#so much subtext

[chlochette-sunde]

As an introduction to Tumblr, I wanted to share my thoughts on Supernatural so far.

I started watching the series earlier this year. It had been recommended by a friend of mine, who insisted that "it was so cool! And all the characters are great! And the music!"

I confirm the first seasons were cool. I could feel there was a certain... subtext but I couldn't really discern it at the time.

Then came season 4 and Castiel. And a whole new world (or "trashcan" as some of you call it) opened to me.

I haven't finished watching the whole serie yet (I just started season 14) but I can already say that watching Supernatural is draining me. Because its subtext is just so dense and heavy. It is exhausting to notice all these clues and innuendos that they regularly insert and never resolve.

And I'm not even a queer looking for these clues and innuendos. I'm just an ally with eyes, sensitized to these topics and tropes.

If it's exhausting for me, I can't even imagine how it's been for some of you who were looking for glints of recognition of your everyday realities, orientations or battles.

I am a Destiel believer and had been before spoiling myself with the serie's ending. I do believe Destiel is Cockles' fault. And I also believe Dean is a closeted bi.

I strongly believe Supernatural would have been drastically different if it had been host on another network. I mean: thousands, or maybe even millions, of us are aware that Supernatural is/can be queer coded. Jensen & Misha won an award for best chemistry and Destiel is still the ship that inspires the greatest number of fanfictions on AO3, by far. And I believe it happened for a reason.

Sure, Cockles helped. A lot. But what we acknowledged as clues and innuendos weren't just the happy accident of the chemistry between Jensen and Misha. It was how the episodes were scripted, how they were directed, how they were edited, even how the music was added sometimes.

I have to believe that the whole crew knew exactly what they were doing, that they shared as many ideas as they could through subtext. And if it is indeed the case, I also feel for them because it must have been straining to tiptoe on this thin line for 15 years.

Now that this have been expressed, I can go back to season 14.

I'm counting on you for a warm welcome!

Cheers from France 🇲🇫

[aheathen-conceivably]

Gio you piece of shit. WHY WOULD YOU DO THIS TO THE WOMAN YOU LOVE???? I'm going to go insane what is wrong with him (joking. Kind of) - LGL

Oh, LGL, however did I know this little wrinkle with Grocery Boy would bring you out of the woodworks…

I could literally write a mini essay on this so I’ll try and overview it as fast as I know how because we have some toxic dynamics building up right now, and without seeing that clearly the story may go off the rails very quickly.

Let’s go back to the 1920s. I admit I did not show this dynamic as explicitly as I would have liked, but you can see it in this post. Josephine in some ways delights in knowing that Giorgio is “below” her, in feeling like she’s the one with the power in their relationship. She gives him just enough emotionally but never all that she knows he needs and craves (see this post too).

Despite this (and perhaps because of it), Giorgio is hooked on her. He’ll never admit it (not even to himself), but in doing this he’s trying to reverse that power dynamic. Now she is the one who needs him, and that’s all he’s ever wanted. At first this was just a desire for his partner to need and rely on him emotionally (again, here), but the more Josephine manipulated that and put him down, the more this evolved into a larger complex.

Of course the reasoning that he gives is not totally fabricated, and Giorgio knows better than any of them just how bad the economic situation is. His father is a mafia leader (which has been alluded to), and it’s clear that he has intel into the larger issues in this era. It’s important to note that while we see this clearly in hindsight, it’s perhaps not as clear to those living it day to day. So when he says that he’s doing it for them, he means it. New Orleans in the 1930s is in horrible economic straights, and he was offering the lifeline he has to his friends and the woman he loves. As we’ve now learned, this lifeline is far from perfect (looking at you barren soil and home loan), but when you consider the alternatives and the value of a home itself, it is at least a base to weather the storms of the decade.

However, he knows that Jo would not accept a lifeline, because it would make her dependent and indebted to that person, therefore giving them power over her (which she admits to herself here). So he told himself that he was obscuring part of the truth for her sake, not his own. But then we’re right back to Gio’s underlying, more manipulative reasons, which now color this new dynamic and put Josephine in a situation that while “safer”, ultimately robs her of making an informed choice and meeting Giorgio on equal footing if she had chosen this on her own.

[amuseoffyre]

"You can't catch a fish, unless the fish wants to be caught." "And you're the fish?" "...we're the fish. I think."

[pijohere]

[zumerkka]

You held your head like a hero On a history book page It was the end of a decade But the start of an age

(one day, we will be remembered)

~Long Live, Taylor Swift

[janothergay]

Anyone else have a visceral reaction when someone asks their sign? I have to literally refrain from saying “I’m a Vag”.

Throwback to this iconic scene:

Bonus:

True, but we all knew you were gay af 😂

[freedemon]

Frender - Should’ve been canon (part two)

First off, before you read this, please read my part one: https://freedemon.tumblr.com/post/646524759563255808/frender-shouldve-been-canon-part-one

The first part was founded by @redwylde, I am simply just putting it into my own words.

The herbs from O.P.8 in Fry’s stomach began to glow with love while Bender was merely a couple of hundreds of miles away from the planet, when the glowing paused for a moment when Freela hugged.

(Now going into my parts)

So Bender literally draws his and Fry’s adventures together, with just them, no one else but whatever monster they’re fighting:

(Comic 51), Pay close attention to the one I highlighted in blue, it’s a red heart. The meaning of red hearts are… gratitude, love, happiness, hope, or even flirtatiousness.

Also the fact that Bender is such a simp for Fry — (I’ve literally convinced my girlfriend to ship Frender because of everything I’ve said to her lol):

And that in the second futurama movie (The Beast with a Billion Backs), Bender says THIS while walking up to Fry:

Bender says that there is no great love without great jealousy. Bender was jealous of Fry’s partners for the ENTIRE. MOVIE, especially when Fry was first going to move in with Colleen and then going to move in with Yivo (or move on Yivo, I guess).

Similarly to in I, Roomate (S1, EP3 — where Fry and Bender have known each other for about nine days), when Fry and Bender both go scanning for a suitable apartment that fits both of them, Bender grows extremely sad and temporarily depressed once Fry suggests that he and Bender shouldn’t be roommates.

That’s the end of part two, part three should be coming shortly.

[antlerx-art]

It doesn’t make sense because it’s not real

I was thinking about those films with a dream inception, the ones where you don’t know if the character is dreaming or they’re awake, where dream’s reality is almost identical to actual reality, but you can realize that it’s still a dream only by small details which wouldn’t make any sense in an ordinary world, like a dead woman rising from her grave, it’s not possible, just as the dream. It’s even more intriguing if it’s repeated a few times, with many little hints that, if you watch the film carefully, might help you to recognize the dream even before it’s revealed on screen. It could be objects or people randomly disappearing or appearing, scenes that go against the laws of physics or characters suddenly acting in an irrational and weird way. It’s a great trick to confuse the public, I like the way the viewer is completely involved and identifies with the main character so much that at some point you can’t really tell anymore what is real and what isn’t, and when you finally decide that you’re completely sure everything is back to normal and it’s definitely real, then boom: a secret psychopath sister that looks like samara from “The Ring” comes on the screen!

And, again, you realize that yes, it’s still a dream.