#even if it's an important part of culture

[gods-perfect-idiots]

Okay bear with me folks, I have some ~thoughts~ about the Vanessa/Wade relationship (or frankly lack thereof) in Deadpool & Wolverine. I should start by saying that I am analyzing this with the (likely erroneous) assumption that everything on screen is 100% intentional and mindfully written to deepen the characters and inform their arcs. For the record, I don't necessarily believe that's true - there is certainly room for mistakes, lazy writing, confusing plot elements, or in this case, sidelining a potentially strong and important character for nebulous reasons (I'm guessing scheduling conflicts + run time concerns + actor's strike complications but idk for sure). (Also thanks to @gossippool and @kendyroy for encouraging me to post my thoughts instead of just rambling in the tags in the first place, y'all are the realest)

Long rambly post below the cut fyi

Now, granted, it has been a while since I watched the original Deadpool so I am not as well-versed in their early relationship as I am in the handful of scenes Morena Baccarin has in dp3, but I do think it is pretty canon that Wade generally struggles to express his deeper worries and feelings (without filtering it heavily through crude humor, sex, and pop culture references of course), especially after the events of dp1 and the physical and mental damage he sustains, and Vanessa is frankly no exception despite how much he cares for her. The entire first movie hinges on the fact that he doesn't really believe she could love him in his post-Francis mangled state, which is pretty contrived imo given that the film has established already how bonded they are, and she doesn't strike me as being written to be so shallow as to reject him based on a physical deformity. I mean iirc she wanted to stick around through chemo despite him being literally riddled with inoperable cancer, so she clearly is in it for the long haul (at least in dp1), messiness and all.

Now, in dp2, obviously she is shot and killed early in the film, and Wade spends much of the rest of the film wallowing in his very profound grief, trauma, and guilt over losing her due directly to his violent lifestyle. He goes to prison, he basically gives up on life and seems very resigned to dying once he has the power suppressant collar on, even excited to do so so he can be reunited with her. She is mostly sidelined as a Fuzzy Dead Wife trope basically, but the important thing here is that he spends weeks if not months in the throes of despair over losing the love of his life just as they were trying to start a family, and trying to reach across the boundaries of death to be with her.

Now, my first couple times watching dp3 I was frustrated by the trite narrative presented in the interview scene towards the beginning - specifically Wade's whole "my girl is getting tired of my shtick and I need to show her I matter". It felt contrived and disingenuous, and I just brushed it off as iffy writing, a means to an end, but the more I reflect upon it the more I think it is based in an emotional reality that is just handled with a very light touch by the film in favor of fanservice and Poolverine content (NOT that I'm complaining in the slightest - I think this movie is a masterpiece in many ways, albeit a flawed one but that's beside the point here), which for the record I am not against because I think it lends it an air of realism. This is Wade's story after all, Vanessa is a part of it but it is ultimately about him and his journey.

Basically, I think the combination of what happened to him in dp1 (the brain damage, the trauma, the awareness of the fourth wall, etc) followed by the events of dp2 (Vanessa's death, his grief and the associated guilt and trauma of being the direct cause of her death) led to an unbridgeable emotional gap between the two of them that ultimately leads to their breakup.

It's important to note that I don't think Vanessa has any recollection of her own death, given that Wade goes back and saves her before she can take the bullet, and so of course she can never fully fathom what Wade went through grieving her and their life together and their potential family, for however long he spent between her death and bringing her back with Cable's device. She can try (and she clearly does in the one scene I'll talk about next) but I fear she accepts, maybe even in that scene, that she can never succeed. He is beyond her reach by this point, and vice versa, his experiences having fundamentally changed him.

The one scene we really see from their relationship between dp2 and dp3 is the one where Cassandra mind-gropes Wade in the Void and we see Vanessa struggling to reach Wade across this aforementioned gap - she wants him to open up, she wants him to share what he's going through, she wants him to be the person she initially fell in love with (not even selfishly - to her nothing has changed really, because to her no time has passed). But not only does he not understand what she's really asking for but he responds in such a way that makes me think he has unprocessed issues that are only tangentially related to what she's saying - ie the stuff about mattering, about asking her if she even wants to be with him, etc. And he's not the Wade Wilson she met back in dp1 anymore. He watched her die and grieved her and brought her back, believing it would make everything go back to normal and they could resume their life together as if nothing had changed, but he has been fundamentally changed in a way that she can't grasp, even if he WAS good at externally processing his trauma openly without the artifice of wry jokes. She didn't "come back wrong" - instead, she came back exactly the same as before, but HE'S different now. Not wrong, per se. But changed.

It's an interesting scene because it's obviously a memory, and a crucial one at that, but you can see how Wade is misunderstanding what she's saying, viewing it through the prism of his own lack of self-worth and his own hopelessness - he takes away that she thinks he doesn't matter (even though like he says she didn't actually say that, but I don't think Cassandra invented that wholecloth - I think she pulled it out of his psyche because that's what he believes deep down, hence why his fixation on mattering even though she never said those words exactly), he takes away that she doesn't want to be with him, that she thinks he's nothing. Which would be frustrating as an audience member to witness as a pretty simple misunderstanding which could potentially be solved with one conversation, but it feels believable to me that these two people who have shared a great love would be fundamentally separated by unimaginable, cosmic trauma, and the on conversation they would need to have to rectify the misunderstanding is one that is impossible for Wade to verbalize and equally impossible for Vanessa to conceive of. It was one thing when they had shared trauma like violence and SA in dp1, but what Wade has gone through in dp1 and dp2, humor aside, is unfathomably traumatic, brain-breakingly so even, and that's not even factoring in the possible mental illnesses he now struggles with (I've seen folks suggest schizophrenia, DID, depression, etc. but I won't get into armchair diagnosing a fictional character here - suffice it to say he is canonically unwell as a result of what has happened to him, and yes it manifests as quirky fourth wall breaks and cheeky one-liners, but within the universe of the movies he is undeniably profoundly mentally ill, and that includes this humorous alter ego he created to cope with his trauma).

