Seen Someone Say “I Can’t Die, I Got Graves To Dance On That Hasn’t Been Dug Yet.” And Honestly,

i love when scar and joe hang out. they're the epitome of *talks a lot* *listens*, they just trade off who the one talking a lot is depending on whether they're talking about theme parks or pinball machines.

i LOVE the headcanon of the different life series taking place in different seasons, and i especially love last life taking place during winter. something about having to trek through the snow and freezing cold alone, being practically hunted by the boogeyman. wowww.

My favorite part of watching Doc's episode today is how clear it is that he finds the whole situation incredibly funny but is trying to hide it.

He went through the pile of gifts, ignoring the building blocks of course, and was amused by all the Scarland food and merch. He tried on the Jellie ears and showed them off in F5 mode, which was extremely cute, and then quickly took them off and reminded everyone that he was still Big Mad and Out For Revenge.

Then he gave a blow-by-blow account of how Scar and Grian destroyed the tunnel borer from their videos. He explained what they'd done and gave a detailed account of Grian's screaming and their horrified silence. He was practically laughing aloud at how the pair had been tripping over themselves to get away. Then he sort of cleared his throat and reminded us all that he was still Big Mad and Out For Revenge.

And then, after discussing his anvil cannon and the TNT-spewing mecha-goat all episode as potential tools of vengeance, in the end Doc decided to flex his baffling redstone skills to do something impossible to Grian's nether portal instead of blowing anything up. 100% True GOAT behavior right here.

bad news tumbleweeds

FNAF Movie was hype.

Animatronics looked phenomenal, lighting and shot choice was really good, just visually gorgeous. All the actors really pulled it off for me, some very good facial acting, Josh Hutcherson did a very good job, and the kid and Vanessa and Mathew Lillard were osuhdhhshha.

So many little game cameos, Foxy’s little whistle, subtle little night progression, the whole set was gorgeous.

Springtrap. Boys, he looked so fucking good, his vocal performance was wohdjdjwhwgeuuw, the shot choice when he walks in, the rest of the animatronics were hype but I can’tttt

Not the scariest thing you’ve ever seen, but Blumhouse managed some genuinely tense scenes, it was cool.

It was a very good movie, as someone who’s been lost in the sauce for several more years than I’m willing to admit, and you’d probably even like it if you weren’t.

Okay I want to talk about this moment between Morrible and Glinda for a sec because it adds such a wonderfully sinister layer to a scene that is otherwise a triumphant defining moment for Elphaba, and it sets up the dynamics for Part 2 so perfectly.

At this point, we are in the thick of “Defying Gravity.” Everyone’s attention is on Elphaba - and rightfully so, she’s up there declaring war on the Wizard, displaying incredible feats of magic, of course everyone’s attention is on her.

…Everyone, except Morrible.

Morrible has realized that Plan A was a bust, but rather than panicking, she’s already worked over Plans B through Z in her head and has realized that Glinda, not Elphaba, is actually the key figure here. Glinda is actually the best thing that could have happened to them.

Mind you, Morrible hates Glinda. She thinks Glinda is vapid and attention-seeking and completely without talent. It would be extremely easy for her to brand Glinda as an accomplice to Elphaba, have the guards drag her off, imprison her, never have to deal with her again, nice and neat.

Instead, while everyone else is focused on Elphaba, Morrible only has eyes for Glinda. She zeroes in on her, releases her, and comforts her, because she understands what no one else understands, which is that yes, that’s great that the Wizard now has an enemy to unify his people against, but they also need a symbol of hope, something that is the exact antithesis to Elphaba, something to keep everyone at extremes. 

The Wizard himself can’t really be a symbol of hope, because the key to his success is that he remains shrouded in mystery, and yes people think he’s wonderful, but there’s a level of uncertainty and intimidation to him. He is Oz the Great and Terrible, and everyone’s preeeeeetty sure he’s a good guy, but if you have someone like Elphaba out there - who Morrible knows from experience is very smart, very articulate, and has her own sort of magnetism - there’s a potential that she could turn at least enough people against the Wizard to make things very inconvenient.

So what they need, now that they have an enemy, is to have an equally magnetic figurehead representing the Wizard who embodies all these one-dimensional ideas of goodness, someone for the public to adore and fawn over so the association between Wizard and Goodness is crystal clear.

And by bringing Glinda along, Elphaba has unknowingly served that figurehead up on a platter.

Glinda is everything Elphaba isn’t, from personality, to appearance - Morrible has already set Elphaba up by calling her green skin an “outward manifestorium of her twisted nature,” which paves the way for Glinda, who is the perfect conventional beauty, to be an “outward manifestorium” of pure goodness. 

Morrible realizes they need these two lightning rods of Absolute Evil and Absolute Good in order to manipulate people - fear alone isn’t enough; the only way to effectively radicalize the populace is to make sure there is no gray area whatsoever, no room for question: you're either good, or you’re evil. And the Wizard alone isn’t a strong enough representation of “goodness” when by virtue of existing, he has to remain in the shadows. Glinda on the other hand? With her looks and her charm and her openness and her ability to expertly win over a crowd? Perfect for the role.

