Kevin did it just to hurt him, to send him through the deepest layers of Hell even though Jean had already thought he was in it.

"Smiling through it all, yeah, that's my life." -> Not only does this fit Jean, but it fits Kevin as well. Both of them were being observed all of the time. Jean couldn't show his hurt to the rest of the team, but Kevin? Kevin was hiding everything from the cameras constantly pointed at him. Even when he fled the Nest and took refuge with the foxes, he pretended as though his hand was mangled in a skiing accident until the last book. They put on their brave faces and smiled. Only, Kevin's been doing it as long as he's been alive. While this analysis is mainly about Jean, I want to point out where it fits Kevin like a glove, too. Smiling through it, or, at least, not showing the dead weight of their lame legs has been their character arcs throughout the books.

"Bet you're thinking, "She's so cool" / Kicking back on your couch, making eyes from across the room / Wait, I think I've been there too / What'd she do to get you off? / Taking down her hair like, oh my God / Taking off your shirt, I did that once or twice." -> Then there is that lick of jealousy. Rather than thinking this is about Kevin's canonical girlfriend, Thea, I think that this is in relation to the Foxes themselves. Kevin no longer cares for Jean or the Ravens anymore, supposedly. He cares for the Foxes now. And perhaps the Foxes are enamored with Kevin like Jean was before Kevin betrayed him and slit his throat. He's wondering what they have that he doesn't, even though it's petty and stupid and wrong, since he knows exactly why Kevin left and exactly why Jean will never be enough for him. He wonders if they are playing and talking and passing to him like Jean once did, doing all the same things, and he goes through the agonizing cycle over and over again until it's too much to bear.

"No, I know and I'll fuck off / But I think I like her, she's so fun / Wait I think I hate her / I'm not that evolved." -> Jealousy and hatred go hand and hand. I don't think he's ever liked or been impressed with the Foxes to begin with. And now? Now it's even worse, because he has to battle with the fact that Kevin chose them and not the best Exy team in the United States. He chose the one that's dead last. Surely there has to be a redeeming quality? Jean pours over them, absorbing ever single play, trying to see in them what Kevin apparently sees, and comes away with nothing but confusion and hatred.

"You've got me thinking she's so cool / But I know what I know and you're just another dude / That's so true." -> And in the end, when all is said and done, he has to contend with the fact that Kevin is just some pretty boy he fell for. That is all there really is to it, for him. He got hurt by just another boy. The Foxes don't have to be anything special. Jean doesn't have to be anything special, because Kevin is just Kevin in his personal life. To the Exy world, he may be a star. But to Jean, Kevin is another boy. Another man that hurt him (even if it is not that simple).

"Made it out alive, but I think I lost it / Said that I was fine, said it from my coffin / Remember how I died, when you started walking? / That's my life, that's my life." -> He made it out of Riko's punishment physically alive, that much is true. But this is what is going through his head when Kevin pops up on the television screen, his announcement of his transfer to the Palmetto State Foxes blaring in the Nest and in the halls of Edgar Allen University. He is screaming to himself that he told himself it was fine for all of these years, that it is fine that Kevin left and slit his throat on the way out, but it's not. He lost a part of himself back when Kevin's hand was broken. Kevin walked out, and he sliced Jean open on the way. He left Jean for dead, even though the Nest is his life. It's the only place he can be, and Kevin knows that. He knows that Jean isn't like the other players, and yet. And yet. That was his life, and Kevin did his goddamn best to ruin it, in Jean's mind. And I can imagine this was all coming back to him when he was locked away with the Foxes after Renee saved him. When Kevin comes around to visit, it's all rushing back to him in a tipsy, pain-hazed blur, of the day Kevin walked and ruined Jean's entire fragile paradise with him.

"I'll put up a fight, taking out my earrings / Don't you know the vibe, don't you know the feeling?" -> I like to think that this is part of Kevin's response to Jean. Because Kevin knows very well how Jean feels. He knows that what he did hurt Jean, and he knows that Jean will never truly forgive him for doing something Kevin had to do. Jean's fight had left him. He gave up resisting because it only made his life worse than it already was. Kevin, not so much. Riko mangled his hand, and Kevin put up the fight of his life to leave. He got a backbone and left. He took out his earrings and left behind the place that was damaging. Don't you know the vibe? The feeling? Kevin begs, asking Jean to understand what the calling of a better place looks like. How Penn States and the Foxes called to him so he could finally be free. Because surely Jean has heard it before; they both have. Kevin just stopped ignoring it.

"You should spend the night / Catch me on your ceiling / That's your prize, that's your prize." -> And this is Jean’s final response to Kevin. That Kevin still left and still slit his throat on the way out. Kevin escaped, but at what cost to Jean? Perhaps there is that small, bitter part of him that wants Kevin to lay awake at night and remember just how badly he wronged Jean. Bitterness gets you nowhere, but Jean isn't going anywhere anyway.

[peachjagiya]

https://x.com/tekookmoments/status/1811810379804135873

Tbh I do kinda agree with what this appytappy person is sayin. They are all(comp+members) very aware of what goes on in the fd. It's not like shippers are new or just limited to their little corner. They are pretty loud, have been so since the beginning. I think if the people involved aren't much affected by the narrative that has been set for them for years now, then we are no one to police the people who joke about it 🤷🏻‍♀️

Oof this is complicated.

I have a lot of disjointed seemingly contrasting thoughts on this so bear with me.

I am not terribly offended by jokes about them having sex. As I've said before, I'm pretty difficult to shock and this seems like nothing compared to what I'm used to. I do not like the low key thread of puritanical sex-shaming inherent in "this is DISGUSTING," when it's literally like "they're having gay sex!"

But...

You make these jokes at a risk of criticism. RP shipping or even just RP fandom always carries a risk that you're crossing a line. I'm going to talk about the way I personally talk so I don't seem like I think I'm immune to this critique.

I make a joke about His Royal Thighness Namjoon, right? I am aware there are some people who might find it to be objectifying. I skirt that line knowingly and prepared to face the consequence of someone saying "don't you think that's a bit like objectifying him?"

Because they're right, aren't they? Maybe I defend my right to say stupid stuff on the internet and maybe I'm not necessarily going to stop because finding someone attractive is hardly a crime but I'm certainly not going to tell the person who finds it objectionable that they're wrong. I'm going to recognise the thin ice and balance it with more considered narrative.

And...

I would be mortified if even my most innocuous commentary broke containment and the members saw. This goes for individual members pr subunits, management, bodyguards, staff, close friends and acquaintances of the members.

I'm well aware that they see stuff. But the idea of them seeing stuff certainly keeps me in my place when it comes to defending my words. I'm not posting about Namjoon's thighs to weverse or in the comments of live or on his instagram and the mindset of a person who can flood lives with inappropriate questions will remain baffling to me.

Which leads to the bigger issue and the most visceral ick reaction I had to this...

There's an implication of victim-blaming here.

Trigger warning: small undetailed mention of sexual assault in the section between purple 🟣

"They're aware of the things we say and they still do it so it's on them" is gross. You dance around the boundaries of proper behaviour, write the sexual things and they now can't go anywhere near each other? Think how that sounds.

