#Don't listen to dead people

[scapegods]

Yeehaw Byler 🪑

my piece for @bylerbigbang w/ @willelworld

[deadpoets]

DEAD POETS SOCIETY (1989) dir. Peter Weir

[greencarnation]

eleven is fascinating to me because he came right off the back of tens horrible traumatic breakdown after he lost everything and he immediately tried to establish himself as the opposite of that. he is funny and goofy and almost childlike, and he bulldozes on in his adventures with amy like nothing happened at all. but then something happens and his masks slips and it's like oh! the core of this man is still anger. he is so so angry all of the time and this façade is the only thing stopping him from being consumed by it. he isn't over any of it and he hasn't moved on. he is wearing a fez and laughing but under that all that exists is age old anger and grief and it is going to consume him

[worstloki]

love the idea of the Avengers adding new members but being stingy about rooms so the OG Avengers each get their own but Bucky and Loki are forced to share one under the guise of it being 'healthy interaction'

[idliketobeatree]

it's okay to just admit that you're jealous of me, you're obsessin', just confess it 'cause it's obvious i'm your number one. (or, edwin payne's cunty hot girlypop brat summer)

[arthursfuckinghat]

Do you think about Arthur reuniting with his family in the afterlife. Sorry do you think about Arthur being together with everyone he lost and no longer being in pain. Do you think about Arthur getting to see his son again. Do you think about it.

[theokusgallery]

I was waiting for my train, some guy asked me if I could answer a survey about the train line and I was like. Yeah sure man I've got nothing to do right now. Answered everything with my very masc voice that got me a "Thank you young man" from the bus controller ten minutes prior.

At the end he asks for my name, and watching this man glitch the fuck out when I told him "Emma :)" was so fucking funny

[princessdarth-vader]

i can't stop thinkng about kristen this episode. her kindness. her honesty. she sees a grieving man; a man she hates, a man who has wronged her and hurt her, a man who she would be well within her right to vow to destroy, to laugh at his pain. and she says "it's too sad not to tell him". she tells him the truth about what she knows. a hard truth, but a necessary truth. he doesn't believe her, but she tells him anyway, because she cares. because this is a world barely a step from hers.

she talks to her brother, and she doesn't try to make a grand gesture. she doesn't try to heroically convince him to turn away. she empathises, she's been there. she tells him she understands. and she meets his doubt with courage, with a hand to hold, with a lantern to light up the overwhelming darkness. she offers him the hand he needs when he's too afraid to ask for it.

she talk to jawbone. she sees how hard a time he's having, and she reaches out. she helps, and she tells him that her plan was to take advantage of him, but she couldn't go through with it. she's honest and kind and giving at every fucking turn, and she tries again and again and again.

it's in the way she would still reach out and try to reconnect with her parents, who let her down and betrayed her trust and innocence. The way she insisted that buddy be revived, and was hopeless when she could do nothing to help. for all her chaos and bits, kristen is one of the most heartfelt and genuine characters in dimension 20 and i fully fully believe that.

[winteriron-trash]

rdj the (whitewashed) electric boogaloo

This is a reminder to everyone who's excited about RDJ's casting as Doctor Doom that this casting is whitewashing. Victor Von Doom is a Romani character and has been a Romani character since his introduction in the 1960s. (Fantastic Four Annual #2 [1964]) Not only that, but his Roma identity and the persecution he and his family faced due to it is integral to his character, it is what forms his identity. (Books of Doom by Ed Brubaker) Even if on the off chance this casting is meant to not be Victor but instead be some variant of Tony or whomever else becoming Doctor Doom, it is damaging to the character to rob him of that important cultural background. Doctor Doom does not exist without that history. Fans have been pushing hard to cast Doom as a Romani actor for years, especially since the MCU has whitewashed other Romani characters. (Wanda, Pietro, etc) This casting is not a celebration moment, it's fucking heartbreaking that the MCU repeatedly ignores the important and nuanced cultural backstories of characters.

