#Consistent Engagement

[theenglishnook]

Sculpting Fluency: The Crucial Role of Regularity in Language Learning

Sculpting Fluency: The Crucial Role of Regularity in Language Learning The importance of regularity in language learning cannot be overstated; it is the heartbeat of proficiency and the cornerstone of linguistic mastery. Imagine learning a musical instrument or a sport – regular practice is the key to proficiency, and language learning is no exception. In the realm of acquiring a new language,…

[burr-ell]

What I love about Spy x Family's recent chapters concerning Martha and Henry—two secondary characters with little direct connection to the plot as we've known it—is that Endo's taking the opportunity to once again hammer home what the story's actual stakes are. The idea of potential conflict between Ostania and Westalis isn't just window dressing for a wacky wholesome badass family gimmick—the previous wars are real events that various characters lived through, and all of them are in some way affected by it and have good reasons to want to avoid another one. This is primarily an action-adventure/slice-of-life manga with a lot of sendups to spy movies and pop culture of the 60s, but I think those things hold much more weight with the thematic underpinning of the horrors of war and the ruin it leaves behind.

[danielnelsen]

while i get where this comes from and it’s true to an extent, i reeeaaaally don’t like how people try to explain “trans men don’t [necessarily] have male privilege” with things like “some trans men don’t pass”.

like sure that’s the most obvious example (someone who is seen as a woman won’t have the privilege that comes with being seen a man) but you’re still acting like being a passing trans man is just a free opt-in to male privilege which is………kinda the issue.

[mamawasatesttube]

the thing that always gets me about the whole "you should write for yourself, not complain about a lack of engagement" thing people often say to writers is like... you know that if we all operated by that kind of hyperindividualist mindset, you would have no fic to read at all, right? i write for myself, but i share for the sake of friendship and community - if i only cared about myself, why would i let anyone else read my work?

[shorthaltsjester]

trying not to set myself up to start spiralling back into c2 (i’m always like. a slight gust of wind away from it if i’m being honest) but i was confirming a quote from ep 141 and in general the conversation between fjord and vandran makes me insane, it’s truly some of my favourite rp from travis across all the campaigns, it has one of my personal top 5 cr Thematic™ quotes when fjord tells vandran “you showed me kindness, and love, and honour, and it meant the world to me.”, it has lore drops about vandran and avantika and uk’otoa, it has a silly sweet interaction of jester shouting out a greeting to vandran and fjord going “she’s wonderful.” and vandran saying “she’s a handful.” and fjord agreeing only for vandran to add “she’s perfect for you.” but beyond all that wonderfulnesss packaged into a mere 30 minutes, i am once again struck by how fjord and imogen are very interesting foils in terms of like. the absence of a parental figure who has knowledge of the curse you bear that your own curiosity for has led you through your recent life.

especially with (relatively) more recent imogen literally pretending to be her mother for utility versus fjord who took on aspects of vandran hoping to feel more assured in himself (featuring nightmares sponsored by a malevolent being intricately tied to said missing parental figure and occasionally featuring their presence). like both imogen and fjord start off their campaigns being like I Would Like Answers About My Powers (at any cost implied by the apparent possibility both of them had early on to be swayed away from the Good™ side) only for it to become clearer to them that the person who might have the most answers for their questions was not only their parental figure but was a parental figure they assumed dead only for that assumption to be undermined. and the fact that vandran and fjord stay apart so long because fjord is scared and busy and hadn’t even considered that vandran could’ve survived and because vandran made the same assumption that fjord hadn’t lived — but who also had a sense of hope that maybe that meant the cycle of violence had ended only to be met again with a fjord who tells him “despite your best efforts, your curse is now mine.” versus imogen and liliana who stay apart so long because of liliana’s choices, her insistence that imogen stay away from her even when imogen made it clear over and over that she wouldn’t stop without some answers or some clarity. the fact that fjord is reunited with his father figure and says i have so many questions and vandran gives him answers, even hard ones. that imogen has to beg just for her mother to actually hear her and not just the paternalistic idea of an infant she left behind decades ago. even fjord asking vandran if he wants to leave with them, and vandran making in clear he doesn’t intend on staying with them long term but whose happy to join them. versus imogen who begs her mother for help and to come with them and who ultimately can’t trust her to be telling the truth when liliana offers to come. i just think they should meet. i am always vying for a fjord cameo just because he’s my best friend but i think they should meet.

