#i'm genuinely interested in general

[daughterofhecata]

(there is no third answer, if your number one way of filtering is another, choose which if these you're more likely to do, if you do both, choose which you do more often?)

[nadia-cannot-think-straight]

People who hiperfixate on Epic of Gilgamesh, Iliad/Oddysey and The Bible are actually the coolest mfs out there. Like yess pleasee draw more Gilgamesh x Enkidu fanart, write more Achilles angst, call Jesus of Nazareth your babygirl, nothing makes me happier.

[anghraine]

It's 11 PM, but one of my favorite little Darcy/Elizabeth moments happens while she still hates him and thinks he's a depraved monster, and I find it really entertaining.

It's during the Kent section, when Darcy calls at the parsonage and finds Elizabeth alone. During a longer, awkward conversation in which they both deeply misunderstand each other, they have this tiny interchange:

[Darcy:] “This seems a very comfortable house. Lady Catherine, I believe, did a great deal to it when Mr Collins first came to Hunsford.” “I believe she did—and I am sure she could not have bestowed her kindness on a more grateful object.” “Mr Collins appears very fortunate in his choice of a wife.” “Yes, indeed; his friends may well rejoice in his having met with one of the very few sensible women who would have accepted him, or have made him happy if they had. My friend has an excellent understanding—though I am not certain that I consider her marrying Mr Collins as the wisest thing she ever did."

So: they are in Mr Collins's house. Darcy tries to re-start the conversation with a polite nothing about the house. Elizabeth agrees about Lady Catherine's micro-managing, but can't resist the chance to make a sly jab at Mr Collins (who is not present) to Darcy (a genuine villain, as far as she believes).

Darcy's reply looks a bit like an attempt to redirect the conversation into safer waters (they can agree that Charlotte is cool!). But although his remark is only somewhat related to what Elizabeth said, I think it's a natural follow-up in his mind because he is also insulting Mr Collins, if more subtly.

He could have praised Mr Collins's judgment in choosing Charlotte or just said something nice about Charlotte; he doesn't. Instead, he suggests that Mr Collins's choice of Charlotte was a matter of good fortune—or chance, as Charlotte herself would say!—on Collins's part. Darcy and Elizabeth both know Collins is a fool and that his choice of a woman like Charlotte says nothing about his judgment, only about his good fortune. (Elizabeth has even better reason than Darcy to know how much Collins ending up with Charlotte was lucky for him, but Darcy can see it anyway.)

Darcy's phrasing gives him some plausible deniability, but I think he's generally quite careful with his wording and the implicit insult to Mr Collins is not accidental.

Elizabeth, I think, takes this exactly as intended. She's not at all confused about where this tangent came from or offended by it or anything. She readily seizes on the new line of conversation as encouragement to keep insulting Mr Collins and his appeal to women with functioning brainpower.

Elizabeth is pretty scrupulously polite in general, so I kind of love that she just starts venting about her absolute contempt for Mr Collins and the Collins/Charlotte marriage to Darcy in the middle of a tense and weird conversation in Mr Collins's house. And I love that Darcy, who is otherwise more or less dog-paddling his way through this conversation, is like "yeah, your friend seems really cool, that dumbass is lucky he accidentally chose someone with a brain."

Elizabeth: "Right? And, let me add-"

(Is it a bit of an asshole move on both their parts in the context of that scene? Yeah, I think a little. I also love it! Please trash-talk obnoxious hosts in their own parlours for the rest of your lives.)

[whenthelightisrunninglow]

remembered @hehe-hoho-ohno's misfits au it's sooooo good and i love it. CHEERS AND APPLAUSE. YAY

[uhbasicallyjustmilex]

so i was rewatching the coachella standing next to me performance this afternoon and it made me wonder when/if alex knew what he was going to do. like was it something he 'd planned or thought about in some way before the show? did he already know what he was going to do when he was introducing miles and hyping him up right at the start of the song? was his heart thumping in anticipation as they got closer and closer to the final verse? or was it totally heat of the moment, everything spilling over and taking both of them by surprise?

some gifs of the performance for contemplation:

1) alex’s expression just before they start playing the song. is this just i’m-standing-on-a-very-big-stage-and-i’m-actually-just-a-tiny-introvert nerves or i’m-planning-to-snog-my-very-sexy-co-frontman-in-a-few-moments nerves???

