anyways. drag kings have been around for decades & are equally as important as drag queens. drag masculinity faces serious erasure & that’s a problem. support your local drag kings
whenever I see people reblog this or my other post about this with some variation of “oh i didn’t even know drag kings existed!!” it makes me so sad. I’m glad u know it now but like, the fact that people don’t even know drag kings exist? how many people do you thing would get into drag if they knew drag kings and drag masculinity was a Thing? how many more people would get to explore their masculinity via drag?
Some kings to get you going.
Landon Cider, Buck Wylde, Miles Long, Koco Caine, Murray Hill, and Spikey Van Dykey.
Im a drag king of color! Fabian Fabulous is my name, finncel is my instagram, look up drag kings of color to support more artists!
actually you know what this does raise a good question of how does orc mpreg work
do male orcs have a vag also or do they just have the orc peen and orc bussy? if they just have the bussy how does that work? is it like how the male urethra is used in both a reproductive function and also expelling waste (urine)?
all i’m saying is pixelberry has opened pandora’s box here and there’s no way to close it now
I personally think male orcs have a seperate vag, but let’s entertain the idea of the bussy first.
If it is indeed just the peen and the bussy, i would assume it acts as a sort of cloaca where the reproductive track and the digestion track merge at the end to form a single opening. Think sort of a Y intersection. Some examples are chickens and (most) snakes, who expel their waste and their eggs from the same hole.
However i think it would be rather traumatizing [physically] for a live baby to be birthed from the bussy. Like, the cervix and the anus are both rings of muscle, but something tells me that it’s going to be an even tougher time coming out of the bussy instead of a regular vag.
And also like, the cervix dilates and that’s when the baby is ready to like come out of the womb, no? The baby still has to escape the vag, and so the baby is still in a ‘sterile’ environment (idk if it is but lets use that word anyways). I dont think Mother Nature would make the bussy dilate, bc think of the possible infections from having an open ass with the baby just Out There. So unless you’re telling me baby orcs come from eggs, I dont think they’ll be able to survive the trip through the bussy. (Though, ngl, that’s an interesting thought.)
We can safely say that male orcs have a womb, otherwise lmao where else would the baby go? In any case, due to the abovementioned reasons, I think male orcs have a seperate vag opening for the baby to be birthed.
how… what is… did you just have this art lying around?? was it in a box labeled In Case Of Goblin Seduction 6-Pack Joke Break Glass? apparently this is a Magic card and I have a lot of questions for Magic: The Gathering right now
I can never remember this card’s real name because everyone just calls it “Abs of Treason”
The card name is “Enthralling Victor”. It has a ‘spiritual sequel’ card in terms of artwork called “Captivating Crew”, drawn by the same artist:
Abs of treason
Happy to report that Magic: the Gathering has continued the tradition of Abs of Treason with a new card, Tenacious Underdog
sorry i’m reblogging this again but this just makes me so fucking angry. this reminds me of those dudes running game of thrones who had virtually no experience and were allowed to just. treat a multimillion dollar franchise as their little fuck-around-and-learn-about-tv sandbox. why are white men with no credentials allowed to get away with this over and over again while the rest of us have to fight tooth and nail for literal crumbs. i fucking hate the entertainment industry
tfw you realize you put more thought into your self indulgent fanfic in middle school than someone in charge of a multimillion dollar franchise that employs thousands of people and is watched by millions.
Lord grant me the confidence of a mediocre white man with a hollywood budget. or at least the budget. shit.
JJ Abrams has credentials, though! He’s made enormously successful television shows and movies; Star Wars wasn’t even his first major film franchise!
But Abrams built his entire career on “mystery box” storytelling: Setting up a mystery, but not particularly knowing or caring what the answer is. To Abrams, historically, the sense of wonder and anticipation is more important than the actual details of the payoff.
Abrams has taken a lot of flack for this approach, and to be fair, it has some, uh. Obvious drawbacks. But I also think that it’s an approach that, in the correct place and with a sense of moderation, can pay great dividends. The showrunners of Lost took a set-up given to them by Abrams and worked that sense of mystery and awe into groundbreaking television, and they didn’t really know most of where they were going until the back half of the series. In a one-off movie, mystery box-like storytelling can make for great emotional or dramatic effect; making conscious choices about what will or won’t be revealed to the viewer allows you to make a statement about what matters within the universe of the movie. (Think of the ending of Inception—or Rian Johnson’s choice, in isolation from the other sequel films, to conspicuously not answer questions about Snoke’s and Rey’s origins.)