🟣 It might seem like a big leap from that to "she wore a short skirt therefore wanted to be SA'd" but it's the small pernicious ideas that create the ethos that allows that disgusting logic to thrive. 🟣

They could literally be kissing on screen and you don't get to say "Eh they're ok with anything I say then."

Literally how does Jimin (or JK, whichever it is) moving from sitting to sleeping in a bed seemingly by himself result in sexual discussion anyway? Let alone sexual discussion that they've kidded themselves into believing he himself is "okay with" because he dared to *checks notes* be in a bed? They've sexualised a guy laying down. That's absolutely not on him and I despise the accusation that he's feeding it. He is not complicit because they can't act right.

So...

Do it if you must. But do it knowing some people are going to think you're an idiot.

Some people are going to roll their eyes. They need to recognise that fundamentally, they're doing the inappropriate thing. Nobody is actually taking away their freedom to say dumb stuff on the internet and have fun with their internet friends... but a little humility wouldn't go amiss.

But whatever you do, leave the they love it argument at home. Or in the trash where it belongs.

And finally..

Why do they think a camera crew is filming them making out? PLEASE BEHAVE.

[fizzypinkblooded]

forthe ask game please tell me about lu guang

OHHGHGHHG KEWPIE I AM RUBBING MY EVIL LITTLE HANDS TOGETHER ABOUT THIS. this one goes under a cut because i get right into spoilers, sorry castor

favorite thing about them:

HE'S A HYPOCRITE HE IS SUCH A HYPOCRITE TO A HIGH DEGREE IT MAKES ME INSAAANEEEE his obsessive love and dedication to cheng xiaoshi driving him to break his own morals and rules is SO GOOD. and it only makes him double down on the rules he lays out because he keeps trying harder and harder to make sure cxs follows them, because trying to control his actions makes him easier to protect from death. i Will be looping back to this for the fave line part

least favorite thing about them:

i support gay rights and gay wrongs next question

favorite line:

not gonna pull up the episode to get a direct quote but

"You can't save them! they're already dead!" <- yelled desperately and angrily by a man trying to save someone who's already dead

brOTP:

qiao ling !! its very cute that he calls ql his jie and im excited [ and prepared to be devastated ] about season 3 possibly elaborating on their dynamic more now that she's. seen his memories and Knows what he's done.

i want to also say felix/xia fei, but i would need to put more deep thought into i think. i've read like one or two interesting fics about them but it was very surface level, which makes sense, and canon doesn't really ... give them a chance to be deeper. i think xia fei just meshes more naturally with cxs inherently, since lg isn't very social, but lg Has shown that he'll stand up to others for xia fei

OTP:

his beautiful strong dead wife cheng xiaoshi

nOTP:

same as what i said with till, my nOTPs spawn because of fandom and i think like 99% of the fandom ships him either with cheng xiaoshi or no one, and the 1% that ships him with someone else have done nothing to offend me

random headcanon:

i am so very fond and endeared to the headcanon that lg was crushing on cxs from a distance for a while before they met but was too shy to talk to him. i am So normal about that one tweet that pointed out how lg doesn't include photography in his hobbies or skills, and yet when he and cxs first properly meet, he was just .. taking random photos of the sky ? in the basketball court ????? the idea that he figured out cxs was super into photography, bought a whole ass camera, and then just hung out around him on campus taking random pictures until cxs took interest in approaching him first is so fucking dorky and cute

which ^ honestly makes it even funnier that he agreed be cxs' business partner in the photo studio. this boy is SO whipped

also he and cxs argue about who's making dinner a lot, but because they both like to cook and Hate having someone else in the kitchen with them. i think they rock paper scissors it if they can't agree on who gets to do it [ sometimes how much work they have to do or one of them not knowing what to cook decides for them ]

unpopular opinion:

once again i don't interact with the wider fandom to have a huge statement on this, but i will say, the amount of people who try to justify his actions or act like it's out of character for him to kill someone are bizarre and it pisses me off. he goes off the fucking rails at the end of season two, this dude is Weak as Shit because he's a nerd that does nothing but read all day AND he has a hole in his guts that he is constantly tearing back open and yet running on nothing but adrenaline and pure rage runs at a man whO IS ARMED WITH A GUN to beat the shit out of him because he shot cxs.

also just, more related to cheng xiaoshi than lu guang, but the amount of people who act like cxs would also break the rule of going back in time to save lg if he died. he would not. canonically. he spends episode one of season 2 thinking lg is dead and he desperately wants to go back in time to save him but can't bring himself to. this is a huge thing in their dynamic to me and it makes me clench my fist whenever people retcon it. there is so much more drama with it being included

song i associate with them:

should've known better. this is especially the case if we get a tragic end to the series where lg has to accept he can't save cxs [ WHICH IM ON MY HANDS AND KNEES WISHING WE DO NOT. ]

favorite picture of them:

i really love this poster i am constantly coming back to it

and honourable mention of the season 1 promo poster because it's what gave me pause and made me decide to watch link click way back when season 1 was coming out

[penultimate-step]

JJK S2 Livewatch: Eps 8-12

Hello, everybody! Sorry for taking so long to continue this live reaction. Since this is the part where the fights start in earnest, I had a lot less to say about the show's specifics and more general rambling thoughts I had as watching. It made me unsure about how to write this part up, and I ended up taking way longer than I should have (I watched these eps weeks ago!) Not sure if this will make the livewatch more or less entertaining to read along. But at this point I am going to post and hope for the best. Hope nobody is disappointed.

So, following up the end of the last ep, Gojo is called out to the danger zone. It's emphasized how much he's the one guy who matters and can do anything here. Which does kind of make me have thoughts about the worldbuilding.

Ok, so, what is the size of the jujutsu world, exactly?

Between Gojo and Tengen, we have multiple individuals who apparently single handedly hold the jujutsu world on their shoulders. That is so many points of failure, so many points where things could just go catastrophically wrong at any moment, presumably dooming the world. I know that this is primarily in order to place the plot focus on the important people. but it feels less like the jujutsu world is an institution or a world on its own, and more like a small club. Which could be fine, but its established that curses appear constantly, all over the world. It's hard to believe that a group small enough to need a handful of people to hold critical roles could cover the whole nation We know there are only 2 jujutsu schools in japan, and its unknown how many elsewhere but presumably an equivalent amount. We've seen most of the students at the school competition arc, and there were less than a dozen altogether. So....what's going on here? It just seems kind of arbitrary, and makes the world feel more constructed - which, of course, it is, being a fictional world, but generally we prefer when the guiding hand of the author is less obtrusive.

