Queer Mexicana 🇲🇽

brian: please hold me. the stress isn't good for the baby

dom: what baby??

brian: me. i'm the baby

Happy Pesach!

[id: the bugs bunny “i wish all x a very pleasant evening” meme. this one is edited to say “i wish all Jews a very Happy Passover.” end id.]

Because @omnivorousshipper requested Naga Rowen!

Some Details:

came back wrong trope but the character knows that they came back wrong. they’re so acutely aware of how different they are now from how they were before that it drives them fucking insane. they’re stuck trying to return to somebody that’s long dead. they can never be the person they once were. everybody around them knows it. deep down, they know it too, but they’re trapped in a cycle of their own making. of trying to revive someone that no longer exists.

https://twitter.com/straydawgz__/status/1771938948450746683/mediaViewer?currentTweet=1771938948450746683&currentTweetUser=straydawgz__

every friend group should include

a bimbo

a mean bisexual

an even meaner gay

a girlboss

he/theys

she/theys

a token straight that's on thin ice

an astrology bitch that has everyones birth chart memorized

and a short king

Let's talk a bit about Beast. Dazai fixed everything, right? He saved Odasaku. He gave everyone happiness. He saved the others. He even deleted the thing with the Azure King so Kunikida won't be traumatized anymore. He even made Mori not a pedophile!

But what about Chuuya? I've read the manga 2 times and watched the movie 3 times. But I can't see what he did to give Chuuya a happy ending. In the movie he even made it worse!

He didn't stop the Sheep from betraying him, he didn't stop Chuuya from joining the Mafia. He didn't even make him taller!

But what if Dazai did give Chuuya some happiness in Beast? What if he made sure some certain friends of his don't die? What if he saved the Flags too? If Odasaku can be saved then so can the Flags, right?

Maybe in Beast they didn't die. They continued living, being Mafia's elite.

Pianoman is an executive now. And after Dazai kills himself he's the one to become the boss. He's just the most fitted for it. He was kinda close to Atushi too, trying to help him when Atsushi was feeling down.

Lippmann is still enjoying his acting career, while negotiating for the Mafia. He's the one Dazai sends to negotiations when he knows the ADA will be involved. Ranpo is very found of him, being one of the few people Ranpo considers smart. He can't wait to become an executive. He still asks Chuuya from time to time to drop the mafioso career to join him on the set. He's close to Gin, since both of them are often around Dazai. He thinks she's very intelligent and nice. And he doesn't know who her brother is, but he thinks Akutagawa is stupid for abandoning her.

Albatross is still the annoying upstairs neighbor to Chuuya and his drinking buddy and best friend. He can't take Chuuya on spontaneous adventures anymore, but that won't stop him from showing up at Chuuya's office from time to time to "kidnap" him and take him drinking. He's also close to Atsushi. After all, he had to drive him around a lot since not any driver can take the Withe Reaper to his destination. He knows what Atsushi's going through and he invites him drinking sometimes, telling him he has friends. That there's someone that's there for him, not just Dazai's missions.

Doc is leading the underground doctors and he's a bit disappointed that Mori is no longer the Boss. Every single time Atsushi gets knocked out and his ability doesn't work/takes longer to heal he ends up on Doc's table. Just like Yosano, he finds his ability very interesting. He's fascinated by how Byakko is negates wounds. Doesn't heal them, it negates them.

Iceman's Mafia's best hit man. He's trained Kyouka (Verlaine didn't happen 😊) and he knows how much she hates the Mafia. He's not very good with people, but he's trying his best to help her feel better. He also trained Tachihara, who reminds him of Chuuya for some reason.

And Chuuya has his friends. He knows he can relay on them anytime. He knows they're safe. And he can't explain how, but he knows he's lost them before. So he's happy they're there for him. They all hang out often. He sometimes complains to them about Dazai and his stupid schemes. Sometimes they just fool around. Sometimes Atsushi and Gin join them and have fun together.

And when Dazai dies, Atsushi and Kyouka leave and Gin disappears, Chuuya still has the Flags. They make sure Atsushi and Kyouka are good at the Orphanage, checking up on them and even visiting sometimes. They're worried for Gin, but they know she's capable of taking care of herself.

