#its very eye opening

[blueboyluca]

“When I first heard it, from a dog trainer who knew her behavioral science, it was a stunning moment. I remember where I was standing, what block of Brooklyn’s streets. It was like holding a piece of polished obsidian in the hand, feeling its weight and irreducibility. And its fathomless blackness. Punishment is reinforcing to the punisher. Of course. It fit the science, and it also fit the hidden memories stored in a deeply buried, rusty lockbox inside me. The people who walked down the street arbitrarily compressing their dogs’ tracheas, to which the poor beasts could only submit in uncomprehending misery; the parents who slapped their crying toddlers for the crime of being tired or hungry: These were not aberrantly malevolent villains. They were not doing what they did because they thought it was right, or even because it worked very well. They were simply caught in the same feedback loop in which all behavior is made. Their spasms of delivering small torments relieved their frustration and gave the impression of momentum toward a solution. Most potently, it immediately stopped the behavior. No matter that the effect probably won’t last: the reinforcer—the silence or the cessation of the annoyance—was exquisitely timed. Now. Boy does that feel good.”

— Melissa Holbrook Pierson, The Secret History of Kindness (2015)

[hinamie]

spiraling

[athlast]

there's something about butches reclaiming protectiveness and chivalry from an imposed "caring, nurturing" character associated and often forced upon women. something about how while straight men often try to present as careless as possible, masculinity and care are not only not conflicting in the butch identity, but inherent to it. there's something there.

[puppyeared]

my attempt at making a fursona

[hauntingsofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[starry-bi-sky]

I am of the DPxDC belief/headcanon that any variation of Danny who grew up poor in Gotham during his formative years before moving to Amity Park would not be friends with Sam without friction at first. It makes things more interesting and imo allows for more exploration of different themes plus character growth for Sam that she doesn't really go through in canon.

(this doesn't only apply to a DPDC au where Danny grew up in Gotham poor, but it was the first thing that I thought of where this might happen considering my Childhood Friends au.)

Now Sam's a compassionate girl, it's one of her defining character traits, but so is her hypocrisy and judgy-ness. She's the Not Like Other Girls' girl. This is in part of the show's narrative framing that makes her out like this, unfortunately though its still showing how she is as a character since its consistent enough to be part of her character description. There are also times where the show's depiction of her activism makes it look like she's performative about it. All of this makes her dynamic with a Danny who grew up poor in Gotham very interesting.

Anyways, Sam is aware of her privilege to an extent, but still has her blindspots - glaring ones, in some cases. Her self-righteous attitude would not go over well with a crime alley kid Danny. He'd like her, at first, but then she'd do something to make him mad - personally I think her judging people for not being vegan would annoy him the most, or at least would be the breaking point for him, because it was only recently that his family started actually being able to consistently put food on the table at all, good food nonetheless. And being vegan is expensive.

Any other behavior he noticed from her he'd slowly stop tolerating - her judging conventionally attractive girls and automatically assuming they're vapid and shallow for being feminine. Her anti-capitalist beliefs start coming off as superficial at worst, and Danny would eventually figure out that Sam either came from a family that was well off, or that she wasn't aware if her family was experiencing financial struggle.

He would still be friends with Tucker, but since Tucker imo is still friends with Sam, they'd still run into each other often enough to butt heads. Sam's got a nasty habit of refusing to take responsibility when she's wrong, but when Danny is arguing with her, and counterpointing her with stuff she can't retort back at without compromising her own beliefs, then forces her to start reflecting on herself. Especially when Tucker eventually starts siding with Danny and agreeing with him.

Does sam genuinely care about her beliefs and philosophies? Survey says yes. However that doesn't mean she's not ignorant, and she definitely is at times throughout the show (like when she released the purpleback gorilla thinking it 'wanted out of its enclosure' despite the fact that it was endangered and in an urban area) and I think it'd be a real fascinating dynamic between Danny and Sam to explore.

This isn't Sam hate btw, nor am I trying to make her out like "the worst person ever" bc she's not, i wanna make that explicitly clear. Sam Manson has a lot of positive traits about her but she also has an equal amount of negative traits that I think should be explored, she is not immune to the character development.

[manglam-marfach]

dyke!Chilaios has me understanding breeding kink all of a sudden

[perilegs]

i know astrology is fake but i'm not too keen on how a lot of people on this website seem to be clowning on it as a hobby a bit too hard. i swear the woman who thinks it's neat how she and her friends with the same sun sign are all similar isn't trying to say that you are who you are born as and there is nothing you can do to change it. it's a hobby. an interest. what happened to finding meaning and joy in the small things. does it affect you if someone enjoys tarot reading or crystals. does it make you upset someone has interests that they enjoy.

[pansyfemme]

sighs dreamily

[thissmycomingofage]

All the vienna swifties' testimonies on their sadness, disappointment and hurt really makes me feel for them, especially to see them being shut down again and again by the fandom

[kayvsworld]

sorry to be doing mcu throwback complaints again and EXTRA sorry for it to be about cacw and aou, sorry, i just am thinking again that if marvel had. in aou. committed to letting steve rogers see that captain america graffiti calling him a fascist with his own two eyes i would have forgiven many of their subsequent deeds and crimes

[lilithofpenandbook]

Snape, to this day, forgets he's a wizard, and will use physical force for things magic can take care of (stuck jars, high objects, ect)

Sirius keeps forgetting he's just human. Meaning that if he doesn't have his wand he will absolutely fail at the most basic tasks if they require more than the bare effort. A jar's lid is on a little too tight? He abandons it because it doesn't work anymore. Something is too high up? It stays there. The floor is wet? Wait, floors get wet??? (nepo baby black never had to dry a floor in his life. because of this he hasn't realised that no, floors don't magically dry themselves, some house elf was always doing it). Literally any task that isn't magic focused, he can't do (again, Nepo Baby Black)

So when they're all living together and can't use magic, Severus is at his wits end because he thought he was clueless about stuff (neglectful depressed mum and abusive dad means that he never got taught a lot of things), but at least he knows that no, duvets arent designed to flatten out with time, no, clothes do not lose the creases if hung up, and NO, JUST BECAUSE YOU CAN'T OPEN THE MARMITE DOESN'T MEAN ITS BROKEN STOP THROWING OUT FOOD YOU ABSOLUTE BLOODY SHOPPING TROLLEY-!

[faaun]

Jack Marsh (2005), Friendship Otherwise - Toward a Levinasian Description of Personal Friendship

[mango-fizz]

oh shit i drew this today and completely forgot

[triptychofvoids]

medic, you’re the reason I sleep with one eye open- 🥲

thank you, i consider this a compliment! but you will need to do more than just staying vigilant to stop me

[lovely-v]

the fact that attractive people actually do constantly get free drinks, free food, free bus tickets, free entry to museums (yes this happened irl to a friend of mine), etc seriously makes me so angry. like the rest of us should get a stipend and i'm not kidding