So! Sense I've been in a Blueluc mood as of late, I'd like to make an extensive post on why I love this pairing, and why it works so well!
(Please note this is my personal opinion, and isn't meant to attack or shame other shippers who don't ship this pairing!)
Now! Let's begin!
First off, where did this pairing even begin?
Blueluc started after Jean-luc's first debut in the episode, Camping. His first and only major role in the show-- but this single episode was enough to spark one of the most popular ships in the Bluey fandom!
The first thing we learn about Jean-luc is that he speaks French and cannot understand English, but despite this language barrier, it doesn't deter these two from playing together and instantly hitting it off! They immediately start to connect without even understanding a word of what the other is saying.
It's just the fact that they connect and bond so fast and become such close buddies in such a short time span, if they get along that well in just a few days, who knows how much further their relationship could go and grow if they were able to spend more time with eachother.
A thing to take notice is we see the two build a little make-shift hut, and to me, feels like a metaphor of building a home together. Now it could be reachy but it's definitely something to take note of! They made something special together, something only for them.
But that isn't the only thing I'd like to point out--
Second case in point-- the touches--
These two are already so comfortable holding hands and making physical contact even after, what? A day or two? For most people it can take a few weeks, even months or years to be this comfortable with physical contact like this-- now yes, they are kids and kids usually don't really care but even so, it's still a big leap even for people their age--
Plus, it's just so adorable-- look at them!! Little bbys!! Holding hands!!
Another thing I'd love to point out is the tree and how it's a metaphor of their growing relationship.
While I could be reaching with the building-a-home metaphor, this one is undeniable meant to be a visual representation of their relationship with eachother, as it holds such a large role in the episode, but I'll go more into detail later after it's done growing!
For now, let's take a moment to point out why they get along so well, and how it'd work for any romantic relationship that may form for their future.
As we all know, Bluey is a bit bossy when she plays games with other kids-- that trait likely stems from the fact that she's a Heeler, a herding dog, which could explain why she feels the need to take charge.
And not to throw shade, but her personality type just doesn't mesh well with someone like Mackenzies-- they're both hard headed, stubborn and feel the need to take charge when they can. That headstrong attitude just wouldn't work well for a serious relationship.
But it does work for someone like Jean-luc, who was more than happy to follow along with her games, simply just wanting to play and have fun, not even being told what to do-- just saw that Bluey was collecting sticks and went to help her and play with her.
I'm not saying that he's a "follower" by any means, but I am saying is that he's willing to accommodate with her, a true gentleman I must say! Just a wittle sweetie!
(Plus again, they got so close so quickly and easily--)
And that's not to say Bluey doesn't do the same in return! Again, she can get pretty bossy when she plays, so I think it's worth pointing out how well she handled the minor miscommunications she has with Jean-luc is a pretty big thing for her-- instead of getting upset at Jean-luc or stop playing with them because they can't understand eachother, she instead shrugs it off, and comes up with a way where they can both understand eachother via the drawing on the rock!
She was willing to think of a different way to communicate and get over their misunderstanding so Jean-luc could get it. Most people don't do that, especially for someone they've only known for around a week--
Now, let's talk about THIS scene, now this? This just simply broke my heart on first watch, and even harder on rewatches--
It truly amazes me how they fit so much genuinely good chemistry between two characters in the span of a single episode that most shows can't even do in the span of 2 seasons--
The writers truly out did themselves, there's a good reason so many people cry at this scene and after--
Speaking of after! The time skip!
Now ik many debate if this scene is even canon but there isn't any indicator it isn't a flash forward, so I'd say it very much happened.
Now remember that tree I was talking about earlier? Here's where we pick up where that left off--
It shows that their relationship stayed strong even when they were apart, the tree fully grown and in bloom, symbolizing how their relationship only grew with time, even as they got older.
It's one of my favorite aspects about the episode, and my favorite piece of symbolism for these two.
I could go on and on about them and why their relationship just simply works, but I think just simply watching the episode will do all the talking for me-- that and the fact this is the most popular ship in the fandom lol--
But I think I've made all my points clear! If you'd like to discuss further, go for it!
Just finished watching the 1933 Invisible Man yesterday, and on a certain level I find it utterly hilarious just how quickly Griffin’s “reign of terror” went kaput. Pretty sure the guy didn’t even last more than a month after turning invisible (died at the hands of an angry mob, not unheard of for a Universal Monster), and for all that the surrounding characters were kind of clownish at times, they sure put things together quickly.
Although maybe that was partly the point? I know the major theme is that man should not advance science without reasonable boundaries, a moral compass, and the good of others in mind, but I feel like “community vs isolation/misanthropy” could be a part of the message too. The townspeople only defeat Griffin because they work together, after all. Despite the advantages of being invisible, Griffin’s biggest weaknesses come from being invisible too. He can break rules and get away with whatever crimes he wants, but he’s cut off from other people.