Some comparisons that can be made are to Naruto, the manga which I am almost certain is JJK's biggest inspiration, and to Chainsaw Man, a contemporary peer. Naruto's worldbuilding is large and sprawling, with plenty of named organizations, locations, and events offscreen. out of universe info books and spinoffs help add detail to this, but aren't necessary. There, it is believable that any given character exists in the context of the world because the world exists as background. in contrast, chainsaw man shares a much tighter focus with jjk. much less exacting detail, minor characters, etc; a greater focus on a small cast. There is no greater detail, readers know nothing about the structure of hell, the goings-on in the US or USSR, or even other divisions and areas in japan. but there is enough there to maintain an illusion that the world exists - mentions of foreign countries, occasional shots of hunters or political leaders. Sure, it's not the same as actually detailing in the world, but there's no need to go that far - enough has been sketched in that the readers can imagine the characters getting on a plane and flying to another country, even if they don't have any details about the destination, it feels like they exist in a real world with real places that the camera just doesn't turn to.

This might seem like I'm being overly harsh to the setting. it is clearly an intentional choice to have Gojo be the lynchpin of the world, there's nothing inherently wrong with it. But as someone who loves urban fantasy as a setting, it does sometimes bother me when I feel like the world exists only for the convenience of the main cast. It's a world close enough to our own that I feel like it should make sense.

Anyway, that's enough of that. Moving on to actually talking about the events of the episodes. I did warn you at the start that I had less to say about this set, though.

The fight between Yuuji and the locust curse isn't a bad fight to reintroduce us to the main protagonist. It's smoothly animated, outside some hiccups when jumping through walls, and the fact that both fighters use fully physical techniques made the whole thing seem very even and straightforward.

It's outshone completely by the Gojo vs villain gang battle at the end of 8 and through 9, though. I love when hidden world fantasy type settings use the clash between the normal world and the fantastical, setting these fights in a crowded city subway was a cool enough idea already, but the villain plan to use ordinary citizens to box gojo in, the use of trains in the battle, all hammered it in. the way the battle goes on around them while they can't even see most of it is interesting.

The almost wild, ruthless way Gojo speaks and fights in this battle make it clear he's been pushed very far. Between this and the flashback eps, S2 hasn't been shy about showing Gojo struggling and on the edge, a stark contrast to the way he was essentially the plot device "I win" button in his season 1 appearances. Where many of his memorable moments then had him floating at a distance to his opponents, untouchable as his technique, this fight is brutally physical. The moment he grabs at Hanami's branches was visceral. I was actually really surprised to see Hanami die. When he had Hanami against the wall, I started saying out loud "You know, the ruthlessly strategic thing to do here would be go for the killing blow on the weakened enemy. I just know Hanami is going to come back and cause trouble in future arcs. But it makes sense the author wouldn't want to waste a villain with so much buildup like that." And then he actually did kill him. Okay! Message received, Gege! I'll stay on my toes a bit more!

Also, as an aside (much as the show does,) I really liked the villain interludes. Seeing them messing around playing games in their free time did a lot to add to their characterization, even if it was just a way to exposit their plans to the audience.

While I'm giving praise, the sound design and music team did a great job. There's so much that wordlessly conveys the emotions going on mid-scene without having to stop and actually demonstrate them. the ominous overlay on the villains, the frenetic piano as gojo rushes to use his domain, and the most evocative of all, the soft and emotional tunes of shock when Gojo sees Geto again.

Also, this is the part where I have to embarrassedly admit that I was already spoiled on present day geto being fake. Rather, I was so spoiled that I assumed it wasn't a spoiler and was revealed in S1, until seeing the big reveal scene made me realize someone must have told me about this years ago. Whoops. Apologies if any of my followers were waiting for my reaction to that bit :(

Ep 10 is mostly a bridge and setup for the next portion, but I do have some brief thoughts on the new characters to touch on before moving on. The drinking old man is not endearing himself to me with his flippancy, the curse user with the hand sword from season 1 is back, and still kind of annoying whenever he's on screen. The unnamed white-haired girl with him seems cool though. also, this may be kind of a late moment to say this, but I really do like mahito as a character. Some of his transfiguration stunts were genuinely unsettling, and the way he alternates between that kind of cruelty and his general playful attitude makes him pretty fun to have on screen. He's far and away my favorite of the present day villains.

Skipping ahead to the fights in eps 11 and 12. The montage of murders by the curse users actually disgusted me. Which is kind of funny to contrast with the appearance and fighting style of the man who fights Yuuji and Megumi in this episode. His face and movements are different than most of the cast, reminding me more of some kind of demonic looney tunes character, jumping around and letting hits bounce off him. The fight is a cool showcase of 10 shadows, as well as giving some fun interactions between Yuuji and Megumi.

Actually, as I look back on it, I'm somewhat more impressed by this bit than I was as I was actually watching. None of the individual moments are super impressive or thought provoking, but as I come in to write down thoughts I realize that this two episode span seamlessly transitions between 4 different fights, done well enough that I didn't see it as an interruption, and only realized while writing this about it afterwards.

I don't want to dwell too much on the Nobara and Nanami vs hand guy fight, because that guys icks me out. Mei Mei's fight is mostly offscreen, but I do have a meme about it, because I cannot stop my brain from making unfortunate connections. The fight between the masked sorcerer (I don't remember if we got his name?) and the pair on the rooftop, though. It starts pretty slow - I don't think either of their powers or the way they use them are very interesting - but things tick up immediately when Toji shows up. Just like in the flashback arc, he just grabs the attention in every scene he's in, an

While I'm on the topic, one thing I noticed is how efficient the flashback arc was. Pretty much every element from there makes a direct return now, not even 10 episodes after the fact. Geto and Toji are shown off in the past right in time for them to be introduced in the main plot, not wasted elements. Not sure if this is a good or bad thing but it did feel noticeable. Possibly this ties back to the stuff I was talking about at the start of this, where JJK keeps making the tradeoff of telling a tighter and more focused story while cutting lose any elements that could be seen as extraneous, for better or for worse.

Anyway, that wraps up that watch session. It was pretty good, I didn't enjoy it as much as I liked eps 1-5, but much more than I liked 6-7. as a whole I think I can start to calibrate my expectations for how good this seasons is going to be now, very well executed but much more straightforward than that first arc would suggest. Less exploration of world and characters, more cool fights and action scenes.

I feel like I said a lot without actually saying very much, I worry that this was almost entirely recap of things any watcher knows already. I'll try and write the next section much faster, and hopefully I'll have more interesting things to say about that one.

[superchat]

that one post about stonetoss and courting antisemitism reminds me of when kanye west went on camera to show everyone some list of "all the companies owned by jewish people" i watched hasan talking about it, and his chat sent him a debunk response someone made that went through each claim, hasan noted how weird it was that someone would also go through so much effort to debunk it, but looked through. had a lot of list was misleading info "this is the same company listed 5 times, this is a parent company, this ones just false," etc

But his ending thoughts was along the lines of:

That debunk list doesnt mean anything. the fact that someone did ALL that to debunk the list is, in itself a red flag. thats how nazis work, they make a situation thats built to train an antisemitic response. someone says "heres everything owned by jewish people!" and someone retorts "thats not true! theyre NOT all owned by jewish people!" and if you arent paying attention, it seems like the appropriate response. but the reality is that it does not matter if the list was true or not because there is nothing inherently wrong with jewish people owning companies or being rich. the retort distracts you from the actual reason why the claim is hateful antisemitism

[mermaidsirennikita]

least favorite recent trend is people calling exclusively-smut (or just romance period) readers p0rn addicts. like no, smut will never ever ever ever ever even come close to be on the same level as p0rn. worse yet it's coming from supposed left-leaning people. like way to agree with right wingers on this issue goddd

Hmm, I get where you're coming from, and I totally agree that the conservatives have weaponized, essentially, good intentions to flip young progressives/libs into spouting conservative talking points. But I will say:

A) Some romance novels? Are kinda really close to porn, lol. And I'm not talking erotica--I'm talking books wherein the sex is not necessarily the point of the story or the crux, but it is kinda why you read. Either to be turned on, or to gawk at something utterly absurd (and sometimes funny). Which is why people watch porn, mostly; to be aroused and/or shocked or amused or grossed out.

