as someone who’s a very casual watcher viewer (i don’t think i’ve watched any videos in months) as well as being a media major, this situation is so fascinating to me
ghost files costing $50k per episode??? 25 employees??? what do you need a director for to make survival mode? it’s literally just a lets play
seeing people break down their expenses with flight costs, rooming, etc. is really interesting too, i need to ask my professor about this situation, it’s just so wild to me
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you know what’s absolutely terrifying???? having to cut a baby’s nails………
Katsuki has to cut your baby’s fingernails when he discovers a tiny little scratch by her eye one morning. it’s barely there, a small thing, but it’s there, marring her little face nonetheless. he frowns at her when he holds her the next morning, her dreamy eyes alert and blinking up at him, she smiles.
“Now I gotta cut yer claws down,” he mutters to her, voice quiet as to not wake your sleeping form in the bedroom. he pads throughout the house with her chubby face resting on his shoulder, her gums gnawing at his bare skin, but he doesn’t seem to mind it.
he finds himself in a conundrum though, once he realizes just how fucking—how sharp the damn clippers are. they’re tiny, lavender in color, but they’re meant to cut though the nail with such precision. and yes, he’s a pro hero, has had to adopt the title of EMT, firefighter, emergency surgeon a few times in his life when need be.
but…those people weren’t his baby girl. they weren’t this tiny and precious, and they never looked up at him with a face so similar to his, it makes his heart squeeze tight in his chest. he frowns at her again, even deeper, and this makes her hiccup a little giggle, gummy smile spreading wide.
“You’re only gonna wear mittens from here on out,” he grumbles after a while, finally daring to pick up a tiny hand that she instantly curls around his thick finger. it’s the cutest image, he thinks to himself, but he catches sight of the jagged nail, the culprit. his heart squeezes even tighter though, when he realizes that he can’t protect her from every hurt in the world, even if the hurt comes from her own hands. and the realization is an aching one, but he tells himself that he, at least, can patch her up.
you walk in minutes later, find Bakugou curled over your daughter in the rocking chair he built for her room. his tongue pokes from the corner of his mouth in concentration, his eyebrows furrowed. your daughter babbles to him the whole time, her sweet voice cooing the softest little noises that he responds back to.
“I know, I know,” he mumbles to her. “Ya don’t like baths, and don’t like your nails cut, either. What other shit do you hate, huh?” he asks, and she seemingly responds with a long, sighed out coo. it makes him smile, despite the way his hands slightly shake when he cuts the next nail. he’s terrified, of somehow hurting her even more, of cutting too close, of scratching her. but he treks on, and kisses her fat little fingers every time he clips another nail.
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i was thinking more about characters Performing Gender, but not necessarily Transgressing Gender. I wound up focusing on Ned and Sansa bc I feel like I understand them the most but-
Sansa as a hostage is imo the most obvious (bc it’s so well done) moment of someone clearly Performing Gender but not being transgressive in that performance. Which isn’t to say it’s not a complicated performance; it’s a fine line Sansa walks between weaponizing her gender to protect herself without seeming too fake. She’s trying to placate the Lannisters by playing the perfect, dedicated, air headed betrothed because it’s the only defense she has - if she outwardly rebels, she will be punished in a likely violent and/or sexual way (which isn’t even conjecture - when she says “or maybe he’ll give me yours” Joffrey has her struck with an armored hand). She’s not quite successful in being convincing but that’s because it’s a rather extreme situation; despite no one believing her, she does make herself seem meek and stupid enough that no one suspects she’s plotting to escape with Dontos until she’s well away from KL. The fact that she even has Dontos to confide in is because of Sansa’s relationship with gender! When she saves him, she covers her rebellious slip by playing up Joffrey’s intelligence & his role as King; she reaches for “tools” of her gender AND of ~proper manhood~ to save a life and herself from another beating. Her retreats into the godswood and silence are very much Sansa attempting to recharge from these draining interactions, the same way a knight would need to stop and eat and rest after a fight. She is fighting, constantly, by forcing herself to stay within the narrow confines of a specific type of gender performance as a way of shielding herself from harm.
Ned yelling at Cat is another big one, and I’ve seen the scene referred to as Ned using his patriarchal power to scare Cat, which is a great description. It feels like a Performance because Ned is putting on this terrifying Lord Stark mask in an attempt to get Catelyn to stop asking about Jon (and Lyanna). This is not how he usually acts with those he loves! When Ned is with His People, he is welcoming of questions, curiosity, emotion, even transgressive thought (to a point! the idea that Ned is a feminist because he lets Arya learn to fight is Not accurate but you can’t deny he allows significantly more flexibility wrt gender expression than most of the fathers we meet in this series. the bar is in hell tho). Yet when Cat asks him about Jon’s mother, Ned scares her so well she stops asking & still remembers the moment bitterly over a decade later. And if that snippet we see through Bran’s eyes of Ned praying that Cat will forgive him does come after she asks (like it’s suspected), it’s clear not only that this is a performance he’s putting on & weaponizing against Cat, it’s one he does not like using as a weapon against someone he is close to. After using the power his gender gives him to cause harm, he retreats to the godswood and silence to pray and rest, much like Sansa. A spiritual cleanse, the way a soldier may pray after battle, to reset and reconnect Being A Proper Man to Being A Kind Man.
I think there’s something interesting in that two of the characters most widely defined by how well they adhere to Westerosi gender norms both dislike feeling like they had to weaponize their gender. They are exhausted by the performance, because it’s a performance. This isn’t Sansa getting excited over tourneys, or Ned teaching his sons to fight; it’s toxic masculinity, it’s structural misogyny. It’s something they’re good at, excel at, and connected to something they enjoy but when it’s paired with violence, whether done by Ned or done to Sansa, it crosses over in their minds from an innate part of themselves (The Gender) to a performance necessary due to survival (The Gender Role). And that after these performances, both retreat to nature & god as a way of resting and cleansing from the experience.
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Peter sobbing and apologizing over Harry’s dying body while he can do nothing more to help, just like May
Screaming in agony as someone else he loves is ripped away from him by something he has shouldered the responsibility of stopping
Wondering if he spent more time trying to help them and less time helping everyone else, he might have been able to do more
Knowing this might be the last chance he ever gets to talk to Harry, that this might be good-bye
“I love you”
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All the ‘zona dads + Brits + Iskall completely fucking losing it at the Hot Ones Challenge.
A couple of them tap out.
& Joe Hills just walks up, eats the ENTIRE FUCKING NUMBER 8 WING, & washes it down with COKE.
& then proceeds to do the same with the LAST TWO WINGS, just taking leisurely taking bites of his wings, nodding as he considers the flavors, a sip or two of Coke here or there.
“I’m hungry! I knew we were gonna be eating!” [gestures at table of ridiculously spicy wings]
This man is a cryptid & I love it.
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