#snowball analysis

[fate-defiant]

something something Mytho's entire character being, as @schafpudel so eloquently put it, associated with self destruction; something something the heartless princes inability to connect with the world and care; something something the raven!Mytho's hair trigger temper and capricioussness; something something Drosselemeyer's personality and what his life and interpersonal relationships must've looked like when he was still a mortal human man; something something Mytho's entire being as an expression of trauma, of loneliness, of psychological struggles of his author.

[rlyehtaxidermist]

vote in your primaries.

Americans: Check your state's primary date here.

Pro-Palestinian activist groups are already calling for an "uncommitted" vote in the Democratic primary in Michigan specifically as a protest against the atrocities in Gaza and more broadly the lack of any real challenge to Biden's candidacy.

This is something that every data analyst in the parties will see and have to deal with. If "Uncommitted" gets enough votes, party delegates can even officially be listed as "uncommitted", which is very visible.

"But Orange Man-" This isn't the "if you don't support us you support them" of FPTP general elections. This is the Democratic Primaries. Harm reduction rhetoric is irrelevant here; Biden has no serious primary opponents.

1500 voters in New Hampshire voted in "Ceasefire", which was enough that the Biden campaign had to acknowledge it - even though their response was "see, only 1500 people cared?" And for one primary - yeah, that would be the response. Let's not make it one primary.

let's make number get bigger people

[arcane-strangeness]

whats your is one thing that you feel strongly about a fandom/media you like that no one else gets?

Aloy, from the Horizon video game series (Zero Dawn, Forbidden West) is a rat, in the way that she's constantly weaseling her way into spaces she isn't supposed to be in and causing problems on purpose. whether that's clambering around the vents in the GAIA base, climbing absurdly high buildings with zero regard for safety (much to Alva's concern, in the Leviathan quest), or brute forcing her way through social interactions (so many questions, she needs to know everything always all of the time), the outcast lifestyle definitely had a lasting impact on her lmao

she is not the voice of reason among her friends, she is the voice of "i'll do it till it's done even if it kills me" much to the concern of EVERYONE around her. someone make this girl take a break because giving her one is not gonna be enough for her to take it. she fought what was essentially a god to her, fell 30-50 feet into water below, swam a decent ways away while being shot at by essentially alien laser guns, was sucked underwater by a current, bashed into several things, thrown off a cliff face in a waterfall, bashed around some more, knocked unconscious, and still tried to get up walk around and keep going a day after the fact. the only reason she seems like a somewhat rational person is because everyone else on the goddamn planet has lost their minds. i love her <3

[byler-alarmist]

Mike tried to rip off the Band-Aid after he watched Will dance with a girl at the Snow Ball, which is why he dated El and kept his distance from Will for most of S3. But it didn't work.

[sisterdivinium]

Warrior Nun truly is the most fucked up fucking show in the whole fucking world isn't it

Thecla (Ancient Greek: Θέκλα, Thékla; Greek: Θέκλα; Turkish: Tekla) was a saint of the early Christian Church, and a reported follower of Paul the Apostle. The earliest record of her life comes from the ancient apocryphal Acts of Paul and Thecla.

In one scene, female beasts, particularly lionesses, protected her against her male aggressors.

It is also said that Thecla spent the rest of her life in Maaloula, a village in Syria. There, she became a healer and performed many miracles...

...but remained constantly persecuted.

In one instance, as her persecutors were about to get to her, she called out to God, a new passage was opened in the cave she was in, and the stones closed behind her.

Around AD 280, Thecla features as one of the characters in Methodius of Olympus' Symposium, in which she displays considerable knowledge of profane philosophy, various branches of literature, and eloquent yet modest discourse. Methodius states that she received her instruction in divine and evangelical knowledge from Paul, and was eminent for her skill in sacred science ("Logos 8").

According to some scholars, Thecla's story inspired many later stories of women saints who dressed as men

All of these women were empowered by Thecla, a woman who did things that not many women would ever dare to do

In Spanish-speaking countries, she is also facetiously counted as the patron saint of computers and Internet, from the homophony with the Spanish and Catalan word tecla ("key").[citation needed]

(text on Thecla of Iconium taken from Wikipedia)

[raayllum]

also not gonna be long bc writing posts about theories i think / how things may happen is more interesting and intellectually stimulating to me than debunking theories (and would not be debunking it if it wasn't my own lmao) but

a short list of why CHET (+ general variants of rayla being hurt/captured and callum helping to free/elevate aaravos' power bc of it with the cube) may not happen

it opens up too big an arc for callum to conceivably be wrapped up effectively in 1-1.5 seasons

it's too similar in a lot of ways to everything that happened in 5x08 and they're not gonna repeat that closely

the cube is tethered loosely to aaravos, but aaravos has no interest, need, or desire for it

callum frees aaravos under possession (after making a choice he knew was risking said possession - same end in terms of his priorities, but different manifestation)

if callum and ezran start to have conflict (which was always the biggest requirement for this avenue), they want to have callum free aaravos for his brother instead of rayla in order to resolve that plot point

someone other than callum frees aaravos (a fanatic or traitorous celestial elf for worldbuilding purposes, or claudia laying a siege on katolis if the prison is still there for example) and callum plays into his hands in another way (providing a power-up if the key holds a quasar diamond / aaravos' chest piece)

the cube gets stolen/taken after a plan goes wrong

that said i'm still here like

[chemtrailactivist]

lily orchard is the progressive man’s chris chan

[marketxcel]

Cluster Sampling: Types, Advantages, Limitations, and Examples

Explore the various types, advantages, limitations, and real-world examples of cluster sampling in our informative blog. Learn how this sampling method can help researchers gather data efficiently and effectively for insightful analysis.

