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#ALL OUTSIDE OF PHIL

zeb-z · 6 months

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I just think Tallulah gets to be upset about this. “It’s not Wilbur’s fault” “He’s not a bad dad” “He loves his daughter so much” yes! These are all true! And it’s not his fault! But he’s still not there. And Tallulah has gone through so much and still hasn’t seen him, the one time he was around was the one time she wasn’t, and all she has are letters and “I’m thinking of you always” and things that used to be theirs together, but he’s still not there. She’s waited and she’s been patient and she’s loved him all the same, and he’s still not there. Like yesterday, and the day before, and the day before, from the happy milestones to the traumatic events, he’s still not there.

She knows that it’s not his fault, but it doesn’t change the fact that he’s absent. That in and of itself just adds to the sorrow, because she knows why he’s gone, and she’s been told time and time again it doesn’t mean he doesn’t care, she knows this - it doesn’t mean it doesn’t sting, that it doesn’t hurt, that she doesn’t yearn for her father to be there more than anything in the world, and he’s just not there.

So yes, she gets to be upset, and be caustic, and stomp her feet and write bitter messages, and be angry and vitriolic, because she’s a little girl missing her father, who feels things with her whole heart and soul - and that means she gets to feel the ugly parts of it, too.

#it’s like no wilbur isn’t at fault. especially if we’re talking about cc wilbur. but fuck man of course she’s gonna feel like this #this doesn’t make wilbur a bad person! he’s just a missing one. and Tallulah feels all the misery and bitterness as a daughter left behind #where is her father kissing her injuries and reassuring her? where is her father protecting her? hugging her at the end of the day?#Wil isn’t around to do this and she wants him back and he’s not going to be back. not for a while. and it’s not his fault but it doesn’t #stop it from being upsetting. she’s a little girl #and at least she has phil. her dad. who’s there time and time again. and it doesn’t make him somehow morally better or wtevr. he’s there an #Wil is not. and he’s going to continue to be there as a solid figure in tallulahs life that she needs #idk man like. fuck #lmao relating my own experiences from here below in the tags ✌️#as someone who’s been in that position? a parent absent for reasons outside of control? yeah it’s sucks. and I love them and they love me #*with a parent I mean I wasn’t the parent lmao #and it will never be the same. and when they were gone and missing things I was furious at them #that resentment grows and then it fades and sometimes bitterness strikes again and it’s how it goes. love is still there #and it’s no one’s fault. it just is. and what is is messy #anyways #mcyt #qsmp #q!tallulah #q!wilbur #z speaks

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goldenpinof · 8 months

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i'm not home and i don't have a laptop here so i can't really concentrate and take notes but there's so much to unpack here. dnpgames mentions left and right?! and the info he is giving isn't particularly new, so the fact that he decides to come back to the "dead" channel again and again is way too interesting. the house tour? the house STILL not being finished!! i started to believe they keep saying this to not give us any proper tour but then why mention tour at all. weirdos <3 Phil kissed 3 youtubers + obviously Dan. let's just not think about it. Dan and Phil podcast can actually happen? or are we in the same situation as with the gaming channel when Phil is up for it and Dan is like "no, thanks".. i would really like to know where Dan stands with a podcast or semi-regular liveshows. that one section of wad didn't give much hope. the insides of Phil's job??! this is what i've been waiting for! give me more. i definitely forgot something and i don't CARE. don't put uno cards up your butt!!

#the wifi here is HIDEOUS #that's what i was afraid about with all their activity last week #fuckers!!#also what's up with people placing couches outside? i hope they cover it during winter #dan and phil #phil #dnpgames

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obv10usly · 1 year

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7 years later, still doing some #BreakfastBants but in our forever home :(

#I feel nostalgic #I’ve decided you can all share my pain #dan and phil #Phan #dnp #tatinof #dapgo #dan and Phil go outside

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everything-is-as-it-was · 3 months

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Just finished rewatching We're All Doomed

And DAMN does it hit hard on the second watch.

