#AS IF SHOWING BASIC KINDNESS WAS THE PROBLEM
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bethanydelleman · 1 day ago
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One thing I've been thinking about, specifically with adaptations of Jane Austen novels, is that often her point is "Don't trust the Handsome and Charming guy" but adaptations refuse to make the Handsome Charming Guy sufficiently charming and handsome.
S&S 1995 will always hold a place in my heart because Greg Wise looks like a leading man. He's handsome, he's charming, they give him some great scenes with Marianne and they sell the fantasy of that couple. S&S 2008 was a disappointment to me because Willoughby looked slimy from Day 1. That's not right! Even Elinor was deceived by him! (even though she kept some doubts)
Wickham suffers from this a lot. Darcy may be handsome, but Wickham made the whole town in love with him. SHOW ME THAT! Show me even the old ladies fanning themselves when he comes into a room, show me Elizabeth who wants to dance half the night with him, show me every girl in town acting like he's the most handsome and charming man they've ever met in their lives! Wickham in 1995 P&P looks like a knock-off Darcy (sorry) and that's not right. Also, Elizabeth being downright smug when she learns the "truth" about Darcy and admiring Wickham more.
Now Mansfield Park's problem is kind of the opposite, because Henry Crawford is canonically NOT HOT but they keep making him hot (except in 1983, my love). But give me a man who can charm the pants off a married woman! That is what we need to see! It's basically the same thing, attractive on a surface level, slimy underneath, though for him the attraction is how he speaks. (Henry Crawford suffers from the same plight as Rochester, as an aside, stop casting hot men for the canonically not hot dude!)
These stories are based on the fact that the wrong option looks attractive. Make it so!
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shizucheese · 2 days ago
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An open letter to @samreich and @dropoutdottv
I am writing this letter in response to the statement you posted yesterday, as well as the response of some within your community in response to Jewish people speaking out about it.
I have always admired Dropout for the inclusive space that you had created for marginalized people. Yesterday you showed that I and my fellow Jewish fans are not included in that. Everything I have been able to find shows that this was prompted by Noah Grossman and Rachel Bloom having been on your network recently. From my own research, Noah Grossman has not made any statement about the war in Gaza. Multiple people have pointed this out. The closest I have been able to find as evidence that Rachel Bloom is a “Zionist” is that performed at a fundraiser for a hospital in Tel Aviv. There is no evidence that I could find to indicate that either of them support the actions of the Israeli government in Gaza. You yourselves said in your own statement that to your knowledge no one who has appeared on Dropout has openly identified as a Zionist." What this means is that people saw you had people on your network who were Jewish and had even the slightest connection to Israel, and decided to accuse them of being “Zionists” and you of Platforming them.
Multiple Jewish members of your community have spoken out, explaining to you far better than I could why your response was incredibly antisemitic. I am begging you to listen to those members of your community, and do better. You cannot foster a community or space that is safe for everyone, particularly marginalized people, if you are also fostering a space where antisemitism goes unchecked.
Related to all of this, I want to take a moment to discuss the meaning and history of the word “Zionist.” A member of your Discord community voiced their frustration over your statement and how the word “Zionism” is being used. I will link it here, because I think they and a few others made some very good points that I intend to expand on here: https://www.reddit.com/r/dropout/comments/1gjjver/antizionism_antisemitism_from_a_longtime_fan_of/
I am going to include the response from the subreddit mod here: “This seems to be a reasonable and nuanced take so I don't want to dismiss it out of hand, but since you're using different definitions you're either intentionally or unintentionally creating strawmen arguments that to my knowledge no one here is supporting. If they are, please report it and it will be handled.
I'm definitely not an expert on what the definition of Zionism is or should be, but it's clear that Dropout's statement is not using the same definition you are here, so focusing entirely on the semantics isn't relevant to the actual issues being discussed.”
I realize the moderators of the dropout subreddit are likely not directly affiliated with you, and I will not hold you personally responsible for the words and actions of someone who is likely a fan basically doing volunteer work within your fan community, but their words and actions and the rhetoric that can be found in the subreddit in response to this Jewish person speaking out are indicative of the attitude and treatment of Jewish people that lead to this whole situation in the first place, and the kind of culture that statements like the one you made yesterday cultivate.
There are several problems with the statement the reddit mod made, and the mindset behind it.
The first major one, as many people in the replies pointed out, is that people from outside of a community have no right to tell people from within that community what a their own terminology means. Coopting a word from a culture and then talking over them when people from that culture speak out against it is incredibly problematic. For the record, because I and I know many other Jewish people have experienced this within the past year, if not longer than that: people from outside a marginalized group do not get to tell people from within that group what is and isn’t offensive to their group, or speak over them and tell them that something that people from within that marginalized group say is offensive isn’t actually offensive.
We say that it is important to elevate marginalized voices and not speak over them, so why is it that I’ve seen so much of this when Jewish people try to speak up about their own lived experiences?
Surely there is a way to elevate Palestinian voices and listen to their struggles without silencing Jewish ones?
The second major problem here is that the word “Zionist” has come to mean so many things to so many people that it is essentially meaningless. There is a reason I have largely put the word “Zionism” in quotes this entire time. As such, it is an incredibly bad faith argument to make to accuse a Jewish person speaking out about the use of the word “Zionism” and claim that “it is clear that Dropout’s statement is not using the same Definition as you are” and dismissing it as “semantics.” Especially when the definition of “Zionism” and the fact that it has been coopted by non-Jewish people to mean something different is so central to the conversation at hand?
For some people, “Zionism” is the belief that Jews have a right to self-determination and that Israel has a right to exist. For them, “Zionism” is a wide umbrella term that covers people from those who support a One State solution in favor of Israel and should rightfully be called out for it, to people who support a Two State solution and condemn what is happening in Gaza right now. This is the Jewish definition of the word, and the one that the OP of that subreddit post was using.
For others, “Zionist” means someone who uncritically supports what Israel is doing right now.
For others, “Zionist” means “Jew.” There is a long history of the word “Zionist,” being used by antisemites, and antisemites calling themselves “antizionist” when they are either trying to justify their bigotry or mask it to make it seem more palatable.
If you can take a statement an “antizionist” has made and replace the word “Zionist” with “Jew,” and they suddenly sound like they would have been right at home in WWII Germany, they are that third one and anything they say should be taken with far more criticism.
People who fall under the first and second definitions of "Zionist" also can be described as "Pro-Israel," and bad faith actors often interchangeably accuse Jewish people of being "Zionist" or "Pro-Israel" under the second definition when the reality is those people fall under the first definition and are disgusted by the actions of the Israeli government in Gaza.
So, here’s the problem: based on the complete lack of evidence that either Noah Grossman or Rachel Bloom are “Zionist” by the second definition stated here, it’s hard not to think that the people accusing Dropout of “platforming Zionists” are antisemites dressing up their antisemitism in progressive rhetoric and calling it "antizionism." They saw two Jewish people who had either stayed silent since the war started, or had at “worst” were involved with a fundraiser for a hospital, and labeled them “Zionists,” even though the actual views of both of these people are not actually known.
Your platform and two people who had appeared on it were subjected to an antisemitic campaign involving a threat of boycott, and your response was “to our knowledge, no individual who has appeared on Dropout has openly identified as a Zionist,” and then several paragraphs about the Palestinian people without even a hint of condemnation for the antisemitism at work here. Not even a single acknowledgement that being Jewish doesn’t automatically mean that someone is a “Zionist” by the second definition.
Also, like…the mod on your subreddit claimed it was “clear” which definition of “Zionist” was used in your statement, by which I assume they meant the second definition I provided. But I have personally been accused of being a “Zionist” for being in support of a two state solution, and I know for a fact—because I’ve seen it—that other Jewish people with the same beliefs have experienced this as well. Also there are people in the reblogs and tags of your Tumblr post claiming there are “Zionists in the reblogs” and “Zionists in the tags” when the closest thing I can find to “Zionism” is Jewish people calling out the antisemitism in the statement and the situation, and pointing out that the UNRWA, which you linked to in your post, has connections to Hamas, including members of their organization having been found to have been involved in the attacks on 10/7.
So no, “the definition of Zionism” is not clear here.
While we’re on the topic of Hamas, gentle reminder that Hamas was founded by people who wanted to cause a second Holocaust, their charter explicitly called for the hunting down of and murder of Jewish people as recently as 2017, (I will not link to it here, because there is a history of people getting penalized on social media for speaking out against hate speech by quoting it as if they were spreading that hate speech themselves, but it is easy enough to verify), and they still openly deny the Holocaust happened. To support, financially or otherwise, Hamas in any way is in fact to support Genocide.
When people came forward to express their disappointment in a derogatory word having been used in Breaking News and your Chris Grace special, you listened to them and made a statement addressing the issue and promising to do better. I am now asking for you to do the same for your Jewish fans: listen to what we are saying. Address it. Do better.
Also, before anyone tries to say “how can you say Dropout is Antisemitic when Sam Reich is Jewish?: --something I’ve already seen people do in the reblogs and tags of Dropout’s post and elsewhere—please do not use a Jewish person as a tool to silence other Jewish people. My one-year subscription to Dropout ends at the end of this month. If this has not been addressed by November 30, 2024, I will not be renewing my subscription and will be boycotting Dropout going forward. I urge anyone else who is disgusted by the antisemitism and silencing of Jewish voices on display here to do the same.
Thank you.
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moha-madhoun · 3 days ago
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Urgent Help !!
Please don't skip , and take a moments to read 💛
✅️Vetted by @gazavetters ✅️
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Hello , my name is Muhammad Al-Madhoun. I am 35 years old. I live in occupied Palestine, specifically the city of Gaza (North Gaza), which I love, and which has been subjected to criminal war and genocide since October 7, 2024, in front of the eyes of peoples, governments, international humanitarian institutions, and the entire world, and without them doing anything.