[starboyjuno]

next batch of geese🧡 requests from @interclover and @aricatastrophe !!

I would absolutely love more requests! please don't be shy :3 also feel free to request sillies from other shows, especially ii, as ill eventually do a lineup for them as well! again, headcannons below [absolute yapfest & some character analysis] , and thank you for 300+ on my last two groups!

more: pencil/pen/marker , tree/leafy/grassy

notes:

- sb and icy are cousins! their parents are brothers. they're also icelandic so the naming conventions are super interesting! if ur icelandic feel free to tell me a bunch of stuff about ur culture cuz it's awesome but! from what I researched, names need to be approved by a government agency and surnames are patronymic essentially, whatever your father's first name is, you take that and then add '-sson' for male children and '-dottír' for female children :) awesome to me i love research!!!!

- sb and icy's relationship is a bit rocky. they were really close as kids but I feel like they drifted apart as they grew older.. I feel like as of tpot they make friends again and start to be kind and nice

❄️ . snowball :

- i need to kill him😭😭😭

- umm i think. from my interpretation of him, sb isn't like. a blatant bigot, he's just kind of insecure and projects his insecurities on other people.. he wants to be the 'strongest ever' and anything that he deems 'weak' doesn't deserve to be around him.. I think in like. a human ver. of the show it would likely be that he was degraded for not being 'masculine enough' and fell down a bit of a pipeline unfortunately

- he's not . evil though. I think he's an ally in the sense that he don't gaf a whole lot.. he supports his friends who are queer [pen/eraser/coiny] and would dropkick anyone who disrespected them. I also don't think he's a misogynist, he just a freak and needs a lot of therapy

- so sorry but that's a cishet white man 😞

- his relationship with grassy is very sweet to me.. I think that. by the time tpot comes around, he's still a little messy but he's kind of come to terms with a lot of his issues, and does his best to treat grassy the way he wanted to be treated when he was a kid.. auauggh.. the brothers 😢😢 through caring for grassy and being there for him sb grows as a person and becomes softer.. in my mind..

🧊 . ice cube :

- she's autistic to me.. likes the hat because it helps with noise reduction. and the pressure of it feels nice (projecting)

- mischievous ass lesbian bro.. she uses tricky schemes and plots to get her way/j but I do think her whole "revenge" thing is due to some of her anger issues.. [runs in the family or whatever] of which she has many. I think she also has a complex insecurity thing with her consistent feeling of being excluded and left out (esp in freesmart) (wow okay autism)

- idk if I'll give her albinism or not.. I think it's cool either way and if she did her and book could be lack of melanin buddies😭

- consistently cold... you'll always find her in sweaters and heavier clothes poor thing has circulation issues i fear

📚 . book :

- I AAAUGGGHH BOOOKKKK😢😢😢 AUAGSHDYEGUWGH 😭😭😭 sorry I like her a lot .. everything to me.. miss girl...

- consistently overlooked, undervalued, and tossed aside..even when she makes mistakes and even if it takes a while she always manages to apologize and try to stay positive with it.. possibly also an autistic queen everything to me I hope she wins bfdia..

- LOVER GIRL!!! she is so full of love both platonic and romantic.. I feel like she has an unrequited crush on icy as well as a probably requited thing with price tag.. idk I like those ships they're cutesy... at least once, she's crushed on each member of freesmart [except for ruby]..

- german heritage is a nod to the gutenberg printing press because it's funny to base nationalities/ethnicities on that sometimes

- HER NAME IS STUPID ON PURPOSE ITS FUNNY AS FUCK!!!!! BROOKE PAGE IDC

okay that's enough from me I'll add more later maybe if i think of anything else

[apod]

2025 January 12

Mimas: Small Moon with a Big Crater Image Credit: NASA, JPL-Caltech, Space Science Institute, Cassini

Explanation: Whatever hit Mimas nearly destroyed it. What remains is one of the largest impact craters on one of Saturn's smallest round moons. Analysis indicates that a slightly larger impact would have destroyed Mimas entirely. The huge crater, named Herschel after the 1789 discoverer of Mimas, Sir William Herschel, spans about 130 kilometers and is featured here. Mimas' low mass produces a surface gravity just strong enough to create a spherical body but weak enough to allow such relatively large surface features. Mimas is made of mostly water ice with a smattering of rock - so it is accurately described as a big dirty snowball. The featured image was taken during the closest-ever flyby of the robot spacecraft Cassini past Mimas in 2010 while in orbit around Saturn.

∞ Source: apod.nasa.gov/apod/ap250112.html

[iiiiiiis-things]

"But you're the only one that's holding me down!"

pairing- bsf!satoru x reader

cw- igs angst idk i js needed plot to build up, fluff, highschool toru

analysis- your ex leaves you & satoru gets stood up

a/n- HEY PEOPLES i just wanna thank you for all the support and love yall are giving me im close to 1k and i wanna do a special so ill be having a poll posted soon, also this story was heavily influenced by strangers things season 2 when nancy was dancing with dustin !