The problem with Abrams as the creative head of Star Wars isn’t that he’s inexperienced or inherently untalented. It’s that his entire approach to storytelling is really badly matched to the job he was hired for. A trilogy of films with an overarching story is the exact kind of middle ground between a long-running television series and a single film installment where mystery box storytelling becomes a big problem.
The other problem with the creative decisions in the sequel trilogy really has very little to do with Abrams’ philosophy or his level of experience: It’s his (and higher-ups’) unwillingness to roll with the punches. You know what TV show had a plan from the very beginning? How I Met Your Mother. But it turns out that didn’t make anyone happy.
Abrams may not have known the answers to all of his big questions when he made Episode VII, but he clearly had a sense of the kindof story he wanted to tell. Snoke and Rey’s parentage are set up as major mysteries; Kylo Ren is a Vader figure who he figures will get some measure of redemption by the end of the trilogy, a la the original Vader.
But then Rian Johnson came along and extended that story in ways that more or less make sense, but are also very different from what Abrams’ vision probably was. Snoke’s dead, Rey’s parents are nobody, Kylo Ren turns down every chance at redemption. Not only do we not know what’s in the mystery box, the mystery box doesn’t matter!
This deviation from Abrams’ vision was pretty much inevitable, given that Abrams didn’t have an explicit plan, and Johnson was never under a mandate to follow any part of his implicit one. But when Abrams came back in for Episode IX, it meant that he was picking up from a drastically changed story that didn’t fit with what he’d expected the trilogy to be.
A good creative choice to make at that point would be: “Okay, things have changed. Let’s start from the new status quo and see what we can come up with.” But Abrams didn’t do that. Instead, he threw out everything that had changed in Johnson’s movie and tried to basically pick up from where he left off in Episode VII.
I don’t know if he did that because of ego, lack of imagination, or fan pressure to backtrack on the “divisive” elements of The Last Jedi. (There are certainly aspects of Rise of Skywalker that feel like the creative and executive team saying, “Fine, we give up, have it your way.”) But either way, it was a bad call that made for a largely bad movie.
If Abrams had been the director of all three sequel trilogy films, I still think they would have had some serious issues, but I suspect that those issues wouldn’t have been as glaring. He’d have made Episode VIII in a way that made thematic sense to him. He wouldn’t have killed off Snoke, and he would never have claimed that Rey’s parents were nobodies. And Episode IX probably would’ve felt like a more natural extension of Episode VIII, and might’ve been less overstuffed. I can’t guarantee that it wouldn’t have still had some really stupid parts, because again, mystery box storytelling: not really well suited to a major franchise trilogy! But I do think it would’ve felt significantly less clunky.
(Incidentally, I don’t think that Benioff & Weiss’s problem was a lack of a plan either. Lack of experience, maybe, lack of interest, also maybe, but they clearly had a plan—the plan from the books—and their biggest weakness was the inability to either make that plan play out organically or identify and adjust the parts of the plan that didn’t work with the show as it developed.)
Anyway, in summary, people with experience can still be ill-suited to a job, and sometimes things that are planned… are worse.
Yeah, as much fun as it is to rag on Abrams (and as a Star Trek fan, I will never pass up an opportunity to do that) the real culprits here are the Disney executives who decided that a sensible way to handle their once-in-a-lifetime, multi-billion-dollar IP was to hand it from one director to another with no oversight, no outline of where they wanted the story to go, not even, apparently, the power to look at a script and go “OK, but where does this leave the next guy?”
It’s simply baffling to me that this was the approach. It’s not as if there wasn’t a great example of how to launch a mega-franchise happening right next door at Marvel (and the MCU is, after all, a great deal less interconnected than a new Star Wars trilogy). Hell, even WB, for as variable as their handling of the DC movies has been, knew enough to keep a single director around to guide a particular character or movie line. I keep trying to understand how some of the most savvy, experienced people in Hollywood thought this hands-off, madlibs-style approach was going to produce a satisfying product, and I can’t figure it out.
