#Smart Live More

[sharkylad]

Thinking about the fact that Mabel and Dipper didn't know they had two great uncles.

Yeah they are 12 and at 12 I had a shotty understanding of my family tree- But really? Nobody brought up their great uncle? Stanley? Especially since they'll be staying with his twin brother, Stanford?

Shermie never went to Stan's fake funeral, which to me means the twos relationship was strained on some level. If Shermie is older that means his view of Stan was poisoned in some way, that even as kids they weren't close. If the Shermie is younger then he never even got to meet Stan and all he knew about him was how he failed his family. Hell, people probably barely mentioned Stanley TO Shermie.

The fact that Stan had become a black stain upon the Pines family name makes me so vividly upset. Stanley faked his death and the family just- seemingly decided to strike him from the record. To pretend he didn't existed to spare themselves the sadness and shame.

Stanford and Shermie Pines. The only children worth mentioning of Filbrick and Caryn Pines.

It was never Stanford that was lost to the world. It was Stanley, ever since he had to leave New Jersy- it was always him that had to be struck from the record. Change his name, change his state, change his affiliations, destroy the remains of ghost that was Stanley Pines. Kill him so the family doesn't bring him up, doesn't ask questions, stops asking "Stanford" about his twin.

I just keep thinking about the fact that since the day he made one single mistake all the way up until Ford walks out of that machine- Stanley Pines was killed and did not exist. And Stan himself had no one to blame, he had to play the part in his own demise- He is the only one who ever knew Stanley was alive and has been for decades.

He lives in the multitudes of every personality he's ever taken, all in the hope that he himself can stop being Stanley Pines.

[riickgrimes]

"The key thing was of course, the fact that Rick has PTSD and that's very much what's driving a lot of his behavior and being in a place of that level of vulnerability, back with the love of his life in that way.

It's also the thing he fears, the loss of her. It manifests itself in a way that is visceral and leads to the lovemaking not just being about love, but the revealing of pain and trauma and fear. That informs Michonne, that she can't just blast him into making sense. There's something deeper going on here that he can't verbalize. She has to help him get through in a different way. So she gets to see him, as well, as he reveals what's really in there, the wound. That's going to happen most likely in that most vulnerable space." — Danai Gurira

"Yeah, I think it is about pain. As Danai just said, it's about him wanting her and then fearing what he's about to unlock again. He gets to sort of articulate it in the scene further in the episode, when he gets to say that, 'I can't do this again. I haven't got the capacity to do this again. I've worked out how to die and live again.' So it is an absolutely necessary scene that allows Michonne to realize that there's something really broken here, more broken than she's ever anticipated. [...]

So the scene was about a real intimacy, a sort of frightening intimacy. This is a part of his personality he has shut down. It's almost like he's trying to stop himself from feeling this love again. She sees that and she just says, 'Just trust. We're back. We're the same...' I find it very moving. I think it's a very, very moving scene, because it's about them connecting in a way that he's had to deny for seven years. He's denied that connection for the sake of living on in this half life for the CRM" — Andrew Lincoln

Andrew Lincoln and Danai Gurira Discuss Episode 4 of The Walking Dead: The Ones Who Live

[rystiel]

au where 17 year old stan, just a week or so before the science fair incident, gets sent to 2012. he wakes up with no idea where (or when) he is, and ford starts asking him questions to figure out exactly when he’s from. stan assumes he’s checking for some kind of brain damage when this random guy (to him, ford hasn’t explained anything yet) starts asking about what day and year it is for him, and the science fair topic comes up. stan assumes maybe this guy is a judge, since he knows about the fair, and starts bragging about his genius brother and how he’s gonna blow his socks off with his motion-whatchamacallit. ford sits there almost in disbelief because he’d been so convinced that stan was bitter leading up to the incident, but here he was bragging to him about ford with no idea that he is ford

[ninjautizm]

@chaellooo that's actually funny cause I drew something like this a few days ago! 😭

[arthursfuckinghat]

"I was gonna say you're like a son to me.. but you're more than that."

"It ain't that complicated!"

How quickly that shoulder pat of comfort turned into a condescending one.