2) the moment just before he goes in for the kill

3) The Kiss™️

3) alex covering his mouth with his hand afterwards (shock? the giggles? both?)

and then these two which are probably less about whether or not alex planned it, but they're very cute and telling so i had to include them:

4) miles taking alex's hand as they go offstage afterwards

5) their FACES when they go offstage (miles is literally doing that classic body language thing from romantic movies where someone touches their mouth to show they're thinking about a kiss 😭)

[thespineoftherighteous]

omg haha stop trying to sanitize and youngadult-ify aftg you're so sexy no stopppp but like actually stop. stop.

[odessa-castle]

I'm bouncing around a larger post about Nishiki and the mortifying ordeal of being known, but in the meantime I'm thinking about Nishiki and Kiryu and how the clothes make (or don't make) the man. Like, beyond my visceral horror that Kiryu begged Nishiki to pick out a safe and boring suit for him in Y0 and then said he was envisioning something purple with gold stripes.

I'm thinking about Nishiki's incredible sensitivity to image and his need to control how he's perceived. I'm thinking about Kiryu's inability to let go of the past. I'm thinking about how KIryu dresses like who he thinks he is, and Nishiki dresses like who he thinks he wants to be.

There's some interesting incidental dialogue between Nishiki and Kiryu in Y0 while they're en route to the men's suit store. I wish it wasn't so easy to miss, because there's a lot to unpack here. (I'm just transcribing the English in-game subtitles here; I don't speak Japanese so I have no idea how loose vs. direct the localization is in this part.)

NISHIKI: …now that I think about it, you've been dressing like an old man since we were kids. KIRYU: Have I? NISHIKI: Yeah. The few times we got to pick our clothes, it was always like, "you're choosing THAT?" NISHIKI: I wouldn't say you're a plain guy…You'd pick shirts with weird prints though. KIRYU: Guess I forgot all that. It's weirder to me that you haven't. NISHIKI: Well, confession time. You're why I started caring about fashion. I swore I'd never go out dressed like you. KIRYU: Come on, I'm not THAT bad. [we have already discussed why kiryu is, in fact, that bad.] NISHIKI: [laughing] Aww, did I hurt your feelings? NISHIKI: Well, this time you've got me with you. I'll see my bro gets taken care of. KIRYU: Heh. What an honor. NISHIKI: Leave it to me.

Nishiki doesn't bring up Sunflower Orphanage much; when he does share memories of his childhood, those memories are kind of painful (see: "do orphans not get to dream?"). Kiryu's surprised that Nishiki remembers how they dressed as kids, but it makes sense that wearing a limited selection of hand-me-downs stuck with Nishiki so strongly. His clothes announced his poverty, and they weren't even his -- he had to share them with the other orphans, so what he wore showed he belonged to yet another stigmatized group. And I'm sure people picked up on those visual signals, especially other kids. Kids can be vicious, and appearance is an easy and immediate target! We don't know for sure how young Nishiki interacted with his peers and teachers, but given what the Morning Glory kids go through in Y3 (and given, like, everything about Nishiki), he probably didn't have a great time.

Kiryu frames his childhood as poor but loving, and places much more emphasis on the latter. There might be some rose-colored glasses at work there -- let's look at the flashback where Kazama tries (and fails) to violently dissuade Kiryu and Nishiki from joining the yakuza.

KIRYU: I owe you everything, but this isn’t about that. [...] We’ve looked up to you for all this time. Your car. Your confidence… The way everybody bows to you. We idolized you. I want that life, too. Is that so wrong!?

