Game of Thrones Daily
we're not kids anymore.
NASA
I'd rather be in outer space đ¸
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ojovivo
Xuebing Du
JVL
Sade Olutola
will byers stan first human second
#extradirty
DEAR READER
Sweet Seals For You, Always
Andulka
Origami Around
Alisa U Zemlji Chuda
Today's Document
let's talk about Bridgerton tea, my ask is open
trying on a metaphor
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@uniquepeanutcreatorfire
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She only ever intervenes like this when it's Charlastor. All the ships she loves, their fans cans can run as rampant as they want and even push people to suicide, but she always has something to say about Charlastor specifically.
I think she intentionally avoided writing them interacting often so people wouldnât ship them. The issue is they were meant to have more meaningful interactions based on the premise and it ends up stunting both their development.
I do find it interesting that the first meeting between Huntress and Hunter so stark and mean compared to other previous meetings between versions. In any other case, a normal person would be curious as to meet a different version of them in another universe, but not Huntress.
It speaks volumes that when she first meets Hunter, there is no curiosity or Question. The instant she meets him, sheâs already clocked him for what he is â A mirror version of herself.
However, instead of mirroring a complete image, Huntress sees Hunter as an inverted mirror.
Inverted in that she instantly sees that Hunter is everything sheâs desperately trying to punch down. Heâs sensitive, heâs communicative. Heâs not a person whoâll completely ignore what he needs to do (AKA apologize and communicate with Fiona about whatâs happening between them)
Huntress sees this immediately, and when Hunter says, âYouâre me.â She instantly shuts that shit down and goes, âNo. youâre a soft version of me.â And then goes to instantly headbutt him to the ground when he even DARES to take the introspection one step further.
Weâve always kinda know that Huntress has had anger issues before (tiny little plant huntress hissing at her adoptive mom and her toddler form beating the shit out of a rock with a stick until it broke) but this episode really showcases huntressâ anger in full force.
Sheâs not so much angry at Fionna or any other person (not even Finn). Sheâs more so angry at herself more than anything. When BabyDream!Finn toddlers into the room, her entire monologue is not directed at him, per se. but more so herself. This entire journey is supposed to be easyâgetting an antidote, saving Finn and the going back to be a low-key, on again, off again. coupleâ but now things have seriously changed for the worse and time is running out for Finn (hence the metaphors having to do with the time clocks and clock people and so forth) and Huntress is feeling ALL the pressure.
Something I haven't seen anyone mention yet is how the opening tale in the pilot is clearly refering not to only Gwen herself, but ALSO Olivia, who to me is clearly supposed to parallel Gwen's role as the captive princess of the Park's kingdom
Putting aside the whole "Princess trapped in a tower" symbolism which is *painfully* explicit here, this conversation with her father makes it clear what role she's supposed to play: while it's not clear if this scene happens at the beggining of the Park's history or if it had already existed for a while, what IS clear is that Olivia's father is, well, grooming her to continue his legacy and take over the Park's operations, watching over the guests from afar and keeping the magic flowing while sitting contently in her gilded cage, with all her shiny toys and machines. He frames it all as a big shiny gift for her, compensation for something that happened in the past while also urging her to forget that same past and accept the now
So naturally Olivia complied and became some sort of "ruler" of the Park, at the very least acting as a (human) face for the public. And she has kept this role for YEARS, so much so that in the present she STILL remains on the same damn room, just now bedridden and surrounded by medical staff and freaky androids instead of toys. She's a much of a prisoner of the Park's underlying structure as Guinevere is, the main difference being that while Gwen apparently recognizes that and is constantly trying to escape, Olivia probably never realized she was one to begin with (how could you, if most of what you've ever known was a prison?)
That is also the reason why adult Olivia seems so distraught about Gwen's scape: she doesn't realize she's living in a cage and so can't for the life of her understand why Gwen, her friend/toy/surrogate mother figure(?), keeps escaping. She rationalizes it as an error in Gwen's programming and thus is always trying to "fix her", not necessarily out of malice but because she's desperate to keep her one and only companion at her side, jailed together, forever
It's downright tragic and a GENIUS idea for a villain: a captive princess that rules her kingdom from afar while subsequently being a slave to it. I can't wait to see what direction the show takes
This is very much my read on it also, and it's what elevates Knights of Guinevere for me. Before the pilot aired, there was a lot of "ha ha Dana Terrace hates Disney she is going to Epically Own Them!" going around, and a bit of a presumption that the sum total of the show's imagery and messaging would amount to "fuck you Disney! Blood and guts dystopian Disney Princess imagery ha ha fuck you!"