I think off-screen Vanessa probably really tried to reach him, maybe for years (the six year gap implies to me that they didn't break up immediately, that they tried for a while to stay together), trying to get her Wade back, but that Wade is gone. He struggled to express that to her until eventually he started to feel rejected because he couldn't express his trauma or how much he has changed, because even he can't fully conceive of the gulf that has formed between them. The truth is, he WANTS to be that Wade again, for her and for himself, but that Wade died when she died. Or maybe he had already started dying when Francis got a hold of him in dp1.

Anyway, all this is to say, I think Morena Baccarin WAS criminally underutilized in dp2 and dp3, but I think there is a strong argument to be made for the believability of their breakup regardless. I think even relationships built on enormous love can crumble due to trauma, and what Wade suffers over these movies is mind-bogglingly enormous trauma. It's especially heartbreaking that he blames himself for their relationship ending, talks like she just got tired of him, thought he didn't matter, whatever. But it is a credit to him that he never seems to feel anger towards her about it. He doesn't seem to feel entitled to her, though he longs for her and what they had and what she represented (hope, love, a future, a family), but ultimately she becomes more of a symbol of what he lost when he gained his powers, because let's be super fr right now - even if they had succeeded in having a baby, not only would they have lived in fear of her or the kid getting killed, but ultimately Wade would likely outlive both of them even if they managed to die natural deaths. The moment he gained his powers he was already destined to lose her, which is heartbreaking because she was the only reason he opted for the treatment in the first place - so he could stay with her.

I think a big part of Deadpool & Wolverine is watching Wade continue to process his own motivations (vis-a-vis Vanessa but also his other friends) and how he does eventually let go of the idea of "mattering" in favor of just saving the people he cares about (*cough* and being saved right back *cough* by Wolvie, as the final line and shot implies). And in the process he finds someone new who cares about him, who thinks he matters, who tries to sacrifice himself for him and his friends after mere days of knowing him, who comes home with him at the end of the story, who breaks his own centuries-old patterns, who has also experienced unimaginable grief and trauma, who has struggled with wanting to die and being unable to, who not only matches his crazy but matches his FREAK and also not only won't die on him but CAN'T die on him - and more importantly cannot be randomly killed by a stray bullet.

Idk if any of this makes much sense but I do think if you read between the lines and consider the potency of trauma and grief, guilt and emotional damage at play here, Vanessa and Wade's off-screen breakup is actually pretty realistic, and really heart-breaking to boot.

You can tell she still cares about him in so many ways - she shows up for his birthday party, she shows up to his welcome home party at the end, she finds excuses for physical contact multiple times, her eyes get soft when she looks at him, but there is a distance there that Morena Baccarin does an incredible job of portraying. She cares about him deeply, she has mourned the loss of their potential life together, she has let him go and accepted that the Wade she fell in love with is gone, but she wants him in her life even though she's moving on because she realizes he's gone somewhere she can't follow (literally and figuratively). And she wants him to be happy which is why I fully believe she would immediately clock the Poolverine of it all and not-so-subtly encourage them to make it official.

Anyway. Poolverine forever. Nothing against Vanessa at all - I think she delivers a nuanced and beautiful performance, I think their relationship is sweet and heart-wrenching in large part due to her acting chops, especially given how little she is given to work with - but I think their relationship was sadly doomed from almost the very start, because Wade becomes this traumatized superhuman and Vanessa would always be at risk in his orbit, but also would always on the outside of his multiverse superhero experiences. I think it's weirdly beautiful, even if I am filling in a lot of gaps and giving the writers maybe undue credit.

Anyway... thoughts? Please DM me or write in the tags, I am feral about this movie and just want to talk about it with anyone haha. If you have further insight into these characters too I'd love to hear it - I am by no means an expert in these movies or characters!

[hiddurmitzvah]

I wanted to celebrate with these two prints that I made, a long history that jewish people, garlic and pickles have. You can purchase these print via my Etsy shop.

And here's the history:

Already in ancient times, garlic was a central part of celebrating Shabbat. The Talmud devotes several passages to talking about garlic, explaining that it is a key part of Shabbat meals. “With what does one delight in the day of Shabbat?” the Talmud asks, recording an answer provided by Rav Yehuda, son of Rav Shmuel bar Sheilat, who recalled the words of his teacher Rav: “With a dish of beetroot, and a large fish, and heads of garlic” (TalmudShabbat 11b). Elsewhere, the Talmud refers to Jews who celebrate Shabbat as “garlic eaters,” so closely identified was Shabbat dinner and lunch with this fragrant vegetable. (Talmud Nedarim 31a)

Even later on, in the medieval times, the conncetion between jews and garlic was quite close. In fact, it helped the community to survive!  In Istanbul, when Jews avoided the plague during a terrible epidemic, it was said that the virus did not penetrate the Jewish area because of the smell of garlic. Jews hung bulbs of garlic outside their doors to ward off the plague as a talisman and sign of good luck. The food historian Gil Marks adds: “Historically, the addition of garlic was among the typical Jewish touches that enhanced local dishes. In many cultures, the presence of garlic marked a dish as Jewish.”

