#i wrote an essay but . yeah.

[quinn-pop]

let’s do some autistic meta knight headcanons!! over explaining my interpretation of meta knight yet again wooooo

this orb has NO idea how to talk to people!!! outside of work anyway. a lot of this is partially due to upbringing (suppressing his emotions all the time) but he does not know how to express emotions, like…at all.

this goes into a few things

1. yeah talking is hard. even after figuring out what he wants to communicate he will struggle. conversation can be so overwhelming, especially under pressure. he will need time lol

2. because of that, forming connections is hard. i really don’t think meta is much for shallow relationships, and certainly not early in the timeline. which also means he has very little experience with friendship. so a lot of the relationships he did have went kinda neglected, and issues that probably could’ve been worked on by talking became…*cough romk* escalated.

3. honestly i wouldn’t be surprised if meta convinced himself he couldn’t feel emotion (anymore) until like. katam-ish. he tried very hard lol

vulnerability is terrifying. (though this gesture here is also just comforting, like his little cape cocoon thing he does.)

unmasking—yeah im taking the mask thing very literally here—is a big deal and a very slow process for mk. i’m sure he has a lot of feelings on that lol. it served as a way to ensure no one could ever, y’know, see him.

i can’t say i think he’d ever fully ditch it—there’s always gonna be some days that are more stressful than others and if having it could help him get through it, it just makes sense. mainly when working.

it really is about vulnerability. granted, i don’t think he has the most expressive face (in my head every astral just tends to stare at things) but i doubt he has much control over it. can’t fake a smile but also can’t hide it. probably blushes easy because yeah, astrals; just look at kirby’s face.

just the idea that someone might be able to read his expression and know what he’s feeling before he’s ready for them to (or even understands it himself…) yeah he doesn’t want that

but emotional turmoil aside, i think his mask also hides a lot of his stims

remember that whole “suppressing your feelings” thing? yeah turns out that ignoring half your instincts isn’t a good idea. so in true meta knight style, he tries to stim as subtly as possible

1. he has the least control over his wings, so they will flick and twitch on their own. they’re usually a good indicator of how he’s feeling, not unlike the body language usually seen in cat ears and tails lol. flapping is also an extension of this of course, though he probably suppresses it more.

2. this also effects when he takes his wings out. pretty much every time he’s excited or nervous it just happens. kinda makes me wonder if his wing cape ordeal might also go into the suppression thing… (i’d say yes, but using a cape is also very comforting so it’s not necessarily a bad thing)

3. going back to the mask thing; he stims a lot underneath it. think like biting or pursing your lips. he bites his tongue and clicks his mouth. that sort of thing. his mask also makes it harder to notice that he is constantly sighing, humming, grumbling…all that

one nice thing about the mask though is that it helps a little bit with lights!!! woo

(look at him and his magically floating glasses)

sensory stuff—i think he’s mostly bothered by light and sound. maybe a bit of texture. he’s pretty sensory avoidant and perfectly happy standing off to the side not touching anything.

the one exception to this is physical affection, which is, despite all of this, most of how he shows affection. it’s a lot easier to hug someone than to try to explain your feelings for them, after all.

i think he would like pressure though. so that’s probably part of it. and i’m pretty sure there’s some connection in here to fighting (dang, is that the only way he knows how to get his energy out?)

anyway, pretty much all of this is in contrast to kirby, who i would gladly nominate as the champion of Doing Whatever He Wants. he might pick up a few bad habits, but he will never mask the way meta knight does. he might not understand how he feels, but he’s in tune enough to express it…usually.

this is a very good thing for meta because it helps him to do the same thing. kirby’s so energetic, it’s hard to not want to stim with him. it reminds meta to be kinder to himself and explore his own emotions. he can also help kirby understand themselves, so this connection is very important.

yeah, at the end of the day, everything kinda just boils down to kirby and mk as parallels

this is the conclusion i promise

to me, meta’s arc is about growing stronger by growing kinder, and this is mostly by learning to be kind to himself. letting himself be a person again, loving and understanding other people, and eventually, letting go of all the expectations placed on him and doing the things he’s always wanted to do…

autism headcanons are fun for me because it’s cathartic to write, but at the same time, it just makes sense in this sort of narrative. meta is, to me, inseparable from these things. and so is kirby! that’s a dynamic that’s a lot of fun to play with, and it’s at the heart of my kirby interpretation.

if you actually read all this WOW thank you

[skitskatdacat63]

"The Boy With The Thorn in His Side"(x) - The Smiths × 2023 Strollonso moments + pundits' reactions

[un-pearable]

as true as the jokes about “everyone wants to rewrite ninjago” are i feel like smthn people forget when complaining about the inconsistencies of the show is that…. it wasn’t planned? it’s not like most other animated shows lately - it didn’t start with a deeply fleshed out world or a meticulously designed pitch bible with grandiose plans for a long-term story or character arcs. the ninja don’t originally get their powers from heredity because they weren’t hereditary powers yet. the magic system doesn’t make sense bc they literally just made it up as they went! they go back and forth on stuff like whether non-elementals can learn spinjitzu bc it’s a collaborative piece of media made by people with vastly different levels of control over the story, the animation, the sets, etc. that varied over the course of the series. it’s totally understandable and exciting to see so many people reworking the early stuff with the lore and logic later seasons introduced but i personally feel that… if you’re doing that. you need to understand why the show is like that instead of writing it off as being bad and shitty. it was working with what it had. it’s only what it is now because of that awkward troubleshooting phase, not in spite of it

[gayloringinplainsight]

"Rights are being stripped from basically everyone who isn't a straight white cisgender male," she tells Vogue, when asked about why she chose to, all of a sudden, stand up for LGBTQ+ rights. "I didn't realize until recently that I could advocate for a community that I'm not a part of."

