#all my feathers are Ruffled

[mysunfreckle]

I've been getting nice spam comments on AO3:

I've blocked out the names, because while they are all guest comments, the names that have been filled in all belong to real, active AO3 users. Just not ones that are at all connected to the fandom this fic is for. So whatever the hell this bot/program/demon is doing, it's stealing user names for it

It genuinely took me a couple of days to get suspicious because these do sound very nice! The tone is a bit off, but I figured it was non-fandom culture folks. But when the fifth one came in it occurred to me how generic they are. No character names, not a single story or fandom specific detail. And some of this stuff is just wrong.

Action and suspence? In an Austen fic? Start to finish? It isn't finished! Plot twists? In an Austen fic??

[turtleblogatlast]

No but like every time I think about Splinter and what he had to go through just to keep the boys alive, my heart hurts for him so badly. Is he perfect? No not at all, but none of them are and by god does he love his sons.

The fact that all of them are alive, and grew to thrive despite the circumstances surrounding them is a testament of how much Splinter loves his boys. He raised four babies following the most traumatic time of his life, all alone with nothing but the sewers to house them (to hide them.) I feel like he’s not given the credit he deserves for all he’s done.

And I get that it’s easy to hold up his flaws and faults when it comes to parenting, I myself like looking into them because flawed characters are super interesting and said flaws make them more realistic and engaging, but he tries, and again, so many others would have given up on the boys or failed along the way but Splinter didn’t.

He’s their father, for all his faults he did his damndest to make sure they survived.

[cannibalhellhound]

I did this

Because Sli deserves more love

And I'm trying to get used to the pain of coloring wings

Nothing else

*cough*titties*cough*

bonus gosling making a sand castle with his dad's sunglasses

Ron's big ass wings are good sunblockers

[good-to-drive]

Abuse, Silence, And Why Kevin Can Fuck Himself

I recently finished watching Kevin Can Fuck Himself on Netflix, and, aside from being the most brutally honest portrayal of domestic abuse I have ever seen, I discovered a beautifully written examination of narrative as power and silence as abuse and how this manifests in our larger culture. 

Without going into too much detail, the show is filmed in two distinct styles that are interleaved throughout each episode to tell a cohesive story. Allison and Kevin’s relationship as seen by the rest of the world is told through a multi-cam, laugh-track sitcom that depicts a very typical “goofy husband, shrewish wife” mainstream comedy. Allison’s life through her own eyes is told through a single-cam drama/thriller about Allison planning to murder Kevin to escape his abuse. 

It’s an absolute masterclass in screenwriting, but more than that, every episode explores the difference between truth, fact, and reality, and how none of these things are quite as much or as little as story. But while the process of transforming the chaotic and plotless reality of life into a story is as involuntary and essential as breathing, misogyny and the degradation of women is just as ubiquitous in our society, and a story that exists at the expense of another person’s lived reality is a refutation of their humanity. 

It's also just a great show for anyone who likes to engage with history (or reality TV or true crime or “real life stories” in general), because while we have to tell ourselves stories about her own lives, we have to tell ourselves stories about other people as well. Eternal silence is narrative death, and the perpetual silence of an unspoken narrative is often the last death we can visit on someone whose story we’d rather ignore. 

I also pulled up some books – Lolita and Disgrace – that dealt with similar themes, but from the perspective of the abuser. And what strikes me the most is that, across three beautifully written stories about narrative and silence within a culture that normalizes abuse, Allison, who began her story within a state of narrative death, was the only point-of-view character who had any chance of surviving. 

One of the main themes of Kevin is that a compelling story is often a story that reinforces what we already believe or like to believe, and while the story may be factual and true it often also exists at the expense of someone's lived reality. The exact same series of events can be a silly joke or a harrowing tale of abuse depending on the lens through which we view it, but historically we've only been willing to see the multicam, laugh track, sitcom perspective on unbalanced relationships.

The alchemical process of turning a series of disjoint facts and experiences into a narrative creates something new and compelling, and erases much of what previously existed. In this way, it’s entirely irreversible. We spin our experiences into a very thin thread, a story we can tell ourselves that elicits something within us, something we need in order to live with the complex, uncertain, and unsatisfying reality of life. In think in many ways the thing we elicit in ourselves is truth. But truth is both more and less than fact, often more a reflection of our own beliefs and desires than the events of our lives. And in telling that truth we may never stray from the facts, but we almost by definition cannot give voice to another person’s reality.

There's a scene in season 2 of Kevin when Allison is hit by a door – a la the classic excuse – because of Kevin’s carelessness. And while he absolutely did not hit her, the way it's written is such an incredible allegory for how Kevin has curated their story and curated their friends' and family’s perceptions of their story such that even if she tells everyone the exact, unvarnished truth of what's happening to her and begs for help, they will only be capable of seeing the laugh-track, sitcom, “Kevin is a harmless goofball and his wife is a total shrew” perspective on the events of their lives. 

As so often happens with abuse, their friends and family saw Allison being hurt because of Kevin. But the alchemy of creating a narrative around Kevin and Allison is irreversible, and the series of events they witness can only be spun together to a joke, an accident, a silly, childish mistake. Allison’s reality, Allison’s pain and fear, is completely elided. Like a lost sound in the middle of a sentence, her experience goes silent, and their larger understanding of her relationship never has to change. And you feel so acutely how Allison lives her entire life in that silence. 

