#this podcast is taking over my brain | Explore Tumblr Posts and Blogs

jonnywaistcoat · 5 months

Note

What’s your opinion on the contrast between “silly” and “serious” spaces? Do you think people can have very serious interpretations about a genuine piece of media and also be goofy about it? I’m asking this particularly because I’ve seen people in the Magnus podcast fandoms fight about people “misinterpreting” characters you, Alex, and the many other authors have written. Are you okay with the blorbofication or do you really wish the media you’ve written would be “taken seriously” 100% of the time?

And follow up question, what do you think about the whole “it’s up to the reader (or in some cases, listener) to make their own conclusions and interpretations and that does not make them wrong”, versus the “it was written this way because the author intended it this way, and we should respect that” argument?

This is a question I've given a lot of thought over the years, to the point where I don't know how much I can respond without it becoming a literal essay. But I'll try.

My main principle for this stuff boils roughly down to: "The only incorrect way to respond to art is to try and police the responses of others." Art is an intensely subjective, personal thing, and I think a lot of online spaces that engage with media are somewhat antithetical to what is, to me, a key part of it, which is sitting alone with your response to a story, a character, a scene or an image and allowing yourself to explore it's effect on you. To feel your feelings and think about them in relation to the text.

Now, this is not to say that jokes and goofiness about a piece of art aren't fucking great. I love to watch The Thing and drink in the vibes or arctic desolation and paranoia, or think about the picture it paints of masculinity as a sublimely lonely thing where the most terrible threat is that of an imposed, alien intimacy. And that actually makes me laugh even more the jokey shitpost "Do you think the guys in The Thing ever explored each other's bodies? Yeah but watch out". Silly and serious don't have to be in opposition, and I often find the best jokes about a piece of media come from those who have really engaged with it.

And in terms of interpreting characters? Interpreting and responding to fictional characters is one of the key functions of stories. They're not real people, there is no objective truth to who they are or what they do or why they do it. They are artificial constructs and the life they are given is given by you, the reader/listener/viewer, etc. Your interpetation of them can't be wrong, because your interpretation of them is all that there is, they have no existence outside of that.

And obviously your interpretation will be different to other people's, because your brain, your life, your associations - the building blocks from which the voices you hear on a podcast become realised people in your mind - are entirely your own. Thus you cannot say anyone else's is wrong. You can say "That's not how it came across to me" or "I have a very different reading of that character", but that's it. I suppose if someone is fundamentally missing something (like saying "x character would never use violence" when x character strangles a man to death in chapter 4) you could say "I think that's a significant misreading of the text", but that's only to be reserved for if you have the evidence to back it up and are feeling really savage.

I think this is one of the things that saddens me a bit about some aspects of fandom culture - it has a tendency to police or standardise responses or interpretations, turning them from personal experiences to be explored into public takes to be argued over. It also has the occasional moralistic strain, and if there's one thing I wish I could carve in stone on every fan space it's that Your Responses to a Piece of Art Carry No Intrinsic Moral Weight.

As for authorial intention, that's a simpler one: who gives a shit? Even the author doesn't know their own intentions half the time. There is intentionality there, of course, but often it's a chaotic and shifting mix of theme and story and character which rarely sticks in the mind in the exact form it had during writing. If you ask me what my intention was in a scene from five years ago, I'll give you an answer, but it will be my own current interpretation of a half-remembered thing, altered and warped by my own changing relationship to the work and five years of consideration and change within myself. Or I might not remember at all and just have a guess. And I'm a best case scenario because I'm still alive. Thinking about a writers possible or stated intentions is interesting and can often lead to some compelling discussion or examination, but to try and hold it up as any sort of "truth" is, to my mind, deeply misguided.

Authorial statements can provide interesting context to a work, or suggest possible readings, but they have no actual transformative effect on the text. If an author says of a book that they always imagined y character being black, despite it never being mentioned in the text, that's interesting - what happens if we read that character as black? How does it change our responses to the that character actions and position? How does it affect the wider themes and story? It doesn't, however, actually make y character black because in the text itself their race remains nonspecific. The author lost the ability to make that change the moment it was published. It's not solely theirs anymore.

So yeah, that was a fuckin essay. In conclusion, serious and silly are both good, but serious does not mean yelling at other people about "misinterpretations", it means sitting with your personal explorations of a piece of art. All interpretations are valid unless they've legitimately missed a major part of the text (and even then they're still valid interpretations of whatever incomplete or odd version of the text exists inside that person's brain). Authorial intent is interesting to think about but ultimately unknowable, untrustworthy and certainly not a source of truth. Phew.

