#Ignore me. I'm bitter.

[fourfuckinghorsemen]

If all I see on my dash tomorrow is sappy romantic crap then I probably won't be around.

[romanticizingmurder]

Trans men: here are the largest surveys ever conducted in the trans community which show that trans men face equal rates of SA, being unhoused, police harassment, domestic violence, etc. as any other trans peer group. Here are endless clips of politicians talking about "confused girls" as why they want to ban HRT.

People on here: you just don't understand Material Feminism (if your evidence of oppression doesn't fit into my framework of gender dynamics, it can't be material), trans men aren't even a main target of national transphobia.

[necrotic-nephilim]

What's so fun about BruJay as a ship is Jason's sheer obsessive devotion to Bruce. Jason is possessive over Bruce, to the point he doesn't care about the deaths of others so long as he has Bruce's attention. A part of the UTRH arc this isn't talked about enough is that Bludhaven fucking explodes mid-way and Jason won't let Bruce see if Dick is alive.

batman (1940) #650

A lot of discussion about UTRH paints Jason as this anger-driven cold, calculating machine up against Bruce when it's so clear that his love for Bruce is what drives him at his root, even if he won't acknowledge it. He says it himself, he would've done anything if it was Bruce who'd died instead of him and his anger is rooted in that possessive devotion not being reciprocated.

batman (194) #650

BruJay as a ship always to be, to some level, unrequited. Even if Bruce loves Jason back in that way, he'll never be that obsessed with Jason. Jason will always view Bruce's love for Dick or Tim to be a distraction, proof that Bruce isn't dedicated enough to him. Jason has the need to always have Bruce's attention, even when it could come at the cost of Bruce's other loved ones. Something something cannibalism as a metaphor for love in how Jason wants to consume Bruce's whole existence. He can't let Bruce leave him again, can't let Bruce love or grieve anyone else. Forcing Bruce to choose between Jason and the Joker isn't just about confronting Jason's killer, it's about confronting the other person who exists as this duality with Bruce and consumes so much of Bruce's life. That's the role Jason wants to fill, calling himself Red Hood and forcing Bruce to look at what he's become. But still loving Bruce and wanting more than anything for Bruce to reciprocate that love in the way that Jason understands. I just think it's good soup and rife with Dynamics that are underexplored with them.

[that-was-anticlimactic]

i will never understand how or why the httyd movies did the books such an injustice.

the movies aren't even an adaptation - they stole the name of the series, the name of some of the characters and places, and the general idea that there are dragons. honestly, i would be fine with the movies and maybe even like them if they didn't capitalize off of cressida cowell's incredible books that never get any credit.

the books are an amazing story about the cycle of violence and how vengeance and revenge is dangerous. hiccup says that the past is a ghost story, one we need to learn from to better ourselves. the books are about how everyone deserves freedom, how every creature, every being on the earth deserves to be free. we see that in the slavemark, with the dragons.

and like... hiccup is so different. they did him a severe injustice. he's scrawny and intelligent and learned to talk to dragons simply by observing them! he chooses kindness first above all else; instead of yelling at toothless to train him, he is kind. and in the end, that kindness is why toothless chose to save him. bc even toothless himself says that dragons are inherently selfish creatures who care only for their survival. hiccup is brave - his beliefs differ drastically from both the vikings and the world.

hiccup is a child who chose to do the right thing even at the expense of himself. he agreed to free the slaves on nobert's ship, and in return, they gave him the slavemark which is easy to give but cannot be removed. he was like twelve. and having the slavemark means he cannot be with his tribe or his family, it means he isn't considered a human being anymore. and he keeps it a secret for awhile until it's revealed and when it is everyone turns their backs on hiccup. his family, his tribe, his mentor, people he TRUSTED. everyone except fishlegs, and, once she got over the shock, camicazi. he was thirteen. and even when he lost his memories and was really injured, he persisted. he was told to go to tomorrow and to save the dragons and he did bc in his heart he knew it was right even though he didn't know who he was or how he got there.

and fishlegs,,, oh my god FISHLEGS!!! the did him SO DIRTY!!! fishlegs is hiccup's best friend, one of the main motivators for hiccup. he steals norbert's potato for the sake of fishlegs, he gives fishlegs his dragon and goes to retrieve another, he takes the blame for fishlegs. and fishlegs does the same for him. he takes the slavemark with pride. he refuses to turn. he gives hiccup his lobster claw necklace which is his most prized possession. he is brave for hiccup, he believes hiccup is alive. he fights for hiccup harder than anyone else ever has. he does not turn. his is loyal, has allergies, has asthma, has a squint and a limp, has glasses bc he's blind without them... and he's still a hero despite being a runt, despite everyone even the adults telling him he's hopeless, telling hiccup to leave him behind.