Something that really resonated with me was the idea of consistently not being happy, but not being devastated. Of always waiting for the future. Of essentially being the "meh" emoji. And I used to really suffer with this, then I transitioned (yay), and was fine, for a while.

But recently it feels like I'm grasping at straws to find anything that will keep me going, just these last few months until I finally finish school and move out. I can feel myself sinking further and further into this hole and what's worse is that I know I'm sinking, but don't know how to prevent it.

So I've taken to creating. I'm consistently writing 1000 words a day, almost every day. I'm starting to make videos. I'm doing whatever the hell I can to create something worthwhile while I'm here, because I don't feel like I'm doing anything of worth unless I'm creating. And that's helping, a bit.

But Dan reminded me of something essential that I think I'd forgotten, and it's that we need to find the beauty in everyday life. And yeah, it's cliché. Yeah, everyone says that. But it's true.

Nobody is measured solely upon their production. I am not worthy just because I create things, even though it makes me happy. While it's tempting, it's not healthy to shut myself in my room and work myself to death until 2am every night.

Taking walks helps with this. Participating in school activities helps. Playing music helps. Reading helps.

I think it's healthy and productive to find a project to work on, for my own sake to have something other than school work I can feel productive about. I've realized I will never be happy in life unless I am creating.

But I'm sure Dan's been there, and I have a feeling he came out the other side a little worse for wear. I can't create things unless I care for myself and find the joy in everyday life, which can be so hard when every day feels the same, every day feels like I'm just waiting for the next thing.

Being alive is a gift. And i thank We're All Doomed for reminding me of that because I needed to remember.

#i'm just yapping at this point lmao #but yeah #take a walk outside #it's almost spring #dnp #dan and phil #dan howell #danandphil #wad 2024 #wad #we're all doomed

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essskel · 1 year

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‘The lodge of sorceresses is a cult’ = tired, flat, lacking nuance in philippa’s intentions for the other mages, be careful how you throw that term around

‘The lodge of sorceresses is a corporate business firm’ = now we’re talking, both comedic and morbid in its critiques, addresses the common goal (evil) paired with often dire individual competition, philippa as a ceo goes hand in hand with her political prowess, board meetings and skype calls are no goddamn joke

#obv this is only an analogy so it’s not perfect #(ex: the ingrained misogyny in corporate business culture)#but it is how I read the lodge most of the time lmao #philippa eilhart #lodge of sorceresses #the witcher #the witcher books #double shot #phil: ok so we’re all gonna work together outside of the govs control to accomplish our own means to and end and #we’re gonna be hyper-specific in who we accept and how we behave ourselves also you better do what I say even though this is a democracy #and actually we do sort of need the government but don’t worry we’ll be using them not the other way around #yen: wow and let me guess you only get 3 sick days a year?

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i-miss-summertime · 5 months

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not trying to complain cuz i dont expect some people to know since i dont think they explicitly said it in the streams but smoshblr (from what ive seen) being pretty good about no share of videos and pics from the paid show with DnP fans fully clipping and giffing their parts and tagging it on the main is lowkey wild. I saw a comment being like "omg yes, i was wondering why no one was giffing or posting the video last night" like yeah besties, the girlies who get it get it

#'omg all of the top posts in the smosh tag is just of dan and phil lol'#like yeah guys we love it too but were trying to stick with the program lmao #again a lot of people outside of the community dont know so im not trying to be mean but it was lowkey kinda funny

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sisterdanielstits · 1 month

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lol the doomed hoddie finally got delivered right as i was coming back home from my car with no working ac and it being 82°f outside

i am happy it came but i can not even think about wearing it without feeling super overheated

#it feels really nice outside #it does not feel nice inside my car #especially since i forgot to put the windshield sunshades on the last time i drove it #but i got the hoodie!!!#i've been waiting for it for a while #dan and phil #daniel howell #wad #we're all doomed

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unproduciblesmackdown · 10 months

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more info, via a couple of reviews:

"Is this the best, most exhilarating, most close-to-perpetual dancing ever to grace the Goodspeed Opera House stage?

It certainly could be.