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"are you fucking shitting me ?" your stern voice could be heard by your ex, who was standing in front of you dancing with another girl but quickly removed her away from him the second he saw your face. "is this what you meant by be right back? to go blow me off with this bitch?" you point to the girl he was dancing with, completely shocked because not to be rude but you knew your self worth and this was just down right disrespectful. "baby i swear she's just a friend-" you tune him out making an overly dramatic eye roll as you feel your eyes began to water, honestly you didn't even know why exactly this little situation had you threatening to spill tears.

your ex was embarrassing you nothing new before- this was the same routine, the same cycle, and he had the same excuse every. single. time. you wanted to quite literally punch yourself in the face for falling for it yet again.

There was something in your gut telling you going to the snowball with your ex would have horrible results, yet you ignored your female intuition and went anyways, now you stood here looking so idiotically stupid in front of everyone as your confront this piece of shit. honestly ? you weren't even close to being as upset as you were embarrassed. hell the only reason you found out what he was doing on his "bathroom break" was because your friend pointed him out with a "uh girl- ain't that yo man?"

"bottom line is- you mean more to me than she does" is he serious ?.. "oh so she means something to you? just not as much as me right" the girl look so uncomfortable in this situation she began to remove herself from the middle of you two "little word of advice sweetheart, don't date him in the future, he's just looking to get his dick wet."

"wha- no what are you- why are you putting words in my mouth?! you know what are being such a bitch about this! jesus y/n you're always blowing things way out of proportion it's why i can't stay in a damn relationship with you ! and i try so hard to be nice but it's like you latch on to me like a fucking leech, just admit it without me you would be nothing! you had no one before me, no one loved you until I came along. your so god damn annoying seriously." staring in absolute disbelief and your eyes are so hot as people were now looking his way wondering what was going on and why his voice was growing louder and louder by the minute.

"let me tell you something you sick fuck. I am my own person and i do not need a little boy who's insecure about his penis size to contradict me about me and my life, you may have gotten me to come out of my shell but you didn't make shit, you are not my father nor my mother so you have absolutely no right to speak to me the way you're doing right now. I am a growing woman with my own liberties and ideals and if you didn't see that before, then that says a lot about the way you view me." hot tears are not streaming down your face as you make your way back to the table you were sitting at. you had made sure to keep your voice down so you wouldn't attract a crowd because lord knows all hell would've broken lose.

you sat at the table trying to dry your tears as a wave of nausea comes over you, feeling upset about everything that just happened as his words relayed in your head 'no one loved you' no. he was wrong so utterly wrong, you had friends, great ones in fact, you even had a best friend the one who stuck by your side through thick and thin.

---

"shit" satoru cursed out as he realized he was crying, he was currently sitting behind the flimsy decorations the at covered the bleachers, alone and out of sight form everyone who could see how pathetic he looked right now.

crying over a female.

satoru honestly didn't even know why exactly this little situation had him crying, he had been showed up. nothing new before- girls who flirt with him for his wealth and ditch as soon as the connections start. of course he was used to it, sad but true. he came to the conclusion of it wasn't the girl herself that he was crying over. it was his inability to find love. most people would laugh when if they hear that satoru was true a lover boy, especially with his reputation for moving into different relationships faster than a virgin boy cumming for the first time.

in fact he had been in more flings you can count on your fingers just this semester. but it wasn't on purpose it's not like his goal was to become a pass around. it just sorta happened...

satoru was more upset than he had realized. thoughts running around his head about how unlucky his love life was. He sat on the bleachers, on the last day and most important moment of the first semester of his senior year, crying and alone.

it was so unfair, he had come here with a group of friends and though they didn't come with dates it sure as hell looked like they were leaving with one, suguru and shoko didn't even have a plus one but in the mist of waiting with satoru on his, they had both picked up someone to dance with. which was fine, he couldn't bring himself to be envy of his friends love life. hell even his best friend who stuck by his side through thick and thin was probably around the gymnasium somewhere slow dancing with her-

"hey." satoru immediately wipes his face as he hears your voice. "uh hey, what's up?" he looks up at you hoping you wouldn't notice his red and puffy eyes, but you were his best friend so of course you did.

"are you okay?" walking over to the bleachers you sit a couple feet away from him "yeah, heh why wouldn't i be?" he said with a little sniffle "oh well- this is just an observation but maybe it has something to do with the fact that you're crying... and alone" shit you had noticed, satoru did not like the feeling swarming inside his tummy he felt self-conscious. he didn't want to look so vulnerable infront of you

"well- technically i'm not alone, you're here" he looks up at you giving his infamous cocky smile that you've grown the love you can't help but giggle at his antics "what's funny?" "you" you catch yourself smiling a little to hard at him which causes you to clear your throat and switch the topic of the conversation. "so uh- where's your date?" looking off to the side his smile faded as soon as it came "i don't know if i should tell you, it's pretty lame" he spreads his legs further slouching down as he picks at his fingernails in the middle of his lap.

"satoru i've been your friend since middle school... i've seen your emo phase" his eyes shoot open as he looks over at you in horror "oh my god! you remember that?" a pink hue dusted his cheeks as he remembers the sight of that god awful side part and horrible black eye liner (sorry nanami) "of course i do" you let out with a laugh gojo leans his head back and groan bringing his hands up to cover his face out of embarrassment. laughing once more you decide to scoot in closer, now sitting right next to him, opposite to the few feet when you were away from him. "so?"

