#greater risk

[shinigami-social]

Since some new athletes subject to gender (sex) testing are getting a lot of spotlight shined on the transphobic elements of this practice, please can people keep in mind the intersexist nature of sex testing. While many concerns raised about athletes’ gender/sex are related to transphobia, the material reality is that these people aren’t trans, they are intersex. These tests reveal that these women have hyperandrogenistic conditions that make them intersex. They are experiencing oppression based on having an intersex condition. This isn’t “oops we oppressed a cisgender person who might have been trans,” it is the intentional oppression of people who are intersex.

[zorlus]

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[chocostrwberry]

Akumatized Sabine and Marichat!! And a new chat noir design, I had this planned for a month but I NEVER draw him for some reason?? So I haven’t said anything ab it-

Nurse Desserts power is that she makes anyone within her vicinity contract an illness, which induces fatigue, sneezing, coughing, and greenish lumps/spots to appear on their body. Her sentimonster is a giant cake baby that can also turn into multiple of itself, but get smaller the more there are.

[ghostboidanny]

In a dpxdc demon twins AU, I think Damian would be Pissed that Danny's ghost name is Phantom = Fenton, when he could have gone with Ghoul = al Ghul

Danny Ghoul is so much better and cooler than Phantom! Absolutely no other reason for his anger!

[jetcorax]

he'll burn himself down

gotta love a good fall from grace

magali villeneuve, greater good cover

lesser evil by timothy zahn

greater good by timothy zahn

lesser evil by timothy zahn

luke ross and nolan woodward, thrawn (2018)

thrawn: alliances by timothy zahn

pat olliffe, andrea di vito, and rachelle rosenberg, thrawn: alliances (2024)

star wars: rebels, "family reunion - and farewell"

thrawn: treason by timothy zahn

chaos rising by timothy zahn

star wars: rebels, "family reunion - and farewell"

[raayllum]

me for years being like "Callum can't just be randomly possessed when it comes to playing into Aaravos' hands, that's too narratively unsatisfying, he has to make a choice that willingly leads to doing so either out of desperation and coercion and probably be over the cube" watching S6 remove his accidental dark magic taint so that he can do it again fully knowing it'll mean he'll get corrupted/possessed again and play into Aaravos' hands with the cube because it's the one last thing Aaravos could want because he's already freed from his prison

[anxiously-sidequesting]

how about you shut the fuck up Mr. Irresponsible

[ratwithhands]

Fun fact I used to consume a lot of Land of the Lustrous stuff.

Anyways this is one of my many Land of the Lustrous OCs, Vivianite. Mohs hardness of 1.5, dark green/blue in colour, and very old. Due to the nature of his weak composition, Vivianite can't actually do much of anything, and has had to live under very specific conditions.

Vivianite wears a tight full body uniform to hold any chipped pieces in place, and is kept in a box stuffed with loose cloth to ensure minimal damage. If he comes into contact with light, he begins to oxidize and darken, so he's kept in a windowless room with curtains over the entrance.

That's all to say he's isolated and bored. He spends much of his time inactive, but he'll jump at the opportunity for conversation if there's someone around. Certain gems visit him to chat, get guidance, or give him the recent news. A task given to some gems is to clear his room of dust, and maybe bring him some books if he's up for it.

Vivian sees himself as an older sibling/friend to many of the other gems, and as such he's very keen on providing a listening ear and giving advice where possible to those who need it. He's essentially emotional support in a can.

Other notes/details:

not all gems know Vivian exists! He's hidden away so most gems wouldn't see him unless they were actively looking for him. A lot of the older ones know about him, but the younger ones don't

Rutile is endlessly tired of having to glue him back together so often due to his softness, which is part of why he has a tighter uniform to keep all his broken pieces in place

Vivian struggles with walking, he tends to be slow and stumbly

the tanks in Vivian's room are for jellyfish. Gems who are sent to clean his room have to switch out the jellyfish too. They're there to provide a faint light source so he doesn't go completely inactive

Vivian, despite living in a box in the dark, has a lot of technical knowledge about things as a result of millennia of going through the library collection. He' a living encyclopedia and can usually offer some answers if a gem has questions on a particular subject

his internal structure is basically a lot of shards stuck together like fibers, so he does minor repairs on himself by affixing strands of his hair into empty spots. He's had his fingers repaired and replaced this way often

In the few instances where Vivian has gone outside, he has an abnormally high amount of energy as a result of his inclusions being able to work at full capacity in the light

If I remember anything else I'll add it, anyways have a good day!