The new stage adaptation of “Summer Stock” at the East Haddam theater has plenty to recommend it in terms of the canny script and the hummable songs. But it’s the dancing that leaves the biggest impression.

The show is jam-packed with choreography from Donna Feore, who also directs, that is thrillingly executed by the cast.

We’re talking: Gravity-defying kicks. Head-spinning turns. Male dancers lifting and tossing and catching the female ones. It runs the gamut from Cossack-dance athleticism to soft shoe grace, tap precision to Lindy hop energy.

How the cast manages to sing after executing these (literally) breathtaking numbers, I have no idea.

And how do they make it through two performances on some days? Amazing.

Also amazing: the fact that they do all this on Goodspeed’s small stage without making the space feel cramped.

So, yes, the dancing is phenomenal. But there’s more to the show than that.

This stage version of “Summer Stock” — which is enjoying its world premiere at Goodspeed — is inspired by the 1950 MGM movie starring Judy Garland and Gene Kelly. Writer Cheri Steinkellner, though, has reimagined the piece in many ways, making it better, stronger and propelled by a more modern sensibility. (Steinkellner’s writing credits range from “Cheers” to the Broadway adaptation of “Sister Act.”)

The foundational story, though, remains the same: A no-nonsense young woman named Jane is trying to save her family farm. Her actress sister (named Gloria in the version at Goodspeed) brings her compatriots to the farm to rehearse a show. Jane first spars with and then starts falling for Gloria’s beau Joe, the production’s director.

Steinkellner has also changed up the score, to great effect. While some tunes from the movie remain, she has pulled others that are in the public domain (such as “Accentuate the Positive,” “Paper Moon” and “It Had to Be You”), and she has woven them perfectly into various plot points and important emotional moments.

As director, Feore makes sure the whole enterprise has a dynamic spirit. It’s a story and a production that brims with optimism and cheerfulness.

Leading the cast is Corbin Bleu, who became famous with his work in “High School Musical” and has gone on to star in several Broadway shows, as Joe. Bleu is a true, and truly talented, triple-threat. He has a warm, welcoming presence as an actor; he also brings an authority to Joe so you believe he’s someone the actors respect and will follow. Bleu’s singing is strong and lustrous, and his dancing — particularly his tremendous tap ability — is … wow.

Arguably the biggest scene-stealer here is Veanne Cox, as the wealthy, snooty owner of huge property surrounding Jane’s. The way she trills dialogue can turn anything into a punchline. She can wave her arms about as her character repeats “l’amour” and generate audience laughs. When her character falls for the egoistic actor Montgomery Leach (played by J. Anthony Crane with Barrymore flair), Cox burbles with girlish romantic giddiness.

Danielle Wade does her own take on the Judy Garland role. She gives Jane a swagger and a tough façade that reveals a more human self during the course of the story. Wade’s most important feature is her voice, which is potent whether she’s finessing a ballad or powering through a big number. While she can’t compete with Garland’s renowned version of “Get Happy” (who could?), Wade does a good job in the number — choreographed and costumed in an homage to the original — that serves as the culmination of the production.

Arianna Rosario gets to play an interesting arc at Gloria. At first, Gloria seems to be a blithe, self-centered actress, but she later shows that she is quite the problem-solving producer. Rosario makes the transformation believable, as if Gloria is finally letting her real self come through.

The scenic design by Wilson Chin suggests the various elements of a Connecticut River Valley farm in the 1950s while still allowing room for the cast to burst into all of those big dance numbers. And the costume design by Tina McCartney provides a fun and functional take on country clothing of the era.

I will say that the second act could be tightened up (we don’t need to see so many beats of the rehearsal process), but, in total, this “Summer Stock” is sensational." [source]

(hooray for most directly explaining gloria's overall arc)

and the next review:

"A throwback to the golden age of Broadway and movie musicals, "Summer Stock" is a timeless, inspiring song-and-dance tale of good deeds, fairy tale showbiz, classic romance and backstage intrigue played out to such dazzling effect, you want to freeze frame it, take it home with you and watch it over and over again for pure fun and a let's-put-a-smile-on-your-face endorsement. This is Goodspeed Musicals at its best - old-fashioned musical entertainment designed to deliver by the bucket's load, stir the senses, rhythmically intoxicate you and dance up a continual storm of good cheer that's guaranteed to leave you breathless.

