Very dramatic

Lurking in the shadows. Middle-aged and silly and haunted. They/she.

[verydramatic]

2x08 / Episode 15: And That's The End of It. There's Nothing Else

It took me a while to write this review. I did struggle with this episode and I think it is the weakest of the whole show this far. I was disappointed. I still gave it four stars. Mainly, those stars go to the first 30 minutes and to the very end. They also go to Jacob, who was brilliant again.

I do think there were pacing problems and trying to do too much, to do a satisfying conclusion and to set-up season 3. But these are not really my main problems with the episode, though of course related. I don’t think the story that the show had been building so carefully for 14 episodes was given the weight it deserved at the very end. Claudia’s death, Lestat’s abuse, Armand’s abuse and betrayal, even the memory as unreliable and Louis coming to terms with all that had happened to him and how he also had betrayed Claudia at times all fell flat to me. I know there is more to come, and I really hope the show keeps dealing with all this with nuance and complexity it has done so well before the finale. Also, I really really wish the show keeps dealing with race in a meaningful way. To do that they have to get more people of color to the team (though I don’t want to minimize the brilliant work that the writers of color have done this far in the show).

The core problem with the finale is writing. The biggest example of this is of course the NOLA scene. I just don’t understand why Louis is not even questioning Lestat’s involvement with the trial and Claudia’s death. Like I just don’t get the dialogue of the scene and I can’t read it in any other way than Louis apologizing to his abuser because of season 3 and setting up Lestat to be the lead. Which obviously is really bad. (The thanking for the gift thing I do get, it is important for Louis' character going forward). I also don’t think the scene is well acted and I say this almost never about this show. I especially hate the line and the delivery of “You have the same problem?” or whatever it is. But acting and writing and directing are of course connected, so I can’t really blame Jacob and Sam. Siri pause is good though.

The end part of the finale feels flat, like all the complexity that the show does so well is (almost) gone.

Having said all that, I’m still excited to what is to come, and I think there is a possibility for Lestat to be an interesting character. Sam said that shame is a great motivator for Lestat and that does have potential. I want them to do Bojack Horseman with him. And I think the silliness and campiness of the rockstar thing could work, like I like that they are bravely going there. But we’ll see.

I’m so curious of what they will do with Louis and Armand going forward. If they keep being relevant and complex with good storylines I will be watching! (Show) Louis is one of my favourite characters of all time and so is (show) Armand. I think it is telling that the greatest episode of this show doesn't have Lestat in it. Like it makes me petty-happy, even when I'm actually curious of season 3 and what Sam will do. And I don’t mind some good Loustat kisses that we might get. I just hope they will keep writing good and complex and with the (mostly) amazing tonal layering they have been doing. Maybe the finale problems were partly because of the strikes for example, one can hope. And it does end in a perfect way with Louis alone.

And the only way to end this: bravo to Jacob, Assad and Delainey!

[verydramatic]

It was interesting to read this now after two years. I have definitely moved on from IWTV since. First I was pretty uninterested in The Vampire Lestat, I didn't even watch it immediately. Now I have seen four eps and I'm looking forward to the rest. 3 and 4 were better than 1 and 2. They had some genuinely great moments. I loved the Magnus music video: it felt genuinely daring and it actually said something meaningful about pop culture, framing of the stories, and trauma. Do I think Magnus character is somewhat homophobic+ableist stereotype: yes. Anyway, some of the performances are so pleasurable to watch, and there is also pleasure in watching the maximalist over the topness. I loved the wave sounds mixing with the romantic music + Lestat and Gabriella dialogue + the shooting aftermath. I felt inspired by it, even thinking about my work. But: there is so much that I either find bad or just a strange choice. Like why spend so much time with the band stuff that is mainly just boring and feels outdated. And more importantly: why to center whiteness and maleness (and strangely also straight/fm sex, though not straightness) in so many ways, and without even attempting to comment on it. I guess we know the answer though. Some elements of the show work so well still and the show is definitely trying to do its very own thing. It is extra frustrating then that the show in so many ways is also normative bullshit. I am also a white middle aged "creative" and I hope so much that I will see through my hubris. Though no one is ever going to let me do a tv show so there is that too. Armand help me.