[astranauticus]

stultifera navis rerun AKA thinking about Iberia hours again because a lot of the Iberians have such fascinating relationships with the concept of home but specifically Thorns and Lumen are eating at my brain. like where do you call home when the place that is your home Just Fucking Hates You? Elysium's rewinding breeze specifically makes a point to hammers home how differently Iberia treats its Liberi and its Aegir

(which is especially interesting since this comes right after a conversation where Purestream commented on how despite Leizi being a high ranking government official, there are still some experiences that are universal for all Yanese people - because the experience of what Iberia itself is like isnt universal for all Iberians)

But all that being said, Thorns also straight up states that Aegir is not his home, and yeah, how could it be? How could a place you've never been to, never truly known, ever be your home? How could it ever feel like a home?

so where do you go when the place that you are from hates your people and the place your people are from is completely unfamiliar and alien to you? Thorns' answer at the end of the conversation with Aya is: my home is where i chose it to be. my home is where there are people I care about and people who care about me

in the complete opposite direction, Lumen's oprec asks: why do you still stay in a place that wants you gone? because the people of Gran Faro like Jordi well enough but when push comes to shove, they will want the only Aegir in town gone

and yet, when Rald the messenger offers him a chance to leave Jordi turns him down and when he's forced to escape Gran Faro after the people there literally try to send him to his death (or worse) at the hands of the Inquisitors he keeps trying to go back because like everyone in stultifera navis, Jordi is clinging to his own dreams of a golden age

but the shape of that dream is unique to every character and for Jordi, his dreams are deeply, inseparably bound to the Eye of Iberia, the legacy his parents left behind

and it's this dream of becoming someone great, of bringing about that golden age that his parents devoted their lives to help create that ties Jordi to this nothing town because despite everything, despite the mistrust of the townsfolk and the hostility of the Inquisition and the danger from the ocean, he simply cannot leave it behind

(or, because i personally dislike the official translation,)

"I just see this place as my home"

so yeah. not sure what overall point i was trying to make here i'm just. deeply in love with these stories about chosing what is and isn't your home, of saying you will not call a place your home because it has given you no reason to or saying you consider a place your home even though it has given you every reason not to. deeply unwell about them <3

[fromdarzaitoleeza]

I am curious as to what you think about this quote:

“He is witty, graceful, lovely to look at, lovable to be with. He has also ruined my life, so I can’t help loving him — it is the only thing to do.” — Oscar Wilde

“You are going to break your promise. I understand. And I hold my hands over the ears of my heart, so that I will not hate you.”

- Catherynne M. Valente

[lenaellsi]

Thinking about Aziraphale taking away Nina's pain and anger and agency at the ball so that she can be the star of his Perfect Regency Romance and then twelve hours later offering to change her narrative mirror into a watered-down, idealized version of himself so that their relationship will be less complicated

[mxtxfanatic]

You know what makes me very infuriated with Jiang Cheng (apart from everything else), if he had shut his mouth and was not homophobic for five seconds,none of the confusion of feelings leading up to the temple between Lan Wangji and Wei Wuxian would have happened. By the tree scene when Lan Wangji catches him it's pretty clear WWX is both aware of his own and Lan Wangji's feelings and comfortable with them. It's Jiang Cheng who makes him doubt himself and I'm still mad about it.

What fills me up with hate makes this even funnier is that there’s a not insignificant portion of the fandom that has made homophobic Jiang Cheng their Gay Icon™️. The man whose homophobic tantrum almost ruined the actual factual canonical queer relationship in the novel is now fandom’s queer fav.

Nothing but pure comedy.

[canichangemyblogname]

I watched all eight episodes of season 1 of Blue Eye Samurai over the weekend. I then went browsing because I wanted to read some online reviews of the show to see what people were thinking of it and also because I wanted to interact with gifs and art, as the series is visually stunning.

