Fourteen: It's called bigeneration, because one of us is gay and one of us is straight.
Fifteen: Yeah. Sorry for you, honey.
Fourteen: That's a little homophobic.
Fifteen: ...Wait, I'm the gay one.
Fourteen: Wait
Kate: I don't think that's why it's called bigeneration.
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"i don’t care if you want to act happy-go-lucky, but if you, the man who is above me, ever shows weakness, next time, the one leaving the crew will be me!" — "if the first words coming from usopp are a sincere apology, then we’re all good. otherwise, there’s no place here for him to come back to.”
i am ill, i am diseased; zoro shouldering the role of being the voice of reason, pulling rank as the first mate and reminding the rest of the crew that luffy, as easy going as he may be, is still their captain, is one to be respected, because a crew without respect and a leader who doesn't demand it is destined to fail. and you know it's serious when sanji agrees with zoro. they can't just welcome usopp back with open arms because he challenged the captain, lost, and left and “we’re not little kids playing pirates.”
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UNIT, self-preservation, and the Doctor
so UNIT is sus, right, we know this, they're getting too powerful for their own good and I feel like everyone is expecting them to get infiltrated or corrupted or something for a season finale plot twist in the near future. but lately I've been thinking about the weird and impossible position they're in.
so! you're in charge of the planet's main (only? idk what torchwood is up to these days) line of defense against alien attack, and your species has been adopted by a sort of alien trickster god.
this eccentric, erratic alien with apparently godlike power has decided to attach themself to you. The Doctor is benevolent and willing to sacrifice almost anything up to and including their own life for the good of the human race, but they're also unpredictable, unreliable, egotistical. you know what happened the last time a human authority crossed a moral line they decided was unforgivable:
so your organization is technically independent, but there are certain decisions you can't make, otherwise the Doctor might decide the weeds need trimming. you're in theory the highest military authority when it comes to alien conflicts, but if you decide to shoot those guys attacking you with your giant ray gun, there's every chance this guy could crawl out of the woodwork to burn your house down. you can't take any action without also taking the Doctor into consideration.
so what do you do?
maybe when they show up, you take them under your power. they're humanity's strongest asset and you need to make sure you have at least some measure of control over their actions.
but now that you've got them, how do you keep them from wandering off on a whim? how do you keep them inclined to work with you?
you formally grant them the power that is de facto already theirs. you rely on them, blatantly and obviously, making it clear that you need their help and their presence to have any hope of survival. you flatter their ego and encourage their attachment to you.
but in the end, it's been proven that nothing will keep the Doctor anywhere they don't want to be, and nothing will stay their hand when they've decided something needs to be destroyed for the greater good. so how do you make sure your organization stays on the safe side of that line? how do you sway the Doctor's judgment?
you employ their weak spot.
the people the your alien protector trusts, loves, has chosen, you bring them into the fold, and so you bring yourself into their fold. the Doctor can't attack you without attacking them, and their trust will rub off on you and your organization. you find what they value most in the world and keep it close.
so you end up with this defense organization which is semi-independent, but also built up totally around this one individual.
the Doctor is the most passionate defender you could hope for, but they also cut off your own ability to defend yourself. a good amount of your defense protocols center around hoping this guy happens to turn up. you HAVE to rely on their support, and you also have to fawn, flatter, and appease them if you want your organization to go on existing. if you want to get away with anything they might seriously disapprove of, your only option is to dazzle and flatter them, collect their friends, and hope they won't look close enough to find your secrets.
I'm not saying Kate Lethbridge-Stewart is some kind of Machiavelli spending all her time finding ways to manipulate the Doctor. but I am saying that UNIT probably has a protocol somewhere saying that in times of absolute crisis, if the Doctor shows up, the first thing you should do is dangle candy in front of their face by means of having someone they like give them a great big hug.
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soulmate au
I am thinking about The Mysterious Benedict Society as Soulmates.
I am thinking about a world where when you find your chosen few, they leave colour on your skin. A kind of permanent tattoo, a sign that sings, hey, hey, don't you know? We belong together.