Oh, and blorbofication is fine, though it does to my mind sometimes pair with a certain shallowness to one's exploration of the work in question.

#Big thoughts #Big rambles #These are my current thoughts at least #They will likely change #As all things do

2K notes · View notes

its-your-mind · 1 year

Text

ALWAYS rotating TAZ: Balance around in my brain like microwave but ESPECIALLY with the announcement of The Suffering Game graphic novel

The dope thing they can do (and are doing) with the graphic novel series is sprinkle in moments of foreshadowing and hints to the reader about what REALLY might be going on here, which is so cool and I’m a huge fan of it, especially when you’re telling a story in this form.

But what is REALLY FUCKING TASTY about Balance as a story is that none of the motherfuckers telling it had any clue what they were doing when they started

Gerblins is dick jokes and not knowing how dice work and making fun of each other for voices. LICHRALLY the scene where Taako grabs the Umbrastaff is immediately proceeded by Clint trying different voices for Merle while Justin begs him to stop, as Taako. Merle gets launched across the room cuz he failed his save, and now Taako has an umbrella. The scene moves on.

Griffin brought them up to the BOB, introduced them to the Director, and gave them memories of a war fought over nameless, lost, powerful but mysterious artifacts. The memory that Taako takes from it is the idea of soured cream (ya know, for his taco quest).

And then they’re off, on different adventures, making friends, saving lives, making more dick jokes, and Griffin is in the background, slowly building in the meta-plot, as all DMs do.

But this meta-plot was HUGE. It was ALL-CONSUMING. It completely changes everything we know about this world and these characters. It takes the moments of dick jokes, and arguments about character voices, and flirting with death, and adds a layer of tragedy and complexity that just wasn’t present the first time they told that story.

AND THAT’S WHY THIS STORY KICKS ASS. The vibe of the story changed as Tres Horny Boys grew closer and closer to remembering the lives they had lost, as Griffin upped the stakes, as people started dying. They still don’t know shit for most of The Suffering Game, but you absolutely could not have predicted the tone of that arc after just listening to Gerblins. It sounds like a completely different story. And so when the other shoe drops, when shit breaks bad, when it’s the end of the world… again, and they have to reclaim their Stolen Century…

It makes sense. The tone has shifted enough to accommodate that kind of change. The characters have grown (back) into themselves enough to make this work.

Because TAZ: Balance is a tragedy. But the tragedy happened before the podcast even started, and had been erased. So of course it started off with goofs and dildo jokes. Of course the three of them started being standoff-ish with each other and making light of every situation that should have had a lot more weight. They didn’t know what they had lost, and we, the audience, didn’t either. So it was easy to laugh and joke… until slowly, it wasn’t so much anymore.

Plenty of people have praised Griffin’s storytelling abilities, but I think the thing that was most impressive to me was how he took the disparate threads laid out behind the Boys on their adventures, and followed them backwards, into the story they had lost, and forwards, into the ending they earned. I fucking love that he settled on Istus as the deity to interact with them, because I don’t think there’s a better representation of the story Griffin was weaving behind the scenes of the arcs.

Story and Song wasn’t really an arc driven by dice rolls and role playing - but it wasn’t railroading either. Griffin took every story they had told, every happy ending they had fought for, and twined them around and through each other. The world was saved not because of a lucky nat 20 roll, but because every person they had helped through the story came out in force to fight beside them to save their world.

And so in the end, the Stolen Century was a tragedy. But The Adventure Zone: Balance was a story of hope, of family, of the power that just a few loveable doofuses can have when they move through the world, making friends and saving lives. So when the world was ending and they needed help, there were dozens of people waiting to hear the Story and the Song that would give them the push they needed to fight, and the hope they needed to win.

#taz #taz balance #taz balance spoilers #taako adventurezone #merle highchurch #magnus burnsides #McElroys #griffin mcelroy #the adventure zone

4K notes · View notes

shizucheese · 7 months

Text

Hey guys, we need to talk. Because a certain little something in TMAGP 8 is causing what is genuinely the most toxic part of the Magpod fandom at large to once again rear its ugly head. So let's talk about podcast character appearance head canons, shall we?

I'm tagging this with the Magnus Archives, TMA and Magpod tags because I am absolutely calling all of you out, but if you don't want spoilers for The Magnus Protocol episode 8 then stop reading right now.

