poopylumpkins

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Me when Eggman complained that he was, quote, "undesirable to all possible genders"

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Sonic the Hedgehog 3 (2024)

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gave nari flowers and he acted like a huge bitch about it but now once a day he's stopping me just to ask if my day's going well.

this guy is NOT beating the allegations

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I've been real busy lately because it's December and I work at the post office, so of course I am

But that doesn't mean I can't show up with an unprompted PSA

Hey! Have you ever mailed a letter to Santa Claus? Have you ever wondered what exactly happened to that letter? Well wonder no longer! If it had a stamp and a return address, then odds are that it ended up on the USPS's Operation Santa page!

Every year, the USPS collects letters to Santa Claus, and processes them to black out any identifying information. Last names, addresses, things like that. Then, the letters are posted on the Operation Santa webpage and people can adopt the letters.

Once you adopt a letter, you can buy gifts for them, wrap them up, and package them. Then you get a barcode from the website, and bring them to a post office. The clerk there will scan the barcode, which prints out a label with the address on it, and sends out the gift.

It's anonymous on both ends, and is generally just. A really nice thing to do.

I highly recommend it if you have some money to spare this year and want to give a kid a moment of magic this year

It's one of those things that the post office just happened to be positioned to do, and ended up knocking it out of the park. Unfortunately, I don't think they advertise this nearly well enough, and most letters end up going unanswered

Hopefully, a few more will be answered this year

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perchance missing caitvi scene (set in act 3)

edit: tbc i wrote this

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Mizu, femininity, and fallen sparrows

In my last post about Mizu and Akemi, I feel like I came across as overly critical of Mizu given that Mizu is a woman who - in her own words - has to live as a man in order to go down the path of revenge.

If she is ever discovered to be female by the wrong person, she will not only be unable to complete her quest, but there's a good chance that she'll be arrested or killed.

So it makes complete sense for Mizu to distance herself as much as possible from any behavior that she feels like would make someone question her sex.

I felt so indignant toward Mizu on my first couple watchthroughs for this moment. Why couldn't Mizu bribe the woman and her child's way into the city too? If Mizu is presenting as a man, couldn't she claim to be the woman's escort?

However, this moment makes things pretty clear. Mizu knows all too well the plight of women in her society. She knows it so well that she cannot risk ever finding herself back in their position again. She helps in what little way she can - without drawing attention to herself.

Mizu is not a hero and she is not one to make of herself a martyr - she will not set herself on fire to keep others warm. There's room to argue that Mizu shouldn't prioritize her quest over people's lives, but given the collateral damage Mizu can live with in almost every episode of season 1, Mizu is simply not operating under that kind of morality at this point. ("You don't know what I've done to reach you," Mizu tells Fowler.)

And while I still feel like Mizu has an obvious and established blind spot when it comes to Akemi because of their differences in station, such that Mizu's judgment of Akemi and actions in episode 5 are the result of prejudice rather than the result of Mizu's caution, I also want to establish that Mizu is just as caged as Akemi is, despite her technically having more freedom while living as a man.

Mizu can hide her mixed race identity some of the time, and she can hide her sex almost all of the time, but being able to operate outside of her society's strict rules for women does not mean she cannot see their plight.

It does not mean she doesn't hurt for them.

Back to Mizu and collateral damage, remember that sparrow?

While Mizu is breaking into Boss Hamata's manse, she gets startled by a bird and kills it on reflex. She then cradles it in her hands - much more tenderly than we've seen Mizu treat almost anything up to this point in the season:

She then puts it in its nest, with its unhatched eggs. Almost like she's trying to make the death look natural. Or like an accident.

You see where I'm going with this.

When Mizu kills Kinuyo, Mizu lingers in the moment, holding the body tenderly:

And btw a lot of stuff about this show hit me hard, but this remains the biggest gut punch of them all for me, Mizu holding that poor girl's body close, GOD

When Mizu arranges the "scene of the crime," Kinuyo's body is delicate, birdlike. And Mizu is so shaken afterward that she gets sloppy. She's horrified at this kill to the point that she can't bring herself to take another innocent life - the boy who rats her out.