Yet, in my search for opinions on the show, I came across several points I'd like to address in my own words:

Mizu’s history and identity are revealed piece-by-piece and the “peaches” scene with Mizu and Ringo at the lake is intended to be a major character reveal. I think it’s weird that some viewers got angry over other viewers intentionally not gendering Mizu until that reveal, rather than immediately jumping to gender the character as the other characters in the show do. The creators intentionally left Mizu’s gender and sexuality ambiguous (and quite literally wrote in lines to lead audiences to question both) to challenge the viewer’s gut assumption that this lone wolf samurai is a man. That intentional ambiguity will lead to wide and ambiguous interpretations of where Mizu fits in, if Mizu fits in at all. But don't just take my word for this:

Re: above. I also think it’s weird that some viewers got upset over other viewers continuing to acknowledge that Mizu has a very complicated relationship with her gender, even after that reveal. Canonically, she has a very complicated relationship with her identity. The character is intended to represent liminality in identity, where she’s often between identities in a world of forced binaries that aren’t (widely) socially recognized as binaries. But, again, don’t just take my word for this:

Mizu is both white and Japanese, but she is also not white and not Japanese simultaneously (too white to be Japanese and too Japanese to be white). She’s a woman and a man. She’s a man who’s a woman. She’s also a woman who’s not a woman (yet also not quite a man). But she’s also a woman; the creators said so. Mizu was raised as a boy and grew into a man, yet she was born a girl, and boyhood was imposed upon her. She’s a woman when she’s a man, a man when she’s a man, and a woman when she’s a woman.

Additionally, Mizu straddles the line between human and demon. She’s a human in the sense she’s mortal but a demon in the sense she’s not. She's human yet otherworldly. She's fallible yet greatness. She's both the ronin and the bride, the samurai and the onryō. In short, it’s complicated, and that’s the point. Ignoring that ignores a large part of her internal character struggle and development.

Mizu is intended to represent an “other,” someone who stands outside her society in every way and goes to lengths to hide this “otherness” to get by. Gender is a mask; a tool. She either hides behind a wide-brimmed hat, glasses, and laconic anger, or she hides behind makeup, her dress, and a frown. She fits in nowhere, no matter the identity she assumes. Mizu lives in a very different time period within a very different sociocultural & political system where the concept of gender and the language surrounding it is unlike what we are familiar with in our every-day lives. But, again, don’t just take my word for this:

It’s also weird that some viewers have gotten upset over the fact women and queer people (and especially queer women) see themselves in Mizu. Given her complicated relationship with identity under the patriarchy and colonial violence, I think Mizu is a great character for cis-het women and queer folks alike to relate to. Her character is also great for how she breaks the mold on the role of a biracial character in narratives about identity (she’s not some great bridge who will unite everyone). It does not hurt anyone that gender-fluid and nonbinary people see themselves in Mizu's identity and struggle with identity. It does not hurt anyone that lesbians see themselves in the way Mizu expresses her gender. It does not hurt anyone that trans men see themselves in Mizu's relationship with manhood or that trans women can see themselves in Mizu when Mama forces her to be a boy. It's also really cool that cis-het women see themselves in Mizu's struggles to find herself. Those upset over these things are missing critical aspects of Mizu's character and are no different from the other characters in the story. The only time Mizu is herself is when she’s just Mizu (“…her gender was Mizu”), and many of the other characters are unwilling to accept "just Mizu." Accepting her means accepting the complicatedness of her gender.

Being a woman under the patriarchy is complicated and gives women a complicated relationship with their gender and identity. It is dangerous to be a woman. Women face violence for being women. Being someone who challenges sex-prescribed norms and roles under patriarchy also gives someone a complicated relationship with their identity. It is dangerous to usurp gender norms and roles (then combine that with being a woman...). People who challenge the strict boxes they're assigned face violence for existing, too. Being a racial or ethnic minority in a racially homogeneous political system additionally gives someone a complicated relationship with their identity. It is dangerous to be an ethnic minority when the political system is reproduced on your exclusion and otherness. They, too, face violence for the circumstances of their birth. All of these things are true. None of them take away from the other.