In Germany, in the towns of Speyer, Worms and Mainz were home to large, vibrant Jewish communities. A popular acronym for these areas took the first letter from each town – S, W (which is written with a double “U” sound in Hebrew) and M – echoed the Hebrew word for garlic, shoom. The area was known as Kehillas Shoom (or SchUM) – the community of “Shum”, or garlic in Hebrew.

So identified were German Jews with garlic that some anti-Semitic images persist from the Middle Ages and Renaissance, depicting Jews holding or posing with bulbs of garlic.

But jews and pickles go back for a long time too. Eastern European Jews brought their pickle-making traditions to America in the late 19th and early 20th centuries and made it famous there. Pickled cucumbers were an important part of their diet due to the need for preserving food in harsh climates in Eastern Europe, where was a common practice to collect and preserve pickles in order to survive winter. Everything could be pickled, from lemons to carrots, with varying degrees of culinary success.

Some took the cucumber, a cheap, accessible vegetable, preserved it in the spring to make them last through the winter and feasted on it throughout the year. Some of those people were Jews and thus the Jewish love affair with pickling began, as a way of keeping vegetables hygienic and healthy.

Fermantation itself as has a biblical orgin in various places.  Perhaps the best-known early reference to fermented food is the Passover story in Exodus (12:39): When the Jews were "thrust out of Egypt, and could not tarry," their dough could not rise (through fermentation). We know this unleavened bread as matzo. But when they left Egypt, after some time, their longing for these goods came up: "We remember the fish which we were wont to eat in Egypt for nought; the cucumbers, and the melons, and the leeks, and the onions, and the garlic” It’s likely that the cucumbers mentioned by our Jewish forebears were pickled in some way. Ancient cucumbers tasted extremely bitter and the ancient Egyptians “cooked” their cucumbers by lightly fermenting them. The resulting pickled vegetables were slightly alcoholic, and were seemingly eaten for their mind-altering properties.

[trainsinanime]

I sometimes reblog posts about US Americans being weird here, but honestly I don't love how angry or smug most of these posts are. It's just that angry and smug posts tend to get more traction, and so they get reblogged more, and so I tend to see them and reblog them myself. Hm, maybe there's a lesson for all of social media and for me in particular here.

Anyway, what I want out of these posts is not for any US Americans here to feel bad; it's just "funny" and perhaps, perhaps a tiny bit of consideration for how being US American means you experience the internet on easy mode.

This is not your personal fault. Nor is it ethically wrong. It's just a thing that exists, and it may be worth thinking about it.

Examples of that easy mode include:

It's your language. The vast majority of people on the internet need to know a second language to at least participate passively, let alone actively post. It's not just the internet; for e.g. my job, all documentation for all the tools is only in English, and I was required to listen to English lectures and write both my bachelor's and master's thesis in English, my second language, to pass. That's why e.g. posts about bilingualism tend to cause a bit of a discussion, because knowing a second language isn't a special skill but a necessary survival tool.

It is your world-wide culture. The list of most popular video games, TV shows, movies and songs tend to be fairly similar across the world (in particular the part of it we call it the western world, another discussion that I'll get into below), and they're dominated by the output of US media. There is no equivalent to e.g. Disney anywhere outside of the US.

It's your debates and discussions. Because of the huge importance the US has economically and culturally (not to mention militarily), we tend to discuss US topics a lot, and we tend to discuss them from an American point of view.

This introduces American oddities into a lot of the world. For example, I'm a STEM guy, I have a STEM education, a STEM job and my primary hobbies are also STEM based, so what I notice are imperial measurements like feet and inches. Those are not "one of two equally valid choices", they're the unique hobby of the English-speaking countries, and within them, increasingly only the US. But we still tend to see them here as if they were a normal usual thing, and often europeans (including me) feel compelled to provide translations into these units.

But it's not limited to that, court room dramas are another example where courts in the English-speaking world tend to work very differently from those in the rest of the world. E.g. there's no pleading guilty or innocent in most of the world. There are boundless more examples of that, and these things can be grating every once in a while.

As I said before, I don't think there's any moral value here either way. You're not wrong for being an American (but you're also not better because of it). As I hinted at before, I'm still in a very privileged position myself, being from a wealthy European country, and my culture even without Disney is still far closer to that of the US than it is to most of the rest of the world. I'm sitting in the very same glass house, just maybe a different corner (TODO fix this metaphor before posting).

For example, I'm talking about court rooms and inches versus meters, but if we're thinking about history and ethics, there's deep issues in both of them. When it comes to measurements, it's ultimately the question of whether you use the measurements of London or those of Paris. For most of the world it's a colonial imposition either way. You can make arguments for why one is better for technology than the other (and as you can probably guess, I have strong opinions here), but in the grand scheme of things, neither of them is more "ethical" or more "universal", not really anyway. Same with the way legal systems work, where again, countries either adopted (and more often than not were forced to adopt) either the English system or the French system (with quite a few countries choosing to adopt the German version of the French system as well).