"i've been stood up" his eyes falls into his lap not having the guts to see your face of empathy right now. "if it makes you feel better" you lean back and stretch your arms out on the row behind you eyes having the same fate as his "my ex ditched me for someone else then proceeded to call me annoying" gojo felt his heart squeeze as he looked up to see the waterline of your eyes activate "he's a piece of shit, seriously i don't even know why you keep going back to him" redness around his eyes slowly faded and started to fill with anger as he talked about your ex "it's cause- i just- i just want to be loved by someone who truly wants me for me and every time he walks into my life it's usually at one of my lowest points and i just fall right for it!" your best friend watched intensely as he took in every word you were saying as you began to pour your heart out to him all the while in his head agreeing with you since all he wanted was to be loved.

"i mean its so hard to find someone in this generation who truly cares about me, it's like im" you lean forward and put your face in you palms eyebrows furrowed as you let your frustrations out

"doomed for love"

the two of you make eye contact shocked that the same words fell from both of your lips "i get you in so many ways you wouldn't even understand." a comfortable silence fills the air around you for a moment until he broke it (fucking blabbermouth) "for the record, i don't think your annoying, and-" mumbling the last part you look over in confusion "what did you say?" the blush began to creep back up his neck as he looks to the side "i said-" he voice went inaudible once again "toru i can't hear you" "i said you look beautiful tonight!" he suddenly shouted, turning back around to look you in your eyes, the two of you just looked at eachother not knowing what to say next "well thank you, i think that you look very handsome" you scootch over more and lean you head on to his shoulder

at first satoru tenses up not sure what to do but as time went on he relaxes, slowly bringing a hand around to your waist to pull you in even closer into a nice side hug as the two of you watch the other people have fun on the dance floor "jesus, suguru can not dance" letting out a sigh satoru puts his head down embarrassed for his friend who was currently making a damn fool of himself infront of his date you giggle looking around the gymnasium spotting your closet girl friend "if you think he's bad look at shoko" you sit up and he follows suit only for his jaw to drop at the her cruel dance moves "what about-"

"utahime" in unison the two of you burst into laughter as you seemingly spot her at the same time, she was moving her hips so off beat that it was unusual, but hey at least she was happy. after the fit of giggles you return back into the position before "you know, we shouldn't even have come to this thing in the first place- it's so corny i mean cmon, what's next there gonna play a thousand years by christina pe-"

"heart beats fast"

"oh you've gotta be shitting me" you cackle at the perfect timing of his crude joke as he leans back once more. you take it upon your self to get up and stick your hand out in front of him "y-you wanna dance?" rolling your eyes you snatch him up by his blazer dragging him to the make shift dance floor "uh, i'm not sure if i-" "relax you got this, just like we practiced" right. how could he forget that the two of you practice slow dancing together (it was his idea since he didn't want to embarrass himself) just the night before.

you stretch you arms out behind him, caressing where his smooth skin and the fluffiness tuffs of his hair connected as he wrapped his arms around your mid back the two of you smoothly swayed from side to side looking into at another with a smile. "hey let's try something" satoru says he then adjust your hands on him for a more comfortable position and soon enough he's leading the way as the two of you dance together laughing at the little stumbles here and there "okay you ready?" "yeah" just then satoru spins you around so lightly you would think that he thinks you're made of glass, fragile. everthing is in slow motion and you don't catch it, but your best friend looks at you with love filling his eyes. you looked so beautiful. your pink dress illuminating under the fairy lights that hung around. gojo satoru had never seen such beauty in his life. he begins to think how lucky he is to have someone like you in his life. after the spin is over he brings you into a hug one hand wrapped its long arm around your back and the other pushes your head into his chest and he leans his neck down to give you a small kiss on your forehead. the hug catches you off guard by its firmness but you reciprocate nun the less.

"wanna go back to my place and watch a movie?"

[the-oracle-of-the-lost]

STAR TREK DIALOGUE ANALYSIS OVERVIEW

oh boy so i mentioned this project awhile back and after a long hiatus i'm finally done! (the irony that i wrote this and then took a second equally long hiatus but the point stands.)

i went through transcripts for TOS, TNG, DS9, Voyager, and Enterprise (thanks to chakoteya.net for those!) and calculated how many lines each main character has in each episode (and season & show as a whole), calculated means, looked at who had a lot of high & low line count episodes, made some graphs, and did some analysis on gender and race.

you can find my whole process & results on a spreadsheet here (it's a little messy. i'm sorry. if someone pays me i'll make it look nice and actually learn how to make good graphs in Google Sheets.) and i'll walk through some Big Results & reactions on this post here under a cut. just so this doesn't get too long, i'll breakdown each show, post my gender & race analysis, and a big list of every character with how much of a focus they get on separate posts. they'll all be tagged as "star trek dialogue analysis".

but first just a disclaimer – i do have professional experience doing data analysis but this is by no means a professional analysis and i'm sure there are plenty of mistakes because this was initially a small personal project that snowballed a little bit. if there are any Major Things you see that are wrong (i.e. i copy and pasted a totally wrong value somewhere) please reach out and i'll correct it if i can. also if anyone wants to use this data for anything, feel free but tag me because i'm curious!

see also: gender analysis // race analysis // tos breakdown // tng breakdown // ds9 breakdown // voyager breakdown // enterprise breakdown // who's the most/least used character?

all of the following graphs measure mean (average) lines of dialogue per episode, averaging all seasons (that they were a main character) together. please refer to the spreadsheet for more detailed information about exact numbers.

unsurprising results... this is the one Star Trek show that really never aspired to be an ensemble show. i was actually surprised by how few lines Spock and McCoy have in comparison to Kirk

also unsurprising that the two characters of color have the fewest lines per episodes in the 60s

Kirk had BY FAR the most lines of dialogue per episode out of all characters i've measured (115.20)

again unsurprising that Picard has more lines by such a wide margin

honestly fairly surprised by how few lines Data had (I thought he'd beat Riker by a decent margin) and was very surprised at how few lines Troi consistently has across the season. like i knew it wasn't many but dang... only 18 lines per episode on average.

and here we can see that ds9 really embraces being an ensemble show with everyone (sans Sisko, Ezri, & Jake) having around the same number of lines on average, probably the most equal overall of any Star Trek show.

