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dr3amofagame · 3 months

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i 100% agree with what theminecraftbox had to add about c!quackity. i might be biased because he's my blorbo, but i think it's way more interesting to have sexual violence be the one line he REFUSES to cross in the prison. almost like it's a way to protect himself from his own corruption.

a;ljsfkdaslf i'm not too sure that's what kat was saying tbh

(more discussion of noncon under the cut)

i think in terms of c!dreamity, right, i think that the probability probably swings towards c!quackity not doing anything physically of a sexual nature--i think comments and threats are pretty damn likely, tbh, but i can see a separation made for him between the violent nature of what he's doing and, well, sex, for a variety of reasons. because he's a romantic at heart and wants aspects of his relationships/love life kept separate from the bloody depths of pandora, because of his own perceptions of propriety and social norms, what have you. that being said, i think it's fair to make an argument in the opposite direction--what's undeniable, as kat has mentioned, is that there is a degree of restraint regarding matters of a sexual nature w/ respect to the prison, in that if anything of that nature exists he is very obviously much less unapologetic about them compared to how he is around violence and torture in general in the context of pandora (like, there's just very little that's unsubtle about hitting someone with an axe), but the existence of restraint to some degree compared to the much more overt nature of the rest of the torture definitely doesn't in itself prevent torture with sexual elements from existing in totality. just bc he's not walking out of the prison covered in another type of bodily fluids doesnt mean that the frustration and desperation of trying to get the book for another bloody day, with noncon sitting between them as an elephant in the room from day one, combined with the obvious social connotations with power and sex and masculinity and what it means to make someone your bitch, couldn't have all boiled over. ykwim?

again, to stress: if we're talking purely in canon, my opinions tend to skew towards the lack of anything physically happening of a sexual nature during the prison arc torture visits. but the fact of the matter, to me, is that it could have existed and that we wouldn't, like, know. the torture has a curtain drawn over it for a reason; we are kind of meant to wonder what "2 1/2 months of continuous daily torture" is really supposed to mean. i think that the prison arc absolutely has the space for it to include stuff like, violent sexual assault.

which is kinda where i have...different feelings about manberg c!schlackity, tbh. the contexts are so different that this comparison is kinda hard to make, but while the sexual harassment and the abuse in c!quackity's relationship with c!schlatt is obvious and undeniable, i think the manberg arc as presented does provide constraints, to a certain effect, on c!schlackity's relationship? it's important to note that c!schlatt was perceived as a bumbling fool before he was elected, and that's literally part of why c!quackity even made a coalition with him in the first place. it certainly wasn't for ideological reasons, considering his wanting to make a coalition with pog2020 literal minutes before--this guy thought schlatt was his best ticket at beating pog2020, and schlatt was also someone that came off as drunk all the time and completely idiotic. again, i've not rewatched in awhile, but i don't really think c!schlackity was marked by this feeling of c!quackity feeling Trapped By Fear in manberg as much as he grew increasingly disillusioned with the relationship--the greatest evidence of fear as a motivating factor imo would have to happen post-red festival, but that's also a point where c!quackity's frustrations towards schlatt and manberg as a whole were boiling over and i don't really remember much of him using the red festival as evidence that c!schlatt was someone he was afraid to fuck with. as kat mentioned earlier, the physical abuse in c!schlackity was obvious and undeniable, but when it happened it was also the motivating factor for c!quackity to murder c!schlatt and run.

obviously, the sexual elements in c!schlackity are Far more pronounced than anything for c!dreamity, and if we're talking the presence of dubcon in general i feel like c!schlackity definitely has plenty of room for it, even if all you take into account is how c!schlatt was drunk 90% of the time. and w/ the context of how part of the deal for the coalition was framed as c!quackity's use of sex to get himself the position of VP and the ... not nonexistent presence of his lying and manipulating c!schlatt for the sake of power, bc their relationship in manberg really was predicated on power and c!quackity's pursuit of it specifically, there's a lot of ways that i think a sexual relationship for c!schlackity can fall that's far more ambiguous and two-sided than what i've often seen in terms of c!schlackity portrayals. but along that same line, when c!quackity's reaction to physical violence was so pronounced and made a point of, in some manners i feel like portrayals of inescapable sexual abuse and violent sexual assault re: c!schlackity don't really feel in line with what i remember of their relationship in canon; i just don't really feel like manberg as a context provides the same room for it, especially in comparison to pandora's vault, which was kind of the point i was trying to make in answering that anon. that's just me tho .

#tw rape #tw dubcon #tw noncon #my asks !!#dsmp hot takes #c!dreamity #c!schlackity #like in terms of dubiously consensual sex in several permutations i really do think in c!schlackity it's almost like a given #and sex in general is an obvious part of c!schlackity in a way that's not at all true of c!dreamity #but the relationships in question and the contexts of said relationships also provide different limits #which is where i'm kinda at w/ the two #limits not in terms of 'what would the characters do'#but more like. 'what conceivably could have happened and still have canon play out in the same way'#hopefully that makes sense ?

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eddie-redmayne-italian-blog · 2 months

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Life Is a Cabaret! The Shimmering Kander and Ebb Classic Heads Back to Broadway Starring Eddie Redmayne

BY ADRIENNE MILLER

PHOTOGRAPHY BY JULIEN MARTINEZ LECLERC

STYLED BY HARRY LAMBERT

March 5, 2024

When I was 15 years old, I saw Cabaret for the first time, at a community theater in northeast Ohio. Though I considered myself sophisticated in important ways (I recall that I was wearing a wide-leg Donna Karan bodysuit that evening), my experience as a theatergoer was then limited to The Sound of Music and Ice Capades: Let’s Celebrate. I wonder if my parents, who had season tickets to the theater, knew that the show wasn’t exactly “family” entertainment. Set in 1931 Berlin as it careens toward the abyss, Cabaret depicts alternating stories. There’s the doomed romance between a fledgling novelist named Clifford Bradshaw and a young singer of supreme charisma (and mediocre talent) named Sally Bowles. And then there’s the seedy nightclub, the Kit Kat Club, which is populated with a highly sexualized cast of misfits and overseen by a ghoulish Master of Ceremonies. The show’s ethos—the glamour and terror, the irreverence, the campiness, the unreality—shaped my taste forever, and I knew that I had just experienced one of the greatest works of art ever created. I would never look at theater, or life, in the same way again.

Over three decades later, I’ve seen more stage productions of Cabaret than any other show, including a revival starring the original Emcee, Joel Grey; I’ve seen the Bob Fosse film version over 50 times. I’ve pretty much always got one of Fred Ebb’s sardonic lyrics jangling around in my head. Today, it’s “You’ll never turn the vinegar to jam, mein Herr,” and I couldn’t agree more.

Youthful exposure to Cabaret also turned out to be a life-changing event for the star of the new production opening this month on Broadway, Eddie Redmayne. “Weirdly, when I was 15, it was the first thing that made me believe in this whole process,” he says. Redmayne was a student at Eton when he first played the Emcee; he had never seen Cabaret when he was cast. On this late-autumn evening, Redmayne is speaking to me from Budapest, where he is shooting a TV series. “It reaffirmed my love for the theater,” he says of his first experience. “It made me believe that this profession, were I ever to have the opportunity to pursue it, was something that I wanted to do.”