Source: https://www.out.com/news/2019/8/08/taylor-swift-says-shes-straight-despite-all-bisexual-rumors#toggle-gdpr

I was waiting for this to come through my inbox lol. (There was more then one ask about this but I'm only responding to the first.)

There's lots to unpack here but the first and foremost thing is: She doesn't actually say here, "I'm straight." It was a perfect opportunity. It was the ideal conversation. She punted. Why?

Why did she instead give this vague, circuitous, carefully couched answer?

She calls out communities encompassing sexuality, race, and gender, followed by saying, "a community that I'm not a part of." There are lots of communities that she could have been referring to, but she crafted the sentence in such a way that makes it unclear which one. She could have been talking about the trans community. She could have been talking about the poc community. She could have been talking about the ace community. She could have been talking about the gay male community. There are lots of possibilities. In this carefully worded sentence, she deliberately avoided naming the specific community she's talking about.

Another thing to consider is that many, many closeted people don't consider themselves part of the queer community. They don't feel like they belong because they're not out and proud. And even once people come out, it often still takes time before they feel like they're part of the queer community. That was certainly my personal experience. Cara Delevingne said something similar in her Hulu show when discussing her own coming out.

Let's move on. The link anon provided isn't the source. It's an article quoting the source. The actual source is the 2019 Vogue cover article. And the full article is important because there are lots of interesting things that give context to this quote.

First, there's a great deal of conversation about gay stuff and lgbtq+ rights. And the writer makes a point of saying about this subject matter that Taylor seems to enjoy that part of the conversation "as much as she’d enjoy a root canal." Wouldn't a straight ally be eager to discuss this? They would. And a closeted queer person would be uncomfortable and panicking at the thought of having to talk so blatantly about this subject. The writer also makes a point of saying that once the conversation changes to music, Taylor lights up and her demeanor and speech patterns relax dramatically.

The other important context that the Vogue article discusses is Taylor's very long history of supporting lgbtq+ rights. Everything from the Mean mv of a gay boy being bullied to the "boys and boys and girls and girls" line in WTNY to donations to lgbtq+ organizations to giving out queer awards to queer people to dedicating Dress to Loie Fuller, an openly gay artist. There are plenty of other examples of Taylor advocating for the queer community that aren't mentioned. All the way back in 2008 she participated in the LOGO queer anti-bullying PSA. In 2009 she was in Seventeen magazine taking a stand against the slaying of a teenager for being gay.

Why is this important? Because it proves that Taylor is lying in the quote in question. "I didn't realize until recently that I could advocate…" girl yes you did. You've been advocating for years and years at this point. She's lying. She's lying. She's covering herself up. She's hiding in the closet and hoping desperately that no one notices.

And this isn't the first time she's done this either. During the 1989 press tour she gave an interview where she was asked about the "And you can want who you want / Boys and boys and girls and girls" line. As the interviewer is starting to speak about this, a look of pure panic immediately takes over Taylor's face:

And then she starts stumbling around trying to give a coherent answer. At one point she stutters out, "And also I wrote this song, um, I wrote this song, kind of, kind of following, the, uh, when gay marriage became legal in New York." This interview was in October 2014. Gay marriage had been legal in New York since June 2011. Sooo three years later is "kind of following." Right. Sure, Taylor. Nice closeting. You really nailed it.

Okay let's review. She doesn't actually say she's straight even though this was a perfect opportunity to do so. She doesn't name the actual community she's talking about, giving herself cover if she ever comes out. She's closeted and probably doesn't think she's part of the queer community anyways. She full-on lies about not knowing she can advocate for others. And the writer states Taylor seems deeply uncomfortable talking about lgbtq+ things even though the context of the article was that blondie wanted to make it clear how much of an ally she is.

None of this remotely adds up to hetero. And none of this comes even close to Taylor saying that she's straight.

[monarchisms]

so for those who missed it, geoff talked a bit more about achievement hunter coming to an end on a f**kface break show on september 18th. some of it was stuff we've already learned from the announcement video/thread from AH themselves, but some additional information was mentioned exclusively on the f**kface stream. with rooster teeth being so great (sarcasm) at relaying info to their audience, i had to rely on a fan recording of the stream from twitter to get more context sooner, since the official recording won't be available until the 22nd at the earliest.

i'll put a full transcript of all the clips of the twitter thread under the cut, but if you want a tl;dr:

geoff's known about AH coming to an end for about 6 months (since march 2023), and that the decision to end it wasn't made lightly

he compares AH ending to when he went to quit red vs blue 15 years ago to co-create AH, somewhere between seasons 5-7, and how he continued to work on rvb until he couldn't anymore

also talks about how everyone at the company at the time (like burnie, gus, matt, and jason) were really supportive towards him, and how that led to AH lasting 15 years

he hopes that michael, trevor, alfredo, and joe get the same support he got from the audience when he made AH, and then eventually f**kface. also reassures the audience that all the content on the AH channel will stay as it is

heavily emphasizes that this decision wasn't made by the higher ups at rt or warner brothers, and wanted to nip that in the bud before the rumor went too far. notes that AH didn't fail, it just ended

talks about how there will be a couple more weeks of new achievement hunter content before they close up shop. some of the content includes the members paying an homage to past series and people at AH. it will eventually culminate into a final video that geoff's in where he gets "fucking verbose" about his feelings in relation to everything

gives a shoutout to matt, jeremy, and ray in regards to their streams on twitch, and finally ends his speech by saying that the audience should respect that the past + current AH members are continuing to do the things they love doing while being entertaining, just in their own unique ways

the full transcript:

Geoff: "The Achievement Hunter brand is coming to a close. We have decided to sunset it and to end it. And I've seen a lot of- for a very good reason- and that announcement came in tandem with another announcement, a very exciting announcement about a new brand called Dogbark. And I've seen a lot of excitement, a lot of appreciation from people, a lot of people supporting Michael and those guys [referring to Trevor, Joe, and Alfredo] going off into doing their own thing.

