#as if WE are responsible for what they choose to do and WE need to behave to ugh earn their respect or some bullshit like that

[avianconcept]

Thank you!! Someone had to say it!

I actually liked that they didn't handle it well in the book simply because it made sense in the narrative, and for who the characters are. Its 2007, and none of them (as far as we know) have a frame of reference for Jean's type and scope of trauma. If they responded perfectly, I think I'd honestly find it kind of hard to believe. I'm a fan of authors being very logical in their character's responses like that.

But I'll go a step further, and look at it from a more...emotional? angle. I don't understand why people hate on them for handling it badly. When I read the book, I found it almost...endearing? In the sense that -to me- their occasionally badly executed attempts at handling Jean reflect such a determination to care and to try.

As always, bear with me.

A major theme of the book, in my opinion, is that looking away, be it literally or metaphorically, when something is wrong and someone needs help, is an act of violence. To me, the floozies ‘bad’ handling of Jean’s trauma is just a product of them not looking away. The easier thing is always to look away, or worse, to push the thing that makes you uncomfortable away as fast and far as you can.

Trauma is often reacted to this way. Most people are not used to seeing people get triggered, especially when the resulting behavior is violent or frightening in nature. People aren't sure how to deal with what are clearly serious issues, so they respond to that discomfort by pulling away. They put distance between themselves and this person they don't understand, and in the process, alienate the victim further.

Cat, Laila, and Jeremy seem to be aware that they are in over their heads, with Jean. They can see that he's got shit going on that they have no idea how to deal with.

But they don't drop him, they don't pretend it isn't happening, and they don't hold him at arm's length.

They try.

They use what limited, ill fitting knowledge they have, and they try to meet him where he's at. They do not respond like trauma therapists because they are not trauma therapists. They are twenty-somethings in 2007 who understand very little beyond knowing that there is a person in front of them who is clearly not alright.

Over and over again, they choose to do the uncomfortable thing, and try to offer him what they can. What he needs is probably intensive therapy- but he's has (or will have, come TGR) Betsy for that.

The Floozies are offering something less clean cut than a therapist, but no less well intentioned or valuable. It's friendship, and warmth, and a chance at normalcy. They challenge his harmful thinking, and try to prevent him from retreating within himself so far that no one can get to him. They push him to do new things, and provide a contrast to what he believes life to be.

And yeah, sometimes they mishandle things. They're also young. But they do not quit on him. They very determinedly do not look away, even as the pile of Big Scary Concepts To Reckon With gets bigger and bigger. I think they're meant to be a contrast to the Ravens, in a lot of ways. Instead of picking on his weakness, they refuse to leave him behind. They don't let him stay trapped in his own head just because it would be easier for them.

In my opinion, their well intentioned, somewhat poorly executed attempts at trying are a hundred times better than not trying at all.

"the floozies are terrible at dealing with Jean's trauma!!?!!!"

the floozies are twenty years old

[tooturtly]

Need to go on a rant about the feudal system (more specifically manorialism) and Gideon the Ninth (spoilers through Harrow the Ninth ahead)

Gideon is very specifically described as living in a feudal system in the Ninth house. She is a Serf. She lives and serves under a ruler, she has specific legal, social, and economic obligations to the House and its ruler as a result of this system.

Feudalism exists within a specific sociopolitical context. It’s not equivalent to slavery, though it can appear that way to a modern audience. Muir wouldn’t have picked the term “serf” to describe Gideon if she didn’t mean it, or if she meant something else (such as slavery or indentured servitude)

Serfdom is not ownership of an individual, like in slavery. It’s more like an intense landlord/employee relationship, if we’re looking for a modern touch point. A serf is bound to the land they live and work on because they are a valuable source of labor. They owe labor, goods, or a payment in equivalency to, the lord who runs the lands they are bound to. If they want to go elsewhere, they have to pay back the lord for what labor/goods they won’t be providing anymore, and the lord could refuse them.

Because this is also a reciprocal relationship, the lord also has certain responsibilities to the serfs, including protection, the maintenance of the law, and maintenance of the lands. The lord runs their holdings as ruler, but also can’t just do whatever they want. This is a social, economic, and political system, if people didn’t like it or benefit from it and had the capability to do so, they would rebel.