Now, as he prepares for the transfer of the smash-hit 2021 London production of Cabaret (in which he also starred), Redmayne is reflecting on the power and durability of the John Kander and Fred Ebb masterpiece. “The show was just so intriguing and intoxicating,” he says, adding that the character of the Emcee posed many questions when he portrayed him for the first time, but provided scant answers. A few years later, when he was an art-history student at Cambridge, he again tackled the part of the Emcee at the Edinburgh Festival Fringe. At a dingy performance space called the Underbelly, he did two shows a night, the audiences getting rowdier and more intoxicated throughout the evening. He’d get up the following afternoon and stand along Edinburgh’s Royal Mile handing out flyers for the show, dressed in latex. “There was just a sort of general debauchery that lived in the experience,” he says. When his parents came one night, they were alarmed to find that their son had turned into a “pale, lacking-in-vitamin-D skeleton.”

Flash forward 15 years. The Underbelly cofounders and directors, Charlie Wood and Ed Bartlam, would approach Redmayne—now with an Academy Award for The Theory of Everything and a Tony for Red under his belt—with the idea of again playing the Emcee. Redmayne was eager to return to the role, but many questions remained—principally, who might direct it. In 2019 he happened to have been seated in front of the visionary young director Rebecca Frecknall at the last performance of her West End production of Tennessee Williams’s Summer and Smoke. It was an emotional evening for Frecknall, who’d been working on the project on and off for a decade. She and Redmayne were introduced, but “I had mascara down my face and probably didn’t make a very coherent first impression,” she tells me from London, where her new show, The House of Bernarda Alba, has just opened at the National Theatre.

Redmayne was astonished by the depth and delicacy of understanding that Frecknall brought to Summer and Smoke, a romance with the classic Williams themes of loneliness, self-delusion, and unrequited love. A few months later, Redmayne asked Frecknall if she’d consider directing a revival of Cabaret. “I said, ‘Of course I’ll do it, but you’ll never get the rights,’ ” she recalls. Those rights were held up with another production but were shortly thereafter released, and Frecknall went to work assembling her creative team—among them musical supervisor Jennifer Whyte, choreographer Julia Cheng, and set and costume designer Tom Scutt. Frecknall’s transcendent production of Cabaret opened on the West End at the tail end of the pandemic and succeeded in reinventing the show anew, winning seven Olivier Awards, including one for Redmayne and one for Frecknall as best director.

When Cabaret begins its run in April at the August Wilson Theatre, starring Redmayne, Gayle Rankin, Bebe Neuwirth, and Ato Blankson-Wood, it will be just the second major production of the show directed by a woman. (Gillian Lynne directed the 1986 London revival.) In Frecknall’s version, Sally emerges as the beating heart of the show. “I find that most of my work has a female protagonist,” says Frecknall, who has also directed radical new interpretations of A Streetcar Named Desire, Chekhov’s Three Sisters, and Romeo and Juliet. “And I have a different connection to Sally,” she says. “I was really drawn to how young she was…and how she uses that sexuality and how other people prey on that as well.” The role of Sally Bowles, originated in this production by Jessie Buckley, who also won an Olivier for her performance, will be played this spring by the brilliant Scottish actor Gayle Rankin.

“When I first met with Gayle, I was blown away by her passion and fearlessness,” says Frecknall. “She’s a real stage animal and brings a rawness and wit to her work, which will shine through. She’s going to be a bold, brutal, and brilliant Bowles.” Redmayne also praises Rankin for the depth of emotion she brings to the part, and for the vulnerable and volcanic quality of her interpretation.

Rankin arrives at a candlelit West Village restaurant on a chilly winter evening in a sumptuous furry white coat that would put Sally Bowles to shame. Her platinum hair is pulled back from her face and her dark blue eyes project a wry intelligence. Rankin lives near the restaurant and mentions that she has recently joined a nearby gym—not that she’s going to have much time for workouts in the coming months. Over small seafood plates (of her shrimp cocktail, she shrugs and concedes, “It’s a weird order, but okay”), she shares her own rich history with Cabaret.

She grew up in a small Scottish village, watching Old Hollywood movies with her mother and grandmother. At 15, she left home to attend a musical theater school in Glasgow; on her 16th birthday, she visited New York for the first time with her family. “It sounds like a cheesy, made-up story,” she says, but when she and her parents took a tour of the city on a double-decker bus, they passed by the Juilliard School. “I thought,” she says, “ ‘I am going to go there.’ ” The following year, she and her father flew from Glasgow to New York for her audition. She would become the first Scottish drama student to attend the institution.

At Juilliard, there’s an annual cabaret night, in which all third-year drama students perform songs. Rankin sang “Don’t Rain on My Parade” from Funny Girl, but she recalls her acute sense that she could have chosen a number from Cabaret. “I think I secretly always wanted to be that girl,” she says of the classmate who did perform those songs.

A couple of years after she graduated Juilliard in 2011, Rankin’s agents approached her with an opportunity to audition for Sam Mendes’s 2014 revival of his celebrated 1998 Broadway version (first staged in London in 1993), with Alan Cumming reprising his Emcee role. She was cast as Fräulein Kost—an accordionist sex worker who is revealed as a Nazi—playing opposite a revolving cast of Sallys, including Michelle Williams and Emma Stone.

Rankin has recently emerged as a fierce presence in films and in television (The Greatest Showman and two HBO series—Perry Mason and the upcoming season of House of the Dragon), but then “it kind of came across my desk this summer to throw my hat in the ring for Sally.” How does Rankin make sense of this fascinating, mystifying character? “Everything is so sort of up for grabs…. People feel as if they have a claim over her or know who she is. And the real truth is, only Sally gets to know who Sally is.” She has been rereading Christopher Isherwood’s 1939 semi-autobiographical novel Goodbye to Berlin—the inspiration for the show—in which the English writer sets the dying days of the Weimar Republic against his relationship with the young singer Sally Bowles. (In 1951, the playwright and director John Van Druten adapted the book for the stage with I Am a Camera; in 1963, Broadway director-producer extraordinaire Harold Prince saw that the play could be musicalized and hired Joe Masteroff for the libretto and the songwriting team of Kander and Ebb.) Isherwood based Sally—somewhat—on Jean Ross, a British flapper and chanteuse who later became a well-regarded film critic, war correspondent, political thinker, and Communist. (He gave the character the last name of writer and composer Paul Bowles.) For the rest of her life, Ross maintained (correctly) that Isherwood’s portrayal of her diminished her reputation as an activist and as an intellectual.

“Ross wanted so badly to write to Isherwood,” says Rankin, “and to condemn him: ‘You slandered my name. You said all these things about me that weren’t true.’ And as far as she got in the letter was ‘Dear Christopher.’ ” As Rankin builds the character, it’s this notion of the real Sally—not the fictive version constructed by Isherwood—that she finds so captivating, and heartbreaking.

The upending of Sally as an “object” is another core conceit behind the production. “I felt that other productions I’d seen had this slightly stereotypical male-gaze idea,” Frecknall says. She views Sally’s musical numbers as describing different facets of female identity. “Don’t Tell Mama” deals with the fetishization of youth and virginity, and in Frecknall’s production, Sally, disturbingly, appears in a sexy Little Bo Peep costume; “Mein Herr,” a song about manipulation, control, and female sexual desire, is in conversation with the cliché of the strong, “dominant” woman. “I think Sally’s very clever at being able to play an identity, and also play it against you,” she adds. The character “has secrets to tell us,” Rankin says. “Important things to share with us. And I think that’s the umbilical cord between her and the Emcee.”