[emi-gelfling]

For tomarry shippers, this fic is the equivalent of jegulus shippers' Crimson Rivers fic. Lots of banter and tension between Harry and Tom, but also maturation and character growth! Definitely a wip worth keeping track of!

LINK:

[thestalkerbunny]

He needs to know so he can modify his own robot dick to make it bigger than yours.

[sunnibits]

man I wish evolution wasn’t such a slow process over millions of years… like I wish that every 10 years or so every single species on planet earth would just get a huge patch notes update and scientists would publish about it so we could all get caught up on the new stuff. I wanna see the monkeys discover farming in my lifetime.

[cementcornfield]

The relationship with you and Joe. Give us a little inside look.

We know each other off the field too, we go hang out at each others' houses. I try to get him outside with me sometimes...he does a little bit, but that's not really his comfort zone, I be trying to get him out his comfort zone, just open up a little bit.

I like it - Joe, don't be such a quarterback nerd all the time!

I mean, nah, you can be a quarterback nerd, cuz you smart, you super smart brother, I love it.

[dykedvonte]

wanted to say I appreciate your nuanced takes on MW and especially Curly. i don't get the claim that the fandom is full of Curly apologists when majority (esp yt and tiktok) say he's worse than Jimmy. Yes there's commentary about bro culture defending people, he def messed up in trying to placate Jimmy (tbh "we'll fix this" sounded more like trying to keep someone prone to outbursts like Jim calm and not hurt Anya/himself) but I don't think he did nothing to help Anya, since she continued to confide in him and he had less than a week to resolve it before the crash (I also don't get everyone saying he knew for ages when it seems like Anya told him that same week). I get Jimmy's a pos but saying stuff like Curly should've known he'd crash the ship or that Jim had a criminal record he ignored, reducing them to obviously horrible villain and willfully ignorant sidekick feels like a disservice to the game. If your best friend turned out to be horrible, what would you do in a confined space in the span of a few days to respond? I'd say some of the horror comes from trying to do good but ultimately failing, Curly's state after the crash is meant to be tragic horror not revenge/punishment

Thank you and this is what I want to get across.

A lot of information we have to supplement when it comes to how long things have been happening on this current ship. I think people try to add on to the horror and negligence by making things more obvious so it can feel like it was easier to avoid when, true to life, its not. Jimmy clearly didn't deserve or appreciate what Curly did for him in getting him the job, but do you think if Jimmy was that big of a menace on Earth he would've given him a position where he could have that level of power over people's lives? There's something in the fact he specifically chose to pick a position so close to himself where he could watch Jimmy.

I hate the bro code argument because that is a whole can of worms people really don't get. That sort of mentality is born from the general respect and preference of male matter over female ones. Curly is clearly not that guy, he is absent minded about the issue and inadvertently dismissive but he clearly believes Anya, he just can't understand what she's going through. It's an onslaught of information that no one really reacts right to. Additonally, the entire discussion of her assualt plays to heavy into the idea that there is fault outside of the perpertratior when it comes to SA. It's too close if she only did this or if Curly had protected her better but the fact of the matter is Jimmy did what he did. He did it before any of the conversations with Anya about it and it's why her behavior seemed to change so drastically in those last two days.

He has other conflicting thought and while his role as a Captain should've taken over, people act like it's not a very human thing to have such a toxic presence cloud your judgement. It is never easy to separate friend from coworker once that connection is formed, you want to help them, especially if they were friend first and for a long while like in this case. It's not right, but people act like it would be easy when the game clearly points out that no choice is easy to make, especially when you have to make it for more than one person. You have the weigh the consequences, look at all the options and make a plan. People can headcanon and decide how long things where happening, but if we look at what we were presented through the characters eyes, the only person given time to do that was Jimmy.

He waited two months after the crash to appoint himself Captain. Every time a problem was brought up he immediately took action and refused to sit on it and find a better solution. I think it's important to look at the warped way Jimmy takes initiative where Curly didn't as it works as a good contrast of why you don't just run in to "fix" things. The quickest and easiest option may not be the safest or most beneficial. I think some thoughts on the game suffer from the black and white thinking the game doesn't operate on along with us being voyeurs. We see what exactly led to what but the characters don't. They don't have the hindsight and foresight we do and even ours is scrambled by the non-linear story telling.