Like, I'm thinking of books like Vera Valentine's Squeak. It's about a woman who falls in love with two balloon animal shifters, and they fall in love with her right back. Are you reading that because it's good literature? Not really. Or like, the shorty KU books where the plot is kinda thin but the sex is bomb. I mean, people absolutely read books to masturbate, just as they do with porn ("one-handed reads"); and those books are often romance novels. I mean, I have watched porn that legitimately has better emotional plotting than some of the sillier romances I read. And that's not knocking those romances--just as I don't think a "my first massage with the hot masseur lady" porno is meant to give you this deep story. Nor are those books; and they both accomplish their goals.

To compare, I'd say that Tiffany Reisz's Original Sinners books, which are somewhere between erotic romance and erotica depending on the installment... Are nowhere near being porn. The plots revolve around sex. The sex is explicit and very adventurous--CNC, blood play, pegging, bondage, group sex, daddy kink, priest kink, extreme sadism and masochism, needles, and it goes on and on. But the sex is the framework for serious character development and growth and confronting some heavy issues. It's not anywhere close to the kind of content porn typically offers.

The biggest differentiator between sexually explicit, sex-heavy books and porn is the ways in which the products are crafted and the risk components. Both can create unrealistic expectations surrounding sex and relationships (we talk a lot about boys having porn brain, but if you see some of the shit teen girls think is normal after reading certain romance novels--well). Both can do the opposite. And for both, it's seriously not their problem; content is not responsible for educating the kids. The kids' support systems (parents, guardians, teachers) are. Or should be.

B) Porn is not bad; and therefore, it's not bad to compare those books to porn. It is true that porn can be exploitative and harmful to performers. However, that is the sex industry in general--any industry in general. Companies across the world violate child labor laws every day. American employees regularly work themselves to the point of exhaustion, go to work sick and get sicker/infect their coworkers, and have nervous breakdowns due to overwork--and don't make ends' meet. We culturally focus more on how sex workers can be harmed because 1) it's more shocking because sex 2) it's more direct, at times, because sex workers deal with very intimate services that can involve physical risk 3) the harm that occurs is used by politicians and the media to justify why sex work should be outlawed. When in reality, if sex work was decriminalized we'd be able to offer sex workers safe harbors and resources without fear of legal consequences.

But anyway--porn is not bad inherently. If porn is made ethically, which it absolutely can be, there is nothing wrong with people consenting to sexual acts performed on camera... and as long as nobody is getting hurt, everyone is of age and consenting, and there aren't any animals (because animals cannot consent ever lol) involved, theoretically that's fine. Do a lot of people abuse this system? Absolutely, but I'd say that they're more able to abuse it because of the stigma surrounding porn. Though it's legal and theoretically regulated, the regulations aren't often meant to work for performers, they're meant to "protect" the people who might stumble across porn online.

And because we shame people for watching porn and shame porn as a concept, nobody talks about what ethically made porn is, and how different types of porn affect people differently as they grow up. Because most of them? Will watch porn either way. But perhaps if teens felt free enough to discuss the things they saw in porn with sex educators... they would learn more about what is real and what isn't.

I also think that porn can be interesting and artistic (it often isn't, but erotic cinema used to be more common--would recommend the documentary "Skin" to explore more about it), and like I said above, romance novels can be--and like porn, sometimes they aren't. And romance novels, while they may not be as directly harmful as bad porn can be to performers, can be harmful on a broader level. For example, there is som racist porn out there; and there are some racist romance novels out there.

So I guess my thing is--as someone who reads a lot of romances of many degrees of quality, and had also watched my fair share of porn... I don't see a huge difference between some books and porn, lol. And that's not a bad thing. If the worst romances or erotica novels are just as bad as porn on a whole, that's fine, because porn on its own isn't a bad thing. The argument really shouldn't be "romance novels/erotica are better than porn", imo, because the people coming after one are going to come after the other either way. Sex negativity usually takes a universal approach. Nothing is spared; nothing is "good enough". When Spoutible banned sex workers from sharing content, they also banned romance novelists from sharing content, as one example. Romance novelists were no different from people literally having sex for money in that sense, and I honestly think that as the conservative movement becomes more extreme, their personal perception of what is and isn't sex work will also become more extreme. And tbh? The line is blurry. A phone sex operator is not actually selling sex--they're selling a fantasy, woven from their own minds. They just have a more direct connection to the person enjoying the product than authors and other artists do.

It's complicated, and we're all affected, so we've kinda gotta work together here, imo.

[dgcatanisiri]

Y'know, I do get worried sometimes about the way that even in leftist anti-terf spaces, there's often an... I'm gonna call it a reflexive worst case response to still assume the worst of men, like there's this inherent attitude of assuming that anything they do that is deemed wrong is also done with intention to cause discomfort.

It's even in the way of "hey guys, don't do this," when there's like DMs of what are probably parasocial relationships making an impression of assuming a closer friendship than there actually is. Y'know, there've often been cases of women who get these kinds of DMs and then post pictures of it (hopefully blacking out the names) on social media as an example of what not to do.

Cuz like... doing that tends to prompt the social media mob to start investigating and try to figure out who did the creepy thing - the story gets taken out of the posters hands and made into the absolute worst possible thing, when the worst "crime" was assuming that someone was closer than the other person thought they were.

To be clear, I do understand why there's a jump to this on the part of women in general, I'm not saying that it's a response that comes from nowhere.

But at the same time, there's also still what sometimes comes across as an undercurrent of always assuming the worst of the men involved in these situations, which... feels like it might come from terf talk of assuming all men are inherently dangerous and not to be trusted because of the fact that they are men.

I mean, I'm basically word-vomiting this out right now because I read some stories that involved various drama on this, and just thought about how I respond in a lot of scenarios. Like... I've outright worried in the past if me responding to like various YouTubers on Twitter is overstepping my bounds, when honestly, I'm saying this about a YouTuber who probably has had their notifications set to only show them responses from mutuals anyway. I've even held back from making comments BECAUSE I worry about coming across as overstepping those bounds.

So like... I could easily see myself doing this with people. I mean, I've had a few occasions where I've said something on Twitter that got a like from actual celebrities, but like... That may be a thing that makes my day, but they probably would never recognize me by my screen name if I were to like speak with them at a con or something.

