#though i think that was obvious in context

[alexturntable]

Replying to ur post didn’t scratch my brain enough on how insanely compelling the Charles and Carlos dynamic is to me irl so here I am spamming ur inbox (apologies)

Charles’ tendency towards emotional avoidance is patently a defence mechanism against vulnerability. One thing that really compels me though is the rare moments when Charles’ defensive wall drops and you get his true emotions shining through

It’s most obvious when he’s happy with his race results (Monaco, Monza). But I’d say it’s most heartwarming when it peeks through every so often when Charles relaxes enough to half-forget the camera. I’m thinking the kiss towards Carlos in the rayban shoot. The time when they decorated Christmas cookies on the sofa in the sun. The first fiorano music challenge

In those moments Charles gets giggly and shy and has a wickedly impatient sense of humour, but above all he gets a really really fond look on his face

Which is why I’ve never understood people who say they aren’t friends and are playing it up for the cameras. All evidence points towards Charles putting up emotional walls for the camera rather than acting it up

Anyway, f1 shipping aside, they are friends your honour and they are fond

I love the way you’ve analyzed this, and the examples you’ve chosen are spot on, because these are little things I’ve also noticed along the way but when you look at them in this context you see how much the behavior fits with their characters.

Charles is so good at putting up the nonchalant guy facade and hyping himself up. Every challenge they’ve ever done is always Charles saying he’s the best and no one can beat him and when he ends up losing he’s like oh I’m so bad at this but he laughs it off. There are so many little moments when he’s with Carlos where you can see the fond look ™ and it’s so special and heartwarming.

Carlos knows he’s good at a lot of things but you can see more clearly that he has some self doubt and that he’s still working on not being so “soft” by trying to “bite and not get bitten” but it’s so against his character to be mean he’s such a softie!! And that’s why he wishes he could care less, like what he thinks Charles can do better.

People who say they’re not friends overestimate how much these guys can act because trust me they can’t, just watch any of the scripted promo videos (shell) and you’ll see.

This was so fun! I love analyzing them so much, you can always talk to me about them!!

[oswalish]

rahhhh random rant because i’m angry hater mood i HATE HATE HATE people who think miss goldberg did anything to marvin. saw someone go “set those sails is a villain song and people need to accept miss goldberg is a bad person” i’m screaming and crying and clawing at the walls you don’t fucking understand it you don’t understand the goddamn musical.

in trousers is at its core about misogyny, that is its core theme, which is shown by how marvin hurts the women in his life, specifically his wife, his sweetheart, and miss goldberg. it would conflict the themes and narrative if miss goldberg hurt marvin, as this would diminish what marvin does to the other women. marvin does come up with excuses for his actions/ tries to garner sympathy in the musical (im talking 1979 vers here, i’m not as well versed on the 1985) he is immediately hit with trina shutting him down with her telling us how his actions have hurt her more than they’ve hurt him.

another thing is that the women are mostly not themselves, but rather versions of themselves that exist in marvin’s head. this doesn’t apply to trina, as she is the only woman in the musical who tells her own story. for example, your lips and me and its reprise tell us very specifically events that are happening in her life and how she’s feeling, she also tells her about her past. she also addresses marvin directly in breakfast over sugar.

whereas his sweetheart and miss goldberg do not have songs like this. “my highschool sweetheart” doesn’t tell us anything about his sweetheart other than that she’s his sweetheart, she’s a person, and that she wants marvin to pay attention to her more. but there honestly isn’t much in the musical to confirm that she actually is a person at all, she insists her own existence but marvin never pays attention to her or even addresses her existence, in childhood or adulthood.

miss goldberg is interesting. she doesn’t play into marvin’s fantasy and feels like more of a real person than his sweetheart, having her own personality and opinions. she also sings i am wearing a hat where she seems to tell part of a story that could be her own, though it doesn’t really get more specific than “i’m wearing a hat, i am unloved”. she never quite seems to behave like a schoolteacher either, within the story she seems to be more of a narrator, likely due to her importance in marvin’s story. she is the biggest case of marvin insisting his heterosexually, while also forcing him to realise he is gay. she is not actually herself within the musical, the real miss goldberg is probably nothing like her. this is an internalised version of her than marvin came up with, though it’s more authentic feeling than his sweetheart since her role is to pull marvin out of his fantasies, since she’s probably the only way marvin can actually be honest with himself and recognise his actions.

many people bring up the lines “you might tell me you’re a victim, you might get what you deserve, but i won’t excuse, boy i cant excuse, a boy who’s lost his nerve” which i will admit. do not sound great, incredibly suspicious even. but taken in the context that miss goldberg is not actually saying this to marvin, and actually it’s a version of miss goldberg that marvin has made up to make himself “behave properly” it starts to make sense.