Storytelling is human, it’s essential, there’s no other way to engage with our own lives. And it’s not lying. It’s never lying to tell the truth. But it doesn’t reflect every reality, either, because another person’s reality can’t be reflected within our own narrative, because that’s what it means to be another person. To spin two different threads.

And because narrative is the essential process by which we understand our reality, denying someone their own narrative, or denying that this narrative be heard, is inherently abusive. To allow someone a voice is to give them humanity, and to suppress it is to strip that humanity away. 

Disgrace, by J.M. Coetzee, follows the story of a professor, David, who rapes a student and then fails to protect his daughter, Lucy, from being raped by intruders in their home. He destroys his daughter’s life  – not through failing to protect her, but through twisting her rape into a story about why the rape of his student wasn’t wrong. The main theme of the book is generally considered to be exploitation, but Coetzee doesn’t deal with the exploitation of the rape. That’s too direct, too immediate, too easy for the reader to understand as misogynistic and wrong. Rather, Coetzee delves into “the innocuous-seeming use of another person to fill one's gentler emotional needs” (Ruden).

The rape is how we understand David as a fundamentally exploitative person, a person who denies others their humanity by converting them into a vessel for his own desires, who erases their voice in order to speak through them and give himself the things he needs. And that’s how we recognize that the way he absorbs and claims the stories of his daughter and his student is another kind of violation of their humanity. Another way of turning women into vessels for men’s pain and fear and need. 

What’s fascinating is that David's student finds her voice – files a complaint against him – and is eventually able to continue with her life. The woman he raped is less damaged by him than his own daughter, because she was the woman he couldn’t permanently silence. 

In Lolita, another brilliant novel about abuse, dehumanization, and storytelling, Humbert turns to the reader at the end and says, “Imagine us, reader, for we don’t really exist if you don’t.” 

It’s not that Humbert knew he was fictional, but that he knew everyone was fictional. Believed the entire world only truly existed in his own mind, because anything beyond that was irrelevant to his needs. He coped with the collapse of his ability to dehumanize Dolores (who he called Lolita) by demanding that his voice be resurrected. Demanding immortality. Demanding his narrative exist in another person’s world, and thereby be given the existence and humanity that Allison and Dolores and Lucy and David’s student were denied. 

Pushing his needs, finally, onto the reader, because we are the only person he has left, and a person like him can only exist through the use of another. In that way, Humbert was powerless. In that way, Kevin and David were powerless, too.

In Disgrace, David’s dream is to write an opera, and at the end of the book he realizes he’ll never finish his magnum opus. He’ll never be able to terminate the process of converting himself, his world, into a story. But he does learn to decenter himself in that narrative. And it’s when he loses all fear of death, and any conception of the self, that he gains the ability to give dogs – who he generally equates to women – a voice within his opera, his life’s work. 

It’s in death that we discover our true unimportance as human beings, that we learn to let go of vanity and our conception of the self entirely. And David had degraded women so thoroughly in order to justify how he used them to meet his own emotional needs that it was only in losing all value for his own life that he could gain the ability to see them as equal voices. To actually put those voices into his own life story. It's at the cost of himself that he allows other people to truly exist, in the death of the self that he finally allows the world to exist outside of himself. It’s almost a positive character arc. Almost.

When Kevin finally loses the ability to abuse Allison, he, like many abusers, loses all desire to live. His world was built on a structure of superiority and inferiority, on beings and vessels, on the inherent value of men and the inherent meaninglessness of women’s lives. The system on which he based his entire reality has been destroyed by Allison’s declaration of the self. And, if he was a being because she was a vessel, then in losing the ability to treat her as a vessel, to fully and completely dehumanize her, he has lost his own humanity. 

It may be perfectly summed up here: “Become major. Live like a hero. That's what the classics teach us. Be a main character. Otherwise, what is life for?” (Coetzee).

If you’re not to be a main character, if there indeed is no split between major and minor characters, between people and the paper dolls that populate their story, between living beings and the vessels into which they pour their need – what is life for?

Nothing. At least, not for people whose narrative must exist at the expense of another. 

And that’s why I say that only a narrator like Allison could survive this kind of story. Despite beginning her story trapped in eternal silence, her reality fully elided no matter how immediate and obvious it became, Allison was the only point-of-view character of any of these three stories who didn’t establish her power through the degradation of another. Who didn’t conceptualize the world via being and vessels. Whose narrative didn’t exist, by necessity, at the expense of another person’s humanity. Whose thread could exist in a larger tapestry without destroying her sense of self.

Don’t get me wrong, she’s not generally a likable character. She’s misogynistic, cruel, selfish, jealous, desperate, afraid, and in pain. Like anyone in an abusive relationship, she’s not at her best, and she’s often pushed to do things that are ugly and disturbing because she’s simply been pushed too far. 

But, for me, the power in her character is in how her last scene never felt like a final scene. Her story didn’t have to be killed, her conception of the self didn’t have to be killed, in order to reveal the brutal reality of stories twisting and intertwining without any inherently superior truth or narrative among them. Allison’s story was one of declaring herself. And that’s why it didn’t feel like it ended at the end. Instead, this felt like a beginning.