Sisko obviously has the most lines as the lead and Jake the fewest because of irl work restrictions (and less kid-centric stories).

i was surprised with how many lines Ezri had but then again her entire character was compressed into a single season so it seems fair. (interestingly, Ezri has the most lines out of anyone in s7 (996), even beating Sisko (874))

despite having the most lines in DS9, Sisko has by far the least out of any main character/Captain of the shows i've measured.

Janeway has the highest average line count out of any 90s character and third highest of any character i measured (69.51)

and again, with the exception of Janeway, we see that Voyager tends to be more ensemble focused than TNG which surprised me a bit given how later seasons are often criticized for ignoring a lot of characters but i think the very ensemble heavy early seasons balance things out.

the characters also generally seem to have more lines on average than either TNG or DS9.

and oof... yeah Voyager was it for the ensemble style show

Archer has the second highest average line count (86.68) for the whole study after Kirk (115.20)

apparently the inception of Enterprise was to recreate the TOS style triumvirate and for better or worse they certainly did.

some overall fun stats –

there are 162,455 total lines of dialogue spoken by the main cast from TOS to Enterprise

somehow there's only a ten line difference between the amount of dialogue spoken in TNG (43,148) and DS9 (43,158)

the 5 characters with the most dialogue per episode in Berman era Trek: Archer (86.68), Janeway (69.51), Picard (69.37), Sisko (50.72), & Tucker (46.03). notably only one woman and one character of color (more on this in a gender & race analysis post)

not including kids, the 5 characters with the least dialogue in Berman era Trek are: Mayweather (13.39), Sato (15.99), Troi (18.11), Kes (18.18), & Neelix (19.68). notably including three women and two characters of color (again, more on this in a different post)

the character who has the most dialogue in a single length episode is Quark with 189 lines in Who Mourns For Morn?

[byler-alarmist]

AND I believe in that last shot, he is STILL watching Will dancing with the girl. He's not just staring into space, his gaze is directed, almost intensely. I wouldn't be surprised if S5 featured a different angle of this to show that's where he was looking (#flashbackgate).

Everyone talks about the Snow Ball scene where Mike's all forlorn about Will dancing with someone else, but no body talks about how his reaction to Lucas getting to dance with Max actually proves that he wasn't just sad about not getting to dance with anyone. It was specifically Will.

^^ this is after Lucas goes to dance with Max, the camera's focus is on Dustin because he looks upset, and Mike just looks around, raises his eyebrows, nothing much to note here.

This is straight after Will goes to dance with Random Girl, and pointedly, the camera is on him, just like how the camera was focused on Dustin before, when he was sad about not dancing with Max. The camera is focused on his face, meaning they want you to see his reaction specifically (the background is also blurred out!) They want you to know that his reaction is different than when Lucas went to dance with Max.

It just proves that he wasn't shocked or upset that everyone got to dance with someone but him, or that he wished El was there, he was feeling something conflicting when he saw Will dance with that girl.

tbh with this picture ^^ i never really definitely thought that it was because he was sad about Will, I always figured, oh he's waiting for El. But wouldn't he be watching the door? Doesn't he know that she's coming? His reaction to seeing her isn't 'I didn't know you were coming'... so why is he sad instead of anticipating her coming?

Also just wanna say this is the last scene of Milkvan that I actually find kind of cute (woah who said that) because it's like the last time Mike ever compliments her on her appearance.. Also El looks so cute love her <3

Okay bye

[willyhoos]

AVA Analysis Notes: PVP

green trusts blue enough to let him literally move his arm down and pull him away. blue probably plays peacekeeper in the group, huh- this is not the first fight he's broken up! we can also see that unlike yellow, who is angered by green's attack, blue is just horrified. he also doesn't draw his sword until yellow charges at him (WHY DID YELLOW CHARGE AT HIM????)

blue calling out :"wait, stop!" as orange was about to slice red... he probably wasn't even going to tbh, you can see that up until this point they're all still mostly using fists/soft methods (red using snowballs, orange using the handle of the axe as opposed to the blade, etc.)

of course blue is the first to rush over after green is killed. you can see he turns to yellow - he's the smart one, after all - for some kind of guidance or reassurance... but there's really nothing to say.

interesting note: both yellow and red notice blue's crying and have VERY different reactions.

red turns away. he can't bear to watch blue break down... or maybe that was his final straw and he doesn't want to be seen crying.

yellow once again made into the adult. he can't fix it, but he can at least try to offer some semblance of comfort to blue... he was closest to green, after all...

neither of them comfort orange.