Which would have been fine and fair enough, and certainly a sentiment Dana Terrace has earned the right to!
But the show doesn't stop at a South Park-ian raised middle finger to the corporation, it doesn't just scoff and spit and cry "it's all phoney!"
The pilot is premised on an understanding that no matter how fake or how toxic it might be, the Disney Princesses and their stories are important to people (Frankie seems to most directly embody this, hallucinating Gwen in her most glorious form even when she's broken and damaged), and that finding love and meaning in these things does not make a person weak or stupid or bad.
It's... not necessarily healthy to fixate on it, and Frankie is very explicitly shown to retreat from reality into hallucinatory fantasy, and those fantasies cause her to act rashly and put herself in serious danger. But it's not evil, it's not stupid, and she isn't wrong to love Gwen and the beauty that Gwen represents.
Gwen, the Princess, is not the problem.
And neither is Olivia, really. She's a deeply traumatized child who was not only groomed and isolated by her father, but who seems to be stuck in a state of permanently arrested development, absolutely cocooned in saccharine childish fantasies, and consumed by the obsessive idea of "fixing" Gwen. If she can only "fix" her properly this time, then... then she'll stay. Then it'll work. If she can only make her PERFECT, then it will work.
There's a heavy implication that Orville is acting out of guilt for something, some trauma or pain that Olivia was put through because of him, and my read is that Olivia's obsession with fixing and "perfecting" Gwen is a sublimated obsessive desire to somehow fix, somehow undo, whatever that trauma is. My first guess would be the death of a loved one, and my first guess would be Olivia's mother (there's that conspicuous family portrait we see a couple of times + the umbilical cord imagery when Olivia pulls on her guts: a child yanking on the connection to a mother).
Olivia and Frankie seem somewhat parallel with one another in that way, opposites and complementaries. Both of them obsessed with Gwen, both of them in a state of alienation from reality. Olivia is physically frail, Frankie is physically potent, Olivia is rich and privileged, Frankie is poor and marginalized. Both of them are deeply marked by the neglect and abuse of father figures who think they mean well.
Olivia is not the problem, she's the product of the problem. The problem is the fucking park. This hovering, consuming leech on the world, gorging on resources and throwing up garbage and poison on the world below. It is the world, the structure, the system of cyclical and constantly escalating consumption - this is the thing which is not only poisoning the world, but which is strangling Olivia's life out of her with endless swaddling childhood, and which produces and commodifies Gwen's body (bodies?) for consumption and abuse, and which exploits the fantasies and dreams of people like Frankie and Andi, and poisons their world and impoverishes their lives.
And I think that's a lot more interesting and salient and complicated than "this show is about how Disney is bad and princesses suck" that I have seem some people kind of reduce it to. The art isn't the problem, the characters aren't the problem. It is the ravenous maw of consumerist exploitation which uses them as a lure.
TODAY at 3pm PT / 6pm EST
Be there for the youtube premiere of Episode 5!
3 more days~
Vivziepop is being more aggressive and nasty on social media because sheâs pissed off about Hazbin Hotel and Helluva Boss being owned by Amazon. Both of her shows are corporate-owned, with the animation being worked on by outsourced studios and SpindleHorse. Thereâs nothing indie about Vivziepop and her shows anymore, and there hasnât been for a long time. The entirety of the Hellaverse is Amazon property, with her only working as a writer.
Gooseworx still owns the rights to TADC, with Netflix merely airing the show without having any bearing on the writing and animation. Glitch has enough money to support this show along with The Gaslight District, and Knights of Guinevere. However, Vivziepop sold the rights of Helluva Boss to Amazon because her terrible writing and behavior caused the showâs views and merchandise sales to drop low enough that she couldnât financially back it anymore. Of course, sheâll never admit to this and blame everything and everyone else instead of taking accountability.
Vivziepop is angry and envious that other indie creators still have complete ownership of their own shows, unlike her, who has only creative rights on her Amazon-owned shows.