Nishiki doesn't really speak in this flashback, but like, Kiryu uses "we" enough for us to draw some obvious conclusions about Nishiki's own motivations. That being said, I don't think Kiryu's being dishonest or disingenuous when he describes his childhood as happy, and himself as well-loved. He's not ashamed of his upbringing, and he doesn't hide where he came from. Nishiki seems to have the inverse view. It's not that he doesn't love (at least some of) the people he grew up with, but what comes up first for him is what he didn't have. He didn't have money. He didn't have respect. He didn't have a cure for his little sister. He didn't have a lot of choice, right down to the clothes he wore.

(There's a whole other essay here about why Kiryu's and Nishiki's perspectives diverge on this, but I'm trying to limit the scope of this post. Suffice to say that, while I don't think game canon gives a timeline, I do think Nishiki was a little older when his parents were killed -- old enough that he actually remembers them, at least.)

The same mindset fuels Nishiki's interest in fashion. Yeah, part of it is that he's ribbing Kiryu, but I think it goes deeper than Kiryu wearing ugly shirts. Nishiki doesn't want people to look at him and see what's missing. Fashion isn't a means of personal expression for him, really. It's a message. It's the interplay of knowledge and resources and presentation: knowing what clothes read as successful and trendy and expensive, being able to afford those things, and convincing people that your successful important outfit makes you a successful important person. And he's not wrong about the social dimensions of fashion.

NISHIKI: Try sporting a suit that runs 500 grand for once. Trust me, you’ll see the world in a whole new light. KIRYU: Fashion’s not my thing. Besides, Kazama-san never wore flashy clothes. NISHIKI: You do realize he’s the family captain, right? Number two in the whole Dojima operation? You get to that level, you can wear whatever you damn well please. But for the rest of us, “flashy” is part of the business. KIRYU: So that fancy new car you bought was just “business”. NISHIKI: Yeah, and that fancy lighter of mine, too. Which you still haven’t given back. KIRYU: You want to play the rich guy, quit being so stingy. NISHIKI: But you get what I’m saying, right? People see the expensive car, the designer jacket, and the gleam of that little Dojima pin, they pay attention. A yakuza’s only as good as his image. [...] Take your buddy today. These squeaky-clean idiots, borrowing money just to blow on tits and booze… Nobody in this town gives a crap about substance. What you see is what you get.

That's our first take on one of the major themes of the game: what does it mean to be yakuza? Again, there is truth to what Nishiki's saying here, particularly in terms of the ethos of the eighties. I'm not an expert on the bubble era, but the worldbuilding in the game speaks for itself. People hail taxis with 10,000-yen bills. You punch money out of punks during random street battles. Nishiki keeps a personal bottle of high-end booze at a bar he's visited twice, mostly because he "can’t stand being taken for a bum." The act of spending is important, not what you're spending it on.

Nishiki's outfit in Y0 is perfectly suited (heh) to that outlook. And look, I might be inviting controversy here, but in context, I think it's a werq. Yes, it's loud. But the silhouette -- squared shoulders, single breasted, thinner peaked lapel -- is right on trend for the time period, and it fits him well. The colors look good on him. The bold pattern (no, it's not animal print) under the solid maroon is a risk, but he pulls it off. And excess aside, he knows when to pull back on the accessories. It's bright and confident and memorable, and boy would Nishiki like to be all of those things.

Also -- and importantly -- Kiryu would never go out dressed like that. Because we can't talk about Nishiki and Kiryu without talking about Nishiki's Mt. Fuji-sized inferiority complex. Mastering image doesn't just make Nishiki stand out; it makes him stand out from Kiryu. Let's go back to the beginning of the game.

NISHIKI: I’ll admit, though, you’re finally starting to look the part. You make a pretty convincing yakuza. You’re done with collections today, right? KIRYU: Yeah. NISHIKI: Good. That should put Kazama-san’s mind at ease a bit. KIRYU: Heh, dunno about that. But he always knew all I could do is fight. You’re the one who’s good at the dance.