I've seen a lot of fear and uncertainty. I totally get and understand that; you guys are hearing this for the first time. Um, I've known about this for about six months. You know, this has been in some form of discussion or preparation for a while now. This wasn't a decision that was made lightly, uhh... but I think it's the right decision, and I hope that you'll understand and support that, and here's why:

15 years ago, I went to Burnie and Matt and Gus, and I said 'Hey, I'm losing my mind making Red vs Blue.' It was season 5 or 6, and I- I think it was 6 or 7, actually- and I was just so creatively drained and stifled. And I had such a wonderful time making Red vs Blue, but I had made it until I couldn't make it anymore. And I had this idea, and I was very passionate about this idea of this thing I wanted to try. And Burnie and Gus and Matt were so kind and supportive to give me the creative runway to launch and test Achievement Hunter out at a time when everybody- friends- everybody was telling me 'What are you doing, quitting making Red vs Blue? It's a huge hit! You're like, the #2 guy on it. You're a big part of this! Why would you leave that to do this unproven, untested thing?' And I had to! I had to follow my dream, I had to follow my passion. And like I said, Burnie and Matt and Gus and everybody else, Jason, everybody involved in Rooster Teeth at the time, were so fucking supportive and so wonderful to me in that period that 15 years later, we've had 15 years of Achievement Hunter.

We wouldn't be here on this set right now in front of all this Zimmer stuff, in front of fucking dumb pictures of Gavin and Garbage Pail Kids and Barbie and- fucking new Dallas poster, by the way. Uh, all of this has existed because they allowed me to take a chance and supported me taking that chance. And uh- I would be some kind of fucking hypocrite if I didn't provide the same level of support and genuine enthusiasm to Michael and Alfredo and Joe and Trevor as they embark on the same journey I went on 15 years ago! And this is a very- I don't want to speak for them. They didn't make this decision lightly, I guarantee you, and they will explain it in their own voice over the next few weeks as we say goodbye to Achievement Hunter and say hello to Dogbark. [actual dog barks in the background] We worked on that ahead of time.

Uhh... and so I would only ask that you give them the same level of support that the audience gave me when I tried out Achievement Hunter, this untested, unproven thing, and the same level of support you all gave us when we decided that we're going to make F**kface, an audio-only podcast recorded remotely, which is something that I never in a million years wanted to do or thought was a good idea until we did it, and found out it was simply too good, found out that it worked and it ended up becoming, I think, hopefully the best thing I've participated in. I really ju- I really just want to drive that point home. Joe and Trevor and Michael and Alfredo have spent years and years and years making content that they believe in to support and entertain you. And that's all they want to do with this new production.

Everything comes to an end. It's okay for things to end. I know it's scary and it's sad, but that doesn't mean it didn't happen, and that doesn't mean it's going away. We have 15 years of Achievement Hunter content online that you can still watch and enjoy. Hundreds of thousands of hours of content, hundreds upon hundreds of episodes of Minecraft and GTA that are still there for you to go and watch. I mean, hell, I think Emily and I are a great example of that. We've been watching a show that came out in 1978 called Dallas. It ran from 1978 to 1992, and that was 40 fucking years ago. And yet here we are enjoying it, just as if it came out yesterday. Justice for Sue Ellen, I think we can all agree, justice for Sue Ellen. So I would just say that I hope that you'll be excited about this new journey in their careers and this new opportunity for Rooster Teeth. It's sad to say goodbye to a thing, but it's not disappearing. It's still there. You can still go watch all those videos. You can still go enjoy- enjoy all that content, but you can also support them in what they're doing.

And one other little inaccuracy, or not even inaccuracy, but one thing I want to touch on- and then I'll get to breaking cards and being an idiot- is a thing that kind of bugs me, is that- I'm sure you've heard this phrase or some variation of this phrase before where it's uh, said that a lie can travel halfway across the world, while the truth is still putting its pants on, and-"

Emily: "That's kinda deep! I've never heard that before." Geoff: "You've never heard that before?" Emily: "No!"

Geoff: "Yeah, and I've seen a lot of supposition and people saying things that just aren't true. And I want to stop that right now before they travel halfway across the world. Because there is no truth to the idea that like- anytime we make a change that's controversial or a bit scary or different or new or unexpected, there's this idea that there's uh, some dude in a suit from Warner Brothers or Rooster Teeth standing just off-camera, sternly going, 'Make this decision. Follow this algorithm. We're chasing a demographic.' None of that is true. Rooster Teeth would be very happy if they continued making Achievement Hunter forever, but they weren't happy making Achievement Hunter, and they wanted to try a new thing.

They wanted to do what I did 15 years ago! They wanted to do what Ray did when he left Achievement Hunter, right? They wanted to bet on themselves and make their production. I love the work they put into- to mine, and I did my best to make it ours. But at the end of the day, I left Achievement Hunter five years ago! Uh, it would be really foolhardy and stupid and- and dickhead-ish of me to have a problem with them doing the same thing, uh, but it's also them. This is a decision that they made, that they wanted to make. It didn't come from anybody at Rooster Teeth or Warner Brothers. There was no, I don't know, this marketing department you always hear about that's telling them to make these decisions and- 'Chase the Gen Z crowd and come up- This is the name we've workshopped.' None of that's true! They came up with the name. They came up with the logo, they came up with the design, the color palette, the trailer, the content that's going to be released in a couple of weeks, that's all them! That's what they wanna do.

That is them following the same passion that I followed 15 years ago and the same passion that I followed when I created Let's Play, and the same passion that I that I followed when I created F**kface. And hopefully the same passion, the same passion that I created this with, and hopefully the same passion that I'll create the next and the next and the next thing with, and hopefully the same passion that they get to do, uh, as they continue their career. So all I'm asking for is give the new thing a chance, support it. It's a brave thing to do to walk out of the safety of Achievement Hunter into a new thing.