Mizu is young-- in her early 20s-- and she has been hurt in deeply affecting ways. She's angry because she's been hurt in so many different ways. She's been hurt by gender violence, like "mama's" misogyny and the situation of her birth (her mother's rape and her near murder as a child), not to mention the violent and dehumanizing treatment of the women around her. She's been hurt by racial violence, like the way she has been tormented and abused since childhood for the way she looks (with people twice trying to kill her for this before adulthood). She's been hurt by state-sanctioned violence as she faces off against the opium, flesh, and black market traders working with white men in contravention of the Shogun's very policies, yet with sanction from the Shogun. She's been hurt by colonial violence, like the circumstances of her birth and the flood of human trafficking and weapons and drug trafficking in her country. She's had men break her bones and knock her down before, but only Fowler sexually differentiated her based on bone density and fracture.

Mizu also straddles the line between victim and murderer.

It seems like Mizu finding her 'feminine' and coming to terms with her 'female side' may be a part of her future character development. Women who feel caged by modern patriarchal systems and alienated from their bodies due to the patriarchy will see themselves in Mizu. They understand a desire for freedom that the narrow archetypes of the patriarchy do not afford them as women, and they see their anger and their desire for freedom in Mizu. This, especially considering that Mizu's development was driven by one of the creators' own experiences with womanhood:

No, Mizu does not pass as a man because she "hates women" or because she hates herself as a woman or being a woman. There are actual on-screen depictions of Mizu's misogyny, like her interactions with Akemi, and dressing like a man is not an instance of this. Mizu shows no discomfort with being a woman or being seen as a woman, especially when she intends to pass herself as and present as a woman. Mizu also shows the women in the series more grace and consideration than any man in the show, in whatever capacity available to her socially and politically, without revealing herself; many of the women have remarked that she is quite unlike other men, and she's okay with that, too.

When she lives on the farm with Mama and Mikio, Mizu shows no discomfort once she acclimates to the new life. But people take this as conclusive evidence of the "only time" she was happy. She was not. This life was also a dance, a performance. The story of her being both the ronin and the onryō revealed to the audience that this lifestyle also requires her to wear a mask and dance, just as the bride does. This mask is makeup, a wedding dress, and submission, and this performance is her gender as a wife. She still understands that she cannot fully be herself and only begins to express happiness and shed her reservation when she believes she is finally safe to be herself. Only to be betrayed. Being a man is her safety, and it is familiar. Being a boy protected her from the white men as a child, and it might protect her heart now.

Mizu shows no discomfort with being known as a woman, except when it potentially threatens her goals (see Ringo and the "peaches" scene). She also shows no discomfort with being known as, seen as, or referred to as a man. As an adult, she seems okay- even familiar- with people assuming she's a man and placing her into the role of a man. Yet, being born a girl who has boyhood violently imposed upon her (she did not choose what mama did to her) is also an incredibly important part of her lived experience. Being forced into boyhood, but growing into a man anyway became part of who she is. But, being a man isn’t just a part of who she became; it’s also expedient for her goals because men and women are ontologically different in her world and the system she lives under.

She's both because she's neither, because- ontologically- she fits nowhere. When other characters point out how "unlike" a man she is, she just shrugs it off, but not in a "well, yeah, because I'm NOT a man" sort of way, but in an "I'm unlike anyone, period," sort of way. She also does not seem offended by Madam Kaji saying that Mizu’s more man than any who have walked through her door.

(Mizu doesn’t even see herself as human, let alone a woman, as so defined by her society. And knowing that creators have stated her future arc is about coming into her “feminine era” or energy, I am actually scared that this show might fall into the trope of “domesticating”/“taming” the independent woman, complete with an allegory that her anger and lack of human-ness [in Mizu’s mind] is a result of a woman having too much “masculine energy” or being masculine in contravention of womanness.)

Some also seem to forget that once Mama and Mikio are dead, no one knows who she is or where she came from. They do not have her background, and they do not know about the bounty on her (who levied the bounty and why has not yet been explained). After their deaths, she could have gone free and started anew somehow. But in that moment, she chose to go back to life as a man and chose to pursue revenge for the circumstances of her birth. Going forward, this identity is no longer imposed upon her by Mama, or a result of erroneous conclusions from local kids and Master Eiji; it was because she wanted people to see her as a man and she was familiar with navigating her world, and thus her future, as a man. And it was because she was angry, too, and only men can act on their anger.