They hang out less now that Pinaoman is the Boss, but now Albatross can take Chuuya on crazy adventures again. And Lippmann is trying more than ever to make Chuuya become an actor or a photo model.

In the past I've shared other people's musings about the different interpretations of the myth of Orpheus and Eurydice. Namely, why Orpheus looks back at Eurydice, even though he knows it means he'll lose her forever. So many people seem to think they've found the one true explanation of the myth. But to me, the beauty of myths is that they have many possible meanings.

So I thought I would share a list of every interpretation I know, from every serious adaptation of the story and every analysis I've ever heard or read, of why Orpheus looks back.

One interpretation – advocated by Monteverdi's opera, for example – is that the backward glance represents excessive passion and a fatal lack of self-control. Orpheus loves Eurydice to such excess that he tries to defy the laws of nature by bringing her back from the dead, yet that very same passion dooms his quest fo fail, because he can't resist the temptation to look back at her.

He can also be seen as succumbing to that classic "tragic flaw" of hubris, excessive pride. Because his music and his love conquer the Underworld, it might be that he makes the mistake of thinking he's entirely above divine law, and fatally allows himself to break the one rule that Hades and Persephone set for him.

Then there are the versions where his flaw is his lack of faith, because he looks back out of doubt that Eurydice is really there. I think there are three possible interpretations of this scenario, which can each work alone or else co-exist with each other. From what I've read about Hadestown, it sounds as if it combines all three.

In one interpretation, he doubts Hades and Persephone's promise. Will they really give Eurydice back to him, or is it all a cruel trick? In this case, the message seems to be a warning to trust in the gods; if you doubt their blessings, you might lose them.

Another perspective is that he doubts Eurydice. Does she love him enough to follow him? In this case, the warning is that romantic love can't survive unless the lovers trust each other. I'm thinking of Moulin Rouge!, which is ostensibly based on the Orpheus myth, and which uses Christian's jealousy as its equivalent of Orpheus's fatal doubt and explicitly states "Where there is no trust, there is no love."

The third variation is that he doubts himself. Could his music really have the power to sway the Underworld? The message in this version would be that self-doubt can sabotage all our best efforts.

But all of the above interpretations revolve around the concept that Orpheus looks back because of a tragic flaw, which wasn't necessarily the view of Virgil, the earliest known recorder of the myth. Virgil wrote that Orpheus's backward glance was "A pardonable offense, if the spirits knew how to pardon."

In some versions, when the upper world comes into Orpheus's view, he thinks his journey is over. In this moment, he's so ecstatic and so eager to finally see Eurydice that he unthinkingly turns around an instant too soon, either just before he reaches the threshold or when he's already crossed it but Eurydice is still a few steps behind him. In this scenario, it isn't a personal flaw that makes him look back, but just a moment of passion-fueled carelessness, and the fact that it costs him Eurydice shows the pitilessness of the Underworld.

In other versions, concern for Eurydice makes him look back. Sometimes he looks back because the upward path is steep and rocky, and Eurydice is still limping from her snakebite, so he knows she must be struggling, in some versions he even hears her stumble, and he finally can't resist turning around to help her. Or more cruelly, in other versions – for example, in Gluck's opera – Eurydice doesn't know that Orpheus is forbidden to look back at her, and Orpheus is also forbidden to tell her. So she's distraught that her husband seems to be coldly ignoring her and begs him to look at her until he can't bear her anguish anymore.

These versions highlight the harshness of the Underworld's law, and Orpheus's failure to comply with it seems natural and even inevitable. The message here seems to be that death is pitiless and irreversible: a demigod hero might come close to conquering it, but through little or no fault of his own, he's bound to fail in the end.

Another interpretation I've read is that Orpheus's backward glance represents the nature of grief. We can't help but look back on our memories of our dead loved ones, even though it means feeling the pain of loss all over again.

Then there's the interpretation that Orpheus chooses his memory of Eurydice, represented by the backward glance, rather than a future with a living Eurydice. "The poet's choice," as Portrait of a Lady on Fire puts it. In this reading, Orpheus looks back because he realizes he would rather preserve his memory of their youthful, blissful love, just as it was when she died, than face a future of growing older, the difficulties of married life, and the possibility that their love will fade. That's the slightly more sympathetic version. In the version that makes Orpheus more egotistical, he prefers the idealized memory to the real woman because the memory is entirely his possession, in a way that a living wife with her own will could never be, and will never distract him from his music, but can only inspire it.