And also, uh, I've seen a lot of doomers that are saying like 'Ah, I called it ten years ago! I knew it was gonna fail!' It didn't fail. It ended. It was 15 fucking awesome years. And I'm going to stop talking now because I'm just going to get rambly. But I will say: There's a couple of weeks left of Achievement Hunter content coming out where they pay homage, if you will, to a lot of the videos and the shows from the past,, and the people from the past, and they have a lot of sweet things that they're going to do. And it'll culminate at the end with one last video that I am in where I get fucking verbose about my feelings about all of it. So if you want to hear more about my feelings of the 15 years of Achievement Hunter, I ask that you tune in to that last Achievement Hunter video. But I also ask that you tune into every video between now and then, because they're going to be saying goodbye to Achievement Hunter with a lot of love and respect and humor. And uh, I think that's what it deserves. And I hope that we all get to share in that together, and then, and then subscribe to Dogbark and give it a shot. [dog barks again] Thank you.

And uh, remember that all of these people that you've loved that have come and gone are still making content right now. Jack and BK, I think Jack's on vacation, but Jack and BK are over there in Inside Gaming, making content, playing video games 3, 4 hours a day, 3 or 4 days a week, playing Minecraft, playing all those old games that you loved to see us play. And Michael is making Face Jam every week. And Michael and Trevor and Alfredo and Joe are going to be making Dogbark every fucking day. And Gavin and I, we're making F**kface every day. And I'm making ANMA and I'm making So... Alright, and Ky has helped producing it all uh, behind the scenes.

Matt and Jeremy and Ray, they're streaming every fucking day of their lives, I believe. I think Jeremy's on, like, 18 days in a row right now, or something? [referring to Jeremy's uncapped subathon]. So all the people that you loved to support and who uh, entertained you throughout the years, they're still doing the thing that they love. They're just doing it in the way that they wanna do it, in the way that makes sense to them. And I just hope that you will be... respectful of that, and give them an opportunity to entertain you uh, in much the same way they entertained you last year and the year before and 5 years ago and 10 years ago. They just want to get up every day and make the best content they can make, and they're not- they're not making these decisions for any other reason than this is where their creative interests are leading them. And much like you gave me a chance 15 years ago, let's all give them a chance today. [dog barks again] That's it. I'm done. Let's open up some fucking cards."

[ponytailzuko]

writing down my overall thoughts on the live action

first of all, i walked into my step dad watching it of his own free will - and then me and my entire family sat down to watch it. both my step dad and mom had never seen the cartoon in their life, so this was a first time viewing for them. they enjoyed it. my mom even asked where season 2 was. so i think the live action served its main purpose - get new people who haven't watched or wouldn't have watched the cartoon into the franchise. they did it! yippee.

anyways, my own thoughts have an inherent bias due to having seen and loved the cartoon. i believe my parents when they say that from their perspective, it holds up on its own. obviously, i don't think it was ever going to be better than the cartoon, but wanted to write my opinions what i liked, changes i enjoyed and changes i didn't, etc.

putting it under a read more because this sucker is long:

i don't know anything about film making - set design, props, fashion, cgi, etc. nothing particularly stood out to me in a way that ruined the show, and i only really pay attention to it when it serves the story. so i'm just not going to comment on it for the most part. most of this is about writing choices i liked or disliked. anyways here we go.

the good:

aang was a highlight for me. i know some people have problems with moving his backstory to the very beginning of the story, but i liked it. it immediately made me get in aang's shoes and feel his connection with his people, his home, and gyatso - and made it very easy to connect with his grief when he woke up from the iceberg. live action really emphasizes the last airbender part of the title throughout, and how aang feels isolated in his duty as the avatar, as the last airbender preserving his culture, and by being from another world - lost in time.

i liked how he sought out his past lives so often. really makes him feel like a child who doesn't know what he's doing and had the rug pulled out from under him by losing gyatso too soon. he's looking for adult guidance, and kyoshi, roku, and kuruk are all there telling aang THEIR version of how to be the avatar. feels like good set up for later when aang gets to define HIS version of the avatar, and how he wants to bring peace to the world. we already see it with their versions of the avatar feeding into aang's feelings of guilt and self-isolation - that he needs to do things on his own. it gets concluded with katara and sokka declaring him family, and they won't leave no matter what.

in that nature: adding more emphasis on katara's grief as well, since it was APPARENTLY not enough for people watching the cartoon and called her whiny for mentioning it. in general, it feels weird that katara's flashback to her backstory happened in season 3 of the cartoon when there was a whole episode dedicated to aang and zuko's backstory all the way in season 1, another one for zuko's backstory in season 2, and then bato of the water tribe elaborated on sokka being left by hakoda. glad to get katara backstory earlier. love you katara <3

and from that: sokka and katara's conflict being about if she should waterbend. feels very natural and something they would fight over. it is a vital aspect to their culture, but also if word gets out there is a waterbender in the village, there could be another raid.

aang stealing zuko's notebook is another highlight. it is both such a petty kid thing to steal and be upset about someone reading your diary, but also it actually serves a purpose in giving aang a guide for his avatar journey. the show sacrificed paralleling aang and zuko's backstories like the storm, but they still intertwine aang and zuko's story through this notebook and the connection aang makes with zuko through it. very sweet.

in that note: the set design adding little things such as those little statues in zuko's room. feels like it really was lived in by someone obsessed with finding the avatar for 3 years. i really liked details like that they put throughout the show

suki extrapolation with her mother and her conflict of being duty-bound to her village but wanting to see the world, and how this relates to sokka. made me genuinely invested in their relationship in a way i wasn't from the cartoon. i also loved the actress' portrayal of suki, she's so awkward and i love it. need to see more of her.