I know that's a boring digression but it's something that's usually missing from these posts, especially ones written by europeans, including some I've written myself. I don't really have a conclusion to any of this either, except perhaps that this is something that's worth being aware of.

[sepublic]

I'm glad I'm not the only one that noticed that trend with toh/dungeon meshi, because it had been bothering. And while everything you said runs true, I feel another aspect of it is the want to compare lumity to farcille. Amity-Marcille is not a bad comparison, even if it's not perfect, but Luz and Falin don't really have much in common beyond some traits you can really strech.

And I feel this highlights another aspect of the white favoritism, and is that most people only like Luz as part of Lumity. She fits as Laios far better than Hunter does, not as Falin, but the farcille vibes for lumity are far more important, because Luz character on her own is not what people is interested in, and is really bothersome. Because again, Amity is white, and she doesn't have this problem.

In general fandom will always default to reducing Luz to just the silly queer girl to talk about her white counterparts’ depth. They’ll talk about Hunter’s cult trauma or Amity overcoming her abuse, meanwhile Luz has an entire arc about surviving a suicidal depression and not letting a racist gaslight her into thinking she’s a selfish monster.

And then they’ll just reduce her to OTTER LUZ because it’s funny to juxtapose what a silly idiot Luz is compared to their serious and deep white faves, it’s just Oblivious Luz again. On its own these things (minus Oblivious Luz) were fine, except Luz isn’t held up as a multifaceted character with range the way her white counterparts are, she’s mostly appreciated as their supportive accessory and not someone whose struggle has so much more narrative focus because it IS the narrative.

There will sometimes be this performative culture around praising Luz as a Girlboss, a girl of color, but in the end it’s just that; Performative. People don’t treat Luz with the same consistent depth, they don’t treat her trauma the same as others’ despite her being the actual main character; She’s canonically suicidal! Fandom will give Luz her time in the spotlight when this week’s episode does, but after a while default back to Hunter when canon isn’t constantly reminding them who’s the real star of the show.

It’s simple really; Fandom loves to praise how their media has a diverse cast but then not engage with said diverse cast the way they do their white (boy) faves; They just treat characters of color as a shiny medal to prove they’re Progressive, but canon is not fandom. And fandom never listens to PoC despite saying they will this time, no you’re just an anti who hates fun or I can learn to consume it ‘critically’ except you don’t. Fandom has this gaslighting effect, regardless of intent, that the white guys are the only truly interesting characters and everyone else just isn’t as good no matter how much they do.

[merwgue]

Feyre, as the protagonist of the ACOTAR series, has committed numerous actions that could be considered criminal under real-world laws. Below is a breakdown of the crimes she could potentially be charged for, based on actions from each book, and the possible legal repercussions.

1. A Court of Thorns and Roses (ACOTAR)

1.1. Poaching and Trespassing

Crime: Killing a faerie in the form of a wolf while on Prythian territory without permission.

Real-World Equivalent: Illegal hunting (poaching) and trespassing on private property.

Potential Sentence:

Poaching: 1-5 years, fines depending on the severity.

Trespassing: Usually a misdemeanor, resulting in fines or up to 1 year in jail.

1.2. Complicity in the Death of Faeries Under the Mountain

Crime: Indirect involvement in the deaths of faeries during the trials set by Amarantha, even though she was coerced.

Real-World Equivalent: Manslaughter (unintentional but contributing to the deaths through participation).

Potential Sentence: 5-15 years, though her coercion and duress could mitigate this significantly.

---

2. A Court of Mist and Fury (ACOMAF)

2.1. Trespassing in the Spring Court

Crime: Entering and leaving the Spring Court without permission after forming ties with the Night Court.

Real-World Equivalent: Unauthorized entry onto sovereign territory.

Potential Sentence: Generally a misdemeanor, but with repeated offenses, it could escalate. Fines or up to 1 year in jail.

2.2. Destruction of Property (Spring Court)

Crime: Sabotaging and destroying part of the Spring Court.

Real-World Equivalent: Vandalism and destruction of property.

Potential Sentence: 1-10 years depending on the extent of damage, with potential fines or restitution.

2.3. Theft (Spring Court)

Crime: Stealing important information, documents, and assets from the Spring Court while pretending to be loyal to Tamlin.

Real-World Equivalent: Theft and espionage.

Potential Sentence: 5-15 years, depending on the value of what was stolen and its strategic importance.

2.4. Theft of a Magical Artifact (Summer Court)

Crime: Stealing Tarquin’s most powerful artifact, the Book of Breathings, from the Summer Court.

Real-World Equivalent: Grand larceny, theft of national/cultural treasures.

Potential Sentence: 10-20 years depending on the value and importance of the stolen artifact, including diplomatic consequences.

2.5. Involuntary Manslaughter (Tithe Refusal)

Crime: Refusing to enforce the Spring Court’s tithe, resulting in the death of the water-wraiths who depended on Feyre’s mercy.

Real-World Equivalent: Negligent homicide or involuntary manslaughter.

Potential Sentence: 5-10 years depending on the circumstances, though mitigating factors like lack of intent could reduce the sentence.

---

3. A Court of Wings and Ruin (ACOWAR)

3.1. Destruction of the Spring Court

Crime: Deliberately dismantling the political and economic systems of the Spring Court while acting as a spy for the Night Court.

Real-World Equivalent: Treason (though technically not against her homeland) or acts of war.

Potential Sentence: Life imprisonment or death penalty in certain jurisdictions, though a less extreme punishment could be 20-40 years for treason and sabotage.