I have two children, Ziad, 5 years old, and his sister Mirna, one and a half years old. We were living a good life before the current war in the Gaza Strip. After the war, my children, like the rest of the children in Gaza, lived a poor life in a shelter containing more than 300 people. My two children were exposed several times to various viral infections due to the inappropriate life, the large mixing between the displaced people in the shelter, and moving between different shelters more than once.
The photos below show me with my children Ziad and Mirna before the genocide.
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- Since the beginning of the genocidal war, I have lost my only source of income until now, as I have been working in the legal profession as a "lawyer" since 2016-2017, and it seems that I have stopped practicing this profession since the beginning of the genocidal war on Gaza City, as a result of the complete destruction of my law office and the workplaces associated with this profession, such as courts, ministries and commercial companies. I have lost my profession completely or partially for many years as a result of what the devastating war on Gaza has caused.
The picture below show me in my low office before the war genocide
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Since the beginning of the genocide in the Gaza Strip and for more than a year of complete loss of income, due to the scarcity of basic goods and the increase in prices of many of them by nearly 20 times, and due to the repeated displacement of nearly 6 times and moving from one place to another, all the money I had was depleted. Now, for many months, I have been completely dependent on what I get through my campaign on the Gofundme.
I am now displaced for the sixth time to the Khan Younis (Al-Mawasi) area. I live with my family and our belongings in a room inside a shelter that does not exceed 12 square meters. Living in a shelter is indescribably difficult in all aspects. We face many problems every day due to the high prices and scarcity of basic materials such as food and cleaning materials, which has led to us bearing very high daily expenses in light of the loss of my source of income.
The picture below shows the room i live in it with my family.
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The picture below shows my little daughter mirna helps me filling water
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In the preparation of food, we often rely on some canned food that arrives to Gaza from outside, in addition to some grains such as lentils and rice, which are available in a scarce way in Gaza.
Obtaining vegetables has become a very difficult task, due to its scarcity and scarcity of some of them, and their prices have risen about 40 times or more, as a result of the absence of any land farming operations since 5 months since the beginning of the war in Gaza, with an almost complete lack of all kinds of fruits, because they did not enter through aid. or crossings.
My children are exposed almost weekly and continuously to infections and diseases as a result of the spread of various viruses, and these infections are accompanied by many worrying symptoms such as high temperature and persistent cough.
During this genocidal war which is still going on to this day and more, my house was severely damaged which resulted in the destruction and vandalism of the roof, walls, tiles, decorations, doors of the house, etc. It also caused almost complete destruction and loss of most of the contents of the house especially the furniture, wooden doors of the rooms, all the windows, electrical appliances, children's toys and everything in my house.
It also displays my law firm, which is the only source of income for destruction and destruction, including the contents, furniture, electrical appliances, laptops, important files and documents , etc. in addition to the complete destruction of most of the headquarters related to my work, such as the courts. And the public prosecutions, burning them, and destroying all their documents, which exposes me to a high probability of losing any financial income through the legal profession for a period of up to 3-4 years or more.
Here are some pictures of them in our partially destroyed house
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I need the support of friends abroad to help me buy daily supplies and needs such as food, clothes, cleaning materials, cooking gas, etc., in addition to rebuilding and repairing some of the partial damage to my home when the war ends and I return to my home in northern Gaza, in addition to buying what I lost, whether in my home or the law office, and buying the necessary home furniture and electrical appliances, and to be able to find an amount of money that will help me continue my daily life as I lived before the war, or enable me to travel outside Gaza, or enable me to establish a suitable small project, or any other work through which I can provide a good financial income after I lost my profession for many years to come, which may be very long due to the destruction that has affected all aspects of life in the Gaza Strip.
@qu33rcommunist @q @wormniac @anexperimentallife @autistically-inclined @a-r-k @abedallhferwanagaza @sayruq @silverstone-gp @strawwbethy @dandy-dog @dimobserver @dying-of-dysentery @davidgood54 @davidgood54 @dwarf-enjoyer @fluoresensitivearchived @falbet @fangirlofnico @fruitypieq @fortyseventhbluepen @geltumbrouai
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maxdibert · 2 days ago
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Hi! Could you tell me your top 5 least favorite Harry Potter characters and why?
My 5 most hated characters in Harry Potter are:
5 - Molly Weasley: I can’t stand this woman. I can’t stand how she acts like a morally superior, pure-blood yet holds endless prejudices, especially (and mostly) toward other, younger women. I don’t like her tradwife vibe, and I don’t like how overbearing and suffocating she is. Seriously, in real life, I’d feel the urge to tell her off—she’s that typical annoying woman who doesn’t know where the boundaries are.
4 - Remus Lupin: Zero sympathy for a man almost forty who got a 24-year-old girl pregnant and then abandoned her. Remus Lupin is a coward and a piece of trash, a bullying accomplice who keeps his head down regarding his own actions and needs a 17-year-old to teach him a lesson in manhood. I really wish Tonks had left him and taken off with Teddy to get as far away as possible from that pathetic excuse for a person.
3 - Dumbledore: Starting with the fact that the entire problem of the story basically stems from his irresponsibility with Tom Riddle, which already showed that he was a terrible teacher. He only shows concern for students who can serve his purposes or suck up to him, and his involvement throughout the story shows a moral stance I find nauseating. I mean, he’s a guy who has the nerve to lecture his former students who “chose the wrong path,” but when those same students were under his care, he constantly neglected and rejected them just because they didn’t belong to a certain house. He had the audacity to call Severus Snape “miserable” when it was Dumbledore himself who allowed Snape to be bullied and almost killed without lifting a finger to stop it or punish the bullies. This same Dumbledore scolds Draco Malfoy for not trusting him when from Draco’s first day at Hogwarts, all he saw from the old man was favoritism toward a certain house and certain students, completely ignoring the rest. Honestly, I’d have banned him from teaching. There’s a lot said about Snape as a teacher, but Dumbledore was responsible for everything, allowed terrible things to happen, and turned his back on many vulnerable children and teenagers. Then he acted all surprised when they ended up in bad places. Screw him, hypocritical old man.
2 - Ginny Weasley: The “I’m not like other girls,” the “shut up, Hermione, you don’t know anything about Quidditch,” the “everyone look at me, I hex people, I’m one of the boys, I’m not vain but I’m hot, but I’m not prissy,” the “I make fun of girls who are pretty, flirty, and feminine because I’m a textbook pick-me girl” who is shoved into the end of the series. She’s a character who didn’t matter at all throughout the story; she’s barely mentioned in some books, but suddenly she’s Harry’s love interest because J.K. Rowling needed all her characters to end up married with 468749284 kids, and Harry needed to be part of the Weasley family. So, they had to do something. Ginny is a terrible character, going from irrelevant to some sort of Mary Sue who even the Slytherins drool over and who, of course, is not a “typical girl” because being a “typical girl” in Rowling’s world is somehow the original sin. So, she’s great at sports, hexes people, pulls pranks because she’s so cool, uh uh uh, she’s not like the others, uh uh uh, but she has internalized misogyny that you can smell from here to China. Honestly, someone should have slapped her for being so damn stupid.
1 - James Potter: There’s nothing I haven’t already said about James Potter. He’s a character who really grinds my gears because they try to sell him as some kind of hero, but he was just a spoiled rich kid who decided to torment a poor, vulnerable boy simply because that boy was friends with his crush. He used his social power and status to get away with all the crap he pulled, attacked in groups, lied to his girlfriend saying he’d stopped bullying people when he really hadn’t, and when he was supposed to be locked up in a house with his wife and son, he was off fooling around with his best friend. James Potter was an ass, and defending him is defending classism, elitism, and whitewashing social classes. I’m not going to explain why.
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clementine-kesh · 1 day ago
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#Tom: I've accepted these things about myself~ #(Maybe you should work on improving some of these things?) #Tom: I've accepted them v_v #There's a sort of sadness in that Tom's main issues upon introduction are that he never really wanted to be starfleet #and only joined to gain his dad's approval (to be rejected utterly by both after The Incident) #and the happiness he finds involves just basically being right back where he started Pre-The Incident only with a wife and kid now #He's matured definitely but ultimately he's back where he started: Daddy loves you as long as you're a good Starfleet boy #sort of like B'Elanna only B'Elanna has it even worse where she doesn't even have the assurance of being accepted by Starfleet & Society #etc after returning to Earth (She's Maquis & She's Klingon & Her parents aren't Admirals) #It really shows just HOW performative Tom's rebellion was even if he doesn't see it that way #Even if we didn't have the fact that he joined the Maquis NOT out of any moral dilemma he had about the Federation's actions #but essentially to stick it to his dad #A great microcosm of how Tom thinks is that when B'Elanna says she might wanna break up with him because of xyz he proposes to her #It's a large change which might seem like progress because of how flighty he is and his struggles with loyalty/ fidelity #but in actuality it's just a way to maintain the status quo without addressing any of the underlying problems B'Elanna brought up to him #Instead of 'how can I improve our relationship?' the question is 'how can I get her to stay?' #He IS an interesting character but ONLY if you're willing to admit that he's kind of a shitty guy from beginning to end even if the #narrative is trying to tell you otherwise #something interesting I noticed is that I don't THINK Tom ever worries about going back to jail?? #he was told that Starfleet would essentially just put in a good word* for him if he helped them out with finding the Maquis #but he doesn't worry about returning to jail upon returning to Earth #Meanwhile B'Elanna worries about being thrown in jail even though they've both been equally loyal to Voyager - B'Elanna #perhaps even more so (didn't get demoted for disobeying orders) #*NOT that he'd be free (via @bumblingbabooshka)
yeah!! as always you’ve really hit the nail on the head here wrt the inherent tragedy of tom paris being a character who is bad at the status quo because he’s so flighty and self-interested yet is never able to truly break free from it. and the show presents that as a happy ending!! very sad and fucked up. also this is why i think he and post-picard seven would have a lot in common lol
i do actually like that tom’s arc in voyager works out to be about a guy who sucks ass and slowly gets better but is still kind of a shitty person at the end of it. it’s unfortunate though that both the writers and many of the fans don’t seem to realize that just because he’s dealt with his daddy issues and found acceptance in the voyager family doesn’t mean he doesn’t still suck by way of being racist and misogynistic and generally self-centered
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trashrattt · 3 days ago
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I totally think Code lyoko should have it's talked about reboot, mostly because
- when it came to Carthage, the most canon explanation from Franz himself, the explanation only lasts about 1 minute and 25 seconds, and nothing else comes of it
Sure, we knew why Xana was created, but like, Franz never really said Xana stopped it as it was his main intended purpose, why Xana was made to begin with, so like, that's a real issue in canon consitering Franz wanted to stop the project but never got to consitering Xana gained autonomy and all
And like, Carthage was kind of hinted at to be a bad thing too, you'd think that could be a real issue in universe
- spent 3 whole seasons building on this one character only not to do much with it at all and give him a really bad rep in universe afterwards
Okay, you know me, I like William an abnormal amount, but with all things considered, he wasn't a character to begin with, neither was a plot device imo
Yeah, he absolutely has no personality, argue with the wall if you need to
So like, yeah, he got posessed, but then what? Sure he was used to try to throw Aelita into the Digital sea, but like, tarantulas could do the same thing with those long ass arms, they could just use them as bats
And you've literally seen megatanks push her closer to the digital sea when she used a energy field as a sheild of sorts, so really, what was the point of him to begin with of other monsters could do the same thing no problem
And after a whole season of dawdling around, the writers rushed the whole "set him free" arc after ignoring it for basically the whole season, like there wasn't any episodes besides cold sweat where the characters actively try to break him free, you'd think there would be a little more give from the characters considering how #depressed Yumi was
(and yes, I know the show says, "I made ___ program" but let us see the FAILURE!!!!)