I know I can't change anybody's mind on whether or not you want to be excited about RDJ's return to the MCU. But I do think at the very least you should be mad that the MCU is baiting us all and destroying nuanced and interesting characters for the sake of self-referential easter eggs and nostalgia bait. Because that's what it is. Feel how you'd like to feel about RDJ's return, but personally, this is soul-sucking. I had such a deep love for the MCU as a teenager, it was obviously something incredibly formative to me, especially Tony Stark. This isn't recreating what I fell in love with the MCU for. This is turning a well-planned and artistic storyline of adaptations into cheap cash grabs and fan service. Because, I think we're past the point of being able to call the MCU an adaptation of anything. They can use existing characters' names and powers, but to say they're being properly adapted is laughable.

This is not an adaptation of Doctor Doom. This is RDJ the Electric Boogaloo because Marvel's fear of losing the interest of dedicated MCU fans overrides their willingness to tell stories that are genuine to the characters. I don't know what there is to be excited about that. The MCU has lost its authenticity and aside from a few projects, feels heartless. Every movie is a copy of a copy. This announcement isn't something celebratory, it feels like a death knell of a cinematic universe that's so desperate to cling to relevancy it's resorting to nostalgia for a character/actor who hasn't even been dead for a decade. We're not getting anything new, we're just rinsing and repeating the same song and dance.

I get it. I love Tony Stark, his death destroyed me and I to this day, rue the ending he got in Endgame. It misunderstood his arc and it robbed him of a satisfying conclusion. But the solution to that isn't dragging the corpse out of the grave five years later to whitewash an existing character with rich and interesting nuance, just to forcibly tie his existence in the MCU to Tony. Whether he is a variant or not. Why would you want someone else's fave's legacy to be destroyed simply so your fave's legacy can go on? Hell, if we were really all so hellbent on the return of RDJ and/or Tony to the MCU, we have the multiverse for a reason. There were other ways to do it that didn't whitewash and ruin someone else. This just. Isn't something to be happy about.

[poorly-drawn-mdzs]

Do you think Wei wuxian listens to weezer?

I don't know...I don't know...I really don't know.....

[feroluce]

Thinking tonight about Caelus, and the nature of his loss and his grief after the Everything that went down in Penacony during 2.0.

Because Acheron, Black Swan, and Misha kind of knew of Firefly, they at least met her, but they didn't like really know her, and Caelus never even got the chance to introduce her to the rest of the Astral Express Crew. The only person who would have talked to her much was Sparkle, who is. Probably not really someone Caelus is interested in grieving with skznmsks

Anyway, all this to say, I like thinking about how alone poor Caelus is in his grief, because he was the only one who knew Firefly. He's the only one really mourning her. There's no one to talk about her with. There's no stories to trade or memories to reminisce with anyone over. It's not as though he knew her for long, but still. No one else knew her at all.

And I love the thought of all of this coming bubbling up, hot and acidic and bitter, during a conversation with Sampo, who Caelus just so happens to run into in the Golden Hour. Poor Sampo is kinda blindsided, he knew shit was going down in Penacony, but yeesh. And he just. Isn't quite sure what to say about it all, because he's never really encountered this before. His feelings about the Masked Fools are...a mixed bag, but he's been a part of them for a very long time, and when you're with a close organization like that, it's hard to feel alone, in grief or otherwise.

So Sampo sits there on their little bench that the two of them have occupied, and he thinks of his old friend April, how she'd died in his arms cackling and spitting her own blood after a heist gone wrong, and how after he'd dragged himself back to the World's End Tavern they'd all held a Fool's Funeral- which is basically just a big party where everyone gets really really drunk and reminisces and toasts the dead and celebrates their life.

He still thinks about her a lot, and he remembers how the time he'd most keenly felt her absence was on Jarilo-VI, the one place where he couldn't talk about her because he couldn't say anything to give himself away as an alien. The Fools still tell stories about her every time he goes back to the Tavern. His first toast of the night is always in her name. Even now, all these years after she'd died, Sampo is still learning new things about her. He's never had to grieve her alone.

Caelus doesn't have any of that.

He might never have that. As they speak, Caelus has no proof that Firefly was even her real name, or if she dreamt with her true appearance. He might not ever find out who she even was.

And just imagining that kind of loneliness hollows out a strange little pit, right behind his sternum, deep between his ribs.

So Sampo claps Caelus' shoulder and offers him a deal. Come find him outside of the dream. He knows a guy who can get them a lot of beer for really cheap-

("Is that guy you and your five finger discounts?" "Whatever do you mean, dear friend, I don't even know the meaning of the phrase, hehee.")

