#strange in comparison

[botanicallyinclinednerd]

It sucks when I'm hyperfixated on something but I have no (legal) way to watch the source material

[bardicious]

❤️❤️❤️

[mxwhore]

Idk if you already got this request a while back but ever since I saw your sphinx Martin I would think what about a Harpy Jon to go with him

i hadnt actually! very fun to think about

[brucewaynehater101]

HC:

Since Jason went from a maybe canonical 4'6" (or 136 cm) predeath to maybe 6' (or 182 cm) postdeath, I hc the growth spurt was so fast he was a stumbling mess.

He hit his head, hips, feet, and arms on every door jam, piece of furniture, and person near him completely by accident.

Talia had to spend so much time in the beginning teaching Jason just how to maneuver his new body so he'd stop fumbling around. They probably did a lot of stretching, balancing, or other shit until Jason got the hang of it

[tinderbox210]

Spock 🤝 Rayner - sitting down in the captain's chair like that for no reason

[nyhti]

Terror (Batman: The Legends of the Dark Knight #137-141) is an awful comic but uhhhhhhhhh

[batrachised]

Chapter 6 establishes a dynamic we'll see throughout the series: the E's of New Moon never quite understanding each other. Aunt Elizabeth and Emily talk past each other repeatedly in this chapter because they're essentially speaking a different language. There's an emotional culture clash here that represents a gap never to be bridged. As the previous chapter said, Aunt Elizabeth understands with her head first, not her heart; Emily understands with her heart first, not her head.

The Emily series takes this even further by presenting Emily as some sort of fey child. There's many a thing about Emily that can't be understood with a head or be explained rationally at all. Emily doesn't just feel things deeply; she experiences the flash, a thinning of the veil between worlds. It would be difficult enough for Aunt Elizabeth to understand a sensitive, artistic child, but Emily's second sight tendencies defy explanation or comprehension. I have more thoughts, but they're very spoilery stuff, so see underneath the cut below for them.

From Aunt Elizabeth's perspective, she sees a child who doesn't like the food, and she kindly orders different food. She doesn't want Emily to sleep alone because she thinks that would be bad for her. She knows Aunt Laura won't sleep well if she sleeps with Emily, so Aunt Elizabeth sleeps with Emily instead. You see Aunt Elizabeth trying to be kind in her own way, but it's so stiff and cold that to Emily, it doesn't really matter. (Which makes complete sense - Emily is a little girl who is grieving.) Also, Aunt Elizabeth's attempts to be kind aren't thoughtful. She isn't taking into account Emily's feelings on the matter at all - instead, she's actively dismissing them. On top of this disastrous clash in communication styles, Emily has a tendency to dig up old graves (figuratively and literally, as we'll see!) which does not help one bit.

From Emily's perspective, she's met with a cold, stern woman who views all attempts at explanation as impertinence, a "griffin." It's funny, because Emily is doing exactly what Anne does consistently and repeatedly in Anne of Green Gables. Every time someone like Marilla is mystified at Anne's feelings, Anne explains: how would you feel if you were me? How would you feel is said by Anne so often it could genuinely be used as her catchphrase - and most of the time, it works! Characters are charmed by Anne, and almost without fail, she wins them over. They tended to be amused by her sensitive ways, not frustrated or downright cold.

Emily's attempts, though, are viewed as alien instead of winsome. They also have the unfortunate tendency of forcing Aunt Elizabeth to confront various psychological closet skeletons. Anne's characteristics endear Anne to her community; Emily's isolate her.

Following up on the second sight bit: that's why Aunt Elizabeth's commitment to plumbing the well in face of all logic and reason is the pinnacle of her character arc in this book. It's, at last, the conjoining of the head and heart. It makes no sense to do to check the well from a rational perspective, but also, it's the only rational choice when it comes to keeping Aunt Elizabeth's word and Emily safe - so that is what Aunt Elizabeth chooses. The Aunt Elizabeth at the beginning of the book would have never committed so recklessly; the Aunt Elizabeth at the end is true to her inflexible ways, but in a way that allows room for the side of Emily that will forever mystify her: the sensitivity that allows Emily to know something is at the bottom of that well, and the same sensitivity that Emily uses to write.

[cmbdragon98]

Oh nooo... wlw are kinda eyerolling and sighing that a show got wrongfully marketed as "queerest Star Wars ever" and is now just, essentially, R/ylo 2.0... After a Lot of really potentially interesting women have been ganked over and over again, within the show.

