#yeah jonathan is the best

[occudo]

@jonmartinweek day 1, Pets & Cats / Feelings Realized

I wanted to make something cute for this promt, but I thougth I drawn enough cats with them already :'D So yeah, Feelings Realized got me thinking- when did Jon realised? And I think he did in the hospital, when he just assumed Martin will be his side, and when he wasn't , he had to face it why this hurt him so much…

Or something like that.

[malthedreamer]

That's how it went, right?

[pattonvirglsanders]

I just had the realization that what I’m experiencing while re-listening to TMA with my dad is extremely similar to the experience I had seeing Hadestown for the first time (and pretty much every time afterwards).

Like, I KNOW how these characters end up and how changed and traumatized they become, just like I KNOW that Orpheus will never succeed in his quest to get Eurydice back.

But every step of the way, a part of me still hopes that things go differently this time.

That Tim escapes the institute while he still can

That Martin isn’t targeted by Jane Prentiss

That Sasha doesn’t flee into Artifacts Storage

That Jon confides in his coworkers instead of pushing them away

That Basira, Daisy, and Melanie stay far, far away from the institute

That Orpheus looks up

That Jon doesn’t have to succumb to The Eye to stay alive

That Peter Lukas isn’t there to take Elias’ Jonah’s place and manipulate Martin

That Jon doesn’t read that statement

That Eurydice doesn’t accept Hades’ offer

That Basira is able to get through to Daisy

That Jon doesn’t decide to sacrifice himself

That Orpheus doesn’t turn around

[meraki-yao]

This is something I thought of suddenly: So when the Actors-on-Actors roster came out, I didn’t have that much of a problem with Taylor being paired up with Joey King. It was kinda odd to have two close friends who are now doing very different projects put together, but they were happy and watching Joey King fangirl over RWRB was fun.

But now that I think of it, it was such a missed opportunity not to put Taylor with Jonathan Bailey. 

(Gonna preface this by saying I know far less about Mr Bailey than Tay, I skimmed through Fellow Travelers, Bridgerton S2 is on my to-watch list, and as a fan of Wicked the Musical I have complicated feelings about the movie adaptation)

The thing that is so often brought up with RWRB is that it’s a queer rom-com, it’s a queer love story with a happy ending. The relationship itself does not need to be sacrificed. In fact the whole Kensington confrontation is proving exactly that: they are in a position and point in time where they don’t have to give up on their love and relationship for the sake of other aspects of their lives, they can “find a way to love each other on our own terms, no one else’s”. Many people, including the core four of the movie (Matthew, Casey, Taylor, Nick) have said that this is something that made this movie stand out from other queer productions, something that the world needs. 

Fellow Travellers is almost the exact opposite: it is exactly about the periodic queer struggles. It is about the lavender scare when any queer members of the US government were deemed national security risks, and were subsequently dismissed from their stations. It is about the AIDS epidemic that led to the devastation and discrimination of queer communities. It is about a closeted man who chooses to submit himself to a lavender marriage, but who also can’t let go of his one true love. If RWRB is the idealistic future that we’re trying to build, then fellow travellers depict the dirty, gritting, tragic reality of the past. 

And here’s the thing, as Matthew said, both types of queer stories are important, both kinds of queer stories need to be told. We need to acknowledge the bad parts of the past, as a reflection of society, as a reminder of history and the progress made, but we also need to imagine the wonders of a better future, as a target for society, as a vision for the progress to make. 

And it would have been so interesting to hear the conversation on this contrast between the main leads of two very different queer projects. 

Additionally, another thing they can compare is queer intimacy on screen, because again, the intimacy of the two projects are vastly different: RWRB made a deliberate point in creating a more gentle, vulnerable, and quiet intimacy in the Paris scene, with the focus being on the characters’ face; Fellow Travellers’ intimacy is far more explicit and wild, much sexier if you will. Again, both have their place in media and the queer community: sex can be wild and fun, but sex can also be sacred and soft. It would be really interesting to hear the similarities and differences between the two experiences, especially since Taylor has done more explicit stuff in Minx (in a heterosexual on-screen couple) and Jonathan has done more vulnerable intimacy in Bridgerton (also in a heterosexual on-screen couple)

There are just so many parallels and points that the two could have talked about! So although I’m still fairly okay satisfied with the Taylor Actors on Actors we got, this is such a missed opportunity to talk about the importance of different types of stories in the queer community.

