#AND LIKE! none of this is ADDRESSED

[shitpostingkats]

Wandering my hallways and pacing around my home thinking about Final Fantasy XV and its myriad examples of the core cast casually dehumanizing themselves for the sake of what they believe to be something greater. Ignis has perfectly fine vision but wears glasses to correct to 20/20. "When you can't focus, I focus for you." All of Episode Prompto. Ravus seeing his sister's death as a tragedy, not just because she's dead, but because she's dead and she doesn't even get to rest. The repeated imagery of getting closer and closer to Noct's destined goal is literally him trying to hold very still and not flinch as he lets a sword hit him. The goddamn ending. The game is not in conversation with this theme. These are things that are true to the characters and they cannot imagine a world where they are not. I'm climbing on the walls.

[bumblingbabooshka]

I know the most common fanon for Tuvok post Voyager is that he's mostly fine and one of more stable ones but I personally think it'd be funny if he cracked like a goddamn egg and went off the deep end for a few years before finding his way back to semi-normalcy. Janeway's like "Where's Tuvok?" and the answer is that he quit Starfleet, joined a temple, left the temple in the middle of the night to go wander around the desert, almost died but was taken in by a kindly old woman, lived with her for two months before she died, left the desert hut to alert her family and upon completing that task hopped on the first freighter off Vulcan, got stranded on a deserted asteroid after being the sole survivor of the crash, was rescued, mind melded with an alien who can see the future but died in the process and can't remember anything about it except for the vague feeling that he spoke with Kes, was brought back to life by Chakotay who told him that Janeway was looking for him [at which point he pointed out that Chakotay is also not in contact with Janeway and then ran away again], returned to Vulcan but only to find and climb to the top of a holy mountain which took several months and upon reaching the top he feels a sense of enlightenment which permeates his familial bonds as the first sign in almost a year that he's alive at all. Upon finishing his climb down the mountain he stays in a nearby village and serves in their temple for several more months until it's attacked by aliens because of some artifact hidden deep within the temple walls and he puts his tactical strategy to good use, fending off the attack. Harry Kim [with Starfleet] appears and is like "You need to go home, man. People think you're dead." Then he goes home and joins Starfleet again and he's literally only allowed back in because of Janeway and Janeway accepts him out of her love for her crew and also because she's kind of worried that he'll join an ice fishing expedition or cult if she doesn't. This only adds to the lore of Voyager as a cursed ship and her Crew as all-in-the-family maniacs.

[dykedvonte]

Jimmy killing himself because he knows he is incapable of living an life without Curly and knows that in the miracle chance they were found and saved they would not let him have contact with Curly and he hates the idea he'd actually have to take responsibility.

Even if he lied, its only a matter of time before Curly is capable of showing or telling what a monster he really is, no matter what delusions tell Jimmy Curly would never do that to him.

He understands that he was the monster in everyone's worse moments but refused to accept that at the end. So he made sure that he died without the possibility of it being actualized as he's the only one that saw death as an escape rather than a release. Jimmy truly didn't believe Curly had anything to escape from even after everything and let him have what he perceived as glory as the sole survivor and thus Captain of the Tulpar.

[commsroom]

minkowski and hera (indirectly; to herself) are the only ones who call eiffel "doug", eiffel is the only one who calls minkowski "renée", hilbert is the only one who calls lovelace "isabel", and no one calls hilbert by (any of) his first names. kepler calls jacobi "daniel" and maxwell "alana", and maxwell and jacobi use each other's first names too, but neither of them ever calls him "warren" - the only person who does is rachel, while he calls her "miss young." pryce and cutter are the only people who use each other's first names (though cutter's habit of almost always only using first names is a whole other thing.)

[dayurno]

this is somewhat of a vent post & something i said i would not do again but has been plaguing me enough that i think getting it out might feel better. so. has anydoggy else been. Baffled and upset by nora sakavic’s refusal to speak on how terribly aftg has treated its characters of color? with the author of the series coming back with a new book and starting up on her online activity again, and questions of what she’d change about aftg bubbling up, it’s particularly glaring to me that we are all playing this very long game of pretend where we ignore how badly the non-white cast has been treated & her lack of thoughts on it

and i understand not wanting to bring up nicky and thea because people pick on her for it. i’m not trying to discredit nora sakavic’s terrible history of getting harrassed online by aftg fans. but i think it is very cynical, and it is very juvenile, and most of all very cruel, that she gets to ignore the very real ways the books have set up these characters to be hated. i think it’s obvious why the characters who get the most hate are the only canonical characters of color, and i think we do not get to treat this like a deliberate decision on the fandom’s part when the books have put these same characters in degrading and embarrassing and terrible positions in the first place. aftg is not a story about nice characters with clean pasts, but there is a very specific nastiness to the only characters of color being a brown man who sexually harasses and later assaults the main character, a black woman whose only scene is her lashing out at her love interest after being ignored for the first two books, and the japanese villain who gets maybe two lines of complexity before he goes back to being a terrible person. the white cast, in comparison, while not at all free from flaws, are never shown to commit mindless evil; all of their actions are ultimately justified. the book goes out of its way to give them concession after concession. we know exactly who to side with, because aftg tells us who these people are. does nicky’s assault ever get addressed in the books? does riko’s reasoning to be the way that he is ever gets more than briefly aluded to? is thea reserved even a shred of humanity or grace in her one scene?

anyway. it’s been years of talking about this and the fandom has been constantly hostile to criticism in this regard, and more recently any criticism at all, and it’s Grating to be on the other side of this discussion. it’s exhausting to know that in ten years we do not get even an acknowledgment besides the author saying she will not answer questions about nicky and thea anymore. it’s upsetting and it’s ugly and i wish no one had to talk about this again, but we do because what i thought was common sense has been washed away by a sudden influx of no-nuance adoration for the trilogy. basically i hope we all explode

[diazmaximoff]

Deck Nine on their way to erase LIS2's timeline from their games and pretend that none of the politically significant events, like Esteban's death or the border wall getting destroyed by two kids, ever happened:

[softpine]

i like how we all collectively agreed that covid does not exist in any of our sims stories

[k-n0-x]

Red flags but the flags are heart shaped~

✩₊˚.⋆☾⋆⁺₊✧🚩✩₊˚.⋆☾⋆⁺₊✧

Okay we all know that Lucifer is the perfect man for me, but even the brightest stars have their dull moments.