[verydramatic]

After ep 5 my thoughts are that this season is a mess. Mostly badly written though there are good – even sometimes great – small moments. Lestat irritates me so much. Sam is good though. And I HATE Daniel, even more so than seasons 1–2, and I really disliked him. And sorry but that character is not well acted, and has never been but now it is just more clear. I don't understand why people think that Louis is doing something really bad with Regina. This far he is not. It is not good for him, for his psyche, obviously. But Regina knows what she is doing. Sex work IS WORK, and so is what she is doing. Maybe this will turn worse, but I think it is mainly sad.

[verydramatic]

I was reading the TVL critical tag and someone just commented It is giving boomer.

[verydramatic]

2x08 / Episode 15: And That's The End of It. There's Nothing Else

It took me a while to write this review. I did struggle with this episode and I think it is the weakest of the whole show this far. I was disappointed. I still gave it four stars. Mainly, those stars go to the first 30 minutes and to the very end. They also go to Jacob, who was brilliant again.

I do think there were pacing problems and trying to do too much, to do a satisfying conclusion and to set-up season 3. But these are not really my main problems with the episode, though of course related. I don’t think the story that the show had been building so carefully for 14 episodes was given the weight it deserved at the very end. Claudia’s death, Lestat’s abuse, Armand’s abuse and betrayal, even the memory as unreliable and Louis coming to terms with all that had happened to him and how he also had betrayed Claudia at times all fell flat to me. I know there is more to come, and I really hope the show keeps dealing with all this with nuance and complexity it has done so well before the finale. Also, I really really wish the show keeps dealing with race in a meaningful way. To do that they have to get more people of color to the team (though I don’t want to minimize the brilliant work that the writers of color have done this far in the show).

The core problem with the finale is writing. The biggest example of this is of course the NOLA scene. I just don’t understand why Louis is not even questioning Lestat’s involvement with the trial and Claudia’s death. Like I just don’t get the dialogue of the scene and I can’t read it in any other way than Louis apologizing to his abuser because of season 3 and setting up Lestat to be the lead. Which obviously is really bad. (The thanking for the gift thing I do get, it is important for Louis' character going forward). I also don’t think the scene is well acted and I say this almost never about this show. I especially hate the line and the delivery of “You have the same problem?” or whatever it is. But acting and writing and directing are of course connected, so I can’t really blame Jacob and Sam. Siri pause is good though.

The end part of the finale feels flat, like all the complexity that the show does so well is (almost) gone.

Having said all that, I’m still excited to what is to come, and I think there is a possibility for Lestat to be an interesting character. Sam said that shame is a great motivator for Lestat and that does have potential. I want them to do Bojack Horseman with him. And I think the silliness and campiness of the rockstar thing could work, like I like that they are bravely going there. But we’ll see.

I’m so curious of what they will do with Louis and Armand going forward. If they keep being relevant and complex with good storylines I will be watching! (Show) Louis is one of my favourite characters of all time and so is (show) Armand. I think it is telling that the greatest episode of this show doesn't have Lestat in it. Like it makes me petty-happy, even when I'm actually curious of season 3 and what Sam will do. And I don’t mind some good Loustat kisses that we might get. I just hope they will keep writing good and complex and with the (mostly) amazing tonal layering they have been doing. Maybe the finale problems were partly because of the strikes for example, one can hope. And it does end in a perfect way with Louis alone.

And the only way to end this: bravo to Jacob, Assad and Delainey!

[verydramatic]

It was interesting to read this now after two years. I have definitely moved on from IWTV since. First I was pretty uninterested in The Vampire Lestat, I didn't even watch it immediately. Now I have seen four eps and I'm looking forward to the rest. 3 and 4 were better than 1 and 2. They had some genuinely great moments. I loved the Magnus music video: it felt genuinely daring and it actually said something meaningful about pop culture, framing of the stories, and trauma. Do I think Magnus character is somewhat homophobic+ableist stereotype: yes. Anyway, some of the performances are so pleasurable to watch, and there is also pleasure in watching the maximalist over the topness. I loved the wave sounds mixing with the romantic music + Lestat and Gabriella dialogue + the shooting aftermath. I felt inspired by it, even thinking about my work. But: there is so much that I either find bad or just a strange choice. Like why spend so much time with the band stuff that is mainly just boring and feels outdated. And more importantly: why to center whiteness and maleness (and strangely also straight/fm sex, though not straightness) in so many ways, and without even attempting to comment on it. I guess we know the answer though. Some elements of the show work so well still and the show is definitely trying to do its very own thing. It is extra frustrating then that the show in so many ways is also normative bullshit. I am also a white middle aged "creative" and I hope so much that I will see through my hubris. Though no one is ever going to let me do a tv show so there is that too. Armand help me.

