#criticised

[viralbeyinspector]

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"Why You Should not Tease Others?" . In this eye-opening video, we delve into the repercussions of teasing and why it's crucial to foster a culture of kindness. Join us on a journey of empathy and understanding as we explore the impact of our words on others. Let's build a world where respect triumphs over mockery! . Don't forget to like ,comment and subscribe for more interesting Quick videos. #Teasing #Kindness #EmpathyMatters #AntiBullying #SpreadLove #WordsMatter #BeKindAlways #RespectOthers #ThinkBeforeYouSpeak #ViralBeyInspector #shorts #short #Trending #viral #reels #reel

[officialspec]

i always roll my eyes a little bit when someone openly looks down on people who are religious/spiritual. ur telling me youve never made a wish before?? never sent a little prayer out into the universe???? get real

[theabigailthorn]

"Good" Acting

i have a theory that a lot of people say acting is "good" when they're emotionally moved by it, and a lot of cishet white people have a lifelong habit of not listening or empathising when minoritised people speak, so minority actors get called "bad" even when they display some pretty fucking amazing technical skill

[duraante]

so thrice dante has killed him. first, above temen-ni-gru. then, at mallet island.

and now a third time. it is the ultimate homicide: he has slaughtered vergil’s character, his very spirit.

[jaskierx]

man i hate to say it but

it’s giving ✨ somebody’s kinda mismatched living room ✨ (affectionate)

[jakeperalta]

keep seeing "taylor hates matty just like us!!" like.. she hates him because he broke her heart I hate him because he is a legitimately garbage person we are not the same

[passionfruitbowls]

[hilacopter]

leftists have created for themselves a situation where they have to either be islamophobic or antisemitc, because to them anything even mildly criticising islam or muslims and not treating them as a pure, primitive and peaceful culture is islamophobic. acknowledging jewish oppression under muslim rule or our indigeneity to the levant interferes with their narrative of the perfect noble savages, so now they have to choose between supporting jews or continuing to be unconditionally islamophilic. guess what they chose.

[hyacinthsdiamonds]

I'm sorry but the irony of Nico calling Max unprofessional is sending me so bad like sir there's an entire garage full of people, who were literally in the trenches trying to survive the Brocedes fallout while just doing their jobs, who might have a few things to say about your (& Lewis') level of professionalism at that time 😭✋️

[spaghettioverdose]

People keep saying tumblr is the transfem communism website but it really isn't. Yes, trans women and communists carry the funny side of this website but let's be honest tumblr can more accurately be described as the transmisogyny and worshipping skinny whiteboys website.

[david-talks-sw]

Dooku didn't leave because of the Jedi.

At least, if you're going by George Lucas' word.

In deleted scenes of Attack of the Clones, when we learn about Dooku's departure and his values, there's no mention of the Jedi or "the Jedi Order as an institution".

And every time Lucas refers to Dooku's disenchantment and reason for falling, he doesn't mention the Jedi.

"When you realize that Dooku is Darth Tyranus, it explains what Darth Sidious did after Darth Maul was killed: he seduced a Jedi who had become disenchanted with the Republic. He preyed on that disenchantment and converted him to the dark side, which is also a setup for what happens with Anakin." - Mythmaking: Behind the Scenes of Attack of the Clones, 2002

"[Dooku is] one of the few Jedi who became disenchanted with the Republic and left the order and he is leading a separatist movement." - Vanity Fair, 2002

"I wanted a more sophisticated kind of villain. Dooku’s disenchantment with the corruption in the Empire is actually valid. It’s all valid.  So, Chris plays it as, 'Is he really a villain or is he just someone who is disenchanted and trying to make things right?'" - Starlog Magazine #300, 2002

He probably meant the Republic/Senate in that last one, but you get the point. And you're seeing the pattern, right?

Dooku's problem isn't the Jedi, it's the Republic.

He's become disenchanted with a system that - according to Lucas' prologue in the 2004 book Shatterpoint - worked for 1,000 years...

"For a thousand years, the Old Republic prospered and grew under the wise rule of the Senate and the protection of the venerable Jedi Knights."

... but has been rendered ineffective because of 1) senators becoming corrupt and 2) corporations gaining political power.

"But as often happens when wealth and power grow beyond all reasonable proportion, an evil fueled by greed arose. The massive organs of commerce mushroomed in power, the Senate became corrupt, and an ambitious named Palpatine was voted Supreme Chancellor."

That's the message Dooku runs on, when he rallies the systems to form the Separatist Alliance.

"By promising an alternative to the corruption and greed that was rotting the Republic from within, Dooku was able to persuade thousands of star systems to secede from the Republic."

The Jedi aren't really a factor in his decision to leave.

Why would they be? Their political status isn't very high, they're virtually powerless, as illustrated by the film's narrative and stated repeatedly by Lucas.

On the contrary, as we already established in this post, Lucas full-on confirmed that Dooku actually carries the sympathies of most of the Jedi. Again:

Most Jedi agree with Dooku, ideologically.

As far as the Jedi are concerned, the politicians are effing up the Republic, and it sucks because the Jedi see this but aren't allowed to interfere in the political process. They have to resort to looking for loopholes in their mandates to actually get stuff done.

That's what that whole "she's a politician" scene is meant to hint at. In the commentary of Attack of the Clones, Lucas uses a similar turn of phrase as he does with Dooku.