Animated. Airborne. Magical. Sweet-natured. Fresh-faced. Dance happy. It's all here, wrapped up in shiny gold ribbons and signature colors that complement and complete the picture with a technicolor flourish, a big bang and an internal logic that flows with appropriate style, stamina, full command and intent.

Adapted to the stage by Cheri Steinkellner, "Summer Stock" replays that popular let's- put-on-a-show conceit where everything rests of the big opening night, the box-office intake, the big kiss between the leading man and the leading lady and how a complete unknown saves the day right before the final fadeout. Here, struggling Connecticut farmer Jane Falbury decides to let her actress sister Abigail and her actor friends from New York use the family barn as a rehearsal space for their brand-new Broadway bound musical in exchange for doing the daily farm chores to raise enough money to keep the business from going completely under. One slight problem. During rehearsals, Jane finds herself falling for the show's handsome director, Joe Ross, who, happens to be engaged to the show's leading lady - her sister Abigail.

Staging "Summer Stock," director Donna Feore ("Chicago," "Billy Elliot," "A Chorus Line"), who doubles as choreographer, creates a loveable, intoxicating show that reels you in, grabs hold of you until the final curtain and lets you fall in love with every little detail, surprise, plot twist, joke, visual gag, one-liner and tilt of her jolly agenda while she articulates every element of this musical story with thrust, warmth, spin and splendid articulation. Directorially, she pulls it off spectacularly. No wrong moves here as "Summer Stock" catches fire with a spark, a gusto, a shine and a 1950s mentality infused with plenty of imagination, originality, style and flair. More importantly, the production never loses sight of its origins, its functional plotting and its love of musicals of yesteryear despite well-intentioned doses of kitsch, takeaway humor, giddy backchat and story arcs right out of the MGM library of backlot moviemaking. Feore, free spirit that she is, fuels the musical with a sharpened wit and sentiment that works especially well as does her decision to let "Summer Stock" remain rooted in the period from whence it came in terms of staging, development, expression and interaction.

Moving from screen to stage," "Summer Stock" retains only four songs from the 1950 MGM musical. The addition of several new songs to the original version of the score turns the two-act musical into more of a showstopping event and adds clarity, luster and vintage spin to its already proven material, its let's launch into another song and dance routine blueprint and its firm grasp on characterization, story evolution and its happily ever after conclusion. At Goodspeed, there are 28 important, recognizable, smartly placed musical numbers. They are: "Get Happy," "Happy Days Are Here Again/I Want to Be Happy," "Accentuate the Positive," "I'm Always Chasing Rainbows," "Always," "Always (reprise)," "It's Only a Paper Moon," "The Best Things in Life Are Free," "Dig for Your Dinner," "Me and My Shadow," "Howdy Neighbor, Happy Harvest," "Red Hot Mama," " 'Til We Meet Again," "You Wonderful You," "June Night," "Some of These Days," "Joe's Dance," "I'm Always Chasing Rainbows (reprise)," "It All Depends on You," "Always (reprise)," "Everybody Step," "Lucky Day," "How Ya Gonna Keep 'Em Down on the Farm," "Hinky-Dinky Parlez Vouz," "It Had to Be You," "Get Happy (reprise)" and "You Wonderful You (Finale)."