[verydramatic]

After ep 5 my thoughts are that this season is a mess. Mostly badly written though there are good – even sometimes great – small moments. Lestat irritates me so much. Sam is good though. And I HATE Daniel, even more so than seasons 1–2, and I really disliked him. And sorry but that character is not well acted, and has never been but now it is just more clear. I don't understand why people think that Louis is doing something really bad with Regina. This far he is not. It is not good for him, for his psyche, obviously. But Regina knows what she is doing. Sex work IS WORK, and so is what she is doing. Maybe this will turn worse, but I think it is mainly sad.

[coldeveryseason]

i've seen a lot of people defend the increase in uncritical antiblackness and racist scripts in tvl/s3 by saying "well lestat and daniel are racist white men, ofc they make racist comments" and it's like, well yeah that's true but they shouldn't be making racist comments with the exact same voice and with seemingly the exact same pov. lestat is a french aristocrat from the late 18th century who grew up in a rural backwater and then moved to paris at the height of the french revolution, during the enlightenment when many modern ideas of "whiteness" were being defined, lived in new orleans during the jim crow regime in the early 20th century and then was significantly isolated from human society until 2022- daniel is an american man (possibly of jewish or armenian heritage since he's played by luke and eric) who grew up middle class in modesto california (a small city that had a significant population increase during the post-wwii baby boom) in the late 20th century and spent most of his adulthood in liberal urban centers around the states. there's little to no overlap in their lived experiences- lestat was in his shack era for the vast majority of daniel's lifetime. they come from radically different cultural contexts and even though they would both have racist views that fit the norms of white supremacist society, they wouldn't have the same racist views or express their racism in the same way.

but the show has both of them speaking in the same irreverent, quippy voice and cycling through the same types of jokes in a way that makes it clear this is what the writers think is funny, that this is a reflection of the writers' (esp rolin's) racism. rolin said the audience was gonna feel the whiplash of the show suddenly being taken over by lestat and feeling like we're in lestat's head, but the tone shift fails bc it specifically doesn't feel like we're in lestat's head or that the kind of narration and dialogue we're immersed in reflects lestat's character in any meaningful way- instead, it feels like rolin has taken the fact that the show is now set mostly in the present day and the general premise of "lestat is chaotic and terminally online" as a free pass to use lestat as a mouthpiece for his own voice and sense of humor. lestat isn't just any random mid-30s rockstar edgelord on tour, he's a specific character with a specific background, and while it's believable that he became terminally online and obsessed with pop culture in the 3 years since he reunited with louis in s2ep8, that doesn't mean all traces of his past and the history that shaped him is gonna vanish from the way he speaks, narrates and views other people.

for a season that's meant to be all about digging into lestat's character and everything that made him who and what he is, the writers seem to have completely disregarded that when shaping lestat's voice this season- and why "oh well aren't they supposed to be racist white guys anyway" isn't an excuse for the racism we're seeing in the scripts. (and honestly even daniel's voice, even though his context is a lot closer to the context the show's writers would have, doesn't always land right- a man who spent most of the 70s/80s in gay bars wouldn't be calling a 6 ft tall beefcake a "twink" and his septuagenarian ass wouldn't have adopted the 2020s derogatory use of the term where people use "twink" as a substitute for "fag" either. he'd just say fag.) if the writers had done more research and had lestat doing archaic 18th-century racism pulls while contrasting that with his misuse of 2020s slang he doesn't fully understand, if daniel was actually speaking like a white guy who survived the aids crisis and cut his teeth as a journalist in late 20th century good-ol-boy newsrooms, i could give the show more grace and say there was some intentionality behind their dialogue- but everything so far just points to the writers themselves thinking "so armand is an abused sub bottom, that's his defining trait" and shoving dialogue about that into every other character's mouth without thinking if that specific person would actually say or think that. there's no reason a 265 yo french former rural aristocrat, a 72-yo usamerican journalist, and a 20-something french-canadian bookseller should be making the same kind of "armand is a beta bottom lawl" comment- but they are doing that in the show, bc the writers think it's funny and expect the audience to laugh along with them.