Nishiki then calls attention to the "rags" that Kiryu's wearing, which...is not an unfair assessment. (TUCK IN YOUR SHIRT, KIRYU. HEM YOUR PANTS.) As the two of them walk around Kamurocho, Nishiki offers Kiryu plenty of hot tips, from meeting girls to making big bucks to cozying up to the brass. But even when Nishiki's opining on his area of expertise, there's a competitive edge to it. "You asking me to pick out clothes for you means you admit you have terrible taste," he tells Kiryu on the way to the suit shop. Kiryu tells him to shut up, but there's no actual hurt behind it. Kiryu doesn't really care that his taste in clothes sucks. Fashion isn't important to him. Most of the things Nishiki knows so much about don't really matter to Kiryu. And that makes Nishiki feel more insecure! Because if Kiryu rolls out of bed looking like a yakuza, if Nishiki's image counseling sessions aren't helpful or meaningful, if Kiryu can skip the dance and get to the top on the strength of his fists and convictions, then who cares about Nishiki's 500 grand suit or his hourlong hair care routine? If image isn't what makes a yakuza, what does that make Nishiki?

At the end of Chapter 6, Nishiki tries to look out for Kiryu again -- this time, by granting him a merciful death before the Dojima Family drags him to the Hole. It's one of my favorite scenes in the game. Nishiki's crying too hard to aim the gun properly; Kiryu tells him to man up and shoot. Finally, Nishiki collapses.

NISHIKI: Can’t do it… How could I shoot you!? Without you, I’ll always be nothing. Can’t make it as a yakuza… No. I wouldn’t even still be alive now if I didn’t have you beside me! I’m just… If you’re not with me, I’m useless! Nothing means anything!

Mastering image hasn't granted Nishiki anything of substance. At the end of the day, Nishiki's playing dress-up, and he knows it.

And I'm almost certainly getting into overthinking-this territory now (if I haven't gotten there already), but I kind of like the spin this puts on Nishiki ripping his expensive suit off in Chapter 14 when he decides to fight the Dojima Family at Kiryu's side. Like yes, ripping off your outer layers to get at the naked (so to speak) truth -- your irezumi, and what it represents -- is just Yakuza Storytelling 101. It's decisive, it's kind of dumb, it's great, it gets me hyped every time. But I like that Nishiki's honest answer to "what does it mean to be a yakuza?" isn't about looking the part. I am genuinely trying not to end this paragraph by saying that Nishiki must become like a dragon, but like...you get where I'm going with this.

Of course, Nishiki's back to playing dress-up in Y1/Kiwami. I'm not the first to call the Patriarch Nishikiyama look a glow-down (though I like the patterned white tie). Like, fashion-conscious Nishiki would look good in a Hedi Slimane/Tom Ford-esque skinny black suit. But he picks a silhouette you'd expect to see on a much older man, torso-swallowing pants and all. The slicked-back hair doesn't help. He's just so transparently trying to look bigger and broader and older, and he doesn't pull it off. Big Bad Patriarch isn't a good look for him, in any sense of the phrase.

A final thought: Kiryu's clothes, and Nishiki's commentary on them, are the subject of their first conversation in Y0 -- and of their last. Kiryu's costume progression in Y0 is a pretty obvious commentary on his journey, to the point where Kiryu and Nishiki explicitly call attention to the color connotations in their final exchange. As a Dojima grunt, he wears black, and it doesn't look good on him because "brutish thug who keeps his head down and does what he's told" isn't a role he's comfortable with. He wears white when he works in real estate, but the change in color isn't enough to sell anyone on his transformation into a civilian. Although it's a little rich for Oda "Red Clown Shoes" Jun to chide someone for not wearing a proper suit. At the end of the game, Kiryu's in his classic grey suit, and well, the game spells it out:

KIRYU: I’m not feeling black or white these days. This is where I’m at right now. I chose it myself. I’m making it a fresh start. NISHIKI: Fine, fine. See if I care! Wear it the rest of your life!

Nishiki, dismayed, tells Kiryu that the grey suit already looks dated, but for Kiryu, "fresh start" doesn't mean "on trend". His image might be out of step with how other yakuza view themselves, or want to be seen, but if he's always going to look like a yakuza, he might as well stake his claim on what being a yakuza means. Still, it's telling that, even as a young man, Kiryu looks like a throwback to an earlier era. As the series progresses, the games hammer this home more and more. How many antagonists tell Kiryu that he's out of touch with the modern world, that he represents a version of the yakuza that no longer exists, that it's time for him to make way for the next generation?

