#who never half-asses anything

[ruporas]

kiss the pain away

[foolsocracy]

I can't help but notice you haven't posted any angst in a while and I'm suspicious

whipped this one up just for u anon

[krispiecake]

tell me why i can hear another tenants fucking music from my flat. HE DOESNT EVEN LIVE IN MY BUILDING. HE LIVES IN A COMPLETELY SEPARATE BUILDING ON THE SECOND FLOOR AND I CAN HEAR HIS MUSIC FROM MY FLAT. MY FLAT WHICH IS IN A DIFFERENT SEPARATE BUILDING.

[cashmere-caveman]

My Country: The New Age, first and last episodes & Hanif Abdurraqib, For The Dogs Who Barked At Me On The Sidewalks in Connecticut (text/audio) image descriptions in alt

[junotter]

what i think is the reason I'm Just Ken is a good/as popular as it is is because the way it somehow explores both what its like to be a woman and man just through ken.

like the line "I'm just Ken. Anywhere else I'd be a ten." just feels very hitting as a woman in a social media world, especially if you've seen the truerateme subreddits and the ways they judge women.

and of course the fragility and inability to find meaning/self worth outside of a romantic relationship due to the strict boxes placed on men and male relationships (and even friendships between men and women).

theres more and i know im getting annoying with the barbie posts but i did really like the movie, regardless of how "bland" its feminism is. also just all the chronically online feminists complaining about how basic it is, like oh should we tell everyone? Should we throw a party? should we invite andrea dworkin.

like is it perfect? no. does it lack in intersectionality and have poc characters act as the support to white characters? yes. should ken probably of apologized? yeah. but many things can be true about one movie.

[shoyostar]

r u never gonna update haikyuu dear future husband cause it’s literally been 4 months 💀

no actually it’s never being updated. infact i am deleting dfh in .2 seconds as we speak .

[dream-sans-mogai]

Ive officially exited my " oh God! I don't wanna get called out and harassed by the mogai community! I value this community but I hate all the inner policing! I'm so scared to say anything and accidentally upset people, I'm just gonna be quiet and hide" era and entered my " fuck off, get blocked and glocked. Im here to post flags and identities and that's fuckin it. I litterally don't care anymore, nothing you say is based in reality or matters outside of this horrendous site. No one is thinking about any of this other than you and like 500 other people, if that, so I'm not apologizing for shit." era so watch out for the debris.

[seilon]

shouldn’t have checked my bank account as expected my mother has taken thousands more dollars from my savings and has almost run me dry more or less. Cool!

[torchickentacos]

you ever scroll past some sort of discourse that you didn't even know existed, and you have to take a second and realize that, while none of us are superior to others, some of us ARE much better at choosing which dumbass hills to die on? because I think sometimes you deserve to go 'huh. at least I'm not getting involved in all that'.

[tardis--dreams]

Some of those doctors make hating oat milk their entire personality. I hate them. Cannot pretend to find them funny or like i give a shit. Fucking pretentious assholes

[basically-fabulous]

u "don't vote" motherfuckers r stupid as shit

[drawnecromancy]

You know what, I'm in a weird spot with that FNAF movie.

I don't think it was very good ! As a horror movie, it made me laugh because especially towards the end the mystery and atmosphere vanished to get Fazbear Franchise Points. Like. Not laugh in the way horror can make you startle-laugh, or laugh so self-soothe. In a way that is "oh god, I see what they wanted to do, and they failed, and this is so endearing, and also so funny".

But...

I enjoyed myself immensely. It had some really cool ideas, and i love love love the visuals. I'd recommend watching it, even.

I like despite how the writing feels flimsy, cardboardy at times, Mike felt real and is very consistent throughout the movie.

I like despite how that movie is trying to tell 4 different stories, not all of them horror, just weirdly breaking up narratively in ways that don't really make sense, it's trying to tell all of them with love and care for the characters.

I love how it's not a soulless cash grab adaptation, and how I can overlook the writing flaws and the one cameo and enjoy it because damn ! It's a whole movie about the giant murder robots ! Those giant murder robots I loved as a kid !

I, genuinely, think that writing wise, you could break it up in 2, maybe even 3 different movies that would all have enough substance to go for an hour and a half. Really, most of this movie's problem isn't the stories it's trying to tell. It's - pick your battles, that's too many battles, put some back.

But it was genuinely fun.

I wouldn't call it a "good movie", by my own standards, but I had 0 expectations and again I enjoyed myself immensely.

Go watch them giant robots. It's so cool. It's so cool.

[reachexceedinggrasp]

It is really weird, as you say, that these sorts of characters (Beasts, grotesques, Byronic heroes, etc.) are so emotionally, aesthetically, narratively potent and draw on a rich literary history, yet they're such a contentious archetype, rarely done well now. I personally ascribe that to an obvious modern shift in the direction of storytelling cynicism (and I think you elsewhere have too, so don't mind me repeating your points back at you), but do you see a way out of it?