(Sorry for this long tangent. It’s important to set context and also discuss this history. Feudalism/Manorialism looked different in different places and times, and originally came from Roman villa systems, but this post is already long enough)

So what does this have to do with the locked tomb?

Gideon is a serf, very explicitly. She is also a ward, which puts her into an interesting spot when it comes to legal and financial responsibilities. This means she owes labor and fealty to the Ninth, essentially in repayment for raising her.

When she tries to head to the Cohort, she would otherwise be allowed to do that as a free citizen of the Ninth House. But, she has prior responsibilities to the House as a serf, so she would need the Lord’s (Harrow’s) permission to do so. Despite these obligations, she is not required to do any particular jobs in the Ninth. She is not forced to be a nun, or to do labor. From what is described, it seems like she’s relatively left to her own devices.

In a system of slavery, Gideon would be forced to enact specific labor, to learn a specific trade, and to generally do whatever the fuck Harrow or the Reverend family wanted. But she’s not.

Again, Gideon can train to join the cohort as much as she wants. She can lock herself in her room and avoid people as much as she wants. She can avoid prayers or choose to go to them. She can do what she wants, but she is not allowed to leave to take her labor elsewhere without authorization, because of her legal and financial obligations in this sociopolitical system.

Ortus puts it very well in Harrow: he must follow her orders and fulfill the responsibilities he socially is obligated to fulfill, but when he lays his head down at night he is allowed to feel however he wants about himself and his actions, he is still a free person. Ortus is in a slightly different situation as his position at birth obligates him to be Harrow’s Cavalier, as opposed to Gideon who is in a lower social position and is the only option left, but he still owes a large amount of loyalty and labor to the Ninth House.

(Sorry again this is so long. I repeat myself quite a bit. But I saw someone say that Gideon is Harrows slave and that is a misconception that brushes over a lot of the complexities of the books. The relationship is complicated and full of social dynamics that we don’t see as modern readers because there are so many layers that require historical context. This is also not a defense of the feudal system or to say that their relationship isn’t toxic. It is. But that’s a different post)

[rockwgooglyeyes]

warning!! this gets really long lmao - talking about themes in Arcane season two - arcane season two spoilers, kind of obvious but need to clarify. i dont talk about shipping in this at all btw! i have ships i like but like that's not here nor there, not relevant for this imo

I was watching an Arcane analysis video and while I wouldn't really go out on a limb and say that "I know what season two was about" like the themes and stuff because the themes found in a work are, inherently, going to be subjective and up to audience interpretation, and obviously, I'm not going to say that "I know Arcane's themes better than anyone else," I don't, that's not what this is about, but I would argue that season two does have a few universal themes. Some of those are carried over from season one, being relationships and love in general, what we are willing to do for love, but there are some that are focused on more so in season two than in season one.

This might have been said before- I don't really touch the analysis/meta side of the fandom, so I am sorry if I'm retreading old ground. Additionally, while I don't think that season two was nearly as perfect as season one, I enjoyed both and I think they were both solid, enjoyable seasons. The writing in season two was not immaculate but it was not bad, either. If not held in comparison to season one, I doubt it would be judged so harshly. Nevertheless, that's a whole other can of worms, and one that I would really rather not open.

Back to the themes- my argument is that, if season one is about siblings (sisters specifically), trauma, and change, then I would say that sacrifice, love, and the consequences of death, are the main themes in season two. These are all themes that are present in season one (Vander's sacrifice for Violet & Powder, the consequences of Vander & Silco's deaths, love is relevant w/pretty much everything) but they are focused on more heavily in season two.

These in particular are seen but not limited to Jinx's sacrifice for Vi at the very end, Heimerdinger's presumed sacrifice for Ekko, (the more sacrifice oriented ones), Jayce choosing to save Viktor, Caitlyn's fixation on Jinx and her descent into tyranny, Mel being forced to kill her mother, and Singed's obsession with keeping his daughter alive (the consequences of death).