and they cut camicazi! i'm sorry, but astr*d is nothing compared to camicazi. camicazi is a tiny, feral child who can easily best hiccup, fishlegs, and pretty much anyone in a sword fight. she can bring a grown man to tears with her rudery and smack talk. she is recklessly brave and craves adventure and follows hiccup blindly bc she trusts him that much. she isn't in love with hiccup - in fact she doesn't care about romance and love. she gives up everything to help hiccup bc she has a strong sense of justice. she is the motivator, the cheerleader, she finds a positive in everything. she never gives up. literally never gives up. and that's one of the most inspiring things about her: she always has hope.

and toothless! god!!! toothless is *thought to be* a common or garden dragon. he is horrifically tiny, he is literally toothless, and is the biggest brat in the world. he will cause problems on purpose. he has a stutter, he's the most selfless selfish dragon around. he and hiccup can talk to each other. he masks his fear with singing and being annoying. his growth is remarkable. he starts off refusing to obey hiccup, doing the opposite of what he says, making life harder for literally everyone around him, and he's still somewhat like that. but he's also braver, more caring, more willing to make sacrifices for the sake of others. he's clever, which he needs to be to make up for his size and aggression. he protects hiccup with everything he has, therefore, he protects what hiccup cares about just as hard. he was the only dragon that didn't abandon the vikings in the first book bc he cared about hiccup.

and snotlout,,, god,,, i will never forgive the movies for butchering snotlout. hiccup's cousin, the bully character, the one who is horrifically jealous that hiccup's dad was born before his. the one who desperately wants to prove himself, to be worthy, to make people proud. and you hate him, you despise him. he betrays everyone many times bc of the nothing promised to him by alvin and his mom. he loses himself, turns his back on himself, all bc he wants to prove himself. all bc he wants to be better than hiccup. and hiccup still forgives him and gives him chances, sometimes out of pity, but also bc snotlout is his cousin. he can't just turn his back on him no matter how miserable snotlout made his life. and in the end, snotlout sacrifices himself for hiccup. he gives up his life for hiccup in one last attempt to set things right. his death and the events preceding it are one of my absolute favorite moments in the book. gives me chills. makes me cry.

that's the thing with the books - they're so realistic. there is no inherently happy ending where everything works out. the first book begins with "there were dragons when i was a boy", implying that they're gone now. the books show there are consequences to our actions. they enslaved the dragons, they fought against them during the dragon rebellion all bc alvin and his mom said to, and now they're gone bc a simple apology doesn't fix hundreds of years of enslavement. and the only way for the world to move forward was for the dragons to leave and heal on their own. and now they have to learn to live without them. and yeah i've heard the third movie ends like that but. it doesn't have the build up. it doesn't have "there were dragons when i was a boy". it doesn't have eleven books of development to back it up, to make it feel meaningful.

i know that the movies are really special to a lot of people. i know that, on their own, they're genuinely good movies. i can acknowledge that the soundtrack is amazing and the animation is beautiful. i just can't see past the way they butchered the world that i love, the world that i grew up with. i can't see past the way people yelled at me for saying i liked the books better, the way that people gave me weird looks when i showed them a picture of the original toothless, when i tell them that nightfuries aren't even a type of dragon. cressida cowell created hundreds of different dragons, and the movies couldn't even pick from that. i can't forgive the way that barely anyone knows there are books bc the movie barely gives credit to them. i cannot forgive the way they capitalized off the books and then shoved them aside. i know cressida thinks they're good movies and i know a lot of httyd book fans also like them. but i just... i cannot get over how much they changed and how they missed so much and ignored the books. also they got rid of camicazi so hiccup could have a love interest and that is unforgivable to me.

if you disagree, that is a-okay. we're all entitled to our own opinions. i just ask that you, perhaps, try the books out. give them a chance. bc they're amazing works of art and also just like. don't yell at people who don't like the movies? whether it's bc they prefer the books or just aren't into that kind of movie. and just remember that dreamworks didn't come up with the story; cressida cowell did.

[nattikay]

man just really not vibing with the fandom at large recently

[ovenproofowl]

a lot of people have said it, but I’m throwing in my two cents just to get it off my chest.

Picard season 3 was . Bad . For a LOT of reasons . It felt like - as many before me have expressed - a self-insert fanfic with the dullest self-insert in history.

Jack Crusher wasn’t much of a character but he could have had some promise if they hadn’t spent an aggravating amount of time having him decree how different he always felt, you guys. Did you get that part? He’d always felt different. That sort of dialogue might have flown if we were dealing with Picard’s adolescent son, but instead we’re dealing with a 24 year old played by a 35 year old who looks every bit his age. (It was a hard 24 years, we must assume.)