. Okay, so, Gerry exists in the TMAGP universe. He's happy (or at least acts cheerful). And some people have headcanoned this to mean that he is no longer goth, or at the very least isn't dying his hair black with bad box color. And other people have decided to get seriously agro over this. I have literally seen with my very own eyeballs someone call "un-gothing" Gerry a "hate crime" and calling the person they were talking to "gothphobic."

Let me make this absolutely clear for all of you: podcasts are a purely audio medium and unless a physical trait of theirs is explicitely stated, everyone's headcanon for how a character appears is valid. Goth TMAGP Gerry is valid. But also

Rainbow Goth TMAGP Gerry is valid. Pastel Goth TMAGP Gerry is valid.

Not Goth At All TMAGP Gerry is valid.

Bald Gerry who has actually gotten his brain cancer diagnosed in time and is getting treated for it is valid. Somebody's headcanon of a character that has no canonical description to them, or whose headcanon matches the few crumbs of canonical description we have but otherwise doesn't look the way you imagine them to, is not going to take away from your own headcanon of what a character looks like. If someone imagining or drawing a character looking a different way from how you imagine them looking somehow takes away from your enjoyment of the fandom or otherwise makes you feel like you need to barge in and tell them that they're Wrong and need to conform to your headcanon or else, that is a reflection on you, not them.

And this problem way predates TMAGP, let alone TMAGP 8. The only description we have of John is that he is in his early 30's and has prematurely greying hair.

If someone thinks he looks like the pastiest motherfucker to ever dwell in a basement, an extra-in-the-Adam's Family or Tim Burtan protagonist of a man, let them.

What's that? You want to tell them that John is BROWN and if they don't headcanon him looking that way they're WRONG and RACIST? Back away from the keyboard and go outside.

(Ironically, as someone who started getting grey hairs in my hair in my 20's myself, I'm pretty sure everyone's headcanon of John, with tiny little whisps of grey in his hair, is wrong, because if he was so grey that people were surprised to learn he was "a child of the 90's," he was probably full on salt-and-pepper when he was in his 20's.)

The only description we have for Martin is that he (man who canonically has the self esteem of a used doormat) describes himself as "not the smallest guy", Not-Sasha called him "roomy", Melanie is skinner than him, and Jonny said he imagined him as a "bigger guy" who would beat Alex in a physical fight. If someone decides to take this information and conclude that it means he's tall, broad and has muscle, rather than that he's overweight, fucking let them. If your first instinct to this is to run to your keyboard and call them "fatphobic" or otherwise bash them for it, I once again urge you to back away from your keyboard and go outside.

Someone headcanons Basira not wearing a headscarf? We have exactly 0 canonical physical description of her and the people who headcanon her as having one are basing that purely off of her name alone. Fucking let them. Someone headcanons Melanie and/ or Georgie as a skin color you don't agree with or a hairstyle you don't like? Fucking let them. As long as someone's headcanon of a character's description doesn't contradict the few canonical descriptions we have of a character, why do you care? Them having a different headcanon from you doesn't take away your right to imagine the characters looking however you like, anymore than it should take away their right to do the same. Someone headcanoning John as white (or Black, or Asian, or Mixed, or whatever) isn't going to make all of the fanart of John as brown with long hair suddenly disappear, nor the fanfiction describing him as such (although I do often wonder if the opposite is not true; is the fact that John looks the same in so much of the fanart I see on here really because of fandom "consensus", or is it because people are absolutely awful to anyone who draws him Different?). Someone headcanoning Martin as not fat isn't going to make the mountains of fanart of him as a fluffy little marshmallow vanish into the void (although I do remember hearing about someone getting bullied off the internet for daring to draw Martin as not fat). And someone headcanoning Gerry in TMAGP as not being goth isn't going to take away your preciouse goth TMAGP Gerry headcanon. That should be part of the fun of it, shouldn't it? Seeing what different images people have conjured in their heads of these characters we only get to experience with our ears, and celebrating the differences as well as the similarities? Why are we bullying people into conforming to one appearance of a character when no actual canonical appearance of them exists?

#the magnus archives #tma #the magnus protocol #the magnus protocol spoilers #tmp #tmp spoilers #tmapg #tmagp spoilers #magpod

2K notes · View notes

burnedhoney · 2 years

Text

I’m trying to fuckinf fix my attention span and try to wean off of needing my phone and always getting distracted but then fuckfidjsiajaiajakajakaj everything has fuckinf ad breaks and I don’t wanna focus on ads so like I can only practice as long as there’s not ads and I liek podcasts and it’s just so frustrating.