These are the themes that stuck out to me as the biggest because, while there are the more philosophical, overarching ideas of fate and evolution and the multiverse, that's not really something that is widely accessible and they are themes, yes but they are not through-lines for every character. I mean, the fate one could be argued, General Medarda fated to be taken down by family, Jinx and Vander both fated to die, Viktor fated to fail (unable to achieve Hextech dream of helping the undercity, unable to achieve glorious evolution), etc etc, and I would say that fate is probably the trickiest of these themes to really dissect because it is carried out as expected as many times as it is subverted. It's also not really what I am trying to address here lmao

I would argue that there is the consistent theme of the consequences of death, which I know is a little bit of a long theme, themes are supposed to be one word most of the time, but I can't just say that this is the theme of "grief" because it's not just grief. It is about what people do in response to the death of their loved ones. Arguably, that could be what the whole season is about, really. Jinx is reeling at the death of Silco and her starting the war with topside, she has a death wish and she wants to "repent" in a way for killing Silco and for choosing to embrace being "Jinx" which is something she doesn't see any way of coming back from. She finds a will to live in Isha, who gives her a purpose and a reason to stay alive, and that gives her the ability to eventually attempt reconciliation with Vi. Caitlyn is screwed up over her mum's death, trying to maintain the relationships she once had in the face of all of her new responsibilities as well as the war looming, and with her preexisting obsession with Jinx being twisted by her mother's death, she wages war on Zaun and attempt to locate Jinx. In this manic grief, she forces Vi to make decisions that Vi isn't able to truly make (asking Vi to become an enforcer) and she kind of ends up burning all of her bridges, irrevocably changed by her trauma. Which, y'know, fair. At the same time, Vi is dealing with the death of "Powder", finally giving into Ekko's philosophy and vowing to hunt down her sister, which she isn't really able to do without Caitlyn there as a guiding light because Vi is fragile as it is, so when that relationship implodes, she throws herself into the deep end to avoid having to actually think about anything. That's interrupted by Jinx and then both of the sisters face a twisted version of their father, Vander, and try to process that.

Viktor is one of the most difficult ones because his story is so deepy intertwined with Jayce's, they have separate arcs but they are woven so closely together that they are nearly impossible to discuss without mentioning the other. Viktor is fatally injured by Jinx's missile and Jayce breaks his promise to destroy the Hexcore and using said Hexcore to save Viktor's life. This is two different sides of the "consequences of death" because one, Jayce's actions are the consequences of Viktor's temporary death, he acted rashly and in desperation, in a successful attempt to save Viktor's life but on the other hand, it gets into the consequences of death because, why was Viktor saved instead of anyone else, such as one of the council members? Why save Viktor instead of Caitlyn's mother? The consequences of Viktor's death was Jayce once again showing how devoted he is to Viktor specifically, against all odds, and choosing to defy death for someone he loves, which against the natural order of things and directly sets off a series of events that Heimerdinger warned of, and also, that Viktor was scared of.

When he returns, Viktor is himself but he is influenced heavily by the Hexcore, at the same time. He isolates himself and creates the utopia he dreamed of making with Hextech thanks to the powers of his Hexcore. He drives Jayce away on purpose, at first, but the more people who are added to the Hexcore, the more detached he becomes and the less he is trying to distance himself from Jayce. Jayce goes through the whole multiverse shenanigans and comes back grimy and determined to stop Viktor.

The arc for Jayce and Viktor in this season kind of mirrors Vi and Jinx, a bit, with the way that Jayce keeps choosing Viktor over and over, similarly to Vi choosing Jinx over and over, and like Vi hunting down Jinx, Jayce has a period where he turns against Viktor. At the same time, it's different, because it's almost as if this is the same arc that Jinx and Vi could have had if Vi did shoot Caitlyn and play along with Jinx's rules, because Jayce is finally absorbed into the Hexcore with everyone else and resolves most of Viktor's conflict by not giving up on Viktor. By choosing Viktor over everything else. By telling Viktor that even if he can't achieve his dreams, that doesn't make him broken, that his imperfections make him beautiful.

