#BECAUSE THE WORLD IS UNFAIR LIKE THAT

[magicalgirlmindcrank]

Elden could have been actually good if it had like 50 bosses that were unique instead repeating the same ones again and again

[tomurakii]

I kind of hate all the comparisons between kipperlily and like. Those fuckass "affirmative action fucks me over I wish I was [minority] so it would be easier" people because none of that. Is what she said. She said the bad kids already had more experience with adventuring before they got to augefort and it meant they had an advantage. Which is true. Yeah Riz was lower-class but his mum was a COP. Riz, Kristen and Fig had parents who were heroes (Sandra-Lynn is an active ranger, Kristen's parents are paladins, Sklonda is a rogue), Adaine's family was super rich and politically influential, Fabian had both. Gorgug's the only one who wasn't actively at an advantage [IN THE CONTEXT OF HAVING PRIOR KNOWLEDGE ABOUT HEROISM] and she didn't have shit to say about him. Kipperlily was the first person in her family to try heroism, the bad kids are largely legacy admissions.

Additionally to the people comparing it to the "anti-affirmative action" crowd: do you know what affirmative action is. The bad kids didn't receive special consideration on their admissions to aguefort or scholarships or additional financial support or extended assessment times or anything. How could she be mad about affirmative action if none of these people received affirmative action. What they DID have was knowledge about their classes that started much earlier than high school, which is what Kipperlily said in her file that she thought grading should be adjusted for because she did not have that.

To me it's less like affirmative action and more like augefort is like an IQ test. They pretend that it's fair and objective, but you can be taught how to do those things from a younger age, and if your parents took the time to teach you pattern recognition and shit then you'll do better on an IQ test than someone who wasn't trained for it and everyone will act like that makes you innately smarter when it doesn't. It just means someone taught you how to do that earlier.

Barring Gorgug, every one of the bad kids had access to information about heroism and their class at a younger age than Kipperlily did, which primed them for success in their classes. Every one of them got additional information about mysteries from their families (and even direct battle-tactics training from Bill), Riz especially with getting classified info out of his mum. Kipperlily does not have hero relatives. She's the first in her family line to attend a hero school. She knew nothing about it before her first day, meanwhile Kristen was already the chosen of Helio, Adaine had already been attending the best wizard school in the country, Fabian had already spent his whole life training with his father, and Riz was already involved in solving mysteries using info and tactics he got from his parents.

They aren't necessarily "privileged" (except Fabian and Adaine), but Kipperlily didn't say they were, she said that in the specific context of attending a hero school they had a prior-knowledge advantage. Saying they didn't is like comparing the grades of a kid who's academic career started with preschool with a kid who didn't attend until middle school and acting like one of them wasn't better prepared.

[hyperfixatinator]

DPxDC Headcanon: the title "King of the Infinite Realms" is misleading

Sure, there are indeed an infinite amount of worlds and dimensions across the multiverse. However, the name "Infinite Realms" is actually referring to the space in between said realms. The malleable borders that act as cushions to prevent all these realities from constantly colliding with each other. If you compare the worlds themselves to bones, then the Infinite Realms would be the cartilage preventing friction whenever they move.

So if Danny ever became the king of the Infinite Realms, he wouldn't actually have authority over whatever goes on within said realms. After all, each world has their own set(s) of afterlives and deities already taking care of that. No, Danny would only be in charge of that squishy, ectoplasmic stretch of space that portals need to punch holes through in order to cross over.

[time-to-write-and-suffer]

Ugh everyone dunking on Steven are soooo cringe 🙄

Shane and Ryan are grown men who stood by this decision, so please dunk on them too lmao.

[rawliverandgoronspice]

given that seems to be the new popular take in the fandom at large since totk got out: let the record show that I'll gladly let myself get repeatedly manipulated by the wind waker speech and be foolishly moved by its implications over rejecting space for humanity and vulnerability in the monstrous and the dispossessed, and then feeling weirdly smug about severing that fleeting attempt at connection and deem it obviously insincere

[misfithive]

The thing that gets me about this scene is that even after everything Sara did, Simon is still protecting her by not telling their mom what happened at all. And protecting his mom because he probably doesn’t want to worry her or involve her in all the drama. It makes me sad because he really is carrying so much in the family. I’m glad Simon has Rosh and Ayub to talk about things with but being 16 and taking on all that responsibility to look out for everyone else is a lot and people need to give him more credit for that.

[iirulancorrino]