Although Sally and the Emcee share the stage for less than five minutes, the Emcee’s musical numbers can be seen as a kind of meta-commentary about Sally’s actions. “What interested me was the idea that the Emcee was a character created by Hal Prince and Joel Grey,” says Redmayne, referring to the actor who portrayed the Emcee in the original 1966 production. “He doesn’t exist in the book Goodbye to Berlin and was their conceit to connect the story of Sally Bowles.” Rankin believes that there is a kind of mystical bond between the two characters. “As to whether or not he’s a higher power, or higher being, he does have an access to a higher knowledge,” Rankin suggests. “I think Sally feels that too.”

And who is the Emcee? A supernatural being? Puppeteer or puppet? There are no clues in the text. Prince conceived of the character as a metaphor representing Berlin itself. “The idea of him as an abstraction,” Redmayne says, “and so purposely intangible, meant that I actually found a new way of working.” Redmayne built the character from the ground up, starting with big, broad gestures that would be gradually refined. The “very fierce, ferocious intensity” of Herbert von Karajan, the famously dictatorial Austrian conductor of the Berlin Philharmonic and a Nazi party member, served as a particularly fertile inspiration.

Historically, the role of Emcee has been coded as gay, and embodied, in most prominent productions, by gay actors. Frecknall’s production had to address what it meant to cast Redmayne, a straight white male actor, in the role. “Tom [Scutt] and I felt very clearly that, well, it’s not going to be the Emcee’s tragedy,” Frecknall says. A person like Redmayne—given his class, ethnicity, and sexuality—would emerge from the catastrophe unscathed. Redmayne concurs: “As the walls of fascism begin to close in, he has the privilege to be able to shape-shift his way out of it.” The character’s journey is from Shakespearean fool to Shakespearean king.

In Hal Prince’s 1966 production, Grey’s delicate, meticulous performance as the cane-twirling Emcee is pure nihilism—as a representation of Germany’s conscience. In the later Mendes iteration, the Emcee emerges as the central victim: In that production’s chilling last scene, Alan Cumming’s louche Emcee removes a black trench coat to reveal a concentration camp uniform; a burst of bright white light follows, from, presumably, a firing squad. But in Frecknall’s version, the Emcee is exposed not as a victim of the system, but as the chief perpetrator. The show, she notes, “becomes the ensemble’s tragedy.”

“I was really intent that we cast it very queer and inclusive,” says Tom Scutt, Cabaret’s multitalented set and costume designer. We are sitting on a black banquette in the lobby of his hotel, across the street from Lincoln Center, where he’s working on Georges Bizet’s Carmen. To mount a revival of Cabaret in 2024, Scutt contends that “there’s no other way. That was really at the headline of our mission.”

There are two casts in the show: the main company and the prologue cast, which provides pre-curtain entertainment. In general, the members of the prologue cast don’t come from traditional musical-theater backgrounds, but from the worlds of street dance and hip-hop—“dancehall, voguing, and ballroom scene,” Scutt notes—and in the London production, some of the prologue performers have been promoted to the main cast. “There is something deeply, deeply moving about how we’ve managed to navigate the usual slipstream of employment.”

Part of Scutt’s intention with Cabaret has been to “smudge and diffuse’’ the audience’s preconceived notions. Inclusive casting is one mode for change; iconography is another. In this case, that has meant no bowler hats, no bentwood chairs, no fishnet stockings. The aesthetic is less Bob Fosse and more Stanley Kubrick. “We started off in a place of ritual,” he says. “I really wanted the place to feel as if you’ve come into some sort of Eyes Wide Shut temple.”

Scutt has reimagined the 1,250-seat August Wilson Theatre as an intimate club—warrens of labyrinthine new corridors and passageways, three new bars, and an auditorium reinvented as a theater-in-the-round. Boris Aronson, the set designer of the show’s iconic original 1966 production, suspended a mirror on the stage in which the audience members would see their own reflections—a metaphor that forced the audience to examine its own complicity; but in Scutt’s design, the audience members must look at one another. Access to the building is through a side entrance; as soon as you arrive, you’ve already lost your bearings.

In many ways, it’s remarkable that such a weird and complex work of art masquerading as a garishly entertaining variety show has had such longevity. Scutt has an explanation about why this piece—created by a group of brilliant Jewish men about the rise of antisemitism and hate, about the dangers of apathy—continues to speak to us so profoundly almost 60 years after its Broadway debut.

“I can’t really think of anything else, truly, that has the same breadth of feeling in its bones,” Scutt suggests. “I honestly can’t think of another musical that does so much.” As grave, and as tragically relevant, as the messages of Cabaret are, he and the members of the company have found refuge in theater. Both Scutt and Frecknall grew up singing in their churches as children; theater is to them a secular church, a space where human beings can congregate and share healing. “It was made with such pain and such love,” Scutt says. “Which is absolutely the piece.”

In this story: hair, Matt Mulhall; makeup, Niamh Quinn. Produced by Farago Projects. Set Design: Afra Zamara.

#eddie redmayne #gayle rankin #vogue magazine #the emcee #sally bowles #broadway #nyc #Julien Martinez Leclerc photographer #harry lambert #styling #best actor #oscar winner #olivier awards winner #obe #talent #new article #photoshoot

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girl4music · 4 months

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youtube

They’re pretty damn significant. Hit all the traits and tropes I love. Have some slow burn between them. Not much but a nice amount before Waverly just blazes through that Sheriff’s office and seduces Nicole. A girl that knows what she wants - who she wants - and when she wants it. I can relate to that definitely.

But I think the thing I really love most is just how real they are within a supernatural Universe. Which is very reminiscent of Xena and Gabrielle and Tillow. They’re realistic. Nothing is forced. It’s a natural and organic progression. Even when everything else isn’t. Which is kinda the draw because I love supernatural/fantasy shows that play around with tone, theme and vibe. That are creative and versatile in what they do all the while keeping to the core of what it actually is. The creator/showrunner deserves all the credit for this.

I always tend to have a crush on at least one of them in the WLW ship. It usually tends to be the redhead.

NICOLE is RAYLEIGH HAUGHT! Like… smoking!

Especially with the stetson and cop uniform on.

It’s funny. Kat got asked in one of the Clexacon conventions by a fan what Nicole would do for Waverly as far as sexy roleplay goes because Waverly does a cheerleading and Mrs. Claus dance for her. And DomKat were wracking their brains for an answer.

And I was like “Are you kidding me right now guys? She’d do cop roleplay obviously! She has handcuffs!”

Kat came up with this building a treehouse in sexy underwear rubbish and they all were like “Yeah!”

😒🤨

Anyway, this couple has it all. Everything I love and then some. They are main characters with their own individual arcs. Well, Nicole starts off as a side/recurring character. But regardless, she’s treated as main from the beginning of her appearance because they do a hell of a lot better with her and her story than what was done with Tara Maclay from ‘BtVS’. When she eventually becomes a main character in Season 3, they flesh her backstory and arc out properly and it just makes the ship all the better.

Also the showrunner subverted Bury your Gays by putting a bulletproof vest on Nicole when she was shot. Because a cop would be smart to do that.

