Thinking of the larger context of LOTR and like, the fellowship swapping old war stories and shit and Sam just says “Yeah I killed a huge spider…Shelob, I think?”
And Gandalf just blinks and is like, “You what now?”
“Yeah, killed it. Had to save Frodo”
Gandalf elects not to tell Sam that he killed the spawn of a primordial demon.
Every now and then I think about how the fandom used to call Cas gods favorite angel then in the last season it was relived that Chuck actually hated Cas but kept having to bring him back because Dean was too depressed to go along with the story without him.
And the writers want us to think that Dean isn’t in gay love with Cas.
destiel being the antithesis of "i love u in every universe" in canon makes me so crazy btw. its so special?? to be the SOLE outliers among billions of realities where u have only known each other in the veins of hatred or apathy. to have smiled and held and loved #here and only #here.
when the topic is supernatural (2005-2020) i can't fathom for the life of me how the fuck they thought that killing dean winchester was gonna be a good move they could've given him a wife and kids living behind a white picket fence at least he would be alive but no they killed the gay angel then they killed the bisexual hunter and put a $1,99 wig on the tall guy
“oh queerbait” yeah well what about evilbait??? for SO LONG supernatural was like “oh sam’s gonna be evil! watch out! watch out!!!!” well bitch i’m still waiting. make it happen!
Padme lives aus are always good but it gets funnier when you consider that if padme lives the rebellion vs the empire will be just the messiest divorce in history featuring custody battle for the twins
padme leading the rebels and vader leading the imperials meeting in the battlefield and the fight stops for a verbal argument of galactic proportions
i'm founding a new school of media criticism which i've decided to call Bitism. the Bitist school of literary analysis asks a simple question: is this work committed to the bit?
you see, any work of fiction is either committed to the bit or it's not. the worst thing a piece of media can be is ashamed of its own premise, of the genre it in habits, of the tropes and aesthetics we expect from it. to be committed to the bit does not inherently make it good, but it makes it more worthy of respect than those which are not.
also, that's not to say that a story cannot parody or criticize the genre it inhabits or mimics. we can discuss the bit, we can deconstruct the bit, we can ask ourselves whether or not it's a good bit, but to commit to it first will strengthen these discussions, not detract from them. commitment to the bit is, after all, the first step to genuine sincerity. and sincerity will exalt and elevate parody such that it can stand on its own feet.
commitment to the bit turns melodrama into camp, elevates parody to biting commentary, and allows cringe to open up into a resonant, if unpolished, expression of true emotion.
fully expect bitism to take the literary world by storm sometime in the next few years.