Viv, You Better Start Listening To Criticals Because It's Obvious You Are Running Into The Same Problems That Zoophobia Had And Even Back Then You Tried Ignore Valid Criticisms
Ever since your Zoophobia days you have been shouting down criticism about your works and portrayed your critics as haters, but eventually you stopped working on Zoophobia because it became too much for her and even you admitted it had no direction and was doing too much. You bloat your cast, have confusing worldbuilding, sideline your original main character, have rancid morals, unsympathetic characters you want us to feel sorry for, focus too much on questionable romances, etc. All of this has been a feature of your work and you refuse to budge from it because you have a stick up your ass never thinking that maybe you need to change. And your will still suffer as many people pick apart your faults. You are no longer a 20 something amateur webcomic writer but a professional who work is now is in the mainstream and you have to do better rather than act like an immature butt hurt fanfiction writer.
I imagine this is how the adoption went.
Hazbinâs intended audience
I'm not sure why she would even do it; it would be like me going on camera and saying "I love to fuck goats." Even if was obvious to most people that I was joking, it'd still essentially be giving my haters online a hammer and telling them to go to town.
How often do you hear other creators speak about their rapist characters in this matter?
I had an epiphany, helluva boss makes a lot more sense if you imagine it as Stolasâs fanfic. Like 90% of it is just him being an unreliable narrator going âOh no I had every right to cheat on my wife because sheâs a BITCH who would abuse lil ol me and sheâs ALWAYS been this way even when we were kids!!!â (â No I didnât actually try in this relationship why would I? Iâm a sad gay twink I can do whatever I want!â) like imagine
âOh and blitzy yelled at me even though Iâve never looked down on him except for all the times I did I canât believe he would ever think so LOW OF ME đđđâ
âHmm I donât know what to do with the girl imp hmm, I know Iâll write in a pregnancy that she would never want!! Oh Iâm so clever and original :>â
âHow do I demean my ex wife even more hmmâŚIâll imply an incestous relationship between her and her brother oh, genius!! Surely no one will sympathize with her after that!!â
And meanwhile in the real world Blitz and the rest of IMP are happily carrying on their kill for pay business without needing to rely on Stolas, Octavia is happily living with her mom and uncle and Stolas is living on the streets living off of lucky charms and crying himself to sleep as he reads comments pointing out how much of an abuser he is.
This is my new headcanon itâs the only way I can tolerate this series
This is a perfect interpretation of Helluva Boss! đđ
More Proof He Saw Octavia As An Obligation And He Just Gave Up Giving His Daughter A Normal Homelife The Minute She Got Older
Seriously, this really is very showing how he treats his daughter. He really thinks that parenting ends when a child turns 17 or 18. Not that it's a lifelong responsibility and that a child will always need their parent. It also argues against the notion that Stolas is entitled to happiness because of what he's done for her, because he really thinks good stable parenting has a cut off date. No, as a parent he always needs to think about her happiness before his and his reasons for divorce were never for her sake, but just to be with someone he coerced into a sexual relationship with. Adult children are adults, but you still are their parents and they still need you as long as both of you can live. It really does prove Via valid that he saw her as an obligation because he felt he wasn't required to give her a stable life anymore. He felt now he could hurt her mother and not think what that would imply for her. It really deep down shows how selfish he is as a parent and in another show his daughter would be right to cut him out permanently.
People want to point out how Stella referred to Octavia as an âeggâ but Stolas referred to her as a âthingâ in this scene.
I absolutely loved that they showed us Pops and Mimi through the years as they danced.
Utterly gorgeous!!
Viv saying she cares about SA victims is like when someone is making awful comments but said It's okay I have a black friend.
It's that vibe alright
She only cares about the SA victims who like her shows.
Itâs embarrassing and shameful how some HB/HH stans used this moment to take a shot at the Lackadaisy team. Even though the team already explained the situation on Discord and how that wasnât the case. But I guess they believe all Discord screenshots are fake.
Sound like antis to me, you know the ones they complain about.
For people saying Viv is a changed person, please consider looking at this (found this on X):
(And I'm not even mentioning all the controversial things she and her toxic standom said online.)
Gentle reminder for the fans: If your show's full of flaws then critics aren't the ones to put the blame on. They're just pointing out on flaws, not inserting it into the series. Please remember about this! đ¸