Ekko's story around the themes, I think, is more about the way that the butterfly effect works, how little choices make a big different, and how things could have gone if only things were different, as seen in his multiverse episode. That ties into the consequences of death via showing what could have happened if Vi were the one who died instead of Vander, how that would have impacted their family and their relationships, how it changed the trajectory of the plot overall. Additionally, Ekko is one of the characters grappling with the most grief at the very end, having lost Heimerdinger, who was a mentor to him, and Jinx, who he loved.

It's fascinating how Ekko's story shows specifically his response to loss (Heimerdinger) was to take action, make a practical choice. But also, he latches onto one of the most important people in his life who is still alive, Jinx, and while he is focused on saving the world, he's devoting a lot of effort to restoring Jinx, too, which isn't exactly the most practical decision he could be making. Jinx is notorious for her volatility and Ekko has seen that first hand, yet, he pulls her out of the gutter and will not let her give up. So, while he's more tertiary when it comes to sacrifice plots (Jinx and Heimerdinger) but when it comes to love and the consequences of death, he's pretty focal, as his story ends up largely being about his love for Jinx, his love for the world, and how he deals with Jinx's death and Heimerdinger's death.

I don't want to talk about Heimerdinger I don't like him I don't care.

I could talk about Mel and her relationship with her mother as well, the way it parallels Caitlyn's relationship with her mother, but this post is long enough as it is, so if I talk about that, I'm saving that for another day.

[bdsmonlinefemmtraining]

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[oneknightstand-if]

As suggested by the Greater Circle and voted on by the Greater/Lesser Circle tiers, it's the January Question & Answer session coming in at 3487 words. Another very Camelot-themed gathering… because Merlin refuses to leave the stage.

Merlin: *tosses a tendril of hair behind their shoulder* (✿ꈍωꈍ ) The star must never leave the stage, of course.

Adrian: I- I would like to leave the stage sometime too. I've literally been here since the very beginning!

Arthur: . . . *side-eyeing Adrian as he gives the young man a commiserating pat on the shoulder*

Adrian:* sinks down into his seat muttering about the past questions*

Cassandra: Intriguing. *furiously scribbling in her notes*

*Sitting at the center of the stage is Merlin, flanked by Arthur & Adrian to the right and Cassandra & Broderick — who is currently trying to stealthily sneak off stage — to the right. The ever-present misty fountain known as Vivian lurks in the background as an empty rocking horse faintly swings to and fro to the side*

This is probably the most Harbingers — and Harbinger-adjacent characters — that we've ever had on stage. Because Merlin refuses to leave. And no prematurely leaving the stage for the others either… did you hear that, Adrian and Broderick?

Broderick: Goddammit. *returns to his seat* I can't believe you invited the crazy water woman back after she literally flooded the whole… wait, can you flood the stage right now and shut this whole shitty production down?!

Vivian: *thundering of the fountain grows louder* Oh my, oh dear, is that a request that I hear?

Merlin: Once the Veil fully falls, this group is veritably doomed since they seem completely incapable of not shoving their feet into their mouths.

Cassandra: *laughs softly* I think we need to still work on that. Odd that some people haven't grown wary of their own words with you around.

Merlin: What do you mean, I am the very picture of—

Percy: *off-stage* —of a modern major general.

Merlin: —of a modern major general… and also of responsibility and good will when it comes to my own deals!

All right then, responsibility, being willingly or unwillingly permanently stuck on the stage, and accidentally bargaining your soul away to a fae aside, it's time for the first question. To everyone, which Camelot "character" are you calling dibs on?

Arthur: *chuckles* A rather obvious choice for half the people currently on this stage, is it not?

Merlin: …or is it?

Arthur: Hmm… yes, I suppose there are those out there who might wish to exchange their fate with another's. But I fain excuse myself… twould be rather cruel to inflict my fate on someone else in trade.

Adrian: *very much not staring*

Arthur: And those who would still choose it for the power it brings instead would best not have it.

Merlin: *smugly* And Merlin is the obvious best choice here anyway!

Cassandra: *delicately coughs and starts flipping through her notes* Yes, about that… I believe it was previously mentioned that the most powerful incarnation still potentially possible is Galahad? *tilts her head in thought* Although, certainly, there must be some lurking hidden drawback there. Still… let's say I'll go with that.

Vivian: I also "call dibs" on Galahad.

Adrian: What, really?!