-and they can hole up in a bar or a hotel room or something, and get completely shitcanned. Tell him all about Firefly, tell him everything, and he'll tell Caelus about April and everyone else he's ever lost. Sampo will carry Caelus' memories of Firefly with him, and at least this way, Caelus will be a little less alone in remembering her. And the next time they cross paths, Sampo will be the one to bring her up, and to tell her stories, and Caelus can get to be the one listening. He won't have to be the only person to talk about her anymore.

Caelus rolls his eyes when Sampo avoids another remark about sticky fingers, but...ok, yeah. That sounds good. Nice, even. Thank you. Caelus bumps his shoulder against Sampo's. Sampo bumps back.

(They find each other again the next day, and true to their word, get themselves completely and utterly shitcanned. Caelus talks more than Sampo has ever heard him; every minute detail, every word choice, Firefly's every odd little mannerism and habit. Because Caelus wants to make sure this will outlive him, that even if the Stellaron dwelling within him finally burns him to a crisp and he really does up and kick the bucket, or even, godforbid, if he forgets, he wants to make sure someone remembers her. She deserved that.)

((And it takes quite a while, after that. Caelus doesn't see Sampo again until after everything has settled down. On his last day in Penacony, he finds the guy slinking out of a seedy back alley and all but runs right into him. Sampo happily leads him to some dive bar in an even seedier back alley that Caelus has never even heard of, and Sampo raises his glass. "To Firefly! Who sounds like she probably would have hated me at first, but I would have liked to have met her anyway."

And Caelus stares at him, almost looking startled, long enough that Sampo worries that he's read him wrong and brought this up too soon. He's halfway into planning how to talk himself out of this situation when Caelus finally throws back his head back and laughs, tells him that yeah, Firefly would have politely called him out on every lie he told, and all their conversations would take twice as long with the way Sampo is so full of shit.

And he can see it, the same way he watches and sees through everyone, that Caelus' eyes have a tightness to them, his knuckles are nearly white around the handle of his mug. But he smiles. He hits his glass against Sampo's far too hard and throws it back and gets foam everywhere like he does every time they drink because the guy's about as elegant as a raging bull, but those things don't lessen the genuineness of his smile.

The grief is there, but so is the elation, and those emotions aren't a sliding scale between one or the other. It is all of both and both at once, and that's what contents Sampo enough to throw his own mug back when Caelus makes a toast of his own, "to April!!".))

[clonerightsagenda]

Jessica’s fate is a miniature of what's happening to all the children in this universe: victims of a previous generation’s imperial extraction while everyone assigns blame in the wrong direction. I think that’s intentional but, given that, I’m not sure what to make of how they use all those hoarded relics later in the series. Maybe I’ll have a clearer idea when I get there, although I feel like the politics get pretty muddled at the end of Ptolemy’s Gate also, so sometimes you just decide to set aside your themes for a cool set piece. I get it.

Anyway if Listener powers can overcome the language barrier I think Lucy should ask those people who they are so they can be returned. IDK how Lockwood's parents got all those artifacts, but I find it hard to believe people willingly handed over the literal souls of their relatives.

[hephaestuscrew]

I'm still thinking about that scene in Victoriocity S3E7 where Fleet runs back towards the Beast so as to lure it into the path of the train...

Clara's exclamation of 'Teamwork, Fleet!' after Fleet says he's got a plan reflects her conviction that any plan that Fleet has will be a shared plan, something they do together.

This conviction is a kind of trust, and that trust is part of the reason Clara takes a moment to realise Fleet has headed back towards the Beast. She trusts that he's following behind her. She keeps talking to him, her words full of optimism.

When she realises Fleet isn't there, she immediately realises what that must mean he's done, and her voice sounds more small and scared than I think we've ever heard it before.

Fleet's attempt at self-sacrifice is a kind of betrayal of Clara's trust, but when he echoes her celebration of their teamwork in a more somber tone, I think it suggests that he understands the weight of that betrayal.

If Fleet's plan is that Clara won't realise he's gone until it's already too late, then he thinks "Teamwork, Clara" will be the last words he'll ever speak to her. In what he imagines will be their final conversation, Fleet affirms Clara's understanding of them as a team who work well together, even as he is making a choice that rejects the possibility of their teamwork in this scenario. It's a recognition of what their dynamic has meant. It's a goodbye and an apology, even if Clara doesn't understand it as such at first.