Even then, when he came back, the characters all decide "fuck this, you ain't shit to me" and dropkick him back to his life without any support, like dude lost months of his life without something he either remembers or blanked out on
- character writing in season four
Okay, this isn't really a reason why, it's more of saying "Why did you make your characters worse, we deserve better"
Because Odd in season four just became an absolutely terrible person, man
Constantly throwing his freinds under the bus just for some scheme he pulled or literally abusing the fact that he knows about Lyoko as a point to say to the others "This is why we're friends!!!1!@1!!" Even though at this point their friendship is downright terrible, like to the point where they just want to get Lyoko dealed with so they can fall apart like a poorly put together cup with scotch taped all over it
Imo nobody seemed to like each other as opposed to season 1 and 2 where they talked casually, like they had an actual friendship going on, not like "so, what's new on Lyoko, I want this shit dealt with today..." they were actual friends who did stuff together and had fun, I miss that :<
Anyways that was a more personal take, but season 4 just leaves a bad taste in my mouth with that rushed ending of theirs
Uhm oops, this was a long rant of what I dislike about the show, I was supposed to make this post simply to tell you guys what I'd propose for a continuation
Here's what I'd do:
Consitering Carthage was an abandoned idea from the depths of season 2, we build on that again
I'm imagining a non-terribly written Evo mixed with the chronicles, like bitch I actually love the idea of Ulrichs dad being tied in with Carthage simply because like, it would make so much sense (absolutely don't pull a chronicles though making EVREYONES mothers under the sun being tied in, that was stupid)
I'm also thinking, the antagonist we have is still a program, but it isn't Xana like in main series
Sure, they're simular, but it's a remnant from Carthage that has the same ideas as Xana, but worse (this is all first draft, but that's like the main idea that could work)
Also, give Will and actual personality this time, not just this "I'm soooooo sad" attitude that any traumatized character has, he has the potential to be COMPLEX!!!!
Kids cartoons nowadays are getting complex so don't say "Oh no they can't, it's a kids cartoon"
Anyways I'm hoping they build off of Carthage because that would be a PERFECT continuation aauaghh
Enjoy (?) My unexpected rant, idk
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mellohiizz · 2 days ago
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im more complex about the episode then everyone else seems to be apparently. imo they all sucked this episode.
for one, i am actually a dean sympathizer. lets be real parrot and wifies both treated him badly. i wouldnt have told parrot either when he was there constantly repeating the exact same things ash said to blackmail dean; and wifies isnt much better for affirming the shit ash told dean either, infact i would argue wifies was even worse then about it. if i was there hearing "ash was right. youre a burden, but thats ok." and "ash was right. your a burden, we should be leaving you for dead." i wouldnt want to risk jeopardizing my one source of safety either.
before the reveal that dean was actually involved in the leaking of their location wifies just came of as a semi-controlling dick. there were a million better ways all of them could have done things this episode. i dont really like the wifies glazing as if he was perfect this episode and didnt treat a fellow victim who lodgically didnt have a choice like shit. wifies is smart enough to figure out dean didnt want to sell them out. imo he had no actual reason to reason to treat dean with as little empathy as he did, especially when wifies knows exactly what its like to have his existance used to get to parrot in the exact chain of events parrot referenced after the compass was burnt.
both sides of odessy were being hypocritical and hurtful as hell and thats been a theme of uu the whole time. theyre all flawed, they are make mistakes and are selfish and hurt others doing what they think is righteous or best or safest. uu is the dichotomy of perspective, about how everyone does what they think is best and how more often then not that best hurts atleast someone. and guess what? thats life. thats actually pretty normal, especially if youve been through your own shit or are traumatized like the characters of uu are.
they all suck and hurt people, thats the moral of the story. the moral that feels very lost on most of the fandom...
-🔍🏰(f:▶️🥊)
honestly, good take. kind of made me rethink some things that happened in the episode as well.
to be fair, yes, obviously dean was treated badly the whole episode. even i noted that wifies was a bit too harsh with how he approached things the whole video. he knew that dean was leaking information, didn't tell parrot, and still tried to put basically the whole blame of it on dean. "you could argue i hid it from you" yes, wifies, you did keep it from parrot, knowing that parrot would've tried to look for a different solution.
parrot was obviously not any better. he brushed off wifies despite the other very clearly showing signs of concern and he did also openly called dean a burden. which is, yes, he was slowing them down, but i feel like there was a nicer was to go about it.
and yes, i do sympathize with dean, but he did hide a piece of pretty crucial information from them, keeping a leverage in the compass, and then ran away after being confronted. it's fair, i'm not saying he was entirely wrong for that too, but i feel like it wouldn't be fair to say anyone was fully in right/wrong.
and yeah, you're are right, the morality of characters is a pretty obvious focus on the whole uu, and obviously all of them are very flawed. taking wifies's words, we just need to try and look at things from all of their perspectives. they're all understandable, and in some ways even reasonable, but there were much better ways to go about the whole situation, but the problem was exactly that. perspective. they were all focused on their individual goals and didn't try to see everything from the perspective of others. and that's what separated all of them.
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lookstairs · 6 months ago
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I think one of the most realistic parts about Baby Reindeer (2024) is how much Donny downplays the abuse he faces
I know everyone wants to hate on him for being “stupid” and blame him for everything that happened because yes from an outsiders perspective he made questionable choices but isn’t that what HUNDREDS OF PEOPLE DO?
I know so many people who’ve “played nice” or tried to downplay abusive behavior. You try and tell yourself “It wasn’t that bad”, or that it was just some crazy experience that should be forgotten. It seems so much easier to stay silent and just try to move on.
You don’t wanna start problems
You don’t wanna be mean
You don’t wanna be the bad guy
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invisiblegarters · 2 days ago
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Heads up that this contains very light information about the THK novelization.
I can't say I agree with a lot of this.
I feel like this is essentially turning on a romance channel and then complaining about all the romance. I get that it can be frustrating to want more and then not get it, but I don't feel like these shows ever promised us that. Kidnapped trailer made it very clear that it was mostly going to be about romance with some action on the side (as well as taking every opportunity possible to get Ohm half naked, thumbs up show). Only Friends mock trailer basically gave us everything we needed to put the pieces of the ending together, not to mention Jojo said it like four times. Khaotung spoiled the SandRay endgame before the show had even aired, lol. The Heart Killers trailers are much the same.
And Jojo is once again on Twitter telling us exactly what he's doing. If people choose not to believe him or to expect something different anyway, that's not his or the show's fault. This is supposed to be 10 Things I Hate About You with guns. Did you watch 10 Things I Hate About You and get surprised that Patrick and Kat wound up together in the end? That Bianca and Cameron became a couple? That the story mostly focused on the romance between them? It's a romcom. Hell, even the grittier version of Jojo's romance with guns had the main trio all end up together (even if I was so upset that my unexpected fave didn't make it that I couldn't actually enjoy that the first time I watched)! This isn't a phenomenon that happens only with BL - most romances have the main couple stay together even when they really really shouldn't. It's a staple. No one has to like it but it shouldn't be a surprise.
There's also been a lot of chatter about how Jojo wanted to break up the couples in OF and couldn't because of capitalism and the awful fangirlies, but I really don't think that was the case. I have looked for anything where he says that he wanted to work with no couples at all, and all I can find is him saying that he knew he wanted Mark and Neo for Nick and Boston from the beginning.