Also, probably there's some commentary to be had about how we turn random voices on the internet into micro-celebrities, simply because they sit in front of a camera for a few hours at a time and rant about their views on X, Y, and Z, and how damaging that can be for both the person in front of the camera and the audience - I have like a less than nothing of a platform here on Tumblr, but if I went and made like YouTube videos that were basically me reading my venting and rants as a script, slapped some footage on top of that audio... I could probably end up being able to give myself a trajectory into the Video Essay Community™ because of it. And then I'd have to become MUCH more concerned about the inevitable Discourse™ that comes from it - even to the point of potentially being doxxed and having to move, just because someone disagrees with my opinions and thinks that I deserve to pay for not agreeing about the portrayal of video game characters or something.

Like the most drama I've ever been a personal party to was that weirdness a couple of years back of someone accusing me of wishing violence upon ACTUAL women because of my lack of sympathy for a FICTIONAL race of female-only aliens, due to their portrayal and actions during the FICTIONAL existential war, and then listing off a series of either wild misinterpretations or outright lies to try and make that out as a pattern of behavior. Beyond that, I've had a couple of instances of people taking my saying X means that I don't give a shit about Y...

But amplify that the way that inevitably comes when you end up with a platform of thousands, of hundreds of thousands, all taking the worst possible interpretation of your words and then amplifying that so that people who've never heard of you now hear those interpretations...

And when I think about it, yes, honestly, I do kinda fear what would happen from that because of my being male - obviously, again, I don't want to frame myself as being more vulnerable than women to doxxing and all that associated concerns, but... I feel somewhat like my vulnerability would be played down by others because of my gender, because of my sexuality, that I would be seen as being less "at risk" just because I'm male, even though I'd theoretically be just as much at risk as anyone else - hell, I'd inevitably be speaking leftist rhetoric while living in a red state, which... I mean, I see plenty of signs of support for the guy who just got his mugshot taken on a daily basis, so it'd be dangerous for me all the same.

That's what I'm getting at in saying that sometimes you see this downplaying of and dismissal of men, the kind that comes from terf rhetoric dismissing what men go through because it's not as persistent and socially pervasive as what men go through.

But it seems sometimes like what women get as waves of harassment, men can end up getting in a series of piling microaggressions that everyone - not just those hurling them at them, but even by the men in question - downplay.

I mean, it's not like I don't know about the way that MRAs have ruined the whole concept of "men's rights" and that sort of thing, but... I DO genuinely think there needs to be more discussion of the way that patriarchy broadly hurts men AND how sometimes attempts to undo the damage it's inflicted towards women can be overcorrected for to continue inflicting damage on men.

Again, this is a lot of word-vomit on my part, so this may well not necessarily read right, but... I mean, that's kinda going back to the "worst case interpretation" thing, isn't it, that I'm trying to process this as best I'm able, but maybe not able to put it into the best words, so some random person can come along and decide I'm saying that men are the real victims or something like that...

[tgm-zeej]

Honestly, I think this is why most critics are so notoriously terrible at evaluating kid’s movies. Critics have to watch a movie. Kids get to watch a movie.

The job of a critic is to point to the tangible. And there’s nothing inherently wrong with that, but anyone who knows an aging graduate of film school or someone who used to work in a video store also knows that objectivity™ ironically has a very subjective definition to some.

They’ll talk about the camera work, the director’s choices, the acting, the quality of the script, who wrote it, etc. They’ll talk about the troubled production, point out aspects they perceive as derivative, and present the reader with a snappy (usually hyperbolic and unnecessarily prolix) conclusion in hopes of making it onto the poster or at least a featured quote on RottenTomatoes.

Now, trying to shape my brain flashes into words that properly convey what’s in my head is what I do with 70% of my neurons, often completely against my will (hyperfixation woooo.) I have a ton of respect for in depth media analysis. I have a ton of respect for people who are a little autistic (with love) about the technical aspects of filmmaking.

Every art form needs a certain number of nerds who obsess over details. It’s the only way we got from cave paintings to digital art.

Ug said Gronk’s deer showed influence from Tunk’s moose but ultimately failed to capture the true spirit of deeraciousness he was going for. Gronk feigned ambivalence toward this negative review, went back to his cave and sobbed in the fetal position as the minor criticism rattled around his skull like thunder until sleep finally took him. Then he eventually painted better deer. Y’know, standard life of an artist.

But the critical analysis is ultimately just a small part. Movie critics—who are obligated to watch every big movie that comes out and have a fully formed opinion about it in written form within a day or so—tend to focus heavily on these aspects because those are what you see when a movie fails to engage you. Because it’s for kids, and most adults are genuinely terrible at relating to children.

The thing is, those aspects are very often completely superficial to the ultimate purpose of a review: “I have not seen this movie, can someone who has tell me if I will like it or not?”

Imagine reading a review of the Lion King that heavily criticized the zoological inaccuracies, derivative nature of the plot, and the short running time for four paragraphs, then shoehorned a “the animation and music were pretty good though” into their conclusion.

This is how many actual professional movie critics have previously and are currently approaching children’s media. And once one big publication/critic decrees that a movie is Good or Bad, you’ll find that their peers tend to fall in line. Because the Internet is exactly like a grade school playground and everyone will make fun of little Jimmy when they find out he doesn’t like the new Zelda that much or whatever.

Kids mostly just judge a movie based on how it makes them feel. They’re not usually super concerned with forming a supporting argument so they can feel smart and special—thats what mid to late teens are for. They’ll just tell you what engaged them.

This character is pretty, this character is cool, this part was awesome, the fart joke was funny, etc. That’s not gonna get you a lot of praise on letterboxd, but it is contextually a pretty good review. It’s what kids who liked it would tell their friends who hadn’t seen it.

Those kids will grow up to be the adults who write the think pieces and in depth analysis. The critical consensus will shift, and the opinionated 25 year olds of that generation will dig up those contemporary reviews and (often rightly) mock the old fucks who wrote them.

They’ll probably be able to explain why the fart joke was funny by then.

Having seen Wish and Strange World, I think this batch of Disney films are going to age VERY well.

I know they haven't been received the warmest or had a great box office run, but I keep thinking back on the Disney movies that came out when I was a kid. The Emperor's New Groove, Atlantis, Brother Bear, Treasure Planet, all of them were received similarly. Critics didn't love them (except Treasure Planet I think) and they didn't make a lot of money. They were written off as duds.

But for everyone my age, those were our favorite Disney movies because those were OUR Disney movies. Wish and Strange World may be no Encanto (what is?), but they're a lot better than I see them getting credit for. And honestly, I'm going to through Raya and the Last Dragon in here too. That was received better by critics but it seems like we don't talk about that as much even though it's awesome. Just like Treasure Planet!

In ten or twenty years, the kids who grow up on these movies will sing their praises as underrated classics. So even as they're written off as, "let downs," today, they won't be forgotten. They'll be loved and cherished by a generation. Knowing some kid will love them as much as I love Treasure Planet and thinking about their inevitable staying power, that makes me REALLY happy.