[astronomodome]

Tumblr Poll Tournaments & MCYT

So a while ago I made a post expressing my frustration with the way a lot of tumblr poll tournaments seem to exclude mcyt characters- or if they are included, people in the notes are rude about it. The first situation of these- the poll organizer including rules against submitting characters from mcyt- is something I can easily quantify. I've crunched some numbers in order to find out two things:

How common is this phenomenon, really?

Why does this happen in the first place?

A note before I start: I'm not blaming the poll organizers for this, and I don't want anyone to get angry at them for excluding mcyt. At the end of the day, it's up to them to curate what they want their poll to be, and if they don't want to deal with the toxicity that often comes with letting mcyt characters run (or if they just don't like it for whatever reason), that's their decision. Trust me- poll organizers have to put up with a lot of shit already, and I don't want to add to it, regardless of their opinions on mcyt. If any poll organizers recognize their own words in the later part of this overview, they can contact me and I'll remove it. This is also why I have chosen not to identify the blogs from which I took the examples- I mean no harm to any poll organizer. They are a symptom of a much larger problem and they haven't done anything wrong except be a little misinformed at worst.

Excluding mcyt characters from poll tournaments really isn't that big of a deal on its own- though it is frustrating- but it does speak to the larger attitude of the general tumblr population towards mcyt. While not without its flaws, this can be used as a metric to measure the extent of this attitude and maybe get a hint of why it exists.

...Please note, also, that most of these polls date back to around March-June 2023, when poll tournaments were a big thing on Tumblr. Not super outdated, but I still should note that opinions might have changed since then.

Also also, be warned that there are examples below of some organizers being pretty toxic! It's not a whole lot, but if you don't want to expose yourself to that, maybe pass on this post!

With that out of the way, let's get started.

Part One: The Numbers

The first thing I decided to do was figure out a rough percentage of how many poll tournaments have a rule that excludes mcyt characters from being submitted. To get a sample batch of poll blogs, I used one of the blogs that pits the winners of tournaments against each other and checked each blog included in that. This ended up being a more tedious process than I had thought, since there's a lot of variation in the way poll organizers, well, organize. I ended up with 123 blogs sorted into three categories.

The first category included tournaments where a rule for or against mcyt characters wouldn't really make sense, for a variety of reasons. Most commonly, the tournament was between letters of the alphabet or animo acids or government agencies, not fictional characters, so I counted them out. There were also a handful of blogs where the contestants were determined by the organizer, not by nomination at all. Combined, blogs that did not fit my criteria made up 60/123 of my samples.

The second and third categories were the blogs that either had a rule against mcyt characters, or didn't. Most of the blogs I looked through had rules I could find, and some were more thorough about it than others. For my purposes, I counted the blog as a no only if they explicitly had a rule against mcyt characters, or clarified later that they weren't allowed. Most poll blogs didn't mention mcyt at all. (This will become relevant later.)

Of the 63 blogs that fit my criteria, 11 (17.5%) of them had a rule against mcyt characters, while the remaining 52 (82.5%) did not.

To me, this seems like pretty good news! I had honestly expected the percentage of blogs that excluded mcyt to be much higher. This is definitely a good sign! But I wouldn't really jump to assuming that mcyt characters would actually be accepted in all of these blogs. I will explain this in the next part of my research.

Part Two: The Examples

The second thing I wanted to find out with this research was why organizers end up having rules against mcyt in the first place. Is it just the bad reputation the mcyt space has (largely a result of one green man in particular)? Let's look at a few examples of poll rules against mcyt characters. Some of them are from my sample blogs and some of them aren't.

Type 1: Not understanding the difference between real people and characters in mcyt

The majority of the rules against mcyt I saw were of this type, and honestly, it's pretty reasonable. It's a pretty major debate in the mcyt community over whether mcyts' characters are separate enough from their content creators to count as fictional. However, there are a considerable number of mcyt characters who are explicitly stated to be different from their cc in the same way as a character in a movie played by an actor is different from the actor playing them. Excluding all mcyt characters for being 'real people' is just incorrect, though I can kinda understand where the organizers were coming from with this one.

It should also be noted that the vast majority of poll blogs had a rule against submitting real people. There's a possibility that some poll organizers might have lumped mcyt characters as real people even if they didn't specify it explicitly. Therefore, an attempt to actually submit an mcyt character into one of these tournaments might be against the rules based on what the organizer thinks. I have no way to quantify this, which is why I said earlier that the results of my initial test might not be accurate.

Type 2: 'Problematic fandom' (toxicity warning for some of these)

This type of rule is usually broader than just mcyt, but lumps it in with other fandoms known for being associated with bigotry (often hp, which is... yeah i'm definitely not going to argue in favor of harry potter but yikes. really? we're as bad as terfy potter? really.) At least one of them let dsmp characters in with the exception of dream, which is a lot fairer than... some of the others.

If we want to give the organizers benefit of the doubt here, we can say that these rules are made to keep the poll less toxic than it would be otherwise... but to be perfectly honest, some of these might be more about that phenomenon of purity culture that has had a habit of popping up in fandom spaces since forever. That's a whole other conversation I'm not ready to have now, but it comes as no surprise to me that mcyt has become a little taboo in some places (likely to a large extent because of dream and all the drama he's generated). There's also no telling whether the poll organizers in these cases even know that there are other smps besides dsmp... but that's besides the point, since there are other dsmp characters that aren't associated with dream at all. Excluding them reveals a misconception about the mcyt genre anyway. And of course, I think we can all agree that some of these are just pretty rude.

