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DEAR READER
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Well they banned TikTok so hey everybody Iām back!
My brain is on fire same I canāt sleep and am thinking of this:
The way she writes about marriage/family/commitment through these different situations across the album is soooooooooo interesting.
You have a very intense first experience of it in āThe Manuscript,ā where it is first dangled in front of her/the narratorās young, impressionable self as shorthand for real love in a situation that ended up being smoke and mirrors. Sheās being told everything she wants to hear by someone who basically thinks itās just foreplay. In the end, when itās clear that the other person has no intention of actually making a life with her, it makes her feel used, but she forces herself to recalibrate and become the girl she thinks he and all the other hes want her to be. Easy breezy cool. But thereās a sense of loss in realizing those hopes were merely banter to the other.
You have the āgrown upā version of it alluded to in āSo Long, Londonā and āHow Did It End?ā, the years of putting in work to save a relationship and the ādeflation of our dreaming leaving [her] bereft and reelingā leading to them ācalling it all off.ā The implication is clearly that they built a home together with plans for next steps at a point in time, but the commitment is shattered. (Obviously to me it sounds like marriage.) Sheās bitter at spending her āprimeā years with someone who ultimately didnāt want to be there, even if he couldnāt or wouldnāt admit it himself.
She felt like she did everything she was supposed to, but they were learning the right steps to different dances at as it were. Those dreams were at one point shared, but in the end they werenāt right for each other and she admits that, though bitterly (āI founded the club sheās heard great things aboutā eg the years she put in for him to help him grow up will end up benefiting his new lover, ābut Iām not the one,ā āyouāll find someone,ā etc.). Mixed in with all this of her resentment of him wasting her youth (sacrificing herself at the altar), and his resentment of her for reasons less defined, and insinuations of betrayal in the shadows. The fantasy of the whole package disappears into the ether, yet she still has no answers as to how they got there.
Then in comes the wolf in sheepās clothing in many of the rest of the songs, the one who promises her all those things sheās dreamed of since she was a kid instantly. After years of moulding herself to other menās desires, someone comes in and tells her exactly what she wants to hear at the most vulnerable time of her life, as though the universe is answering her prayers, like some sort of cosmic payback for all sheās suffered, and itās the most intoxicating drug of all. Sheās gone from her wish for a family life feeling like sheās in a way being used for her body, to it being used as a chain to a relationship gone sour, to having someone put a metaphorical ring on her finger and tell her he wants to have babies with her, fuck those other guys.
In her grief and stupor, itās too good to be true, which is exactly why she falls for it. But of course, itās all an illusion, because this wolf is an amalgamation of the worst of all the men who came before him. He tells her everything she wants to hear not to make her dreams come true, but to make his. He takes the worst parts of these scenarios to make his move: heāll stand by her, heāll commit, heāll do it out in the open under the spotlightās glare (all things desperately lacking in her last relationship), but after he beds her he stabs her in the back in private and leaves her. He got what he wanted at the expense of her losing everything she wanted, this time as her world caved in seemingly for good. She feels like she gave up everything she thought she might have had for a chance that this is where the universe has been point her all along, only to be left broken for good (you represent the loss of my life as I knew it).
Then there are two sort of codas to this. In āBut Daddy I Love Himā we get a sassier reimagining of āLove Story,ā where the girl with the scarlet letter is mouthy and crass and tells everyone to go fuck themselves for cursing her in the first place, choosing her love above all else. And no, those haters canāt come to her wedding. Her daddy may have come around, but they sure canāt. Finally it seems someone is choosing her and will someday give her these things, and sheāll be able to show all the naysayers. (Also interestingly one of the more fictionally-veiled songs which ends happily vs the diaristic ones that donāt.)