The reason that Jack Crusher didn’t work for me personally, though, wasn’t because of how cliché his character was. I would have let that pass much easier if it wasn’t for the big ol’ elephant in the room. And that is simply that :

JACK CRUSHER WAS NEVER NECESSARY

Jack may have served a purpose to the storyline that was presented if only because he was the sole reason there was a Big Bad to be defeated in the first place. Everyone wanted to kidnap him, he brought the old gang back together just to protect him and then later save him from said Big Bad which was also actually .. him. Everything Was About Jack. But I’m not talking about the main plot. I Really Don’t Want to Talk About the Main Plot. Ever. What I want to talk about is what Jack represented that made him so unnecessary:

He was intended to represent Jean-Luc Picard’s only reason to start living.

Personally, that really, really offended me. Picard didn’t need to have a biological kid to have a purpose. In fact, it’s been established time and time again that he wasn’t ever really dad material. More of a... weirdly intense uncle. For a while, he wasn’t a fan of kids at all. Eventually, though, Picard is seen to warm to the idea of letting children within his general vicinity. This starts in TNG and continues on in season 1 of Picard. The Only Categorically Good Season of this whole. show.

In season 1, we see flashbacks of Jean-Luc’s relationship with a young Elnor, how he would read him stories and have sword fights with him. He was an absent father to an adopted child he hadn’t even realised he’d adopted and yet Elnor still fought for his hopeless cause. In much the same way, Picard meets Dahj and then later, Soji. He feels a kinship with these androids because of their connection to Data. He wants to protect Soji becase he couldn’t protect Dahj and Soji even canonically questions whether she should allow Picard to act as her father figure before she begins to remember where she came from. Both of these dynamics were infinitely more interesting and a lot deeper rooted. Soji and Elnor were both young twenty-somethings without parental guidance but found that guidance through Picard. Soji had her connection to Jurati, too, and Elnor had his with Seven and Raffi and that’s what made the whole group so intriguing to follow. They all had interesting connections to each other that had so many avenues to explore.

Unfortunately, the show decided to more or less write Soji and Elnor out of the story come season 2. Elnor was killed off for the majority of the season and only brought back by Q intervention in the last episode. Soji wasn’t even a part of the story at all. And do you know what’s sad about that? What’s really sad? Season 2 was trying to sell us the exact same message as season 3. That Picard needed a reason to live. But, like, not that reason. Not the reasons he’d already been given in the form of his found family with his Romulan and android adopted children, or even the rest of the La Sirena crew. No no no, we can’t have that, better get rid of them. This time, Laris is the focal point. Picard had been avoiding a romantic relationship with her because of a never before mentioned dark history surrounding his mother’s suicide. Because, sure, at this point, why not? While we’re at it, let’s also kill off Rios in the most slap-in-the-face out of character way possible and fling Jurati at the Borg for good measure just so she won’t be around for season 3. Her character development into the Borg Queen was pretty intriguing, but we’ll totally ignore that they even exist post her departure, just for funsies. Oh, and Soji and Elnor? Best not mention them at all come that third and final season. Otherwise, people might get the crazy notion that Picard already had a reason not to hunker down and die at the vinyard at the tender age of 104.

Season 3 picks up where season 2 leaves off in that Picard is now in that aforementioned romantic relationship with Laris. Except, no he isn’t because he immediately gets an emergency call from his ex and literally never sees or talks to Laris ever again. There wasn’t even a throw-away line or implied reference to her, but by now I’m sure you know the reason for that.

That’s right, folks. Because if we were allowed to remember Laris and what she meant to Picard, then we might just remember that other thing. Say it with me now!!

JACK CRUSHER WAS NEVER NECESSARY!!

In summary, there were so many brilliant options to give Picard for signficant found family dynamics, but the show just wasn’t interested in any of them. Season 3 wanted a Picard who had given it all up, who was ready to die because he’d never had a family to pass on his legacy. They wanted him at his lowest so that we’d all rejoice to see him return to the TNG crew. Don’t get me wrong, I’m a massive TNG fan and I could rave about the fan service and nostalgia porn for hours on end. If season 3 had stood alone as a singular unconnected event, it might even have been passable as a warm hug from old and beloved characters with some fun new spins to their stories along the way, juust so long as you didn’t squint too hard at the actual attempt at plot writing going on in the background.

But the fact of the matter is, Picard season 3 came far too late into the game. Season 1 held the building blocks to something new and interesting. By the end of season 2, it was becoming clear we were never going to see those blocks stand. By season 3, those blocks were just scattered headstones in a graveyard.

They teased us with the potential new show of Captain Seven and her Number One Raffi Musiker and that might have just been okay. . .