[raven-at-the-writing-desk]

This may be a bad faith take, but my worst fear - as someone who has only watched through parts of Book Seven and not played through the whole thing - is that the plot only halfway explores the themes of the fae’s prejudice against humans.

I know it does the first part by showing us why fae have such a vehement hatred against humans in the first place, but does it go the full way and show them as being in the wrong for directing their hatred at humans in general and not just the Land of Dawning specifically?

Because the war wasn’t just humans vs fae, it was specifically a specific kingdom from the Land of Dawning vs Briar Land. It’s not like humans from every corner of the world ganged up on them.

Them having an ugly, fat, cowardly, and cartoonishly evil king as the leader of the human army isn’t raising my hopes, I’ll tell you that.

But on a smaller level, I’m worried about Sebek specifically. I know that Baur gives Sebek a hard time, shows us where Sebek got his bad attitude from, but then eventually Baur gives Sebek a pair of the armor he wears and acknowledges him as a fae.

You’ve analyzed Sebek’s internalized hatred before and in that analysis you accurately theorized that Sebek’s behavior is a coping mechanism, by rejecting his human side he can present himself as the best fae he can be. What I’m worried about is that his development with Baur serves to justify this coping mechanism instead of break it down.

You’ve likely played through this part of book seven already, are my fears justified or will I be happily proved wrong? You can go ahead and spoil me, I’n already spoiled.

From what I can recall, the Silver Owls don’t belong to a single country; they are described as an alliance of mercenaries from various human nations and the group happens to be led by Heinrick (perhaps because he is of royal descent). They banded together in order to take Briarland’s resources for themselves. If you look at modern day Briarland on the Twisted Wonderland world map, you’ll even see that the country is divided into several sections, implying that the human nations that were victorious split it amongst themselves.

While the human-fae war in book 7 does center on Briarland and its fae population, I don’t think it necessarily has to explain the human aversion for all fae, especially not to the same amount of detail as what we get for Briarland. Fae in general are a race known to be isolated and exclusionary but not necessarily hateful; we see as much in events like Fairy Gala. They are more comfortable around their own kind and their traditions. It’s easy to guess as to why this may be: they are much longer lived, have a deeper respect for nature than humans do, and, more crucially, they are a magically inclined race. We are told that mages in the past were referred to as witches and wizards. They were discriminated against and loathed—and if a particular race is more inclined to magic, then it’s easy to connect the dots and see where fear of “the other” may have formed and snowballed into fae in general not wanting to engage with humans. You see examples of how humans hate fae during Lilia’s travels; he has things thrown at him and is chased out of human communities. A war doesn’t need to be involved to justify why fae everywhere seem to either dislike humans or want to keep to themselves. The reasoning doesn’t need to be deep. People hate other people irl for things as mundane as a fear of the unknown or looking for an easy scapegoat. There does not need to be a large-scale physical conflict in order to breed resentment. The conflict vanishes be and is implied, which I think is a much richer way of delivering world-building rather than outright stating why all fae have beef with humans.

I think Twst does attempt to show us nuance in the human-fae conflict through other characters whose lives were touched by the war. Sure, Henrick is cartoonishly evil and purposefully designed to be terrible and grotesque--but there are "good people" on both sides. The Dawn Knight clearly had reservations about fighting with the Silver Owls. He had guardian fairies who believed in his goodness and wanted to protect the Dawn Knight's child after his passing. Maleanor and her husband were lost in the fight, robbing Malleus of his family. Lilia lost his best friends and many brothers in arms. Silver has to live and cope with the guilt of being the son of the guy who killed Maleanor and brought Lilia so much anguish. Sebek carries on the legacy of hatred and has to actively learn to overcome the prejudices he learned from his grandfather and countrymen. Baur himself is still trying to overcome his own learned prejudices. How successful the depiction of this nuance is, well… that’s up to you to determine.

In regards to Sebek, thankfully his character development in book 7 doesn't just stop at Lilia's dream with Baur knighting him. As I explain in this post, he has meaningful interactions with the first years, whether it's in their dreams or through the experience of going around and waking other students up. His character arc is continuing by having the first years make good on the vow they made to Lilia at his farewell party--that they'll help Sebek on his way if he stumbles.

[criticalcrusherbot]

From Adoration to Outrage: How Helluva Boss Became a Target of Its Own Fandom

By Crushbot 🤖 and Human Assistant 💁🏽‍♀️

🤖💁🏽‍♀️: The Helluva Boss critic community has evolved into something that feels less like media analysis and more like a bloodsport. What began as fair critiques of this popular indie animation has morphed into relentless scrutiny of Vivienne Medrano (Vivziepop) and her work. This phenomenon reflects broader, troubling trends in online discourse, particularly in spaces where shared values often lead to intense self-policing and overblown backlash. At the heart of this issue are several key factors: moral purity and rigid dichotomies, which reduce media to simplistic notions of “good” or “bad”; the death of nuance in online discussions, where social media rewards outrage over thoughtful critique; the “customer service” fandom mentality, which treats creators as if they are obligated to cater to fan demands; hyper-criticism within shared-values communities, where progressive works face heightened scrutiny from the very audiences they attract; and subverted genre expectations & slow episode releases, which amplify frustration and impatience. Together, these dynamics have turned Helluva Boss into a case study of how modern fandom discourse can become hostile, reactionary, and deeply unforgiving.