#like I just wanna listen to my podcast at work and not check my notifs every 5 seconds but then every ad break #i just feel like I need to distract myself from the ad and then by the time the ads over it’s hard bringing my focus back to podcast #it’s just so frustrating I don’t want my brain to he mush I want to focus I know I can #I’m actually gunna switch to flip phone I swear to god #I’ll just come on here on my desktop and only text people #I’ll get an mp3 it’ll be fine #it’ll jsut be annoying having to add all the podcasts I listen to at work 😭#but I’m gunna do it actually #the only thing is I like taking pics all the time #that’s nice

1 note · View note

icarryitin · 4 months

Text

Effortless

spencer reid/gn!reader

coming into this from a fandom where my last fic got literally 11 notes (half of which were my own self-rbs) the reception for workplace hot was heartwarming, pls accept more pre-relationship work crush goodness as thanks🧡🧡

series masterlist

word count: 1.6k// warnings: absolutely hopeless pining, this man is so so clever but so so oblivious

summary: Taking care of you just comes naturally to him.

“Chicken.”

“Did you know, the origin of ‘chicken’ in reference to someone who’s afraid can be traced back to the use of ‘hen-heart’ as a synonym for ‘fainthearted’? Its first documented use was in the York Mystery Plays - which are considered to have been written prior to 1450.”

“Chicken.” Morgan repeats.

“Shut up.”

While his second response is decidedly less eloquent, Spencer’s pretty sure he can’t fact-dump his way out of this particular conversation.

It’s not exactly a secret - his giant, all consuming, world ending crush on you - at least, it’s not a secret from anyone except you. He’s past being embarrassed about it when one of the others brings it up, as long as it’s not around you. That’s happened exactly once, and Spencer’s automatic response was to chatter about the migration patterns of a specific type of bird he’d read an article about the day before. Ceaselessly. No matter how much everyone else had begged him to stop, until the previous subject was well and truly forgotten. So when you’d asked a leading question about another kind of bird? He was more than happy to oblige. You’ve always done that, listened to him. It’s nice.

It’s probably what got him in this mess in the first place.

Somewhere along the way, a routine developed itself. He remembers the first day you asked him to elaborate on something he’d started on earlier in the day, trivia about the fluctuations in the popularity of a specific make of car. It had ended up being useful in the context of the case anyway but, more importantly to Spencer, the tidbit had you cornering him in the kitchen to ask him about it. And now it’s just what happens. You potter around to make your lunch, he chatters about the most recent paper he’s read like your own personal podcast.

It’s a comfortable friendship, solidified by little things like that. Though they’re not all that little to him, if anything they’ve only deepened his feelings for you - he doesn’t let on, for your sake, he tries not to.

But his affection sneaks out in other ways.

He gravitates towards you without realising it, just to exist in your space. At the round table, on the jet, at crime scenes, in whichever office the local PD have cleared out for the team. He’s never hovering, but he’s not not hovering. Just working parallel to you. It’s why he likes the bullpen, for all its hustle and bustle, because he can look at you out of the corner of his eye whenever he wants to. He can spin his chair to face you, stretch his legs out across the aisle, and let a wave of sheer steadiness wash over him. Sometimes it’s you, reaching over to hand him something or abandoning your post completely to perch on the corner of his desk. Spencer thinks that’s what it might be, the peace you seem to exude that quiets his busy mind - the kindness you extend to victims and their families that flows through your very veins. It follows you like an aura, there’s very little he won’t do to be bathed in it whenever he can. It’s all led to a unique dynamic that means you’re paired up together more often than not.

You move around each other unconsciously now, leaning over maps and files and evidence. Swapping pens and ducking under one another’s arms as you both scribble away at the board. It’s almost choreographed, natural. Everything is with you, and that’s what gets him. There’s a part of Spencer Reid’s brain that is dedicated to considering his actions in relation to the people around him, running in the background like a computer programme, but he doesn’t have to run it around you. He doesn’t think, for once. He just does.

It’s effortless, second nature, to make space for you. The same as it is to leave a seat open for you, even if it’s the only one. To nudge you gently when you’re too far in your own head to realise you’re picking at your skin. You’ve started nudging him back in recent weeks when he does the same, chewing on the inside of his lips and paying absolutely no mind to the damage he’s doing. You notice, you care enough to stop him. Just like you’ll leave an empty space on the nearest desk for him to hop up on. He’s not sure if you realise you’re even doing it. Clearing perfect Spencer-sized spots at every precinct and office you’re set up in, because you know he prefers it to the chairs. Which makes his own actions feel a little less overt and, in turn, lets him breathe a sigh of relief. Maybe this is just what good friends do for each other. He can call you that, at least, if his own fears won’t afford him the chance to call you anything else.