There's something so lovely about it, in my mind. These characters who are all alone, and the way they find each other.
I am thinking about Reynie Muldoon, who is this kid who grows up picked on and outcasted. This kid who fears being alone more than anything in the world. A soulmate is a promise of the opposite, right? It means that somebody out there is going to love you. I think Reynie thinks a lot about it, late at night before he meets the rest of the society. Hoping that he'll somehow mean enough to someone to leave a mark.
I'm thinking about Kate, with the palm of her left hand painted a faded grey. Once upon a time, it shone turquoise. Soulmates are just people, in the end. They can fall out of love just as easily as they fall into it, and Kate plays it blithe but it hurts. Of course it does. The colourless mark is just one more sign that her father left her behind.
(I am thinking about Milligan, who loved his baby girl so much. I am thinking about the first time they touched, with her small pudgy fist wrapped around his finger, and the colour that blossomed between them. I am thinking about Milligan looking at this one faded mark, and when Reynie asks him what keeps him going in the face of hopelessness, he still says duty, but he also says them, whoever left this-)
(When you are brainswept, you lose yourself, and you lose the people that help make you whole. Do you understand? All the helpers are swathed in grey.)
I am thinking of Sticky curling over himself to look at his back in the mirror in his childhood home, and realising with a slack sort of dread that his parent's marks are paling. I am thinking of Sticky staring too long in the courtyard at Kate's charcoal grey hand, and refusing to look at his back anymore because he doesn't want to see his own marks reflecting hers. He doesn’t want to face the fact that his parents fell out of love with him.
I am thinking about Constance, who bears no marks on her small frame and then collects a half dozen of them. I am thinking about the twins, about Nicholas Benedict, who is positively painted in soulmarks, and Curtain, who wears gloves and has only one singular mark that he hides and keeps secret. I'm thinking about love and how vulnerable it is, to have it written on your skin.
(Not sure when or how, but I want Mr. Benedict to tell each of the children that soulmates are a choice. Always and always and always. You can always choose to hold onto someone and love them. Of course you can. Love is defined by what you make of it.)
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March–April 2024. A very strange, frequently tasteless, mostly inexplicable black comedy political satire from the creator of SUCCESSION — though more strongly reminiscent, presumably on purpose, of the 2017 THE DEATH OF STALIN — THE REGIME is a six-part miniseries starring a self-consciously frumpy-looking, outrageously hammy Kate Winslet as Elena Vernham, the egomaniacal authoritarian chancellor of an unnamed Ruritanian state somewhere in Central Europe.
As her hapless husband (Guillaume Gallienne) and self-dealing underlings tiptoe around her growing list of neuroses and increasingly erratic mood swings, a soldier named Herbert Zubak (Matthias Schoenaerts), notorious for his role in a brutal massacre of striking mine workers, is recruited to play a hard-to-define, ever-shifting supporting role in Elena's ongoing psychological breakdown and various political confrontations.
Winslet seems to have been having fun, although she overacts shamelessly, and what accent she thinks she's doing seems to vary from moment to moment; the median could best be described as "Margaret Thatcher, very tipsy, trying to pretend she's not sucking on an Everlasting Gobstopper." Schoenaerts, for reasons that are never clear, plays Zubak like a punch-drunk boxer trying to walk off a life-threatening concussion, leaving his character a perplexing cipher throughout.
Like THE DEATH OF STALIN (which I thought wildly overrated), THE REGIME is more often crass and uncomfortable than actually funny, and its smug misogyny would be offensive if taken seriously (which is admittedly very difficult). Also, given the current state of the UK, watching the largely British cast mock the political instability of a fictitious "Middle European" autocracy causes some seasickness. (Whistling past the graveyard, perhaps, but still.) CONTAINS LESBIANS? No! VERDICT: Much more "funny strange" than "funny ha-ha," and because it's basically a one-note joke, it becomes like one of those terrible SNL skits that just won't end.
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