. . .If the La Sirena Crew had been allowed to be a part of that future.

In closing: Picard season 3? Too little, too late, mate. 👎🏻

[unweavinglies]

I’d like to ask a question about Kokichi’s character in Chapter 4, specifically with him seeing the “Truth of the outside world.” Yes, it was a big shift in his character to suddenly want killing, but I’m not entirely convinced that it was because of him losing his mind from seeing the outside world. I think at least some of it was a facade to make others think of him as a bad guy/the mastermind; to make his Chapter 5 character more believable so his plan would work. What do you think?

Well, I'm not here to convince you one way or another.

My theories and personal interpretations are just that--personal interpretations and theories. The narrative is web of interpretations and I only hold a single thread of it.

To me, personally, I think Kokichi's behavioral shift is far too drastic, going from "I'm going to beat this killing game" to "I'm going to become a blackened and kill someone", to plotting with Gonta to mercy kill the whole class. I think this jump has only one true source--the madness of seeing the end of the world you and your fellow classmates have been killing each other over.

I know it's a difficult feeling to imagine--but that's probably why you think differently than me. I cannot fathom what it's like to see the end of the world--and how I personally would react to that, aside from pure devastation. I don't think any human being can truly comprehend what "the end of the world" would look or feel like--which is why the concept often appears in horror plots and the sort. I don't think our brains can truly comprehend becoming an endangered species, the world we knew to be suddenly inhabitable, to be on the brink of death and demise and know that everything you once loved has already left you behind.

So I ask you this as my answer: Do you really think that any human being on this earth could handle the end of the world?

My answer to my own question is: No. I don't think any human could mentally handle seeing what Kokichi saw--and that's why I don't think his "I am the Mastermind" plot is the cause of his personality shift during chapter 4.

It just doesn't make sense to me.

I'm sorry if this comes off as curt or rude--but the amount of asks I've gotten specifically about Chapter 4, and about my Mercy Kill Theory, with the sentiment of "Oh your theory must be incorrect, somehow", is far too grating on me. Never the mind asks that go and try to find loop holes to prove the theory wrong, but I digress--that is neither here nor there.

[kurumeki]

I don't want to expose your blog, but dude... grow up. Disrespectful??? Go outside to touch some grass. It's their band, every single one of them has the right to continue to make music under BUCK-TICK, because they all made it. Sakurai would have not achieved what he had achieved without Imai, Hide, U-ta and Toll.

[happylandfill23]

blue eyeliner + cool outfit yippee hooray

[writeouswriter]

Absolutely hate every company's obsession with like that horrific bubblification aesthetic, it's both grossly oversimplified and yet less user friendly at the same time, and you may think I'm *just* talking about the current redesigning of the internet, which I am as well, but no, no, I miss her:

[ID: Photo of the old Aero chocolate bar design with classic paper and foil wrapping and softer more rectangular shaped pieces that bridge continuously, making for a lighter airy chocolate. End ID]

VS.

[ID: Photo of the current plastic wrapped Aero chocolate design with each piece almost completely individually rounded/bubbled and condensed for a harder shelled, less airy chocolate, followed by the "Look how they massacred my boy" reaction image. End ID]

[beevean]

the hallmark of Peak Fiction is shoehorning a very serious conversation about a very serious past conflict in an unrelated scene, in the form of snarky banter played for laughs, so that the writer can pretend they listen to audience feedback, while not needing to fully think of addressing the issue and fully sweeping it under the rug because it would be inconvenient to paint the involved characters as dumbasses/vile. Bonus points if it literally goes nowhere and it can be removed from the scene without affecting the flow of the dialogue.

And if it makes me want to eat my own bones because I feel the urge to beat the involved characters to death with a nailed bat, that's just a plus :)

[secondstar-acorn]

not to be angry on main but to the person who was very loudly complaining about "just for once" and started making fun of me for handing out bracelets in the queue for starkid. why the fuck were you there

[redgearsmovin]

man .

[werewolf-cuddles]

And no, I'm still not over the fact that barely anybody even pretended to give a shit about Baptiste being bi, while simultaneously being unable to shut up about Pharah being a lesbian.

Because I guess the game's second lesbian rep (and third homosexual rep overall) is more worthy of our attention than the game's first bisexual rep.

Guess I'm just bitter about how little anybody actually gives a fuck about bi people these days.

[invinciblerodent]

every time I start watching a streamer for any length of time, they either die a hero (suddenly say something so staggeringly stupid completely out of pocket that my entire perception of them shifts in an instant, and I can never look at them the same way again) or live long enough to announce a pregnancy

[skygemspeaks]

full offense but by demonizing every single piece of queer media that doesn't fit your narrowly defined standards of "good representation" you're doing the queerphobes' job for them