marvin victimises himself a LOT. he’s self aware enough to recognise when he does wrong but tends to refuse to believe that it’s truly his fault, and that he’s the victim somehow. this is pretty obvious in falsettos but it’s also true in in trousers. he sings a lot of songs trying to portray himself as the victim, facing a lot of opposition from the women. this is shown in How Marvin Eats His Breakfast where he is sure that he’s in the right and is the victim because he’s not getting what he wants, and the women in the song directly oppose him by describing all the insane things he’s doing and even insulting him. it’s also shown in The Nausea Before the Game, where he’s lamenting about how his life is so hard, and how trying to live up to societies expectations is nauseating (this is a very simplified analysis of the song, i do actually thing marvin’s feelings in this song are valid but that’s an entirely different conversation). the song transitions into his wife singing about how she met him, how he ghosted her for weeks but then came back. that part of the song is much more tragic than marvin’s, essentially telling the listener that while his feelings are valid, he also seriously hurt and damaged this woman, and that that cannot be forgotten. the musical never ever lets us believe that marvin is the victim, despite his insistence.

and then every pony, is what i think the first line of that quote is referring to. how marvin is convinced that he is the victim, he is telling *himself* that. and the part of himself who knows that isn’t true manifests as miss goldberg to tell him that no, no you aren’t. no matter what marvin says, he will never be the victim, he is the one hurting others.

“you might get what you deserve” is slightly more difficult. i can’t really tell if it’s positive or negative. it could either refer to how he got what he deserved by being in a loveless marriage, or how he got what he deserved by leaving his wife and kids (and bird) to leave with whizzer. personally i think it’s the second, going with how marvin is convinced that he’s the victim, he’s convinced him leaving his wife for whizzer is what he deserves after going through so much. he thinks he deserves something good for once. and like yay bro for breaking out of your forced heterosexuality but did you have to destroy your wife’s entire life in the process? when i say marvin isn’t a victim i do mean in the context of the musical, marvin is very much a victim of society and heteronormativity, but he is NOT a victim of any of the women in the musical, which he likes to pretend he is. it’s easier to blame them than himself.

“but i won’t excuse, boy i can’t excuse, a boy who’s lost his nerve.” much simpler to understand, the miss goldberg inside marvin’s head is very much the voice of outside influence, aka wider society, the one that expects him to conform. she can’t excuse him “loosing his nerve” by deciding to cheat on his wife with a man and run away with said nerve.

anyway i hope this yap session help y’all understand that marvin was never harmed by miss goldberg (nor do i think he did anything to her, other than probably be off putting and creepy like an average 14 year old is) i doubt anyone will see this but i loooooove talking about this stupid musical so ask questions please please please or else i’ll post 5 MILLION of these because i can’t stop thinking about this musical

[avi17]

for the kiss meme!!! hobie/pavitr, 24!!! if that's a repeat of one you already have, lmk<3

24) A kiss in danger

New York- whichever New York this is, Hobie doesn’t even remember right now- is spinning.

They land less-than-gracefully behind a dumpster, Pavitr’s swinging awkward and off-balance while supporting Hobie’s full weight. The piled bags make a halfway decent cushion as Pavitr sets him partway down, unhooking the guitar strap to move it aside before letting him fully collapse onto his back.

"Puttin' me right back in the rubbish, eh?" Hobie chuckles, pulling the bottom half of his mask up as though that'll make breathing with a few probably-cracked ribs any less painful. There’s blood seeping into the fabric from the gash where his forehead connected with brick hard enough to smash through. "I've slept in worse."

Pavitr yanks his own mask off, breathing hard, his perfect hair even a little out of sorts. His sweat-shiny cheeks flush darker with embarrassment. "Shut up, it was the closest place I could think of to hide you." He glances nervously down the alleyway, before snapping back to Hobie and kneeling “What were you thinking, running right back into the fight after that? You can barely walk straight, let alone swing or anything else!”

"Told you I was fine,” Hobie retorts, trying a bit pathetically to push Pavitr back and drag himself into a halfway proper sitting position. Everything around him still feels like it’s moving, as if he’s dipping through the sky between buildings rather than flat on his arse on the pavement. “Takes more’n a crack to the loaf to keep me out long.”

Pavitr obviously isn’t having it, and he pushes Hobie’s mask up further, lifting each of his eyelids in turn to examine his unfocused pupils, wiping away the still-seeping blood with the pad of his thumb. “How many fingers am I holding up?”