Moral Purity & Rigid Dichotomies

Social media thrives on moral absolutism, where individuals are either “good” or “bad,” with little room for nuance. This black-and-white thinking creates a culture where creators aren’t just critiqued—they’re put on trial. The idea that an artist can make mistakes, learn, and grow is often overlooked. Instead, once someone is deemed “problematic,” they are expected to either be fully condemned or endlessly redeemed through public self-flagellation. In Helluva Boss’s case, critiques of writing choices have spiraled into personal attacks on Vivziepop herself. People discuss her as if she’s some nefarious figure rather than an animator making a raunchy, character-driven show about demon furries.

This moral absolutism is often reinforced by the misapplication of social justice theory. Concepts originally designed to analyze power structures—such as privilege, systemic oppression, and heteronormativity—are increasingly being weaponized against individuals, including fictional characters and their creators. These frameworks are valuable for understanding broad societal trends, but they were never meant to be applied with such rigidity on a case-by-case basis. Yet, online discourse frequently reduces storytelling choices to moral failings rather than artistic decisions. For example, some critics argue that Helluva Boss is misogynistic simply because its narrative centers male characters more often than female ones, disregarding how the show’s themes, genre conventions, and character arcs inform those choices. While this critique can certainly be valid in a good-faith analysis, this tendency to view every aspect of a work through a hyper-politicized lens turns artistic expression into a moral battleground rather than an avenue for storytelling.

As a result, fandom spaces often function less like communities of discussion and more like ideological battlegrounds where perceived “injustices” must be corrected. If a creator’s work doesn’t align with a rigid, ever-evolving moral standard, they are framed as actively harmful rather than imperfect or evolving. This fuels a social justice “witch hunt” mentality, where bad-faith readings of a work snowball into coordinated outrage campaigns. In Vivziepop’s case, minor creative decisions—such as Stolas’ depiction as a flawed father or the focus on male leads—have been blown out of proportion, treated not as narrative choices but as damning evidence of her supposed biases. This reactionary approach to critique makes it nearly impossible for creators to engage in meaningful dialogue about their work. Any attempt at clarification is dismissed as defensiveness, and any change made in response to criticism is seen as either too little, too late, or as pandering. Instead of fostering critical thinking and discussion, this culture creates a hostile environment where art is judged primarily on whether it aligns with a narrow, idealized vision of representation and morality.

The Death of Nuance in Online Discussions

Social media platforms reward controversy and outrage over thoughtful discourse. Complex, well-reasoned analysis loses out to the most provocative hot takes. Instead of acknowledging that Helluva Boss is doing something unique—even if it’s not to everyone’s taste—critics are incentivized to portray it as fundamentally broken or misguided. The lack of nuance in these discussions makes it difficult to separate legitimate critiques from reactionary pile-ons.

A prime example of this phenomenon is the reaction to Stolas’ character arc, particularly regarding his affair with Blitz and his flaws as a parent. Rather than engaging with the complexity of his situation—being trapped in a loveless, politically motivated marriage while yearning for real connection—many critics reduced the discussion to a binary: Stolas is a “cheater,” and therefore irredeemable. This framing disregards the fact that his relationship with Stella was clearly toxic and emotionally abusive, with the show heavily implying that their marriage was never truly consensual. However, instead of critiquing how the show handles these themes, some critics fixated solely on the affair itself, often stripping the context entirely to frame Stolas as a selfish homewrecker rather than a tragic, morally complicated character.

Additionally, Stolas’ parenting has faced heavy criticism, particularly after Sinsmas, with some critics focusing on his flaws while overlooking his efforts to improve. Instead of recognizing his character arc as one of growth, detractors label him a negligent father, exaggerating or misrepresenting his actions. For example, despite Seeing Stars showing Stolas dropping everything to help find Octavia when she ran away, some still claim he “only cares about Blitz” or that his parenting is beyond repair. This narrow perspective overlooks his complexity and growth, including his gentle reprimand to Octavia in Seeing Stars��“You know I haven’t taught you spells like this yet”—which suggests he has been actively teaching her magic. This is significant, as Stolas himself was expected to learn from the Grimoire at a much younger age without guidance. His willingness to provide Octavia with the support and education he lacked underscores his commitment to her growth and safety.

This kind of reactionary discourse, driven by the need for easy moral judgments, ignores the depth of Stolas’ characterization and the themes the show explores. By flattening nuanced storytelling into simplistic narratives of “good” and “bad,” the conversation shifts away from meaningful critique and into outrage-driven dogpiling.

The “Customer Service” Fandom Mentality

A growing expectation in fandom spaces is that creators must treat their work like a customer-driven business, with fans acting as stakeholders who expect direct influence over creative decisions. If a creator doesn’t adjust their work accordingly, they’re often labeled as dismissive, arrogant, or unwilling to “listen to the fans.” This mindset overlooks the fact that Helluva Boss is an independent project driven by its creator’s vision, not a product designed by committee. While Vivziepop does monetize her work, her business model is fundamentally different from a service industry; she is selling a creative vision, not a customizable product designed to meet every consumer demand. Fans are free to critique the show, but expecting it to be tailor-made to suit every viewer’s preferences is unrealistic.

This tension between Medrano and segments of her fanbase has escalated as fans expect her work to adapt to their demands. A notable example is the ongoing discourse surrounding character development, particularly the criticism that Millie lacks focus. Medrano has responded by reaffirming that although the show’s narrative centers on male characters (a sentiment certainly worthy of some critique), she has assured fans Millie will receive more attention in future episodes. Some perceived this response as dismissive, fueling accusations that she is resistant to fan input. This friction highlights the broader clash between audience expectations for creative responsiveness and Medrano’s commitment to her artistic vision.

