#anyway I think about that scene all the time. what a choice

[i-am-countess-olivia]

This isn't some novel thought, but for me Fitzier begins in ep2, when Silna's father is brought onto Erebus

(a long-ish, GIF-heavy scene breakdown follows)

I won't cover the violations of Silna's beliefs, feelings and bodily autonomy which happen in these moments - they are of course terrible and very important. Instead, I want to focus on how the scene kicks off a new dynamic between Francis and James, how it lays a foundation for their subsequent closeness and how it changes our view of who James might be as a person.

Let’s begin.

Sir John and James arrive in the sick bay to join Stanley and Goodsir. Stanley says: "nope, not touching this one". Goodsir asks for leave to save the shaman's life. Franklin, already looking deeply disturbed by what's happening, hesitantly agrees.

Francis arrives. The operating table divides him from Franklin, Stanley and James — he is literally not on their side. All three men glare up at him as one: How is this maudlin MF going to make this horrible situation worse for us?

But while the three of them just stand there, Francis puts himself in charge. With a bit of help from McDonald, he takes hold of a distraught Silna and tries to explain what is happening, who they are, that they're not trying to do harm. It is in this moment that James becomes the only one on the opposite side of the table to step forward (to help Francis control the situation or at least to do something). He looks compelled to action but cannot act.

Okay... so here we see that maybe this guy isn't just Franklin's poodle (we saw a bit of that earlier in the episode - more on that later).

Meanwhile Franklin, as soon as Francis takes control, BUGGERS OFF. Of course this can be justified by him already having given his orders and no longer needing to be involved, but we know that a) he sneaks off when the situation is clearly fraught and Francis is clearly better suited to handle it, knowing Inuktitut among other things and b) he actually ends up hiding out in his cabin, freaking out while listening to the howls of the dying man. This is too strange, too awful for him. Not to mention: oh god, I'm stuck in the ice, I've just lost a lieutenant, I keep losing men, what are they going to think of me?

While Sir John is off having a lil meltdown.... James' eyes are firmly on Francis.

We don't even see him acknowledge his captain's departure.

But why is James there? The obvious answer is: to report back to Sir John, to make sure things don't get weird and that Francis doesn't do anything stupid on THEIR ship. After all, let's remember the last scene before this one where James is focused on Francis:

Here he was describing Francis as if he's got him pegged: he's a disappointed man, Sir John, he was no one's first choice etc etc.

I know what he is. Do you now, James?

(interesting framing the above scene, btw - James standing, active, Sir John focused on his creature comfort, the pipe, and questioning himself. James speaking in firm tones to his commander: "I will not allow..." — James is literally being reframed as a leader.)

Anyway, back to where we were.

While Goodsir sets about trying to remove the shot, we get a little glimpse of James: he looks frozen, uneasy, swaying in to stare at the wound (Oh Tobias, the actor that you are). Can we say flashbacks to the Chinese sniper? This must be seriously triggering for him. Something is shifting.

(Another aside: James is standing next to Stanley, the man who dug out the shot when he was hit by the sniper. That same man is now refusing to help. Hm.)

Next, Goodsir says: I can't save this man. Here something important happens: James and Francis share a look.

This is Francis, for the first time, acknowledging not just James still being in the bay at all — but that the two of them are in this moment together! Francis' eyes saying to James: I'm about to tell this woman her father is going to die and James acknowledging in return how awful that is. He presses his mouth, drops his eyes.

The little flash of connection doesn't last. When Silna starts to plead with her dying father, James once again reaches out across the table to Francis: what is she saying? But it's maybe too pushy, too "I need to be told what's going on" so Francis ignores him and it's McDonald who answers.

Next, Silna launches herself at her dying father. Here, once again, James tries to take an active role, to "help" by following Francis' cues on what to do.

James has been watching, learning, asking questions and now looks desperate to be part of the solution to this awful situation: to be in this with Francis. Look how similar their gestures are, how James looks to Francis for direction.