And considering they were the only non paired couple (despite Neo's best efforts, lol), that makes a lot of sense when you consider that they were also the only couple in the show to break up. I think it's less that Jojo was being forced into using cps and more that there were always meant to be two endgame couples from the beginning. People just took the Nick and Boston casting and Jojo's comments about them and ran with them to fit their own narrative. Now full disclosure, I have had to base this mostly on interviews - I don't have a twitter account so searching there is rough for me. If there is something on there that contradicts me, please bring it to my attention. I have zero problems admitting when I'm wrong. :D
Now as for THK, is it going to be good? This might get me in some hot water which I do generally try to avoid, lol, but I've read the novel so no. I have to say that for me personally I don't think it will turn out to be something I am into, not even as a turn my brain off and enjoy the pretty and ridiculous (which is what I do with Kidnap, incidentally, and I am having a great time even though I've been missing Title and would love him to come back and be hilarious) kind of way. But do I think that's going to be the fault of pair brands or the fangirlies? No. It's more because Jojo plays favorites with his actors, and always has. The ones he likes best get the best characterization and more stuff to do in general. Pretty much without fail. It's something I've noticed about his shows for a while now and it's easier to ignore in a show that is more of an ensemble (unless one of the ones that he's ignoring is someone you personally enjoy), but this isn't an ensemble show. I think there are shades of this bias already in the trailer, and if the novel matches up to the show as accurately as people expect, well. It will be even more obvious from the first episode exactly who this show is a vehicle for, and it ain't a pair at all.
That said, even if this annoys me personally, if it winds up as I expect I will just not watch. That's the only power I have here, and I'm okay with that. It's Jojo's thing and I really don't feel l have the right to tell him he shouldn't be doing it. Not every show is for me, and frankly if I was getting sick of GMMTV as a whole I would just stop tuning in. There are other companies that are rising up and doing their thing, and they are producing content I enjoy. There are other countries producing QL that I love. And I'm lucky I guess in that even though I enjoy a show that explores deeper themes or points out injustices or has something it absolutely wants to say (there are more I'm sure but a few that come to mind off the top of my head are Not Me, and I know you don't like it but The Eclipse (knowing the background of that one makes the anger in it really transparent to me), The Warp Effect (not a BL really but counting it anyway, and actually hilariously this is a great example of a show that I was annoyed with having a pat ending. But my annoyance doesn't change anything, or make what was being done less apparent. It just means that I wanted something else and that's okay but it's not their fault I didn't get it), my bread and butter is actually characters. I love thinking about why characters do what they do and dissecting the shit out of their motivations and reactions. Gimme a complex character over a complex plot any day. Not that we can't have both (and the ideal show does), but even if we do I'm always gonna focus more on characters. So in the end shows like Only Friends work for me because there's a lot to unravel there on a character level, although as I already said a lot more for some than others. Maybe that makes me a pleb or will get me judged as unintelligent but I've looked deep into my soul and decided that's okay, lol. 
And it's not that I think that these shows (or my faves) and what they do shouldn't be criticized or anything like that, that's absolutely silly. People have all the right in the world to criticize. I just think that it sometimes reaches a point where it starts to feel like people are watching this stuff just to get mad. And honestly I just think that that sounds miserable. The best lesson I ever learned was that when it comes to my leisure activities, if I'm not having a good time it's okay to quit.
I'm not expecting agreement; I think the two of us look at things very differently on the whole, and that's fine. I just wanted to add my two cents. I absolutely think that stuff is being done within the genre you would love, I just think that GMMTV is not really the place to find it, nor do I really think they ever promised that.
Hey,
I'm not 100% sure how this works. Also this is more of an opinion than a question. I just feel the need to brain dump. You are under no obligation to reply. 😁
I fear that First and Khaotung are being wasted at/by GMMTV. They're both stellar actors and seem to have the sensibilities to tackle more serious material.
I feel like coming off Not Me, the themes in The Eclipse kinda went over my head. My fear was and still is that I didn't understand all the nuances. And that's why I felt like the show was lacking. Also I think the very first preview set it up as an entirely different show (more supernaturalmystery/thriller) in my head, so there was a disconnect there as well.
Their next project was Moonlight Chicken where both of them shined as actors but negligibly as a BL pairing. Having said that, they seem to be on very solid ground in the BL fandom - I am referring to their fan meets.
Only Friends was a masterclass of acting as far as FirstKhaotung were concerned (i was all about Ray and Sand), but I think the overall reputation as show that fell flat on its face overshadowed or at least took away (for me) from the gravity of FK.
And now we're here. With The Heart Killers and I am very wary of how Ota all going down. I see that the final trailer got over million views and I'm happy for them, but based on I think the absolute travesty that was OF, my expectations for this show are on the ground.
I really want more of an insight into how projects are picked up and distributed inside GMMTV (if you ha e any, I'm dying to know). I feel like they would benefit greatly from being on a show like PS I Hate You or something like Peaceful Property.
It feels like they're backsliding in terms of material given. Which I am sure is a) not their fault and b) me possibly being weird and dramatic in the wee hours of the morning. But I wanted to get it off my chest and I was reading your previous reviews when I felt, and then gave into the impulse to write to you.
Also I'm a MaxTul girly too and somehow, you made me want to give Make it Right another chance.
Have a great week ahead and keep up the absolutely exceptional work! ❤️
NIHILISTIC! It's great to hear from you! And thank you for the compliments!
TW for girlies out there who are not Nihilistic: this post will contain criticisms of The Heart Killers trailer. Read at your peril, delicate hearts!
I'll go backwards to save the biggest stuff for last. If you write anything about Make It Right, please tag me! @bengiyo and I always give a little DJ air horn to each other when we've nabbed another one into the broader cultural reconsideration of this AMAZING show. MaxTul, man. Nobody beats them! (Okay, almost, Tul admits he wasn't the strongest actor, but. We'll let it slide, dahling!) Chemistry, humor, pride representation, everything, they're great. I yelped when I saw them in Triage!
Okay, so you are a FirstKhao girlie, and you're worried about what The Heart Killers bodes. (Out of transparency, I have The Heart Killers tag filtered because of Only Friends PTSD. I'm gonna filter my own post!) For you, Nihilistic, I just watched the trailer for it.
I will get to all your questions about the GMMTV model in a moment.
Now, out of even MORE transparency, I am watching the MESS that is Kidnap right now, and listen, it's NOT GOOD. I'm fucking not even writing about it anymore, I'm just reblogging the sessy gifs. I am watching it to support Ohm Pawat, and am hoping that this partnership with Leng Thanaphon will hopefully lead to better scripts.... somewhere. (Or at least, better scripts for Ohm at a place like One31 or Channel 3. I also hope Ohm keeps up his anti-branded pair stance, but if GMMTV forces him to pair permanently with Leng, it won't be a fucking surprise, and more on that below.)
To focus specifically on THK for a sec: the THK trailer evoked a lot of what's gone utterly wrong in Kidnap for me. I think writing Thai BL/Series Y scripts to be different, fresh, and innovative, is just going to be really fucking hard, especially for stories featuring branded pairs that MUST end up together in the end. Because we, the viewers, KNOW that they MUST end up together in the end, what kind of mystery and conflict can a script convincingly evoke to keep us, the viewers, engaged and interested in the drama?
A few of us Ohm girlies were excited that Kidnap could have had non-romantic plot points (CRIME!!!) to drive concurrently with a romance plot. There are Series Y that have done this BEAUTIFULLY, particularly Sammon's stories of Manner of Death and Triage.
I'm sorry to say that I didn't get that from the THK trailer, and that THK smells a lot like Kidnap to me. The trailer itself is giving an indication that the "jobs" these guys have as double agents are going to be compromised due to them falling in love. And after the debacle that was Jojo Tichakorn's Only Friends -- a show premised on the exploration of mean, icky, really horny humans, a great place to start an interesting show! -- knowing that THK will HAVE to end up in a romantic place, with FK and JoongDunk being in memorable and memeable entwinements... that's a lot to ask of a show that already isn't making sense by drive, emotion, and tone in its trailer alone. What matters more to these characters? Their work, or their need to be in monogamous relationships? Seems like the latter to me by way of the trailer, which makes me wonder what the point of the plot is. (Joong's chest, probably.) (Gahddayum.)
(I haven't watched the latest episode of Jack & Joker, btw, but I understand that THIS WEEK's episode is ALSO going through something similar, with dead-end and uncommitted plot points all to get to a kiss. Oy.)
To summarize these points and to touch at your question about how GMMTV chooses scripts: GMMTV has an economic model to sell in giving happy endings to their branded pairs, which I wrote about at length in my Old GMMTV Challenge rewatch of The Eclipse. No matter where a script goes, the ending must be memorable and monogamous to satisfy the retweeting hunger of the branded pairs' fandoms, in order for GMMTV's artists to increase online engagement and to maintain earned media values to sell products.
The wonderful @flowerbeasblog noted to me recently that Tha Sataporn, the CEO of GMMTV, said in an interview that as the productions of Series Y in Thailand continues to increase, there is a greater need for more scriptwriting talent across this niche genre, creating competition for more excellent writing. (By comparison, in the States, when streaming services like Netflix and Hulu starting commissioning more original series just about a decade ago, the demand for scriptwriters and excellent writing also went up by incredible scale -- only to come crashing down recently with pandemic and strike-related losses in revenue.) GMMTV's recently announced script competition, Y Find, updated itself last week with a notice that the company would need more time to sift through scripts to judge. In other words: the demand for creative plots is so high at this company that they are literally fielding entries from the general public.
At the same time, Tha Sataporn has been blunt in indicating that "good shows" are not the priority of his GMMTV, and that talent, management, and engagement are his indicators of success. So, economically -- as long as a show hits that happy ending, and gets the girlies excited online with commentary and purchasing power, then the studio has won, in GMMTV's eyes.
ULTIMATELY, Nihilistic: what we are dealing with regarding your concern, as fans and/or critics of Series Y shows, is a conflict of values, among critical fans like ourselves, other fans who only watch shows for romance and shipping, and the economic bottom lines of the studios/agencies themselves. Some of us just want narratively good scripts, like Bad Buddy or He's Coming To Me. Others are content with having a show end with their fave pairs confirmed together in the end, no matter the process of how they got there. Those are different values we hold in watching shows. I appreciate that while you're a fan of the FK branded pair, that you want stronger scripts for them. I do, too, but that's not a value that every fan -- and GMMTV itself -- holds. And I believe that's why we've been seeing more and more mediocre scripts from that studio in particular.
