#HE JUST HAS A LOT OF LOVE TO GIVE OKAY

[freckleslikestars]

FARSCAPE | 1.06 Thank God It's Friday, Again.

[anyoldfandom]

I am actually. I am so emotional over the Salazar parents and I need to share this to tumblr too.

A lot of stories where the MC is adopted I feel. Either dismiss the biological parents and the impact they have on the kid's life, or makes them evil and abusive, framing the loss of the bio parents as a good thing, or at least something we shouldn't think about just look at this new family.

But Genrex doesn't do that. From the start, Rex wanted to find out more about his parents - it's one of his primary character motivations, next to helping people. He loves them, even though he doesn't know them.

And the more he finds out about them, the more he realizes they loved him. Rylander is consumed by guilt but as Rex's first connection to his pre-Event life, the first thing he does is hug him. And when he tells Rex about his parents, the two things Rex knows is that 1) they were scientists, and 2) that when he was in danger, they were desperate enough to use their secret, experimental technology to save him. Technology built from their desire to help the world, to save countless lives and end countless suffering.

And then. When he finds out that they were dead, he doesn't stop caring. It'd be so easy, too, to tie it up there - his parents were good people, he got his answer about them, the end. But they don't. He doesn't. Because the show is saying once again that they are his parents. He still calls them mom and dad, even as the show makes it clear Holiday and Six adopted Rex as their son. Even as the show even parallels Six and One with Rex and Six (and I will talk about that more later if I don't forget, trust me), to really drive home how much they're family. Rex even says he considers the two of them family, and later that he considers Noah, Claire and Annie family.

He has new family, the show tells us, but his old family still matters to him. He's upset that he never has the chance to meet his parents, that everything he hears about them, about his time with them, is secondhand knowledge. It tells us clearly that not only does Rex still love them, but that he still wants to know them. And everything we find out about them reinforces the love that they had for each other.

We see Abuela and the family in Mexico, who connect him to his birth family and tell him that he was so loved back then, and still is now. We see their office in Abysus through Rex's eyes. The picture of him and his dad on his desk. The drawing Rex drew, proudly pinned to the wall.

We see it in the familiarity of the drawing. That that robot, that build, was what Rex created when he was lost and scared and alone - that it was made to keep him safe. That it first appeared in his mind in a place he felt safe.

The show says, tenderly and softly, that the love is still there. That the fact these people died was nothing but a tragedy, that their love is a big part of what made Rex who he is today - that every molecule in his body is filled with their final gift to him. That every time he cures someone, every time he uses a build, every time he makes a machine - we see the love that they had for him.

And the way he quietly absorbs his father's face. The way he freezes and whispers "Mamá?" when he finds out Zag-Rs has their mother's voice. The fact that she even has her voice as a testament to Caesar's love, too - that it was meant to bring comfort and safety. The way Rex yells at Caesar when he finds out they have a family property, a connection to their past, the way he fights to protect it.

And, none of this takes away still from Six and Holiday being Rex's family too. None of this removes the work either set of parents did for him, the love either set has - the show says that it was unfair that the Salazar parents were lost. That Six and Holiday are not replacements, that they still love him as parents but play different roles in his life. They can not, and have no desire to, replace the Salazars. But Rex needs parents, he needs protectors, and so they will do what they can for him - at first out of necessity, to keep this kid they barely know safe, but then out of love. They aren't replacing what was lost, but are doing their best to do what Rex's bio parents would do. And they do mess up in it - they mess up in ways Rex's bio parents might not have. Six is clearly bad with showing affection, affection we saw the Salazars give Rex so easily, and Holiday is overworked and stressed constantly, sometimes breaking under the pressure and snapping at Rex and Six, things we never saw the Salazars do.

It's just. It's about how sometimes things will not be the same. They will be different. That doesn't mean the people you lost aren't still with you.

[takitori67]

In spite of everything,

[rain-on-wax-feathers]

nonhuman burr, washington, and eliza!!!

[gottagobackintime]

You want me to go full on crazy Tedependent theorist? Because I will, I will go full on crazy Tedependent theorist. What do I have to lose? (Except my dignity but that’s non-existent to begin with so 🤷)

Ted once said this: "I remember being a little kid, sitting in front of the television and watching Queen perform right over there during Live Aid."

He has a moustache that resembles Freddie Mercury’s. He’s even brought up the whole back story as to why he has it. (Also being told that he shouldn’t have a goatee right before he walks down the aisle and then he decided on this moustache and he never looked back…) in the same speech he says “Since I was a straight fella in Middle America working in sports.” Which leads me to episode 11.

In this episode they mention that Freddie Mercury owned Richmond briefly in 1980 and that he tried having “Fat Bottomed Girls” as the team’s song. And Rebecca tells Keeley and Higgins that her father went to art school with Freddie and that Freddie supposedly said that his greatest talent was “flipping straights”. So young Ted saw Queen perform at Live Aid and then when he was older he grew a moustache similar to Freddie Mercury’s? 🤔

Then we have the song in itself. You know who wrote “Fat Bottomed Girls”? Brian May. Who famously has fantastic, long hair.