3.2. Collusion and Espionage

Crime: Spying for the Night Court while pretending to align with the Spring Court.

Real-World Equivalent: Espionage.

Potential Sentence: 10-25 years for espionage, with potential fines and loss of any titles/rights in the Spring Court.

3.3. Accessory to Murder (Hybern Soldiers and the King of Hybern)

Crime: Being involved in the war efforts that led to the deaths of Hybern soldiers and the King of Hybern.

Real-World Equivalent: Accessory to murder or war crimes.

Potential Sentence: 15-30 years for accessory to murder, though wartime actions are often handled differently.

3.4. Imprisonment and Oppression of Illyrians and Hewn City

Crime: Complicity in the continued oppression of the Illyrians, including the mutilation of female Illyrians’ wings (although Feyre was not directly involved in wing clipping, her role in the Night Court hierarchy ties her to this systemic abuse).

Real-World Equivalent: Human rights violations, gender-based violence, illegal confinement.

Potential Sentence: 20-50 years for complicity in human rights abuses and gender-based violence.

Crime: Complicity in the continued imprisonment and oppression of the people of Hewn City, preventing their access to the privileges of Velaris and escaping abuse.

Real-World Equivalent: Conspiracy to perpetuate systemic discrimination and abuse.

Potential Sentence: 10-30 years, depending on the level of abuse and confinement they are subjected to.

4. A Court of Frost and Starlight (ACOFAS)

4.1. Illegal Occupation of Spring Court Lands

Crime: Continually crossing into Spring Court land and occupying or disrupting its governance, even in a non-violent way.

Real-World Equivalent: Trespassing, illegal occupation.

Potential Sentence: Fines, probation, or up to 1 year in jail.

5. A Court of Silver Flames (ACOSF)

5.1. Complicity in Abuse (Locking Nesta in the House of Wind)

Crime: Participating in the forced confinement of Nesta, who was struggling with mental illness, without a licensed mental health professional’s involvement.

Real-World Equivalent: Kidnapping, unlawful imprisonment, endangerment of a mentally ill person.

Potential Sentence: 5-20 years, with charges depending on the level of harm caused to Nesta and whether it could be deemed abusive.

Summary of Potential Charges

1. Poaching and Trespassing: 1-5 years, fines

2. Manslaughter (Under the Mountain): 5-15 years

3. Trespassing in the Spring Court: Up to 1 year

4. Destruction of Property (Spring Court): 1-10 years

5. Theft (Spring Court): 5-15 years

6. Theft of the Book of Breathings (Summer Court): 10-20 years

7. Involuntary Manslaughter (Tithe Refusal): 5-10 years

8. Destruction of Spring Court: 20-40 years

9. Espionage: 10-25 years

10. Accessory to Murder (War Crimes): 15-30 years

11. Imprisonment and Oppression of Illyrians: 20-50 years

12. Complicity in the Oppression of Hewn City: 10-30 years

13. Illegal Occupation of Spring Court Lands: Fines, up to 1 year

14. Unlawful Imprisonment (Nesta): 5-20 years

Total Potential Sentence

If Feyre were to face all charges and be convicted, the total potential prison sentence could range from 122 years to life imprisonment, especially for the severe charges related to espionage, human rights abuses, and complicity in oppression.

[spiders-notagain]

Vulcans dont have novels; a headcanon

As a planet with few trees, Vulcans had less paper. (Also many of the techniques humans use to make paper use water and Vulcans had less of that too) That doesnt mean they had NO paper. After all they did have some small forests. Aside from writing things on clay and sand tablets, ancient vulcans experimented with several different materials for paper. But eventually settled on two main products. A kind of regional variant of cotton and a type of relatively common brittle rock.

Thus Vulcans didnt really have alot of books and relied primarily on paintings and tablets to store information for future use or even future generations. Paper (and especially books) were seen as a certain sign of luxury and only used for important documents. The common people passed down memories and fictional stories by word of mouth/mind melds through generational lines. And it was very common for clans/families to have important traditional stories. In some families, being given the story was an important rite of passage.

There was alot of poetry though as it could be stored on single sheets of paper or immortalized in tablets. Even for the common people, learning about different types of poetry was a sign you were well educated. As well as other types of art forms but especially the rare written word.

Sometime before the nuclear wars they developed technology that allowed them to store large amounts of information digitally. All but removing the reliance on books to store important data. With that freed up, books were more accesible to the common people. Or rather what we would call middle class. Poor people could still not afford books.

And thus the return of the short story and the long short story/novelette. They were about the same product in thickness, except the short story is usually cut in half lengthwise. While there was a standard size, some bookmakers elected to use custom cuts.

A bookmaker did two things, binding and printing. First by hand, later when a simplified font was created, with letterpressing. Except when they were making journals in which case they would leave it blank.

Empowered by their new avenue for creativity, many simply wrote down the stories that had been passed down to them, some wrote fanfiction of their generational stories that nobody in their family wanted to pass down, some wrote brand new stories, some wrote journal entries about their own life or just detailed their family tree, and some wrote fanfiction of their favorite plays.

