#intelligence is dangerous

[pratchettquotes]

And the trouble with Polly was that she had a mind that asked questions even when she really, really didn't want to know the answers.

Terry Pratchett, Monstrous Regiment

[electric-plants]

alhaitham: *being unsettlingly curious about something*

cyno: this is….kind of hot

alhaitham: *putting himself in direct danger due to said curiosity*

cyno: okay less hot— ALHAITHAM STOP THAT RIGHT NOW—

[grimalkinmessor]

A lawlight thing I don't think people talk about enough is the sheer amount of confidence Light has in L's competence.

(I'm not talking about the handcuff bits either—Yotsuba!Light actually has far less confidence in L's abilities than regular Light does, because Yotsuba!Light thinks L is wrong, and that every move L has made against him has been wrong. Yotsuba!Light only regains his belief in L near the end of the arc, when Light himself begins to suspect that L might not be wrong.)

But those little inner monologues we make fun of all the time, the ones where Light basically talks himself in circles trying to the find the best, most non-suspicious answer? That's him acknowledging that L is incredibly intelligent.

Light, before even properly meeting L, was completely sure that L would think of every single possibility, every single response to every single word Light could spout, a counterattack to every move he could make, even if he didn't know exactly what they were. And yes, you could say that it's Light simply being overly cautious, but Light is so sure of L's responses in those moments; his sheer belief that all L needs is for him to slip up once, even though that cannot possibly be true (one hint of suspicion wouldn't have been enough for the Task Force I don't think, not even compiled on the fact that Light fits their profile) is honestly....kind of staggering??

Light had no clue that L even existed before the broadcast, and the only true shows of L's ability that he saw before they met in person were the broadcast (a loss) and the cameras (annoying, but a win).

As soon as they meet in person, Light is thinking battle strategy. There's a moment of "Oh fuck" when L reveals himself, and that moment is because Light is certain that L would've been a fox in his henhouse if he hadn't.

But Light, again, doesn't take the moves that he can't be certain of the meaning of as proof that L is stupid—he takes it as proof that L is smart.

And at every turn, L proves him right. :)

I just think it's interesting that Light very much respected L's intelligence, even as he hated him. Light's faith in L's abilities was pretty much instant and I thought it might be fun to explore :3

[maxsix]

[babyblueetbaemonster]

Ah! Dude, what the heck?! This thing make me dumb!

[rescuehumans-runtotherescue]

[itsfuntostayattheimca]

I realized the Portal brainrot is too severe when I crossed the street with a truck missing me barely by an inch

[dangerousdesiress]

[pooks]

Percy, about every weird and dangerous thing that has happened in Hogwart Mystery and the Harry Potter books, be like:

He's just so neat and iconic! Both the books, the movies and Jam CIty did my boy dirty. He deserved to have a main role!

Also weird, dangerous stuff in the 80s? sounds like a Stranger Things situation but with magic

[ride-a-dromedary]

Feeling some kind of way about this exchange between Rath and Kagha post if you expose Kagha working under the Shadow Druids and convince her out of it.

Kagha: I see it on your face. You hate me. And I don't blame you.

Rath: I do not hate you. I am ashamed at how far I let your machinations spread.

Rath: I was blind not to see it. Too trusting. A fool.

Kagha: Not a fool. A friend. Would that I'd realised it...

[nyx-lyris]

i know john is supposed to be the heart throb but i swear to God every poi fan on this site has a crush on finch and no one can convince me otherwise. 

[agentark]

in another universe, Wash ditches PFL after recovering from the epsilon incident and becomes the scariest merc this side of the galaxy

[iirulancorrino]

Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision. A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence. That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not. For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come? I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.” Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.

[jackoshadows]

[wizardnuke]

the thing about caleb is that he is arrogant. the thing about essek is that he is arrogant but also very proud,

[saterise]

Kakashi or etho?

So okay.

The thing is that Etho and Kakashi are SO similar personality wise it makes me laugh. I’m sure other Naruto fans can vouch for this. It’s actually funny watching Etho’s videos because he often says or does things and Im reminded of Kakashi.

The same vise versa, there’s so many sound bites of kakashi that could be used for Etho animatics lol. They’ve got the same temperament and baseline too. And they both are able to give off that Vibe of ‘you’re only still alive because I allow it:)’ when they want to LOL

In the end I can’t decide! They’re both great and loveable <3 my two favourite ninjas!