Musical director Adam Souza ("42nd Street," "Cabaret," "Next to Normal," "A Grand Night for Singing," "Because of Winn Dixie," "Rags") grabs hold of the "Summer Stock" score and allows it to breathe, gesticulate, excite, envelop and rhapsodize with the golden age sentimentality of MGM movie musicals and the timeless, larger-than-life spirit of old Broadway. Here, every song matters. Every song is important. Every song travels down memory lane. Every song is tuned to the max with sweet, centered, warm-heartedness. Every song fulfills its intended purpose. All of this is complemented by the strong, flavorful sound of Souza's orchestral team, all of whom share his tremendous sense of theatricality, musical interlude, impassioned communication and delight of the actual musical itself. They are: David Uhl (bass), Sal Ranniello (percussion), Liz Baker Smith (reed 1), Andrew Studenski (reed II), Travis Higgins III (trumpet) and Matthew Russo (trombone). As with other Goodspeed musicals, Souza doubles as conductor and keyboardist. As "Summer Stock" zings and pops, pretty music every song unfolds with a contagious orchestral musical glow, matched by the splendid musicality of the entire cast who address the catchy, homespun music and lyrics with perfect harmony, rhythm, phrasing and nostalgic commitment. These elements heighten the on-stage mode of the production, its progression from Act I to Act II, its send offs, its pastiche and its electrifying, barn-raising influence and thwack.

As with any big stage musical, choreography is key to a production's success, its fluidity of form, its artistic expression and its accompanying dance routines. Here, Feore, as choreographer, gives "Summer Stock" a highly personal touch of invigoration and speedy excitement that is tipped and generated with wonderfully elongated inspiration, stamina and determination. This is star quality choreography that peaks, shines and tilts with clever build ups, catchy dance steps and bold, concentrated rhythms, moves and beats that joyfully celebrate 1950's musicals in all their technicolor glory. As storyteller and dance interpreter, she brings great dimension and scope to the piece using techniques, styles, descriptions and an enriched canvas of thoughts and ideas that make their mark most engagingly. Everything that happens on the Goodspeed Musicals stage has been beautifully blocked, rehearsed and staged with such thrust and individuality, no two dance numbers are alike. In fact, once "Summer Stock" catches fire, there's no stopping it. Creating a freshly minted fusion of moods, tableaus, lifts, twirls and swirls, Feore pays homage to the actual vintage look and mindset of the musical, its dance-friendly art form and its free-flowing feel of excitement and exhilaration. Hands pop. Arms move heavenward. Dancers smile and glisten as they passionately ignite into joyful visions of sweetness, passion, frenzy and syncopation. Everyone is lost in the moment illustrating the traditions, the conscience and the power of musical theatre, giving and getting the most out of Feore's phenomenal, ovation-worthy choreography. Trained, drilled and confident, they each get a chance to shine - and shine they do - all making strong impressions that will live long in memory.

Making his Goodspeed Musicals debut, Corbin Bleu, as Joe Ross, a character originated by Gene Kelly in the 1950 film version, creates a "Wow!" song-and-dance-man factor chock full of charm, personality, self-confidence and full-beam, champagne delightness that astounds, cajoles and sparkles with leading man gait and luxury like no other. No matter what he does, he's a proverbial triple-threat (i.e., a player who excels at acting, singing and dancing) who makes everything that happens on stage feel fresh, spontaneous, real, raw and very much in the moment. It's in his eyes. It's in his moves. It's in his expressions. Exhibiting a sweet, contagious rapport that extends far beyond the footlights, it's the performance of the year and one that Bleu exudes with a Gene Kelly/Fred Astaire aura of showbiz savvy, knockabout whimsy, graceful athleticism and sterling encapsulation. "Joe's Dance," a solo dance number in Act II performed by Bleu only furthers that notion.