I do think it important to note that Mizu really began to allow herself to be vulnerable and open as a woman, until she was betrayed. The question I've been rattling around is: is this because she began to feel safe for the first time in her life, or is this part of how she sees women ontologically? Because she immediately returns to being a man and emotionally hard following her betrayal. But, she does seem willing to confide in Master Eiji, seek his advice, and convey her anxieties to him.

Being a man also confines Mizu to strict social boxes, and passing herself as a man is also dangerous.

Mizu doesn't suddenly get to do everything and anything she wants because she passes as a man. She has to consider her safety and the danger of her sex being "found out." She must also consider what will draw unnecessary attention to her and distract her from her goals. Many viewers, for example, were indignant that she did not offer to chaperone the mother and daughter and, instead, left them to the cold, only to drop some money at their feet later. The indignity fails consider that while she could bribe herself inside while passing as a man, she could not bribe in two strangers. Mizu is a strange man to that woman and does not necessarily have the social position to advocate for the mother and daughter. She also must consider that causing small social stirs would distract from her goals and draw certain attention to her. Mizu is also on a dangerous and violent quest.

Edo Japan was governed by strict class, age, and gender rules. Those rules applied to men as well as women. Mizu is still expected to act within these strict rules when she's a man. Being a man might allow her to pursue revenge, but she's still expected to put herself forward as a man, and that means following all the specific rules that apply to her class as a samurai, an artisan (or artist), and a man. That wide-brimmed hat, those orange-tinted glasses, and her laconic tendencies are also part of a performance. Being a boy is the first mask she wore and dance she performed, and she was originally (and tragically) forced into it.

Challenging the normative identities of her society does not guarantee her safety. She has limitations because of her "otherness," and the transgression of sex-prescribed roles has often landed people in hot water as opposed to saving them from boiling. Mizu is passing herself off as a man every day of her life at great risk to her. If her sex is "found out" on a larger scale, society won’t resort to or just start treating her as a woman. There are far worse fates than being perceived as a woman, and hers would not simply be a tsk-tsk, slap on the wrist; now you have to wear makeup. Let's not treat being a woman-- even with all the pressures, standards, fears, and risks that come with existing as a woman-- as the worst consequence for being ‘found out’ for transgressing normative identity.

The violence Mizu would face upon being "found out" won’t only be a consequence of being a "girl." Consider not just the fact she is female and “cross-dressing” (outside of theater), but also that she is a racial minority.

I also feel like many cis-het people either ignore or just cannot see the queerness in challenging gender roles (and thus also in stories that revolve around a subversion of sex-prescribed gender). They may not know how queerness-- or "otherness"-- leads to challenging strict social stratifications and binaries nor how challenging them is seen by the larger society as queer ("strange," "suspicious," "unconventional," even "dishonorable," and "fraudulent"), even when "queerness" (as in LGBTQ+) was not yet a concept as we understand it today.

Gender and sexuality- and the language we use to communicate who we are- varies greatly across time and culture. Edo Japan was governed by strict rules on what hairstyles, clothes, and weapons could be worn by which gender, age, and social group, and this was often enshrined in law. There were specific rules about who could have sex with whom and how. These values and rules were distinctly Japanese and would not incorporate Western influences until the late 1800s. Class was one of the most consequential features to define a person's fate in feudal Japan, and gender was quite stratified. This does not mean it's inappropriate for genderqueer people to see themselves in Mizu, nor does this mean that gender-variant identities didn’t exist in Edo Japan.

People in the past did not use the same language we do today to refer to themselves. Example: Alexander The Great did not call himself a "bisexual." We all understand this. However, there is a very weird trend of people using these differences in language and cultures across time to deny aspects of a historical person's life that societies today consider taboo, whether these aspects were considered taboo during that historical time period or not. Same example: people on Twitter complaining that Netflix "made" Alexander The Great "gay," and after people push back and point out that the man did, in fact, love and fuck men, hitting back with "homosexuality wasn't even a word back then" or "modern identity didn't exist back then." Sure, that word did not exist in 300s BCE Macedonia, but that doesn't mean the man didn't love men, nor does that mean that we can't recognize that he'd be considered "queer" by today's standards and language.