---

STOP - DOOM HAMMER TIME

The VERY first scene in which Francis and James become partners, take action together to keep something from happening, they effectively set in motion one of the biggest causes of their doom: Silna's father doesn't die as he should, Tuunbaq is not bound to anyone. Oh man. That's a whole other essay.

---

(Back to the scene....)

While they're wrestling with Silna, James, clearly emotional and upset by what is taking place, reaches out again, perhaps this time more sincerely: Look at me, Francis, I'm trying to help, at least tell me what's happening? This time Francis acknowledges him — actually SPEAKS to him for the first time.

In response, James looks particularly vulnerable and distraught.

Silna's father dies. We see how different James' reaction is to Francis'. Poor James. Maybe he wants a little bit more from Francis in that moment, one more shared look. Francis doesn't give it to him.

Aaaaaand here we are, it's almost over. Franklin swans in, the really bad, bloody stuff having already been dealt with. He re-asserts his command by giving an order to James to escort Silna off the ship. James… doesn't exactly spring into action. In fact, he doesn't even acknowledge the order verbally, unlike Stanley. What's going on in his head? What does he think about Francis in that moment?

Anyway, let's wrap up.

So much of this scene is about the shift in James’ perception of Francis. He suddenly sees a man who is hands-on, who can take charge, who doesn't walk away from a terrible and unusual situation, even when it's clear there's no good outcome. And of course he knows Sir John skipped off at first opportunity.

Francis, meanwhile, only briefly appears to acknowledge James —but only as far as we can see. Francis of course knows that James was there, that he stayed behind, that he tried to help, that he tried to understand.

This knowledge and this changed dynamic become apparent immediately, in the very next scene.

LOOK HOW THEY ARE FRAMED!!!

Sir John is already receding into the background. James and Francis sit — still opposite sides of a table but in essentially the same pose. They are partners, mirrors, leaning into each other. The few glances here, small as they are, are NOT at Sir John, but between James and Francis.

Anyway, here you go, that's me done. I fucking love this show.

[sitronsangbody]

Warning: this gets grim

I'm up at night thinking about an episode of Supernatural and how it demonstrates some really heinous public attitudes toward fat people.

Mild spoilers for Supernatural season 6 I guess:

Dean Winchester has to take on the job of Death for a day, meaning he has to go to those who are supposedly destined to die, witness their final moments, and give them the touch of death, thus claiming their lives and sending them to the afterlife. He soon struggles to live up to his responsibilities as he's required to end the lives of a sick child and a young nurse. His first two victims, however, don't bother his conscience at all. The first is an armed robber who threatens to shoot a little boy and gets killed by the boy's father. The second is a fat man who has a heart attack.

When I say fat, what I really mean is fat-coded; the man is simply not stick thin in the way that nearly every character on the show is, so he counts as fat and his storyline (minor though it is) is tied to his size. He is in his 50s, maybe early 60s. We first see him wolfing down a cheeseburger, and Dean says "this looks like a heart attack situation", before the man indeed clutches his chest and dies. When he asks why he had to die, Dean's reply is: "you think maybe it was the extra cheese?"

His death is not portrayed as tragic in any way. He himself is only mildly distressed. We don't get to see anyone grieving for him. His death is there to be one of the Easy ones, an unsurprising, almost comical and even deserved(?) death to make Dean think it's not that bad of a gig, ending people's lives. And we, the viewers, are supposed to agree. We're not invited to feel sad for this man in the slightest, even in retrospect. Everyone who created this scene and decided to keep it in the show, believed this to be a normal way to think of a fat person suddenly dying. This came out in 2010.

It just encapsulates so much stuff - really fucking dark stuff, I might add - about how fat lives have been viewed through the years. That scene (and scenes like it) says:

- when fat people die, it's because they brought it on themselves. They are ticking timebombs and their death is expected.