[harbingermotel]

Hey yeah so I haven't watched an episode of Doctor Who in ten years and when y'all were talking about the gay kiss with Jonathan Groff I thought it was gonna be like oh, he flirts with the Doctor all episode and gives him a quick peck at the end

I watched Rogue last night. What the fuck. How could they do this to me

[loosethreadsofyoursoul]

i made a tma playlist! it’s one song per fear entity, each corresponding to an avatar or victim (see below the cut for song breakdowns and more yapping)

cover art i downloaded from pinterest - it doesn’t say the artist but if u know who it is lmk !

the buried: like real people do - hozier

pov: alice “daisy” tonner

why were you digging / what did you bury / before those hands pulled me / from the earth

what did jon bury? what was he hiding as she suffocated? what was daisy hiding from before he came and pulled her out of there? did she ever feel like a real person?

the corruption: my strange addiction - billie eilish

pov: jane prentiss

hurts but i know how to hide it, kinda like it / … / my doctors can’t explain / my symptoms or my pain / but you are my strange addiction

and she did kinda like it, she was drawn to it, addicted to it, even with the pain and the detriment to her entire life. the corruption is toxic relationship core and she made a perfect avatar.

the dark: i will follow you into the dark - death cab for cutie

pov: manuela dominguez

if there’s no one beside you when your soul embarks / then i’ll follow you into the dark

i mean, she literally followed maxwell rayner into the dark. for all the good and the bad, she would have followed him even if no one else did. yknow, for cult reasons. but still.

the desolation: agnes - glass animals

pov: jude perry

agnes, just stop and think a minute / why don't you light that cigarette and / calm down now stop and breathe a second / … / a choking rose back / to be reborn / i want to hold you like you're mine / you're gone but you're on my mind

thinking about agnes montague for this song… jude really loved her. and it wasn’t pretty, she wanted control and loved her partly for how she was connected to their god, but the love was there. and i think she always missed agnes.

the end: if we were vampires - noah kahan, wesley schultz

pov: georgie barker

If wе were vampires, and death was a joke / we'd go out on the sidewalk and smoke / and laugh at all the lovers and their plans / i wouldn't feel the need to hold your hand

i considered this for trevor/the hunt bc of literal vampires but like the narrator is a realist in this song which is very much who georgie is. death is inevitable. danger is inevitable. and just because she couldn’t feel fear didn’t mean georgie wasn’t aware of what she had and that she needed to protect it and herself. she wasn’t reckless with her life which is what this song means to me.

the eye: every breath you take - the police

pov: elias bouchard/jonah magnus

every breath you take / and every move you make / every bond you break / every step you take / i'll be watching you

self explanatory. to me. still giggling about it actually.

the flesh: under your skin - jukebox the ghost

pov: jared hopworth

how much can you fit under your skin? / … / i can fit two people under my skin / … / and i can feel you laughing, under my skin / and the happy palpitations are making me… grin

also self explanatory. just shoving bones in there as often as possible. thanks a lot, jurgen leitner.

the hunt: run boy run - woodkid

pov: trevor herbert

run boy run, this world is not made for you / … / run boy run, break out from society / … / tomorrow is another day / and you won't have to hide away / you'll be a man, boy / but for now it's time to run, it's time to run

this song is so young trevor trying to find his place in the world after violently losing his brother to a supernatural being he didn’t know existed and feeling the responsibility of that while also being ousted from society. he never did stop running huh.

the lonely: agoraphobia - autoheart

pov: martin blackwood

tried on 13 pairs of / shoes and not one made me want to / leave this blessed house of mine / that’s just fine / i really don’t want to go anywhere / i don’t really want to go anywhere

i see why this is on so many lonely playlists and it really is martin in mag 170, trapped in that house by his own mind but also by what the house is doing to him. it’s a comfort, but not a good one, very much those feelings of self isolation.

the slaughter: in our bedroom after the war - stars

pov: melanie king

it's us, yes, we're back again / here to see you through, 'til the days end / and if the night comes, and the night will come / well, at least the war is over

i like this song for melanie and the slaughter bc it’s kind of an antithesis to who she is. as long as she has a war to fight, she’s comfortable. she won’t lose everything she’s fighting for. the war may be raging but by god she won’t be the one who loses.

the spiral: strawberry fields forever - the beatles

pov: michael shelley/the distortion

let me take you down / cause I'm going to strawberry fields / nothing is real / … / living is easy with eyes closed / misunderstanding all you see / it's getting hard to be someone, but it all works out

there’s the obvious “misunderstanding all you see” spiral and distortion connotations but for michael, it also was hard to be someone. nothing was real to him either, really.