Genderqueer, as a word and as the concept is understood today, did not exist in feudal Japan, but the people did and feudal Japan had its own terms and concepts that referred to gender variance. But while the show takes place in Edo Japan, it is a modern adult animation series made by a French studio and two Americans (nationality). Mizu is additionally a fictional character, not a historical figure. She was not created in a vacuum. She was created in the 21st century and co-written by a man who got his start writing for Sex in the City and hails from a country that is in the midst of a giant moral panic about genderqueer/gender-variant people and gender non-conforming people.

This series was created by two Americans (nationality) for an American company. In some parts of that country, there are laws on the book strictly defining the bounds of men and women and dictating what clothes men and women could be prosecuted for wearing. Changes in language and identity over time mean that we can recognize that if Mizu lived in modern Texas, the law would consider her a drag performer, and modern political movements in the show creators' home country would include her under the queer umbrella.

So, yeah, there will also be genderqueer people who see themselves in Mizu, and there will be genderqueer fans who are firm about Mizu being queer to them and in their “headcanons.” The scene setting being Edo Japan, does not negate the modern ideas that influence the show. "Nonbinary didn't exist in Edo Japan" completely ignores that this show was created to explore the liminality of modern racial, gender, class, and normative identities. One of the creators was literally inspired by her own relationship with her biracial identity.

Ultimately, the fact Mizu, at this point in her journey, chooses to present and pass as a man and the fact her presented gender affects relationship dynamics with other characters (see: Taigen) gives this story a queer undertone. And this may have been largely unintentional: "She’s a girl, and he’s a guy, so, of course, they get together," < ignoring how said guy thinks she’s a guy and that she intentionally passes herself as a guy. Audiences ARE going to interpret this as queer because WE don’t live in Edo-era Japan. And I feel like people forget that Mizu can be a woman and the story can still have queer undertones to it at the same time.

[mariocki]

The Texas Chain Saw Massacre (1974)

"Things happen here about... they don't tell about. I see things. You see, they say it's just an old man talking. You laugh at an old man. There's them that laughs and knows better."

[charles-leclerc-official]

It's insane to me that Charles somewhat has this reputation of "conceding" to others, especially Max. I saw a few comments the other day about how it's important for a driver to have a mentality of fighting others even in an inferior car, saying that Charles gives up too easily when it comes to Max, that when he gets pole he butches his race starts and lets Max past.

???

It's also insane to say this about Charles of all people- that he has a mentality of yielding- because he's also been criticized for overdriving, taking "unnecessary risks" in qualifying and thus putting a car in places where it doesn't quite belong.

I think of Vegas last year when Charles grabbed pole, well no one thought he could go beyond P3 in the race, really. But he saved up his battery in those last laps and pulled a perfect last lap overtake, clinching P2.

In an ideal world there would be no repercussions to not choosing your battles in F1 but this isn't an ideal world, is it.

And as for the criticism of Charles' approach to qualifying, I might not agree but I understand the perspective and where they're coming from. But the other criticisms as to why he's not a potential world champion being that oh he has the talent but he yields in the race when his car isn't fast enough, or he is incapable of choosing his own strategy and taking charge unlike sainz who pushes back- These are what kinda sets me off haha.

I feel like this is due to a lot of people trying to compare things that don't make good direct comparisons.

Lando had a few quotes earlier this year about fighting Max, and he was criticized for it, but I do think he basically was saying the same thing about picking your battles, and yes that's the whole point of the sport.

But I think this just comes down to people who don't really want to dig into context or logic. I get wanting to see a driver go 110% all the time, but that's not how it works. A smart driver knows when they can push and when they cannot. That's part that comes with experience and good instincts.

I don't think I have seen a time where Charles should have pushed and instead held back. When it's possible I trust him to go for it.

And 2023 is really hard because of the dominance of the RB-20. Charles took pole against all odds multiple times, and yes he lost it pretty quickly to the RB-20, it wasn't really a failure on his part because the car really shouldn't have been there in the first place.

But the media and fans like to set narratives about how certain drivers are on track, and often they don't align with reality.

Also insane to say he yielded when I don't think Charles has yielded at all this year, even when his brakes were almost on fire.

[elena-rundriguez]

honestly I'm not mad Noah Lyles competed in the 200m because he was masked the whole time before and pretty soon after and the whole race itself was outside and less than 20 seconds. It would be be one thing if they were in an enclosed indoor environment but covid risk increases with prolonged exposure and he's dropped out of team events