Like it's hard to talk abuou those grey zones without sounding like an apologist because you're explaining why taking responsibility isn't easy. It's not and it's weird to act like it would be in a scenerio that led up to the events of the game knowing what we know. We see all these characters in such isolated moments with various things before, in between, after and even during we aren't privy too. The idea that Jimmy is worse than Curly heavily banks on the words Jimmy was saying to Jimmy before he crashed the ship. That whatever happened on the ship was his responsibility to bare, which is true due to his position. But, are they not still not responsible for taking the actions Curly then must bare?

Like i feel like people think that these are situation that become easier with age or when you are in a postion of authority and they aren't. You don't lose your biases or gain some sudden knowledge that makes it easier. It just becomes more tiring as you keep dealing with it. I would be first in line to say Curly fucked up and should've done more but the idea he knew how bad it could get or he really saw the worst in the people around him and ignored it pretty much ignores a huge aspect of his character and the game.

[alienglowgarden]

Im bad at writing coherent things but I need to get this concept out of my head so it stops haunting me.

I had this idea for another fic called The Undine Colony.

The setting would be the second colony by the sea- started when Sol is in their forties- the story taking place an unknown time after that.

It starts with the alarm that the original Stratospheric colony has gone silent. Collapsed all its networks, killed every signal, spirited away every colonist. As it still houses much of humanity's most advanced tech, like the servers for their holonet, essential parts of the power grid, this is an issue of extreme urgency.

And who better to turn to in their moment of need than Sol? So here they are suddenly jolted into wakefulness.

Their first thought is that they cannot feel their body. They quickly learn they are not in fact the real Sol, but only an AI copy made of their brain-scan from many decades ago. Though they cannot access the future vision as an ephemeral bit of software, they have superior computing on their side.

The gist of it being that AI Sol is now in charge of the 2nd colony to replace the hole left by Congruence, all while being tasked to figure out whats happening to the og colony & trying to reestablish contact. Aaand trying to piece together their own existence on top of it. Trying to find out what even happened to the original Sol. If they have something to do with this blackout.

So yeah, itd be slowly unfurling that mystery, piecing together the gap in their memory & issues of personhood.

[pinbones]

There's two types of people who use transandrophobia to decribe transmascs' and trans mens' experiences:

- Simply specificity, language used to hone in on a specific way being trans affects people who just happen to be men

- As both the above and as a springboard to discuss how societal misogyny, radical feminism, gender stereotypes, and bioessentalism affect all people who can be pecieved as men or masculine by others, and how bigotries compound in meaningful ways with stereotypes and bigotry surrounding maleness and manhood

Like. Half of you are saying "maleness is a hollow experience which is standard, and exists in opposition to gendered oppression, and transandrophobia is therefore when dudes experience misogyny and transphobia"

and half of you are saying "Being percieved and/or transitioning towards male uniquely affects how I am treated, because, for example, how people perceive my blackness or mental illness or kinkiness or femininity is compounded with my manhood in ways that don't usually happen to gender conforming cisperi women"

Which are two fundamentally different approaches to transandrophobia as a concept. One suggests that maleness is a simple downy layer of privilege that coats a person through their male life, and the other acknowledges that a man (or somebody perceived as masculine/male) can experience oppression in ways that those NOT perceived male may not.

Only one of these interpretations is intersectional. Black individuals who are policed more hashly when interpreted as masc know they are risking dangerous experiences when transitioning to male, as has been discussed before on here (to no avail). Male or percieved male people with personality disorders are treated as more dangerous than women with similar symptoms, and are sometiems diagnosed with different disorders entirely based on percieved gender differences. This affects transmascs too, especially considering the already dire state of queerness in psychiatric institutions. Being a male birthing parent is a whole shitshow of transphobia because men are not supposed to give birth, and transmascs are lucky to access related healthcare at all, let alone access it without being ceaselessly misgendered and treated as a stigmatised 'other' to deleterious affects on parent and baby. These are just a few examples, there are many more ways maleness can screw a person over. And that's not to say that female privilege is a thing instead of male privilege, but rather to emphasise that men are not supposed to be minorities. Men are not supposed to be assaulted, men are not supposed to be outliers, men are absolutely not supposed to be trans.

