CHEESE STICK

Look, I don't know what I'm doing. This blog (?) is just about what ever I feel like so enjoy (or don't). She/Her

[nestgoblin]

[theotheristhedoctor]

This is the highest compliment I can bestow, but Dungeon Meshi reads like it was written for, if not by, Terry Pratchett.

Oh, you have a dungeon with monsters and adventurers? How does it work? Who pays? How do you get enough supplies? People will eat anything when hungry; do they eat the monsters? People will cook feasts from rotten meat and weeds; what feasts can you make with monsters?

By the way, here is a terrible pun about soup.

You want heroes to have peril, but also to live? Easy! Just have a ressurection spell. Well how does it work? What's the point? What would people give to live forever? What would people give to die?

Here's a dwarf whose magical shield is a wok.

And if they come back, it still hurts right? Do people remember? What happens if they forget that, outside of the dungeon, they can't come back? What if the thing that brings them back also ties them to the dungeon more and more, changes them, makes them different without knowing why.

Whilst you were thinking about that, the halfling founded an adventurers guild. It's an actual union with dues etc. btw he's a deadbeat dad apart from this.

The dwarf from earlier carries familial trauma that will haunt you for the next decade. The protagonist holds his sister's skull as the first proof that there is anything left of her. The two female leads share a love so deep that giving it a name would pollute it. The protagonist's sword is a mollusc.

[none1506]

I made this for you fire punch fans all twelve of you

[agirlprince]

RGU is literally just “I will save you, I will save you, I will save you, I will save you, I will save you” until the realization that you can’t save another person in the cycle and then it’s “I will choose you, I will choose you, I will choose you, I will choose you, I will choose you until you can save yourself” and it’s everything actually and I’ll cry about it for eternity

[selfconfessedfangirl]

no tv show will ever be able to resolve a m/m/f love triangle as perfectly and as weirdly as Hannibal, in which the woman kisses one of the guys, sleeps with the other one, then decides "actually, never mind, you're both awful!" and marries a rich lesbian instead - and, while this is all going on, the guys develop a weird homoerotic obsession with each other culminating in them going off a cliff together. truly unhinged and unmatched

[teeo-sherry]

Cracked

[valtsv]

they're taking persephone out of the public domain because every possible version of that story has already been told. you have to do a modern queer feminist retelling of the scorpion and the frog now.

[theaudientvoid]

What if I was the scorpion and I stung you while you were carrying me across the river, dooming us both, and we were both girls?

[cavedraconem]

[waterloggedsoliloquy]

Utena as Onion Headlines, part 7/?

[idkhowtopickausername]

Something about Anthy thinking that Utena wouldn’t really love her if she saw all of her pain and resentment and her complicity in Akio’s schemes and her intent to betray her and how far she deviated from the archetype of the princess she pretends to be because Utena wanted to be the prince who saves the princess. And the bitterness of feeling confined both by Utena’s power over her and the presumed conditionality of her love and the guilt and pain of the knowledge that the illusion would end soon. But Utena only wanted to be a prince because she was told it was the way to help Anthy. And similarly Utena’s own feelings of failure at not being able to be a prince for Anthy because she’s not a boy and she couldn’t “save” Anthy from Akio and couldn’t do anything in the end but hold out her hand to her and her apology at the end where she says she was just pretending to be a prince. Not knowing that it was that very system of princes and princesses that led to Anthy’s suffering, that she never needed a prince or someone to save her using the swords that represented her suffering, just to be wholly and truly loved for who she was and to be able to see beyond the world of Akio’s abuse towards a future she could imagine. Both of them measuring themselves against the standards of the system they live within and bearing the guilt and shame of not being able to live up to them, not realizing that that was never what the other wanted or needed.

[waterloggedsoliloquy]

Utena as Onion Headlines, 3/?

[heartslobbf]

people will be like ‘yeah it’s really relevant that utena is an orphan haha’ and then not even recognise how utena being a character without living blood relatives is hugely significant in a show where almost all of the most atrocious relationships are ones that have been spurred on by the notion of familial/blood obligation. and utena herself clings so tightly to what is essentially a romantic ideal of ‘the family’, ‘the blood relative’, telling anthy she’s jealous of her relationship with akio, insisting to nanami that she should persevere with her relationship with touga because you’re still siblings. in ohtori, family is something you can only be born into. in ohtori, family is the way you gain power. i mean for the love of god it’s right there, revolutionary girl utena is a family abolitionist masterpiece and it makes me claw at the walls!!!!!!!!! read the palace perspective!!!!!!!!!!!!!!!!!!! engage more with these aspects of the show!!!!!!!!!!!!!!!!!!!!!!!! kill any and all people who go ‘why are there so many weird sibling dynamics i only came for the lesbians’ her NAME is kiryuu nanami and she does both!!!!!!!!!!!!!!!!!!!