- when fat people die young, no they don't, because being fat means living on borrowed time anyway, so a fat person dying way earlier than the average life expectancy is not tragic the way it is if a thin person does.

- when fat people die, it's definitely because they are fat (and they are fat because they make bad choices).

- when fat people eat what's considered unhealthy food, it's depressing and stupid and they're out of control. Dean Winchester is canonically a big fan of fast food and eats burgers all the time on the show. Because he is thin and fit, this is portrayed as fun, relatable and manly.

- when fat people die, it's not sad.

And like, I wish this was exclusive to fiction, but there are real people who act like this when real fat people die. Like they know why, even if they have no clue, like it shouldn't be shocking, like it's self-inflicted and therefore deserved, and like it probably wasn't much of a life anyway so it's just not that tragic, really.

This stuff is, just for me personally, one of the roughest sides of anti-fatness. When people deny us dignity in death. Partly because it's so ghoulish, and partly because it's so ubiquitous it appears in media like this, without controversy. I'd like to believe there would be stronger reactions had this plotline come out today in 2025, but I am not confident.

[utilitycaster]

Would you be willing to share more about this campaign playing into the weaknesses of Matt, Marisha, Laura, and Liam. I guess specifically, what are the main weaknesses youre seeing and how do you think the campaign exacerbated them?

If you’ve answered this already sorry!!!

In short:

Matt is extremely good at following his players' instincts and making the world feel like it is continuing to spin even when the characters aren't focusing on it. He is actually pretty bad at guessing what the players will do until quite late in the game (sorry man you should have realized the Augen Trust plot was dead from like, at the latest, episode 12, and it's WILD that you didn't anticipate Keyleth being on speed dial would be like, a factor) and at longform railroading (especially when that requires him to bypass the long digressions a character-focused arc), and he is VERY bad at saying no or bringing down the axe. It's always good to be a kind person, and it's frequently good to be a nice person in real life, but niceness in storytelling sucks ass. So he tried to run a very heavily plotted campaign without putting a heavy enough hand on the scale, failed to handle a very aimless party, and pulled pretty much every single punch.

Marisha tends to have pretty loose character concepts. This isn't bad, but it does mean that they need to be either very driven, or for the narrative to force them to be driven, for them to be interesting. Keyleth has her Aramente and her need to become a leader. Beau's mentorship from Dairon and her close relationships with the rest of the Mighty Nein and her general curiosity led her to get involved with all kinds of messes, even though the actual backstory of her plot was largely handled without her (again, another way to look at this is C1 and C2 played to these people's strengths). But she often has these gaps that feel like she stopped character development midway through. Laudna is obviously the most egregious (the ten years in the desert is honestly hilarious in how bad it is) but think about how Patia was so utterly defined by family position - and did a good job with that! the scene where she addresses her grandfather is a highlight! - but Marisha never once had even the barest outline of her parents designed. Like that's a pretty massive oversight for a character you describe as a Kennedy! Her whole deal is who her family is! And so by making a go with the flow character but also giving that character a horrible traumatic backstory that she was not, ultimately, really over, she made an incoherent mess.

Laura excels with quiet background development and a lot of room to play with character dynamics without necessarily being in the hot seat. She is, by her own admission, afraid of making the wrong decisions in the D&D game. This is not how D&D works. You make choices. If you fail to make choices it will be boring. Vex can choose to join Saundor or not, but neither of these is The Right Choice, it's just a choice you make that has (here is the word that much of the fandom is too stupid to understand) consequences, as all choices do. If she joins with him she gets a boon, but also a drawback. If she doesn't, he attacks her viciously both physically and emotionally. So anyway Imogen was put in a position of having to make a lot of decisions but without a real time pressure either, and Laura's hesitance to do this as a character positioned as The Chosen One meant that the entire story was just a slog of a bunch of idiots with no plan or philosophy other than the basest self-interest. Imogen's introversion and unwillingness to branch out especially early on is also true to the character but really goes against Laura's own strengths with the more outgoing and gregarious Vex and Jester (or even characters willing to say weird or mean shit like Arlo, the Matron, Sweetpea. and Bethany).