Which brings us to our conclusion.

I feel like a lot of the toxicity towards mcyt as a genre and mcyt characters boils down to people either not really understanding what mcyt is (i.e. mcyt -> minecraft youtubers -> real people) or hearing stuff about dream and assuming the entire mcyt space is reflective of that. Of course, it's a frustrating issue that some people think this way. I think it's nice to be reminded, though, that this sort of thing isn't very widespread. Alongside the bad examples, I saw a lot of organizers confronting their preconceived notions: one organizer let in an mcyt character after admitting their 'unfamiliarity with the source material', another allowed mcyt characters 'on the condition that you can explain how they are a separate character' and a few others fiercely defended mcyt characters against toxicity in their polls. Every day we grow as a community and we can't let a few people with misguided notions of what we are keep us down. Keep watching, keep creating, and as Zedaph once said, It's okay to be silly!

[ef-1]

some of you are so stupid <3

[masezace]

little off topic for my blog, but i started watching a new show since a friend mentioned it was good and i'd heard positive things about it, so i just wanted to talk about it a little bit (probably never again after this since this isn't a fandom blog, but it's the only one i have rn so idc it's going here)

the show is Jurassic World Camp Cretaceous, and just going on looks alone, despite my love for dinosaurs and the Jurassic Park franchise i never would have considered it. it appears to be very much for kids, and as i'm in my late twenties now i'm not particularly interested in especially kiddy media. however a friend my age enjoyed it and mentioned it has a canon lgbtq+ couple in it among the main characters, so of course i just had to watch it. i had already been hearing that despite its initial appearance and premise, it was surprisingly good for a kids' show, so i had already been curious, but i was even more keen after knowing there were queer characters, and not even the adults, the kids themselves (in a kid's show?!! what a time to be alive), so i finally sat down and watched it.

[spoiler warning, both minor and major, for the rest of this post btw, so continue reading at your own risk if you haven't seen it yet/are still watching]

the show overall

okay so firstly, i am coming at all of this from the perspective of a writer, so my observations are from a technical standpoint more so than just as a fan of the show. and honestly, it really is a well-written show as a whole. is it geared towards kids? definitely. there are plenty of jokes/gags in it that just don't appeal to me as an adult, but beyond that, there was plenty to appreciate as an adult.

the writing is actually phenomenal? there were several points in the series where i just sat back and mulled over the way a scene went, what the thought process behind writing it was like, how well it was executed, and how important it was to the characters and overall plot.

the suspense is spot on, nothing gets dragged out too long, and i will admit there have been a few scenes throughout that actually got me; i jumped! it's actually scarier than i expected a kid show to be, but i'm so glad they went where they did because it really elevated the experience.

the pacing overall is very good, adequately engaging for kids' short attention spans (and us adhd adults 🥲) but not too short either to a point where things felt abrupt or unfinished. plot arcs are well developed and tied up nicely. also, as a bit of a dinosaur nerd, the array of dinosaurs in the show is super broad and satisfying! very fun stuff.

character element

imo the real gem of this show is the character development. honestly it's just *chefs kiss*

the characters grow and change so much and so realistically over the course of the show, it's honestly so much better and more satisfying than the character growth in most adult fiction/media recently.

the growth in ben (who btw was def my favorite character by the end of s1) and kenji in particular were my favorites and, in my personal opinion, the most interesting. the way ben started out anxious, cowardly, and rule abiding to a fault, then grew into a brave, confident, adventurous little pyromaniac gremlin, then had that stint later in the series where he regressed a bit-questioning himself-until eventually ultimately striking a great balance and really coming into himself was just... peak character writing.

kenji started out overconfident, lazy, and overly concerned with money/status. but that arrogant overconfidence and laziness slowly turned into responsibility, and a desire to protect his found family, and the realization that it's the people in your life that really matter most.

honestly what i mentioned only scratches the surface in terms of those two characters, there's certainly more that can be said about them (as well as all the others) but i'm not really in the mood for a deep dive character analysis atm. just trust me tho when i say these characters are so well done and each one of them have arcs that are super satisfying to watch play out.

queer representation

and as for the queer couple? yasmina and sammy are PERFECT. it was so beautiful watching their relationship grow from one-sided to mutual friendship, to loyal devotion, then to love. they were set up incredibly well and incredibly naturally. i have like, no complaints when it comes to them. i don't even know if there's anything i can say that would add to things, they were just a really awesome couple to watch become canon, they're the beautiful and painfully needed representation we all beg for in tv and movies.

shipping, chemistry, and intent

but oh goodness... probably my only real complaint about the entire show would be how benji (ben x kenji) and kenji x brooklyn (kenlyn? brookji? idk and idrc) were handled. because for all that this show did SO much beautifully right, they really screwed the pooch here, sadly.

i'm gonna start by saying that the writing in this show, as with most, is deliberate. what i mean by this is that despite having no clue who it would be because my friend thankfully did not even spoil me as far as the genders of the queer couple, i clocked yas and sammy as the would-be queer couple as early as season one (actually it was between them and benji, but more on that later). i could already see the chemistry, because it was deliberately written in.