I actually want to note maybe something positive about FirstKhao. Other than The Eclipse, it seems like they haven't been locked into high school or university settings. Only Friends, Moonlight Chicken -- these are shows that show First's and Khao's characters as young adults, and THK is going there, too. I hope they can avoid the university settings as they continue to work.
Is stellar acting wasted at GMMTV? Oh, yes. Besides First and Khao, who I truly think are good actors, we have Gun Atthaphan, Nanon Korapat, and Ohm Pawat -- these three guys are on my list of the best Thai actors out there who have done BL, and they haven't had great scripts in years. (Gun, arguably, has had the best pickings of decent shows recently in Cooking Crush and The Trainee, but they weren't high art; and Nanon's Dirty Laundry was the last Jojo script I was truly impressed by.) All three of these guys were in MOVIES at one point. Those ambitions, on behalf of these actors by GMMTV, seem to have gone by the wayside in preference for a huge economic push to boost branded pair-based series insteads, with their plot holes and guaranteed romances.
I hope the genre's tide turns for the sake of quality scripts, especially at GMMTV, but my hopes are low for this agency at the moment. My joy in Thai shows recently has been in watching past shows for my OGMMTVC. I've been on a lakorn kick lately, having watched The Miracle of Teddy Bear and I'm looking forward to watching Khun Chai soon. Other agencies and studios, like One31 and Channel 3, are breathing down GMMTV's neck and producing more interesting shows, sometimes with branded pairs and sometimes not. Triage only came out two years ago, and that show's trilogy (along with Manner of Death) will end with this year's airing of Spare Me Your Mercy, starring the very likely one-time pair of Tor Thanabob and JJ (Jaylerr) Krissanapoom, two gigantic artists in Thailand who are circling BACK towards the much smaller genre of Series Y for SMYM's sake. I have VERY high hopes and expectations for that show -- and that show is well out of the purview of GMMTV.
I think what you're smelling about the THK trailer is right, Nihilistic -- to me, the trailer isn't cohesive, and jumps already to its forgone conclusion of a romantic end. Unfortunately, for those of us familiar with Jojo Tichakorn's work, we know that if he was given more leeway, he'd likely come up with something more interesting. But now that he has to work with branded pairs -- who are shipped in the eyes of their fan beholders -- he's got a lot less room to be creative and interesting, which ultimately stifles the otherwise excellent acting we'd see from these young men.
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royalarchivist · 11 months ago
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Quackity: Lately, I have been participating in events and projects, and unfortunately it's become clear to me that my presence and name have only been used to attract the attention of my national and international community with the objective, as I see it, of generating more attention towards controversies - destructive controversies, and a rupture that is very clear in the community. [...] In advance, I ask the organizers of any type of events and projects like this to please show more respect to me and my community, because I've shown lots of sympathy and cooperation in these various projects and events, but it's become clear to me that their only interest is in using my name. My name and my community have been used to attract all this attention for distorted purposes, and I will no longer allow that to happen. That is not what my content is about - not me nor my content nor anything I’ve done.
Here's Quackity's commentary on respect and his reasoning for distancing himself and his projects from future events and awards shows.
[ Full Transcript ↓ ]
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Quackity: Before I leave, I would like to talk about something that is very serious for me and something that I would like to tell you about. Because for me it is a very serious topic and it is a topic that- well, I had my mind on and I want to express it- [reading Chat] yes, thank you. Merry Christmas, Merry Christmas.
Anyways, lately I have been participating in events and projects, and in these events and projects, unfortunately it's become clear to me that my presence and name have only been used to attract the attention of my national and international community with the objective, as I see it, of generating more attention towards controversies - destructive controversies, and a rupture that is very clear in the community, and this is what I want to say: I'm NOT ok with these types of dynamics or stuff like this, and I want to make it very clear to my stream, my community, and everyone that, for this exact reason that I just mentioned, I want to make it clear that I want to distance myself and any of my projects from the Esland Awards, which you all know is coming up.
Sadly, the Esland Awards have been an event with a history of much controversy, a lot of division, and a lot of divisions within the community, and as you guys know, as you know, my content has never been characterized by seeking controversy or divisions or anything like that. It's for this exact reason that I don't want to be involved with these awards.
In advance, I ask the organizers of any type of events and projects like this to please show more respect to me and my community, because I've shown lots of sympathy and cooperation in these various projects and events, but it's become clear to me that their only interest is in using my name. My name and my community have been used to attract all this attention for distorted purposes, and I will no longer allow that to happen. I don't want it to happen. That is not what my content is about - not me nor my content nor anything I've done. That's what I want to make very clear here.
That's about it. I'm going to continue with the projects I'm doing and I want to thank my community so much for the support and love. I appreciate it very much, but I wanted to make this clear - I wanted to make this clear. This is just a topic I wanted to address quickly.
Thank you for all the love and support, I love you all so much.
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genericpuff · 10 months ago
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UM EXCUSE ME-
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y'all I am NOT making this up and neither is OP, literally go to the Canvas section on WT and click on a genre, esp romance, comedy, or fantasy, they're getting BOMBARDED by p0rn bots right now, it literally looks worse than Tumblr Live, THERE ARE MULTIPLE PAGES OF THIS SHIT
congrats Webtoons, you've now officially become "that" unsettling backdoor back alley app that promotes shovelware content and gets exploited constantly by bad actors with zero moderation, huh?
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zoot-marimba · 3 days ago
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Honestly, yeah, that would have at least been a good way to keep things fresh and actually move Randy forward as a character. That's the real problem with Randy now; he's never been more prominent, yet he's also never felt more stale or stagnant as a character.
The typical format of a Randy episode-something catches his attention, he impulsively throws everything into it, he does something stupid, Stan/Sharon have to deal with his bullshit, etc-is something you can get away with in an episodic format as the show followed for the longest time since each story is largely self-contained and thus there's a reset button. That doesn't really work in a serial format for at least a couple of reasons.
1. Because there's now a focus on longterm storytelling, we're now much more inclined to actually think about the implications of what Randy says and does. Without that reset button, it's a lot more difficult to tune out.
2. With a focus on long-term storytelling, we now actively expect some kind of character development, so Randy doing the same routine over and over is far more grating than it ever was in previous years.
3. It's much harder to justify Sharon staying with him on any level whatsoever. Beyond any in-universe justification, I can't think of any reason for them to stay together even from a writing standpoint. Everything you could possibly do with Randy and Sharon being together has already been done, three or more times over in several cases.
4. Another reason why doing a standard Randy episode doesn't work anymore is that with him being more prominent than ever, there's far less that stands out about an episode of him doing something dumb or crazy because that's a regular thing now, not just something that only takes center stage once or twice per season. And when there's always chaos, then there's never chaos (this could also be pointed to as why cutting Principal Victoria was a bad idea, but that's another story).
5. We're also in a post-Bojack era where we've seen many of the adult animation tropes such as those often used in Randy episodes actively deconstructed, thus placing them under greater scrutiny than before.
I actually like Randy as a character, I can say he's been responsible for many of the funniest moments in the show, and I can see why Matt and Trey enjoy writing for him. Besides identifying more with him as they get older, there's also the fact that there's a lot you can do with him that you can't do with the kids just by virtue of him being an adult (so basically, the same reason why The Simpsons switched the focus from Bart to Homer). With that said, I just want to see things switched up.
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To those who said that killing off Randy is a terrible idea. Here's my argument: if I was told to kill off a character that I love using even if he is overuse, I will do it without any problems and for the sake of the fans.
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hii 📓
Okay so the thing is that I wanted a “the Zenin raised Megumi instead of Gojo” fic but the thing is that I’m absolutely convinced that if the Zenin were the ones that took Megumi they wouldn’t actually take tsumiki too. The fandom consensus I’ve personally seen has been that she would have been taken and mistreated by zenin for being a female non sorcerer but I personally think they would have just straight up left her behind.
They only bought Megumi. They keep non sorcerers and women as servants in their compound but all of them are Zenin themselves. Tsumiki isn’t related and I couldn’t really see any reason why they’d want her. Which turned this into a fic where Tsumiki loses her brother, but she’s trying to find him again, she swears. I think of it as my “siblings doomed by the narrative desperately try to write a new one where they can be together” fic.
The thing is that Tsumikis mom was one of those people who thought love and consumption were synonymous. She had a habit of getting caught up with assholes and just… having both of them chew on each other for a while until it turns into this horrible fucking bloodbath.
Tojis just another loser her mom got caught up in, but he’s Tsumiki’s favorite out of all the losers, because he gave her her brother. Her mom marries this random guy she barley knows and Tsumikis pretty sure she does it so they can both ditch their kids twice as much, secure in the knowledge that there’s supposedly another person checking in. It works out great for them, because they both stop coming entirely. It’s fine, because Tsumiki has Megumi and Megumi has Tsumiki and they don’t need anything else.
It’s one of those things where they were in really unhealthy circumstances and it made their relationship a little bit unhealthy but not necessarily bad. They both had to grow up way too fast and deal with way too much too soon and become codependent on each other because they are, in the most literal way possible, dependent on one another. Neither of them know how to love in a way that doesn’t involve sacrificing themselves for their sibling, mostly because they don’t have a way that doesn’t involve that.
They’re in a sinking ship and tsumiki knows it. Their parents aren’t coming back. The money is going to run out sooner or later. Their problems are stacking up.