Then there are the modern feminist interpretations, also alluded to in Portrait of a Lady on Fire but seen in several female-authored adaptations of the myth too, where Eurydice provokes Orpheus into looking back because she wants to stay in the Underworld. The viewpoint kinder to Orpheus is that Eurydice also wants to preserve their love just as it was, youthful, passionate, and blissful, rather than subject it to the ravages of time and the hardships of life. The variation less sympathetic to Orpheus is that Euyridice was at peace in death, in some versions she drank from the river Lethe and doesn't even remember Orpheus, his attempt to take her back is selfish, and she prefers to be her own free woman than be bound to him forever and literally only live for his sake.

With that interpretation in mind, I'm surprised I've never read yet another variation. I can imagine a version where, as Orpheus walks up the path toward the living world, he realizes he's being selfish: Eurydice was happy and at peace in the Elysian Fields, she doesn't even remember him because she drank from Lethe, and she's only following him now because Hades and Persephone have forced her to do so. So he finally looks back out of selfless love, to let her go. Maybe I should write this retelling myself.

Are any of these interpretations – or any others – the "true" or "definitive" reason why Orpheus looks back? I don't think so at all. The fact that they all exist and can all ring true says something valuable about the nature of mythology.

Ok, but Alastor being an old man that doesn’t know technology being boyfriend’s with a Victorian man that taught himself how to craft lasers and code *his own damn ship computer/pocket watch phone* is so damn hilarious. Pentious tries to teach him how to use a mobile phone and he either locks himself out of the damn thing or he presses too hard on the screen and ends up skewering the damn thing with his talons.

HONESTLY. HONESTLY in the sequel to CDIH I plan on doing so much with the fact that Sir Pent is keeping up and Alastor ain’t.

Like. Like just picture. Alastor gets dragged kicking and screaming into using ~modern technology~. Once he has been dragged into using ~modern technology~, by golly, he’s going to use it to have some fun! He’s going to decide he wants to watch music videos on YouTube, which is a web site that he has heard exists. He is going to go to the URL bar. He’s going to type in “http:\\www.google.com”, he’s going to look at it thoughtfully, he’s going to squint at the two different slash keys on the keyboard, he’s going to leave the room to ask somebody which direction the slash is supposed to tilt if you are trying to go to Google Dot Com—

“you’re sure that’s the direction the slash mark is supposed to tilt SPECIFICALLY to go to GOOGLE DOT COM?” “yes, I know what I’m doing,” “no, you don’t need to come help me,” “no, I am PERFECTLY capable of going to Google Dot Com without you holding my hand, I was the king of the airwaves back before most Americans HAD radios, if I could handle the radio I can CERTAINLY handle an overpromoted typewriter, THANK you”

—and then he’s going to go back to the computer and delete the entire URL by clicking “delete” 21 separate times, he’s going to retype it as “http://www.google.com”, and then he is going to click enter.

(And please… if this is how slow and difficult it is for him to navigate to google, imagine how much time and effort someone must have spent to slowly teach him how to turn on a computer, how to open a web browser, what a web browser is for, how to highlight the address bar in order to type in a URL, what an address bar IS…)

And then he is going to click in the search bar on Google Dot Com, and he is going to type in “Hello! How do I reach You Tube?” and he is going to puzzle over the little square that says “I’m Feeling Lucky” for a moment before deciding, no, perhaps he doesn’t feel lucky today, and he’ll click on the little square that says “Google Search,” and google is going to be like,

An actual link to YouTube does not appear anywhere on the first page of results. Alastor is lost. He’s adrift at sea with no sign of shore. He will never find his way to YouTube.

He looks at the little list of tabs up top like,

and he dubiously clicks on Videos, because yes, the You-Tube he has been shown had videos, that’s kind of its thing. And the results are like,

And he very dubiously clicks on the first one.