When a man is autistic, he's not just autistic, he's an autistic male, and that makes him more likely to be killed by cops (especially if black). When someone says "you claim you're not ableist but you're scared of the homeless x on a bus talking to xself", they always say the person is a man, because that sounds more significant (and cops think so too). Consider when a person's rape/abuse is considered to not be all that serious due to the victim being male, or when a man's attraction is considered to be more exploitative than a woman's, or when a fat man is considered more creepy/sexist than a thin man or a fat woman. Consider why so many caricatures of evil and creepiness are men with deformities. Consider the fact that men's bathrooms don't have baby changing tables, and that a man may get less support from others after their child's death than the mother might. Maleness can negatively compound with things like minority status, vulnerability, aggression, sexuality, etc. in ways that screw that person over, both in social spaces (such as queer communities that dislike/distrust maleness and masculinity, or how isolation affects men harder), and in more tangible ways, like their rates of suicide and being murdered.

There are tangible ways in which transitioning to male can negatively affect a person's life even if you remove (hypothetically, not really possible) the transphobia element, and these also constitute as worthwhile topics of discussion. If you think maleness is the lack of gendered oppression, then you're not intersectional in your feminism at all. If your life as a male is genuinely sunshine and rainbows (apart from the transphobia if trans), then good for you, genuinely that's great, but not everyone lives in a radfem fantasy world.

Being unable to tell the difference between men talking about mens issues/liberation, and right wingers talking about oppressing women more, isn't feminist. It's ignorant and antifeminist. (MRAs don't care about actual mens lib, and are actively worsening it because they are sexist and opposed to gender lib. You guys know that, right? That male and female liberation aren't oppositional or binary, but the same gender liberation that is entirely oppositional to patriarchy?)

These men and mascs talking about issues facing men aren't ignorant womanhaters who deny misogyny and want ultraprivileged men to be coddled, they are good faith members of your community with experiences just as varied and valid as yours. Treat them like it.

[ano-po]

The canon event where you move out of your Asian household and you realize you can throw your single-use plastic bags/containers because you have glass, ceramic, or woven baskets to keep your things. Your mind says "what if there is a new thing you must contain?" but you answer with "I don't have much to contain anyway." You have one eco bag that also works as a tote bag sometimes. It's holding on. It's very sturdy. You use it for books and groceries and gadgets. It's only one and you don't feel the need to buy another. You throw away the batteries (safely) that are empty, because what's the need to keep them around, only to be forgotten? Most of your things are solar-powered and rechargeable anyway. You don't buy clothes that you think you'll use somehow. You only have 5 sets of carefully thrifted clothes or heavily saved long-lasting designers. They're all adjustable. You accepted that the human body is ever flunctuating. You realize you don't have to keep that scrap of fabric. You bought one microfiber cloth you use for every kind of surface. You can squeeze it and it's all dry, not staying in the kitchen wet and slimy. You realize you can throw away the sticks you found in the woods NOPE NOPE I NEED THESE STICKS HERE thaNk you very much these are good sticks see KALI-KALI SIZE WOW nope these are staying!

[hotvintagepoll]

Oh no I missed coffee night!!!!

I wanted to ask you about Hitchcock 😔 If you're willing to answer, which movies of his do you think are overrated and which do you think are actually good? He's my most watched director (because film school) but I only genuinely like a few of his films and always disagreed with my classmates about which ones were the best

I feel like I'm holding up a Daffy Duck style sign that says "shoot me" because Hitchcock is so well thought of by cinephiles versus me, the basic horny mod who watches movies with hot people in them. With that said, I remember Rope, Dial M for Murder, North by Northwest, and To Catch a Thief all left me a bit flat, because I felt like he was prioritizing pushing technical limits or creating extravagant images over deeper characters and relationships. I love a good technical limit-pushing, but it needs to serve the story! And sometimes I feel like he has an idea he wants to try or an image he wants to show and puts so much focus on developing it that characters' reality and interest kind of falls by the wayside—they become pawns navigating his situations, instead of interesting characters in their own right.