“Numbers’re a tool of capitalism…oughta abolish ‘em…” Hobie mumbles, which is definitely a real view he holds and not absolute bullshit to make up for the fact that right now he’s got no idea. Pavitr hisses something in Hindi that he doesn’t understand but that has to be a curse based on the tone alone. It's sweet that he's so worried.

Shit, he's fuckin' beautiful. Both of him.

…Alright, that's not great, maybe Pavitr's got a point. But Hobie managed to string up his universe’s Vulture last week with his eyes still stinging and watering from tear gas- whatever the villain of the week can throw at him, he’s had worse. And this one’s no fuckin’ joke- he’s not leaving Gwen and Pav to deal with it on their own. Not that he doesn’t trust them- ‘course he does, and he can’t say that for many- but he’s not about to let them be the ones to get hurt because he let himself get knocked around one too many times.

Spiderman always gets back up- nah, that’s bullshit. He doesn’t care what Spiderman is supposed to do. But Hobie Brown does always get back up, without anyone but himself telling him that he has to.

He pushes again, harder this time, and manages to get a foot and a hand under him, ignoring the wave of nausea that hits him as he starts to rise. “Alright, I sat for your li’l checkup, let’s get back innit.”

He opens his mouth to say something else, but doesn’t quite manage, on account of Pavitr grabbing a handful of the front of his suit and yanking him in for a kiss.

Surely he can blame the concussion for the way his brain all but short-circuits.

He’s…fuck, he’s dreamed about this, even if this isn’t remotely how he pictured it happening. He’d have a hundred questions right now if his head didn’t feel like it was full of rocks. As it is, all he can think is how soft Pav’s lips are, warm like sunshine- perfect, just like the rest of him. And hell, it’s such a cliche he’s almost embarrassed to think it, but it’s like time stops for those few moments, letting them breathe the same air, letting Hobie memorize the feel and the taste of him in case this never happens again.

He doesn't even notice the twinge of his spider-senses, because they've been screaming for hours as it is-

-Until a nasty crash echoes from the direction of the fight and Pavitr's lips pull away from his, and he moves to sit, to follow them- and he can't.

...Wanker's webbed him to the goddamn wall. He'd be angry if he could see straight, if he was in any fit state to tear his way free. As it is, he's a little impressed, and more than a little struck stupid by the lingering feeling of the other boy’s lips on his. Pavitr is glaring at him, nostrils flared, and now is absolutely not the time to tell him that he looks even more gorgeous pissed off like this.

"If you are too stubborn to take care of yourself, then I will do it for you,” he snaps, wiping a smear of Hobie’s black lipstick and blood- far too attractive on him, criminal really- from his mouth before pulling his mask back on, disappearing back under Spiderman’s blank white eyes. “Gwen and I can handle this, I promise. I’ll be back the moment it’s safe.” His voice sounds softer, gentler than it did a moment ago, cracking a little as the worry slips through. He sounds more like himself, he sounds...it sounds like he really cares. And yeah, they're friends- or...something now, who knows what- but Hobie's still getting used to people caring.

...Or maybe Hobie’s just starting to hallucinate. Jury’s out.

Pavitr begins a running start down the alley to web himself back into the air, only to turn awkwardly mid-step, gesturing to the dumpster. “Just- stay there, okay?” he calls back, and Hobie snorts, wheezing out a pained laugh.

As if he’s given him any choice on that.

“Oi, Pav, hang on-” he starts, struggling pointlessly, but the other Spiderman is already gone, leaving him with the rubbish and the absolute mess of his thoughts.

“...Bollocks.”

[spoopers-bloopers]

Meme of the year imo

[ravioliet]

random silly doodle based on an interaction i had with my cousin earlier. Orion tries to do the whole math lesson bit for the episode but Oriole's been talking to Olivine a little too much recently or something

the main reason why he's looking at her like that though is because he doesn't know how she just pronounced those emojis out loud with her mouth

[fruityumbrella]

can never really stop thinking about the core difference between zoro's sacrifice at thriller bark vs the other major crew sacrifices (robin and sanji) but i can never really articulate it either like. idk. despite all three coming from a place of 'you mean so much to me that im willing to die in exchange for your safety', robin and sanji are both clearly acting under the influence of decades of self-worth issues and being told the world would be better off without them in it, and wanting to be useful in their final act, whereas zoro is...something else entirely.

it's in the way zoro's is an act of defiance right until the end, vs robin and sanji's capitulation. and thats not to say that their sacrifices were lesser or that they just 'gave up' or whatever. robin and sanji were both in awful situations where they were undoubtedly boxed in and had to make snap decisions, but there is something to be said for how they both feel like they have no choice but to shoulder the burden alone and in silence, without giving the crew even a chance to have a say. conversely, zoro makes the offer to kuma when every other avenue has been exhausted and the crew is totally out of commission (though they all made it explicitly clear theyd rather die themselves than hand over luffy).

there's something about luffy (and the crew)'s life being as important to zoro as his ambition, vs luffy (and the crew) being more important than robin/sanji's own lives. as in, the most important thing in zoros life has always been his goal, and he raises the crew to that same level (and luffy even higher) of value, which speaks volumes given his character, as opposed to the others who have never really learnt how to value themselves, thinking of themselves as the outsider that can be easily cast off for the greater good. like...bringing someone up to stand where you are vs pushing someone up above yourself yknow...