the stranger: you’re somebody else - flora cash

pov: tim stoker

well, you look like yourself / but you're somebody else / only it ain't on the surface / well, you talk like yourself / no, I hear someone else though / now you're making me nervous

the irony of this song is that. she didn't look like herself. or talk like herself. but to tim, it was sasha, and she didn't make him nervous until the end when he became nervous about everything because of what happened to her. and he became somebody else, too.

the vast: space oddity - david bowie

pov: simon fairchild

i'm stepping through the door / and I'm floating in a most peculiar way / and the stars look very different today / for here / am I sitting in a tin can / far above the world

this song has very clear vast connotations but i also like the imagery of simon sitting far above everyone else. in a literal way but also he thinks he's above most people because of his abilities, so he uses them to cause problems on purpose which is ultimately his downfall. what an interesting, weird old man.

the web: control - halsey

pov: annabelle cane

my mind's like a deadly disease / i'm bigger than my body / ... / goddamn right, you should be scared of me / who is in control?

the thing about annabelle is that all those things are true but. at the point where we get to know her, she's part of something bigger than herself, it genuinely doesn't matter to her whether she lives or dies.

the extinction: love song (for the apocalypse) - ira wolf

pov: jonathan sims

i packed a photo of us from our very first date / you packed the water 'cause I couldn't carry the weight / and into the ashes you carved out a heart with our names / ... / we could say we told you so, but what good is that now

i like this song for jon and the extinction for many reasons but firstly i think it's funny to have jon's song be associated with the only entity that didn't actually mark him. but yeah this song is very jonmartin during the eyepocalypse. everything's a disaster, but they're together, and they endure.

[renirae]

the thought wouldn't leave my mind, so here's my headcanon for the season 1 archival crew's halloween costumes... turned into a comic!!

yes I'm two days late now but shh halloween is a state of mind <3

[remorner]

scriddler save me ... save me scriddler

[firesidefantasy]

Your mystery question is here! :)

Rose: What’s the best thing that's ever happened to your character?

hello !! thanks for the ask <3

i would love to give a less cheesy answer to this but i'm pretty sure the best thing that's ever happened to them is just,, meeting each other.

[batcavescolony]

Batman #189

Ah yes magnificent scientific equipment! A....What his that? IBM 360 Model 75 computer? Oh how the time changes, my phone has more computing power then that.

[janejill]

Me and my friend starting to listen to the Magnus archives together:

[fiendishartist2]

web jon is so sillay

[monsterhunting]

this might be a hot take but everyone always talks about how nancy should end up single or steve should end up single but who does no one ever talk about how jonathan should end up single….

like don’t get me wrong. stoncy kissing holding hands s5 endgame etc etc… but also??? maybe the character who has always been responsible for other people and doesn’t have a storyline outside of supporting other characters should be the one to “figure out who they are without a partner” or whatever… just an idea………

[transrevolutions]

absolutely unfair that when this happens to jonathan jarchivist sims he also gets eldritch eye powers but when MY brain does this all I get is an autism diagnosis

[mutalieju]

Really Alan Grant consistently wrote jon really well. Also Doug Moench, he wrote jon with lot of empathy too and those stories are always a trip. James Tynion has his moments... the worst is Gregg Hurwitz (i have a grudge against him)

[skullcrusher-mountainn]

okay. only posting this because the chances of JoCo seeing my stupid little blog about him are like. 0.0001%

but. i've always wanted someone i trust, an adult, someone i look up to, to look me in the eyes and say what she did, what i endured, was not my fault. that she was disgusting. to repeat all the facts i already know, but with a wise voice and kind eyes. with no anger or disgust or shame directed at me. just a reassuring gaze and anger only at what happened to me.

i wish an adult i looked up to, a guiding figure, would just tell me that i was just a kid, that i didnt know better. because i was just a kid, and i didnt know better. i want someone to look at the mistakes i made during what was happening, and understand why they happened, how ive grown, and that i was freshly twelve when everything happened.

i hope its not insane of me to say i wish JoCo himself would just, tell me what was done to me when i was twelve wasnt my fault. i hope this isnt parasocial or gross or wrong to feel or think or say. i just wish someone i look up to and admire would tell me i didnt deserve to be used for someones pleasure at such a vulnerable age.