To be fair, this is more a characteristic of his later work than his early work—The Lady Vanishes is one of my favorite movies, and I remember Notorious and Spellbound both being enjoyable when I watched them a few years ago. Again, basic film watcher here. Don't show this post to the Criterion collection.

[maskofenigma]

Fallen London's recurring topic of Love is really interesting to me as a sort of throughline between various stories and i want to ramble about discuss that briefly. i dont call it a theme because thematic statements are usually more complex than a single word, at least in my mind, but a lot of Fallen London's storylines incorporate love into their themes.

there's the obvious things ofc; the Manager and the King, the Duchess and the Canigaster, Queen Victoria and Prince Albert, the Bazaar's whole situation. Love is a common motivator that many people can relate to, so it's no surprise that it appears in this capacity. Even so, these instances also underpin a lot of the setting's character, particularly the latter two examples, explaining why the neath is the way it is. but if we broaden our horizons just a bit, you can start to see it appearing all over the place (though maybe thats just confirmation bias lol).

the youthful naturalist loves discovery and life, and evolution in that context is a story about what one is willing to endure and sacrifice for that love. Love is a constant theme in the Light Fingers storyline, between moon milk and poor Edward, but also shows in Mr Fires's love for London (strange and deleterious though it may be) and the protagonist's love for either the Hybrid they protected or the diamond they'd been after. I don't know as much about the other ambitions (yet), but Nemesis is all about avenging a loved one by any means necessary, and you could see Bag a Legend as a love for the hunt or a love of fame, though even i’ll admit thats a bit of a stretch. Idk about Heart's Desire i’m still working on it but there's probably something. Its literally about what your heart desires but there’s absolutely a deeper connection with the Marvellous and stuff. No spoilers i'm still working on it :3

i dont know a ton about SMEN's story either, but i know from a ludonarrative perspective that it tests the players love for their character, forcing you to ruin this silly victorian who you are presumably quite attached to in the search for knowledge (perhaps another kind of love?) With what little i know of it, i’d honestly be shocked if there wasn’t anything there. if ao3 has taught me anything, there was definitely some kind of love going on between those two space bats, but im not sure if ao3 is a reputable source in this specific instance

The Flukes are literally sick with love for lost Axile, and a lot of the Masters are shown yearning to return to the High Wilderness. Many of the Irem Destinies regard love in this way, love for the sun, for the liberation, for ones partner, for london, for the people of the neath, and on and on. im not very far along with the railway but im 100% certain itll crop up again there, whether with Furnace Ancona or the Efficient Commissioner or the masters or whatever else. same goes for the Exceptional Stories and the myriad tales ive yet to unlock. Weve started to see a glimmer of it in firmament, with the imminent lucifer fire guy, but i wasnt really sure what his deal was. the idea extends to the other Sunless games from what i know, though ive yet to play those. Mask of the Rose is a romance, so thats pretty clear cut; sunless skies seems to have a lot of content relating to Queen Victoria and Prince Albert; and sunless seas seems to have it present in a few storylines, though i couldnt point to anything specific at this time. even small things, such as the way that the railway steel seems drawn to Hell and the sorrowful properties of sphinxstone, makes for a setting that is inundated with longing and heartbreak in a fascinating way.

viewed through this lens, fallen london's perspective on love is tragically earnest: love is painful and unfair and yet so very necessary. as someone who's aromantic and a hater, i call that an L. but from a thematic perspective its very interesting how often this occurs and how it connects a lot of fallen london. In so many other narratives, love is a conclusion, a reward or climax. In fact, mass media seems allergic to depicting an active and healthy relationship, and instead relegates such matters to a single ceremonious kiss. But for fallen london, a game where kisses are currency and romance is taxed, the concept of love is afforded such an interesting amount of care and reverence. Fitting for a setting wherein the insisting incidents all relate to love in some way or another

it may be comedic and at times quite absurd, but fallen london to me is a game deeply concerned with love and its influence on people. and idk i think thats interesting. if you're looking for the theme or message of a given fallen london story, look to love, always.

does that count as a thesis? i certainly dont know

[driedlillies]

Itachi can talk about pacifism all he likes but if someone killed sasuke it’s on fucking sight. For the killer for doing it, the Konoha leadership for allowing it, Orochimaru for good measure, and anyone who dares to get in his way