In the role of Jane Falbury, a role made famous by Judy Garland in the original "Summer Stock" MGM musical, Danielle Wade lights up the Goodspeed Musicals stage with a breezy, intuitive musical comedy performance of real warmth and spirit that is a constant joy to watch. Veanne Cox, cast in the role of the wickedly devious Connecticut farming magnate Margaret Wingate, is jaw-dropping brilliant, using humor, music, dance and melodrama in divinely daft and glorious ways that prompt applause and laughter whenever she's in the limelight. It's a scene-stealing performance so seamlessly entrenched in glee and fiery abandon, Cox, would be the ideal choice to play narcissistic Broadway diva Dee Dee Allen in the 2024 summer presentation of "The Prom" at Playhouse in Park in West Hartford. I'll personally deliver the contract. Other memorable performances are delivered by Arianna Rosario (Gloria Falbury), Stephen Lee Anderson (Henry "Pop" Falbury), Gilbert L. Bailey II (Phil Filmore), Will Roland (Orville Wingate) and J. Anthony Crane (Montgomery Leach). A musical escape brimming with delightful songs, engaging performances and full-beam dance numbers, "Summer Stock" is not only a bubbly tonic for theatergoers of all ages, but one that kicks nostalgia into high gear with uncomplicated bliss, fizz and vintage sparkle. It sings. It dances. It pops. It dazzles. Like "42nd Street" which played Goodspeed Musicals last season, it overflows with Kelly/Astaire lightness, punch and precision, sunny vibes and well-played exactitude. The energy displayed here is fast and furious with first-night exhilaration and thrill paired especially well with Corbin Bleu's charming star turn, Danielle Wade's joyous "Get Happy" abandon and Veanne Cox's well-prepped, icy cool villain. This is musical theatre of the highest order - infectious, irresistible, glorious. Its leave-your-troubles-at-the-door/Let's-put-on-a-show mentality accelerates with sparkle and cherry pie goodness. And boy, do we need it now!" [source]

(the reference to jane's sister abigail uses the film's names: abigail becomes gloria in this production, which is the name of abigail's actor in the film, which also mirrors how the role of herb is now phil, also the name of herb's actor in the film)

(also shoutout to providing A Full, Chronological List Of Songs. noting that according to another interview, intermission would be between "you wonderful you" and "june night")

#summer stock #dearth of peak relevant info for our purposes otherwise lol but hey #pressing f for danielle wade's performance Tending to be juxtaposed w/either corbin bleu's or judy garland's #which in fact doesn't always mean their going ''eh comes up short Relative to that comparison but good enough'' but yknow #also that role just isn't gonna be designed to be the most thrilling lol...let's get those character(tm) parts babeyyy #further photos of that preview performance do suggest there's more like midshow conflict b/w jane & gloria vs Only getting along great....#and intrigued here if it's like yeah gloria can be written to have Flaws kiiinda like the film dunking on her though not as much as it #(though not as much as it might've; parallel to orville; relevant to their compatibility lol though in this show it indeed just might not #go for ''conveniently gloria's also always already liked him & orville's just glad someone's being nice to him'' lmao. & in fact yes the #material already in the film was like hm sure could be the queer readings in these ''so you're doing cishettery wrong'' roles here #and going aw man wrt the comedy boys herb/phil & orville/orville not getting to interact more #herb getting to make One reference to kinda being the outsider/misfit even amongst the troupe like hey more abt that? what's your job also #meanwhile yeah you can do something like ''oh gloria has this idea re: being The Star but isn't actually as interested in that Process''#but that then instead of that Just being her at odds w/jane & her coming up short she can have her own arc still #finding out what behind the scenes work she Does want to do; jane & gloria of course ending up being mutually supportive one imagines #rather than jane Just being freer from Dealing With her lesser sister or what have you; whom can graciously enough accept this #and ofc we don't Need the partner swaps for everyone's guaranteed happiness communicated through ''they're not single''#whilest the lack of [oh this backup relationship was here the whole time kind of] does make your potential love triangle trickier then lol #hence perhaps some more significant conflict if you're like kissing your sister's date or what have you & she can't Just(tm) have yours #but then being The Lead can't be the ultimate of All [doing theatre]; having kissing status w/a guy isn't the ultimate of all Arcs/Life #(though noting tim wasn't Relieved if another ostensibly straight romance; a cliche in the modern musical; wasn't shoehorned in there...)#(also the awkward notes about Male Dancers and The Female Ones like alright? supposed relevance Where?)#long post ///

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vole-mon-amour · 1 year

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every day we get more and more interviews & i have to battle read and watch them as if i'm in a first person shooter video game and they're my enemies and they're finished only when i finish with them. for a person that reads like one or two interview a year this is a nightmare, but this show and Phil and Brett and RoyJamie got me by my throat so i'm about to screen record a video from a site (bc the video cannot be downloaded the easy way) and edit it and make it into gifs bc i am that far gone.

real life chores? i don't want to do them anymore. making gifs is more important than getting food apparently. day three after i watched 3x11, i'm still not over it.

