#YOU ARE FREE TO DISAGREE WITH ME

[confundida25]

My biggest unpopular, unconvensional and controversial opinion is that i dont like how to train your dragon. I dont like it. Yes i had watch all the three movies and half season of the netflix show, nope i dont love the dragons desig, i dont think the romance is believeable, i dont like the protagonist or the way they talk, i think is incredible predecible and everyone and i mean all the cast with the exception of the father is forgetable at best and annoying at worse. I hate the mother, she is the worse.

My point, no. The sea beast is NOT a "httyd movie" is like 100 times better

[milkywayes]

interspecies awkwardness for breakfast a.k.a. 'I can't believe I made a comic'

[poorly-drawn-mdzs]

Unsolved Mysteries.

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[cerealbishh]

"Good job, Aerith!" "It was nothing compared to you!" // "I'm so glad you're all okay!" "Right back atcha."

[bixels]

Always an experience watching the leftism leave FNAF fans when someone mentions that Scott Cawthon financially backed fascist politicians.

The switch from posting hardline leftist tweets about boycotts and signal boosts and critical takedowns of politicians and celebrities to ‘ohhh, well. everyone makes mistakes. who can blame him, listen he. he donated money to gay charities too. that makes it ok! a millionaire in his forties is allowed to have political beliefs. does it even matter? just let it go!’ is whiplash inducing. The antivaxxer celebrities have got to go, but this one horror dev who quietly handed wads of cash to antivax lawmakers? He’s chill, he can stay.

The charity thing is so funny too because suddenly utilitarian positive-negative point counting is the way to go. Maybe an abacus would help calculate the net good of donating to the Trevor Project minus donating thousands of dollars to Mitch McConnell and Donald Trump. -10 points if I push a kid in a lake but +11 points if I help an old lady across the street, so I’m chill. You can’t judge me. Hey, maybe. Just don’t push a kid in the lake period. How fucking low is the bar when we’re excusing maxing out the possible dollar amount of donations to Mitch fucking McConnell. That should be like. Default you’re a bad person.

[hauntingofhouses]

Very interesting to me that a certain subset of the BES fandom's favourite iterations of Mizu and Akemi are seemingly rooted in the facades they have projected towards the world, and are not accurate representations of their true selves.

And I see this is especially the case with Mizu, where fanon likes to paint her as this dominant, hyper-masculine, smirking Cool GuyTM who's going to give you her strap. And this idea of Mizu is often based on the image of her wearing her glasses, and optionally, with her cloak and big, wide-brimmed kasa.

And what's interesting about this, to me, is that fanon is seemingly falling for her deliberate disguise. Because the glasses (with the optional combination of cloak and hat) represent Mizu's suppression of her true self. She is playing a role.

Take this scene of Mizu in the brothel in Episode 4 for example. Here, not only is Mizu wearing her glasses to symbolise the mask she is wearing, but she is purposely acting like some suave and cocky gentleman, intimidating, calm, in control. Her voice is even deeper than usual, like what we hear in her first scene while facing off with Hachiman the Flesh-Trader in Episode 1.

This act that Mizu puts on is an embodiment of masculine showboating, which is highly effective against weak and insecure men like Hachi, but also against women like those who tried to seduce her at the Shindo House.

And that brings me to how Mizu's mask is actually a direct parallel to Akemi's mask in this very same scene.

Here, Akemi is also putting up an act, playing up her naivety and demure girlishness, using her high-pitched lilted voice, complimenting Mizu and trying to make small talk, all so she can seduce and lure Mizu in to drink the drugged cup of sake.

So what I find so interesting and funny about this scene, characters within it, and the subsequent fandom interpretations of both, is that everyone seems to literally be falling for the mask that Mizu and Akemi are putting up to conceal their identities, guard themselves from the world, and get what they want.

It's also a little frustrating because the fanon seems to twist what actually makes Mizu and Akemi's dynamic so interesting by flattening it completely. Because both here and throughout the story, Mizu and Akemi's entire relationship and treatment of each other is solely built off of masks, assumptions, and misconceptions.

Akemi believes Mizu is a selfish, cocky male samurai who destroyed her ex-fiance's career and life, and who abandoned her to let her get dragged away by her father's guards and forcibly married off to a man she didn't know. on the other hand, Mizu believes Akemi is bratty, naive princess who constantly needs saving and who can't make her own decisions.

These misconceptions are even evident in the framing of their first impressions of each other, both of which unfold in these slow-motion POV shots.