Now the tricky part for Morrible is taking into consideration that Glinda and Elphaba love each other. But we also know from earlier scenes that Morrible is a master at manipulating emotions. Right from the start when Elphaba is having trouble with her magic, Morrible casually brings up the “Animals should be seen and not heard” disturbance from class, spoon-feeding her just enough to get Elphaba upset, triggering her magic, after which Morrible makes sure to give her assurance and praise to keep Elphaba optimistic about her power.

She’s also aware that Glinda does have quite a bit of influence over Elphaba, because when Elphaba flees, Morrible immediately tasks her with winning her over, rather than simply relying on the guards or even going after Elphaba herself. She knows if anyone has a chance at roping Elphaba back in, it's Glinda.

Obviously, Glinda isn’t successful in getting her back, but while this puts a dent in Morrible’s plans to get control of Elphaba, it does give her an extra weak spot to exploit in Glinda.

So now, at the height of “Defying Gravity” when Elphaba has officially taken her stand against them, Morrible sees Glinda, and Glinda is at her most vulnerable, her most emotionally fragile. Not only is she heartbroken and in shock, she’s also just witnessed in real time exactly how easy it is to turn an entire nation against someone. She’s scared, she’s powerless. She’s just lost the love of her life her only friend, she has no one to turn to - Morrible has definitely picked up on the fact that even though Glinda has countless people who fawn over her, none of them can be considered a true friend except for Elphaba, which means Glinda is completely isolated. Glinda also has a very limited understanding of the bigger picture of what the Wizard is trying to accomplish, and because she’s never been a victim of the system the way Elphaba has, she is still desperately clinging to the idea that everything will be okay as long as she plays by the rules of the people in power.

She has been perfectly primed for Morrible to begin manipulating, not through violence or intimidation, but by offering her comfort when no one else would - when not even Glinda’s only friend would - when no one else is even paying attention to Glinda, because they have the very real and present threat of Elphaba quite literally hanging over them. In this moment, Morrible chooses Glinda, which Glinda has been striving for since the beginning. Elphaba has chosen her principles, the Wizard has chosen his enemy, but Morrible has chosen Glinda, and in this moment of being so alone and so afraid and so betrayed, that makes all the difference.

We also get kind of a parallel shot too - Elphaba really sealed her fate the second her hand closed around the broom. But here, Glinda seals her fate when she gives in and reciprocates Morrible’s hold on her.

THIS is the moment that sets us up for Part 2, with Elphaba and Glinda as our lightning rods for Absolute Evil and Absolute Good, but more to the point, it makes it clear that they’ve BOTH been used, they’ve BOTH played right into these respective roles Morrible and the Wizard need in order to be successful - even if it wasn’t how Morrible originally planned for things to go.

I just love it, because “Defying Gravity” is Elphaba’s song - it’s triumphant, and it’s heartbreaking, and it’s everything a defining moment should be for a character. But by injecting this little moment between Morrible and Glinda into the scene, we also get an underlying current of dread because we know we’re about to see the consequences of Elphaba’s defiance versus Glinda’s compliance and how both serve to benefit the Wizard/Morrible’s propaganda.

TL;DR - when I said "I want to talk about this scene between Morrible and Glinda for a sec" I clearly meant "I'm gonna write a whole essay. Like a nerd."

Episode 1 - 10 of my Magnus Archives episodic art series. 

Enid Sinclair likes girls, an essay:

So we all kind of agree that “wolf out” is code for being gay, right?

We had that entire conversation with her parents which just screamed queer. Her mother calling her a disappointment, wanting to take her to a conversion camp, Enid saying she hopes they’ll one day accept her for who she is… It wasn’t subtle, folks.

Then we have Enid acting so comphet it’s painful. She has a crush on Ajax despite them never talking - which one could argue happens - but then the same thing happens with the normie boy, who she spends ONE day with and at the end is crying because “she thought he liked her” after like two semi-okay conversations. They are really shallow relationships rooted only in having someone period.

The first sign we get that she’s finally “wolfing out” is when Ajax and Enid are together, when her claws come out. The first time is after the dance when she tries to hold him, and the second time is when they’re kissing in her room. He asks jokingly if she’s gonna wolf out on him, and says they should be okay, but it’s interesting because she says being with him “helps”.

If wolfing out was something that happened because she’s excited to be kissing him, it wouldn’t help, it would only make it worse. Unless she’s wolfing out because she’s rejecting him.

And when does she finally fully wolf out? When she leaves Ajax behind and goes after Wednesday, worried about her and wanting to save her.

So I vote gay. And I’ll die on that hill.

Thanks for coming to my TED talk.

VOTE MAMA EDA

#TWE23Round2 #EDASWEEP

uterus, i dont need you. go forth and find a beautiful trans woman who wants you.

If there is a 5th life series, I want Gem to be in it and her to team up with Pearl.

Just imagine the power they would hold. Geminislay and 5am Scarlet Pearl.