shipping is subjective. anyone can ship any character, and in most cases it's pretty easy to see how there could be (romantic) chemistry between fan pairings based on their personalities, their arcs, etc. and that's okay! ships don't even have to have any canon support to be valid, because shipping is for the fandom, and it's for fun (i have a few rarepairs and crack ships across different media that i just love).

but onscreen/written romantic chemistry is a lot less subjective (to clarify, it is subjective whether or not the chemistry is good, but it's not subjective about whether or not it exists). there are literally scenes written with the sole purpose of building the romantic tension and/or chemistry between planned couples (some of which even have absolutely zero plot relevance, which usually is not advised tbh, and most of which are the cliches/tropes you see in literally any romance ever written, some are just disguised a little better than others. but make no mistake, it's all the same set of cliches. there is nothing new under the sun), as well as intentional, key moments within scenes that have other purposes. they are essential to establish romantic pairings.

and typically, the foundations for these couples are laid VERY early on. always within the first or second season (well, at least they are when the writer actually knows what they're doing and has at least a rough plan/outline for the entire series & characters. this is usually a large part of what separates the good chemistry from the poor chemistry. an author who knows who the couples are going to be and has a plan from the beginning to build them up is going to be more successful in creating a believable relationship with good chemistry. one who does not plan, or makes last minute plans will almost certainly fail, and the couple is just going to suck). when the set of characters you're working with are going to stay the same for most or all of the story, you start immediately.

i don't mean to toot my own horn, because i think it's because i'm a writer so i just pick up on narrative patterns very easily, and pretty much always clock the planned couples within the first few episodes of any series, and by the end i am right like 9 times out of 10.

that being said, do you know whose deliberately written chemistry i also clocked in jwcc? ben and kenji's.

kenji and... brooklyn?

no offense to people who like/enjoy kenji and brooklyn, you are free to love them, but the way their romance was written is... quite possibly the weakest point of the show. it felt like they were just trying to appease the upsetto heteros in charge, because there was definitely another het pairing that had a lot more potential than kenji and brooklyn (hello darius x brooklyn aka darilyn, you would have actually made sense because your relationship had amazing buildup and multiple standout scenes from s1 on. dgmw, i love that we got a m/f strong, supportive, purely platonic friendship out of them, i live for those and we really need more of them. but we could have had that with kenji and brooklyn, or darius and sammy, or ben and yas, literally any other pair instead).

kenji and brooklyn as a couple came out of absolutely nowhere. i honestly think they decided to shove them together last minute, and had no actual plan for them until they were working on s4. because their development barely started at the VERY end of s3 (the abruptness of him caring about her being held hostage so much more than literally anyone else in their group despite them having like zero buildup to that point gave me whiplash), but honestly didn't really even become "meaningful" development until s4, over halfway through the series. the two spend the first 3 seasons basically not particularly gaf about each other individually, only as part of the whole group and on an equal level with everyone else. they otherwise have no deliberate narrative foundation. it just starts in s4 with no prior hinting. which makes their development rocky and difficult to believe. the funny thing is their characters literally have dialogue (in s4) trying to draw comparisons/parallels between them to say that they especially have a lot in common and like??? no? they really don't? not any more so than any other two kids in the group. their relationship just, really falls flat.

it was disappointing to see it take such a massive spotlight in the series for almost all of seasons 4 and 5, overshadowing the friendships that have been the focus of the show and should have remained so, to the point where at times it just felt like i was watching some stereotypical het highschool romance. genuinely, it made s4 & 5 more of a drag to get through. yasammy and ben and yas' growing bond (which by the way was so sweet, it had the strongest queer solidarity vibes good lord, i sure wonder why yas chose ben out of everyone to come out to first, hmmm) were some of the few things that kept me invested, otherwise i would have dropped it if it had leaned much farther into becoming the kenlyn show than it already was. especially when it was that pair so much of the focus was given to, even though we had so readily and perfectly available, the pair that could have, should have been: benji. which finally brings me to:

ben and kenji

benji's foundation was laid in s1. their interactions, the situations they found themselves in, were deliberate (on the writers' part). i'm even gonna go out on a limb here and say the pairings were fully established in s1e3, even with parallels between yasammy and benji (sammy clinging to yas and ben clinging to kenji throughout the episode), and darilyn gets the beginning of their development too.

even though they bicker a lot in the beginning, they clearly care about each other? kenji protects/helps ben multiple times, and there are definitely some looks ben gives kenji at times. at the end of s1, the one who seems the most deeply effected over ben's "death," other than darius (understandably since he's the one who failed to save him), was kenji! immediately after it happens, we get two close up shots, darius and brooklyn then yasmina and sammy. after which, we go back to the whole group with kenji in center frame, the focus is intentionally on him. it is only kenji who drops to his knees at the loss, and then we get a close up of just kenji. he was saved for last, and he was alone in frame (tbf bumpy was in frame too, but i'm talking humans here), which implies his feelings are especially important in this moment. that is the reason for solo close ups.