Mizu's first impression of Akemi is that of a beautiful, untouchable princess in a cage. Swirling string music in the background.

Akemi's first impression of Mizu is of a mysterious, stoic "demon" samurai who stole her fiance's scarf. Tense music and the sound of ocean waves in the background.

And then, going back to that scene of them together in Episode 4, both Mizu and Akemi continue to fool each other and hold these assumptions of each other, and they both feed into it, as both are purposely acting within the suppressive roles society binds them to in order to achieve their goals within the means they are allowed (Akemi playing the part of a subservient woman; Mizu playing the part of a dominant man).

But then, for once in both their lives, neither of their usual tactics work.

Akemi is trying to use flattery and seduction on Mizu, but Mizu sees right through it, knowing that Akemi is just trying to manipulate and harm her. Rather than give in to Akemi's tactics, Mizu plays with Akemi's emotions by alluding to Taigen's death, before pinning her down, and then when she starts crying, Mizu just rolls her eyes and tells her to shut up.

On the opposite end, when Mizu tries to use brute force and intimidation, Akemi also sees right through it, not falling for it, and instead says this:

"Under your mask, you're not the killer you pretend to be."

Nonetheless, despite the fact that they see a little bit through each other's masks, they both still hold their presumptions of each other until the very end of the season, with Akemi seeing Mizu as an obnoxious samurai swooping in to save the day, and Mizu seeing Akemi as a damsel in distress.

And what I find a bit irksome is that the fandom also resorts to flattening them to these tropes as well.

Because Mizu is not some cool, smooth-talking samurai with a big dick sword as Akemi (and the fandom) might believe. All of that is the facade she puts up and nothing more. In reality, Mizu is an angry, confused and lonely child, and a masterful artist, who is struggling against her own self-hatred. Master Eiji, her father figure who knows her best, knows this.

And Akemi, on the other hand, is not some girly, sweet, vain and spoiled princess as Mizu might believe. Instead she has never cared for frivolous things like fashion, love or looks, instead favouring poetry and strategy games instead, and has always only cared about her own independence. Seki, her father figure who knows her best, knows this.

But neither is she some authoritative dominatrix, though this is part of her new persona that she is trying to project to get what she wants. Because while Akemi is willful, outspoken, intelligent and authoritative, she can still be naive! She is still often unsure and needs to have her hand held through things, as she is still learning and growing into her full potential. Her new parental/guardian figure, Madame Kaji, knows this as well.

So with all that being said, now that we know that Mizu and Akemi are essentially wearing masks and putting up fronts throughout the show, what would a representation of Mizu's and Akemi's true selves actually look like? Easy. It's in their hair.

This shot on the left is the only time we see Mizu with her hair completely down. In this scene, she's being berated by Mama, and her guard is completely down, she has no weapon, and is no longer wearing any mask, as this is after she showed Mikio "all of herself" and tried to take off the mask of a subservient housewife. Thus, here, she is sad, vulnerable, and feeling small (emphasised further by the framing of the scene). This is a perfect encapsulation of what Mizu is on the inside, underneath all the layers of revenge-obsession and the walls she's put around herself.

In contrast, the only time we Akemi with her hair fully down, she is completely alone in the bath, and this scene takes place after being scorned by her father and left weeping at his feet. But despite all that, Akemi is headstrong, determined, taking the reigns of her life as she makes the choice to run away, but even that choice is reflective of her youthful naivety. She even gets scolded by Seki shortly after this in the next scene, because though she wants to be independent, she still hasn't completely learned to be. Not yet. Regardless, her decisiveness and moment of self-empowerment is emphasised by the framing of the scene, where her face takes up the majority of the shot, and she stares seriously into the middle distance.

To conclude, I wish popular fanon would stop mischaracterising these two, and flattening them into tropes and stereotypes (ie. masculine badass swordsman Mizu and feminine alluring queen but also girly swooning damsel Akemi), all of which just seems... reductive. It also irks me when Akemi is merely upheld as a love interest and romantic device for Mizu and nothing more, when she is literally Mizu's narrative foil (takes far more narrative precedence over romantic interest) and the deuteragonist of this show. She is her own person. That is literally the theme of her entire character and arc.

[burnorgetburned]

EVEN MORE CLARA DOLL DETAILS:

So you know how the Dolls have their own distinctive clothes?

Guess who else has their own distinctive clothes!

That’s right. The multiple Homuras are actually Clara Dolls.