Consider me a WayHaught shipper. They’re worth calling another one of my OTP ships along with Xena and Gabrielle, Willow and Tara and Calliope and Juliette because they hit all the marks of what I love to see in a WLW ship. I’m pretty obsessed with them. And I can’t wait for my DVDs to arrive so I can watch the show all over again and watch them all over again. For now I’m just making do with YouTube videos on them. And there really is no shortage of them. So many people really seem to love WayHaught a lot.

I am really not surprised in the slightest that they are considered one of the all-time greatest WLW ships.

They have great chemistry. They’re well-written. They’re both gorgeous. They’re realistic. They’re funny. Their sexual intimacy scenes are 🔥🔥🔥

But most of all. The most important thing of all. They both survive and have a happy ending. Which is rare.

#wynonna earp #wayhaught #domkat #waverly earp #dominique provost chalkley #nicole haught #katherine barrell #wlw representation #otp #syfy #I’m a shipper #a wayhaught love story

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least-carpet · 1 year

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MDZS characters and Western astrology: Wei Wuxian and Jiang Cheng

I was thinking about the pure comedy of Jiang Cheng, Wei Wuxian, and Jin Ling all being Scorpios (genuinely fucking hilarious move by Ms. MXTX) and was like: but what is the rest of everyone's chart?? (I was also like is this too niche? but I assume this fandom is full of other queer people and some of y'all must also be into astrology, right? Right?)

That's biting off way, way more than I can chew. HOWEVER. Some Big Three placements (sun, moon, rising) seem more reasonable. (Has someone done this already? Is there consensus?)

Does it make sense to analyze this work through the lens of Western (rather than Eastern) astrology? Probably not! This is just for fun. Take it with many, many grains of salt.

TL;DR I think Wei Wuxian has a Gemini rising and a Sagittarius moon to go with his confirmed Scorpio sun, and that Jiang Cheng has a Capricorn rising and a Cancer moon to go with his confirmed Scorpio sun. If you're an astrology fan then you know that I'm saying WWX is wildly annoying and Jiang Cheng is a champion grudge-holder from hell. Still thinking about Lan Wangji.

Wei Wuxian

I don't think he has a lot of earth placements, if any. My guy is brilliant, dynamic, impulsive, and completely shitty at managing practical stuff and long-term consequences. He's also otherwise pretty well-balanced, so I think he likely has one of each of the other element. Scorpio provides a fixed water sign. I would guess that he has Gemini as his rising sign and Sagittarius as his moon sign.

I love a big Gemini placement, but they are incredibly annoying. Charming-annoying, outgoing annoying, won't shut the fuck up annoying. This also means that his rising sign would trine Lan Wangji's sun sign, which is a generally harmonious aspect. Gemini is a mutable air sign.

I think his moon sign has to be a fire sign, and I want to say that it's Sagittarius. This would put it into his 7th house of committed partnerships. I feel like it's suitable there for a variety of reasons. But truthfully, this pick is purely based on vibes. Sagittarius is idealistic, likes to lead through teaching, and is the fire sign most prone to just straight-up escaping if feelings gets too real. The avoidance and idealism are linked; the desire to maintain distance comes from the desire to maintain the idealism, which might not survive conflict or intimacy. IME they're also wild-ass party animals who love a drink and hold it well (said with the greatest affection and admiration). Sagittarius is a mutable fire sign. That said, I would also buy Aries or Leo.

For more about Gemini risings, check out Alice Sparkly Kat's breakdown here.

Jiang Cheng

Contrary to Wei Wuxian, I would guess that his chart is a lot less balanced. He's shrewd, grounded, and effective. He's also got Big Fucking Feelings. With that in mind, I think his moon sign is another water sign (water ruling the emotions) and his rising sign is an earth sign. Specifically I think his moon is in Cancer (the cardinal water sign) and his rising sign is Capricorn (the cardinal earth sign).

The Cancer moon-Scorpio sun combo is a pretty brutal one-two hit. Congratulations, you now have every feeling and you will get over them precisely never! The other important thing to know about the moon is it sometimes represents the mother; Cancer is additionally ruled by the moon; in my experience, people with notable Cancer placements have particularly significant, overdetermining relationships with their mothers. With the rising sign I've picked, it'll be in the 7th house of committed partnerships—which, uh, his mother's relationship to his father and how that relationship is explained to him absolutely affects how he understands partnership. That's why dude is still fucking single when it would make a lot more political sense for him to marry and have a kid. He experiences partnerships through the lens of his mother's disparagement, humiliation, and rejection, because he's always been identified with her by his family. I digress.

Anyway, now that we have a person who has comically huge feelings, how do we account for his political success? I think his rising sign is Capricorn. Out of the earth signs, Taurus is too lazy (I say, with my own Taurus rising—Nie Huaisang is also a Taurus sun) and too slow getting started. Virgo is too idealistic, it loves a system, it wants things to be simple. It has incredible hustle but what I've noticed about people with big Virgo placements is that they struggle with the disjunct of how they think things should work and how things actually work. It also is a sign with a tendency to wilfully impose itself on others. Capricorn, meanwhile, is pragmatic, strives for self-control, and is sensitive to boundaries. This also puts his sun in his eleventh house, which is the house of the collective. Jiang Cheng's life trajectory is public leadership, which he's born to, groomed for, and sacrifices hugely in pursuit of.

Alice Sparkly Kat also wrote a breakdown for Capricorn risings.

I wanted to put Lan Wangji in here, too, but I'm still rotating him around in my brain... I kind of think he might have both an Aquarius rising and an Aquarius sun. He has big Saturnian energy.

#jiang cheng #wei wuxian #yunmeng shuangjie #those two PLUS jin ling being scorpios... amazing #mdzs astrology headcanons #just making up facts about my blorbos. don't mind me #mdzs +#astrology #least-carpet thoughts

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freakattack · 11 months

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Wario ware goes to the beach

since We are maybe about to get this real im going to mind barf about this while i still can

Mona brought her camera and is taking "nature pictures" but she is only taking pictures of seaweed, barnacles, and snails. She is digging with her hands to see if she can find a dead crab but suddently she hits

Orbulon, who has been buried in the sand by kat and ana. They found him asleep on the ground and spent like 20 minutes throwing handfuls of sand at him. By the time they got bored it was already too late

Kat and ana are now out at sea fighting the kraken

Dribble is out running in the water but spitz does not join him because he hates that shit. He retreats to drier land but who does he meet but ashley, hiding under an evil dark umbrella because she hates the sun. Red is there too but he really really really wants to go make sand mud. Eventually he joins dribble and they have fun in the sun while spitz and ashley form an unlikely bond over being similarly thoughtful and introverted individuals while possibly exchanging sage advice.