And now a number of us wlw are a lil tongue and cheek about how we saw the objectification and hyper-sexualization going on with Yord within fandom, only for it to now morph over to Qimir... Oh, bro, what are we gonna Do?

[shakingparadigm]

one thing that excites me about ivantill round 6 is that we get to see till ACTUALLY WEARING A PROPER OUTFIT FOR ONCE. who knows. maybe they finally gave this man some shoes. perchance.

[dandeyrain]

i've been rotating the "this doesn't make any sense!" response to boy and the heron in my head and i wonder how much of it comes down to like...the kind of audience that engages with ghibli movies vs the kind of audience that mostly only engages with weird art movies vs the kind of audience that only really engages with blockbusters and marvel movies, and the overlap of those groups in the theater.

because, like, the boy and the heron is far and away more straightforward, from a plot perspective, than a lot of other Weird Extremely Personal Art Movies i've seen and love, but it IS a Weird Extremely Personal Art Movie even so. usually the only people seeing Weird Extremely Personal Art Movies, especially in theaters, are people who like that and expect that and have seen those types of films before and are therefore capable of engaging with them even when things aren't as clear as they'd be in an average blockbuster flick. like, nobody who only cares about Cinema to the extent of marvel movies and MAYBE john wick is going to see beau is afraid, and if they did they wouldn't have the tools to engage with such a dream-logicy movie. it would just be a weird thing that doesnt make sense to them, at least until they worked their media engagement muscles with other weird films. there's a lot of self-selection to the kind of person who usually sees these kind of movies.

while boy and the heron is weirder and more complex than a lot of other ghibli movies, as far as weird art films go it is incredibly, INCREDIBLY straightfoward. every weird plot point is explained very clearly to the audience, very little is up for interpretation from a strictly "what was the plot" point of view. boy loses mother. father remarries and moves the family. boy struggles to contend with grief. boy is pulled into a magical world by an old man who wants to use him. time is weird and fucked up in the magical world, but the movie is going to go out of it's way to highlight who's who and make it clear how the time travel works and the characters' relations to one another. the boy refuses to take over the magical world because he wants to live in the real world with the real people he loves. boy leaves the magical world having learned an important lesson about moving on. but the boy and the heron trusts its audience, doesn't handhold, and expects the audience to engage seriously and with focus to its plot and characters and stories.

a lot of people never watch movies like that! a lot of people are used to uncomplicated superhero movies and romcoms and that's it. the difference is that those people were never going to see beau is afraid, so the discussion about that movie instead comes from people who have the tools to engage with it. but because of the aesthetic-ification of ghibli, a lot of people who don't Do art films but are really into the aesthetics of cute little guys and girls in pretty dresses went to this art film and were confused that it was weird and dream-like and dark and strange and requires more of its audience than just passively watching.

anyway there's nothing wrong with not having the muscles to engage with weird art films, though i do think everyone should challenge themselves with the kind of stuff they watch. there's nothing wrong with preferring simple straightforward uncomplicated plotlines. but it is really interesting seeing people talk about the movie like it's insanely weird and doesnt make any sense meanwhile me and the friends i've chatted with about who DO have experience with this kind of film all feel insane because the movie is SO clear and SO straightforward by the standards we're used to. its just a neat crossover re: the kinds of movie fans that exist

[fisheito]

yakuya in MY swamp? in MY ecosystem? no . i am still in disbelief. i hope you all know that my particles are bouncing off the everything. i am using periods as punctuation but the state of my mind is naught neareth final.

[crimescrimson]

Max Caulfield in Life Is Strange (2015)

[amber-jinx]

Chloe: Miranda is an idiot

Rachel: *gives "you did not just say that lmao, wow Chloe Price" look*

OG vs remastered

They made Rachel's skin smoother and lips & face prettier

[fox-guardian]

sometimes i am reminded of strange comments i receive on my art and i am still baffled.

[ID: Tags reading "your alice looks like shes adicted to heroin and I love that" end ID]

like. no, people who are addicted to drugs shouldn't feel shame over their appearances, ofc. but also Why Would You Say This To Me.

[gothicprep]

Cool. I cut my hair in my bathroom for free.

[tinderbox210]

Star Trek: Strange New Worlds + T'Pril's roasting vs Pike's praising of Spock

Star Trek: Strange New Worlds: s02e05 - Charades Star Trek: Strange New Worlds: s01e05 - Spock Amok