It's obviously an issue which goes beyond them (I mean even the central idea of redemption, or a complicated soul, is contentious), and so I imagine that the way out is effectively only possible if there are much more broader shifts in discourse. I think it's probably true that we might've peaked with cynicism now (absurdism seems to be more an idea that's being embraced - much as I don't like that, either, it's a gestural attempt at least).

But to circle back away from that, it's so funny how... if you're sincere and if you care and if you're trying hard, you can trip and fall into a complicated, Beastly character. And then they get mad about it.

Off anon because I figured I may as well hee hee.

It's definitely a weird moment in mass pop culture, because cynicism is so ingrained as the default that there's sometimes a lack of self-awareness about it from the writers who are responsible for the most mercilessly cynical takes. Of course, writing extruded movie product by marketing committee, as a lot of them are, is unlikely to produce different results, but I believe some of these people genuinely aren't cognizant of the worldviews they're putting across in these stories.

Romanticism has been deeply out of fashion for a long time and idealism is never in fashion, so it's not like cynicism itself is new as the dominant attitude, but it seems like that cynicism has become ever more juvenile and shallow. People steeped in it try to write optimism to play to the crowd (because generally people want a happy ending) and it comes off as the bleakest, most hopeless nihilism.

I think real idealism is challenging and the more complex the story becomes, the more challenging it is, so that you encounter more resistance writing idealistic narratives for adults, because it's so demanding when we see what it really looks like. It stops being crowd pleasing when uncompromising principles come up against the audience's desire for revenge, spectacle, machismo, etc. And because compassion and forgiveness have been relegated to media for children, people are wont to dismiss them as childish. Cynicism is still seen as cool and grown up and 'just being realistic' and fosters a vast wasteland of boring, lazy stories with characters you don't care about.

It is funny how people trip into Sad Murder Boys/Beasts/grotesques, but I think it sort of makes sense for the same reason they're such a rare character type despite being intensely impactful every time they happen, the same reason they're contentious: these are inherently romantic archetypes. So if you're trying to write passionately about this dark figure and you want him to be a complex character, so you give him pathos, and you want him to be powerful or intimidating because you're using him as a threat but still have big flaws so he can be defeated by the hero, and you want him to be charismatic to show why people would trust or follow him, and you want him to be attractive so you can have your incel message about male allure being dangerous... oops, you've accidentally created a romantic figure.

People accidentally writing tragic heroes when trying to write villains have already made something way more compelling than what they imagined, but then when they play up the pathos in attempt to emphasise free choice and create a tension where the audience sees a desire for healing from the character, a potential for change, they have inserted the most dynamic drama known to man. The hope this represents is so potent that it's going to alter the entire landscape of the narrative whether you want it to or not.

The possibility of redemption is a fundamentally idealistic concept and once we have our rogue romantic character breaking through stolid predictable archetypes and rigid storytelling, there's equal parts terror and intrigue on the part of the audience that they might be challenged with it. Redemption equals death is so popular because it defangs the challenge, it strips it of cost and consequence, allowing a veneer of optimism and admirable morality without needing to deal with what makes being ethical hard.

I think what we need more than anything else is more deliberate writing. People who actually want to tell a story and have something they want to say. No one is going to write anything legitimately challenging when they've been commissioned to make Captain Bland 11 and the story barely matters to anyone involved in production. It's uncool to care and there's a lack of respect for the audience, so the most you get is more 3edgy4me death and cynicism because these manchildren are convinced that's somehow still subversive despite paragon heroes who always say the day having been extinct for about fifty years.

You won't get brave choices out of the mainstream until someone with huge money decides they want to make them, because the entertainment industry has consolidated into the most risk-averse and cynical possible version of itself. Either something escapes containment and shows how profitable actually following through on romanticism can still be (you'd think this would have happened by now given how many chances have come up), or the current hierarchy crashes and burns and the field opens up to variety again.

[ljuerlav]

how do you ask your roommate to leave surfaces generally in a clean and working order. not even talking about clutter but like oil and grime and shit

[posallys]

genuinely asking but like. how do you do the whole friend thing. i kind of got fucked over during high school because moving states + covid, so i didn't make any of those long-term highschool friends, and then got depressed but was also focusing on the IB diploma and playing 2 varsity sports so I didn't have time to do anything ever.

and now i'm in college in my only real-life friends are my bestie i've known since first grade but haven't seen in 3 years because I moved and we have a relationship where we text each other and then it takes the other a month to respond and then the cycle repeats, and my boyfriend of 4.5 years.

[deadtower]

lost a mutual on twt for saying "i can't believe there are people i trusted who are now mask-off spreading rothschild conspiracy theories" so i regret to inform everyone it seems we are at That Level of mask-off unapologetic antisemitism