[verydramatic]

2x08 / Episode 15: And That's The End of It. There's Nothing Else

It took me a while to write this review. I did struggle with this episode and I think it is the weakest of the whole show this far. I was disappointed. I still gave it four stars. Mainly, those stars go to the first 30 minutes and to the very end. They also go to Jacob, who was brilliant again.

I do think there were pacing problems and trying to do too much, to do a satisfying conclusion and to set-up season 3. But these are not really my main problems with the episode, though of course related. I don’t think the story that the show had been building so carefully for 14 episodes was given the weight it deserved at the very end. Claudia’s death, Lestat’s abuse, Armand’s abuse and betrayal, even the memory as unreliable and Louis coming to terms with all that had happened to him and how he also had betrayed Claudia at times all fell flat to me. I know there is more to come, and I really hope the show keeps dealing with all this with nuance and complexity it has done so well before the finale. Also, I really really wish the show keeps dealing with race in a meaningful way. To do that they have to get more people of color to the team (though I don’t want to minimize the brilliant work that the writers of color have done this far in the show).

The core problem with the finale is writing. The biggest example of this is of course the NOLA scene. I just don’t understand why Louis is not even questioning Lestat’s involvement with the trial and Claudia’s death. Like I just don’t get the dialogue of the scene and I can’t read it in any other way than Louis apologizing to his abuser because of season 3 and setting up Lestat to be the lead. Which obviously is really bad. (The thanking for the gift thing I do get, it is important for Louis' character going forward). I also don’t think the scene is well acted and I say this almost never about this show. I especially hate the line and the delivery of “You have the same problem?” or whatever it is. But acting and writing and directing are of course connected, so I can’t really blame Jacob and Sam. Siri pause is good though.

The end part of the finale feels flat, like all the complexity that the show does so well is (almost) gone.

Having said all that, I’m still excited to what is to come, and I think there is a possibility for Lestat to be an interesting character. Sam said that shame is a great motivator for Lestat and that does have potential. I want them to do Bojack Horseman with him. And I think the silliness and campiness of the rockstar thing could work, like I like that they are bravely going there. But we’ll see.

I’m so curious of what they will do with Louis and Armand going forward. If they keep being relevant and complex with good storylines I will be watching! (Show) Louis is one of my favourite characters of all time and so is (show) Armand. I think it is telling that the greatest episode of this show doesn't have Lestat in it. Like it makes me petty-happy, even when I'm actually curious of season 3 and what Sam will do. And I don’t mind some good Loustat kisses that we might get. I just hope they will keep writing good and complex and with the (mostly) amazing tonal layering they have been doing. Maybe the finale problems were partly because of the strikes for example, one can hope. And it does end in a perfect way with Louis alone.

And the only way to end this: bravo to Jacob, Assad and Delainey!

[verydramatic]

It was interesting to read this now after two years. I have definitely moved on from IWTV since. First I was pretty uninterested in The Vampire Lestat, I didn't even watch it immediately. Now I have seen four eps and I'm looking forward to the rest. 3 and 4 were better than 1 and 2. They had some genuinely great moments. I loved the Magnus music video: it felt genuinely daring and it actually said something meaningful about pop culture, framing of the stories, and trauma. Do I think Magnus character is somewhat homophobic+ableist stereotype: yes. Anyway, some of the performances are so pleasurable to watch, and there is also pleasure in watching the maximalist over the topness. I loved the wave sounds mixing with the romantic music + Lestat and Gabriella dialogue + the shooting aftermath. I felt inspired by it, even thinking about my work. But: there is so much that I either find bad or just a strange choice. Like why spend so much time with the band stuff that is mainly just boring and feels outdated. And more importantly: why to center whiteness and maleness (and strangely also straight/fm sex, though not straightness) in so many ways, and without even attempting to comment on it. I guess we know the answer though. Some elements of the show work so well still and the show is definitely trying to do its very own thing. It is extra frustrating then that the show in so many ways is also normative bullshit. I am also a white middle aged "creative" and I hope so much that I will see through my hubris. Though no one is ever going to let me do a tv show so there is that too. Armand help me.