Most of the stories written in these formats did not have the 3 act story structure and since they had no audience to pander to, personal stories were self indulgent. They were often left open ended or devoid of context. (And some of it was literally just smut with plot)

Really savvy authors would use this gap of information to their advantage the way some human authors do. Others would make historians cry because for example their story is about this guy being enemies with this other guy because he stole his sister from a respectable family so the girls brother is trying to hunt them down and try and figure out some things about the guy but the author never mentions any of that in the story so you dont find out her name till halfway through, theyre running from an unseen enemy, and you dont even get to find out what happens after the brother finally catches them because the story was about the culture clash they experience being on different social statuses and also the weighing of love vs responsibility, and also kind of a rebuttal to a play the author saw 4 years ago that included a subplot that romanticized young love and they thought the premise was stupid. So they imagine both characters dying at the end at the hands of the brother and none of the aforementioned themes are immediately obvious anyway because their writing style was super poetic and flowy and they handled all their mature themes very subtly.

There wasnt really a book industry for published literature nor libraries as we think of our local ones. That did not mean they didnt have long stories. The closest equivalent were plays or interpretive dance which were around for millions of years, even beyond the earliest days of paper. (A handful of classic dance styles were preserved to modern day, not quite as fervently as martial art styles but respected for the cultural value they possess) They were revered as one of the most popular forms of entertainment and since many saw them as a kind of treat, they were drawn out to increase enjoyment with some of the better ones being 4-5 hours long.

They did eventually start adopting a sort of publishing industry. The earliest version of it was during post-reformation when they improved society as a whole. And the technology they used to store information digitally was more readily available than books. (Partially because pre-reformation it was considered a war technology) So the first industry was scientific articles. Particularly after they started going to space and really started learning things.

Although a few vulcan writers had experimented with common fantastical (re: genres that feature impossibilities) human book genres like sci fi and fantasy and to some extent horror, they didn't actually really delve into it till they met humans and those kinds of book genres became normalized throughout the federation.

Well thats not entirely true. Vulcans did have horror in the form of ghost stories. Not that they always included ghosts but urban legends, scary campfire stories and the kind of stories you tell your kids to scare them into behaving. Those had all been around for centuries but no one really wrote them down before the popularity of books so theres a lot of missing context from the various stories that just mutated or merged with other stories over time. Urban legend history is a category almost no vulcan wants to get into. Not necessarily because its full of the distasteful fantastical but because of how 'pointless' and low-payoff it is to comb through artifacts and old texts for hints about what might be relevant to that one story about the mystery le'matya where some texts only describe it as a shadowy unerving figure that doesnt do anything but seriously freak you out. But some texts describe it as three times the size of a normal le'matya and having knife sharp claws and pure white eyes and can kill a grown man with two slashes. One for the neck and one for the poison. And then while youre paralyzed it eats your guts out. If you hear it coming, it means youre already a goner.

But like, that shares a bunch of characteristics with this other nightmare creature so they think at some point someone merged the two stories to make it scarier. But they're not sure because most of the texts they have concerning the terrifying deadly le'matya were written before the ones they have about the mysterious unnerving le'matya. Except there's also this one poem that could be about the other nightmare creature or it could be about the deadly le'matya because the contents sorta fit both. But it does have an extra detail that they used to time date it so if they could figure out which one the poem is about then it would solve that earlier question.

[ignitesthestxrs]

there's something about the way people talk about john gaius (incl the way the author writes him) that is like. so absent of any connection to te ao māori that it's really discomforting. like even in posts that acknowledge him as not being white, they still talk about him like a white, american leftist guy in a way that makes it clear people just AREN'T perceiving him as a māori man from aotearoa.

and it's just really serves to hammer home how powerful and pervasive whiteness and american hegemony is. because TLT is probably the single most Kiwi series in years to explode on the global stage, and all the things i find fraught about it as a pākehā woman reading a series by a pākehā author are illegible to a greater fandom of americans discoursing about whether or not memes are a valid way of portraying queer love.

idk the part of my brain that lights up every time i see a capital Z printed somewhere because of the New Zealand Mentioned??? instinct will always be proud of these books and muir. but i find myself caught in this midpoint of excitement and validation over my culture finding a place on the global stage, frustration at how kiwi humour and means of conveying emotion is misinterpreted or declared facile by an international audience, frustrated also by how that international audience runs the characters in this book through a filter of american whiteness before it bothers to interpret them, and ESPECIALLY frustrated by how muir has done a pretty middling job of portraying te ao māori and the māoriness of her characters, but tht conversation doesn't circulate in the same way* because a big part of the audience doesn't even realise the conversation is there to be had.

which is not to say that muir has done a huge glaring racism that non-kiwis haven't noticed or anything, but rather that there are very definitely things that she has done well, things that she has done poorly, things that she didn't think about in the first book that she has tacked on or expanded upon in the later books, that are all worthy of discussion and critique that can't happen when the popular posts that float past my dash are about how this indigenous man is 'guy who won't shut up about having gone to oxford'

*to be clear here, i'm not saying these conversations have never happened, just that in terms of like, ambient posts that float round my very dykey dash, the discussions and meta that circulate on this the lesbian social media, are overwhelmingly stripped of any connection to aotearoa in general, let alone te ao māori in specific. and because of the nature of american internet hegemony this just,,,isn't noticed, because how does a fish know it's in the ocean u know? i have seen discussions along these lines come up, and it's there if i specifically go looking for it, but it's not present in the bulk of tlt content that has its own circulatory life and i jut find that grim and a part of why the fandom is difficult to engage with.