The first few scenes of the movie establish that other people find Griffin off-putting. Not just because he’s a stranger dressed in bandages and odd clothing, but because of how he treats everyone. He’s rude, ungrateful, angry, secretive, and generally just a cruel person. And this comes back to bite Griffin! He doesn’t get away with being an A-hole. He’s called out for his behavior and barely escapes being arrested, forced to strip naked during winter so he can escape. And sure, Griffin cackles about this and acts like it’s his way of punishing those around him for not leaving him alone, but he basically shoots himself in the foot. From here until the end of the movie, he’s essentially on one long downward spiral, running around naked, pissing people off, and not actually managing to reverse his invisibility like he said he wanted. Although he also says things that would imply he’d like to stay invisible for the power? Maybe he means the power to change back and forth at will? Either way, Griffin has a lot of grandiosity for someone who spends the whole movie just barely getting away with stuff in the least magnificent or competent way possible.
Granted, it’s stated a few times that the invisibility chemical has probably altered Griffin’s mind, but it’s also implied that he’s always been this way to some degree. Kemp doesn’t seem to think very highly of Griffin at the start of the movie (even less so later on). He shows the audience that Griffin was paranoid and dabbling in strange, selfish research even before the invisibility, and even makes a case for why Griffin is simply not worth the care that others, namely Flora and her father, give him.
At the same time, I find it interesting that Griffin made two notable attempts to reach out to other people despite this, but in each case the relationship was doomed from the start. The first attempt may hardly count as a relationship at all: Griffin shows up at Kemp’s house uninvited, threatens him, demands hospitality, offhandedly mentions all the violence and trouble he’s been up to, and then decides that all of this of course means he and Kemp are buddies. He seems to genuinely believe that (a) he’s capable of ruling the world thanks to invisibility, and that (b) Kemp is totally fine with this idea and would love to join him. Obviously Griffin himself admits that he sought Kemp out because he needs a visible person to do all the things he simply can’t do unnoticed anymore, but it’s more than that. Griffin is paranoid as a matter of course, but actually seems surprised when he finds out Kemp called the police on him. He thought they were going to rule the world!
The second relationship Griffin seems rather attached to is with Flora. She’s the only person who really “soothes” him, the only one who continues to extend compassion and care even after finding out about his crimes. Even so, Griffin insists that they can’t be together until he turns himself visible again. He refuses the help of her father or anyone else, claiming his own brilliance is the key, if only he would be left alone.
In both cases, Griffin ruins any chance of a relationship through his own selfish, narcissistic personality. He’s not a nice or safe person to be around! And even for those who stick by him, Griffin refuses the help or even company of others. His invisibility, once revealed, is always a horror or an abomination to other people. He’s frightening, and yet also simply a man whom they detest. The only exception to this is Flora, who doesn’t shy away from Griffin because he’s invisible, even if she still believes it’s something they must all work together to cure. In a way, she still “sees” Griffin as the man he’s always been, even if folks like Kemp would say he was never worth the care to begin with.
Which, again, kind of ties into this secondary theme I’m getting at here. I don’t know how well this movie translated the book, but I’m always intrigued by stories that say something about the value of healthy relationships or depending on other people. Griffin thinks he’s stronger on his own, stronger by being able go unseen, but the isolation of invisibility proves to be a double edged sword. In the end, he’s just as vulnerable as anyone else. Maybe more so, because the invisibility is what leads to his death.
Season 1, episode 4 - in which the opening shot after the credits is a full body pan of Jensen Ackles’ ass curve as he lays, face down, in bed.
Some part of me still doesn’t understand how gay men aren’t the intended audience of this show; there’s so much queerbaiting, so much blatant exploitation of the two main characters being two ABSURDLY hot men. There’s so much flirting between all of the male characters. There’s gotta be twenty-some odd scenes where Crowley calls Dean his boyfriend and vice versa. Even the Castiel / Dean ship has been pretty much accepted in the narrative because of how much the actors play romance.
I don’t get it. Gay people keep this macho bullshit alive. There isn’t a straight man alive that cares this much about his car and his boots and his beer. Dean lives and dies for Aesthetic™ and he’s fucking bisexual, god dammit.
I’m really sorry. I know this show is awful. I just. I’M SO MAD.
Okay I'm rewatching the amazing digital circus and I'm on ep 3 rn, and I wanna give my two-cents about something.
We all have already formed the connection of mildenhall manor being connected to kingers story, and know that he was probably a developer for the game.
But because of the connection from the mildenhall manor story to kinger, the line about the husband trying to chase something and escape a "feeling of dread" and specifically the monster being an ANGEL, makes me believe perhaps kinger was trying to discover how to become immortal--
I mean in the game you don't need to eat, sleep, drink water, anything-- and you can't die from any injury no matter how severe.