[designernishiki]

kiryu sitting haruka down for a really important talk and looking nervous but deeply serious about it and when he finally speaks he gives an honest and vulnerable admission that upon much self reflection, as unlikely as it may seem, as shocking as it may come, he is, in fact, gay, and he hopes this doesn’t make her feel any distress or discomfort in-part due to the implication that he likely didn’t have romantic feelings for her mom, he did care very very much for her regardless of labels, and so on and so on. and she lets him give this lengthy emotional confession that goes on for like twenty minutes before he finally goes dead silent anxiously anticipating her response. and she’s just like. uncle kaz I really appreciate you opening up to me like this and I’m really proud of you for accepting yourself for who you are. but me and every other kid at morning glory figured this out like 10 years ago

[dye-it-rouge-et-noir]

"For particularly important things, it's always more reassuring to write them down like this." - Zhang Beihai

[ID in alt text]

[maddy-ferguson]

society if girls were taught to turn their discomfort outward instead of inward

[plasma-packin-mama]

UH OH!

[softgrungeprophet]

*clenches fist* this is my suffering

[sonknuxadow]

god its only been one page and everyone is already making this all about shipping and basically all anyone has to say about this issue and what might happen in it is shipping related and its getting on my nerves and i know its just going to get worse once the actual full issue drops. sad !

[boy-armageddon]

Personally I think the little phenomenon w/ Johnny Whitney writing a just genuinely sort of devastating song once per every record or so (or twice! take, well, Take Me to the Sea 4 example. actually three times maybe. talking about specifically georgia + my organ sounds like… here and also bonetrees and a broken heart a little. also also As Brass And Satin just feels utterly melancholic in its near entirety) is that he just wakes up face down covered in blood in the studio, his own or someone else’s he can’t tell, shaking and grasping some shoddily scrawled out lyrics on a rlly very old piece of paper. The rest of the band might be like “johnny what the fuck happened” and he just springs 2 his feet like “oh haha nothing :> im fine don’t worry. nothing happened!!!!!!! anyways i have this cool new idea 4 a song wanna hear” and any time anyone tries 2 ask about it he immediately dodges the question and moves on2 a diff topic. He can explain what it’s about, but any time someone asks about the inspiration he gets nervous and is like “ohhh ummm. I 4got! Any other song though lol” and doesn’t wait 4 an answer. that’s just a theory though a Seattle theory

[bitchfitch]

If this is helpful I do think of your OC couples as that "you two are perfect for each other just never involve anyone else in the fucked up shit you have going on" reddit comment so seeing content for a non-OC ship w that dynamic would be neither disturbing nor surprising

ye i think the issue I'm having is that Mohg/Miquella is a ship i wouldn't normally go within a mile of based on the tags and archive warning that apply to it by default. It's two things that squick me out so bad i can't read a good portion of the fics for them on ao3 because some authors enjoy leaning into those aspects of their relationship a lot more than i do. which like, not shaming them but boy howdy is the back button important for their tag.

so i worry folk would have the same assumptions about them I would have had if i had just like, saw a fic and associated tags without a 100hr game worth of context

[yuridovewing]

teehees my way into your inbox. im bad at gauging unpopular stuff but i think evil spottedleaf aus are fun, especially if they're surrounding her discontent with dying so young and her wanting to stay within relevance by inserting herself into prophecy after prophecy.

strongly agree | agree | neutral | disagree | strongly disagree

I think it depends on the specific AU, but I think there’s good potential there! Canon Spotty was done dirty and I think there’s a lot you can do with her in a villain role.

The ones that don’t vibe with me are anything surrounding Firestar or Thistleclaw for obvious reasons but thankfully I don’t see a tonnnnn of that

That being said, I get why it’s not everyone’s cup of tea considering the discourse around her character.

[technoxenoholic]

anyway if you know that the otherkin community exists and you still choose to ""kin for fun"", that does indeed make you an asshole.

you can literally just call a character your favorite, comfort character, muse, blorbo, or anything else. you literally don't have to steal our word and misuse it. you don't have to do that.