Megumi has confessed to her that he sees things that no one else does. When she asks him how he knows no one else sees them, he explains that they’d say something if they did and won’t say anything else. And she doesn’t know what to believe but she refuses to call him crazy. He tells her that monsters cling to her back and he fights them off for her. She patches up his bruises and cuts and tells him he’s brave and tries to figure out if she’s just imagining that her back feels lighter after. He tells her that there are dogs that only he can see that have started following him around, and she tells him she believes him and can never remember, later, if she meant it or was just saying it.
The last time Toji came by, he left them more money than tsumikis ever seen in her life, took them to ice cream, told them that he was sorry he was so shit at this and that the money was Megumi’s share in a payment. It was for something he was going to help daddy with later. Tsumiki and him were to use it to take care of themselves and be healthy, because Megumi couldn’t help him later if he wasn’t. And tsumiki was always afraid of what he meant by that, but in the end, she let it slip her mind. After all, Toji hadn’t been by in ages. He probably wouldn’t come by at all.
And he didn’t. But others did. Two men she’s never met before are waiting outside their building one day, and when they see Megumi, they laugh. But the thing that Tsumiki can never get out of her mind later is that she swears they weren’t looking at Megumi directly. They were looking at his dogs.
Tsumiki basically tries to get Megumi and powerwalk past them, but they’re a lot bigger and a lot stronger and there’s nothing she can do, really. They have a brief conversation about whether they should take her too, before one decides that Toji only sold him his kid and to leave the other behind. This makes both of them try to run, but there’s nothing either of them can do to overpower the men, and the men say that “Naobito would go ballistic if they left the ten shadows behind” so they take Megumi and leave her.
They put Megumi in a car and shove Tsumiki to the curb outside of it, and she tried to hold onto his hand, she swears. She grabbed at the car door even when the car started moving, and she banged on the windows, and she watched as Megumi kicked and punched and screamed inside, until one of them hit him and he went still. She ends up falling and hitting her head when the car picks up speed, and when she wakes up again, the cars gone and she has no idea where it went.
And it becomes a foundational moment for who she is. I think she was just intensely lonely before Megumi and poured a lot of herself into this idea of a family together. Tsumikis never able to shake the moment of her being outside the car and Megumi being on the inside, and not being able to get into him. She can never again get what she felt in that moment out of her head.
She goes to the police and tells them that it’s her little brother, his dad sold him but she wants him back, and they’re like “…”. The issue is that apparently her mom can pick up the damn phone if the police call and she shows up, spins some lie about how her and the stepdad split up and he took the kid with him, they never adopted each others kids so it was within his rights, Tsumiki was taking the separation hard and acting out. She lies, basically, because toji hadn’t kept up his end of the deal and dropped in to check in (neither had she) and his kid wasn’t her responsibility, he could do what he wanted with him. She doesn’t want the police poking around the way she lives. Just let the kid go because he’s probably dead and not her real brother anyway.
Tsumiki refuses to give up on him. They were both kids who no one cared about but they cared about each other and that had to be enough. But she’s seven with no support and zero idea on how to find him. She starts skipping school to look for him in random streets, puts up flyers, can’t go outside without looking for him. She gets held back a year in school because of how much she skips and she can’t bring herself to care. She buys him gifts on every birthday and writes him letters she can’t post because she’s going to find her brother and she’s going to prove to him that she never once stopped looking for him. She just. She needs him to know that she never stopped looking for him. She needs to find him and be able to honestly tell him she never stopped trying.
One day her mom comes back in clothes she can’t afford and comes with movers they shouldn’t be able to afford and announces a move they definitely can’t afford. Tsumikis absolutely opposed to going because if her brother comes to look for her, she needs to be in their old apartment so he can find her. She doesn’t have much of a choice in the matter. They have mysterious new benefactors who are setting up a trust to take care of tsumiki with a very generous stipend for her mom but they have to move to Sendai as a stipulation of getting the money.
It’s not until the attorney who’s managing her trust hands her a set of glittery blue butterfly hairpins that tsumiki realizes her mom sold her brother a second time.
The thing is that tsumiki had this one cheap set of butterfly hairpins she’d always stopped to look at in the store when she took Megumi to go grocery shopping. Shed never buy them, because they couldn’t afford it, but it was the thing she wanted most openly in front of him. She was always secretly really insecure about her hair, because they were the kind of poor where bar soap was a luxury they could only sometimes afford and kids at school made fun of how her hair was dirty and frayed. Megumi was the only one who ever saw how badly she wanted those stupid hair clips. If they had to give her a set of butterfly hair clips, it’s because he demanded that they did.
It’s basically implied that the Zenin are the ones paying for her care and upkeep due to an unspecified deal they cut with Megumi, but when they approached her mom with it, they added the caveat that Tsumiki had to be moved to a new city entirely and there could be no forwarding address left anywhere.
The zenins stance on tsumiki is, effectively, that she’s a weakness Megumi needs to be weaned off of. They honestly assumed he’d just like, forget she ever existed and he. Did not do that. He actually pitched a total bitch fit. Tried to scale the compound walls. Bit multiple people including the clan leader. But he’s got the ten shadows, he’s heir to the clan, and he can’t be caught up on some random non sorcerer who isn’t even a Zenin. They end up agreeing to pay for her to live very comfortably if he starts cooperating more but they want to make sure that he can’t ever find her again if he does ever succeed in running away.
Tsumiki is at once full of hope and hopeless, because on one hand, the butterfly clips prove that Megumi still loves her and remembers her, at least in her mind. But at the same time, she’s being moved to Sendai and doesn’t know how they’ll ever find each other again. She doesn’t honestly know if they’d recognize each other if they saw each other again. She wears the butterfly clips every day, even when she gets too old for the style, because she’s more confident about her brother recognizing them than her.
The thing about tsumiki is that she doesn’t understand hate. She just doesn’t. Her mom and toji always got caught up in these perceived slights and revenge and never once let go of the past. They’d destroy themselves if it meant taking down the people they hated with them. She never wanted that. She wanted to live with the people she loved and she’d happily turn around and forget everything, all the pain, all the searching, if it just meant she could go back to being megumis sister.
This isn’t about hate. This is about that moment outside the car, where her brother was inside and she couldn’t get in to him. This is about how helpless and small she felt when they shoved her to the curb and ripped megumis hand out of hers. She needs to make sure that when she finds Megumi, she can take him home again. So she decides she needs to learn how to fight.
Itadori Yuuji has the constitution of an ox and the strength to match it, and he is known for getting in fights with bullies and trouncing them so thoroughly that it’s never a question of who wins when the fight starts. He’s insanely physically capable and can hold his own in a fight with ease. He’s also nice and kind and Tsumiki’s comfortable enough asking him to teach her how to throw a punch or two.
She is bad at it.
So fucking bad at it.
But she never gives up, and Itadori is nice enough to keep teaching her despite how embarrassingly horrible she is at it all. He always asks her why she wants to learn so bad, she doesn’t seem to like it all, and she never answers his question honestly.
In their last year of middle school, their class has a trip to Kyoto. She, Itadori, and the rest of their group walk into some random restaurant in the city and have barely sat down when someone comes inside, starts searching every booth in the restaurant while shouting Tsumikis name.
And oh. They could recognize each other after all.
She looked for Megumi in every crowd she was ever in, but she didn’t consider that he was doing the same. Or that he would see her first.
Her brother grew up without her seeing it. Hes older, dressed in strange, expensive clothes, has a slightly bruised up face and split lip, but his eyes are the same, and he looks like the brother she remembered.
But a lot more nervous than Megumi ever was. He was a tiny, stoic child who didn’t take any shit and never showed fear, even when there were monsters that only he could see. But he’s nervous when he tells her that she probably doesn’t recognize him or remember him, but when she was a lot younger, he—
Megumi. He’s her little brother. Of course she remembers him. She’s been looking for him everywhere.
Megumi didn’t smile much as a child, but he smiles at her then. He tells her he doesn’t have a lot of time and she tells him that they can leave out the back, and he never let her hold his hand as a child but he takes her hand so easily in that second. And just for a second, she’s his sister again, and it’s everything she wanted.
They never make it out the back.
Two men come in. Megumi calls one of them uncle, and he goes stiff and flat the second he sees him. His uncle apologizes for his nephew, tells everyone that he always makes scenes when they’re out in public, tells him to apologize to the nice people and leave. Megumi was mistaken.
Tsumiki tríes to keep ahold of his hand. Really, she does. She tries to tell people to call the police. But megumis “uncle” steps towards her and Megumi slams him into a table, and then suddenly Megumi’s the one insisting that they leave immediately. They can go. It’s fine. They’re leaving. She loses ahold of his hand.
She tries to follow, but the other man restrains her. She learns that she’s better at slamming plates into peoples heads than she is at punching, and at this point itadoris Friend In Danger Override has been triggered and he fucking tackles the dude, which gives tsumiki the clearing that she needs to chase outside after her brother. She gets out just in time to see him be pushed into a car, and she’s had years to think about the last time this happened and figure out what to do differently. She throws herself in front of the car and refuses to move.
See her entire stance is that she’ll sooner get run over and killed in the street than let them do this a second time, but she also can see Megumi trying to fucking punch the drivers head in from behind because he’s about to hit his sister. His uncles trying to restrain him, and just for a second, she sees his hands make the shape of the shadow puppets he used to show her as children. Something invisible slams her out of the way just as his uncle knocks him out.
She picks up a rock and tries to smash in the fucking window with it, and itadori has to pull her out of the way to keep her from getting her feet run over when the car finally tears out of the parking lot. She goes ballistic on him for stopping her because her brother was right there and she lost him again and she didn’t even get the license plate. He was right there.
The police basically do jack all again. There’s no license plate, no names they can follow up on, and they’re still half convinced this is a settled custody issue even though tsumiki insists her brother was sold by his dad and is very plainly getting hurt wherever he is. Itadori is now a devoted advocate of finding tsumikis brother and reuniting them, and both basically kind of end up becoming really close to the other? He’s taking care of himself and his grandpa alone, she’s alone while her moms awol again, and they both become the others support system.