MIZU'S ONE MOMENT OF SOFTNESS AND MERCY, COMING ON THE HEELS OF HER NEEDING TO KILL A GIRL TO SPARE HER THE WORST FATE THAT THIS RIGID SOCIETY HAS TO OFFER WOMEN, AND TO SPARE A BROTHEL FULL OF INNOCENT WOMEN WHO ARE THE CASTOFFS OF SOCIETY, NEARLY RESULTS IN ALL OF THEIR DEATHS

No wonder Mizu is as stoic and cold as she is.

And no wonder Mizu has no patience for Akemi whatsoever right before the terrible reveal and the fight breaks out:

Speaking of Akemi - guess who else is compared to a bird!

The plumage is more colorful, a bit flashier. But a bird is a bird.

And, uh

Yeah.

I like to think that Mizu killing the sparrow is not only foreshadowing for what she must do to Kinuyo, but is also a representation of the choice she makes on Akemi's behalf. She decides to cage the bird because she believes the bird is "better off." Better off caged than... dead.

But because Mizu doesn't know Akemi or her situation, she of course doesn't realize that the bird is fated to die if it is caged and sent back home.

Mizu is clearly not happy, or pleased, or satisfied by allowing Akemi to be dragged back to her father:

But softness and mercy haven't gotten Mizu anywhere good, recently.

There is so much tragedy layered into Mizu's character, and it includes the things she has to witness and the choices she makes - or believes she has to make - involving women, when she herself can skirt around a lot of what her society throws at women. Although, I do believe that it comes at the cost of a part of Mizu's soul.

After all, I'm gonna be haunted for the rest of this show by Mizu's very first prayer in episode 1:

"LET" her die. Because as Ringo points out, she doesn't "know how" to die.

Kind of like another bird in this show:

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Laptops are always so much more Fucked than phones in my experience. A laptop is like a beautiful horse that wants nothing more than to break all of its legs. A decently solid android phone will act normal

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The holy grail of searching through academic literature is coming across a string of publications that are like:

Here’s An Idea. Smith et al. 2016

Terrible Idea; a comment on Smith et al. 2016. Johnson 2016.

You’re Wrong Too; a response to Johnson 2016. Nelson 2016.

Guys Just Stop Fighting, None Of Us Know What’s Going On; a Review of the Current Literature. McBrien 2017.

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leaving aside the fact that jinx is probably still alive, that ending was oddly comforting.

the two sisters will never grow old together in either timeline. but in each one where they do survive, they find happiness. they find purpose. they keep going. isnt that what we all do? the tragedy of life is that we will never get everything we want. the beauty of it is that we still make it worth living.

i know people are going to give the writers a lot of shit for this, but i admire that they took this direction. its painfully realistic, its bittersweet and it hit me harder than any piece of media has any right to.

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Ekko: *in a nice universe where the Undercity is fine, his father figure and most of his friends are alive and fine, Silco is also alive and gets along with Vander and where he gets to see the best version of the girl he loves and be with her*

Jayce:

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Came to Tumblr for Arcane takes because the folks on Twitter are incorrect, like..

I trust my fellow silly little tumblrinas to dissect and analyze better than the pessimistic bird app people, I’m sorry

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the color blue reminds me of you

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Fuck.

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I finally watched this movie, it hit me so hard.

I’d been listening to the soundtrack for a while, as a bad habit, I tend to listen to movie soundtracks before watching the source material—and I’m really into Yeule’s music—so I discovered the movie thru the release of their featured song in the movie.

I finally gave it a chance and, wow.

Huge tangent under the cut <3

I’m nonbinary. I’m afab. This movie resonated with me so much.

Making this discovery was a hard one, it was like I’d opened Pandora’s Box.

One of my other (dearest) friends had come out as nb when we were younger and it scared me, it was something I was aware of but pushed away in fear of discovery. Same with my lesbian identity. But the TV kept glowing, I wouldn’t lose them over my own cowardice. Eventually I realized I was lesbian, I’d realized I was trans.