Elsewhere wario is being attacked by seagulls

Dr. Crygor has brought his family to engineer the worlds greatest sandcastle and mike is bitching the whole time because hes getting sand in his joints. Eventually they build a sand machination so large and monstrous that it comes to life and threatens to destroy the whole beach. Luckily jimmy T is here surfing with a drove of athletic women (his ski team) and they all come and make a big wave to destroy the sand robot. Dr crygor is sad that his creation is destroyed but everyone else is having a pretty good time. Dance party credits

#EDIT: i didnt even realize a seagull attack post queued before this it was meant to be #The gang

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mamasturn · 2 years

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la douleur exquise | III.

pairing: austin butler inspired male oc x kat graham inspired fem oc (calisto and alcacia)

summary: they've known each other since childhood. their parents were close and they grew up together. with growth comes feelings of love and lust. alcacia finds herself wanting to be with calisto, knowing he doesn't want her back, but that doesn't stop him from using her to get what he wants.

warnings: toxic relationship. emotional manipulation. nsfw themes (no smut though). alcohol consumption.

potential tag list (these people tend to interact the most. let me know if you want to be added/removed): @neeville @dulcewrites @crash-and-cure @cvpidspearl @blackwriter48 @wonderprince @venus2eros @adoreyouusugar @sunshinetoday1 @cosmic-parker

Calisto was awake just two hours later. His stomach settled but his head continued to pound. His eyes were cloudy with sleep and his vision was hazy due to the dark room. His mouth felt dry and his lips were cracked. His tongue darted across his mouth to gain some kind of moisture.

A hand caressed his face then trailed down his chest. He jumped slightly. His shirt was gone. His eyes scanned the bedroom to the best of his ability. His white shirt cast along the chair in the corner. Leather jacket on the lamp. Jeans and boxers near the bathroom door. A black, lace bra on the nightstand. His eyes widened.

Calisto craned his neck to the left slowly and groaned softly at the sight, and not in a good way. Beside him lay Alcacia with just a sheet covering her bottom. Her bare back on display, littered with love bites and small scratches from his blunt nails. Her leg was hooked around his and the warmth from her love radiated greatly. Her once composed hair was sprawled over her pillow and soft breaths came from her parted lips.

He slept with her. The greatest mistake he could’ve ever made. But hey, drunken states cause for drunken action. At least she was enjoyable.

With a pounding head, Calisto attempted to slide from beneath the sheets inconspicuously. He swung his legs across the side of the bed and winced. Every ounce of his body was sore and felt heavier than an anchor. His shuffling around the room for his clothes broke Alcacia’s sleepy trance.

“Cal?” she muttered. “where are you going?”

“Leaving,” was all he said.

“What—what’s wrong?” Alcacia sat up with the sheets to her chest. Confusion hugged her tight and wouldn’t let go. They were just fine three hours ago, wrapped in each other’s bodies and whispering soft praises to one another. “We were just—“

“It was a mistake.” He didn’t face her as he roughly pulled his shirt over his head. He shrugged on his leather jacket and began aggressively pulling his boots onto his feet. “It was one time and it was a mistake.”

Mistake. His choice of words hit her like a train. He regretted it. She let him take her as his own and he regretted it. She thought they’d gotten somewhere. That his touches were loving and a nonverbal confession of well-hidden feelings toward her.

“But you said—“

"You’re so pretty, baby." He pulled her body flush against his as she fell apart. "You smell so nice. You’re all mine. This is all for me? So sweet. Just like that, mama."

He whipped around aggressively and groaned aloud. “It was a lie, Alcacia. You’re a good distraction but this is going absolutely nowhere. You’re not her and you won’t be her. You’re pretty, yes. You’re good in bed, yes. But you’re not for me and I’m not for you, because you’re not her. It’s going nowhere.”

A choked gasp came from her. A shaken hand clasped over her mouth. He used her. She was nothing but a toy in his sick game of manipulation. She nodded slowly and peeled the sheets away from her body. Movements slow and calculated as she plucked her clothes off of various objects in the room.

Calisto's baby blues followed her with every move she made. Not an ounce of regret filled him. Alcacia tucked her shirt into her skirt and slid her feet into her heeled boots. She glanced at him once more with an indescribable pain in her eyes, then walked out of the room.

She knew her place now. A distraction. A mistake. A regret. A plaything for his enjoyment. Much less, but definitely nothing more.

#black authors #austin butler x reader #austin butler x black!reader #austin butler #austin butler x black reader #austin!elvis x reader #austin butler fic #austin!elvis x black!reader #writers and authors #austin butler inspired male inspo x black fem oc #calisto and alcacia #calisto x alcacia #austin butler smut

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h0t-p1nk-ch33tah-pr1nt · 14 days

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Hi, Kat! Rotating that Itto thought you posted earlier; he’s usually someone who overestimates himself, overplaying into this “macho hunk” role. He claims himself invincible, truly the greatest, truly the strongest — no, nothing can touch him. I imagine this would probably prove a small hurdle when you first start scolding him for being so reckless; for getting himself so terribly hurt. He’d tell you it’s fine, he waves his hand and says it’s “barely a scratch” when he’s missing an entire horn. But after having experienced your warmth, after seeing your loving expression as you ask him if he’s alright, if he’s in pain — the way you take time out of your day to see to his wounds, to bandage his hurt, to personalise his otherwise boring casts and braces with reminders of your love, something in him… changes. Not that he’d admit it or ever show it if others are present. But, perhaps, in moments where it’s just you two, he can indulge himself by doing the absolute opposite of what he did before; playing into his injuries, whining about how much it hurts even if it doesn’t in hopes of catching your attention, and then basking in the softness of your touch when you do finally notice and tend to him.

HII LAPIS I forgot to respond to this 💀

He'd get so so like whiny about it "owww... that hurtsss...." "it's a scratch on your forehead." And I kiss it.

He lost his horn due to the Tenryou commission, one guards arrow just so happend to hit his left horn and it just popped off. He's so bold about it now, but behind his set up he made a grave for it 😭, and that's also how he lost his big tooth/tusk (oni teeth.) WHATEVER.

A teeth ref bc idk how to describe it. He has a wide wide smile bc of how his teeth r built so it shows off his gums

ANYWHOOO I wish in game it was more explored that yea he is dumb and plays up the macho man, I want to see him be vulnerable...

Maybe one day he pushes himself to far and basically breaks his back, and he's out for a good few days, if my insert was in game, you would see her most of the time with his head in her lap, sleeping away as she sews on his back brace, adjusting it and decorating it. He may play it up a lot so he can get special treatment from her

She is cold and coy but man she can't say no to her oni, that's just mean ((and he has done stuff for her, and she ain't a prick.))

#kat text #asks #GOD i yapped in this sorry 😭😭#i still have a bit of a headache and thinking abt itto makes my head heat up like a microwave #he bundles himself up in blankets acting like hes dying on her lap #“youll be fine.” “noooo... please. scratch my back before i go....”#“you are not dying.” “babbyyyy...”

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gravecats · 7 months

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Still having trailer park boys thoughts btw if you even care

#kat’s meow #trailer park boys #rickyjules #Ricky x julian #ricky lafleur #Ricky TPB #Julian TPB #otp #TPB #kat’s greatest hits

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multifandomgirl08 · 1 year

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Kat's Max Verstappen Primer

Note: I'm posting this privately because I am an active member of the fandom, and although I want people to have this information. I don't want this listed on my blog where my own fictional works reside. This also may turn into multiple parts, I don't know if I plan on covering everything that's gone on with Max in recent years.

2024: Will keep updating as the 2024 season unfolds.

Let's start with some basic facts.

Max was born in Hasselt, Belgium on September 30, 1997 (making him a Libra) to parents Sophie Kumpen and Jos Verstappen.

