Some witches want to be whimsical and heal people and be creative with good spells.
Some witches want to be haunting and dark and obscure and be ready to strike when evil is afoot.
Some witches are both, some witches are none. Some witches want power, some others want balance.
You are valid in your craft.
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The bourgeois or "exploiting class" doesn't inherently include the person who gets their nails done biweekly, or the disabled person who has a carer, or the guy who got a $70 video game for full-price, or the person who relies on medication (yes even the ones you don't think they "need"), or anything else like this. None of these people will, on average, have the ability to exploit workers by means of ownership or whatever.
While you are busy fighting with fellow workers, you are still being exploited by your boss, by capitalism, by (potentially) not having healthcare, by being overworked and underpaid, and so are they.
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people actually went on about how game of thrones made it socially acceptable to be a fantasy nerd, as though the lord of the rings movies hadn't been released less than a decade earlier and left far greater cultural ripples and i am just
got may have made the adults feel better about liking fantasy, but lotr got into the kids' heads when they (we) were just young and impressionable enough to be absolutely transported and emotionally rewritten by don't you leave him, samwise gamgee and my brother, my captain, my king and and rohan will answer
lotr was rewriting entire generations' brain chemistry long before asoiaf and so obviously it's not fair to compare any post-lotr fantasy novel to it, and each book series was trying to do different things within their own spheres and so that also is not a fair comparison, but in terms of the cultural impact of the adaptations that came out within a decade of each other, saying that it was game of thrones that made fantasy mainstream is baffling
game of thrones could only run because the lord of the rings movies laid the path, and i will die on this hill
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Minewt is so very very important to me
Minho, who is strong and confident, but not emotionally, someone who shies away from more delicate moments, squirms when it gets emotional, will do something nice for someone else but will not make eye contact as he does so
Newt, who is strong and confident, especially emotionally, someone who will grin as they accept help, someone who will willingly die to help someone else, someone who will hug someone in public and not show a hint of shame after, someone who will cry and not care if they're seen
Minho falling head over heels for that sense of safety, for that confidence, for that unabashed vulnerability. Meanwhile Newt is utterly clueless
while Minho is doing things that are the pinnacle of romance to his "affection is awkward" mind, Newt is just like "hey Minho left me a snack! he's been really nice lately :D"
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So I was going to write this whole thing about Faulkner and how a lot of his character is, at least to me, built on this despairing loneliness and isolation. That part of it stems from having been abandoned by his father and brother (a father that never looked him in the eye, a brother that never came back like he promised). That that loneliness feeds into his desire for a place to belong, to no longer be alone, but its since been twisted into this want for prestige (because there's that rationalization: if he were special, if he had the title and accolades then he'd have had to have made his place somewhere right? Make a home somewhere?). And that's why it was so easy to betray Carpenter the way he did, to weigh it in his hands....
.... but every time I tried to sit down and write coherent, concise thoughts it spiraled into something incomprehensible (see above). BUT I still want to talk about it because this podcast makes me so ill every other Thursday.
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saw elemental on a whim, and it was cute! i need to tell everyone that the marketing was totally off the mark, though you could probably have guessed. the romance was secondary to the main plot which was actually about the father-daughter relationship and immigrant experience.
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