iroh in season 1 of the cartoon feels less like his own fleshed out character and more of a comedic relief expansion of zuko's b plot. he's made to make zuko's slice of the show more fit for a fun kids show by giving him someone to talk to and be funny with. he's a fun tea-loving uncle, but it's hard to parse what he really feels until later. live action iroh keeps that fun tea-loving aspect, but he has his own baggage and its GREAT. i think i genuinely enjoyed live action iroh more than the cartoon. he has so much more growing to do. could talk about this version of iroh (and his relationship with zuko) forever. i need season 2 just for him.

iroh and aang's prison arc together.

making zuko's crew have issues with him earlier and making them 41st division was nice. i really liked that change.

secret tunnel with familial love between katara and sokka was so cute. enjoyed it.

the ???:

azula and ozai's addition is a 50/50 to me. i think the sick power plays ozai is doing between his two children are genuinely interesting. the change in how ozai doles out praise and the dynamics between azula and zuko is also interesting and i enjoyed it. but i also find their screen time unnecessary. could be used to further the dynamic between the main protagonists, or they could be saved for season 2 or 3. did like how azula used zhao to thwart zuko and it fucked zuko up immensely in the head. very nice. also not sure how i feel about azula being good at archery, feels like getting good at a nonbending discipline isn't something that meshes well with her character for me, but that's a nitpick.

combining plotlines such as jet and the mechanist in omashu + the change with bumi was... fine? it served its purpose. liked some aspects and didn't like others.

the spirit world stuff was really cool and i enjoyed how koh preys on people lost in the fog. very interesting concepts that got us to be able to experience katara and sokka's backstory first hand. felt immersive to me. but also wtf, wan shi tong? katara and sokka being gone from the plot for so long? come backkkkkk! COME BACK! DO WE HAVE TIME FOR YOU TO BE IN SPIRIT JAIL WHEN I HAVEN"T SEEN YOU GUYS INTERACT ENOUGH? i did like yue being in the spirit world and interacting with sokka. that was cute as hell.

northern water tribe and yuekka had parts i liked and parts i didn't. they kept the sexism and arranged marriage but also yue opted out? feels detrimental to yue and sokka's relationship and how they connect to each other out of their sense of duty. did really like hahn being nice, it would have been really interesting to see how yue felt stifled with an arranged marriage even if hahn was perfect. also liked yue being able to waterbend and the little scene with yue and sokka making dessert, so cute. yue freezing sokka to the ground before sacrificing herself.... didn't like that. wish they let sokka let her go, understanding it was her choice.

katara in the nwt as well. katara fighting master pakku and losing, but everyone watching thought she was SO COOL. loved the guy asking how she did the ice disks and she has to teach him. but confused on the fact that pakku doesn't take her as a student, and we don't see her being taught but people still refer to her as a master. i'm going to assume she learned waterbending by learning from her fanclub and also teaching them her moves.

why did they almost kill momo?

the bad:

everyone and their mother has said the exposition is bad so i won't hammer it home too much. this isn't actually much of a problem for me because it was actually necessary to get the point home to my mom who was watching it for the first time. i was also told that screen test audiences asked for the exposition to be added in the first episode after production, so i don't have much to say there.

aang's decision to leave home not being running away but due to the fact that he was stepping out to get a breather. this felt like a weird change to me, since the rest of the show hammers in about aang running away from his problems and his duties in a way the cartoon doesn't. would have felt WAY more heartwrenching to see the temples under attack while aang runs away from being the avatar and it would have hit harder when gyatso tells aang to let go of that guilt and pain... that it wasn't his fault. it was harder to feel the root of aang's guilt when i know that he didn't even plan to leave for very long. alas!

continuing from that point about aang's attribute of 'running away': lack of episodic plotlines. everyone and their mother has also hammered home about the lack of them from cartoon. i don't actually hate the change, but i do think it does some disservice to aang's character that they didn't adjust for. i'm being told that aang runs away, but i haven't been shown aang doing so. i've been seeing aang do his duty as the avatar and research it every episode. give me a reason to believe why this is a character flaw that aang needs to face.

similarly, i think this does a detriment to katara's role in book 1. since aang is more focused on what he needs to do as the avatar, katara becomes more his partner in finding out more about what it means to be the avatar instead of pushing him to be more motivated into doing so. (ex: 'we need to continue on our journey and not stay on kyoshi island' or 'we need to help haru in this village')

aang, katara, and sokka get separate plotlines so much that they don't feel like a solid dynamic. again, detriment of the lack of the smaller episodic plots. does make more sense that katara says aang is family at the end of season 1 instead of the beginning for this reason, though.

katara feels like one of the weakest aspects of the show to me. katara doesn't get the narration. katara isn't the first thing when aang gets out of the ice. and katara's rage just feels lost. i think a simple script or direction change in ep 1-2 to make katara's actress play her with more of that rage during her arguments with sokka would've worked wonders. katara has this feeling of anger at injustice that motivates her throughout the cartoon and i don't feel it here. also miss some of her sass - katara should've hit aang in the head with an acorn.

sokka's weird engineer arc? he's a warrior. why are you saying it's okay to not be a warrior when he is - what is up with setting up sokka as a disappointment to hakoda? HELLO? DOES ANYONE HEAR ME? i'm confused where they're going with this, please tell me that sokka has misinterpreted and created that memory due to insecurity. this is where my bias is totally coming in. this worked fine for my parents who hadn't ever seen it. BUT WHERE ARE THEY HEADING WITH THIS?

kinda wish information about zuko's situation was dropped more subtly throughout instead of zuko being like "my father banished me and i need the avatar to get back" like episode 1. like ok give me a moment to just be like "ugh this zuko kid is a fucking BITCH" before i have to feel for him, damn.

also zuko going straight to barbecuing feels weird to his character when they're also trying to tell us that zuko's capable of kindness and also has a strict honor code? zuko is against using bounty hunters in a way he's not in the cartoon. he talks down on the terrorism in omashu since its not 'honorable', but he also was about to burn katara who was down on the ground. of course, realistically if you're throwing fire around, you are going to burn people. but there was a suspension of disbelief in the animated version that isn't in the live action. zuko does things such as immediately resorting to fire instead of hand to hand in his fight with sokka. in the live action, i'd expect zuko to use MORE hand to hand in comparison to fire, not less. plus the fact they took out moments such as zuko not burning zhao in the agni kai or holding his hand out to save him during the north. weird dissonance at points with his character for me.