At one point, there’s this random girl and boy who doesn’t speak who shows up to their school for indeterminate reasons. The girl is bored and twirling her glasses in one hand while the person in a suit that they’re with asks the principal questions, and when tsumikis eyes catch at the right angle, she sees an invisible monster clinging to a classmates back through them. She realizes it’s exactly what Megumi always talked about and still remembers that the people who took him could see his dogs. She corners the two others in a room and tries to demand information about the invisible monsters or see if they know her brother or the people who took him, and immediately gets blown off. The fight escalates until the girl tells him that actually, yeah. She knows tsumikis brother. He is a very special person to some very powerful people, and the only way she can ever help him is to tell him that she’s let go of him and that he needs to do the same to her. That’s the only message that the people who have him would ever let get through, and his life would get a lot better as soon as he got it.
The people who have him would give him anything in the world, except for her. He could be a lot happier and healthier than he is right now if he just agreed to stop trying to find tsumiki. If she really wants to help her brother, then she needs to let him go.
Tsumiki nails her in the back of the head with a milk carton when she tries to walk away. It sloshes out on her. Tsumiki did not intend this. She cannot admit that fact. There are some actions you just have to own when you do them. She tells the girl that he’s her brother and she’s never letting go of him. She’s going to find him. They can’t keep him from her forever. She doesn’t care how long it takes her.
For a second, tsumiki really thinks this girl is going to kick her ass, but she doesn’t. She wishes her luck and tells her she’ll need it, and it’s only later that tsumiki realizes she slipped the eyeglasses into her pocket.
And as it turns out, her brothers monsters were real all along.
There was a knife that toji left in the frame of his bed. Tsumiki confiscated it from Megumi as soon as he found it, and it was odd and strange and gave her bad feelings when she held it, and it can kill the things that gather on her back. When she follows Itadori to their local high school and joins the occult club in an attempt to find more people involved in this world of invisible monsters, she wears the eyeglasses and keeps the knife hidden in her bag.
It comes in handy when her senpais are trying to open this thing and suddenly there’s like a fucking portal opening and Actually Let’s Not Oh Too Late Let’s Run Let’s Fucking Run.
They run.
Meanwhile at the hospital Megumi found out in very quick succession that his sister has fucking sukunas finger and also that there’s a very over enthusiastic himbo who is the self appointed vice president of the Find Fushiguro Megumi And Bring Him Home Club who absolutely fucking refuses to leave his side. Sorry who are you. Why are you so enthusiastic about finding him. Megumi sort of was the one doing the finding there was a whole tracking situation and him waiting dramatically in the shadows like they just did it.
Anyway they run very very quickly to tsumikis school where she is dodging she is serpentining this is a fuckton of monsters oh holy fuck is that her brother?
The fight goes bad.
Tsumiki manages to follow itadori and her brother out at a much slower pace because she’s not a freak of nature like itadori and shows up just in time to see her brother shouting at itadori to not eat the fucking finger while itadori is absolutely trying to eat the fucking finger.
She chucks her shoe at him. The finger goes flying.
Then the monster eats it instead.
Tsumiki: :o
Yuuji: :o
Megumi: fuck
Now there’s a bigger monster and the fight goes even worse. There’s a lot of shouting. Itadori ends up with her knife. Then he ends up getting eaten and they’re down both a knife and itadori, who’s probably fucking dead. Then megumis insisting she run and she’s insisting he shut the fuck up because it’s sort of taken a decade to get this close to him again and she’s not fumbling the bag now because of a monster on the rampage. Have a sense of fucking priorities here.
Then itadori bursts out of the monsters stomach with the knife like the fucking Kool Aid Man and the fight is suddenly very over. Good job, team.
Gojo rolls up to his most stoic and eternally pissed off student having a dramatic and emotional reunion with his sister.
Yuuji, in a very bad whisper: no no so like she’s been looking for him for years but he saw her in the restaurant
Gojo: :o go on
Yuuji: and then he got caught by like, I don’t know, he said he was his uncle or something but the dude acted so weird and creepy and they put him in a car and Tsumiki tried to stop the car but they got away
Gojo: *gasp* what no
Yuuji: I know! Anyway then I start helping her look for him but we can’t find him anywhere until I’m at the hospital and he just walks up to me right?? And I’m like “dude I have been looking everywhere for you” and he’s like “I have no idea who you are, I’m here about that fucked up demon finger” and I’m like—
Megumi, really trying to have a moment here: we can both hear you
And megumis like “this is uh. My new teacher. I guess. I am his only student. And he is uh. Enthusiastic. Do not linger in conversation with him.”
Tsumiki is lingering. She needs fucking intel so he can’t disappear again. Where does he go to school and can she transfer there. It’s fucking wizard school? Will they take her even though she’s not a wizard? She cannot emphasize enough that she will study any fucking subject they want so that way she can be close with her brother again she does not care if it’s applicable to her education or life. She can throw things at people itadori tell the man tell him how enthusiastically she will throw things at monsters for their weird fucking wizard school.
Itadori: she hit me in the face with her shoe like five minutes ago
Tsumiki: see???
Megumi keeps trying to forbid her from wizard school but she’s technically the older sister so she has override rights. She will go to wizard school. How does she get wizard school to accept her.
And Gojos just really weird and off and keeps looking at Megumi and saying that he “didn’t know he had a sister.”
He really didn’t know that Megumi had a sister he wanted to stay with.
And then suddenly it’s like a switch is flipped and he’s back to his normal self telling them to leave everything to him, because he’ll make sure tsumiki can come back with them. And uh? Itadori? Weirdly physically capable kid who will apparently eat anything? Is he going to be good getting home after all this?
Itadori: actually if it’s not too much trouble can I go to wizard school too my grandpa sort of died half an hour ago and I don’t have plans for the rest of my life. Tsumikis kind of my best friend and I’d like to make sure she’s all good at wizard school. I’m a really good fighter and I stabbed the last monster so like can I come too because you know. Dead grandpa. No family or future to speak of. Haha.
Gojo:
Megumi:
Tsumiki, softly: dude
There’s more after they make it to jujutsu high but this is already really long so we leave it here
#ask games#jjk#jujutsu kaisen#continuing my streak of becoming obsessed with minor background characters#other highlights include itadori trying to platonically wingman for tsumiki with her brother (because it’s been like a decade and she knows#nothing about him and he knows nothing about her and she’s terrified he won’t like her once they get to know each other again) so that way#itadori can be the one asking the get to know you questions and tsumiki doesn’t have to admit out loud that she and her brother know nothing#about each other only the inherent problem is that her brother is actually unfairly pretty and has a sort of dry wit and is reserved but#when you get to know him he’s such a genuine dude and oh fuck oh no he’s in trouble this is his best friends long lost brother he has to be#violating some kind of code here. Kugisaki stop laughing at him this is a crisis.#gojo basically backed out of teenage fatherhood when he saw Megumi walking around with the divine dogs because it’s one thing to butt heads#with a major clan over an outcast member it’s another to do it for their most sacred technique#he thought that Megumi would be better taken care of than anyone else in the clan as the person with the ten shadows and that he’d probably#be better off than with an emotionally broken seventeen year old who works at least 28 days a month and has no idea how to raise a child#he never realized that Megumi had a sister he wanted to stay with who the Zenin separated him from#he tells himself he would have intervened if he had known because he’s been secretly worried and guilty about not taking in Megumi after all#since Maki showed up and said some worrying things about the clan heir and his standard of living and got the confirmation when he met#tsumiki and realized that he could have kept them together all those years ago and didnt. megumi and tsumiki kind of haunt him with lost#potential because not only could they have grown up a family but they could have grown up his family. megumi doesn’t know why satoru gojo#of all people is being so weirdly helpful and intense about about sponsoring tsumiki and keeping her close to him
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luke-shywalker · 2 months ago
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#i’m terrified to ever watch this movie. i think it would kill me. basically it’s about a marriage falling apart.#anyway—adam driver would do so good as bobby in company and i would die to see him in it#i’m seeing company tonight!!#it’s a special musical to me. it’s about marriage. how marriage is both exciting and boring and makes your life better and worse.#the months leading up to our wedding i was kind of a cynical mental wreck. there was so much i did not like about my husband-to-be.#sometimes i felt like the only reason i was going through with the marriage was because it was too late to get out of it.#i had spent my teen and college years wanting to have a boyfriend/husband then i got one and realized#oh wait this didn’t actually fix my problems huh#actually there are NEW problems now#and then somehow this past year has actually been like. the best year of my life lol#it’ll be a year next month!#yea there are still those Little Things. sometimes there are Bigger Things. but bruh this dude is so good for me#i have never been thriving as much as i have this year.#i’m so much healthier in so many ways than i have ever been all my life#and like it’s cringe to say that cuz i don’t want to say MARRIAGE is what fixed me but. i think it’s okay to say that#there must be some kind of GOOD to marriage otherwise there’d be no point in doing it#and i think i make his life better too. he tells me so at least lol.#and i’ll only be able to watch the show with one eye LOL but my husboi will be with me watching this musical#that i used to listen to when i was angsty about getting married#and now we are married#and life is great.#somebody need me too much#somebody know me too well#somebody pull me up short and put me through hell#and give me support#for being alive…#yeah there are times when it’s harder than being single but. the blessings are multiplied along with the hardship.#shywalker stuff#Youtube
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o-uncle-newt · 2 days ago
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I think that the thing is that Sayers a) always has SOME kind of a point if you don't take it too far and b) she's such a good and convincing writer that while you're reading, she can basically convince you of anything just by saying it. I noticed this when reading Unpopular Opinions, her book of essays, which are great but which rely a lot on "I am saying this and making it sound true so it is true, you have to trust my Vibes." And guess what, for a bunch of it I absolutely trusted her Vibes, even after I thought about it for a while with the book closed! She's just a fascinating combination of an incredibly clever and often actually wise person who combined that element of herself with weirdly nostalgically conservative politics. Always SUPER fun. (At some point I need to do my Sayers and the Jews essay but I want to do some reading first.)