Whose hair was brought up for the first time, explicitly, in the show this episode? Trent’s hair. And it was brought up by Ted’s mum. And Ted has previously commented on hair as something he seems to like. (He kind of alluded to Trent’s hair in the second episode of the third season but he never outright states that he likes it. And Trent asks Ted if he assumed that Trent could ride a bike because of his hair and the whole vibe). And I’ve talked about hair in THIS POST but the gist of it is that hair has been referenced before, in relation to romantic couples with Roy and Keeley, Higgins and his wife, Sam and Rebecca.

I can’t verify this quote because I don’t have the magazine. But I’m adding it here anyway:

May told Mojo magazine October 2008: "I wrote it with Fred in mind, as you do especially if you've got a great singer who likes fat bottomed girls… or boys."

“Fat Bottomed Girls” is also connected to the song “Bicycle Race”, written by Freddie Mercury, they were released as a single together. And they both reference each other. “Bicycle race” is sometimes viewed as a metaphor for being bi. (Sport as a metaphor, anyone?)

Who doesn’t know how to ride a bike? Trent. Who has a moustache similar to Freddie Mercury? Ted. Who might be bi? Ted.

Look, I told you it’s crazy but I couldn’t help myself. I’ve talked about Queen/Freddie Mercury in relation to Ted before. So I couldn’t let this opportunity pass me by.

[crispywizardtale]

[m-kyunie]

"The supposedly sealed memories of a miniature garden"

[tommygettingwrittenoff]

sorry but no one can convince me that t is giving buck head. he'd be like. 😐🫤 evan, your dick is too big, can't i just give you a handy instead? and buck being the little people pleaser that he is would just be like. 😟😔 yeah...yeah okay that's fine...

[longagoitwastuesday]

I am liking Jujutsu Kaisen, way more than I imagined I would, but I foresee it will let me down and it's keeping me from enjoying this as much as I could haha

I think the characters and dynamics are well set, and I think many of them have an incredibly good and deep potential, but I would be willing to bet they'll not get a proper development, enough for them to really hit. A well assembled set of gears is not enough to make the movement go, you have to wind the clockwork.

I think Gojo and Megumi have a fascinating and very complex dynamic, but I doubt it will be given the time and care that imo it needs to actually work. And it is going well enough for now! One could see the intimacy between them was deeper than the one Gojo had with, say, Yuji and Nobara ever since the very first few episodes despite the fact Fushiguro too was a first year. But the pieces forming what they have are extremely complex, and it just wouldn't be realistic if it doesn't show, even if in a not showing way, or if it doesn't have consequences or implications.

It's one of those dynamics that shape one's life, the way one regards the world, the way one establishes or not relationships with other people. It's one of those dynamics that could be full of fondness, gratitude, resentment, admiration, trust, and that imply intimacy, the good kind or the bad, even if in just the knowledge of someone who's been a constant through your life. It could, and would, imply a myriad of feelings, and probably in such a mix it could imply contradictory feelings too. Even the nothingness would weight, even the nothingness would be significant and meaningful.

Gojo took Megumi and his sister under his wing, the son of a man who murdered him, because of both selfish and selfless reasons. Megumi looks like Toji. What does Gojo feel about this? How does Gojo deal with this? How does Gojo go about taking care of Megumi? Would he walk him to school? Make him breakfast? Celebrate his birthdays making him blow candles? Did he take him to the zoo? Does the relationship between them feel professional or is it something more? Gojo appreciates his students, but is Megumi to him just another student? When Gojo faces Sukuna in Megumi's body, did he see the kid he raised, or does he just see Sukuna in one of his students' body? Did he have one faint wavering instant? And how does Megumi feel about this? Is he resentful of him? Resentful of the situation? Of the selfishness behind his actions? Does he feel like a pawn? Is he grateful? Does he resent feeling grateful? Would he rather not? Does he love Gojo? Does he feel nothing about him other than what he could feel about a teacher that sort of annoys him but knows he's reliable in his strength? Does he think it unfair, cruel or unfeeling that Gojo is close, closer perhaps, with Yuuji or Yuta, considering their story? When Sukuna slices Gojo in two, does the remnants of Megumi's soul tremble?

And not just Megumi and Gojo. Yuuji and Nanami, Gojo and Nanami, Yuuji and Fushiguro, Nobara and the boys, or Nobara and Maki, Todo and Yuuji or Yuta, Gojo and Yuta, Megumi and his sister. Gojo and Geto, even! If the pieces are well set, the dynamics are intriguing, interesting, and have potential to be deep, but then the characters have like two plot relevant scenes that punch you hard, but little more, it's not nearly enough. Especially not nearly enough for the enormity that is shonen dynamics and situations. And the potential existing at all, and then not delivering, makes it all the more frustrating when you're left with something mediocre that could have been so good.