"Wear it the rest of your life!" is a funny little in-joke, yeah, but...it's a little sad when you think about it, isn't it? Kiryu gets new outfits from Y3 on -- and in every game, he ultimately puts the suit back on and heads to Kamurocho. It's exactly of a piece with how Kiryu views being yakuza. We, and he, can debate the exact extent of his retirement from the Tojo Clan's affairs, but the yakuza isn't a career for Kiryu, it's a set of beliefs he carries with him. He wears the suit the same way he wears the dragon on his back: as an indelible part of his self-image.

[uncanny-tranny]

Doctors/surgeons should come before a panel of medical experts who are trans before being allowed to administer trans-specific care

[skrunksthatwunk]

nobody's doing it like itsuki yyh. i've been thinking about him and sensui a lot today but like. ok get this. imagine being a demon and this cute human guy (you are gay btw green hair and pronounsed and everything) shows up and tries to kill you and almost succeeds. you survive because you lament that you're gonna miss the finale of a show you watch/see a niche pop artist on tv (depending on adaptation, but either way these are your last words and it airs the next night), and he says he's into it too. you become partners. this man, shinobu sensui, is a spirit detective who's been haunted by demons his whole life, has been killing them with the complete, unwavering belief that he's right for it, since he was in pre-k. you being a demon does not seem to change how he thinks about this. it doesn't change your feelings either, since he fascinates you. you help him kill demons.

one day, your human is confronted with one of the worst sights imaginable, one that shatters his worldview completely. he sees demons being tortured and slaughtered hedonistically by a group of humans. he can't process it. he splits. your shinobu is now one of seven within his body. you love each of them. you love him. you watch as he pivots into a deep hatred of humanity, and of himself for slaughtering so many demons, and of his own inescapable humanity. you love it. you can't get enough of it. watching someone so pure and self-assured become confused, disillusioned, twisted, evil, broken, it thrills and captivates you. it's beautiful, and you egg it on. you make it worse, obsessively. you make him worse. you only want what he wants, really. but you want him to want it worse. sensui is spiraling and you don't steady him, you accelerate it and accelerate it, until he's deciding that before he dies (which will be sooner than you'd like, sooner than you know what to do with), he's going to end humanity. he's going to unleash demonkind on them and secure his redemption, his doom, his punishment. it's a baptism by fire. what a way to go. a very sensui way to go, and you love it like the rest of him: poisonously. you don't need a word of convincing, no argument (as desperate as sensui is to argue his case for this), not a second of that tape, to follow him. you watch as sensui breaks the fragile people he encounters, wrenches them into misanthropic weapons. he's amazing at it. minoru is amazing at it. he brings together his crew of heart-bleeding, self-loathing pawns, and in your downtime you and sensui watch human tv, share your love for animals, plants, the human world. you cherish, distract yourself with, and celebrate these together. they're what brought you together in the first place, and you will destroy them together. you wonder if he knows that these things he loves will surely die when the demons come. you expect he views them as necessary casualties in ridding the world of human evil. how deliciously cruel he can be. you savor it. you have to savor it. you don't like thinking about the end. that sensui will barely be alive to enjoy his victory. is he so convinced of humanity's foulness that he would never bend, never doubt his genocide at all? or would he come to regret it? would he hate himself even more than he does now? once the greater evil, humanity, is eliminated, would he turn his sights on himself? he may see himself as one of the "enlightened" humans who know mankind's evil, but he is still a human with plenty of demon blood on his hands. you want to know. you're desperate for it. you don't ask him what he thinks he will become. you want to watch it unfold naturally, for as long as he is around. let the ink bleed over the page. don't blow. don't wave the paper, don't even touch it. be patient.