The thing with Bunter is that I don't think there's much discrepancy there- the relationship between Wimsey and Bunter where Wimsey treats him somewhat like an equal wouldn't be the same if Bunter didn't already go out of his way to treat him as a superior. Wimsey can make the overtures of semi-equality because he knows that they aren't in equal positions- not in the sense of it being false or rubbing it in, but him also being more sensitive to their class differences because he's aware of them. (Incidentally, I was just reading Clouds of Witness and Wimsey stops Bunter before he can accidentally "forget himself" and insult the Duke's intelligence... as though that would be a step TOO far.) Sayers often returns to this well of "when everyone knows their place in society then everyone is happier," with the corollary being that the place of the aristocracy is to be friendly and condescending (in the non-negative connotation) to the common people and servants in a way that shows that they value them and are looking out for them. In Busman's Honeymoon, she basically has Harriet say this outright and appreciatively about Peter slotting into the role of local squire; and Murder Must Advertise, a book that seriously annoys me as I mentioned earlier, has this scene:
“Well,” said Mr. Smayle, “Tallboy always says that Dumbleton is a public school.” “I daresay it is—in the sense that it has a Board of Governors,” said Ingleby, “but it's nothing to be snobbish about.” “What is, if you come to that?” said Bredon. “Look here, Smayle, if only you people could get it out of your heads that these things matter a damn, you'd be a darn sight happier. You probably got a fifty times better education than I ever did.” Mr. Smayle shook his head. “Oh, no,” he said, “I'm not deceiving myself about that, and I'd give anything to have had the same opportunities as you. There's a difference, and I know there's a difference, and I don't mind admitting it. But what I mean is, some people make you feel it and others don't. I don't feel it when I'm talking to either of you, or to Mr. Armstrong or Mr. Hankin, though you've been to Oxford and Cambridge and all that. Perhaps it's just because you've been to Oxford and Cambridge.” He struggled with the problem, embarrassing the other two men by his wistful eyes. “Look here,” said Miss Meteyard, “I know what you mean. But it's just that these two here never think twice about it. They don't have to. And you don't have to, either. But the minute anybody begins to worry about whether he's as good as the next man, then he starts a sort of uneasy snobbish feeling and makes himself offensive.” “I see,” said Mr. Smayle. “Well, of course, Mr. Hankin doesn't have to try and prove that he's better than me, because he is and we both know it.” “Better isn't the right word, Smayle.” “Well, better educated. You know what I mean.” “Don't worry about it,” said Ingleby. “If I were half as good at my job as you are at yours, I should feel superior to everybody in this tom-fool office.” Mr. Smayle shook his head, but appeared comforted. “I do wish they wouldn't start that kind of thing,” said Ingleby when he had gone, “I don't know what to say to them.” “I thought you were a Socialist, Ingleby,” said Bredon, “it oughtn't to embarrass you.” “So I am a Socialist,” said Ingleby, “but I can't stand this stuff about Old Dumbletonians. If everybody had the same State education, these things wouldn't happen.” “If everybody had the same face,” said Bredon, “there'd be no pretty women.”
To me, this is kind of the summation of Sayers's whole attitude toward class and education as relayed in the books- if you stay where you're meant to be, you're taught the way of dealing with your class and privilege/lack thereof in life, how you're supposed to relate to others, etc. If you socially climb then you end up in uncharted territory where you're a) not meant to be and b) made to feel out of place, which you then end up pushing onto other people, making them feel uncomfortable.
You can kind of see where she and others who look at it so nostalgically like that are coming from- as depicted/essentialized here, part of Wimsey's privilege also meant responsibility for those beneath him, and part of a more "common" person's commonness meant, or should have meant, a sense of security. While MMA goes a lot into anti-consumerism in a way that's hard to deny, in Unpopular Opinions her essays get a lot more into it as a problem in that it destroyed the normal order of work- where instead of having a hundred shoemakers all (apparently) happily making 10 pairs of shoes a day, you have five shoe factory managers and forty-five miserable and overworked employees making two thousand pairs of shoes a day and fifty people without their "proper job." It's a totally different angle on the issue that rings a bit more false when the ideas of both class essentialism and, as you note, bio-essentialism are removed from the picture.
...And of course that's what makes Parker so interesting! On one level, Sayers clearly doesn't believe in an "aristocracy can only marry aristocracy" kind of a thing because Peter marries Harriet- and in fact there's a through line in the books about Gerald and Helen's marriage being a cousin-inbred disaster with Harriet pointing out in Busman's Honeymoon that the injection of common blood into Parker and Mary's marriage made their kids basically normal. So that's not inconsistent. But it's also so interesting that Parker is himself this innately religious, conservative kind of a guy- in many ways more so than Wimsey, who describes him as a "perfect Victorian"- and he himself, in two separate books, is insistent on highlighting the class lines that exist between him and Mary as a barrier between them, with Wimsey essentially having to give him permission to a) have interest and b) later act on it. Though, of course, in the end he actually DOES act because Wimsey suggests that his indecision is making Mary unhappy... so it really is about love and not permission, I suppose!
What's fascinating to me is that at the end of Strong Poison, when Peter is trying to convince Gerald that Parker's suitable for Mary, he makes the point that Parker will climb the ranks and will likely eventually end up with a title/knighted. Obviously, to a degree that's him trying to speak Gerald and Helen's language, where they REALLY care about that kind of thing. But it does I think speak to something else which is that Wimsey and Parker seem to have become friends because Wimsey saw something in Parker and let him in. And I think that your point about Parker kind of earning his way out of the lower/middle class by being not just smart but dedicated and, in his way, intellectual is very solid. It's made clear that he had a decent grammar school education, works to transcend it while also not being pretentious about it, tries to improve his French, reads religious commentaries, is conservative socially... it's like Sayers is drawing a sketch of someone who isn't trying to climb but is trying to be the best of the kind of person who he innately is, while also having the talent to back it up. And THAT is what makes him worthy of Lady Mary. Because, of course, upon marriage she descends to his level in terms of lifestyle and such (even with all that money behind her for their kids later). He's not trying to climb so he's allowed to.
I just re-read Gaudy Night, and it's interesting how it feels very relevant and very dated at the same time. There's so much discussion about a woman's "place" and whether a woman can (or should) still have an intellectual life/job outside her husband if she's married, and it seems like many of the academic women in the story feel on some level that they have to choose one or the other. On the one hand, this debate, again, feels very dated in an era where most women do have jobs regardless of whether they're married or not. On the other hand, women still are frequently expected to put their families before their jobs, while men are usually not; and women are still frequently expected to sacrifice their own careers and interests for the sake of their families, while men are usually not.
The "question" of whether women belong in academia no longer seems to be a question in mainstream culture, but women in academia still don't get the same amount of respect or opportunities as men. And while British and American society no longer demands that unmarried women remain celibate, I think there is still a great deal of discomfort at the idea of women who choose to remain single, and with the idea of voluntary celibacy in general.
It's also interesting that the Senior Members of the college (all women) seem to more or less jump to the conclusion that the college "poltergeist" is expressing some kind of psycho-sexual frustration born of celibacy and academic isolation, when in fact it's someone seeking revenge. It seems like even though these women have been in academia/running the college for decades, they still harbor some insecurity over the legitimacy of their profession and lifestyle.
And then, of course, there are the casual mentions of eugenics and the one woman who thinks execution is wrong and that murderers should be used for scientific experiments instead (because that's more humane somehow??). There's also the instance where one of the porters (who is otherwise very likeable) says that Britain needs "a Hitler" who will put women in their proper place. Interesting times...
Idk, Gaudy Night fascinates me because there's SO MUCH going on in it that even on my second read, I think there's a lot that I'm probably missing. The various philosophical debates in it make me really curious about what Dorothy Sayers' own views were.
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bombshellsandbluebells · 7 months ago
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Thinking about the Ted Lasso finale again and how I feel like it does pretty much land everyone at a satisfying place, just occasionally fumbles getting them there.
And I was thinking specifically about Beard, and how, if we ignore the Jane of it all, Beard and Ted separating IS such a great place for Beard to end the show because of what we learn in Mom City and how it puts so much about Beard into new context.
Beard basically lost all of his relationships when he went to prison. When he got out, he went to Ted because he remembered Ted as a nice guy who he'd had a good relationship with for a time, (and frankly, possibly because he thought he could take advantage of that kindness) and when Ted helped him more than he ever expected, it seems that Beard just stuck with him from that point on. Ted was Beard's ONLY person, and while their friendship is so sweet and wonderful, I think it is so important for Beard to end the series at a point where he feels safe choosing to go a different direction from Ted. He has friends now, a job he's very good at, a community (and, yes, unfortunately, an incredibly toxic relationship that the show can't ever make up it's mind on whether it's a good or bad thing).
In the finale, Beard wants to go with Ted because he's been following him ever since Ted vouched for him with the police, but he wants to stay more because he's finally found connections outside of Ted. And as right of a choice it was for Ted to go home to his son, it's as much of a right choice for Beard to stay in England, a place where he can start anew.
(The problem is that it gets framed as being only about Jane and relationship we don't support. But like SO MUCH about s3, when I actually look at it it WORKS so well for his character, it feels so right post-Mom City's reveal, it just gets messy in the framing/execution. s3 to a T.)
(anyways, I was specifically thinking about Beard because of how many post-canon fics I've read that just casually retcons it so Beard went back with Ted, and I'm like....I don't actually think that's best for him, I think he found a lot more of a life in London than he'd had in America)
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