#it's really ironic when they don't use it!

[ggidolsmuts]

Good Girls in the Dark - Choi Yena

"Hello, I'm Choi Yena, nice to meet you!"

"Omo son why didn't you tell us your girlfriend is so pretty?! Come in come in!" Your mom quickly leads Yena into your home, who's already locking arms with her. "Finally you bring someone back for Chuseok!" she looks back at you and admonishes. You simply shake your head and follow them in.

"You look so young, I thought you were oppa's sister!"

"Oh stop it, you have such a sweet tongue!" 

Yena's a good girl.

At least, that was your initial impression when you met her for the first time—it was supposed to be a Yuehua flex, having Yena drop by to say hi, to congratulate everyone on the successful joint project between Yuehua and your company. Mindful and demure, she was considerate of everyone, smiling and greeting all of you like the energetic idol she is.

True to her energy, she insisted you all go to a club for the afterparty, but the group soon diffuses into the crowd—some people left almost immediately, others stayed for a few drinks, and yet more broke off into their cliques. You try to sneak out too, until Yena somehow gets a hold of you, pulling you into a dark corner of the club. She has a drink in hand, but by now it is empty save for a few drops of whatever she had.

"Why do you keep looking at me?" she demands to know.

"What? I haven't!"

"Don't lie, I saw you sneaking looks." You were, but you didn't think Yena would notice, that you would just blend in with your co-workers.

"How would you know?" you fire back.

"Because I've been looking at you too." It must be the alcohol in Yena talking, for she smashes her lips into yours, tongue immediately pushing into your mouth. She does have a sweet tongue. "Can I trust you?"

"You should have asked me that before you kissed me."

"Oops, oh well. Now answer the question."

"Yes."

"Good, I don't want to go home tonight," she breathes into your ear.

Yena's a good girl in the dark.

"So how did you two meet?" your dad asks during dinner.

"At work! I was at an event for our company, and he was there! He was very nice to me."

"That's all it took? My son is good!"

"Dad don't," you mutter, shaking your head and leaving the table carrying your dishes. At least Yena didn't say it started with a hookup, or your parents would have had an aneurysm. The one night stands became more frequent, and your apartment became a place for stress relief for Yena.

Over time the two of you ended up spending equal amounts of time talking and fucking, and both of you finally gathered the courage to give in to your feelings and agree to start dating—to be fair, neither of you were seeing anyone else anyways, so exclusivity wasn't a discussion that needed to be had. Ironically the dating aspect wasn't really a thing either—Yena was an idol, so any dates you two had were just at your place.

"What? Our son is so charming, he found a celebrity girlfriend! And she eats so much too, I thought you would be dieting or something, I was afraid I made too much!" you hear your mum say.

"No no, that's just a stereotype, I eat more than he does!"

"That's great, you eat so well!"

Yena's a good girl.

~~

"Fuck, you eat me so well," you moan as Yena slurps you, tongue running up the underside of your shaft. It's early in the morning, the sunlight just peeking through the curtains. You can barely make out the shape of Yena in your sleepy haze, but you can definitely identify her by her tongue and hands.

"Because your cum is so delicious!" she says as she strokes you, eager for her morning cum-ffee. "I can see some of it already!" She licks your tip, swiping up the dripping precum. Yena's hungry for more, and she goes deep on your cock, taking all of it in easily. The loud sloppy noises she makes are the lewdest alarm sounds you've ever heard, and your favorite by far.

"Oh fuck, Yena, I'm gonna cum!" There is no holding back your orgasm, and your hand finds itself in her hair, pushing her down like she was an alarm clock. You thrust up involuntarily, and Yena hums as you hit the roof of her mouth, feeling you surrender in the form of a thick morning load sliding down her throat. Yena's eyeing you as you come down from your peak, making sure you're fully drained before she let's you go with a pop.

"Thanks, I gotta go now."

"Wait, I need something for the morning too no?" You wiggle your eyebrows and Yena laughs.

"I suppose I can spare a few minutes," she sighs theatrically and slides up your body. You expect her to remove her pants and underwear, but she's already naked from the waist down.

"Tch, you were expecting it weren't you?"

"I knew you would repay the favor." She pushes herself onto your face.

Yena's a good girl in the dark.

~~

"Auntie, do you need help with the dishes?"

"Oh no no no you're the guest, you can't be helping with the dishes!"

"I don't mind, besides it makes the dishes go by faster!"