[lulabo]

I just watched the trailer for Netflix's Persuasion and they've got Anne Elliot talking directly to camera and using the word "exes"

[blainesebastian]

mutually assured satisfaction (pt2)

words: 3,429 ship: austin butler x reader summary: reader’s agent approaches her with a PR stunt to date austin butler and promote both their careers. a mapped out plan, an electric relationship–what could possibly go wrong?   notes: once again blown away by the support, thank you! if you’d like to be added to the tag list, please let me know :) previous parts on my masterlist.  warnings: none tag list: @killerqueenfan, @karamelcoveredolicity, @elizabethrosecresswell, @gigisworldsstuff, @kittenlittle24, @slowsweetlove, @namoreno, @strokesofstokes, @callthedarknessdown​

Staring at yourself in the mirror, you cannot believe you’re actually fussing over your hair and makeup for an event in which you’re attending with your fake boyfriend. You know it obviously goes a lot deeper than that, always being in the public eye, that constant invisible pressure to look and be a certain way, regardless that you pretend none of that means anything to you. Maybe if it actually didn’t, you wouldn’t have let yourself be talked into doing this.

“Just a few weeks,” You mumble, like a mantra, everything will start to feel normal in… “Just a few weeks.”

Could always be worse, right? At least you’re not paired with some sort of misogynistic Hollywood socialite who can barely hold a conversation. You let yourself do a bit of a deep-dive last night, falling into the YouTube black hole of interviews that Austin’s been in and just…watching them. There are two schools of thought that you have been flipping back and forth in your mind. On the one hand, maybe Austin is as genuine as he appears to be—he presents himself as kind, thoughtful, sweet, humble (about himself, his craft, and the people in his life, whether it’s personal or who he works with). On the other hand, you’ve been in this industry for a long time—you know that some people put on facades, masks, wearing versions of themselves that are very different in front of camera and off.

You’re not quite sure which version of Austin is inherently true…and maybe it doesn’t matter in the long run? Every part of this relationship that you’re building with one another is a lie.

Christina kinda? jokes that there should be some sort of contract drawn up about events set, a timeline, important dates along the way and that you both could sign it. You kinda laugh it off and don’t bring it up again…you and Austin seem to be on the same page that you need something from the other and that there’s intentions to follow it all the way through. You have the same shared goal of reaping the benefits if it works or nothing if it doesn’t.

Not to mention what would happen if someone found out you were faking, if word actually circulated, what that could do to your careers and reputation. Sure, PR stunts happen all the time…but they’re usually not regularly talked about in respected circles. Neither you, nor Austin, want anyone outside your agents to know that you’re doing this—especially your fans. So there’s a comfort in that secret being kept between the two of you,

mutually shared destruction.

You attempt not to pace as you wait for Austin a little down the street from the event you’re going to. The plan is to walk there together, hand in hand, and get caught by the cameras. This is mostly about visuals alone, a picture is worth a thousand words, and you’re hoping to get many tonight of you and Austin together. This is press for Elvis so luckily you’ll be able to avoid most of the questions—Austin will be doing a lot of the talking, no doubt dodging or juggling commentary about you.

Hopefully he can handle it.

You smooth your fingers along the chiffon red dress that you’ve got on, knee length, paired with ruby red heels to match. Your hair is in soft curls, lipstick something fiery to complete the look, and when you turn to see Austin crossing the street, the accent of his pocket square is the same scarlet. A soft smile tugs the corners of your mouth—he’s in a complete black suit and that’s the only splash of color.

You’re doing a very poor job at ignoring the heat in your lower stomach as he approaches you. Taking in a deep breath, you catch scents of his cologne, something sandalwood and distinctly him—it makes your head spin.

“Beautiful,” He comments easily, his eyes traveling along your form. “Wasn’t sure if you were actually gonna go with the red or not.”

A soft laugh leaves your lips and you reach out to touch the top of the pocket square, “Well then this was about to look really silly if I was wearin’ blue.”

Austin grins, his fingers brushing yours as he fixes the square, “It comes out, if needed.”

You smirk, “So prepared,” You shift from one foot to another, a nervous habit as you glance past Austin and then back at his face.

His eyes are fixed on you, taking you in, an almost question in the depth of blue even though no words come out. There’s uneasy energy building in your chest, you almost don’t know how to act around him even though there’s a loud voice between your ears that just says be yourself. You don’t have to pretend or worry that this date somehow won’t be successful because you know it will be, it’s guaranteed, set in stone. It’s ironic, in a way, because Austin gets to see the truest version of yourself and stay put.

Freeing, almost.

“Do you wanna tell me how the night works, or?” You finally say to break the silence and figure that might be best, you’re his date to this event, so.

But instead of answering you, Austin takes a step closer and reaches for a curl near your cheek, moving to brush it behind your ear. There’s a squirming sensation that climbs right up your spine and you take a step back out of instinct,

“What are you doing?”

There’s this amused smile that tugs the corners of Austin’s lips, annoyingly attractive. He lets you have that small, created room between your bodies, but he does lean down a little to speak to you, “If we’re gonna do this thing? You’re gonna have to let me into your space.” He allows that to settle in and for a moment, you just kinda blink at him.

Until oh, shit. He’s right. You’re dating—personal space just isn’t a thing, especially in public where you have to make it look the most real. You run a hand through your hair, attempting to shake off your nerves. You feel like such an idiot that you didn’t put two and two together—but to your credit? Being around Austin is incredibly nerve-wracking in a way you hadn’t expected. He knocks your concentration right over.

“You’re gonna have to let me touch you.”

And as much as you try not to let that phrase alone short circuit your brain, something definitely fizzles away. You scoff lightly, attempting to ground yourself and not show that you’re as rattled as you feel…you refuse to give him that satisfaction. Your hands fall to your hips as you look up at him,

“Fine,” You state. Cool, one word down. “That’s…that’s fine. Totally necessary.”

He smiles, licking his lips as his eyes flicker down. It’s like a strike of heat right between your legs, “So—just to be clear, grabbin’ your ass isn’t necessary.”

You narrow your eyes, “Not unless you want to lose somethin’ else.”

Austin laughs warmly even though he seems to take your threat very seriously, nodding his head. He then takes another step forward, really closing the distance between you and to your credit, you don’t back up. Instead, you tilt your chin up to look at him, his hands gently coming down to rest on your shoulders. Despite feeling tense, the heat of his fingers against your skin begins to unwind you a little,

“Don’t hit me.”

You don’t even have time to react anyways because before you know it, he’s leaning down and kissing you. It is not a quick peck on the lips either, he lingers, his one hand slipping along your jawline while his other arm wraps around your waist to keep you close. For a moment you’re just stunned and then, like a page turning, you relax into the touch. Your eyes flutter closed and you tilt your head to deepen the kiss—just lightly, just enough. There’s a sound of pleasure that leaves Austin’s throat, you don’t think you make that up, it vibrates against your eardrums and reaches down into you, squeezing.

It's over in a few moments when Austin pulls back to breathe, his thumb tracing along your lower lip despite you wearing lipstick. You do not need to look at yourself to understand you probably look a bit wrecked—there’s this clenching like someone has a grip on your stomach and ribcage as your eyes flutter up to see the red makeup along Austin’s cupid-bow lips.