after ben's "death," kenji takes to always wearing ben's fanny pack, and up until bumpy--who ben cares VERY much about--got separated from them, kenji was the one who (however briefly) took over her care, ensuring she got off the monorail with them, and he's extremely distraught, more than pretty much all of them, when they can't find her, and he's last to leave when they decide to accept that ben's gone. even when they do leave, he's distant and distracted and his mind is clearly still on ben.

other than darius, kenji is the only one (if i'm remembering correctly) to mention ben/say his name after they lost him, upset because he was actually trying not to think about him. he has clearly thought about ben, probably a lot, because it's hard not to be reminded constantly when you wear something that belonged to a deceased loved one. and frankly, he appears to be the only one who dwells on him that much.

when ben reappears alive (which btw he found the group again because of kenji's butter knife, hello), the frames literally purposely focus on kenji's reaction. he's the one in the foreground every time they show him and brooklyn in that scene. he is the first one to say ben's name, the first one to go to him and hug him, and the scene takes special care to highlight kenji's strong emotions at ben's reappearance, lingering on his teary face as the focus for a bit even after brooklyn enters the frame to hug ben (because she is not at all an important element in the scene at that moment). just like when ben "died," the way this scene is written and shot HEAVILY suggests that ben holds significant importance to kenji, specifically. because again, the focus here is on kenji and ben almost exclusively, with brooklyn as only an afterthought lol. and quite frankly literally everyone else's reaction to him being alive was pretty lackluster compared to the special attention they gave to kenji on this.

and then in s3 we have the infamous hat scene, where darius and ben are in the limo and ben sees and mentions kenji's sailor hat, looking sad and sounding like... longing?? then directly after we switch to kenji realizing he forgot his hat?? the scene has no real significance tbh other than to draw a connection between ben and kenji. like, it acts as a transition to switch to the pov of the group on the boat, but it was entirely unnecessary? why not just have darius say something about the others and then show them on the boat? if there were no special relationship between ben and kenji, it would have made far more sense if they really wanted it to be ben to say something, that he sees the hat, and sadly says something along the lines of "i hope the others are okay/doing better than we are right now/etc" which implies that the hat made him think of everyone, their whole group. rather than what we got... which very much implies that he was mostly just thinking about kenji 💀 and then kenji thinking about the hat at the same time ben's looking at it and thinking of kenji. like, this is.... a very blatant connection being made by the writing/directing here.

all of that. so many deliberate connections made between ben and kenji, they had a very solid foundation laid for a romance to develop, and by all intents and purposes one already WAS developing according to the show's own subtext. which was why up until s4 obliterated the idea, i was positive the queer couple in the show was either going to be yasammy or benji. it was extremely obvious imo. but as soon we started getting the typical, loud, cliche "we are going to pair off these characters" scenes for kenji and brooklyn, i knew we were getting yasammy and not benji (to be clear, i'm not at all upset about yasammy, they're beautiful and i love how their relationship was done, i wouldn't have had it end any other way for them. but i do personally prefer benji, i just like their personalities and dynamic more. and i feel they had so much potential that got wasted to make way for a far less interesting pairing between kenji and brooklyn. why can't we have 2 queer couples, huh? and if we really needed a minimum of one hetero pairing to appease whoever needed appeasing, darilyn was right there).

but then??? their like entire bond just gets dropped (honestly ben himself gets pretty heavily sidelined for almost all of the last two seasons, which is criminal imo). mostly so that a rushed kenji x brooklyn can be established. like there are still a few small moments here and there in early s4, and one episode in s5 (ep 10), but from early s4 till pretty much the end of the series we hardly see them have any meaningful conversations or interactions, meanwhile literally every other combo in the group does.

it's so weird? why build up benji so deliberately over the course of multiple seasons just to like, fully discard it for a pairing with far less chemistry, even after the chemistry-building scenes they shared, some of which literally had no other purpose than to affirm their connection? even though they were very sparse, the moments benji had were just so blatant (kenji leaps into the rock crevice right onto the back of a saber tooth to save ben?!!?? like he literally was just willing to exchange his life for him like that?? he basically says that he wasn't really thinking, he just did it. so he moved out of what, emotional instinct, that's what we're meant to intuit from that series of events? implying that he specifically has strong emotion and doesn't think things through when it comes to ben? because he doesn't do that kinda stuff for any of the others in the group! even better, this parallels when sammy jumped on the nothosaurus to save yasmina. and then the way benji look at each other after it's over??? hello??? and then how kenji pulls both brooklyn and ben in for that hug a couple minutes later... side eyeing the writers for that choice. they knew what they were doing there and they were evil for it). i just can't see any reason to have dropped them like they were, after all the development they shared for 3 seasons. confounding. biggest disappointment of the series.

i know this probably reads to some as just "wahh, my ship didn't become canon" nonsense. but that's not why i'm bugged. this wasn't just a ship i liked and wanted canon despite no actual narrative support, as most ships tend to be. this ship did have narrative support. there was intent behind many of their scenes together, lingering looks and little things that matter narratively and are always used to signify a stronger/special connection. and it led nowhere, for no good reason. that bothers me. writing that implies and promises something, but never delivers on it. like a person who never finishes their sentences (think Dr McPhee from Night at the Museum). ultimately it's not a HUGE deal or anything, at the end of the day it's just a ship and just a kids' show. but as a writer, it's just irritating to see something like that be done. what can i say 🤷

conclusion

even despite the wasted potential between certain pairings, and even though i do think the first three seasons were superior to the last two, overall i really enjoyed the show, and for what it was, it was really well-made. the overarching focus was of course on found family and friendship before anything else, which i absolutely love, and it was masterfully done. out of 6 kids, all of them had at least one or two meaningful bonding moments one-on-one with another in the group, so every possible combination had their moment to build strong, believable friendships with each other. i'm just so surprised by how good it was as a whole honestly, good enough to binge over the course of a week. i will happily recommend jwcc to anyone willing to give it a watch regardless of age, because i definitely think there's no age limit for a good story, no matter the medium it's told in. :)