He has four younger siblings, Victoria (full sister), Blue Jaye, Jason, and Mila (who are all fathered by Jos). I'm not going to list any of their ages.

Max started karting at the age of 4. He asked Jos if he could pursue karting, and Jos let him. Max also played Football (Soccer) when he was younger, but gave it up to keep karting.

Jos and Sophie divorced in 2008 when Max was 10 and Jos' career in Formula 1 had come to an end. From what I can find, Max started living with Jos full-time after Jos and Sophie divorced (Sophie did have a restraining order against Jos filed given that he had hit her). While Jos was coaching Max in karting, Jos would work during the week while Max was at school, and on weekends Max and Jos would travel around Europe to compete in karting competitions.

Jos Verstappen

Jos' treatment of Max is pretty well documented by auto-biographies, sound bites, interviews from people in the Verstappen camp, and even by Max himself.

From an early age, when Max made it first known to Jos that he wanted to start karting, Jos did what he thought was right and pushed Max to succeed to the point where most people (even some in the Verstappen camp) viewed Jos' coaching as if he was being too hard on Max (ie. abuse). Jos himself had a similar upbringing to Max, but unlike Jos, Max was able to overcome what he was put through as a child (his father hitting him with his helmet on when he didn't do well, Max not taking off his helmet being afraid he would get hit, leaving Max at a gas station after losing a race is a notable incident given that it happened twice, and Jos not talking to Max for a full week after losing a race). Max would become a champion three times over despite Jos always telling him that he wouldn't amount to anything.

Jos Verstappen is an interesting figure in the world of Formula 1, from his 2 podiums to fathering a now 3-time world champion. He is not a well-liked person in the sport, Jos is known for talking to the media about his son, with the knowledge that he and his son don't share opinions when it comes to the sport. (see the rumors about Max possibly leaving Red Bull, and Jos commenting on it.) Max always has to rebuff Jos' statements to the media even though Jos no longer races in F1, or had a particularly successful career during his 8-years in the sport. Jos was also teammates with 7-time Formula 1 World Champion Michael Schumacker, who is considered to be one of the greatest of all time in the sport.

Despite Jos' treatment of Max, Max seems greatful for the pressure that Jos put on him when he was growing up. It resulted in the winning mentality that Max has now, going in with a mindset to win each race that Max and his ex-trainer/physiotherapist Bradley Scanes had helped him with.

Before Formula 1

When Max was coming up in karting, one of Max's strongest rivals was now Scuderia Ferrari driver Charles Leclerc. In 2012, Max and Charles had a collision while they were racing in the second round of the WSK Euro Series, which resulted in the, "Nothing just an inchident." comment from Leclerc. You can find the cut version with both of Max and Charles' answers here. They would both end up getting disqualified from that race.

Max would also race against another eventual F1 driver; Lando Norris who is currently driving for McLaren. Lando was 13 in the photos and Max was 15.

Max had quite a prolific karting career, placing first in 23 championships in the 9 years he was racing in karts. He would place 2nd in 5 championships in those 9 years, and 3rd once in his last year before starting in Formula 3. Max competed in a total of 45 Championships during his karting career.

After competing in Formula 3, and winning a championship. He skipped Formula 2 and went straight to Formula 1.

Coming to F1

When Max first made it to Formula 1, he was given the nickname Mad Max by some of the media given his temper when he wouldn't perform well, or the car ended up having issues like an engine failure.

Max joined F1 in 2015 driving for Toro Rosso (now VCARB), making him the youngest driver to ever compete in Formula 1, because of this the FIA has a rule that a driver needs to be 18 to compete in the sport. In 2016, he ended up being called up by Red Bull, taking Daniil Kyvet's seat after the first four races that year, and Australian driver Daniel Ricciardo would become his teammate.

Daniel and Max became good friends off the track, despite what the first season of Netflix's Drive to Survive would have some fans think. Daniel was the first person to welcome Max into the sport and wish him luck when Max was testing for his superlicence. They originally met in 2011 for the RTL GP Masters of Formula 3 when Max was 13, and Daniel was 22.

gifs by: @arturleclerc

In recent years, Max has been given the nickname Super Max given how fast he is on the track, and the way he can utilize the car to its full potential with the help of Red Bull's engineers.

World Championship(s):

2021

In 2021, Max would go on to win his first championship. Max and Lewis Hamilton were equal in points in the Drivers' Championship before the start of the Abu Dhabi Grand Prix. Max qualified on Pole Position, and had a slow start off the line, and ended up dropping into second place. Max was trailing after Lewis by over ten seconds until a late safety car was called due to a crash involving (then) Williams driver Nicholas Letifi on lap 53. Max was on fresher tires when Letifi crashed.

And this was where the confusion started. There was a safety car called, and Max went to get fresh tires (softs). Lewis complained about not pitting for fresh tires on team radio while the safety car was out. This was a big advantage for Max, pitting while the safety car was first called out. Red Bull had a clear strategy that they utilizing in that moment.

There were cars that were out of position given the numbers of laps that they had completed, and they wanted to give those cars a chance to unlap themselves.

With two laps left in the race, race control announce that the lapped cars were not allowed to unlap themselves. The safety car came in before lap 57. Then at the start of lap 57, race control made another announcement that the lapped cars could unlap themselves. The only cars that unlapped themselves were in between Lewis and Max. On the last lap of the race, with 3.2 miles left. Max was able to overtake Lewis in turn 5, and finished the race in first.

2022

In 2022, Formula 1 had a change of regulations, from the aerodynamics of the car, the size of the tyers, a change in sporting regulations, and financial regulations which were introducing the year before.

There was reports stirring about a Cost Cap breech in Singapore. The day after Max won the drivers' championship in Japan, the FIA announced that two teams had also breached the financial regulations, it was Red Bull and Aston Martin (and Williams which came out in May 31st.)

Red Bull ended up paying the FIA $7 million and the team would have a 10% reduction in allocated Restricted Wind tunnel Testing. The 7 million was for Red Bull going over with their catering costs. As is seen on Drive to Survive.

Red Bull and Max would end up keeping both their Constructors and Drivers Championships.

2023

Max and Red Bull pretty much ran away with the drivers and constructors championship in 2023.

Max won 19 out of 22 races, Max won his third championship during the Sprint Race in Qatar. Sergio "Checo" Perez, his teammate won 2 races, and Carlos Sainz Jr., driver for Ferrari won the Singapore Grand Prix.

There is a crazy state that I've seen online countless times that says even if Max wasn't 20 seconds ahead of the rest of the field, he still would have won the Drivers Championship.

Random Max fact(s):

Max's favorite food is Tomato soup, Beef Carpaccio, and his mom's cooking. Max can't cook. Max doesn't like shellfish, but he likes fish as he'll eat sushi.

Max Sim races in his free time when he's not working, he finds it's a great way to destress from F1. Max will only stream on the official Team Redline Twitch channel, and even then it's not as often as he used to. On Team Redline streams they will always list when Max is going to be on stream.

Max has two Bangal cats; Jimmy and Sassy (They're siblings), who are named after nightclubs (Jimmy'z and Sass Café) in Monaco where he lives.

Links to other Max Meta posts:

Max Lore by @33max

The Verstappen Dachshunds Guide by @33max

In Honor of Pride Month Post (without confirmation) by @scuderiafemboy

#max verstappen #meta post

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thesinglesjukebox · 5 months

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DLALA THUKZIN, ZABA & SYKES - "IPLAN"

youtube

Amapiano is probably our most consistently high-scoring genre. Joshua Kim explains how it's evolving...