I don't think Fleet sounds scared as he initially faces down the train. When he shouts "Yeah, this way, you stupid machine! Come on then!", he sounds defiant and grimly determined.

In fact, I don't think he sounds afraid until Clara appears, until she might be at risk of being in the path of the Beast or the train as well. It's when he shouts "Clara, stay back for God's sake!" and "Please, get back!" that there's real fear and desperation in his voice. He can confront the idea of giving his own life, but not the idea that doing so might put Clara in danger.

Another thing about these lines is that the move from 'stay back' to 'get back' suggests that Clara didn't obey his first instruction but got closer to him (and therefore to the path of the Beast and the train) between those two lines.

Then Fleet gives what might be another attempt at his last words: "I'm sorry! I'm sorry."  A repeated apology before an attempted self-sacrifice is an implicit acknowledgement of how much losing him would hurt Clara. He regrets causing her pain.

Even so, he's accepted that he is about to die and that it'd be worth it to destroy the Beast. But Clara very much hasn't accepted either those things. She's still trying to yell over the noise of the train; she's pulling off her ring to throw at him.

I think it's a good illustration of how Clara's optimism is a kind of strength. She always believes that they can "make a new plan" and that it'll be one in which no one has to die. I think Archibald Fleet needs someone like that, someone who'll tell him to drop to the ground when his death advances from both sides, someone who - even in a dark tunnel with an murderous metal monster and a speeding train - won't stop shouting that there's hope.

[notasapleasure]

Kay, thanks for this link, reading the essay was almost quasi-religious to this lifelong atheist. It's an absurdly optimistic piece and all the more rebellious for it, I think.

I could quote so much more from it, but perhaps this is the most relevant bit right now...

For radicals, fetishizing the guillotine is just like fetishizing the state: it means celebrating an instrument of murder that will always be used chiefly against us.

Those who have been stripped of a positive relationship to their own agency often look around for a surrogate to identify with—a leader whose violence can stand in for the revenge they desire as a consequence of their own powerlessness. In the Trump era, we are all well aware of what this looks like among disenfranchised proponents of far-right politics. But there are also people who feel powerless and angry on the left, people who desire revenge, people who want to see the state that has crushed them turned against their enemies.

Reminding “tankies” of the atrocities and betrayals state socialists perpetrated from 1917 on is like calling Trump racist and sexist. Publicizing the fact that Trump is a serial sexual assaulter only made him more popular with his misogynistic base; likewise, the blood-drenched history of authoritarian party socialism can only make it more appealing to those who are chiefly motivated by the desire to identify with something powerful.

-Anarchists in the Trump Era

Now that the Soviet Union has been defunct for almost 30 years—and owing to the difficulty of receiving firsthand perspectives from the exploited Chinese working class—many people in North America experience authoritarian socialism as an entirely abstract concept, as distant from their lived experience as mass executions by guillotine. Desiring not only revenge but also a deus ex machina to rescue them from both the nightmare of capitalism and the responsibility to create an alternative to it themselves, they imagine the authoritarian state as a champion that could fight on their behalf. Recall what George Orwell said of the comfortable British Stalinist writers of the 1930s in his essay “Inside the Whale”:

“To people of that kind such things as purges, secret police, summary executions, imprisonment without trial etc., etc., are too remote to be terrifying. They can swallow totalitarianism because they have no experience of anything except liberalism.”

[bumblebeebats]

Oftentimes when planning any sort of travel i find myself sending emails to customer service representatives like "Hey so, just to confirm in writing, even though your website says I'll need an XYZ and I only have an ABC, that will be ok, yes? Even though you close at 9pm, and I arrive at 9:15, you'll let me in, yes? The trains I need to take are definitely A, then B, then C, yes?" and the replies I receive are invariably like "Uhhh... yeah...? 🤨🤨 Of course?" Like am i just autistic and/or neurotic or does everyone else just fling themselves out into the world like "Ehhh, it'll be fine 🤷" and hope for the best

[seonghwasblr]

One thing I will never understand is the whole "don't speak ill of the dead" thing, like yeah, nope. If they were awful, you bet I will talk ill of them