[agirlprince]

RGU is literally just “I will save you, I will save you, I will save you, I will save you, I will save you” until the realization that you can’t save another person in the cycle and then it’s “I will choose you, I will choose you, I will choose you, I will choose you, I will choose you until you can save yourself” and it’s everything actually and I’ll cry about it for eternity

[blinkbolt]

And so it begins…….the Goncharov Score

[byjove]

One of my favorite little details is how Andrey leans in whenever Goncharov talks to him. Andrey is so disconnected from the rest of the world for so much of the movie, stuck in his head, wrestling with the decision to betray Goncharov, wrestling with his sexuality and his attraction to this powerful man. Even in the fight scene with Katya, he’s turned away when she’s yelling at him and it takes him a moment to react when the bourbon glass hits his shoulder. But when Goncharov talks to him it draws him out of himself.

Katya is always moving away from Goncharov, putting people between them like in the dinner scene. The last scene where she’s traipsing through the snow away from him with the gun, blood covering her gown, Andrey leans in to light Goncharov’s cigarette for him. Andrey wishes to be closer and she wishes to get away. The Goncharova marriage is not salvageable and she deserves her freedom as Andrey deserves to be rescued from his own mind.

[penny-anna]

this is an Icepick Joe fan account now honestly. like yes he may have stabbed a bunch of people but he’s a good and loving cat owner which cancels out many sins.

[tsscat]

Goncharov Lore (“Gonchlore” if you will) Masterpost

Note: this is regarding the lore made up by tumblr collaboratively about a fake Martin Scorsese film. See the post that started it all and fake poster.

Goncharov was released in 1973. It was written by Matteo JWHJ 0715 and directed (?) and/or possibly co-written by Martin Scorsese. Scorsese’s big name helped popularize the film, but as a result JWHJ 0715’s significant contribution is often overlooked

Goncharov was forgotten and was actually difficult to acquire for many years. This may have been due to corporations hoarding rights and access, the actually mafia targeting distribution of the film, other factors, or a combination of these. This led to pirating of the film, which allegedly led to pirating discourse surrounding the film

There are talks of a Goncharov II or remake

Goncharov is a mafia boss in Naples of Russian origin. His wife/fiancée is named Katya, also of Russian origin. Goncharov may or may not have fled Russia, and may or may not have been pursued by someone trying to get him back to Russia, possibly to face legal justice. One such person trying to do this could be Valery Michailov

Valery Michailov is Katya’s sister. He may resent Goncharov due to his relationship with his sister and due to Goncharov being wanted by the Russian government. He is somewhat patriotic, possibly a former government worker or soldier.

Katya’s last name is either Michailova or Goncharova (although possibly with the wrong suffix). Her relationship with Goncharov is strained, tense, and possibly loveless. She ends up betraying him in the end. This is often seen as a subversion on the typical tropes for women in mafia movies.

At some point, Katya is on a bridge with Goncharov. At some point, Katya points a gun at Goncharov. At some point, Katya is injured on a boat/in a boathouse.

Katya is amicable with someone named Sofia, who has brown hair. She also has subtextual homoerotic tension with her

Sofia may be working class/poorer than many of the other characters are.

Goncharov has subtextual homoerotic tension with someone named Andrey. Andrey is Goncharov’s old friend/best friend/nemesis/enemy/competitor. There is at least one instance of one of them trying to kill the other.

Ice pick Joe is played by John Cazale, making this his 6th movie. He has a famous 10 minute scene with Katya, and at some point dies, also possibly at the hands of Katya.

Mario Ambrosini works with Goncharov, possibly as a lackey or number two. At some point in the middle of the story, he betrays Goncharov and Goncharov tells him that he “never wants to see [Mario] again”. It is unclear what happens to him after that. Mario also has a relationship with Andrey that some have described as “fascinating”. It is unclear how.

There is a clock motif in Goncharov, and a general theme regarding “running out of time” before death. There are a few characters who seem at the very least subconsciously aware of the fact that they have little time until their death. The film also deals with the theme of fate, of death and tragedy being and inevitable thing for these characters.

Goncharov dies at the end of the movie, due to someone’s betrayal.

Goncharov (1973) was heavily influenced by the American Cold War propaganda of the time. Some argue that it plays right into the stereotypes of Russians, others say it is a clever subversion of the propaganda and stereotypes of the time.

Feel free to add more/expand/add alternative information!

[asweetprologue]

The most interesting thing to me thus far about this whole goncherov thing is that Tumblr has collectively constructed some pretty convincing side characters for this movie. Katya leaps off the page as this frustrated woman caged by her lack of autonomy, Sofia coyly plays both sides and acts above it all when really she's desperate for the same freedom Katya is. Ice Pick Joe is a less developed character who nonetheless acts as a stand in for the inescapable nature of cycles of violence. andrey, loyal to a fault, gets pulled deeper and deeper into goncherov's orbit until there's no way for him to make it out alive

and yet with all that I have ZERO sense of who goncherov is supposed to be himself. i've see a lot of stuff suggesting that the film is theoretically about loss, including the loss of one's identity, shown primarily through the way goncherov becomes unrecognizable to himself by the time of his death at the end of the film (seeing himself in a fractured mirror is a common motif). it's very interesting to me that we have a fine time coming up with a group of collective blorbos based on mafia movie tropes, but somehow the main character feels unknowable, to the degree that we had to make that one of the core themes of the film.