Arthur: …the wording.

Percy: *off-stage* Sus.

Vivian: Indeed. Yon announcer never gave further detail on what that "dibs" precisely meant.

Merlin: ༼ つ ಥ_ಥ ༽つ

Cassandra: You truly need to teach the group better when it comes to dealing with the fae, Merlin!

Merlin: ༼ つ ಥ_ಥ ༽つ

The January Question & Answer session guest stars Adrian, Arthur, Broderick, Merlin (who never leaves the stage), Vivian, and Cassandra this time (to some of their dismay). Now available on my Patreon.

[creative-anchorage]

Americans are no wiser than the Europeans who saw democracy yield to fascism, Nazism or communism. Our one advantage is that we might learn from their experience. Now is a good time to do so. From across the fearful twentieth century, here are twenty lessons about what it takes to oppose tyranny, adapted to the circumstances of today.

1. Do not obey in advance. Most of the power of authoritarianism is freely given. In times like these, individuals think ahead about what a more repressive government will want, and then offer themselves without being asked. A citizen who adapts in this way is teaching power what it can do.

2. Defend institutions. It is institutions that help us to preserve decency. They need our help as well. Do not speak of “our institutions” unless you make them yours by acting on their behalf. Institutions do not protect themselves. So choose an institution you care about and take its side.

3. Beware the one-party state. The parties that remade states and suppressed rivals were not omnipotent from the start. They exploited a historic moment to make political life impossible for their opponents. So support the multi-party system and defend the rules of democratic elections.

4. Take responsibility for the face of the world. The symbols of today enable the reality of tomorrow. Notice the swastikas and other signs of hate. Do not look away, and do not get used to them. Remove them yourself and set an example for others to do so.

5. Remember professional ethics. When political leaders set a negative example, professional commitments to just practice become important. It is hard to subvert a rule-of-law state without lawyers, or to hold show trials without judges. Authoritarians need obedient civil servants, and concentration camp directors seek businessmen interested in cheap labor.

6. Be wary of paramilitaries. When the men with guns who have always claimed to be against the system start wearing uniforms and marching around with torches and pictures of a Leader, the end is nigh. When the pro-leader paramilitary and the official police and military intermingle, the end has come.

7. Be reflective if you must be armed. If you carry a weapon in public service, God bless you and keep you. But know that evils of the past involved policemen and soldiers finding themselves, one day, doing irregular things. Be ready to say no.

8. Stand out. Someone has to. It is easy to follow along. It can feel strange to do or say something different. But without that unease, there is no freedom. Remember Rosa Parks. The moment you set an example, the spell of the status quo is broken, and others will follow.

9. Be kind to our language. Avoid pronouncing the phrases everyone else does. Think up your own way of speaking, even if only to convey that thing you think everyone is saying. Make an effort to separate yourself from the internet. Read books.

10. Believe in truth. To abandon facts is to abandon freedom. If nothing is true, then no one can criticize power because there is no basis upon which to do so. If nothing is true, then all is spectacle. The biggest wallet pays for the most blinding lights.

11. Investigate. Figure things out for yourself. Spend more time with long articles. Subsidize investigative journalism by subscribing to print media. Realize that some of what is on the internet is there to harm you. Learn about sites that investigate propaganda campaigns (some of which come from abroad). Take responsibility for what you communicate to others.

12. Make eye contact and small talk. This is not just polite. It is part of being a citizen and a responsible member of society. It is also a way to stay in touch with your surroundings, break down social barriers, and understand whom you should and should not trust. If we enter a culture of denunciation, you will want to know the psychological landscape of your daily life.

13. Practice corporeal politics. Power wants your body softening in your chair and your emotions dissipating on the screen. Get outside. Put your body in unfamiliar places with unfamiliar people. Make new friends and march with them.

14. Establish a private life. Nastier rulers will use what they know about you to push you around. Scrub your computer of malware. Remember that email is skywriting.  Consider using alternative forms of the Internet, or simply using it less. Have personal exchanges in person. For the same reason, resolve any legal trouble.

15. Contribute to good causes. Be active in organizations, political or not, that express your own view of life. Pick a charity or two and set up autopay.

