#Speech Skills

[nupalcdc]

Transform speech and language skills with a dedicated speech therapy specialist. Personalized strategies for all ages to improve clarity, confidence, and connection. Start the journey to better communication today!

Book your appointment today! https://tinyurl.com/3fcwumbf

🤙Call us at +91 9910388103

[eyeballs-in-my-head]

The gang is playing Overcooked 2

The speech might be hard to read in the correct order, so I numbered them!

I was having a reeeaaally hard time deciding whether I should post shadowpeach as my first post, but...

I thought, naaaah that can wait ( ≖⩊≖ )

BONUS:

[turtleblogatlast]

Leo being put into a situation where there is absolutely no fighting, just verbal manipulation and perception games, would be amazing to witness. We see a lot in the series how good he is at subterfuge and how he uses his perception to manipulate to great effect, so it’d be so cool to really see it put to the test even more.

Manipulation is one of the most effective tactical strategies of all time, so just imagine Leo putting this skillset of his to the full test. Imagine the boys slowly get up to busting bigger and more powerful criminals, including those with networks of crime under their belt, and a simple fight isn’t enough to take them down. For criminals like this, Leo’s skills in subterfuge would be deadly.

[citronlad]

Jojo skyrim au doodles (I never finished everyone else’s designs so I’m just throwing the drafts I had here too lol)

[squea]

she didnt know the gun was loaded !! aka my courier girl polly

she looks like that one baby cat with the incredibly sad eyes and :(

[mr-urple]

phenomenon i've noticed about my speech

[wardengrill]

Hotch in Natural Born Killer

[jabberwockprince]

my blorbo now, he has melanin so i'm giving him more and some earrings <3

[fagulaa]

Something I really love about the Silt Verses is how, in a world of gods and monsters, how grounded Faulkner's trauma [and relationship with his father] is. Especially as the season moves on, and the stakes amp up [and up] its so unexpectedly piercing to be presented with this exploration of childhood abandonment/negligence, inter-generational trauma, the indignities and stress that comes with unexpected elder care/early onset Alzheimer's. You're so locked in to these grander, more abstract concepts that your defenses are down! Mine were, anyway. TSV is so good at cutting its grand, complex plotlines with simpler [but not shallower] gutpunches, and it just grounds the whole thing.

[metamatar]

like sorry at some point you have to not care about your career. like. you can't really have any serious moral commitments if your career comes first. that's just how it is.

[voiidorwhatever]

a lot of people have already said similar things, but i'm just gonna throw my own two cents in the mix as well. the fact that fnv gives you more freedom than fo4 is already so glaringly obvious in the set-up for your character. for many reasons. but one of the really annoying ones - for me - is the job the main character has. sounds trivial, i know, but starting a new fo4 playthrough just to be met with nate's soldier ramble or seeing nora's laywer certificates (whatever those were, i have a bad memory lmao) already kinda spoils the fun to me. i've seen people do great things with those concepts, but i feel like in the game they just fall flat. being a lawyer has the implications of going to a good college, being rich, having higher social status. being a soldier. well. *insert military propaganda here*. the picket fences, the forced nuclear family. it's such a rigid starting point that i have to imagine most of it away to play a character that is interesting to me. courier six on the other hand - well, they're a courier. that doesn't have many implications. i feel like it's such an easy start into a game. it's a job they could've picked up recently, a while back, or practially forever ago (lets ignore old world blues for a second there, i think this point still counts). you don't have to study to be a courier, no special social class is assigned to it. it seems a part of your character you can reliably choose to give as much or as little importance as you want or need to. of course, courier six has picked that job up in the wasteland, not before the war like the sole survivor has, but i still feel like nora and nate have too many ImplicationsTM attached to them for rpg main characters, jobs incluced

[nupalcdc]

Looking for a dedicated speech therapy specialist? Our expert team helps children and adults improve communication skills through personalized, effective therapy sessions. Unlock clearer, more confident communication today!

Book your appointment today! https://tinyurl.com/3fcwumbf

🤙Call us at +91 9910388103

[rinupi]

mikey check on ur execs

EDIT: I know to be more accurate it would be Koko or sanzu hosting the meeting buuuuut likeeeeee im too lazy to correct things so have a 1% more responsible bonten Mikey lol

[turtleblogatlast]

Something I like about Leo is that he’s honestly really chill? It’s easy to remember the moments where he’s being obnoxious or excitable but I feel like most of the time he’s incredibly “go with the flow” and has an overall affable demeanor.

[gudvina]

It's such a shame we never got a snippet of Effie and Haymitch's interviews during the 74th/75th HG. While we do know what was the strategy from Katniss' POV, I would have really enjoyed to see it being put in motion.

Did Effie prepare cards for them too (that were likely ignored by Haymitch)?? Did they just go for it and improvise to make it seem more genuine for the Capitol? What did they say about them?

We do know that Haymitch probably pushed a lot the lovers agenda, but I so wonder what we have missed from those interviews!

[sarucane]

Ed Teach's Stories

From practically the moment we meet him, Ed's identity is unstable. We know who is he (Blackbeard) from context, from the story told by the the room around him, by Izzy and the flag his crew. But the thing is, Ed doesn't fit the story of the Mad Devil Blackbeard. Two of his first few words are "good" and "love" for crying out loud. He's called "Blackbeard," but his beard is grey.