"You see son, why can't you be more like Yena?"

"I live by myself, I do the dishes back home already!"

"I don't care, come help us with the dishes or else!" your mom threatens.

"Fine."

"God it's like I have to beg you to do the dishes, at least Yena's so polite and well-mannered, offering to help!"

Yena's a good girl.

~~

"Please sir."

"What do you want me to do Yena?" you ask the naked idol bent over your lap.

"Spank me."

"What's the magic word?"

"Please spank me." You reward her with a hearty slap across her ass, watching it jiggle and turn red. Yena yelps before thanking you.

"Good." You rub her cheek to soothe her before slipping your hand between her legs—she's dripping. Carelessly you run a finger along her pussy, letting her wetness coat it before wiping it on her. Yena squirms, and you wrap an arm around her midriff, holding her flush against your body, trapping her. Yena takes a deep breath and relaxes, going limp briefly.

"T-Thank you." It made her feel taken care of—she can let her mind go blank, let the pleasure take over, leave everything to you. But you tease her, rubbing her slit as you stroke her head, petting her like you pet a cat, or a duck perhaps. All while she can feel your erection poking her from below. Yena's little gasps and moans get louder and more frequent, breathing heavily over your lap as you continue.

"Please put it in." You push two fingers in, and Yena clenches immediately around them. You push Yena forward on your lap, bending her over one thigh to give you better access to her pussy. Yena's almost folded in half over your leg, blood rushing to her head as she watches her own toes curl uncontrollably due to your fingering. You dig deep, bending and twisting your fingers, as if trying to find the last cookie crumb deep inside Yena's jar. You do find what you're looking for, and Yena's the cookie that crumbles.

"R-Right there!" Beneath you Yena's face is red, both from pleasure, and from the little droplets she sees appearing between her legs. "Wait oppa, I'm going to make a mess—"

"Oppa?"

"I mean, ah! Sir, sorry sir, wait, stop!" You dig a little harder, a little faster, and it becomes a stream of liquid pleasure, leaking down her leg and dripping off Yena's toes.

"Manners Yena."

"Puhlea—" Before she can get the second syllable fully out you press her sensitive clit with your thumb and Yena chokes out a desperate cry, drenching your hand in her slick as she cums hard. Yena claws at your leg, gripping it tightly while she splashes over you. You help Yena right herself, but her legs are weak, and she sits in a puddle of her own juices as she lays her head on your thigh, breathing shallow and labored. You lay a hand on her cheek, and she turns to kiss it, as if soothing herself on you. When she opens her eyes again she looks up at you, before looking to the tent you're pitching in your pants.

"I want you," she whispers, managing to push herself up and pull your shorts off. Her hands go to your boxers, but you stop her.

"Are you forgetting something?"

"Please." Yena says it like an afterthought, removing your boxers and getting in your lap—her slick covered legs are spreading it everywhere on your couch. She tries to sink herself on to you, but you shift your hips, making her miss. "Come on!"

"Say it like you mean it."

"Please, I need you in me." She grabs your cock, her hands wrapping around your length. "I need something thick in me, my pussy needs something to... grip!" She twists her hands, squeezing you tightly. You let her position you at her entrance, and your cock twitches a little as a few more drops of slick land on your shaft.

"Please give me your cock," Yena whispers before kissing you needily.

You slam her down on you.

"Oh fuck!"

Yena's a good girl in the dark.

~~

"Yena do you drink? Are you allowed to?"

"Oh yes of course we are allowed to, I'll have whatever oppa has."

"Okay I'll go get the beer."

"No dear, get the ginseng wine."

"Should I?" Your dad nods emphatically.

"We're all becoming one family here, we can break out the good stuff and celebrate!" You know exactly where this is going as your mum brings the wine.

"Dad no don't do that!" You grab Yena's hand in apology. "Sorry."

"No no, I'm sure Yena doesn't mind! All we're saying, your mum and I, is that we would approve of whatever you two want to do in the future. Get married, have kids, you know, whatever you want!"

"It's okay uncle, I understand, thank you for being so nice to me and making me feel so welcome! We haven't really talked about our future, but it's good to know we have your support!"

"Good, see, that's a sensible young woman! Cheers!"

Yena's a good girl.

The operative word there is "really", because you two have certainly talked about your future together.

In bed.

In the heat of the moment.

While you're deep in Yena.