And that’s why ‘Homura’ is smiling.

Here they are! The one with the striped hat is Nekura (Gloominess or Pessimism) and the one with the flower is Mie (Vanity).

Here’s their descriptions from the art book.

[The second one to come was Gloominess. Walking out with a tapping sound, she sneered at Good-for-Nothing. “This is Good-for-Nothing! How very unbecoming.” These dolls are only disciples of Freedom, and are devoted to their lust for it.]

[The tenth to come running is Vanity. She exaggeratedly avoids Good-for-Nothing's head and says a few words. “I wouldn't be able to bear dirtying my cape with that sticky blood!” These dolls make fun of the witch's self-mutilation.]

Good-for-Nothing is Homura, by the way, but the Clara Dolls seem to consider Good-for-Nothing to be good for something after all after she splits Madoka. She turns into the Devil, and the Clara Dolls are stated to be “okay” with the Devil. If the young voices in the trailer belong to the Clara Dolls, then they also call her “Akuma-sama” now. Something like Mistress Devil, implying a sense of respect.

[… if they are not summoned, they will simmer. There are orders they will comply with, and also orders they will disobey. What they are and the witch herself's own magic are not well understood.]

At the end of Rebellion, Homura gave Madoka her ribbon back. She declared that they might become enemies in the end. Honestly, I thought that Homura would try her best to avoid Madoka entirely. The trailer suggested that Homura was meeting Madoka, though. Here’s the answer: it wasn’t Homura herself, but Gloominess, who wants freedom.

Now, I’m not sure how this situation works out. Do Clara Dolls have free will? Are they obeying Homura’s orders? Acting out Homura’s true emotions? Is Homura perhaps directly puppeteering them in order to fulfill her goals, or do they act on their own?

I find it likely that it’s a mix of both: some of them obey her, and some of them will try and fulfill her (probably very conflicting) desires, as familiars usually do. Gloominess is likely part of Homura who wants the freedom to talk to Madoka, for example, but Vanity seems to me like a Clara Doll who is obeying Homura. After all, she still needs magical girls to fight wraiths, at least until she finds a way to wipe them out.

[I'm Vanity (Mie). I'm pushing myself to the limit for someone.] And she is, of course. All of the theatrics, the calls, the organization of magical girls. These are things that Vanity is shown to engage in. All of this is for Madoka.

We see with Gloominess, at least, that she seems to be fulfilling a specific desire: in the background are white spider lilies. Instead of the red spider lilies that mean death, final goodbyes, and lost love, white spider lilies mean a hope for the future and a fresh start. Maybe this really is the first meeting for these two in a while, and she wants to be friends again?

Or maybe, being Gloominess, she wants to warn her about something.

[I'm Gloominess (Nekura). Forcing smiles tires me out.]

Then there’s this Homura.

Nothing about her clothes is very different. She is wearing ribbons as Homura in the wraith universe does, but look closely: the ribbons are different. They have some wavy stripes on them, while Madoka’s ribbons are plain. She does not correspond to any known Clara Doll.

However, there’s mentioned to be a fifteenth Clara Doll that is not yet born: Ai, representing love. This could be her. Is it love for others? Or love for herself? I’m hoping it’s the latter, but very likely it’s love for Madoka and her friends. This would explain why she’s trying to fight Homucifer in the poster, as Homura believes that she’s a danger to everyone else.

How can this be? Well, here’s a few options:

- The Clara Dolls are grown-up familiars. They ate souls, and they became a copy of their witch. This is a process that was explained to us in the original series, where some magical girls are stated to farm familiars by letting them eat people so that they would grow souls/grief seeds.

- The Clara Dolls are not familiars, or wraiths, but instead a secret third thing. “What they are and the witch’s own magic are not well understood”, as said in the Rebellion art book. They could be magical constructs of a different kind, but I do think that this would get into overcomplicated explanations quickly, so I favor the familiar explanation.

- The Clara Dolls could be familiars, but instead of eating souls they’re simply powerful enough to change their shape. Their strength is equal to the strength of a magical girl…. when Homura was a witch, before Homura became something more. It could also be energy from the contracts making them stronger. Maybe it’s me being sentimental, but I don’t like the idea of Homura letting anyone’s soul be nommed on.