[fromtheseventhhell]

I want to make a longer post about this someday but: I think Arya's TWOW arc is going to include her coming to terms with her identity as a Lady. This has been an ongoing conflict with her since her first chapter and I think her flowering in winds is going to mark a turning point. The theory of her having an apprenticeship with the courtesans holds a lot of weight and the idea of Arya going through puberty among a group of unconventional women she's fostered a positive relationship with is just too perfect. It would really have an impact on Arya reconciling her personal idea of what a Lady should be. There's also a lot that she could learn from them in terms of courtesies, communication, appearances, body-language, etc. that would elevate her current skill-set and ways her relationship with them could push the plot.

Not to mention she will undoubtedly reclaim her identity as Arya Stark, and her being a Lady is inseparable from that. Arya Stark is a Lady Stark and being a Lady is a social position, not a measure of how well someone preforms feminine tasks. She shouldn't have to relinquish her position because she doesn't fit patriarchal standards. That's not to say that she's ever going to be the perfect example of a traditional Lady but what I think will happen is that she becomes capable of playing the part. She plays several identities throughout the series but she's always been Arya underneath, so I think it's appropriate that she learns to adopt a "persona" that's part of her. Her remembering Ned putting on his "Lord's face" (+ the various examples of other characters being separate from their ruling persona) makes me think that Arya will be donning her "Lady's face" when she makes a return to Westeros.

[megamindsupremacy]

Stewjon is Space Scotland: Names and Naming Conventions

For context, I designed an entire naming system for my Stewjon is Space Scotland AU. I'm still trying to work out the cultural logistics of it, but the actual practical logistics I have down.

To break everything down:

Stewjon is a clan-centric society, with clans and clan names having a hugely important role in the culture. I therefore had clan names feature in both the first and last name of Stewjonis.

-The last name (Kenobi) is the family/clan name, and is passed down the family paternally. This is both because I'm from a western culture with a paternal naming tradition, and also because I liked how his parents names sounded when the last names transferred paternally but not maternally. "Ken" would translate to "Clan" (I don't know if this is accurate to Scots English or Scots Gaelic, but I'm working from canon Star Wars names and trying to worldbuild from nothing so work with me here), and then the clan name "Obi" is attached, so "Kenobi" translates to "Clan Obi" or "of Clan Obi"

-The given name (-Wan, but we'll get to "Wan" in a second) is one to two syllables. All of these names are (according to Wikipedia) actual Scottish names, which I picked from the list mostly based on how well they'd sound next to the clan name.

-The prefix clan name (Obi-) is the interesting part. All children are given the father's clan name as both their first and last clan name. Therefore, Obi-Wan Kenobi, son of Ito-Benneit Kenobi, has "Obi" in both his first and last name. However, upon marriage, the couple swaps their prefix clan names to signify the tie between their clans. Therefore his mother Ito-Ceit Kenito and his father Obi-Benneit Kenobi became Obi-Ceit Kenito and Ito-Benneit Kenobi upon their marriage.

-Originally I was going to do something with the fact that "Obi" means belt in Japanese, such as making the clan names signify professions in the same way "Miller" or "Smith" would in English surnames, but I gave up because Japanese is so different of a language from what I understand that I would have just made myself very confused and everyone who understands Japanese language and culture very mad. So I just went with a vowel-consonant-vowel pattern for all the clan names and called it a day.

-Remember how I said we would come back to "Wan"? Obi-Wan wasn't born Obi-Wan Kenobi. He was born Obi-Owen (Owen is a whole 'nother thing and I decided to just give myself a freebie on it), and his name was anglicized (basic-icized?) upon being brought to the Jedi temple. Not on purpose, but it did happen. So technically the chart above should have him listed as Obi-Owen Kenobi, but I already took the screenshot so this is what we're working with.

-Culturally, it's respectful to refer to someone by their full name (Obi-Owen Kenobi). The full name stands until two people are fairly close to each other, platonically or romantically. The informal, friendly version would be their full first name (Obi-Owen). So you wouldn't call your new friend "Obi-Owen" until you're quite close, even if you're social equals. Technically you could refer to someone by their given name only (Owen), but it's awkward and Stewjonis don't really see a reason for it. All of this highlights the cultural emphasis placed on clans and clan ties in Stewjoni society.

The Family Tree

THE KIDS

Starting from the bottom, we have the four Kenobi siblings. Obi-Conn is the oldest, and he marries Yana-Eóin Kenyana, becoming Yana-Conn Kenobi. None of this happens in the story but I wrote it in the chart anyways. Obi-Eóin is nonbinary, which is why their square is white instead of blue or pink.

Obi-Mór and Obi-Pál are twins and approximately four years younger than Yana-Conn. Obi-Mór is ambiguously disabled (she has some form of muscular disability, but the specifics weren't relevant to the story). Obi-Pál is just some guy and I love him for that.

Obi-Owen is the baby of the family. He's twelve years younger than the twins (16 years younger than Yana-Conn) and was definitely an oopsie-baby. I don't need to say anything else because he is also one of the major characters of the Star Wars franchise. You know him.

THE PARENTS

Obi-Ceit Kenito and Ito-Benneit Kenobi are the Kenobi siblings' parents. I don't have much to say here other than that Ito-Benneit shortens his name to Ito-Ben, to avoid the repeated "eet" sound in his full first name. I'm sure that doesn't affect Obi-Owen's future nicknames in any way!