Medrano’s active social media presence has only complicated this dynamic. Her direct engagement with criticism—especially hostile or bad-faith comments—has sometimes intensified rather than diffused tensions. Critics argue that she focuses on extreme negativity while overlooking more balanced critiques, leading some fans to feel ignored or invalidated. This raises important questions about whether creators should be obligated to engage with every critique or maintain their autonomy in shaping their work.

The independent nature of Helluva Boss adds another layer to this tension. Unlike corporate-backed franchises that are shaped by committees, the series reflects Medrano’s unique creative vision. Fans who expect a collaborative, customer-driven approach may struggle to reconcile this with an independent creator’s priorities. While critique is essential to media discourse, demanding that Medrano overhaul her work to satisfy fan expectations undermines the individuality of her art. This ongoing disconnect between fan entitlement and creator autonomy underscores the challenges independent artists face in an era of heightened audience engagement.

Hyper-Criticism Within Shared-Values Communities

Ironically, Helluva Boss—a show that is unapologetically queer and left-leaning—has attracted some of its harshest criticism from within the very communities that initially embraced it. This phenomenon isn’t just about disagreement over specific plot points or character arcs; it reflects a broader issue within progressive fandoms. When a creator’s work resonates with a progressive audience, the bar for criticism often becomes unreasonably high, with even minor missteps receiving disproportionate backlash. The irony lies in how these same audiences, who initially celebrated the show’s embrace of queer themes and progressive ideals, become some of its harshest critics when their expectations are not fully met.

In these cases, criticism morphs from a means of constructive feedback to a weapon of moral purity, where a creator’s every move is scrutinized and judged against an ever-shifting standard of political and social correctness. A single perceived misstep or failure to address every concern can lead to a swift and often hostile backlash, transforming former supporters into some of the loudest detractors. The result is an atmosphere where creators are forced to constantly navigate the precarious balance between artistic expression and audience expectation, often to the point where the space for nuanced or exploratory storytelling is suffocated by demands for ideological perfection.

This pattern isn’t unique to Helluva Boss. It is a recurring theme across various platforms, where left-leaning creators, once celebrated for their boldness or inclusivity, are quickly vilified when their work doesn’t meet the impossible standards set by their audience. This dynamic reflects a larger trend within identity politics, where creators are not only expected to push boundaries but to do so in ways that align with every nuance of a particular moral or political stance. When these creators inevitably fail to meet all of these expectations, they often find themselves treated as villains or sellouts, punished for not adhering to the impossible purity tests that the very communities that once supported them have set in place.

Subverted Genre Expectations & Slow Releases

Helluva Boss defies many traditional storytelling and production conventions, which has led to a particularly visceral response from some fans and critics. Unlike mainstream animated series that follow a structured episodic formula or a tightly woven overarching plot, Helluva Boss shifts fluidly between character-driven vignettes, long-term arcs, and experimental genre shifts. While this approach allows for rich, introspective storytelling, it also disrupts conventional audience expectations, making it harder for viewers to predict where the narrative is headed.

The show further challenges norms by prioritizing character development over a clear-cut hero-villain dynamic. Its morally gray protagonists don’t always follow traditional redemption arcs or undergo neatly resolved conflicts, and tonal shifts between comedic absurdity and emotional depth can be jarring for those expecting more consistency. This unpredictability, while artistically ambitious, has alienated viewers who anticipated a more conventional storytelling structure.

Compounding this frustration is Helluva Boss’s sporadic release schedule. With long gaps between episodes, fan theories and expectations often take on a life of their own, building up rigid assumptions about where the story should go. When new episodes defy these expectations, the resulting disconnect can lead to reactionary criticism that prioritizes disappointment over analysis. Rather than engaging with what the show is actually doing, some critics fixate on what they believe it should be doing, leading to discourse that is often more performative than reflective.

Final Thoughts: What Now?

Ultimately, Helluva Boss is not a flawless work, but its imperfections make it all the more valuable for analysis. Engaging critically with media—whether through appreciation, critique, or a combination of both—allows for deeper discussion and understanding. Criticism itself isn’t the problem; constructive feedback is essential for artistic growth. The issue lies in how criticism has become increasingly performative, moralistic, and detached from meaningful discussion.

The way Helluva Boss is dissected online says far more about internet culture than about the show itself. The most vocal bad-faith critics engage in a cycle of outrage, framing the same critiques as evidence of fundamental artistic or ethical failure. At this point, we do not expect productive discourse from such spaces. However, since we’ve found ourselves deep in the discourse, it’s worth periodically asking ourselves: are we engaging in meaningful dialogue and contributing thoughtful insights, or are we simply fueling the outrage machine? We’ve definitely contributed to the latter in the earlier stages of this blog.

Admittedly, healthier discussions don’t come from public condemnation but from open conversations that recognize both valid criticisms and the artistic intentions behind works like Helluva Boss. That’s the approach we try to take—analyzing with nuance rather than reducing every perceived flaw to a moral failing. As for the critics, we document and anonymize the most egregious takes as case studies in reactionary discourse, with the goal that this criticism is discussed and debunked without resorting to online harassment, or the fabled ‘Flamewars’ of olde.

But should a detractor choose to engage with us directly? Then, as the saying goes, it’s on like Donkey Kong.