Though, he’s not sure he could stop himself from taking care of you in his own way if he tried. Mostly because he’s not trying in the first place.

He didn’t even realise what he was doing, the first time he turned to you to double check your protective vest was secure. Narrow fingers tugging on straps, barely even processing the inviting warmth of you underneath them, he’d been too focused on making sure you were as protected as you could be. And then he’d walked into the Unsub’s home ahead of you anyway.

Spencer never walks ahead of you, anywhere. He’s always ushering you in first, something drilled into him by some unknown force, his basest of instincts - you’re ahead of him into the office, into precincts, into crime scenes, even into the elevator. But in a hostile situation? He’s first through the door every time.

So much so that it’s routine now, wherever the case, whoever is around. He grasps the shoulders of the thick vest and wiggles it, he rips the velcro straps off at your waist only to secure them again. A little tighter, and he’s quietly grateful that you let him. The heat of you at his back is reassuring when scenes aren’t secure. To know that, based on his experience anyway, the Unsub will more than likely jump out ahead of him - and he’ll be the one between you and the bullet. Which is maybe a little dramatic, but it’s the truth.

“Ready, boys?”

Doctor Spencer Reid has never claimed to believe in any god, but he makes sure to thank something for the interruption. Anything to get himself and his giant crush out from under Derek Morgan’s microscope.

It’s Emily who speaks, Emily who tosses protective vests at him and Derek, but Spencer’s eyes are focused on you entering the office behind her. You’re concentrating on your own vest, securing straps that’ll only be repositioned in a minute or two. But you still do it yourself each time, as if you’re not expecting him to come over and double check your work. There’s no way you haven’t noticed by now. That he’ll do it every time, that he doesn’t do it for anybody else, that he spends twice as long checking on your vest than he does securing his own. FBI emblem emblazoned on his chest, Spencer crosses the room dutifully to conduct his little ritual.

Velcro isn’t quiet. It pierces through the background noise when he undoes the buckle at your side and tears it free, but his eyes don’t move from the task at hand. Yours are heavy on his face, the way they always are when he gets this close. He pretends not to notice.

“Thank you.” You whisper softly. So softly that between the chatter and gun checking behind him, only the two of you can hear.

It’s only now, now he’s certain your vest is snug as possible, that he allows his careful gaze flicker to meet yours. He struggles not to take a step back with the force of it.

“Of course.” He replies, reluctantly pulling his cold fingers out from the warmth beneath the shoulders of your vest. His smile, small, self-conscious, is returned tenfold and beaming. The same way it always is. He doesn’t know how you do it - see the things you see every day and still manage a grin wider than the Río de la Plata. Maybe he can’t explain everything.

He catches a movement over your shoulder, it’s Morgan. Arms folded at the elbow, fists tucked close to his chest, as he makes the exaggerated movements of a chicken. Head bobbing and all. The teasing support, because that’s all it is, is nice to have - but there’s not one member of the team who understands exactly why he’s so afraid to say anything to you. In an ideal world, he wouldn’t be. He’d be able to pull you aside and tell you exactly how many days it’s been since he’d met you, started crushing on you, fallen absolutely hopelessly in love. It kind of all started at once, if he’s being completely honest. And in that ideal world, you would smile that billion kilowatt smile and tell him you love him too, and even the paperwork from the bureau wouldn’t matter. This isn’t an ideal world, however. He knows that better than most.

Spencer’s been rejected before, more than even he would care to admit, by friends and lovers and parents and colleagues and strangers. But he’s not sure he could take it from you, not while you hold his heart so tenderly in your hands. Even unaware of the responsibility, you’re gentle with him.

He’ll keep you close, regardless, as much as he can without arousing your suspicion. He’ll keep making space for you and double checking your vest until every ugly confession claws its way out of him.

That’s enough, for now.

if you’ve made it this far, pls know i am kissing u gently on the forehead🧡🧡

i’m also thinking about opening requests for all things pre-relationship spencer bc mutual pining and obliviousness is my fav fav fav thing, in case anyone was interested👀

#i’m also choosing at this stage to make him only experience good things #bc i’ve just got to the maeve arc in my first full watch of cm and i know what happens and i’m sad already i love her #spencer reid x reader #spencer reid x you #criminal minds #lou writes #the canyouniverse

831 notes · View notes