Liam is also at times too nice for his own good and won't go against his friends (Caleb in particular was a great example of the character concept canceling out Liam's weakest tendencies; just as Bells Hells in many case played to people's greatest weakness, though in Laura's case it was not her fault, the Nein played to many of their greatest strengths). To be clear: being a hostile asshole at the table is bad, but if you have clearly said for a hundred odd episodes that you won't let people go forward with this plan, then when they go forward with this plan, stand up and fight. If you have said that service to the Raven Queen and an acceptance of death is important, then frankly, your friend wishing their character had a happier ending is a valid thing to feel but you are not obligated to sacrifice your own meaningful ending to give them theirs. I don't know what happened behind the scenes there, but it certainly doesn't inspire faith.

[angelsdean]

I agree with your Mary posts! I also think Dean asking her to "be a mom" in that scene is not about wanting her to baby them but simply just wanting her to choose her sons over the organization that let one of its members literally torture and r*pe Sam only a few episodes before that!

Literally Dean is so very clear in that scene that what he's upset abt is her choosing the BMOL over them. Not abt her not "parenting" them or playing "mommy." He's just upset that she doesn't seem to want to be around them, and that she instead has been working with their enemies. And even if that wasn't her intention, even if she was in fact doing it "for" them and trying to protect them by working with the enemy they're still allowed to be hurt by her decision.

She tells them that she's been struggling, trying to play three decades of catch up and Dean tells her they have been struggling too. They have been grieving her their whole lives. But now that she's here they want her there. She's finally alive, they finally have a chance to be together, and she keeps leaving. And that hurts. But he also understands and sympathizes. He tells her, "You said that you needed time. No, you said you need space. So we gave you your space." They have been patient with her. Dean understands very well needing time and space to process things. But what hurts is that, from his perspective, it seems like she is choosing anyone but them. So when he says, "No, you needed space from us," and when she says she's "trying" and he cuts in with "How 'bout for once, you just try to be a mom?" IMO it's less about wanting her to "mother" them and play mommy and more about wanting her to be present in their lives, to choose them, to unconditionally love and support them and shoulder some of the pain and burdens they have been carrying on their own their whole lives. He wants, for once, to have a parent that CHOOSES him over the "mission." Like, don't people think that maybe seeing another parent walk out on him and choose hunting / work over being present in his life is a little bit upsetting / salting old wounds?

Anyways, I love Mary, though some may think it's a hashtag Crime to sympathize with Dean in this scene but like ??? Some people are projecting a lot of stuff Dean did not say or express in that scene. His upset and main criticism is about her choosing the BMOL over them, that's made clear in this exchange:

Dean: So between us and them – Mary: It's not like that. Dean: Yeah, Mary, it is. And you made your choice. So there's the door.

It's not about wanting her to play some "mom" role as if they were children. He wants her to choose them over their adversaries, and to be around them, get to know them, something both Dean and Sam want to do.

Anyways, I am always saying I would have loved more from this arc esp re: Mary's grief over losing her "babies." I think a lot of what Mary's feeling would've hit harder if they'd showed us more of her grief. (The "I need you to see me" scene hits so good for me bc it's tied up with this complicated grief. Mary finally acknowledging that adult Dean IS her baby. Truly SEEING him, instead of the perpetual 4 yr old that lives in her mind). But I don't blame her for wanting / needing space to process (deancoded!) or for throwing herself into hunting to Cope (john-and-sam coded!). Or for struggling with her identity in this new life. I enjoy all the tension and her being flawed and real and messy.

[michanvalentine]

I don’t mean to offend anyone—everyone is free to appreciate what they like. But the comparison comes naturally when I talk about my preferences and what I enjoy in the vampire spawn path rather than the ascendant vampire one.