[possession1981-moving]

JUNG EUN-JI as Lee Mi-jin MISS NIGHT AND DAY (2024) Dir. Lee Hyung-min | Ep. 1

[wishchip106]

i want to rewatch xmen 97 but i feel like i’m being constantly reminded of whatever the hell rogue and magneto had going on ☹️

I DONT CARE THAT IT WAS IN THE COMICS GET IT OFF MY SCREEN

charles get ur ass down here magnus is being freaky and not in a good way 😧

rogue i don’t blame you for wanting physical contact BUT GAMBIT IS RIGHT THERE HE IS OFFERING I THINK HE WANTS TO BE IN A COMA

man anyway cherik should’ve kissed in ep 10

[laser-tripwires]

so he DID cheat. multiple times. and somehow eight years after going no contact he still tried to blame her for the relationship ending because he didn't want to think about his own culpability.

eliot is my favourite character in anything ever, complex characters are the best, and SUCK IT i was right.

[pop-punklouis]

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[patchdotexe]

sometimes i wish i got people sending me asks abt my ocs and engaging with them but then my dash becomes nothing but several pages of Tortillas and i remember that it is a treacherous curse

[aplaceforallmystupidshit]

Ok don’t get me wrong i really enjoy Ameri but idk she’s felt a bit stagnant for me for a while? Ever since the arc where she got personality swapped I feel like she hasn’t had much meaningful character progression. Like don’t get me wrong, I love the little highlights here and there! Like for the music festival when she sends Ronovere (sp? idc he’s annoying) around it shows how well she knows her subordinates and what a great leader she is!! But like, with the way Iruma has been power creeping to Rank 5.5 it sucks that Ameri has been stuck at Rank 6 for like the past 2 years. I know she’s still a kid and Rank 6 is super high for a high schooler but still!! I want her to keep growing

ANYWAY my idea for how to incorporate her into the narrative is........make her join demon Border Patrol with her dad! “No doy” I hear you say, “that was always the plan”. Yeah ok I know but like, I want her to rise they the ranks as a hot shot, maybe go up a rank, and then meaningfully be forced to content with the Iruma v Border Patrol conflict thats brewing! I like Ameri and just want her to be a part of the plot godammit!!

[carlyraejepsans]

I'm gonna need falin to come back and do some wild yuri shit with marcille as soon as possible because laios and marcille's dynamic is written specifically to make me insane

[linkahavocz99]

Kagura bachi is silly yes but when I tell you that the world was in desperate need of a good shounen I mean it from the bottom of my soul

[cuddlytogas]

there was some Twitter madness recently where someone left a comment on someone's art to the effect of, "Ed shouldn't wear a dress, he's a man!" which I do disagree with on principle, but unfortunately, it brought out one of my least favourite trends in the fandom

so, naturally, I had to write a twitter essay about it. and I already largely argued this in a post here, but the thread is clearer and better structured, so I thought I'd cross-post for those not on the Hellsite (derogatory). edited for formatting/structure's sake, since I no longer have to keep to tweet lengths, and incorporating a couple of points other people brought up in the replies

so

I want to point out that the wedding cake toppers in OFMD s2 aren't evidence that Ed wants to wear dresses. Gender is fake, men can wear skirts, play with these dolls how you like, but it's not canon, and that scene especially Doesn't Mean That.

People cite it often: 'He put himself in a dress by painting the bride as himself! It's what he wants!' But that fundamentally misunderstands the scene, and the series' framing of weddings as a whole. I'd argue that Ed paints the figure not from desire, but from self-hatred; it's not what he wants, but what he thinks he should, and has failed to, be.

(Yes, I am slightly biased by my rampant anti-marriage opinions, but bear with me here, because it is relevant to the interpretation of the scene, and season two as a whole.)

The show is not subtle. It keeps telling us that the institution of marriage is a prison that suffocates everyone involved. Ed's parents' cycle of abuse is passed to their son in both the violence he witnesses then enacts on his father, and the self-repression his mother teaches, despite her good intentions ("It's not up to us, is it? It's up to God. ... We're just not those kind of people. We never will be."). Stede and Mary are both oppressed by their arranged marriage, with 1x04 blunty titled Discomfort in a Married State. The Barbados widows revel in their freedom ("We're alive. They're dead. Now is your time").

But even without this context, the particular wedding crashed in 2x01 is COMICALLY evil. The scene is introduced with this speech from the priest:

"The natural condition of humanity is base and vile. It is the obligation of people of standing ... to elevate the common human rabble through the sacred transaction of matrimony."

It's upper class, all-white, and religiously sanctioned. "Vile natural conditions" include queerness, sexual freedom, and family structures outside the cisheteropatriarchal capitalist unit. "The obligation of people of standing" invokes ideas like the white man's burden, innate class hierarchy, religious missions, and conversion therapy. Matrimony is presented as both "sacred" (endorsed by the ruling religious body), and a "transaction" (business performed to transfer property and people-as-property, regardless of their desires), a tool of the oppressive society that pirates escape and destroy. That is where the figurines come from.