[erros429]

i feel like i see a lot of people praising nora’s “be strong and hit stuff” moment in volume 8 and i’m like??? no!!!!! that’s not supposed to be something we’re cheering on!! she is reducing herself to having one personality trait and was left with scars b/c of it. yeah, she's badass but that wasn't the takeaway you were supposed to have from that scene?? she is so much more than someone who can "hit stuff." she was operating under the assumption that that's all she is, and that was quite literally self-destructive for her. that's the entire reason she's being set up to have an arc outside of her relationship with ren; so she can find out more about herself

[ashtrayfloors]

So you wanna be a punk? Read a zine. Drive around in your car with the windows rolled down, smoking cigarettes and screaming along with Clash songs. Or quit smoking, and get rid of your car, because those things are bad for you and the environment and they support evil corporations. Ride your bike everywhere, with Mischief Brew blaring through your headphones. Walk everywhere, listening to Against Me!, because walking is still honest. Shoplift from stores like Walmart and Barnes and Noble, then spend the little money you have supporting independent artists and small businesses. Sell your zines at a benefit party, give all the proceeds to Food Not Bombs or Planned Parenthood, even though you’re broke and can’t really afford to be giving zines away. Fuck it, scam copies from Office Max so you can keep giving copies away. Give one to the cute person with the mint-green mohawk you always see hangin’ downtown. Sew patches crookedly onto your hoodie, with dental floss, natch. Spend hours putting studs on your black denim jacket, even though half of them will wind up having the prongs bent to the point of being unusable and it feels like an exercise in futility. Wheat-paste posters or put up stickers or tag with Sharpie everywhere you go—political messages, song lyrics, surreal images, it doesn’t matter. Leave your mark. Go to a show and lose yourself in the music and the pit. Or stay out of the pit, ‘cause you’re just not into it; stand in the back clutching your beer and nodding your head and feeling like an asshole. Start a band, write some songs, never play any shows; figure out that no one in the band is as serious about it as you are and quit. Record a solo home demo of your songs, spend months getting it to sound just right—or at least as right as it can sound without a full band—and never let anyone hear it. Constantly say you’re dropping out of the punk scene, but never quite manage to do it. Tell people you’re so punk you hate punk. Say you’re gonna be a rude boy, like your dad. Watch punk films and read punk books and have them remind you of so much of your own life that you almost can’t breathe. Think about your life and your old friends, the ones who are dead, the ones you never talk to anymore, and the few that you’re still close to. Start to cry. Feel emo. Make a t-shirt that says: “Don’t call me emo. It makes me cry.” Call your friends, the ones who’ve stuck around. Go to the grocery store late at night. Make fun of articles in women’s magazines, because even though some of you are part of the right age group and gender to be their target demographic, their articles are so far outside of the realities of your lives that it’s hilarious. Write your own zine, about the reality of your life. Call your friends, the ones who’ve stuck around, get together at someone’s apartment. Make veggie nachos. Eat til you’re so full you can’t move. Talk about what you’re doing with your lives and feel like losers ‘cause none of you thought you’d still be so broke and pissed off when you reached this point. Feel shitty ‘cause being angry, old, and poor isn’t as cute as being angry, young, and poor. Be glad, despite it all, that you’re still alive, still hearing new music, still hanging out with friends. Flip off cops who are harassing teenagers for skateboarding or some other minor infraction. Realize that flipping off a cop won’t bring the system down, but doing it still feels pretty damn good. Throw an MDC record on your turntable when you get home; blast that shit. Go to a show, a party, a zine fest, a coffeeshop, see another punk. Go up and talk to them. They’ll turn out to be cool and you’ll have a new friend, or they’ll turn out to be assholes but hey, most punks are assholes. Still get crushes on every punk you see, despite that. Give no fucks about anything, except the things you really care about, like music and books and art and your friends and family and the state of the world and… Tattoo and pierce yourself and dye your hair and wear mismatched, dirty clothes because that’s how you feel comfortable, not because anyone else is telling you to. Try sometimes to look normal, in situations that call for it, and feel like a complete fraud the entire time, like everyone can tell you’re only pretending. Call other people posers, but don’t really mean it. Call yourself a poser, and claim the word with pride. Spend a night alone, tipsy from booze or jacked-up on caffeine—pick your poison—singing along to all the old songs and realizing that most of them still mean as much to you as they did half your life ago. Refuse to grow up. Realize that you’ve grown up despite your best efforts not to, and you have a job and bills and a family and/or other responsibilities, but that you’ve still got that spark, that match-struck, steel-toed, silver-studded, loud as fuck spark hanging out in your heart. Sometimes, that’s good enough.

—Jessie Lynn McMains, from “What We Talk About When We Talk About Punk” (c. 2012-2015)

[stuffedsand]

for the violence ask game: 8 common fandom opinion everyone is wrong about. for milgram. i know exactly what you're going to say i just want to see you go off again

Hiii bestie. You do know what I'm about to talk about. Yippee

Disclaimer that this whole essay is like. For fun and how I say things is ramped up to be funny. I don't mind if you disagree w me cuz like that's the nature of things! We disagree but we can get along.

Anyways short answer for people who don't wanna see the essay: organ harvesting theory. This is about shidou.