Then of course thereās āSo High School,ā our first glimpse into what the future holds. Probably the only unabashedly happy (nay⦠electric?) song on the album, itās all about reclaiming the buzz of youth (which is a whole other post) with a new lover. āAre you gonna marry, kiss or kill me? Itās just a game but really, Iām betting on all three for us two.ā Itās, er, a direct nod to a certain now-infamous interview, but again, sheās staking her claim on her future, if not certain then at least hopeful again. This time the prospect doesnāt come with a ābut.ā Itās not, weāll be pushing strollers but actually youāre too young. Itās not, we had these dreams for our future but actually I canāt move forward. Itās not, Iām going to promise you a ring and a baby but only until my needs are met and then Iām out. Itās, I know what I wanted and Iām not leaving, and thanks to that now she stays too.
The album dealt with the theme not at all in the way I expected, but is absolutely fascinating.
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considering allllll the surprise songs you've seen live, have you ever seen her sing the same song more than once on different tours/nights?
yes
no
Put the surprise songs you've seen live in the tags ! I wanna know!
Iāve had Invisible as my surprise song twice, Rep tour in Tampa and Eras night 2 in Boston which is pretty wild cause it is not a widely performed song of hers lol
character whose villain origin story is having a job
one of my favourite things about midnights is her sense of humour. itās so subtle, it makes you chuckle at places and makes you constantly smile and smirk at other places. it feels like a joke sheās telling only to you and no one else can understand it; itās special and personal. it feels like when youāre talking to your friend and youāll go from āomg i hate myself kill meā to āxyz is literally not worth my timeā and both those emotions are true and you mean them. itās funny that we as humans are able to encompass them simultaneously. the album captures that so beautifully. i love it so much, itās literally so great.
So. The Script.
(Just a quick post, long post will come later.) I spent 3½ hours (my husband, who was stuck outside, said it was more like four hours, but heās exaggerating, anyway -) I spent 3½ ish hours in the Shavelson-Webb Library, aka the Writers Guild Foundation, digging through ATLA scripts for Zutara tidbits like a pig sniffing out truffles :P I am super busy for the next few days, as I am packing up and moving (permanently) from LA back to Melbourne, Australia on Sunday. So these next few days are going to be super tight - I will *try* to get a long post written up with all my findings, but it may have to wait till Sunday to be published (if I havenāt had time till then, I can type it up on the plane). To clarify one other thing, these scripts were submitted to the Writers Guild Foundation before animation/production. They are not first drafts; to my understanding itās rare for the library to actually have those, but they are submitted early enough in the production process that typically there are differences between libraryās copy of the script, and the script we actually see on television. From here on, Iāll be referring to these scripts asĀ āthe original scriptsā for simplicityās sake, though whether that term is strictly accurate perhaps depends on what you consider to be true āoriginal scriptsā. I can confirm a few basic observations:
The original script for the Southern Raiders is āshippierā than what we see on television. I was absolutely shocked to see that the ship name āZutaraā is explicitly referenced in one paragraph describing Zuko and Kataraās āsynchronicity and cooperationā. Yes, these are direct quotes. (I will provide the full quotes in the long post).
In the original script for Ember Island Players, Aangās reaction to Actor!Zuko and Actress!Katara getting smoochy on screen is given larger focus in the script, and Aang is explicitly written as angrier/broodier - and directing these emotions towards real!Katara.
Kataraās emotional reaction to the Kataang scenes in Season 2 and the first half of Season 3 (e.g. the Cave of Two Lovers maybe-kiss, the almost-confession in The Earth King, the Day of Black Sun kiss scene) are less ambiguous in the script, than on-screen. The script suggests a clearer picture of her feelings for Aang in these scenes, or at least, that sheās aware that something is going on between them.Ā
In contrast, the script for the second half of Season 3, especially Ember Island Players and the Southern Raiders, are written to suggest a deeper discord between Katara and Aang than we get on screen, and a āshippierā dynamic between Katara and Zuko than we get on screen. The final words acknowledge a ship war/battle between Zutara and Kataang, one that Kataang ultimately āwinsā.