[kiwisandpearls]

adding onto my last post (linked here), and maybe this is a hot take, but honestly:

homura taking madoka’s powers and rewriting the universe was a morally gray action. Not totally justifiable but also not totally irredeemable. She’s justified in the fact that if she hadn’t, kyubey probably would’ve used madoka in order to bring back the old magical girl system with witches. It’s not totally justifiable though because she goes against madoka’s wishes and desires.

“But madoka was lonely being a god.”

that’s correct. She was lonely and wasn’t fully happy being a god (displayed in the lyrics of the first ending). Even then though, she weighed her options and chose this one knowing what she would sacrifice. And objectively (key word being objectively. It does not matter how you view this scene this is what homura is objectively doing by taking Madoka’s powers) homura kinda invalidates that.

this isn’t something irredeemable on homura’s part but it does mean homura’s action is a very complex and a morally gray one that can’t just be boiled down to being a good thing or a bad thing. It’s a mix of both.

and even if homura’s action was an entirely good thing, homura’s action does nothing but prolong the inevitable. Her world is kinda falling at the seems, with how easy it was for madoka to nearly gain her memories back.

that doesn’t mean her actions are totally evil either. She didn’t do what she did to “have madoka for herself”. Frankly anyone who believes that that was any part of her motive to do what she did didn’t pay attention when watching the anime and movie. She does strongly (and I use strongly very heavily here lol) love madoka but she’s not a yandere who isolated madoka from those she loves to have her all to herself like some people act like she is.

It’s just…I really do wish people would understand that her actions as a whole and specifically in rebellion don’t need to be seen as exclusively a good or bad thing. In the some way as how I said in my previous post that homura just wanting to protect her loved but also doing some morally questionable actions aren’t as mutually exclusive as the pmmm fandom pretends they are.

[songsofbloodandwater]

🔥 witchcraft - in response to your unpopular opinion repost

Oh it's long, but here's what's recently been doing rounds in my head:

I'm with the gatekeepers. But sometimes people don't "gatekeep" correctly from my point of view, and then from their point of view, I am "too gatekeepy". When it's not about "more or less" gatekeeping, it's about how we go about it and who's doing it.

I often encounter situations where people don't respect nor properly protect things that need to be handled with respect and protection, and nuance, for the safety and general well being of everyone involved. In most cases, it's because they don't even know what they're trying to protect, or who, or why.

Gods Bless Nuance. It's completely gone from some very influential witchcraft people's vocabulary and behavior. And it irks me every time.

Like yes, sure, you can do magic without thinking too long and hard about the hows and whys that make magic work in general, and work specifically for you. But that's only going to take you so far as the "tried and true recipes" can take you, and in that case, you’re definitely not fit to teach or preach. You can't try to define, name, or explain to someone else something you don't thoroughly understand. And you certainly can't pretend to gatekeep the "Mysteries" if you've never fully submerged yourself in Them either. Not read about them! no matter how many books! Not taken a masterclass! submerged yourself fully, experienced them first hand, without the intervention or "guide" of others. Only when you've fully learnt to stand on your own. And that includes knowing when to say "this isn't my expertise, i'll refer you to someone else" or "I don't know". Standing on your own doesn't mean know everything and do everything, it means, what you do, you do properly. What you've learnt, you've fully internalized and know how it is applied. What you were given, you've made your own. You've earnt your stance.

The roles of teacher and gatekeeper in magic, in my opinion, always come together. When you're choosing what to preach and who to teach, you’re choosing what and who makes it through the Gates and more importantly how they do so.

Which means, if you're not fit to teach, you’re not fit to be at the Gates making Big Decisions about any tradition or the place of any person on either side of the gates. Specially not traditions that you don't belong in, but no, not even your own. You should still be in a teacher-student position and trust in the guidance and gatekeeping of your Elders or Teachers.

Not everyone is fit to teach, and most people online aren't. They're simply sharing their own experiences. But in the process, they often share more than they actually should, and more than they're fit to teach. Which ends up in all the misappropriation and bastardizing of practices, beliefs, entire cultures and religions on the greedy hands of people that should've never even been able to peer into them.