As I already mentioned in another post, by becoming a full vampire—or rather, a new and 'improved' one-of-a-kind vampire—Astarion, in my opinion, fully embraces his monstrous side and lets go of the remaining human traits in him. So, his way of loving Tav/Durge becomes that of an ascendant vampire, lacking some of the qualities we’re used to in typical relationships. And that’s precisely what I love about the vampire spawn path—the idea of reclaiming life, reconnecting with others, and seeking out all those aspects that once characterized his existence as just another elf (with the necessary exceptions, of course—he’s still a sneaky bloodsucker xD).

I’ve noticed, for example, that Ascendant Astarion has a very strong sense of protection toward Tav/Durge, his vampire spawn. He feels almost obligated to keep Tav/Durge safe—it’s his responsibility. I wonder if he does it as a creator or as a lover. After all, the player completely surrenders to him, gives him everything—even their own life. (Their life, for fuck’s sake! In the end, the ascendant vampire kills Tav/Durge—he takes their life. Sure, he gives them another one, but that doesn’t change the fact that he takes it. And that’s another thing I personally find unacceptable because I fight every day to live. I want to live. My life is everything—it’s precious. The idea of someone taking it from me, just for the sake of control, is unthinkable. Especially when you should love me unconditionally, for who I am and not for who you want me to be. Of course, in an evil playthrough, it makes sense for Tav/Durge to want to become a vampire, but it's not mandatory. And the fact that the relationship can't continue otherwise is a red flag for me—one that I don't even think has to do with Ascendant Astarion's fear of losing Tav/Durge. After all, if they refuse the transformation, he is the one who ends the relationship and "loses" them. But of course, I'm rambling).

Anyway, back to the point—there are even moments where the ascendant vampire reinforces this concept, such as during the second encounter with Araj Oblodra. There, he explicitly states that he will protect Tav/Durge if necessary. Now, I absolutely understand the appeal of this scenario. Really, it seems incredibly romantic. But…

…it’s a concept that hits close to home for me, because of my family history. The responsibility to protect someone belongs to parents. Parents have a duty to protect their children. A fully grown, well-adjusted adult doesn’t need protection, nor should they seek it from someone else—especially not from their partner. I say this resonates with me because, at one time, I expected this from my husband. But in doing so, I placed a responsibility on him that wasn’t actually his. I burdened him with a role that wasn’t his to carry. I had to work through this, understand the mechanism, trace it back to its origin, and dismantle it as best I could—restoring our relationship to the right balance. One of equality. Because automatically, the one being protected is subordinated to the protector.

Now, this doesn’t mean we shouldn’t support or stand by each other when needed, of course! The point is that it should be a mutual responsibility, not a one-sided one. And that ties directly back to vampire spawn Astarion, who, the morning after the graveyard scene, explicitly talks about this—about being equal partners. Same rights, same responsibilities. And how, among the various dialogue choices, the developers inserted a little trap: “I’ll always keep you safe so you’ll never need the powers of an ascendant vampire.” Sneaky! I hate that line! Just as spawn Astarion hates it—and rightfully so! If we are equals, if we are true partners, then you should not act as my protector. You should simply stand by my side, damn it! Spawn Astarion is perfectly capable of defending himself—he’s not weak, not small, and most importantly, he’s not a child. He is an adult reclaiming all his rights as an adult. He doesn’t need a babysitter.

Just like I, as a player, don’t need one. And maybe, because of my personal experience, that’s why I don’t find it appealing or romantic that Ascendant Astarion wants to protect me. I don’t need it. I function just fine on my own. I am perfectly capable of defending myself. I worked hard to regain that right and that freedom.

By the way, I’d also love to remind Ascendant Astarion that he didn’t end up in that position by chance. I was the one who guided him there throughout the game. All the more reason he should know that I don’t need protecting—I can kick ass just fine on my own.