[lunlumo]

blinkography for the win 👁👁

[theskatingarchive]

Matias Lindfors (FIN)

2026 European Championship Short Program (67.80)

[aamuusva]

Dreamer

[maelancoli]

trinity santos is a study in fandom misogyny because they gave her all the characteristics fandoms usually salivate for in men, being gruff, quippy and misunderstood with a tragic backstory but a heart of gold beneath it all. they put all this into her AND let her be a lesbian. she's everything you could ever want in a character but she's not a man so half the fandom either hates her or constantly mischaracterizes her as petty, callous and aggressive while doing mental gymnastics to baby the male characters around her

[gameofthronesdaily]

THE HAMMER AND THE ANVIL A Knight of the Seven Kingdoms — 1.03

[gameofthronesdaily]

#roasted

[debustee]

Maekar and his life decisions that he thinks about😁

[thebonesinmy-closet]

Dunk x Daeron is so "barely ever had his first kiss and is absolutely clueless about sex" x "pillow princess that would rather his partner sloppily pleasure him like a fool then take any amount of charge" and I love that so much for them.

[marshsano]

ser duncan the tall and daeron the drunken

[emmaziadarcy]

[kitschlet]

What you need to know to watch figure skating at the Olympics

Okay, remember when I suggested (threatened) that I might make a figure skating primer for the Olympics? This is part one of that!

This primer is in five parts. Below are the absolute basics, so that someone who has never watched figure skating before can learn what’s going on and what to look for. I will also be making four posts about what's going on currently in each discipline, and I'll edit the links in here as I make them:

MEN | WOMEN | PAIRS | ICE DANCE

(DISCLAIMER: I’m simplifying a lot so this all makes as much sense as possible and no one gets overwhelmed. If you are a figure skating fan reading this and you’re tempted to be like "well ACTUALLY you forgot—" please know I’m just trying my best to not info-dump for six hours here.)

THE BASICS

The sport of figure skating consists of four disciplines: men’s singles, women’s singles, pairs and ice dance. Men's and women's singles consist of elements like jumps, spins and step sequences. Pairs combines these elements (side-by-side jumps and spins that must be done in sync) with pairs elements such as throw jumps, overhead lifts and twists. Ice dance, while consisting of teams of two people like pairs, is a completely different discipline that is closer to ballroom dance than singles skating. Ice dance is judged based on skating skills and choreographic elements.

EVENTS

Every figure skating discipline has two events, the short program (or rhythm dance, in ice dance), and the free skate (or free dance). The score from both programs is added together and the cumulative score determines the final standing. Short programs (and the rhythm dance) are all 2:30, free skates (and the free dance) are all 4:00.

TEAM EVENT

This is a competition that happens only at the Olympics, where all the athletes from each country get to compete together as a team to try and earn a medal for their country. Only ten countries will compete in the team event: Canada, China, France, Georgia, Great Britain, Italy, Japan, Poland, South Korea, and the USA. USA and Japan are the heavy favorites for gold, so whichever loses will likely get silver. Bronze is probably between Italy and Georgia. Every member of the top three teams receives an Olympic medal, so skaters who are not likely to medal in their individual discipline will be hungry to get on the podium here.

SCORING

Figure skating scores are additive, not subtractive. There is no “perfect” score. Every element has a “base value,” a number assigned based on the difficulty of the element. Points are added or subtracted to the base value based on how well the element was performed (“grade of execution,” or GOE). For example, the base value of a triple axel is 8 points. But the maximum score you can get for a PERFECT triple axel, with the highest possible GOE, is 12 points. If you fall on a triple axel you will get the maximum negative GOE and receive only 4 points, and an additional one-point deduction for falling. The sum of the points you received (base values with GOE added or subtracted) for all your elements is known as the technical elements score (TES).

However, TES is only about half your score. Skaters are also judged on three subjective criteria: skating skills, performance and composition. Judges rate each of these categories out of ten, and the scores are averaged together and multiplied by a certain factor to get the program components score (PCS). Basically the point of PCS is to reward fundamental skating quality and artistic talent, so that people can’t just go out there, do big jumps and win without caring about the rest of the skills. (Ask a figure skating fan if PCS does this effectively and block out the next 40 minutes on your calendar to hear the answer.)

Anyway, TES + PCS (- any deductions for falls or rule violations) = total score.

THE TECH BOX

When you watch figure skating, this little guy will be in the top left of the screen:

This tells you which elements are being performed, the base value, and the GOE in real time. So this is super helpful for understanding what’s going on! You can watch the skater’s TES rise as they complete their elements, and compare it to the TES of the current leader. (In this case, Kulish was skating and Kessler was in the lead.)