But students often underestimate the value and sacredness of what little has been shared with them in their journey. Specially in the beginning, when they don't know the whole truth to that specific concept, belief, practice nor the tradition as a whole and thus can't see the place of it in the bigger picture, or their own place as a practitioner, or simply don't have the maturity to take that weight in and act accordingly. They also vastly underestimate the sheer damage that incorrect handling and disrespect can do to a magical tradition and all the people in it, or to an initiatory, occult or "closed" religion, specially those magical practices belonging to disenfranchised and marginalized groups, and even to the people outside the culture, magical tradition, witchcraft tradition or occult religion, as they're reading or watching the student being inexperienced and incorrectly handling or inaccurately explaining something incomplete and out of context, to an even more lost audience, and thinking that's all there is to it. Missing the context of the message and who it was given to, and why. Missing the cultural context of the practice and all the ways that people coming from other cultures or traditions can fundamentally misunderstand it. Missing the theorical beliefs and cosmology behind why these truths are what they are, how and why these practices stem from them. Not just harm intellectually to that witchcraft tradition, the very real harm (physical, mental or spiritual, or all of the above) that anyone involved in that situation can incurr in if they don't learn to do certain things properly.

There's an alarming amount of so called "professionals" who are taken by others as authorities on certain magical traditions, and continously share bits of the "new findings" they're making, or the progress they've experienced personally... only to capitalize from it. Then completely detach themselves from the consequences of their actions. How can you share something you've learnt personally, and teach others how to do it themselves, if you haven't even fully internalized that lesson yet? if you haven't familiarized yourself enough with those spirits? what makes you think that what you're teaching, scratch that, selling, is actually something that is yours to teach or sell? what measures have you taken to ensure your own capability to teach this, who vouches for you and why? what measures have you taken to ensure you give due honor to the elders, the spirits, the Ancestors, and to the people who make up the body of this culture and tradition? and I don't expect just pretty words on a presentation if you're capitalizing off of a marginalized culture, I want really solid ways in which the profits of this work, class or else, will be going directly back to the original keepers' hands. I want them front and center at all times.

But even if it's not a marginalized culture or tradition. Even, no, specially when it's something that you created on your own, and had no one to lead you or teach you how it's suppossed to be done safely, the limitations of it, the reasons why it worked for you specifically and why it could or couldn't work for others. Hell, having no one there to challenge your biases. Witchcraft practitioners are often too quick to try to generalize an idea they had, a lesson they've learnt or a practice they've developed, in order to share it online with others, and sometimes, specifically in order to have something new to sell. Which opens a whole 'nother can of worms.

When you find all of that mess... with a cutesy instagram caption telling you to check out this New Offering! available only for U$D 200, for a limited time! That's just the cherry on top. Enjoy "learning" from someone who's practically a newborn to the relationship with those spirits, and has never had any of their biases or mislearnings checked. There's more chances that you'll be the one teaching them than anything else. And paying tens or hundreds of dollars ontop. The blind leading the blind.

TL;DR: If you're charging people hundreds of dollars for consultations and work, doing witchcraft profesionally, you can't claim to "never want to be seen as an authority". You can't literally place yourself in a position of authority, reap the benefits, pay your bills, but disregard and detach yourself from the responsibilities that come with your words and actions. Just because you know something doesn't mean you can share it, just because you learnt how to do something doesn't mean you can teach it, and you probably shouldn't either way. Witchcraft is often too personal and too culturally-historically tied to you specifically as a person, to your experiences in a tradition or lineage, and it's irresponsible, actively harmful, to generalize concepts, beliefs, practices or entire religions, for a wider audience in order to be able to capitalize off of them. "But I'm a witch and I got bills to pay" is never a valid answer to any of this. There's proper ways to learn and teach things in each tradition and culture, and they should be respected, in order to protect both the tradition and the people who wish to be, or are already, involved in it.

[immamapletreekid]

ok movie thoughts time

[ge]

do you know roughly what time period mount hua takes place? like if its during a specific dynasty or anything

most murim/wuxia take place in a very vague ancient time period that, unless the author specifically mentions what year it is, its impossible to tell.. as for rotmhs i dont think a specific year/dynasty has ever been mentioned so u pretty much have free range to put rotmhs in whichever dynasty feels right to you

ive seen some people speculate on time periods based on the type of hanfu characters wear but that hardly ever holds up seeing how in most wuxia media (mostly xianxia but i digress) that take place in this vague-wuxia-timeline, the robes are often mashed together into a conglomerate of a bunch of different dynastys styles, that or theyre purely fictional and only exist to be aesthetically pleasing and more xianxia-like..

purely my own headcanon though i like to imagine current timeline rotmhs takes place mid to late tang dynasty, chung myung having lived his life as geomjon some point in the early years of the sui dynasty and into the tang dynasty..or something.. *scratches ass* im still working on the math

[ptvstvrrr]

Just saw that Hacksaw Ridge is getting taken off of Netflix which means another angel lost it's wings today 💔

[hedonists]

[the-evil-pizza]

By the by hate how all fourteen youtubers and streamers are acting like the game is dying just because endwalker+patches was mid.

Or that players leaving inbetween patches and expansions is A Sign that it went to shit.

My brother in Venat's bosom they are taking a break like yoship intended and the game is STILL full to the brim Anyway.

I feel like those individuals in particular are SOOOO burned out because they have to keep making content or they HAVE to do everything and they just, think that the rest of the world feel the same when it does not. Or they finished msq and feel like the game it's not worth much now because they want to make money out of it.

ARR was mid, stormblood was mid, it didn't kill the game shut the fuck up.

[typhoontroubadour]

I've been meaning to make my own TD seasons tier list, so here this is!

Note: I couldn't find a tier list that included season 2 of the reboot so you get my hastily made edit in paint.

[eunhos]

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