Jesus.

“Figured we could get that out of the way so you’re not thinkin’ about it all night.”

A scoff leaves your lips as Austin runs a hand over the lower half of his face, supposedly to get the crimson evidence left behind off his skin. And yet there’s this thrumming inside of you as you think about him not being able to do that, at going to this event and people connecting the dots about your mouth and his.

You feel your cheeks splotch with pink as he takes your hand and you both begin walking towards the destination. Not thinking about it all night? Fat chance of that happening.

--

There’s this moment right before you cross the threshold of photographers, security and interviewers that you realize you can back out of this if you really wanted to. No one has seen you two together yet, you can go back to the drawing board, you can come up with a plan to promote your career and film in some other way.

And then one camera turns in your direction and snaps a flash. It’s a domino effect from there, Austin holding onto your hand as security waves you through, a direct line of carpet and backdrop to make it inside the event. There’s this whir of sound and commotion as both of you walk onto the carpet, Austin guiding you to be in front of him, his hand on your hip. Regardless of how many events you’ve been to on your own, the flurry of people recognizing you’re here with Austin is making your head spin a little. You’re grateful for the support, grounding, and even though you know it’s coming…the small pause in front of the cameras with the ELVIS backdrop behind the both of you makes your knees weak.

“Ms. Y/L/N! How long has this been going on?” Someone shouts over the sound and you turn into Austin, his one arm sliding around your waist while you place a hand on his chest.

You completely ignore the question even though a few others keep asking, next calling Austin’s name for the same response. It’s within that chaos that you feel yourself slip into a second skin, smiling up at Austin before turning to pose for some of the cameras. Austin’s hand is pressing against your lower back, keeping you close, leaning down to whisper in your ear and cause a shiver to course down your spine.

The intended reaction, you’re sure, because he smirks afterwards. Well two can play at that game. You press yourself up on your toes and plant a kiss to his cheek, smiling innocently afterwards. The camera shutter noises are endless and there’s the softest of pinks on Austin’s cheekbones, amongst his beauty marks, that you can see up close.

Once both of you pull away from that spot, you work further down the line of interviews and photographers. Most of them stop Austin to ask questions about the film and you hover nearby, watching him. There’s this warmth that exudes from Austin when he talks to people, a seemingly genuine curiosity and humbleness about himself and his work. If you’re being honest, it’s nice to see. So many actors get caught under their own spotlight, burn in it, don’t know how to live without its glare. You’re still getting to know Austin—a handful of talks does not automatically show deepest secrets or intentions.

But…one on one? Here in front of cameras? He seems to know how to talk to people—give just the right smile, hold gazes with those blue eyes of his, lingering conversations and asking questions back to the interviewer. Austin either knows exactly what he’s doing or…this is just who he is. It’s hard to tell.

A few interviewers come up to you while Austin talks about Elvis and asks questions about the film you’re currently starring in—how filming is going, if there’s any tidbits you can give away, and then there’s that one question about your grandmother that you’re surprised that someone asks. Last year you were just getting into the process of auditions for the film you’re starring in, and you almost missed your shot because your grandmother got sick. It’s been touch and go and…honestly sometimes it’s difficult to concentrate but. Your gram wouldn’t want you to miss any opportunities, so you’ve been working on trying to be both an actress and a good granddaughter. Regardless, you’ve never been one for personal questions at an event like this but…when the interviewer asks how your gram is doing, it’s almost nice that they even think of her, so you entertain that with a quick response.

And then of course, the almost hesitant but then bold questions about Austin. How long have you two been together? When did you meet? So were the rumors about the two of you at that bar downtown last year true? How do you feel about Austin’s role in Elvis? How does he feel about your current project? Back and forth, a consistent game of cat and mouse. Giving just enough of answers to keep them interested and asking before moving on.

Hovering near the entrance of the event, you play with the fabric of your dress between your fingers as you wait for Austin to join you. You turn slightly to look up at the doors you’re going to be walking through when a camera shoves its way into your space. You blink, almost confused, because there’s definitely a barrier between cameras, interviewers and the walking carpet. This guy has stepped out behind it,

“Y/N, were you seeing Austin when he was with Vanessa? There were rumors of another woman—were you that other woman?”

Your mouth opens a little at the audacity of the question but honestly, you’re not sure why you’re even surprised at this point that people don’t understand boundaries. Taking a calming breath in, you’re about to tell this guy where he can shove his camera when you feel Austin step in behind you,

“Hey man there's no need to shove the camera in her face.” There’s this air of politeness but also his tone is firm, his hand up creating space between you and the guy asking prodding questions. His arm wraps around your waist, encouraging you to move forward and up the steps towards the doors you’ll need to walk through.

“Y/N are you gonna answer the question?”

You can feel rather than see the annoyance mapping out on Austin’s shoulder blades, turning his head to this guy once again as you both walk past, “Leave her alone.”

And while you know you can stand up for yourself, you don’t need Austin to run an interference? It’s kinda nice having that help, another layer of support that you’re not used to having. You let out a soft breath as you make your way inside with him, seeing some other people from the Elvis film that are mingling with set, crew, writers, and a bunch of other faces you recognize but can’t reach for names right now. There’s this tension that melts away from your back as you hover near the door, Austin’s hand falling from your waist.

“Thanks—you didn’t have to do that. I could have handled it.”

Austin offers a small smile and gently waves you off, “S’fine—I don’t mind the whole interview process but sometimes those guys can be vultures.”

A soft laugh stirs in your chest because it’s quite the accurate interpretation. You wonder if it’s difficult for him, hearing about the breakup with his ex, this assumption and rumor that he was cheating on her while they were together. You definitely want to squash that—not only does it hurt Austin but it smudges your reputation as well. You do not want to be known as ‘the other woman’.

“I could definitely use a drink.”

Austin hums, motioning with his arm to lead the way. “You read my mind.”

Approaching an open bar, you smile and encourage some small talk with anyone that stops by to speak with Austin, offering hellos and exchanges about the night. Your mind keeps wandering back to that interviewer that was in your face about those questions about the beginning of your relationship with Austin, legitimate ones from that standpoint—you’re not gonna be able to avoid those, they’ll pop up again. Maybe in a ‘nicer’ more formal way, but still again.

There are obviously some talking points that are the same; how you met, how long you’ve been together, the movies you both are working on, some family information, and then handfuls of random things that couples should know about one another just in case. Like favorite holidays, restaurants, who sleeps on the right or left side of the bed, that sort of thing. But with these random ‘fact finding’ questions that pop up out of nowhere? You have to be a united front, no gaps, no room for rumors—stifling as many as you can like removing oxygen from a flame, choking it.

Austin turns to look at you, approaching the open bar as there’s finally space. You order glasses of wine, “You know I’ve seen a few of your films and your face out there? You’re a pretty great actress.”

You don’t think it’s supposed to be a backhanded compliment, and yet it kinda feels like one. Your eyebrows draw together as you look up at him, “What’s that supposed to mean?”