[nr1sealuvr]

drv3 chapter 5 closing argument rant below because I am mentally unstable

btw this is not intended as a ship but if you wanna take it that way thats fine!! :3

So erm i think we all know that ch5 is PAINFULLLL man bc WTF :(( but there are a few panels in the closing argument that make me bawl (sobbing as i write this LMAO)

This one hurts the most because LOOK!!! 2 ppl that hate eachother HELPING each other at their lowest. AND THEY WERE BOTH DOOMED FROM THE START. AND THEY KNOW IT. Kaito with his illness and kokichi....well...FJKDKXJDNSSN

just like imagine the most stubborn little shit that you despise (except you dont, because Kaito is such a sweetie hes uncapable of doing so) telling you to kill them. that was the only time he was ever honest to him and really let Kaito see him. 2 FUCKING MINUTES BEFORE HE DIES. Imagine how much that HURT katio, being forced into killing someone in the killing game that you hate so much. He said it himself he KNEW it would fail and he knew he would get executed but FUUUCKCKXK HE STILL DID IT. That was like the last touch kokichi got holy shit being dragged across the floor BLEEDING wait hold on my vision is blurry okay im back AND GOD HE WAS IN SO MUCH PAIN and like. i can not imagine a life where I have to lie to myself that everything is gonna be fine. He had decided that he was READY to die.

WELL HE FUCKING WASNT BECAUESE LOOK AT HIM UZGGHHHSHSH he had to LIE to himself that he was to end the killing game. and he knew aswell there wasnt a high chance to do so BUT HE STILL DID IT JESUS DOES THIS NOT SHOW HOW MUCH HE CARES. He basically killed himself just because of a tiny tiny chance the killing game would end. Also Kaito going "you little..." while he had his little meltdown also made me sad call me delusional but IF YPU ZHINM ABOUT IT HES LIKE SYMPATHISING WITH HIM HES IN DISBELIEF BECAUSE HE FUCKING CARES AND HE KNEW WHAT WAS COMJNG AND THEY ARE FUCKING DOOMED AND I HATE THEM.

Heres him getting dragged because ouch. The silence was PAINFUL

Now this scene. Oh. My. God. Okay so first of that thing jn the bottom right corner. Kaito is looking at him and hes looking down. He just gave him permission to kill him and Kaito had no choice but to do it. Hes exposing himself to him and he cant even fucking look at him because they both know how bad the situation is. There was never any hope but they wanted to TRY. AND THEY TRIED AND THEY FUCKING FAILED Aaaanf my vision is blurry from tears again hold on okay anyway look at kaitos face. HE DOESNT WANT ZO. HE DOESNT WANT TO KILL KOKICHI. HE KNOWS KOKICHI DOESNT WANT IT. BUT THEY HAVE ZO. they fucking have to holy shit

This one also makes me sad because again imagine zhe SILENCE as your so called "worst enemy" takes out the wounds that he himself had made (ik one was from maki) and kokichi is NEVER quiet. He knew how serious and bad this was and they both stayed silent, not wanting to acknpledge it because they had hope. And it failed. Fuck.

Anyways i think its safe to say these little shits make me sick and IDJSJWN kaito being forced into killing has got to be the most painful thing ever oh and him pretending to be kokichi in the excisal. I know kokichi wrote a lot of the lines but still. Imagine having to act so cheerfull while pretending to be the one you killed. The GUILTTT GOOOSSSHHH

okay i gotta go now my dads picking me up in 2 min rant over:3

[greyedian]

MAN I'm seriously so sad about season 2. Bc I wish act 2 had the same emotional impact on me as it appears to have on so many others. But rn I'm just somewhere between unable to care and actively annoyed by some of those writing decisions. Seriously the more I think about it the less I like it.