[8.25]

Joshua Minsoo Kim: The greatest musical development in South Africa this year was 3-step, a style of house music coined by Thakzin that bridges AfroTech and amapiano. He isn't the first to have made songs in this zone (the earliest I've found is Prince Kaybee & Nokwazi's "Ebabayo" from 2021), but he did produce numerous tracks that made him its current poster boy. The genre's most clear, defining feature is the presence of a kick drum on the 1, 3, and 4 of a measure (and less commonly the 1, 2, and 3), which grants each song a more rigid foundation than the typical amapiano track. It's a perfect fit for Dlala Thukzin's "iPlan" and its hopeful lyrics. Zaba sings about not having money or a job, and his voice weaves in and out of the song, like the still-small voice inside your head that tells you to stay calm. And really, it's only fitting that "iPlan" functions as an EDM song without an all-consuming drop; what arrives instead is steady, comforting relief. Its clanging percussion has felt like a multitude of metaphors to me: the pounding beat of your heart, a sign that you're still alive; the sound of repetitive toil, like the promise of something coming from all your hard work; even a desire for reprieve amid life's constant suffering. Here is a song that acts as an invitation to grieve and to celebrate. The beat keeps going, and as I look back on another year, this serves as a nice reminder that somehow, miraculously, I'm still here too. [10]

Micha Cavaseno: I hit a place of personal burnout somewhere in the mid 2010s with the different regional dance scenes of the world made available for all of us by the internet breaking down geographic restriction. Part of it was the fast & loose fashion mentality that made sub-genres go from underrated to overrated within a span of mere weeks, and how any artist could go from essential to disposable before you'd truly had a chance to digest it. To this day, plenty of lingering questions haunt me: did I "miss out" when bubblin' was a thing (maybe)? Was Zomby right to get banned from a message board because people thought bassline and niche were the same (yes)? Did Resident Advisor's coverage specifically get worse when they eliminated the comment section and thus prevented proangelwings from lighting their ass up all the time for pedestrian summaries (no, but it didn't help)? Now I look at an artist like Dlala Thukzin and sigh that I can't in any good faith claim to have a real comprehension of the differences between gqom, afriampo, afrotech, kuduro, kwaito, so on and such... Though I know that it's there, and I need it in order to know what makes a song like this particularly good beyond how muscular yet gentle it is. It's great to admire something for spectacle, but I would like to know the brilliance (or even the clunkiness) of form one day. [8]

Ian Mathers: There's a pleasing graininess to some of the synths here that remind me of other amapiano I've heard, but I'm less familiar (but still taken) by the stiff percussion that sometimes sounds like it's slightly phasing in and out. Both play off the high, sometimes keening vocals very well. The end result is both propulsive and, especially on headphones, subtly disorienting - it can make your head feel like it's swirling. And I haven't even tried listening to it baked yet! [8]

Kat Stevens: Like finding a couple of ibuprofen in the drawer when you were looking for codeine: grateful they exist but missing that extra oomph. [7]

Katherine St Asaph: In isolation, this is a bit too muted for a desensitized tension-enjoyer like me to be drawn to. I'd probably love it in the right DJ set. [7]

Michelle Myers: Romanticized melancholy works beautifully in dance music. I want to cry in a club to this. [9]

David Moore: Just when I start to have a handle on some of the formal characteristics of South African dance music, it evolves again into 3-step. Thakzin describes adapting his AfroTech sound, broadly popular with international audiences, to South African audiences during the amapiano zeitgeist and hitting on a novel formula that involves a three-beat pattern. Anyway, that's as best as I can understand or describe it. Dlala Thukzin -- not to be confused with Thakzin (as the interviewer in the clip above jokes, but you should absolutely listen to Thakzin, too) -- created a wildly popular take on this sound, which ruled the South African charts for months starting in September. [8]

Nortey Dowuona: Zaba was hijacked, injured one of the robbers and escaped with his hand stabbed in June of this year. 3 months later this song goes number 1 on the Official South African Charts. Somebody was praying for that fool. [10]

Will Adams: Over the course of my dilettantish experience with amapiano, I've come to expect a few qualities: a) impossibly gorgeous; b) a luxurious slow build that carries the risk of; c) never fully reaching a destination. "iPlan" possesses all three, but has a bit more of Column C than usual, which keeps it at a mild distance. The low-mixed vocals might be to blame. [6]

Brad Shoup: I love how pensive this is, how Dlala Thukzin submerges the vocals until they're barely visible from the surface. It resists any easy soar the whole way through: a fantastic transition track, I'd imagine. [8]

Jacob Sujin Kuppermann: Less a song, more a full night on the dancefloor compressed into six minutes -- some artists' entire careers have fewer moments of transcendental jubilation than "iPlan." There's this tea kettle noise that Dlala Thukzin works in the second time Zaba & Sykes go through that chorus that feels like ascension -- and then the song keeps going for three more minutes! [9]

Frank Kogan: Halfway through a People's Pop Poll, when we've finally gotten through the quallies and into Round One, Tom will grab a sentence from every track's YouTube comments and tweet out four of them at a time, one for each track in a heat. Often he'll find comments that are hilariously obtuse, though sometimes they're poignant and evocative. Anyhow, for Emma Bunton's "Free Me" (you probably knew Emma as "Baby Spice") the YouTube comment that Tom lifted was, "It's very soothing and edgy." I stared at this for a minute's worth of nervous self-recognition and then tweeted back, "'It's very soothing and edgy' are what half my reviews come down to." So "iPlan" is cutting up beats in a way that pushes beyond amapiano but is also digging back into late '10s gqom, which is edgier and more driving and more gripping hence more soothing than amapiano, so's the same 90% overlap you get in amapiano's typical soothing-edgy Venn Diagram, but with a bigger circle. Is about dogged determination, is about gliding dance moves across shards of glass, dark beauty, sharp beats. [9]

[Read, comment and vote on The Singles Jukebox ]

#dlala thukzin #zaba #sykes #music #amapiano #south african music #music writing #music reviews #music criticism #the singles jukebox #Youtube

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whoiwanttoday · 1 year

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When I was a kid there was this big push suddenly to make Halloween costumes more visible so kids weren't hit by cars. It always felt a bit like bullshit to me because I knew a lot of kids as a kid and I didn't know a single one who was hit by a car. Not any day much less Halloween. As an adult I realize that perhaps that wasn't the greatest sample size but also we went out Trick or Treating alone by like the age of 7 so if our parents were that concerned they could have left the house but it was a time when parents didn't do that. I mean, they left the house, they just didn't remember they had kids half the time and we would get up, go outside, and they might notice in a few days if we ever made it home. The solution the parents in my neighborhood came up with was to get these bright silver reflective stickers and put them all over our costumes. It was fucking ridiculous and I remember telling my mom then entire point of being a ninja was not to be seen, no one would think I looked like a ninja if I was covered in reflective tape. Then my mom said the third meanest thing she ever said to me, "No one was going to think you looked just like a ninja either way". Anyway, being clever like we were we just took the stickers off of each other once we left the house and our parents being inattentive didn't even notice there was no reflective tape by the time we got home. They also didn't notice that we watched Halloween 3 on TV and that was a movie about kids our age getting murdered on Halloween and boy just the theme scared me shitless. Anyway, this is a lot of talk about a post that isn't about Halloween, it's about visibility. It's lesbian visibility day which means it's time to shed some light on those stealthy lesbians. Probably my favorite stealthy lesbian is @kat-eleven (along with @wildflagsure who is so committed to remaining in the shadows she hasn't posted in 5 years despite still reading my blog but that's because she always says she must remain hidden and tricksy in Dolos' honor) who is always walking places, like to her home or the store or her dad's house so is in extra danger. So we want to get both of them more visible. First of all, everyone send messages encouraging @kat-eleven to wear bright orange vests and high visibility tape today because I don't know any lesbians who have been hit by cars but the irony of it would be too much to bear today of all days. Second, I am posting Alysha Newman who is not a lesbian which is why you can easily see her in these pictures but is known to be loved by lesbians, so my hope is lesbians see this post and wear bright clothing. Stay safe girls. Today I want to fuck Alysha Newman.