~~

"How many kids should I put in you, how many do you want!" you grunt as you thrust down into her, feeling her clench around you in response. Yena's legs push uselessly against your arms, your elbows locking her knees down in a mating press.

"As many as you want, fuck! That's so deep!" Her arms have a stranglehold around your neck, keeping you close, her flexibility allowing you to kiss her even as you fuck her in the uncompromising position. Yena's tits jiggle as you pound into her, a lewd visual of just how hard you're thrusting.

"B-Breed me, breed me harder!" It was a kink that Yena let slip once, and since then you've indulged her, joining her in enjoying the thought, relishing the feel of fucking Yena raw each and every time.

"Fuck I'm going to cum, you better keep count!" you shout as you slam down into her with finality, letting loose multiple shots into her. Yena seems to go over the edge with you, clenching around your pulsing cock, lips mumbling incoherently. You collapse on top of her, burying yourself against her neck, kissing her lovingly and cuddling her. It is a little later before either of you are able to speak.

"Five, I counted five shots earlier," she murmurs into your ear, tickling you.

"That many?"

"Mmhmm, I must have drained a lot out of you, hm? Poor oppa." Yena jokes, pinching your cheek. But she pushes you on your back and gets on top of you. The sight of your load leaking out of her is enough to get you to half-mast, and her words get you the rest of the way there.

"Let me do the rest of the work. We have to contribute equally to get me knocked up." She slides her cream-filled warmth over you.

Yena's a good girl in the dark.

~~

"I'm done showering!" Yena announces to you as she joins you in the guest bedroom.

"Great, let's get some rest, it's been a long day." You pull the covers over the two of you and hold Yena close. "Thanks for coming here with me."

"Of course, your parents are so nice!"

"They got a little too excited about meeting you, sorry."

"No no it's okay, I like it, they're fans of me, because of you!"

"I guess." You kiss the top of her head, ready to sleep. Yena is not though, and she slips her hand under your t-shirt.

"Haven't I been a good girl today? Shouldn't you reward me?"

"Yena..." you start.

"I didn't tell them we started dating after multiple hookups together. I didn't tell them we do it raw all the time. I didn't—"

"You really want to have sex here, tonight?" Yena nods and throws a leg around you, and to your surprise she's already very wet.

"Just the thought, you know? Being part of your family, us being a family, starting a family. And I heard ginseng wine is good for you too, get the blood flowing." You know exactly why Yena's so wet now. "I-I even brought towels from the bathroom. I'm going to make such a mess." She says it like sex is a foregone conclusion.

"You're going to have be really quiet, I know how loud you get when you want me to breed you."

"That's what the other towel is for." She scrunches the towel up and bites down on it, looking at you pleadingly.

Yena's a good girl, but Yena's your good girl in the dark.

A/N: Just something quick and dirty, the whole "Good Girls in the Dark" song from her just gave me the idea lol. Right before her next comeback heh, maybe there's another "dirty" title there hopefully, or I'll just make it dirty as usual. Thanks for reading!

[jiangwanyinscatmom]

It will constantly remain surreal how people can say "talk about this character with more nuance" and you do that with what is provided by text. But what they really mean is "I want to force another to see this character as I do despite what is contrarian to the narrative ".

And this is only an issue that arises despite being able to curate what you don't want to see if that offends whatever sensibility you have parasocially developed regarding an antagonistic character. Who on page is not spoken of well, is not shown themselves as to be of better intention or exhibit kindness. While the text continues to provide negative and violent scenes for a general audience to understand you are not supposed to sympathize much with this character any longer. And this makes YOU need to come up with completely supplementary reasons outside of the author and text, as to why an antagonistic character is sympathetic, likable, misunderstood.

When ironically the main character of the plot was faced with this slandering instead, including slandered by the one you are trying to call nuance for. You not liking how that nuance comes in the form of negativity produced intentionally by the plot for him, doesn't mean others are somehow being maliciously obtuse for not wanting to engage or accept a completely fabricated excuse you made up, not the work.

I do not give a shit what sad backstory you yourself try to add to the table, because I am not talking about you. I am talking about words on a page. As soon as you even try to use whatever apparent worldly knowledge you have that I don't, that has nothing to do with the discussion of text and story plot, I have no reason to engage patiently. Especially when said personal knowledge is being used to try to downplay the active criticism of abuse the novel thematically uses in portraying its inner character relationships. Not you, so any time you try to say you have some deep cultural insight or personal insight as to why I am wrong with how I choose to analyze said work, I do not care when it is to the opposite effect the work has built up for.