[itspileofgoodthings]

Sweet things from an otherwise brutal week:

—ran into a parent who saw me and said “Macbeth right now, right? My son is so excited about it” and when I say I would never have ever guessed that. Except that as soon as he said it I was like oh yeah, he’s been volunteering to read more than usual and looks the smallest bit more awake

—I was doing some basics of writing review with my sophomores and touched on the ‘don’t use first person pronouns’ rule and we were talking about why and then Jane Eyre popped into my head so I told them that first person pronouns could be used to great effect in fiction and quoted the “reader I married him” line and two girls GASPED in wonder and delight. It was the CUTEST

—I passed two 7th graders in the hallway and they were talking about chicken nuggets and I said “I LOVE chicken nuggets” and they started to laugh and as I left I heard one of them say ‘I love Miss K.’

[uwu-scraptrappy]

Went and watched 54 just now and I'm incorporating that into my hcs for Michael. Maybe he could be a bartender at a high end club as his secondary job, or maybe that was his first job and also how he got addicted to the stronger stuff. Leaning more towards the first one because he could theoretically hear a lot more and have more opportunities to gather information for Matthews. Idk can someone be clinical about him with me pretty please

[mxdotpng]

if i had the energy and time to write my orv enchanted au itd be all over. id have fulfilled my lifes goal. thered be nothing left to strive for. which is of course why i cant write it and definitely not because im bad at writing for long projects.

[lesbianraskolnikov]

I dont agree that crime and punishment could never be perfectly adapted but as I always say. German expressionism or animation. There is no other choice im sorry.

[lightyakami]

there is more than one kind of freedom margaret atwood, handmaid’s tale

[thats-a-lot-of-cortisol]

✨ someone ✨ broke their oath the other night

[ringwraithmd]

had some convos tonight im a little buzzed but here are my takeaways. these might start some fires.

somehow they person I talked with is both Anakin apologist and Anakin critical. Idk how they have that exist at the same time, but I'd like to say this to him: the Jedi were victims, the Jedi were not evil, no Obi-Wan isn't evil, Obi-Wan didn't repress and abuse Anakin, no Qui-Gon Jinn was not the bestest Jedi who did things differently than any other Jedi and if only he lived he would've saved Anakin Skywalker. Anakin Skywalker did not fall because he was sleep deprived and had one bad day, he fell for a number of reasons, including that he made choices, which choice as a theme is something George Lucas very deliberately has chosen to emphasize repeatedly in Star Wars. Also, Jyn Erso is an actually interesting character and I think she does care about rebelling, the problem is the repressive totalitarian regime she lives in. It's understandable she'd be a little cynical and despondent after 20 years of Empire. TLJ is not the best sequel trilogy movie, Kylo Ren's a little bitch and should've died sooner. Dave Filoni can kiss my ass. "within the context of the prequels it's hard to see the jedi as the good guys --" no. absolutely not. get some reading comprehension you moron. that's the whole point. the whole point is the jedi were the victims of a plot designed to force them into a position where all they had were bad choices. Anakin chose to murder men, women, and children long before he ever became Darth Vader which is a fact so many people seem to gloss over. "they killed his mother -" and?? he didn't just kill her torturers, he killed children, too. your boy committed massacres and genocides in canon. im not talking about legends or any recent books in comics, but solely about the movies. I get still liking him as a character, but to say that Anakin has done nothing wrong is a take that I just can't understand.

folk music is different than country music. im sorry but it is. yes there are similarities. no I can't explain the differences. but country music is not necessarily folk music, or "stomp-clap" music as you called it. tell me you don't listen to country without telling me. arguably the best argument you could've made about the push back of country music pop-ification is the rise in popularity of artists like Zach Bryan, but you didn't, you started talking about fucking Mumford & Sons. my good dude. no. google them. they're literally described as a folk rock band.

edited 6/23 bc I realized I was drunker then i thought and this was semi-incoherent. hopefully that clarifies things.

[flugame-mp3]

SEASON NINE FINALE WAS WILD. I HAVE MANY MANY THOUGHTS. WHAT JUST HAPPENED. A FUCKING ROLLER COASTER FOR SURE

[creature-once-removed]

.