It is Ito-Benneit fault, by the way, that I made clan prefixes instead of surnames to be switched upon marriage. Culturally, it would have made more sense for the more commonly used first name to hold your birth clan and your less commonly used surname to indicate your linked-by-marriage clan, but I needed Obi-Benneit to marry into the name Ito-Benneit so that I could shorten it to Ben. Goddammit.

THE GRANDPARENTS

Ito-Ben's parents are entirely irrelevant so they don't exist. Sad!

Technically I didn't have to name Ito-Lili Kenuna, but I felt bad having her up there as an unnamed person. Una-Owen Kenito, as you may suspect, is where Obi-Wan's name comes from. I really wanted to highlight his Stewjoni heritage in this fic, so giving him family ties through his whole name was important to me. Obi-Ceit names Obi-Owen for her father because Una-Owen was a strong fighter, and she wants to pass that resilience to her son. Which, uh. Well he sure is resilient to things trying to kill him!

Feel free to come yell at me in the askbox about Stewjon's worldbuilding!

[sharkcloset]

yesssss your post about dre being there. i’ve been trying to get caught up with everything that happened since i didn’t get to watch live and as i’m going through the tag i’ve seen a bunch of posts about it and like yeah who you associate with means something but also it would be wild if dre WASN’T there. kendrick had EVERYONE up there on that stage with him i don’t think it’s that deep ykwim. the whole fake activism thing is a strange accusation imo i think kendrick’s made it clear he’s a real one but people like to latch onto things yk

Yeah i mean i know this is the antiblack, never listened to hip hop a day in their life ass website but also??? Like at least use one brain cell to recognize it was a big holiday for Black Americans and it was a West Coast rap showcase with Compton + South Central + Inglewood artists both old and new being heavily featured (see: Black Hippy, Mustard, YG, Tyler, Ty, Dom, Steve Lacy, Roddy, Blxst, Hed, Boogie etc.) so it’s not at all surprising that Dre was asked to be there. He’s been in the game since ‘85 and the whole point Kendrick was making about Aubrey is that he ain’t got no roots like they do and he is a disrespectful ass culture vulture who has no regard for the artistry and history of hip hop.

Hella people have been talking about this — and not in this site — but also Dot??? wasn’t hosting a kangaroo court exclusively on Dre’s baggage???? It was a cultural concert with CRIPS and BLOODS (including mf HOOVERS which iydk HUGE) on stage who haven’t come together like that in years. They were making peace in the name of defending our history from bitchass people like those not from the hood (AUBREY) or educated in the history of hip hop outside of romanticizing it and clout chasing (AUBREY). It was a reminder to not fuck with our city bc at the end of the day we got each other’s backs. LA showed up for itself bc too many people have been speaking like they know us, disrespecting the history we got, and it’s very clear they don’t know shit. Those people can take their pearl clutching elsewhere bc Dre wasn’t the point of the night it was to unite the city and West Coast rappers against the kind of people like Aubrey and those who gargle his balls.

[not-gray-politics]

Trans women. I'm grabbing you by the shoulders and yelling. YOU DO NOT HAVE TO BE SKINNY TO BE FEMININE AND PRETTY AND CUTE. PLEASE STOP MAKING DIETS PART OF YOUR TRANSITION GOALS. WEIGHT LOSS IS A SCAM. I LOVE YOU. TAKE CARE OF YOURSELVES. YOU'RE BEAUTIFUL.

[uncanny-tranny]

I've been thinking about this more and more recently (or, rather, am letting myself think about it), and I've finally decided to start learning the languages some of my family would have spoken before emigrating and it's kind of crazy.

Children of more recent immigrants have said this so much better, but it's such a weird feeling to know that you can't speak the same language your family can or did. It's such a weird feeling - to be locked away from your own family, your own blood, and for so many people, it is a form of violence and even genocide done unto them.

Honestly, if you're a child who's got family who has or did have family who spoke languages you don't or can't... Learn them, if you can. It's a surreal experience, and it's kind of liberating, in a way. It's teaching me more about parts of my family, how they might have spoken to me if we had the chance to live in the same era.

[skunkes]

thinking about hair length again

[razzledazzletrassh]

no major fic updates just yet guys TAKE MY WOY OC I MADE LIKE. April of last year IM PLUGGING SOME INFO ABOUT THIS GUY IN THE TAGS.

I may also redesign her soon or something. Make her more bug-like with some stuff. I can cook guys let me cook !!!

[wonder-worker]

people really do not know what they're talking about when it comes to Elizabeth Woodville's social status, huh?

[elerrinacrownedwithstars]

hot take: when the Valar ask Fëanor if he will give up the Silmarils in order to heal the Trees, this is not actually a choice about property.

it's a choice about Fëanor's own soul.

because if you look at the scene and the timeline, it becomes clear that by the time this question is asked, Morgoth has already done away with the Silmarils. even if the Valar went after Morgoth immediately, it seems doubtful they could find him, bring him down and reclaim the Silmarils before the roots of the Trees decayed.

so the Silmarils are already gone, although none apparently know that. but this doesn't mean that Fëanor's choice is less important, because now it's about what course he will take. Does he agree to give up the Silmarils, and free himself from their frankly unwholesome grip over his life, or reassert his property rights in this hour of need?

Tolkien even says that it may seem that Fëanor agreeing or disagreeing wouldn't have made a difference, but still his agreeing would have directed his later actions in some other way.

Fëanor could have saved himself but would not, and that is just as tragic as the death of the Trees.