And the moment you downplay how that abuse is portrayed as, by making fun of it or making excuses as to that's just how xyz culture familial units are, why should I have respect for you, if this is how you speak of it when it is in the context of fictional characters? This is not a failing upon the author when they were very upfront with this theme and it's criticism, but a failing on you to disengage and further derailing for your own validations and attention between a group you have bubbled yourself in with no actual nuance.

[romanceclub-confessionss]

As a Russian-speaking user, I really don't think and don't believe that most Russian-speaking people "don't like love interest lines when the partner in it has dark skin." Absolutely not. Communicating with the HUGE Russian-speaking fandom, I noticed that every fourth one chooses a "non-white" favorite. Those with whom I communicate personally are of the opinion (like me) that the love line is what attracts people to lead this love story, first of all, with its character, charisma, humor, and attitude towards the main character. Appearance only matters for the first impression.

It is very unfair to label entire audiences by communicating only to their most unpleasant side. There are intolerant people in every country and every culture, and the problem of "colored" is actually greater among English-speaking users due to historical reasons.Russian speakers treat this with a lively childlike interest; there is no "skin color protocol" in society due to the historical reasons why the problem of oppression arose in the Americas in the first place.

All the best, cookies to the admins)

first of all, while you might have a russian speaking circle that is open-minded to diversity, the broader reality within the ru fandom tells a whole different story. for instance, let's not act like the case of And The Haze Will Take Us was the very first time russian players acted this way. the ru fandom was extremely outraged over characters of colour being introduced in W: Time Catcher and 7 Brothers as well. the reactions delved into blatantly racist comments, that there are "too many" non-white love interests, and that they are "uncomfortable" with it.

second of all, as someone from eastern europe, i can say that extreme racism has always been historically embedded in russian society. and not only with people of colour, but even with other slavic groups/eastern europeans (ukranians, belarusians, etc) and other ethnicities within their borders (rroma). it basically extends to anyone perceived as "other". this isn't just a modern issue.

also, isn't it ironic that while you are complaining about the ru fandom being generalised as racist, you are doing the same exact thing to the english speaking fandom? by saying they are "more racist due to historical reasons", you are literally generalising an entire group based on language and geography, while completely ignoring the fact that bigotry exists everywhere, INCLUDING russia.

instead of deflecting and gaslighting, you should acknowledge and work on your biases within your own community.

all the best.

- mod stef

[technicolorfamiliar]

Der Student von Prag (The Student of Prague) Dir. Henrik Galeen 1926

So I'm going back and rewatching a handful of the titles from the initial 50+ film journey into Conrad Veidt's filmography. Some I'm revisiting because they made such an indelible impression on me the first time, others because I want to give them a second chance. The Student of Prague was among the first films on what wound up being a year-long deep dive into Connie's work and history. I loved it then, but even more so now.

I want to live inside this movie. Galeen and his crew made a hell of a picture, made all the more special by Conrad Veidt doing the literal most.

There is a bewitching quality to The Student of Prague, from Conrad Veidt's dual performances as both Balduin and his Double to the atmospheric cinematography and special effects. It's a dreamy film that really sets itself apart as a dark and lovely supernatural period piece.

Despite some very minor issues, over all it's genuinely pretty perfect. It's one of those films that, even with its faults, sweeps me effortlessly into the gothically Romantic world of the story.

Maybe the film could have benefited from tighter editing, cutting some of the longer sequences and unnecessary shots. But an argument could also be made that these longer scenes aid the spell the film is casting over its audience, the way Sciapinelli weaves his spell on the hilltop to draw Balduin and Margrit together.

The cinematography by Günther Krampf and Erich Nitzschmann is really something special. Shadow was a big motif and standard tool filmmakers used back then, especially those working in the Expressionist style, but for 'Student, maybe because of the early 19th century setting and the proximity of the natural world (both real and fabricated), the use of shadow here makes the film feel more like a fairy tale illustrated by Arthur Rackham than the Uncanny Art Deco of classic German Expressionism. The digital restoration really highlights how successfully they worked with value and contrast to create such a visually rich film.