your sensui is killed spectacularly at the finish line. he was struck down by a human reborn as a demon. how fitting. it's what sensui wanted, and you are happy for him, as much as you can be. it's bittersweet. you knew it would end soon. you both did. you talked about it all the time. and now it's... over. the portal is being resealed. demons will not wipe out mankind. humanity will go on, unaffected. your sensui's lonely war against his own kind is already being forgotten by the few who knew of it. such a beautiful moment, swept away by time, your sensui. and now his enemies want to claim his soul. his body. to bring him to the afterlife, for whatever judgement awaits him. and you fulfill your final obligation to him. you take him away. sensui did not want any part of that, and neither do you, not particularly. it sounds rather painful, all considered. you lift him and slip away to where no one can reach you. your own little dimension, your own little pocket of existence, just the two of you. no one can touch him now. you, either, not that you care. you hold him like you have for years, and think of your future together. here, where no one can reach him. no one will touch him or stain him or rip him or tear him ever again, not even you. but you will always be closest, and that's enough. cut off from humankind and demonkind completely. it's only you. and it's only him. you wonder how long you will live, like this. a long time. it makes no difference. sensui has broken completely, and you hold the shards of him. every piece remaining is yours, is in your arms, will be yours forever. you wonder if this should be enough for you. if you should be satisfied. you are. as someone whose last regret was missing a late night program, you don't see much point in leaving. what is there for itsuki without sensui? what is there in the world worthwhile? demons, humans, the rest of it. none of it would ever compare. not even to the shards.

you wonder, and it is far from the first or the last time, how sensui will change now, in your arms. white to black, skin to bone to dust. and when you die your soul will dissipate like his, and in a little unreality you and he will linger forever, where no one can know or recall. you will die a secret of the world, a potential wasted, a close call, a scream that is swallowed last-minute. and you will be together. it's all that's mattered for a long time. you wonder if you'll ever change. you don't expect to.

[hurglewurm]

me: keeps drawing random one-off fanarts from things that aren't currently big at all

also me: why no notes on my arte

[seeminglyseph]

it's so funny to me... looking at video reactions and content about the anime of Erased and realize how many people felt like... idk. cuckolded? by the fact that Kayo did not end up with Satoru in the end, but with Hiromi, the boy who also would have died if the timeline had not been reset.

and like. some of my amusement comes from like... my own ignorance in not realizing that would be a reaction. because like. Obviously. We've been in Satoru's shoes this entire journey and it felt like, especially in the anime, Kayo and Satoru were having these big meaningful moments. like. how could that not be a romance? even though Satoru repeatedly is like 'I am 30, I'm not catching feelings in this situation, what am I doing?'

which I took as like. "Oh, he's inhabiting his little 8 year-old body and also has not had social connection in a long time and is just... having emotions. and Satoru's story is about learning to care and feel again. because adult Satoru had shut down so much due to the trauma of both losing so much in his youth and having the adults around him cope by basically refusing to deal with it and shutting it down. Returning to his childhood before the trauma is reawakening his ability to connect, trust and feel again. Which is something adult Satoru is as confused and unfamiliar with as child Satoru would be with a crush so it reads very similar."

but I also like. ran out of episodes at episode 9, then read the manga, then got like... really really invested in what the story had to say about trauma and the cycles of abuse and silence and well meaning cruelty and convenient victims and patterns of violence and community scapegoats and justice and how people act to preserve face and the justice system and like... the anime picked one thing in the manga to focus on and it was Kayo. and it did that thing like... really really masterfully. it made Kayo's story so heartrending that people forgot almost entirely about everything else. but like. the manga is about like... multiple other subjects of which Kayo features predominantly but like. The character that Satoru is freaking out about having been killed in his flashbacks in the manga is Hiromi, because Hiromi was his friend. It doesn't change the fact that Kayo is very impactful, but the story doesn't revolve entirely around her. So the fact that Hiromi and Kayo found love instead of death, but many anime viewers seem to forget entirely that Hiromi is also a would-be murder victim, is because so much of the non-Kayo story is just... not present or altered.

And even stuff with Kayo because like. She came back after being taken to her grandmother and helped them with the investigation and protection of Aya, the other potential murder victim that goes to a different school.