#personal #ted lasso #roy x jamie #phil giving such interesting answers is not helping at all #even though i'll probably go outside and grab some veggies bc i am absolutely feral with no veggies in my house

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rakkuntoast · 1 year

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i really need to know what is the source of all this philza posting what smp lore is this

qsmp! (first multilingual minecraft server made by quackity) sorry I've been spam posting about it on here hahdjs, also sorry this is a long post I'm trying my best to summarize this

tldr : two members of the qsmp are fighting for the right to be Phil's platonic partner and it's soap opera levels of goofy

more under the cut cuz I realized it was a really long explanation lmao

it's been a lot these past two weeks but the recent posting is Phil got into somewhat of a love triangle with missa (missasinfonia, Mexican youtuber and his platonic husband that takes care of his egg son chayanne) and forever (foreverplayer, Brazilian youtuber that calls Phil his sugar daddy) and they're fighting for the right to be Phil's platonic partner

forever wants Phil cuz apart from the sugar daddy thing, Phil's skin looks like one of his friends skin (and I think they have some bromance or something, Phil calls him forever's ex) so he got an instant crush and was pursuing him while missa was away for a trip to Japan

now that missa came back, both him and forever met and were fighting for who gets the right for Phil's love, and missa suggested that they gave Phil the right to choose between the two of them. though their love quarrel thing might be postponed in the meantime since forever got other lore on the side keeping him busy

#long post #I am so sorry there's so much man #ask tag #I am also obsessed with philever/sugarduo (forever and Phil's ship/duo name)#also this is all just lore stuff. outside of lore they are just giggling abt it #also anon if you don't understand what's the deal with the eggs or other things about the server ask ahead

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partywithponies · 7 months

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Can't believe someone finally acknowledged that Raymond is Phil's son for the first time in forever and it was Keanu of all people.

#eastenders #denise should remember that sometime tbh #lbr all Denise had to do to deal with Ravi was phone up Phil and be like #'hey phil. some dickhead is outside my house behaving threateningly while our son is inside'#and Rabi would already be dead

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made-nondescript · 2 years

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One of the things I think that’s kind of difficult to adapt about Technoblade in AU settings is his relationship with violence and morality. Like, from a probably very young age violence has not been a choice he’s gotten to make; it’s been necessitated either by circumstance or his patronage by the Blood God.

His moral compass forms around this: he will give unto others what they give unto him. He has no choice but to hurt others, the least he can do is try to direct that violence to bad people who ostensibly deserve it. After operating on such a rigid system of morality for so long it’s become second nature and he doesn’t really critically think about it much any more, leading him to make choices that from the outside seem unjustly cruel and perhaps are.

Keeping this attitude/personality and penchant for violence without otherwise justifying/explaining it leads to him just seemingly like a cruelty loving dick. (Which wouldn’t be a problem if that were the point!) Exacerbated by the fact that a lot of Technoblade AU fics aren’t about him, but rather the SBI family dynamic.

#been thinking about this a lot w the superhero fics ive been reading / re-reading and also other au fics #so often techno has never been wronged by anyone and yet will do something that feels incredibly unjustified and outside the tone of the fic #the longer i go on about this though the closer i get into anti sbi territory because oh boy is his character neglected for sbi #but at LEAST its not mutilated like phils. so theres that.#i should say OFTEN neglected and OFTEN mutilated #hashtag not all sbi fics #ALSO........not worth its own post but while im complaining under the guise of thoughtful character commentary #HATE when people have techno call tommy theseus on au fic without considering the thematic reason hes called that in canon #esp bc it is SO clunky a lot of the time #SOMETIMES IT DOES WORK!! but when it doesnt oh boy #nondescript post #im not main tagging this i dont think im wrong im just terrified of embarassing myself in front of the cool technoposters

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Ask ST Link, Zelda, and WW/PH Link and Tetra!

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cheriladycl01

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