“I mean,” He hands you a drink, “That you were a ball of nerves when we walked up to the event and the minute you were in front of a camera, you changed. Like…somethin’ switched inside of you.”

There was a lot going on out there between you and Austin, you and the event, you in your own head and thoughts but…you suppose he’s not wrong? That’s more or less what happened. You’ve learned how to present yourself in front of an audience, when a camera is staring you down, when you look into a lens and somehow feel a black hole. You’ve always tried to be genuine but…it’s hard. Hollywood doesn’t care if you’re yourself, sometimes that’s the worst thing you can be. You’ve tried not to change for anyone or anything yet here you are, holding onto Austin’s hand and smiling up at him like he’s personally in charge of the sun rising every morning.

“Well, we’ve all got a persona, right? Something we sometimes show to the camera?”

Austin purses his lips, “Sure—I guess that’s not wrong.”

Why does this man get under your skin as he does? “You’re one to talk anyways—you mean to tell me all this,” You gesture up and down his body, “Is real? The boyish smile, the charm seeping out of your pores, the flirting with the camera?”

“You think I’m charming?” He smiles a little, sipping his wine.

A scoff leaves your lips, shaking your head, “You wish. I’m just highlighting my point.”

“That you’ve been checking me out.”

“That,” You can’t help but laugh softly at his teasing, the back of your neck splotching with blush. Luckily he can’t see it, “neither of us are showing one another who we actually are.”

Austin looks at you for a long moment, licking his lips, as if he’s chewing on the exact words he wants to say. “We’re pretending.” Is what comes out of his mouth but you’re not sure that’s really what he was going to put out there.

You chew on your lower lip, glancing around at people passing them by. “And I’m saying in order to sell this thing? We might have to do more than that.” He should understand that, especially as someone who dove into Elvis’s life for more than two years before he even started acting and voice coaching.

He looks intrigued at the very least – “Well what did you have in mind?”

--

Thanks for reading :) more to come!

[childofaura]

Ok I thought I was gonna be making one nitpicky rant about TLoU show deaths but

I guess I’m actually making two. Because I saw another death and while I find there was nothing broadly wrong with it, there was some cinematic choices that drove me bonkers that I just wanna stress over.

So the rest will be under the cut, but for starters, this is about Sarah and Tess

Ok so Sarah isn’t really the meat of this rant, but I do want to talk about her death scene in the show because several things about it had bugged me. And please, I’m not really here to talk about the race swap. Overall I think it’s a little sus, moreso because the actress is the daughter of one of the executives of the show; so it suspiciously indicates nepotism. But the actress herself actually managed to do a pretty great job for Sarah’s death so really I couldn’t give a shit. ANYWAYS, the show’s death. What bugged me about it was the fact that there were CUTS while Joel is trying to comfort her and struggling to pick her up. The beauty of the cinematic choice in the game, where it turns into one continuous shot the moment Joel crawls over to Sarah, is that it inherently puts us in that moment with Joel, and by panning the camera over instead of cutting each time, it really shows how Sarah is right at death’s door, like you can HEAR the exact moment that she cries her last little whimper and just... goes quiet, right when the camera pans towards Tommy’s face. The problem with having scene cuts is that it drags the scene out in such an awkward way. Plus, Sarah’s still actively crying while Joel is screaming for Tommy to help him, and then the moment it cuts to Tommy the audio just cuts out very clumsily. As it cuts back to Joel Sarah’s just already dead, and additionally it makes no sense for Tommy to call to Joel to have him realize Sarah’s dead when she was still screaming and crying right as the camera cut. And then additionally, I’m not fond of the addition of Tommy saying Joel’s name, it feels almost... cold and detached. Like the tone of that line is “Joel she’s dead, it’s too late”. Whereas in the game, he’s moving towards Joel and Sarah and he’s in so much shock because he’s watching his niece dying in a crying, bloody mess.

So long story short, nothing wrong with the scene itself (though I gotta say I don’t think I’m a fan of Pedro Pascal’s line deliveries while he’s trying to stop Sarah’s bleeding. That’s less of a “one’s better than the other” and more of “that’s just my opinion that the emotion of the line delivery in the game was better”). Scene stayed true to the game.

But ohhh, OHHHH, you wanna know which death REALLY ruffled my feathers? Tess. Tess’ death was done so damn dirty in the show compared to the game (and side note, I hate the change to Tess’s character design. I loved the short hair held up by the headband, and I loved the short sleeves that showed her arms). I think by changing the entire death in the show, you take away from the character herself, and let me explain how.

In the game, they get to the Firefly meeting place, the Fireflies have been wiped out, and we find out Tess has been bitten. The military shows up, and Tess tells Joel that she’ll buy them some time and convinces both him and Ellie to leave. And the IMPORTANCE of her line “I WILL NOT turn into one of those things!”, which I’ll talk about. Joel and Ellie leave, Tess composes herself and gets ready to fight the soldiers. As you leave, you hear gunshots and hear Tess scream, and you find out she took out two soldiers; there was six guys and Tess took down two of them. This death is a perfect encapsulation of Tess’ character: resilient, stubborn, tough-as-nails, takes matters into her own hands. That is a death that treats the character with respect and actually plays into the character’s personality. It FITS. Tess is a woman whose life, her choices, it’s all in her hands and she will do what SHE wants to do.

In the TV show, they get to the Firefly meeting place, the Fireflies were killed by infected, and everything still plays out the same with Tess’ infection reveal (and I gotta say I’m not a fan of the dialogue choices nor am I a fan of the fact they tried to heavy-handedly push how Joel and Tess are a couple with the cuddling scene, whereas in the game the ambiguity of their relationship plays better into that final scene. I like the “Look, there’s enough here that you have to feel some sort of obligation to me” way more). Joel hears the infected, Tess starts tipping over some gasoline and grenades, and Joel and Ellie leave. Tess is panicking and frightened as the infected approach and flood in while trying to light the lighter, and then the BULLSHIT. The FUCKING KISS from the infected. And no I don’t wanna hear any ‘bUT it’S NoT A kISS, iT’S INfeCTiNg HEr’ excuses. It’s a fucking kiss disguised under the thin veneer of being some cool new infected lore, and it changes the entire death from a defiant last stance to a creepy, voyeuristic scene that’s going for a cringe-out factor. Like... Sure, you COULD explore that method of infection, it COULD be a neat behavior that we haven’t seen before.

But you don’t do that for Tess. She’s the wrong character to explore that with, and the show better actually try to stay consistent and show that again if people are gonna use the excuse of that scene being necessary. And the reason why it bugs me so much is because Tess, despite her short time in the story, is such a poignant character. She’s Joel’s partner, she’s OUR first partner. Taking that power out of her hands, putting her in this freaky powerless position where it’s like she’s being taken advantage of, does not compliment the character, especially when the death is a very easy to pull off trick that only solely relied on the lighter not working for cheap tension. If you wanted to give us a tense action scene, they could have actually shown us the Tess gunfight scene from her perspective, maybe give her one or two more kills than she had in the game. But this death was really insulting to the character.

TL;DR I’m incredibly autistic about all this dumb shit and it really just boils down to a difference of opinion.