And it fucken WIMDY. The use of wind throughout the film is really effective -- Sciapinelli's coat billowing out behind him on the hilltop, the rustling foliage behind Balduin after the duel, dead leaves blown into the Countess's bedroom, and the gales that follow Balduin through the city in the film's final act. Whether used on a studio set or in location shots, wind here feels not only atmospheric but also supernatural; it's Sciapinelli's invisible presence when he's not even in the shot.

Even the relatively minimalist score works. It's mostly piano supplemented occasionally by one or two other instruments, a flute or an accordion, and there are only a handful of repeated themes. Apparently the music that's in the most recent restoration was composed only a few years ago by Stephen Horne, so it's really anyone's guess what the original soundtrack by Willy Schmidt-Gentner was like. Regardless, the new music definitely feels appropriate not only to the period the film was made but also the overall Vibes.

On my first watch about a year ago, I was struck by the special effects used in this film. For the time it was made, the effects had to be incredibly impressive. The transitions where the Double appears and disappears in a ghostly fashion are fun, but there's an especially cool shot where he appears to walk through an iron gate, and a really great close up dolly shot towards the end of the film where the Double appears to float toward the back of the room. And I don't know if this was something they touched up in post-production or if the lighting on set was chef's kiss perfect, but Connie's eyes literally glow. There are shots where his eyes, especially as the Double, are like two beacons set in the shadows.

The other performances… they're fine. I mean, everyone who wasn't playing Balduin has to have known it wasn't their movie. Except for Werner Krauss as Sciapinelli who looks like if Alfred Molina was sent back to the 1920s and did as much cocaine as he could find. He's so creature coded that I genuinely don't know what to make of his performance. Everyone else, including Connie, is kind of doing a riff on realism to varying degrees of exaggeration but still relatively tame for the era (compare the acting in 'Student to The Hands of Orlac just two years earlier). But I guess Werner Krauss didn't get the memo, or because Sciapinelli is a supernatural character it's ok for him to be a little out there. He does some really delightfully creepy and borderline upsetting stuff especially in the scene when he makes the deal with Balduin. It's all very weirdly sexual and I hate it. Otherwise, there's unfortunately very little of note in the other performances. Elizza La Porta as the flower girl does the pathetic-cute thing well, but Agnes Esterhazy's Margrit is sadly pretty forgettable.

But the Balduin of it all. This is truly a groundbreaking role for Conrad Veidt at this time in his career. I feel like this film alone slingshot him into his meatier and more interesting roles in the late 1920s. Sure, Connie was doing some interesting and versatile stuff around this time (Ingmarsarvet and Carlos & Elisabeth come to mind), but this just hits different. Everything kind of lines up perfectly for him as this character, and the story is that unique Poe-inspired blend of the uncanny and capital R Romance that really suits him. Because of the nature of the story itself, Connie's free to play big when it works for the character, but also works in these incredibly vulnerable and subtle moments as well. I don't know if this is thanks to the director being hands-on with Connie or just letting him do his thing. Whatever the case, it works.

It's maybe worth mentioning Connie was 33 when they shot this. I don’t know how old Balduin's supposed to be, but he's probably at least ten years younger than Connie was at the time. And I buy it, I buy that Balduin is a young man, foolish and naïve in the way only someone that young could be. His youthfulness isn't just suggested in the character's decisions but also in his physicality. When we first meet Balduin, Connie's doing this sulky, pouty, petulant thing that I love for him. In the first act, he's clearly beloved by his fellow-students and by the flower girl, and he easily slips out of his misery about his money problems into a more lighthearted mood. He's moody one moment and playful the next, joining in a low-stakes fencing match for fun when just moments before he was brooding alone full Morrissey style in the garden. This initial lightness about the character sets him up for his eventual inevitable hard fall into shame and helplessness.

I'm afraid to admit it took me a whole 24 hours after watching this a second time to realize that Balduin is kind of a dick. But Connie's performance is so good and so empathetic that I didn't notice right away. He himself is stunningly, Byronically beautiful in this film. He's like a painting of a tragic, Romantic hero come to life, I can’t even handle it. And, my god, the yearning! It's palpable. In the wrong hands, I would probably hate this character. I haven't seen Wegener's or Walbrook's versions, but I can't imagine they're as charismatic as Connie is in the role.

But what I love even more than Connie as Balduin is him as the Double. I am FASCINATED by this performance and this character. I have SO MANY QUESTIONS. The way he consolidates his movements so that he practically glides through the frame, the way he keeps this performance distinct by slowing everything down and keeping a lot of the Double's anguish internal… it's so good.