Based on these observations, these are my thoughts/speculations:
Kataang was originally planned for
As the show was being written, and the compelling/intriguing aspects of Zutara gradually unfolded (perhaps even unintentionally at first), the writers recognized that they had a choice of going with their original plan, or changing gears and writing Zutara instead
Some writers (esp Elizabeth Ehasz) are/were clearly pro-Zutara
Disagreement over the ships, or desire to capitalise on the benefits of dragging out a ship war in the fandom, or some combination of both, led to a greater ambiguity in the Kataang scenes (on screen) than were intended in the script
By the time the last half of Season 3 was submitted to the guild, it seems Zutara was being teased/considered as a legitimate contender in the ship war. At least, thatās my interpretation of the way the writers are explicitly acknowledging both ships, by name, and the fact that one of them ends up āwinningā.
I will be making a long post with full quotes and more detailed analyses as soon as I can. Meanwhile, hereās a small crumb, from the Southern Raiders:
Katara: But we were too late. When we got there, the man was gone.
(Sobs)
And so was sheā¦
Zuko is moved⦠maybe even has a tear in his eye.
Zuko: Your mother was a brave woman.
Katara puts her hand on her necklace.
Katara: I know.
Katara lies down and closes her eyes. Edit: One more thing! I will be heading back to the library this Friday, to see if I can find anything else (I looked up a lot of episodes, but Iād like to do one more read-through and maybe look through some episodes I missed). If youāre an LA local, youāre welcome to join me there, read scripts and say hi! But you have to make the appointment TONIGHT, as they require a minimum of 24 hours notice.
Oh and finally - not exactly shippy material one way or the other, but for those of you who have insisted for a long time that Aangās victory over Ozai was not well set up, executed, or even fully understood by the writers themselves⦠you might be vindicated to know that the phrase āchi bending nonsenseā literally comes up in an early description of how Aang is going to defeat Ozai. Yes, you read that correctly. āChi bending nonsenseā, their words, not mine. š¤£
A bride racing to her new home as part of a wedding tradition practiced in some parts of China.
Whoever enters the new home first becomes the head of the household. Members of the wedding party on either side may help or obstruct along the way.
Okay, now imagine Toph doing this with Earthbending with the Gaang obstructing her to give the groom a fighting chance.
Ummm what is this new icon assaulting my Home Screen???
I just finished the first episode of the new iCarly and like, it is unironically so good. When she brought out George the bra and said āI never did grow into youā I died lmao
You know Stranger Things 3 really straight-baited us with Robin and Steve and tbh we as a society deserved it
The most unrealistic part of stranger things isnāt the telekinesis or the upside down, itās that the one high schooler from California is somehow the only racist in the very small town of Hawkins in Indiana in the 80s
Just to add some context, Iām referring to the show post season 1. Season 1 was pretty realistic with the racist and homophobic bullies the boys face as well as a lot of general homophobia, especially directed towards Will (i. e. multiple characters calling him queer) . I just find it interesting how all that was phased out once the show became really popular and only otherwise unlikeable characters (Billy) are racist and the bullies from season 1 are gone. Iām only just finishing season 2 in my rewatch so I might be missing things in season 3
Itās young James and Sirius hours, Lads!
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The most unrealistic part of stranger things isnāt the telekinesis or the upside down, itās that the one high schooler from California is somehow the only racist in the very small town of Hawkins in Indiana in the 80s
Now that you've made canon, how do you address TLOK's existence or TLOK in general?
Who is Izumiās mother? I wonder why that was never explained! šµš»š
Also, If you would like to see a fun/steamy story about how I think the events should have gone after the 100-year-war, feel free to read this fanfic: Faithful Fire, Resilient RainfallĀ On Archive of Our Own!
I think youāll like it! Itās only six chapters and I promise itās spicy! (Youāre over 18 right?) lol
the line āyour worst sin is that youāve betrayed and destroyed yourself for nothingā is so raw youād think itās from a destiel fanfic or even hetalia but itās actually from dostoyevskys crime and punishment
Iām rewatching Stranger Things and I forgot how many people call Will gay in season 1