Honestly sometimes I feel like even people who talk about the anime ending being bad vs the manga ending, miss the parts of the manga that the anime changes. The anime is very excellent for what it is as a stand alone piece, however since it had adapted so much out of the manga to make itself a stand alone piece it didn't give itself an ending that matched what it had created. The anime had devoted itself entirely to the Kayo aspects of the story because they evoked such strong emotions, but the ending... isn't about Kayo. because in the manga, the story wasn't about Kayo. the thing that seems kind of funny to me is, they were stuck with 2 episodes to wrap up a fat chunk of the manga. They were always gonna have to do an anime original ending. They *could* have just gone balls to the wall and gone completely original and played into the fact that they'd been focusing on Kayo the whole time. Not necessarily "waits for him the whole time" but something that puts more focus on her to give more emotional catharsis to the audience. Instead it went with the option no one was happy with and did a limp noodle fast adaptation of the last chunk of the manga with no character development or deduction or planting from the rest of the anime because half the scenes that made any of it make sense got cut.

And now everyone remembers Erased as that great anime with a terrible ending. which sucks because the manga honestly really has a lot to say about a lot of topics. And the anime is artistic and beautiful as hell. but like. the fact that so much of the message is fully not like... either adapted or perceived by audiences or like. Ignored. feels like a sign of something kind of frustrating...

Or I am overthinking big time. That's. I guess a possibility. It might not be that deep, but I think it is. there just might be a level of clumsiness in its execution sometimes, but I think the themes and messages are still there...

[stedesparasol]

y'know it's funny how we talk about certain fan reactions to izzy's death bc i watched the recent m*a*s*h documentary where they talked about abyssinia henry (an episode which kills off a major character) and there was a clip of the showrunner quoting angry letters he received after that episode aired:

'you tricked us' 'you sucked us in' 'we thought this was a comedy show' 'how dare you toy with our feelings'

this is a show set in the KOREAN WAR and people still felt a character death was a 'trick' and a betrayal. not only that but i cannot express how thematically relevant and important this death was for the entire thesis of the show. and yet they received 1,000 letters from viewers about it (though some were praising the episode, and it is overall viewed positively in retrospect).

idk i just found it interesting. this episode came out in 1975 and nothing's really changed.

start discourse on this post and i'll cut off your toes.

[aliengoose]

I'm still on my bullshit. Have a screencap redraw

Close-up here because I had so much fun drawing Ranboo's face

[wonder-worker]

Any judgement on (Richard III)’s reign has to be seen as provisional. The critic of the reign only has to consider how the Tudors would now be regarded if Henry VII lost at Stoke, to realize the dangers of too many assumptions about the intractability of Richard’s problems. But it would be equally unrealistic to ignore Richard’s unpopularity altogether. The fact that he generated opposition among men with little material reason for dissent, and that the disaffection then continued to spread among his own associates, says something about what contemporaries regarded as the acceptable parameters of political behaviour. There is no doubt that Richard’s deposition of his nephews was profoundly shocking. To anyone who did not accept the pre-contract story, which was probably the majority of observers, the usurpation was an act of disloyalty. Gloucester, both as uncle and protector, was bound to uphold his nephew’s interests and his failure to do so was dishonourable. Of all medieval depositions, it was the only one which, with whatever justification, could most easily be seen as an act of naked self-aggrandizement.

It was also the first pre-emptive deposition in English history. This raised enormous problems. Deposition was always a last resort, even when it could be justified by the manifest failings of a corrupt or ineffective regime. How could one sanction its use as a first resort, to remove a king who had not only not done anything wrong but had not yet done anything at all?

-Rosemary Horrox, Richard III: A Study of Service

[chrisbangs]

hello... (and bye ig 👋)

[13eyond13]

LEGITIMATE QUESTION TIME:

Do you think Light ACTUALLY had been trying to let everybody know Kira was a student in the Kanto region of Japan from the start? Or does he just rapidly mentally readjust to convince himself and Ryuk/the audience that this is the case to save face after he gets shocked by L confronting him and semi-tracking him down?