Luci has these moments where he’s really clingy where it’s almost possessive? and sticks to your side like a cleaver, which usually you don’t mind, but it gets annoying when he whines whenever you have to do the most mundane tasks.

Gets jealous waaaaay too easily. If you give positive attention to any other Hell resident bar Charlie ofc, it sends him into a fit of silent rage, some of which you notice, and confront him about it.

This leads to the next red flag. He clams up and defends himself, using excuses like “He doesn’t wanna lose you” (Which is valid, given his backstory) but sometimes he doesn’t just admit he’s wrong, and communicate that in an appropriate way. Though, he tries to improve, without telling you as such.

Speaking of communication, he struggles to open up about his problems and what he sees; 9 times out of 10, you have to coax it out of him.

✩₊˚.⋆☾⋆⁺₊✧🚩✩₊˚.⋆☾⋆⁺₊✧

[tacticalgrandma]

I love how fandom and ao3 are gay gay queer utopias right up until someone mentions how these environments seem to replicate the misogynistic patterns of the societies they come from, at which point all writers are cishet women.

[rragnaroks]

hello. it is i, your friendly neighbourhood goblin that pops up every now and then to scream about something new.

i love damien haas.

this has been a psa.

[wavesoutbeingtossed]

I know it’s been talked about ad nauseam, but I think one of the things that got lost in the discourse about TTPD and the muses and whatnot is how one of, if not the core trigger points of the album is the yearning for commitment and perhaps even more poignantly, motherhood.

The reason she was so susceptible to falling for the “conman’s get love quick schemes” is because she was grieving that imagined life with the person she had long assumed would be the one to give her that. What has been beyond clear in several albums, let alone interviews etc, is that those plans for building a family were very much real and top of mind for years, and she kept holding on and shifting her world in service of making that happen. And when whatever happened happened that pulled that rug out from under her, it left her bereft not just for the relationship that had once been her world but also the imagined family she had been hoping for and sticking out the hard times for.

And that’s likely why she was swayed by and trusting of the promises of someone who knew her history and knew how unmooring that loss was to her. It may have been partially about the person himself or lust or whatever, but the core issue was the pain of giving up the dream, and sublimating that dream into this new opportunity in front of her, because she was so desperate to hold onto the last scraps of that imagined life she wanted so badly. (And I don’t mean desperate as in pathetic or negative, I mean as in fighting within the last ounce of energy and hope she had.) It wasn’t rational and it wasn’t love, it was grief, not just for a relationship but even more so for the family it represented.

So to me the core issue of TTPD isn’t just the Joe vs. Matty or whoever of it all: it’s Taylor and her yearning. She wanted a family badly and a life that was theirs and was processing losing that in all kinds of ways. It’s all over the album in overt and subtle lyrics. It may not have been grieving a literal death but I’d bet it felt pretty darn close.

And I’d also bet that’s why we’re seeing… what we’re seeing now.

(I have so many more thoughts about womanhood and motherhood on TTPD but that is another post being worked on piecemeal in my drafts… this is just a little Saturday morning post-zoomies reflection)

[lovelandfrogmansupporter]

For the incredible amount of queer people I know that play Stardew Valley it’s still insane to me that I haven’t seen anyone else address the fact that Grandpa George will make Wildly homophobic statements about how it’s unnatural for two men to get married if you’re playing as a male farmer that romances his grandson. I cannot be the only person that thinks about that constantly. I simply cannot be

[a-very-sparkly-nerd]

You think YOU'RE obsessed? Well, at the start of every single session, the first thing my therapist asks me about is TDP news bc it's like all I talk about

[dykedvonte]

I think how Swansea and Curly treat Anya telling them about Jimmy is so interesting.

I know I just mentioned it but it’s stuck in my head how Swansea already disliked Jimmy. Immediately believed her but he still didn’t do anything to actually stop him and help her. He listened and accepted it, and that must’ve been a relief compared to Curly who listened but didn’t. But it still left her vulnerable and without whatever emotional support Curly did supply her. His inaction is only different because his position on the crew is different. But after the crash, did that really matter?

Like in the end Swansea really was only trying to avenge Daisuke and used Anya’s treatment from Jimmy as an accelerant to kill him, but he still did nothing for her.

[awesomefringey]

.

[goldenbellamy]

I think the main reason why I feel lukewarm about the season finale of doctor who is because in regards to Ruby it only answers the question about who her mum is and I was only tangentially interested in that question because I thought it could be the answer to the question I was actually interested in: who is Ruby? But it isn't.

And to be fair I do like that Ruby's mum was just a normal person. But now that we have this answer I still have so many questions about Ruby and I am no longer confident that we will get to have an answer to those questions.

Seriously why was Ruby able to make it snow?? If we never get an explanation for that I am going to be furious. Why did Maestro say that Ruby was wrong? Why were people so scared and disgusted by Ruby in 73 Yards?

If all of that was just a bait and switch to get people talking and theorizing about who Ruby's mum is then I think that was bad writing and that the set up doesn't flow naturally to the conclusion. You can't say that Ruby is special and can do all these magical things only to in the finale go "what do you mean Ruby is normal?"