Now, before there’s a panic about how they’ll juggle fifteen extra characters, here’s a few thoughts:

- Just because they seem different doesn’t mean they’re actually different. It might be that the Clara Dolls are a way for Homura to present herself. As Vanity, she might show off more, or have dramatic flourishes like her throne and her dress. As Gloominess, it might be that she doesn’t believe that her plans will work, so she tries to do what makes her happy. It’s likely that the Clara Dolls are just extra ways to explore Homura’s character. They’re parts of her soul, after all, and right now she is extremely powerful. She might simply want to keep her true self away from humans.

- They could work like projections. Homura wants more bodies to work with, but she has to filter herself through the Dolls’ personalities. This could result in a lot of juicy character interactions, as the things she tries to keep hidden are closer to the surface.

- Will ‘Ai/Mystery Homura’ fight against Devil Homura? Very likely! How can this be when they’re the same person? Well, who hates Homura more than Homura? That’s right. Nobody. Anyone can fight and argue with their self, it’s just usually not on the level that a reality-warper like Homura can manage.

If this is true, there’s plenty of interesting directions they can take it.

- Because the Clara Dolls have a degree of separation from Homura, they can show other characters things that Homura herself has ignored or locked away. Bad memories, affection for her friends, the resentment she must feel - everything from concern to a cry for help can be plausibly shown through them as the actors.

- Manuke (Stupidity) is specifically more naive/sincere than the others. Maybe interacting with this Doll would show the Quintet that there’s something more going on than a Devil who wants to hurt other people.

- If Ai represents a love for other people, Ai can have a strange character arc where she learns to value Homura/herself, and become self-love.

- On the other hand, Ai can represent self-love from the start, and because Homura looks very fucking unhealthy in the trailer, she only wants to stop her because she’s hurting herself. This option plays into the themes of self-sacrifice and happiness, which I believe to be some of the major themes that they’re going for.

- The poster could be misleading and Ai ends up fighting everyone but Homura. I find this the funniest option.

- Homura can hug herself. It’s possible. In fact, every character can hug Homura 15 different times.

Smiles are a Clara Doll’s default expression. We have yet to see Homura smile for real.

Is this going to get very ambiguous and confusing? Probably. But rewatching for details was the fun part in Rebellion, so I’m looking forward to it!

[kami-kun1003]

im just gonna come right out and say it:

pretty much everyone in this fandom portrays Silver as this perfect, flawless, polite, beautiful, princely, romantic gentleman who can do absolutely no wrong in his life ever. which is… not really accurate at all.

he’s odd. he struggles with showing emotions and doesn’t understand social cues very well. his dorm uniform vignette is literally about how people find him strange and unapproachable due to his lack of expressiveness. in his lab coat vignette, Jamil straight up calls him weird to his face and he fully agrees without hesitation.

and in one of his voice lines, he calls Yuu strange just for wanting to hang out with him. stop and think about that for a second. he considers himself boring and doesn’t expect anyone would want to spend time with him. maybe he used to try and make friends, but people kept avoiding him, saying that he wasn’t fun to be around.

he’s not the handsome guy that everybody in the school falls for, he’s the quiet kid who doesn’t say much or has any friends outside of his own personal circle. and i think that has a lot of potential for angst.

[the-headless-horsedude]

long time no beast wars meme

[canisalbus]

are there any sad catholic cats? or just sad catholic dogs

.

[billiuspendragon]

When it comes to shipping Makoto with Kusuke, I have two very different opinions on it depending on how seriously I'm taking it.

Because, realistically, they would be toxic as HELL. I mean, we've got one guy who's canonically clingy, possessive and jealous over his loved ones - and this is assuming he somehow gets over his sister complex in the first place which is uhhh gonna be difficult - and one guy who gets off on competition and conflict. That is going to be one hell of a train wreck.

I don't think them being together would solve their issues, in fact it would possibly make them worse. They're both awful, and if they're put together that awfulness is gonna be multiplied to fuck. It's just gonna be a great big mess.

On the other hand. It would be really fucking funny.

[poorly-drawn-mdzs]

I'm sorry I let down my guard.