Idk how prevalent it is rn since not many people even talk about shidou but it was prevalent enough in June when I got into milgram that I believed it for a bit anyways the rest in under the cut cuz I'm insane sorrg

SO the main reason I think the theory is WRONG (hyperbole‼️) is because I just think it's unrealistic. Man works in a hospital in Japan. How would he pull it off. Scuff an operation bad enough to cause braindeath/death and I'm p sure they suspend your medical licence, if he participated in an organ harvesting operation pre-family-accident his case would then be black and white cuz he was doing it in complete sound mind with no regard for human life. Also it wouldn't justify the extreme reaction he's had to realizing, specifically, "what I've been robbing people of" (t1 voice trailer), and he wouldn't have as heavy a focus on the relatives' feelings and reactions. At least story writing wise it'd make less sense since it doesn't allude to anything if that's the end goal? Imo at least. Idk maybe this is because I really like tragedies in media. Also because it'd be a really disproportionately severe crime compared to every other direct murderer???? Like. We have strangled someone, stabbed someone, bludgeoning, bludgeoning, kicked someone to death. Organ harvesting looks cartoony in this context. It's also not a very prevelant issue in Japan iirc.

Also to prove my point further. If we use this theories the murders would be

Strangling, abortion??????, cyber bullying, stabbing, organ harvesting, toxic r/s, telling the truth (lmao), bludgeoning, bludgeoning, bludgeoning (minus weapon). Organ harvesting is goofy cuz it seems so.... Extreme,,,,,,,

ALSSOOOOO funny point. If he's not directly involved in his murder (as in, unintentional and indirect) that makes 5 direct and 5 indirect. Silly.

Also also his murder seems somewhat tied to how he feels about his job itself ("I wanted to contribute to society (about his career choice)/I had thought my work was a contribution to society", use of past tense) and to me it reads like hes disillusioned w his job esp since his reason for getting a highly sought after, high paying and high social ranking job is "I wanted to contribute to society". Doctors with that empathy can be affected by the death around them more severely and I think that's a fun topic to look at

I count this under "common fandom opinion" cuz it was common enough around June (whenyours truesly got into milgram) that I believed it. I mean I introduced shidou to my friend (hello clown) as "maybe Dr malpractice. Organ harvesting dude" and said friend (hello again clown) is also the one who's heard me bash the organ harvesting theory like 6 times at least now so. Yippee.

Take none of this seriously I just got off a plane and am so very eepy. If you like the organ harvesting theory good for you!!!!!!!💥💥💥💥💥 you do you bestie !!!!!!!!!!!!!! I literally do not think less of anyone who believes that theory I just personally dont lmao

[nerdie-faerie]

People will be like 'oh you go to uni, you must be smart!' mate, I've never met people with less common sense than uni students. Though what else would you expect when you stick a load of sleep deprived, overwhelmed, young adults together

[felizusnavidad]

how is watching cxg going btw? do you like 4th season?

ok, so i actually had to take a little break from this show cause i realized i watched s3 too fast (in like two days...) & i just don't want to say goodbye yet... if that makes sense? 🥺

i am currently on ep 5 & i only watch one episode once in a while. it's really good so far but like i said, i'm trying to control myself cause i'm just not ready for it to end! i know there are other shows to fill the void, but it's never easy so i'm just taking my time!

(my favourite song so far)

[todayisafridaynight]

took a modern japanese history class just to flex on everyone that the only reason why i know so much about the meiji period is because im mentally disturbed about a franchise about criminals and they just so happened to make a game specifically about the meiji period

[good-wine-and-cheese]

Grimmer is Immune to Johan

Probably a stretch and my reasoning definitely boils down to “because I think that would be interesting and will analyse text based on this premise” so don’t take me too seriously lol (but I’m right)

I mostly wanted to write this because I lament the fact that Johan and Grimmer never really get any proper interactions together despite being, in my opinion, much better narrative foils to each other than Johan is to Tenma. They were made of the same building blocks, but turned out as total opposition to one another. We do get a faint taste of this through Milosz, and that’s actually part of what makes me argue this point: Milosz was saved.

Before really getting into Grimmer vs. Johan, it’s important to draw another distinction. Grimmer and Roberto are the ones often compared, given their ties to one another. They both went to Kinderheim, and both were similarly broken down to hollow human husks, then left the orphanage and began different lives. It’s here, once they moved on, that an important distinction is made.

While little is known about Roberto and so there’s not much to go on here, he indicates while talking to Lunge that he lived as an impersonal mercenary, with no connections to anyone or anything. Because he never speaks on having had any connection of any kind, my assumption here is this has always been the case for him.

Grimmer on the other hand became very much connected to people. While, yes, it was a facade - he didn’t care about them, he was performing a role as a spy - he did still have a grounded existence in which people were familiar with him, treated him like a friend, a husband, a father. Even if it was false, Grimmer had grounded himself by living a life. Roberto was transient, with no other person to validate his existence.

In a way, I connect Grimmer to Nina; both have little to no memory of their childhood, and both were “given” a new name, living their lives under this new persona and growing into a person of their own, holding that new name as a part of themselves. Basically, Grimmer has an identity. He started developing into a proper person, and allowed himself to move forward with his life as that person. And after losing the people that had become his family, he set his sights on a goal to unearth the organization that had put him through everything he endured. While he is contemplating his past here, he’s doing so through the lens of a forward-moving goal; he can’t achieve it if he’s only looking back. Achieving his goal means he has to keep moving forward.

The reason that Johan was able to get to Roberto, and to sway him to perfect loyalty, was because Roberto had nothing to ground him in the present, and nothing to look for in the future. He was stuck in the past, and having someone validate those feelings gave him ground to stand on. He finally had a connection, but that connection was fixing him into his past, rather than pulling him forward. He’s trapped by Johan and sees no future except “the end”.