These little boxes will light up green for positive GOE (element performed well!) and red for negative GOE (element performed badly). Neutral GOE (0.00) is gray, and invalid elements have a little X. This is a quick shorthand to see how well the program is going. Skating fans affectionately refer to the sequence of boxes as “the wordle”.

JUMPS

There are six standard jumps. In order of difficulty from lowest to highest, we have: toe loop, salchow, loop, flip, lutz, axel. It’s very easy to explain why the axel is the hardest: all jumps land backwards, but only the axel takes off forwards. That means it’s a half-rotation more than the other jumps. A triple axel is 3.5 rotations, a double is 2.5, etc. That’s why a triple axel is so much more difficult than the other triple jumps. The triple axel is standard in men's skating, but still a bit rare and special in women's skating (though not as rare as it once was).

A quadruple jump, or quad, is very difficult and it's worth a massive amount of points. Most of the men at the highest level of competition will have at least one or two quads in their arsenal, usually salchow and/or toe loop. Very few women compete quads. (More on all of this in the posts on men's and women's skating.)

If you're interested in learning the mechanics of the jumps, I'd recommend looking up a youtube video (like this one) or checking out this excellent guide with gifs.

ROTATION

You are supposed to finish your rotations in the air. If the skate is still rotating when it hits the ice, it’s not a “clean” jump. If you land with a quarter of the rotation left to go, the jump is given a "q" call, which will lower the GOE. If you land 90-180º under, the jump is “underrotated" and the base value is reduced. More than 180º (half a rotation) under and your jump will be fully “downgraded," which means a triple will be reduced to the base value of a double (or a quad to a triple, etc). This is important to know because you might see a program with no falls or obviously shaky landings and THINK it’s a perfect clean program, but these rotation calls can murder the technical score. Especially in the women’s events, which are very close, rotation is likely to make a BIG difference in the standings.

OTHER ELEMENTS

Many non-jump elements (such as spins, step sequences, lifts, twists… lots of things) are rated on difficulty from 1-4, and the base value increases with the level. So when you’re like “this spin looked good… but this spin also looked good!” and they score really differently, it may be because one is a level 2 and one is a level 4. The criteria for earning levels are complicated and often difficult to spot unless you are a figure skating judge, so no need to learn them. Just know there are levels of difficulty and they go up to 4.

WHAT TO LOOK FOR

So, besides not falling, how can you tell if a skater is GOOD?

Speed: They should be able to generate a lot of speed with little effort. Generating and maintaining speed through complex steps (like one-foot turns) is harder than generating speed with forward or backward crossovers.

Edges: "Deep" edges (which are what you want) are when the skater is leaning deeply into curves and their skate is tilted, not straight up and down.

Knee bend: The more knee bend the better, especially on jump landings.

Flow/running edge: Each move should flow effortlessly into the next. A "running edge" is when the skater holds a long smooth edge out of a jump, and it's the sign of a controlled landing.

Stamina: You get a 10% bonus for jumps in the second half of a program, so the best skaters will save their highest-scoring jump combinations for the second half. (Which is much harder to do since your legs are tired.)

Spins: For spins, they should be fast and CENTERED (not wobbling or "traveling" across the ice). Also, skaters need to hit a lot of different spin positions to get levels.

Difficult entry/exit: Doing footwork or choreographic elements directly into a jump increases the difficulty and is rewarded in GOE. Difficult entries and exits for spins increase the level.

Musicality: Timing elements well to the music is rewarded in GOE. (And should factor into PCS.)

And of course, landing those jumps.

THOSE ARE THE BASICS! If you want to learn more and really get into the nitty gritty, I highly recommend the guides on So You Want to Watch Figure Skating, an invaluable resource.

[kitschlet]

IF you read all this and want to learn more before the olympics start, my fave podcast The Runthrough just put out an episode explaining the rules of figure skating! and there's also a new ice dance docuseries on Netflix called Glitter & Gold that profiles three of the top teams vying for medals! 😊

[slaygentford]

why is this the funniest thing I've ever seen in my life

[woman-respecter]

average gay guy problems: i have been hooking up with my hockey rival, but now i am developing feelings for him and nobody can know! >_< also nobody serves ginger ale

average lesbian problems: my wife died when an alien virus turned all of humanity into a hivemind and then said hivemind sent a woman who looks like a female version of my romantasy hero to charm me into complacency, which i resisted at first but then i got lonely and now i think i am falling for her >_< also john cena said the hivemind is eating people