First it plays an ad—oh, he succeeded, he found a video!—and then it plays another ad, Alastor has no ad block, the concept of “ad block” does not exist anywhere within his understanding of the universe, and then it starts playing what looks like an old black and white movie like,

Oh it’s a picture show! He found a picture show on the Internet! How wonderful! He doesn’t recognize the movie but it’s in black and white, it must have been made in his time—

And then a minute and twenty seconds into the video it FINALLY starts playing music and he’s like I DID IT I FOUND THE MUSIC VIDEOS I WAS PROMISED. He pats himself on the back, he’s great at using modern technology, he’s got this all figured out.

He’s got a little yellow pad and pencil he keeps next to the computer to jot down the “Internet addresses” of songs he likes so that he can type them into the “Internet address bar” when he wants to watch them or listen to them again later. He’s found that you have to write them down fast, even though they’re very long, because when the song ends it will move right on to the next one—just like the radio when a song ends—so if you dawdle it will vanish and you’ll never find the song again!

Guess what feature Alastor hasn’t noticed exists and doesn’t know he can turn off.

Guess what other features Alastor doesn’t know about.

Making an account so he can save videos.

Back buttons to go back to a song if he missed the URL.

The controls on a video.

If Alastor likes a song and wants to hear it twice, he clicks on the search bar and types in the whole URL one letter at a time and clicks enter to get it to re-load and play again.

And he’s got no control over this mad unhinged machine that is the YouTube algorithm system, its autoplay is like a car with a brick held down on the gas and nobody holding the steering wheel, it’s just taking Alastor wherever the fuck it wants and if it starts ducking into weird fucking videos Alastor is just going to assume that that’s how YouTube works, it’s no different from the radio, sometimes you’re scheduled for music and sometimes you’re scheduled for ads and sometimes you’re scheduled for interviews or a talk show or news or whatever.

Which means eventually if he lets this untamed shambling A.I. behemoth keep careening around wherever it wants to go, it’s going to start meandering into the niche/weird stuff. EVENTUALLY it’s going to stumble onto something off of Sir Pentious’s channel, and he’s going to open up the video sounding like a Boomer trying to sound cool, like,

(I told the link to load at 5:33 but I think it’s not going to do that on tumblr, I know you all are capable of going to 5:33 yourself because y’all are five million times more competent with computers than Alastor is, just skip to that time ok cool thanks good job)

Video opens up on Sir Pent like that and Alastor is absolutely flabbergasted that Sir Pentious is on the You Tube and then Sir Pent’s like “so I broke into another church to take a joy ride on their pipe organ, per my last video this is the song all four of my followers requested for me to play!” and he takes off like,

and Sir Pent’s trying to sound cool, ends like “Sssmasssh those like and subscribe buttons if you’d like to sssee me illegally play someone else’s pipe organ! :>” and Alastor is sitting there going I HAVE NEVER WANTED TO SMASH ANYTHING SO MUCH IN MY LIFE BUT I HAVE NO IDEA HOW TO DO THAT.

He’s so completely shocked and awed to see a video with Sir Pentious in it that he doesn’t even remember to write down the URL, which means he will never ever find the video again.

So: Sir Pent is extremely embarrassingly trying to sound Hip & Modern while playing a 22-year-old out-of-date meme song and he’s only got four followers… but like, but like, he KNOWS the Hip & Modern lingo; AND he knows how to make, edit, and upload YouTube videos and curate a YouTube channel; and he knows how to read the comments on his videos, at least minimally engage with viewers, and keep up with who’s following him…

And meanwhile Alastor doesn’t even know the comment section exists.

Sir Pentious only looks behind the times and out of date until he is compared with the alternative.

Disney just launched a teaser trailer for Encanto, and I am in love! The story takes place in Colombia 🇨🇴 (where my family's from!) and follows a young woman named Mirabel who doesn't have any powers, despite the rest of her family having them.

The trailer looks absolutely beautiful with bright colours and music. The characters look so cool. And MIRABEL LOOKS JUST LIKE ME! 😭 It feels so good to be able to see my culture being represented so stunningly, without gangs or cartels being involved. It's amazing that I know have a Disney character that LOOKS LIKE ME. Her big nose and short curly hair with tanned skin, AND CULTURAL CLOTHES! And the diversity in this movie is on point too! 'Cuz I noticed a cute little black kid and I think there was a white character as well, alongside a couple tanned (probably indigenous descendant) kids as well. Which is nice because it acknowledges Colombia's native and black populations, who are at the center of Colombia's culture! Overall, I can't wait for this movie!