Sometimes I feel connected to womanhood, to my femininity.

For the sake of others, I sacrifice my otherness for their comfort. I go by all pronouns because I’m afraid of dropping “she” from everyone else’s mind. I go by they/she in public spaces where I feel safe enough to do so, but at home, I’m still just a woman, I’m still “her”. Only that.

And it’s difficult reconciling this when I do dress femininely, when I let my friends call me woman. Even when I do that to myself, because I am, paradoxically, as I am not. I don’t know, gender is hard. I present as a woman to a lot of people, so I have experiences socialized as such.

Not to tote any weird superiority complexes, but I like the way God is described in the bible. “I am that I am.” The image of everyone, man, woman, otherwise, all simultaneously.

I feel maybe it’s like that for me, with womanhood. I am woman, I am something else. I like masculine terms for myself sometimes. Sometimes it feels like an empty space. Like [Owen] described it on the bleachers to [Maddy]. I severely hate overly gendered conversation. As a transmasc person, I do like dude and bro but yk even that gets tiresome.

“Yes, Girl.”

“Queen.”

“Miss.”

Only my closest friends call me by “they/them” pronouns, even then, I let it slip when they don’t get it right. But they know me for who I am beyond the screen, and I do just go by any pronouns. But we’re also just used to pushing that away in the eyes of others who don’t see the screen glowing.

In I Saw The TV Glow, Owen and Isabel are parallels to each other (because they are one and the same), they’re both too cowardly for confrontation, Isabel realizes she’s dying [as Owen] and apologizes for the sake of others’ comfort, at the end of the movie, at the outburst her realization causes.

The ending is left up to interpretation, whether she buries herself in the ground with Tara, or she continues to die, living a life as someone fake.

I like to remain hopeful, optimistic. Though, “there is still time,” might read as a warning—you still have time, but it will run out eventually—I see it as a message of hope for those of us who can’t explore our gender identities as freely as others. An eventuality.

During the wire breakage scene, where [Owen] finds herself stopped in the road—where she finds the burning papers of the episode guides, she reads “S06:e01” I like to think that that is where the movie ends and her true life begins. She does break out of the midnight realm.

She doesn’t continue to cower away, though she is wont to do. She opened her chest up and saw her missing heart, saw the “Pink Opaque,” and ran back to Tara, leaving this world behind, and saving face with her apologies.

..

This movie also filled me with existential dread.

When [Owen] watched the finale’s tape, when she launched her head into the tv and mourned the fact that her father wasn’t really her father—a foreboding, looming figure representing prominent patriarchal ideals—when she told us about how it was “time to become a real man,” when her father died, further burying herself into this life that wasn’t hers with a family that wasn’t either—it was terrifying.

We never see that family she had onscreen, and the mention of them makes [Owen] look so defeated. She watches the “Pink Opaque” again and it isn’t as she remembers. Just as Mr. Melancholy said would happen.

“Soon you won’t even remember that you’re dying.”

Whole movie was such a harrowing, representative experience. I sobbed. I mourned. It was like mourning for a past me, for the parts of myself that must stay hidden, for covering the screen.

And the fact that Tara was relatively butch in her real life, but was an awkward girl experimenting with her feminine expression up until she realized she had to escape in the Midnight Realm. I felt connection to her expression as much as I did Isabel’s egg crack.

They were so lesbians for each other, too, be it in a qpp sense or in another way.

…

Here I am listening to the OST again, replaying Yeule’s cover of “Anthems for a 17-year-old Girl,” on my 20th birthday (oh yeah that’s today) and just.. feeling such a frenzy of emotions.

Ultimately, just—

There will still be time. You’ll bury the you that isn’t authentic in the ground and rise as your truest form eventually. There will always be eventually. There will always be you..

I will be there waiting for me.

But I know that's not true. That's just fantasy. Kid's stuff.

I SAW THE TV GLOW (2024) dir. Jane Schoenbrun

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this is the type of family the woke left wants

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Vander: I've always liked the name Violet. Silco: *snorts a line* Hey, you know what I like?