I think we only see the Double four times before the last act of the film: first when he steps out of the mirror; much later outside the Countess's party; in the graveyard; and after he kills the Baron in the woods. Initially, when the reflection steps out of the mirror after Balduin signs Sciapinelli's contract, the Double seems pretty soulless. His dead-eyed, mask-like expression as he stalks out of the room makes it seem like he's just going to be a mindless puppet Sciapinelli can use to torment Balduin. And certainly in their first two encounters, Balduin's mirror image slinks out of the shadows as a reminder of his Faustian bargain but also as something of a stand in for his conscience. The first two times we see the Double out in the world are when Balduin is at his happiest, in his most romantic moments with Margrit, who is not only completely out of Balduin's league but also promised to someone else (even if that some one else is her cousin...). Nothing about the Double's presence in these scenes suggests that he's anything more than a phantom, a specter to haunt the protagonist from a distance.

But then, something changes. The Double isn't just a ghost that only Balduin can see; he's just as real as his counterpart, and his actions have consequences. Balduin promises Margrit's father, the Count, to spare her cousin-fiancée in a duel the Baron knows he cannot win -- Balduin is, after all, the best swordsman in Prague. They even say the fight is supposed to be with heavy sabers, which sound like they could really mess you up. But when dueling day arrives, Balduin is delayed by the wheels inexplicably coming off his carriage. He races through the countryside on foot in order to make his appointment, but it's too late. He stops dead in his tracks, frozen in fear, as the Double appears, approaching him slowly from the tree line. When the Double reaches him, Balduin sees the bloody sword and immediately recoils, fearing the worst. But what's most interesting about this scene is that, when the Double finally looks up, his expression is not that of a mindless zombie. When he looks up, the Double looks horrified. Realization slowly rises in his face, and he turns to Balduin with this look of abject horror and helplessness while Balduin cowers in fright. And as the Double turns to walk out of the clearing, he hangs is head in pained resignation and I AM OBSESSED. There are no intertitles in this sequence, but the anguished look he gives Balduin says, "Do you see now? This, and worse than this, is going to keep happening." Connie's performance in this scene suggests the Double may not be able to control his actions but he certainly has feelings about them. So does this mean the Double is in fact Balduin's soul? His goodness? His innocence? I NEED TO KNOW MORE.

The Double is also consistently dressed in the student costume Balduin wears at the beginning of the film. After Sciapinelli gives Balduin the money, Balduin buys a whole new wardrobe (honestly, who wouldn't?). But the mirror version of Balduin doesn't change to reflect Balduin as he is in the present; the Double wears the clothes of a student -- the cap, the velveteen jacket -- because he represents who Balduin was. He's the boy, the youth uncorrupted by excessive wealth and privilege, now made to do horrible things because Balduin so easily handed him over to Sciapinelli when they made their deal. UGH.

The final time Balduin sees his Double, his mirror self hounds him with measured steps, pushing him away from the fragile security of wealth and opulence back to his abandoned student flat. And the expression on the Double's face now is grimly accusatory, it's deeply solemn disappointment, it's a final judgment before an inevitable end. There's sorrow and resentment in the Double's eyes, but kept restrained and subtle, gradually building in wordless intensity until Balduin must finally face himself, literally, in order to end his torment, finding a pistol and shooting his mirror image and therefore killing himself.

Maybe a lot of the descriptors I use for Connie are hyperbole, but his work in this film is remarkable. Anyone interested in getting to know him as an actor, hell, anyone interested in film history period, absolutely should watch The Student of Prague at least once.

Final thoughts: For real, though, it would suck to not have a reflection. I recently had a whole conversation with my (straight, cis male) family members about this; not a one of them owns or even sees the need for a full length mirror. And maybe the big mirror in Balduin's student room came with the place when he moved in, but you get used to having something like that. I know it would drive me crazy not being able to check my whole outfit to make sure I don't look like a doofus before leaving the house.

[captainjonnitkessler]

Lol I'm so confused why we've decided to ban everyone from the word "wendigo" when we would've laughed in other religious people's faces when they ask you not to say to speak a name. And why is it just wendigo. It's so weird but it's EVERYWHERE, like people getting canceled left and right because they said the word or liked the design and based a character off of it. I can understand if the argument is against non-natives mischaracterizing their stories, but seriously, a word

First, a disclaimer: I do think what's happened with the wendigo culturally is really shitty. To take the existing legend of a cannibalistic humanoid monster, which is often used to represent rapacious greed, colonialism, and exploitation, and turn it into "scary deer skull monster eat people" and then plaster it everywhere because it got popular is both shitty and dreadfully ironic.