I think more people should talk about the queer and autistic coding in breaking away
At least the autism undertones bc sure, you can argue about the queer coding but the autism coding is so incredibly ingrained into the narrative and characters it ain't even funny--
It's even crazier bc it was very likely unintentional considering the time period
Why's the best autism representation always by accident?..--
Throughout my final year here at [my college], I have been confronted with a truth I suppressed: I do not allow myself to work with others. Before college I made art in my own little corner of the world. I did not need to explain it nor defend it. I was self-sufficient with full control. My creative endeavors just existed with little forethought and practically no afterthought. The consequences are now deterring my ability to advertise myself and my work. During the fall semester I perhaps checked in with one committee member once before midterm presentations. This semester I got better in including others to critique and influence my creative decisions. Even so, I struggle with articulating myself at the detriment of my credibility. I am always stressed. Stressed about being misconstrued, seen as a liar, or worse of all - perceived as being insensitive, especially on purpose. I do not present this as an excuse. Causing harm regardless of intention is bad. I, instead, share this fact as context to my behavior.
Firstly I love character design and exploring character development. When I was young I could spend hours staging my toys in elaborate plays. So much so I have an ongoing list of 87 named and designed original characters. From that experience and curiosity, my characters became more defined and eventually started to take on a life of their own. I could see where personality traits started to mirror, clash, and complement each other. Secondly I love details and analysis and theorizing. I mean who doesn’t love a good mystery? It allows the media to propagate through a fandom. As well as giving the media a new life and legacy from the rewatch, reread, or replay. I am positive that every one of you can think of a plot twist that recontextualized the entire story. Thirdly, the world needs more unique creations made by diverse creators. The good, the bad, and the ugly. Or in this case, the lighthearted, the gritty, and the experimental.
I have a bit of all three in my artistic pursuit along with understandable push back. Some from self doubt and some from external concerns. Broaching controversial, triggering, or sensitive topics knowledgeably and empathetically is like balancing on an infinitely thin, infinitely long, blurry tightrope. A daunting and seemingly impossible task with a high chance of failure. A challenge I take on but I cannot do successfully by being fearful of offending someone. If I do step over a line I will learn from it with grace and correct my behavior without excuse. I know I will never fully understand the many topics I choose to explore. However, I understand the gravity that real people experience real atrocities. I understand that my actions have consequences. However I have no control over the reactions to my actions and consequences. Above all I understand the delicate stewardship required for nuance. I do not see violence, abuse, or the suffering of others as a joke or gimmick used for shock value. I do, however, believe creating fiction can help. Fiction allows a safe space for unlimited play with the potential to be antithetical to the status quo. Somewhere to process and experience terror and trauma and pain and grief. The capacity for catharsis and hard talks and complicated realites. The horror genre alone is filled with killers, rapists, and unexplainable monsters. Creatives like: Sherley Jackson, David Lynch, Alfred Hitckcock, Steven King, H.P. Lovecraft, Mary Shelly and many more (I cannot make a comprehensive list of every single spooky, scary, suspenseful, thrilling, and/or horrific story and the storyteller(s). )are praised for their work beyond which they are scorned. My point is creatives tackling controversial events and themes via art will continue with a long precedent. With or without me.*
It’s not much but I know how it feels to be an outcast. Despite the heavy and dark moments I choose to draw from, my stories will end happily. My ultimate message is “allow hope to exist”. Yes bad things can, and will, happen. BUT! With a little bit of hope it will get better, not perfect, but better. I strive everyday to be an artist and person that is earnest, inclusive, and empathetic. As such I often think about kintsugi, the Japanese artform of repairing fractured dishware. The beauty comes from the fact that an object was changed rather than discarded. Faith and trust leading to a second chance. Permission to grow through failure rather than succumb.
The Underlying Truth is a story about the lives of the Waterfell, Featherashe, and King families learning they are more connected than they realized. I delve into themes of community and found family as well as the effects it has on navigating and healing personal traumas. How different perspectives adjust to setting off into the world. How they make a home. How they find their way to take up space. What happens when these perspectives collide? Written in Collapsing Stars: A twisted coming of age story. Follows a group of college students learning how to behave as adults. Saturated in suspense, violence, and emotional immaturity. I conducted an exploration of the loss of innocence when thrust into the world of being an adult. The fears of responsibility, consequences, and self reliance that arise when you do. Though when do you become an adult? Is it when you turn a certain age? By graduating high school or even college? Joining the workforce? Joining the military? Or – Does it happen when fairy tales are shattered and polluted by reality?
*Addendum
I experience life via creating art. That is a major part of how I process and understand basically anything. I want to be a creator that cuts through the noise. I want my work to act as a pillar for difficult discussions. I am doing the work of researching academic facts. However, that will never be as useful as hearing from primary sources. So I came to a solution to use an indirect route. That is why I posed a question on Tumblr. A question regarding which media portrays violence, abuse, suffering, and the resulting trauma in a way that supports victims.
I see and participate in the double standard of finding true crime entertaining and being desensitized to actual genocides and epidemics happening now. Creator Uri Clarke articulates it well in “PARASIiTE FLOWER is About S*XUAL AB*SE” from 29:00 to 35:00
💬 0 🔁 1 ❤️ 2 · Ethical Writing · An open question for people with mental illnesses, trauma, and/or who have been discriminated against:
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