The development of dynamics through not only a few plot relevant gut wrenching moving scenes, but also the smallness of life, is important. The friend who recommended this to me said that those things were just unnecessary filler, but I disagree. I think there's a big difference between a large amount of anime-only filler episodes whose existence is based on the fact they had run out of manga chapters to animate, and moments of quietness. The low stakes character-driven moments of quietness can be so telling and so insightful, and they are so satisfactory when brought back later in higher stakes situations. My friend teased me there was no scene of Gojo making breakfast to Megumi, that it would be an idiotic idea, but it would be so telling. How he makes breakfast, what they eat, if he tries hard or if it's all mechanised, if they have personal bowls or if they use whatever, if he just buys them some pastry on the way to school, if the way they have breakfast changes through the years, or if he doesn't make them breakfast at all! All that would be very insightful on their dynamic and its evolution. All that would give a glimpse on how they regard each other and why, even in the present. All that could become meaningful in tense situations and high stakes scenes.

These moments also let the plot breath; if a lot is happening all the time, if every character is always experiencing trauma after trauma, the entire story is so emotionally draining that at some point you don't even care all that much. Besides, these nothing moments or low stakes plot arcs, besides deepening and developing dynamics, also let some in-world time pass, which would make the intimacy and bond between characters more believable imo; between Yuuji eating Sukuna's finger and their last confrontation in December how much time has passed? A few months? Am I truly to believe these characters are so everything to each other in only a few months?

Without some smallness, some repetition, some daily life, some low stakes not plot-centric development, the dynamics don't hit, they don't truly feel fleshed out, and dynamics as complex as the ones Megumi and Gojo have, or as supposedly meaningful as the one Megumi has with Yuuji or his sister, should be fleshed out if they're going to exist at all. Otherwise they'd risk making the writing feel awkward and fake. Besides, if the dynamics felt well fleshed out and realistic, they would shape the way the characters interact and act, and how they deal with situations, thus being plot relevant.

The shonen genre has so much happening all the time, the stakes are so high, the dynamics are so rooted in big events and the relationships carry enormous weight and implications. Yet they barely get developed, and it feels so stupid, so plain, the absence of something so important noticeable like a constant void, a shapeless nothingness present in every scene. It makes the characters feel like cardboard figures. Jujutsu Kaisen is already getting a better job than many, but I doubt it will do enough for what I've heard, and I fear I am bound to feel let down, and bound to feel unmoved.

After all, if not enough time and care has been given to develop a dynamic, I am not going to feel pressured by the high stakes; if not enough time and care has been given to develop the dynamic between Megumi and Yuuji, as good potential as it has I am bound to feel little for this last confrontation between Sukuna and Itadori, and his effort in getting Megumi back.

[sirenofthegreenbanks]

deeply enjoy that the novel can also be read as a commentary on the fallacy of information. we have zzs as the main narrator who adds to this nuance by being a former spymaster and leader of a bunch of proficient investigators. hes very intimate with the process of verification of information, and even his vast databank of knowledge and his abilities of filtering and sorting the "true" from the "fake" is tested throughout the novel through many instances and events. its especially interesting because he makes a major mistake, almost from the very start, that he resolves only after a very long time, and only after overcoming personal weaknesses. his personal weakness at recognizing truth vs decept reveals itself in the inability to meet personal events with a human perspective; he is basically functioning like a person with two lives, and most of the time, he at least acts as if he is regarding wkx, suspected master of ghosts, from the professional business grounds of the retired leader of shadows rather than from the perspective of a person with an adventurous life and wishes of his own. in this lies the danger to misinterpret and to refuse to confront what is truly going on. if zzs cant 'find' the "true reason" for the ghost master following his humble retired self, he is going to do his utmost to make up one (on the basis of his personal and professional experience with such situations), instead of considering at least once the admittedly unlikely chance that wkx might like him and is even deeply sincere about him. this doesnt signal anything less but that we, as the reader, should not irrevocably trust even the one person who is in most stories the most trustworthy; the main narrator. instead, we are advised to reserve us the right to doubt and think for ourself, to look critically upon even zzs, which only circles back to the novel's theme of the fallacy of information. it even lends to the novel's dialogue with the human right to form your own opinion and your own thoughts and come to your own conclusions, no matter how much they might diverge from norm or mainstream or traditions, and no matter how tempting it might be not to.

[bruhstation]

the journey of gordon juniperus gresley (and still ongoing)

[kuromi-hoemie]

i am once again thinking about The Boy

not the movie lol

[sysig]

CAN I DO ANOTHER ONE FOR THE MEME maybe DAX with yellow 1B just because i like seeing him cry lol. and maybe ZEX with yellow 4C? PAIN AND SUFFERING or yellow A2 lol i can't decide

Then perish (From here, meme still open ♥)

[my-thoughts-and-junk]

thinking about fallout 4 against my will

[djungleskogs]

.

[yn6k]

i dont think melt down is supposed to be a sad song but the way i teared up while listening to it anyways