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[marzipanandminutiae]

I miss people using non-medicalized terms for other people's passions

like. well and good to talk about "hyperfixations," "special interests [in the context of an autistic person's favorite subject]," or "infodumping" if you have ADD/ADHD or autism, or are talking about someone who is, but...that's not everyone who feels strongly about something, obsesses, or loves talking about their interests. those words mean specific things, associated with specific forms of neurodivergence

don't assume everyone is comfortable with that language

"rambling" is a word; so is "ranting." "obsession" is a word. "passion" is a word. learn them and use them

[lilac-set]

Reminder: even if trump wins, we’ll be ok. The presidency isnt the only political position that matters, he wont be a dictator, the president doesnt have the power to remove every other part of government that keeps the president’s power in check. Also politics isnt the only thing that matters. Even if we lose some rights (which he cant singlehandedly do) we still have community, we still have activism, we’ll always be ok. We survived one trump presidency, we can survive another. We survived before gay marriage or transitioning were legal, if we have to survive that again we will. Please, no matter what happens, promise to stay alive. Youre valuable, youre important, and youre going to be ok. Its better to be overprepared than underprepared. Im not asking you to lose hope (im doing the opposite of that), im asking you to practice coping ahead, get all your coping skills ready, determine now to stay alive, because i dont want any of you to make any rash decisions later in case we get bad news and emotions are high. Make a safety plan if you need to. Make sure you’re gonna be ok

[secretly-a-catamount]

I’m sorry, but if you think that Raoul wouldn’t switch places with Christine to be bait for the Phantom if he could, you’re just objectively wrong (it’s okay, I still love you).

[pro-sipper]

"Dead Dove: Do Not Eat"

About the tag, the origin, and why I think no one on either side of the fandom divide knows how to use it

First of all, I'm crosstagging because I think it's a general issue, not just something for pro or anti shippers. I see the tag get misused on both sides and I just wanted to throw my two cents in

So, where did the term originate? Like all culturally significant things online, it started as a meme. More specifically, a meme from the television show Arrested Development. Character A has put a dead dove into a brown paper bag to store in the family's fridge. On the bag, he has taped a sign that reads, in big bold letters, "DEAD DOVE. Do Not Eat!"

Character B comes across the bag, reads the warning, and opens it anyway. When he's met with, you guessed it, a dead dove, he proclaims "I don't know what I expected".

This is an example of (and has since basically become the spiritual successor to) the "Exactly What It Says On The Tin" trope.

If you want to check out the full history and countless examples of the trope, please check out the page on tvtropes. But for a slightly shorter history - it originated in a British commercial for Ronseal's Quick Drying Woodstain, which the tin claimed "dried quickly". And in the commercial they told you "It does exactly what it says on the tin!" So, the tin says what the product does, then the product does it. You get the idea.

In fandom spaces, the trope just means that the title of Thing (be it movie, show, fanfic, etc) tells you exactly what happens IN Thing. If a show is called "Buffy The Vampire Slayer", you already know it's about a girl named Buffy who slays vampires. If the movie is called "Cocaine Bear", you can bet a bear will get into some cocaine at some point. If there's a fanfic called "Fluttershy Has Tea With Jesus"... you get the idea.

While both tags started out with the same intentions and meaning, I don't think it's any wonder that "dead dove do not eat" has been so easy to misinterpret. For one, "exactly what it says on the tin" sounds more straightforward. You don't have to understand the specific reference to infer it means to check the label (in this case, tags) before purchasing (opening) the product (fanfic)

But dead dove is harder to understand if you don't know the reference. And at a glance, it sounds much darker. Doves have symbolism in multiple religions, and are seen as a symbol of peace. A dead dove evokes images of gore, violence, general unpleasantness. It must only apply to something sinister, right?

The thing about "exactly what it says on the tin" is that the tin needs to say something. You can't point at a blank label and say "here's what you can expect". People would be much less likely to engage with your product if that were the case

In the same vein, slapping "dead dove do not eat" on a fic with no other tags can lead to confusion. In this tag's case, it's a warning. But what are you warning about if you don't also put it in the tags? It leaves people's minds to conjure up only grim and upsetting images of what might be in your fic. Especially when, as it's also common to do, the tag gets shortened to simply "dead dove".

And while, yes, the tag is most likely to get slapped onto fics with dark or upsetting subject matter, that means something different for everyone who comes across it.

Most people seem to think it only applies to inappropriate relationships (age gap, incest, etc). But I've seen it applied to a variety of things, from potentially triggering material (like suicide) to things that simply may not be everyone's cup of tea (like excessive gross-out toilet humor).

In the end, "dead dove do not eat" is a tag that, in my opinion, should not be used as a descriptor as to what type of content your story contains. But rather, a gentle warning to say "hey, I'm specifically telling you what you're about to encounter, so whatever happens next is up to you".

After all, if you read the warning and still open the bag to find something you don't like...

I don't know what you were expecting.