This instability exists because Ed himself isn't sure what story he's telling--or wants to tell. "I shouldn't be bored, I'm fucking Blackbeard!" All through his early episodes Ed is in increasingly desperate tension with his own identity. He's trying to tell stories within stories, wanting all the stories to be true at the same time, yet aware of the reality that the world is constantly trying to wipe one or another of the stories away. And not really trusting that he can tell the whole story of who he is.

In the first season of OFMD, Stede wears a different outfit every episode. Yet Stede remains the same: despite his internal tensions (almost despite himself) there's a stability to his identity. But all through both seasons of OFMD, Ed putting on a new outfit means he's trying to tell a completely different story about himself.

And underneath this cacophony, there's Ed. And Ed is himself a chorus of stories, a living contradiction. A patricidal murderer who was protecting his mother; a paragon of masculinity who longs for softness and fluidity; a man renowned for violence and madness who has in fact carefully cultivated that reputation and is extremely careful with his violence; a killer who doesn't kill, yet who does kill all the time just at a bit of a remove; a half a dozen names and personas and yet always Ed; unloveable, yet deeply loved.

At the beginning of the show, Ed isn't actually good at telling his own story. He's good at listening to other people's stories, and conforming himself to them often without conscious effort. But when he tries to really tell his own story--asking Stede to run off to China, singing his break-up song song, going to become a fisherman--he fails. We don't understand in the first season why his judgement clouds, why he becomes weak when he tries to tell his story. But in the second season after spending half an episode in Ed's mind, a painful truth is undeniable: Ed, like Stede, doesn't think he's worthy of telling his own story.

So instead of telling his own story, Ed let other people tell his story. In the first season, Ed built off what Izzy told him he had to be. But he couldn't lose himself in Blackbeard, no matter how hard he tried. So in the second season, when Ed couldn't face living with his contradictions anymore, he wrote an ending worthy of Blackbeard.

All this, because Ed thinks he can only be "himself" by telling one, single story about himself. By denying his contradictions, rather than embracing them. Splitting himself in two to tell himself a story, rather than telling the story himself.

What Ed doesn't believe or trust is this: For Ed to really be himself, he has to be impossible. Two contradictory things, at the same time.

The second season of OFMD is about learning to embrace all these contradictions. In each episode of OFMD, character look at the same object or situation (a wanted poster, a unicorn, a velvety suit, a relationship, a past trauma) and they tell two completely different stories about it. Sometimes one of those stories turns out to be wrong, but more often than not both are true, and something else--something beautiful-- is born from the place where those contradictions meet. And the characters, Ed most of all, learn to accept and balance this dissonance.

Thematically speaking, I'd argue that's why the second season of OFMD is more fantastical than the first: fantasies are contradictions, real and not-real at the same time. And isn't that what transformation is, in the end? What you are and what you are not, meeting and becoming "you"?

Transformation isn't all good. At first, Ed's fantastic stories hide his pain or invoke despair

But later, the fantasies make their way into reality. The impossible begins to shape reality--and opens a way for hope.

In the last episode of S2, Ed emerges from the waves as the kraken--but there's 3 musical tracks playing, three themes: the kraken, Ed, and Blackbeard. Then he reads a love letter, and has a deeply romantic moment with his boyfriend. He puts on a new outfit to escape the British, yet his personality doesn't change at all. When Izzy first apologizes to him, Ed says "I'm the one who should be apologizing," but then Izzy changes his entire understanding of their relationship. Becomes the first family figure to offer Ed permission to be himself.

Contradictions galore, and yet Ed is still Ed. Both who he was formed into by other people (his father, Izzy, Pop Pop) and yet who he is.

In the final scenes, Ed begins to finally accept the tensions of his life. He tells Zheng that yes, he wants to kill Richie--but he doesn't go on a revenge quest. And while before his forays into being someone else meant changing his name, his clothes and mannerisms, his whole story, he doesn't act like that at all in the last scene of the ep.

And Ed's been able to do all this, to come this far, because of Stede. Stede, who Ed was drawn to because he was a "fancy man who leads a brigade of imbeciles," yet had won a fight with Izzy. Stede, who looked at Ed at his lowest moment, after Ed had admitted that the entire basis of their friendship had been in bad faith, and said, "I'm your friend." Stede who, even knowing Ed wouldn't want to hear from him, poured his heart into letters about how their bond was unbreakable.

Stede is everything he is, all at the same time. And when Ed was drowning in his own contradictions, (a rope tied around him that he could not undo and yet had put on himself) trapped somewhere "inevitable, yet impossible," Stede appeared as a fantastic, beautiful creature and brought him home.

Stede lets Ed be everything he is, and sees it all as true and worthy of love. Even when Ed fucks up, it's all right.

And sometimes, telling two different stories about something doesn't lead to a fragmented self, doesn't drive people apart.

Sometimes, it means understanding. Means acceptance, safety, connection.

From discordance (contradiction), harmony. A gentleman can be a pirate. A man can be a bird, or a unicorn. Izzy can have been one of the good ones and a fucking nightmare. And Ed can tell all his stories, they can all be true--and he can still be Ed.