When Ed, in a drunk, depressive spiral, paints himself onto the bride, he's not yearning for a pretty dress. He's sort of yearning for a wedding, but that's not framed as positive. What he's doing is projecting himself into an 'ideal' image of marriage because he believes that: a) that's what Stede (and everyone) wants; b) he can never live up to that ideal because he's unlovable and broken (brown, queer, lower-class, violent, abused, etc); c) that's why Stede left. He tries to make himself fit into the social ideal by painting himself onto the closest match - long-haired, partner to Stede/groom, but a demure, white woman, a frozen, porcelain miniature - because, if he could just shrink himself down and squeeze into that box, maybe Stede would love him and he'd live happily ever after. But he can't. So he won't.

The fantasy fails: Ed is morose, turns away from the figurines, then tips them into the sea, a lost cause. He knows he won't ever fulfil that bride's role, but he sees that as a failure in himself, not the role. It's not just that "Stede left, so Ed will never have a dream wedding and might as well die." Stede left when Ed was honest and vulnerable, "proving" what his trauma and depression tell him: there's one image of love (of personhood), and he'll never live up to it because he's fundamentally deficient. So he might as well die.

This hit me from my very first viewing. The scene is devastating, because Ed is wrong, and we know it! He doesn't need to change or reduce himself to fit an image and be accepted (as, eg, Izzy demanded). Stede knows and loves him exactly as he is; it's the main thread and theme of season two!

(@/everyonegetcake suggested that Ed's yearning in these scenes includes his broader desire for the vulnerability and safety Stede offered, literalised through unattainable "fine" things like the status of gentleman in s1, or the figurine's blue dress. I'd argue, though, that these scenes don't incorporate this beyond a general knowledge of Ed's character. Ed is always pining for both literal and emotional softness, but the significance of the figurines specifically, to both Ed and the audience, is poisoned by their origin and context: there is no positive fantasy in the bride figure, only Ed's perceived deficiency.

Further, assuming that a desire for vulnerability necessarily corresponds with an explicit desire for femininity, dresses, etc, kind of contradicts the major themes of the show. OFMD asserts that there is nothing wrong with men assuming femininity (through drag, self-care, nurturing, emotional vulnerability, etc), but also that many of these traits are, in fact, genderless, and should be available to men without affecting their perceived or actual masculinity. It thematically invokes the potential for cross-gender expression in Ed's desires, especially through the transgender echoes in his relieved disposal, then comfortable reincorporation, of the Blackbeard leathers/identity. It's a rich, valuable area of analysis and exploration. But it remains a suggestion, not a canon or on-screen trait.)

Importantly, the groom figure doesn't fit Stede, either. Not just in dress: it's stiff and formal, and marriage nearly killed him. He's shabbier now, yes, but also shedding his privilege and property, embracing his queerness, and trying to take responsibility for his community. In a s1 flashback, Stede hesitantly says, "I thought that, when I did marry, it could be for love," but he would never find love in marriage. Not just because he's gay, but because marriage in OFMD is an oppressive, transactional institution that precludes love altogether. All formal marriages in OFMD are loveless.

So, he becomes a pirate, where they reject society altogether and have matelotages instead. Lucius and Pete's "mateys" ceremony is shot and framed not like a wedding, but as an honest, personal bond, willingly conducted in community (in a circle; no presiding authority, procession, or transaction).

That is how Stede and Ed can find love, companionship, and happiness: by rejecting those figurines and their oppressive exchange of property, overseen by a church that enables colonialism and abuse. Ed is loved, and deserves happiness, as he is, no paint or projection required.

ALL OF THIS IS TO SAY: draw Ed in dresses! Write him getting gender euphoria in skirts! Write trans/nb Ed, draw men being feminine! Gender is fake, the show invites exploration, that's what 'transformative works' means! But please, stop citing the cake toppers as evidence it's canon. Stop citing a scene where a depressed Māori man gets drunk and projects himself onto a rich, white, silent bride because he thinks he's innately unlovable and only people like her can find happiness, shortly before deciding to kill himself, as canon evidence it's what he wants.

(Also, please don't come in here with "lmao we're just having fun," I know, I get it. Unfortunately, I'm an academiapilled researchmaxxer, and some of youse need to remember that the word "canon" has meaning. NOW GO HAVE FUN PUTTING THAT MAN IN A PRETTY DRESS!! 💖💖)

[maggiecheungs]

“utena is a bit like a shoujo equivalent of evangelion” = a common and inevitable comparison that is admittedly not a bad elevator pitch, giving an idea of utena's symbolism and the genre tropes it engages without requiring an essay-length summary of its plot and themes

“utena is evangelion for the girlies” = SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UP SHUT UPPPP

[aychama]

Guys Im not a big account with a lot of experience, don't treat me as such...