"[This scene gives us] a chance to talk a little bit about politics and the Jedi’s disenchantment with the political process, due to the corruption and the ineffectiveness of the Senate." - Attack of the Clones, Director’s Commentary, 2002

Considering all this, it becomes clear that the intended narrative surrounding Dooku's decision to leave the Order is not:

"The Jedi are dogmatic and asleep at the wheel except for Dooku, who is ahead of the curb and sees the system is flawed, so he left."

It's actually:

"ALL Jedi see the system is flawed, Dooku's the only Jedi who decided to take it a step further and leave the Order so he can try to get into politics himself and change things."

That's why they hesitate to accuse him of murder.

That's why in an earlier draft of the Attack of the Clones script, by the end of the second act, Mace STILL has his doubts that Dooku would sign a treaty with the Trade Federation to attack the Republic.

As far as the Jedi are concerned, Dooku is out there fighting the good fight, making noise because whenever they try to protest it falls on deaf ears... until his betrayal on Geonosis.

After all, let's not get it twisted: the Dooku we're introduced to in the films and The Clone Wars, isn't really just Dooku anymore.

He's Darth Tyranus.

A point Lucas makes sure to highlight in his Shatterpoint prologue:

"Unbeknownst to most of his followers, Dooku was himself a Dark Lord of the Sith, acting in collusion with his master, Darth Sidious, who, over the years, had struck an unholy alliance with the greater forces of commerce and their private droid armies."

It's not about doing the selfless thing for Dooku, anymore. He's knowingly part of the problem.

He's all about ambition, now. His personal goals are things like overthrowing Sidious and becoming the most powerful Jedi.

"[Anakin's] ambition and his dialogue here is the same as Dooku’s. He says “I will become more powerful than every Jedi.” And you’ll hear later on Dooku will say “I have become more powerful than any Jedi.” [...] It is possible for a Jedi to want to become more powerful, and control things." - Attack of the Clones, Director’s Commentary, 2002

"If you put two Sith together, they try to get others to join them to get rid of the other Sith. [When revealing the truth to Obi-Wan], Dooku's ambition is really to get rid of Darth Sidious. He's trying to get Obi-Wan's assistance in that and help in that, so that he and Obi-Wan could overthrow Sidious and take over." - Attack of the Clones, Commentary Track 2, 2002

Y'know? Selfish things.

Dooku - like all other Sith, and like the very corporations and Senators he had sworn to destroy - is consumed by his own greed.

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[janadoesstuffwrong]

Coming from the zk side of the fandom is fun because u can say something like "I think the writing choices of two adult men in the 2000s suffer from some implicit sexism " And it's treated like you've killed a person

[snippit-crickit]

im crylaughing, i just found out a polish supermarket did a campaign in 2017 where they gifted you Ice age plushies WHY does manny look like THIS

no one is talking about this he looks like hes seen too much

its like one of these kids of birds that are born blind and bald

side view looks like it has been stung by a bee

the trolls haircut,,,,, this isnt a plushie this is a mental state good lord

[zot3-flopped]

Excerpts

The Tortured Poets Department delivers some of her most cringe-inducing lines yet. The title track alone boasts the worst on the record, even if it’s a stab at sarcasm. “You smoked then ate seven bars of chocolate / We declared Charlie Puth should be a bigger artist,” precedes the clunky “I scratch your head, you fall asleep like a tattooed Golden Retriever.” 

Elsewhere, on ‘Down Bad’ she’s unceremoniously “crying at the gym”, and ‘Florida!!!’, an otherwise cathartic, Southern gothic-imbued collaboration with Florence Welch is marred by the line: “My friends all smell like weed or little babies”.

I Can Do It With A Broken Heart’ highlights her unrelenting work ethic that doesn’t falter amid personal tragedy. But, it seems poised for internet virality than anything more substantial, given its restrained verses that plod along before catapulting into a euphoric, Carly Rae Jepsen-indebted pop chorus. Lyrics like “I’m so depressed I act like it’s my birthday everyday” are almost too glaringly obviously written to be lip-synced into an iPhone 13 front camera.

Musically, it’s an album mostly devoid of any noticeable stylistic shift or evolution. It descends into a monochromatic palette, existing in the same Jack Antonoff-branded synth pop as ‘Midnights’, yet struggling to capture any of its brightness.

Most bizarre, though, is ‘But Daddy I Love Him’, which seemingly exists as her response to the backlash against her brief relationship with The 1975 frontman Matty Healy. Their fleeting romance, which seems to be the muse for much of the record, triggered an explosive reaction from her fanbase who were distraught at Swift’s public association to the singer, given his slew of controversial comments (a few of which centred around her soon-to-be collaborator Ice Spice).

Swift seems to be in tireless pursuit for superstardom, yet the negative public opinion it can come with irks her, and it’s a tired theme now plaguing her discography and leaving little room for the poignant lyrical observations she excels at. It’s why the pitfalls that mire her 11th studio album are all the more disappointing — she’s proven time and time again she can do better. To a Melbourne audience of her Eras Tour, Swift said that ‘The Tortured Poets Department’ came from a “need” to write. It’s just that maybe we didn’t need to hear it.

[aimseytv]

please do not send me videos or clips about me where people spend the majority half of said video just making fun of how i talk and look. i do not want to see that. nobody wants to see that.