But the idea of the word itself being a taboo I have to respect sucks. For one thing, as far as I can tell it's straight up not true. Plenty of native writers, Algonquin and otherwise, have spoken and written about it in academic and fictional contexts. The "it's disrespectful to say its name!" thing seems to just be something someone said on the internet and everyone took it as an excuse to play More Woke Than You.

I read a twitter thread that posited that someone got it confused with skinwalkers, which IS something you're supposed to avoid naming in Navajo belief. And if you personally don't want to say it, that's fine! If you don't like the idea of non-Navajo people talking about them because you think they'll be disrespectful or they won't get it, that's perfectly understandable!

But if you tell me that I can't even say the word because it will draw a skinwalker's attention, I reserve the right to roll my eyes the same way I do when people tell me that using a ouija board is going to invite demonic spirits into my house. It's not disrespectful for someone to not follow *your* religion.

[regenderate]

i genuinely don’t remember a single moment in which their description of identity was important. maybe when bette was running for mayor? i feel like it was mentioned then. and maybe when pippa was introduced? i think like rosie odonell’s character called herself a dyke? and finley too? i dont remember a moment where it was weird on purpose idk it never felt missing to me

yeah you're right why would characters being lesbians be relevant to a show called the l word

[earlgodwin]

"For the good of those who see in us, the defense of our beloved people, whom we love above all else and whose love we reciprocate, requires us to use our children as instruments and bargaining tools to obtain the necessary ends." — Rodrigo Borgia (Lucrezia Giovane, directed by Luciano Ercoli)

[stackthedeck]

I've been saying this for years but I've finally found the funniest way to say it, in the MCU Tony Stark isn't so much Peter Parker's father figure as he is his deadbeat dad figure. Like Tony shows up once a year to take Peter to a baseball game kinda vibe. Tony in homecoming is like hey kid I know I haven't seen or spoken to you in months but I bought you something and that's basically the same as emotional support. Tony taking Peter to Germany in civil war is like when your deadbeat dad tells your mom you're having father-son time but he's really just taking you to his guys' poker night and trying to get you to cheat for him. When Tony says you're nothing without the suit then you shouldn't have it, it's like when your dad says if you're not going to follow my rules in my house you can leave, I put a roof over our heads what else could you possibly want from me. Tony mourning Peter after infinity war and calling him his kid is like when your dad only wants to hang out with you after he's lost custody. Like well and truly deadbeat behavior no wonder the fanon is like that

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[heretherebedork]

The only time I regret being so bad at communication and having friends IRL is when I want either dim sum or hot pot because both of those are difficult alone.

It is literally the only time.

I could not handle more need to socialize with people otherwise, tbh.

But sometimes I need a buddy who wants to go try unusual foods with me and lets me get the most eclectic stuff and tries it all with me.

Could I, probably, do this easily by just contacting people? Yes. Am I going to? Nope. Is it a big problem? Nope.

(The biggest issue is that the three people I am most likely to go out to eat with are either incredibly picky, a vegetarian or can't eat beef... all of which rule out most hot pot stuff, lol.)

[tj-crochets]

Hey y'all, possibly one of those questions with a ridiculously obvious answer, but can iron-deficiency anemia make you super tired? And if so, how do you fix that? (I got blood test results back but haven't talked to my doctor yet. He'll probably put me on iron supplements or something but I am so tired right now)

[worstloki]

prize for least genre aware protagonist 👑

[helenofblackthorns]

Cassandra Clare writing the pre-tlh short stories and then forgetting about them & what they had established as canon when actually writing the last hours is my villain origin story. like it makes me so violent. and I get things change as the writing process goes on but imo as an author you have a responsibility to abide by what you previously wrote & published. you don't get to pretend that it just never happened.

[sskk-manifesto]

Atsushi's back in the game!!! ۶( ˆ o ˆ )

[fragmentedblade]

Boothill's presentation being entirely on the twitter post makes me think he will be irrelevant in the story in the long(ish) run, and that the game itself won't dwell on him almost at all

[nonuggetshere]

I need to draw something with PK and Hornet there's not enough of these two together in my art