Movies that attempt something different, that recognize that less can indeed be more, are thus easily taken to task. “It’s so subjective!” and “It omits a crucial P.O.V.!” are assumed to be substantive criticisms rather than essentially value-neutral statements. We are sometimes told, in matters of art and storytelling, that depiction is not endorsement; we are not reminded nearly as often that omission is not erasure. But because viewers of course cannot be trusted to know any history or muster any empathy on their own — and if anything unites those who criticize “Oppenheimer” on representational grounds, it’s their reflexive assumption of the audience’s stupidity — anything that isn’t explicitly shown onscreen is denigrated as a dodge or an oversight, rather than a carefully considered decision. A film like “Oppenheimer” offers a welcome challenge to these assumptions. Like nearly all Nolan’s movies, from “Memento” to “Dunkirk,” it’s a crafty exercise in radical subjectivity and narrative misdirection, in which the most significant subjects — lost memories, lost time, lost loves — often are invisible and all the more powerful for it. We can certainly imagine a version of “Oppenheimer” that tossed in a few startling but desultory minutes of Japanese destruction footage. Such a version might have flirted with kitsch, but it might well have satisfied the representational completists in the audience. It also would have reduced Hiroshima and Nagasaki to a piddling afterthought; Nolan treats them instead as a profound absence, an indictment by silence. That’s true even in one of the movie’s most powerful and contested sequences. Not long after news of Hiroshima’s destruction arrives, Oppenheimer gives a would-be-triumphant speech to a euphoric Los Alamos crowd, only for his words to turn to dust in his mouth. For a moment, Nolan abandons realism altogether — but not, crucially, Oppenheimer’s perspective — to embrace a hallucinatory horror-movie expressionism. A piercing scream erupts in the crowd; a woman’s face crumples and flutters, like a paper mask about to disintegrate. The crowd is there and then suddenly, with much sonic rumbling, image blurring and an obliterating flash of white light, it is not. For “Oppenheimer’s” detractors, this sequence constitutes its most grievous act of erasure: Even in the movie’s one evocation of nuclear disaster, the true victims have been obscured and whitewashed. The absence of Japanese faces and bodies in these visions is indeed striking. It’s also consistent with Nolan’s strict representational parameters, and it produces a tension, even a contradiction, that the movie wants us to recognize and wrestle with. Is Oppenheimer trying (and failing) to imagine the hundreds of thousands of Japanese civilians murdered by the weapon he devised? Or is he envisioning some hypothetical doomsday scenario still to come? I think the answer is a blur of both, and also something more: In this moment, one of the movie’s most abstract, Nolan advances a longer view of his protagonist’s history and his future. Oppenheimer’s blindness to Japanese victims and survivors foreshadows his own stubborn inability to confront the consequences of his actions in years to come. He will speak out against nuclear weaponry, but he will never apologize for the atomic bombings of Japan — not even when he visits Tokyo and Osaka in 1960 and is questioned by a reporter about his perspective now. “I do not think coming to Japan changed my sense of anguish about my part in this whole piece of history,” he will respond. “Nor has it fully made me regret my responsibility for the technical success of the enterprise.” Talk about compartmentalization. That episode, by the way, doesn’t find its way into “Oppenheimer,” which knows better than to offer itself up as the last word on anything. To the end, Nolan trusts us to seek out and think about history for ourselves. If we elect not to, that’s on us.

[hammill-goes-fogwalking]

wanna hear this? I'm a late bloomer. And I just read this term exists. All the worries about autism, asexuality, low libido, comparing myself to people, feeling left out, rejection, lack of self worth, reproaches, envy, depression- have this one reason: I'm a late bloomer, the reckless truth. ☠️

[moonchild-in-blue]

I will just leave this here

"Dev Patel, as you can see, is extremely hot."

Please tell me that's the whole article. Because you really don't need anything else hahaha. That's it, that's him.

Me. Found dead on a ditch.

[creatively-cosmic]

missing numbers lore

[anxiously-sidequesting]

To me personally malistaire is the funniest and most pathetic villain wizard101 has ever had AND I MEAN THAT SINCERELY!!! Between doomed children who have been manipulated, groomed, and isolated into becoming products of their environments, someone scorned who has been punished unfairly by having your biological heart torn out your chest and turning your children and all of reality against you to satiate their own ego, a nonhuman entity so powerful and so clueless they unintentionally threaten the lives of everyone around them, Malistaire FELL DOWN BRO. Like yeah you're bitchless now. You and me both. Get in line. Everyone in this room is bitchless. We are ALL living that ✨💅🏾💃🕺 Single Life™. You are a middle-aged man. Cope

[vvitchy-succubus]

.

[jackalmeat]

Mostly just throwing spaghetti at my own mental wall and seeing what sticks, but I have Unorganized And Poorly Articulated Thoughts about the fact that Ekko and Jinx are around the same age, lost their guardians and peer groups at the same time and in a deeply traumatic way, etc.; and yet I feel like Ekko's status as a victim of their broken, oppressive, and exploitative social landscape doesn't receive remotely the same acknowledgment or weight as Jinx's.

While I'm sure that that's due in large part to the fact that Ekko has been successful at building a sense of healthy, mutualistic belonging + community with others in a way that Jinx clearly hasn't, it's nonetheless worth noting that [A] he had to build that and learn how to take care of both himself and others when he was still a child, and the maturity he exhibits is a direct and tragic result of his boyhood being cut violently short; and [B] failing to acknowledge him meaningfully as a victim and a kid, just because he seems to have 'turned out okay' or some-such, reads very distinctly to me like an extension of the documented tendency in our own world for people to "adultify" young black boys due to perceiving them as older, less innocent, and more threatening/less in need of protection than their white peers.

[mariocki]

Anthony Ainley guests as medical specialist Josef Kerston, a doctor but also (shock!) a villain, in The Adventurer: The Bradley Way (1.4, ITC, 1972)

[love-has-a-way-ofgrowingbackward]

everytime i take a tiny triangle out of the cake i made my brother comes in and cuts off a trapezium, making the cut a single clean line. it would be vaguely funny but like i made the thing and like could he not eat it all without leaving some for me

[haewangsong]

if anyone believes in the bullshit kjh put out i pray for you that you never work in a field in which you'd need help from unions