#Alysha Newman #blonde #Athlete #whoiwanttofucktoday

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sword-dad-fukuzawa · 6 months

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6, 9, 10 for the ask game!! 🥰

WOOAO KAT HIII TY FOR THE ASK !!

ao3 wrapped

6. Favorite title you used?

i deadass have sooo many because i think trigun brought out a part of me that had really good taste in titleing so here are some of my greatest hits, in no particular order:

in the ruins of jericho (a banger just because it's about vash and knives reuniting after knives's cute little citadel of ideals has been thoroughly bulldozed)

hanging fire for the rapture (7 syllables with enough innuendo and symbolism i'd need a paragraph for it AND it has meter!)

the seven bridges of noman's land (a topoplogy reference. it was between referencing the 7 bridges of konigsberg or the hairy ball theorem and sometimes i think i picked wrong)

abel with the rock upraised (a sexy allusion to the 1998 iconic vash attempting fratricide scene AND a cute subversion of the cain and abel dynamic heehoo)

9. Favorite pairing you wrote for this year?

i am so extremely normal about them 😀 so normal that they have the highest combined wc out of any singular pairing i've ever seriously written for. very normal! most normal! will continue to be normal!

10. What work was the quickest to write?

honestly it was abel with a rock upraised since that was for the folger's flash event and i had...three days to write it? i think? the minimum wc was like, 500 words and i somehow banged out 3.4k in a night and a half. because i had. uh. plane flights. and such. no regrets i love that fic still :)

#ao3 wrapped #kat!!

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katnissmellarkkk · 2 years

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Hit the wasps nest: Gale Hawthorne

This is just word vomit 😅

I honestly don’t dislike Gale at all but I have many a thoughts on the man and it’s difficult to explain the juxtaposition I’m in with him. He’s strong and sturdy and a good person at his core but he is very pushy and too stubborn and immature (which is fine!!! He’s like 18-19 throughout the story, he’s still a teenager, but like, accept the immaturity people!!!) and it’s not the greatest qualities in combination with Katniss’ personality. My hot takes are pretty much this.

He didn’t actually commit a crime with those bombs because he was tricked by Coin and used and abused but like, also welcome to the club, bro??? Leaders used and abused Kat Kat and Peeta and Haymitch and Finnick long before Gale so like, you’re finally at their level I guess? He spent a lot of Mockingjay acting like he understood what it was like to fight in a Hunger Games and he just didn’t, until he got to the end and you know what??? That’s called character arc and it wasn’t a bad one? So here’s my hot take: he wasn’t screwed over by Suzanne, he didn’t get a bad ending, he just didn’t get the girl? Like he ain’t a war criminal but it’s 1000000 valid that Katniss would never wanna see his face again???? I wouldn’t??? Association would be too strong for me, even if rational I’m aware it’s not his fault. So his ending isn’t bad, but if you read between the lines of all the books, Katniss very clearly loved Peeta in a way she never felt for Gale. Gale or no Gale, she was very confused about her feelings for Peeta, and she would have been even without any love triangle business. Gale got my on nerves more because he just like added to her confusion, but then also it’s understandable probably because I was a teen when I read the books initially and it definitely resonated with the boys I knew at school who made everything “what about me!!!” So anyways I have a juxtaposition with my feelings for him because like he’s got a good heart at his core but he’s also pretty irritating at other points and both antis and lovers of Mr. Haw Haw ignore that I feel???

My other hot takes for him : he doesn’t love Prim like his own sister???? That’s the weirdest headcanon-taken-as-canon I’ve ever heard? If that’s your headcanon, then okay great!!! But that’s not canon and I’ve seen several people say that like it’s totally there in the books and it’s not?? Gale protected Katniss’ family because they were hers, not because they were part of his. I mean I’m sure he cared to some degree for them, he’s a good person like I keep reiterating, but not like they were his own??? When he killed Prim, I’m sure he was sad because he cared for the kid, but his dialogue to Katniss makes it seem like his biggest thought process revolved around losing her because of his inadvertent involvement with the bombs. Okay and ummm another hot take, people should get to dislike him if they wanna. Too much politeness in terms of Gale, like if you like him then cool! But like the fear of saying you dislike him or you think he’s bad (as a character, not a war criminal) isn’t right, like I dislike 100000 characters and I ain’t afraid to say it. Anyways that’s all I can think of for now.

Oh wait one more : the book was written clearly with a bias towards Peeta, it was obvious that’s who she was gonna end up with so like??? Gale didn’t get a bad ending for the character he was, he was just never the one, he was never gonna get Katniss, even just looking at the plot layout this is clear. Peeta and Katniss go into the games together, fake a romance to survive, develop feelings and backtrack, go home winners and enemies of the Capitol, feelings are sore and complicated, Galers takes it into his own hands to add himself to the mix, Katniss feels caught between the two, Gale almost dies and she picks him in theory but never in practice I’m sorry, Katniss and Peeta are called back into the games where she decides to save Peeta and die for him, she gets closer and closer to Peeta, she realizes her feelings on the beach, they get separated and a rebellion starts, he’s in the Capitol, she’s in Thirteen with Gale, Gale and her spend a lot more time together but their friendship ain’t what it used to be, she frets about Peeta until she has to be sedated, Gale volunteers to rescue Peeta because he cares for Katniss’ wellbeing, Peeta though has been brainwashed and tries to murder Katniss (he really should have apologized, like is it that hard to make an “I’m sorry” card with all your free time between frosting cakes, Peeta?????), Katniss gives up Peeta and starts having more of a thing with Gale, then Peeta is brought along on her team and she’s stuck being in proximity to both of them but she focuses much heavier on Peeta’s presence (in negative ways mostly but still), she comes to a crossroads and instead of leaving Peeta to die she chooses to risk her life by kissing his wildin out self to save him, she then says bye bye to Peeta and goes with Gale into the Capitol Circle to kill Snow but gets separated from him and then watches her sister die, only to find out later on that Gale created the bombs that were used to kill Prim, then she has a nervous breakdown and a trial and then gets tossed off in Twelve like a garbage bag at the end of a McDonald’s shift, and then Peeta returns and sparks her back to life… in all of that plot summary, it was pretty obvious who had a bigger part in the overall story…. This shouldn’t be controversial to say.

#play with me 🥰

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