This Will Wait For Tomorrow

We’re painted red to fit right in

seriously I had some little TikTok teenybopper burst out laughing on my tour because I said that a historical figure was “most likely what we’d now call gay”

like

listen

you’re free to take a ouija board out to the cemetery and try to explain the dizzying array of current queer terms and get a solid answer as to how he identifies within that framework but 

until then, I’m going to continue NOT definitively assigning someone identity terms they didn’t self-identify with, and might not have even known, when I’m responsible for representing them faithfully and they’re not here to correct me. even more so when they’re part of my own community

I mean, you know, as long as that’s okay with you. Bestie.

Headcanons for cry time:

⚠️mentions of death, mental health, etc⚠️

Andrew labels all his clothes. Not because he’s worried Aaron’s going to steal them (that is part of it, though) but because he has a name. He spent so many years as Doe, unclaimed and unwanted but now he has a name and it’s his and he’s a Minyard for better or worse. He’s not unwanted anymore. When his name first changed, he spent hours writing it over and over again on everything he owned. Andrew Minyard.

Wymack does that thing where he accidentally calls his foxes by the wrong name. After Seth’s death, he turns to Matt when he’s being an asshole and snaps “shut it, Gordon.” His grief comes back so quickly because he will never yell “Gordon!” across the court or be able to pat Seth on the back and say “good job kid” again because he’s gone

Nicky finds life incredibly hard when he finally moves back to Germany to be with Erik. He hates himself for it. It should be good, it should be a fairytale. Erik’s the love of his life, the man of his dreams! But Nicky feels lost. He’s spent seven years away, but when he moves back he feels wrong. The house is too quiet, the room too dark. His bed feels too heavy with Erik in it. Erik finds him on the sofa one morning and makes him talk about it. Things go up from there, but glacially slow.

Aaron never recovers from his nightmares. Coping with them gets easier with time, but they never go away. He’ll wake up shouting in his sleep, mind full of blood and bare skin and Andrew’s hurt. The first time he has a nightmare and Andrew is in another state, he has to call his brother at two in the morning and get him to stay on the phone until Aaron can sleep again.

Of the three Fox adults in the story, Bee dies first. Andrew’s known her for twenty years and then she’s just not there anymore. Sure, her memory was all but gone and she couldn’t walk by herself but it was still Bee. Neil doesn’t know how to help, can’t offer anything other than the vague offer of assistance if Andrew needs it. Andrew spends a month curled up in a ball eating ice cream and being angry at the world for being so cruel. Then, Wymack dies too.

No but imagine kevin and neil facetiming during night practice after kevin goes pro because neither of them are used to practicing alone. Andrew is there because of course he is.

Neil would set up a laptop on the home bench and Andrew would sit down beside it to watch both kevin and neil practice amd they'd come up and talk to him during breaks

Even after andrew graduates he still joins the call to watch them. Night after night, without fail, he watches them play.

And sometimes, on sleepless nights, neil sits near a window at the tower, calls kevin and just- talks. Talks about exy, about classes, about how the new freshmen are hopeless and andrew's new coach reminds him of wymack.

How neil took a younger fox to exites, and how it reminded him of when kevin took him to buy a new racquet. How nicky used to make them tea on quiet nights and aaron would begrudgingly sit down beside neil with a stack of notes from class.

Some nights kevin would sit in the little balcony of his apartment, warm blanket around his shoulders, and call andrew. And sometimes they'd rest in comfortable silence, each other's prescenece was all they needed.

Other times andrew would let kevin talk about whatever historical period he was obsessed with that the time. Letting his words wash over him and fill and soften the tense silence of the night. Andrews shoulders would relax for the first time that night, his heart would calm, he'd sink into the comfort that was kevin, right tbere on the other end of the line, fully prepared to stay all night, morning practice be damned.

The first night kevin comes back home to palmetto, he sleeps in the monsters' dorm. No one says a word about it. And no one mentions how this is the most well rested neil has been in weeks.

The first time kevin and neil practice together after kevin went pro? No one dares come between them. Even as andrew took his place at the goal.

They snap back together as of they'd never been apart. They weave around each other, perfecting each impossible pass and play. Kevin taught neil every new trick and drill. Andrew stood immovable at the goal, seemingly ignoring kevin's proud (and a little smug) smile and neil's open grin, making the the striker duo struggle for every goal. Andrew's patience would soon run out, the next night he would simply watch from the bleachers. But for now, he indulged them.

Come morning they'd have to acknowledge the fact that their time was short. Some they'd all be pulled apart into different worlds, different courts, so far away from home, but that was tomorrow.

Tonight there were here. Tonight they were home.