Overall this is how Johan works; he himself is unable to let go of the past, and sympathizes with people who in turn have traumas they’re unable to let go of, helping them to embrace that part of themselves instead of moving on. Convincing people to kill themselves isn’t that hard when all that exists for them is their past, and the future has no meaning.

This brings us back to the pseudo-conflict between Grimmer and Johan over Milosz. Indeed, Johan is able to break Milosz down and trap him into his past - the trauma of knowing his mother abandoned him. Rationally, if he were able to look forward, he would know that he has a new family now, in the boys that befriended him. But because he was caught in Johan’s trap, the present doesn’t matter. Grimmer, though, was able to break through with one important assertion: that someone wanted him. True his mother may have abandoned him (or died, we don’t even know!) but so long as he looks forward instead of back, there will be people in the world he will meet that do want him, that do love him, that need him in their lives. He gives Milosz a goal: to find the people that can become his new family, instead of wallowing in the despair of not having his mother.

While I do think that Johan would have had the power to reach and break down Grimmer when he was younger, still more freshly out of Kinderheim and barely established as a person, the Grimmer of now is too grounded in his existence and forward-looking for Johan to be able to ensnare him. The only way I think he might have an angle on Grimmer is through Steiner, as Grimmer still expresses visible vulnerability about not being able to control that other side to himself, but I don’t think it would be enough to convince him that the world is full of despair. His connection to the world, even if manufactured some of the time, is too strong for Johan to crack.

I would have loved to see them have a proper discussion in the show, I think it could have been very insightful.

As an aside, I think it’s interesting to consider both Johan and Grimmer’s dialogues with Milosz as being somewhat self-reflective; Johan feels abandoned by his mother, and therefore unwanted in the world, while Grimmer holds onto the necessary belief that someone somewhere in the world wanted him to exist.

[bunnypansy]

Nimona and Why Representation Matters: Love vs Understanding

This is going to be long, and it's not what I usually post, but bear with me here.

I'm trans, biracial, and audhd. It's not hard for people to guess that for the majority of my life, I have not felt "understood".

That's not to say I haven't felt loved! I think you can love something without understanding it (personally, if people could learn that we might be living much happier lives), but feeling loved and feeling understood are two very different beasts.

Feeling loved is knowing you have someone to talk to about your problems, someone to support you, to listen to you. But if that person doesn't understand you, they might not always be able to comfort you the way you need, they might not be able to advise you on highly specific problems or even know what's really going on. Time and time again you'll find yourself explaining what makes you you, and there is nothing more exhausting than trying to write wikipedia articles about yourself. They love you, but they don't know you; and that can get lonely.

Having someone who understands you means you don't need to explain anything, because they know. It's a breath of fresh air, a weight off your chest because finally, finally you are done testifying your own existence. You can just be, without misinterpretation or dissection.

For the first time in my entire life, I watched a movie and thought "someone else is just like me". Nimona reaches through the screen, takes the hands of a trans viewer and says "I know you. You have suffered, and I know how. You have smiled, and I know why. You have had to tear yourself open and show everything to everyone over, and over, and over; and I have too".

So for an hour and 38 minutes, I let out a continuous sigh of relief. I am just like everyone else, I am Nimona, and Nimona is me too.

[mezimraky]

love waking up in the morning with an Illness and discovering an email from one of the external teachers that he can't manage to put my grade in the system and that "i should really see someone about that if i want that grade" meanwhile i struggle to get out of bed :')

[ghoulietbat]

Fahrenheit 451's dismissal of the importance of other artforms

something is pissing me off about farenheit 451 and i'm sure it's been said before because this is quite a book but ill say it anyway. im only on page 54 so i have yet to judge if this is a good book or not, but i like it so far. it's a beautiful love story to books and writing and the written word, and it's about how important it is to share stories. i am a storyteller, i tell stories in many ways, but i am first and foremost an illustrator, with a love of cartoons and animation. i consider every method of storytelling an artform; and intellectual, important ones at that: oral histories, pop songs, stand up comedy shows, cartoons, a kid's oc, books. and i believe that at the end of the world, humans need art, and not just one form of it. every art form is as important as the next. so what pisses me off is that it seems like Ray Bradbury does not consider anything but books to be an effectively important artform. He makes a bold claim, describing cartoons and pictures as a lazy method of storytelling.

More cartoons in books. More pictures. The mind drinks less and less. Impatience. (p. 54)

As someone going into the animation industry, i took great offense to this. What i believe is truly meant here is that the people who consume cartoons are lazy, and that i can agree with (after all, it is much easier to watch the Loony Tunes than read Shakespeare), but in the same vein he is calling the people who made the cartoons lazy as well; that the people who make cartoons and the people who enjoy them are dumber and lazier than those who create and enjoy books. i understand the importance of the written word, and i certainly believe people don't read enough, but he clearly values books higher than visual art forms. he makes this defense against classical artists, so we know that he does not deem visual art unimportant:

And at the museums, have you ever been? All abstract. That's all there is now. My uncle says it was different once. A long time back sometimes pictures said things or even showed people. (p.28)

but then this itself shows a bias toward classical art, and he does not view abstract, or modern, art as real art. i think this, in part, is because he is a product of his time. tv and cartoons are new and strange, the funny pages in a newspaper are just for kids, and comic books are for delinquents. i understand his feelings on modern abstract art, but it is art and it is just as important as Michelangelo; and these are both as important as Faulkner.

he shows a hatred for other mediums, like music, and television, and film. and i know, i know, it's about how things are made more simple so that people can consume quickly and without thought, but to imply that music and cartoons and film requires no thought is an insult to those complex and beautiful art forms. think about the love and care that is needed to create them. is it not comparable to your own when you write a novel? but now i must come down off my high horse, and tell you that i think all artists share this bias for their own art form, and i can't blame Bradbury. you can only have one favorite, and his is books. i just think that all artists should be able to recognize each other as equals.