I wonder how the Six Eyes and the Star Plasma Vessel appeared on the day of the merging, if they were already killed by Kenjaku?🤔Could it be that immediately after their death, their abilities manifested themselves in other people?

if you're a carry on fan, please read this!!

as we're all anxiously awaiting the release of wayward son (I know that is understatement of the year but we're going to go with it) I just wanted to reiterate a point I know many people have already made about spoilers!

(I know this is the point at which everyone will start to groan, but please hear me out!!)

not everybody will have access to wayward son on september 24th!

for example, I live in the UK and here, it doesn't come out until october 3rd. (this isn't really much of a difference but it's enough for us to get spoiled!)

in many places it may not come out for months after sept. 24th, and these people do not deserve to be spoiled!!

so please, no spoilers at all until october 24th (a month after the US release)! and after this point, please be very careful to tag your spoilers so that people who have not had the chance to read it won't have to see them!

this is also helpful for slightly slower readers, or readers with very busy schedules! they don't deserve spoilers either!

in conclusion, TAG SPOILERS FOR WAYWARD SON!

it may be a bit more work for you, but you could save multiple people from being spoiled!

thanks :))

(also if you could spread this it would be greatly appreciated!!)

Can't think about Romeo and Juliet without going insane (affectionate) about how genuinely good of a play it is and without going insane (derogatory) about how often it's been misinterpreted that a lot of conversations about it completely disregard the context of the story to make Romeo and Juliet's love seem superficial and "just being overdramatic dumb teenagers" instead of them both being born into a war they didn't ask to fight in, both having recently been put in awful situations regarding their other romantic relationships (Romeo having gone through what was more or less a bad breakup and Juliet being forced to marry an adult she doesn't know or love- of course they'd fall for someone who understands how they're feeling when nobody else will listen to them), and both of them having friends and family die over this feud that neither want to participate in. Why the fuck wouldn't they want to try to make things better??? Why wouldn't they plead and fight and kill and, eventually, die themselves to try to prove this battle pointless after every other attempt at both peace and escape has failed them??????? Gods I know I'm definitely overreacting but I get so frustrated when people water it down to "see this proves that love at first sight is a stupid trope" when that's literally the opposite of the play's themes. ALSO the story- while it's very common knowledge these days that it's a tragedy- WASN'T PORTRAYED LIKE THAT!!! Like yes, the prologue tells you that the main characters are going to end up dead at the end- but it's impactful because you're supposed to almost forget about that line, and wonder "how could things possibly go THAT badly?"!!! The entire first half of the play is framed as a comedy!!! You've got overdramatic monologues, a silly sidekick, old men swordfighting in their pajamas, a nurse that is well-meaning but ultimately incompetent! And then the silly sidekick dies. And very, very suddenly, it's no longer a comedy. Now it's a tragedy. And when this silly sidekick curses both the Montagues and the Capulets? Now you know. They're doomed. No matter what they try, something will go wrong, because the blood this feud has shed has cursed them all. And while they may try, and oh Lord, these characters try, they can't escape their fate.

If you think about it, technically an airplane can only fly when there is human blood inside of it

male gaze is not 'when person look sexy' or 'when misogynist make film'

death of the author is not 'miku wrote this'

I don't think you have to read either essay to grasp the basic concepts

death of the author means that once a work is complete, what the author believes it to mean is irrelevant to critical analysis of what's in the text. it means when analysing the meaning of a text you prioritise reader interpretation above author intention, and that an interpretation can hold valid meaning even if it's utterly unintentional on the part of the person who created the thing. it doesn't mean 'i can ignore that the person who made this is a bigot' - it may in fact often mean 'this piece of art holds a lot of bigoted meanings that the author probably wasn't intentionally trying to convey but did anyway, and it's worth addressing that on its own terms regardless of whether the author recognises it's there.' it's important to understand because most artists are not consciously and vocally aware of all the possible meanings of their art, and because art is communal and interpretive. and because what somebody thinks they mean, what you think somebody means, and what a text is saying to you are three entirely different things and it's important to be able to tell the difference.

male gaze is a cinematographic theory on how films construct subjectivity (ie who you identify with and who you look at). it argues that film language assumes that the watcher is a (cis straight white hegemonically normative) man, and treats men as relatable subjects and women as unknowable objects - men as people with interior lives and women as things to be looked at or interacted with but not related to. this includes sexual objectification and voyeurism, but it doesn't mean 'finding a lady sexy' or 'looking with a sexual lens', it means the ways in which visual languages strip women of interiority and encourage us to understand only men as relatable people. it's important to understand this because not all related gaze theories are sexual in nature and if you can't get a grip on male gaze beyond 'sexual imagery', you're really going to struggle with concepts of white or abled or cis subjectivities.