16. Learn from peers in other countries. Keep up your friendships abroad, or make new friends abroad. The present difficulties in the United States are an element of a larger trend.  And no country is going to find a solution by itself. Make sure you and your family have passports.

17. Listen for dangerous words. Be alert to the use of the words extremism and terrorism. Be alive to the fatal notions of emergency and exception. Be angry about the treacherous use of patriotic vocabulary.

18. Be calm when the unthinkable arrives. Modern tyranny is terror management. When the terrorist attack comes, remember that authoritarians exploit such events in order to consolidate power. Do not fall for it.

19. Be a patriot. Set a good example of what America means for the generations to come.

20. Be as courageous as you can. If none of us is prepared to die for freedom, then all of us will die under tyranny.

Read each entry and take a few breaths to think about them.

[inkskinned]

one of the things that i think we should pay attention to, socially, about the disney v. desantis thing is that it is really highlighting the importance of remembering nuance.

in a purely neutral sense, if you engage in something problematic, that does not mean you are necessarily agreeing with what makes it problematic. and i am worried that we have become... so afraid of any form of nuance.

disney isn't my friend, they're a corporate monopoly that bastardized copyright laws for their own benefit, ruin the environment, and abuse their workers (... and many other things). this isn't a hypothetical for me - i grew up in florida. i also worked for the actual Walt Disney World; like, in the parks. i am keenly aware of the ways they hurt people, because they hurt me. i fully believe that part of the reason florida is so conservative is because it's been an "open secret" for years now that disney lobbies the government to keep minimum wage down, and i know they worked hard to keep the parks unmasked and open during the worst parts of Covid. they purposefully keep their employees in poverty. they are in part responsible for the way the floridian government works.

desantis is still, by a margin that is frankly daunting, way worse. the alternative here isn't just "republicans win", it's actual fascism.

in a case like this, where the alternative is to allow actual fascism into united states legislation - where, if desantis wins, there are huge and legal ramifications - it's tempting to minimize the harm disney is also doing, because... well, it's not fascism. but disney isn't the good guy, either, which means republicans are having a field day asking activists oh, so you think their treatment of their employees is okay?

we have been trained there is a right answer. you're right! you're in the good group, and you're winning at having an opinion.

except i have the Internet Prophecy that in 2-3 months, even left-wing people will be ripping apart activists for having "taken disney's side". aren't i an anti-capitalist? aren't i pro-union? aren't i one of the good ones? removed from context and nuance (that in this particular situation i am forced to side with disney, until an other option reveals itself), my act of being like "i hope they have goofy rip his throat out onstage, shaking his lifeless body like a dog toy" - how quickly does that seem like i actually do support disney?

and what about you! at home, reading this. are you experiencing the Thought Crime of... actually liking some of the things disney has made? your memories of days at the parks, or of good movies, or of your favorite show growing up. maybe you are also evil, if you ever enjoyed anything, ever, at all.

to some degree, the binary idealization/vilification of individual motive and meaning already exists in the desantis case. i have seen people saying not to go to the disney pride events because they're cash grabs (they are). i've seen people saying you have to go because they're a way to protest. there isn't a lot of internet understanding of nuance. instead it's just "good show of support" or "evil bootlicking."

this binary understanding is how you can become radicalized. when we fear nuance and disorder, we're allowing ourselves the safety of assuming that the world must exist in binary - good or bad, problematic or "not" problematic. and unfortunately, bigots want you to see the world in this binary ideal. they want you to get mad at me because "disney is taking a risk for our community but you won't sing their praises" and they want me to get mad at you for not respecting the legit personal trauma that disney forced me through.

in a grander scheme outside of disney: what happens is a horrific splintering within activist groups. we bicker with each other about minimal-harm minimal-impact ideologies, like which depiction of bisexuality is the most-true. we gratuitously analyze the personal lives of activists for any sign they might be "problematic". we get spooked because someone was in a dog collar at pride. we wring our hands about setting an empty shopping mall on fire. we tell each other what words we may identify ourselves by. we get fuckin steven universe disk horse when in reality it is a waste of our collective time.

the bigots want you to spend all your time focusing on how pristine and pretty you and your interests are. they want us at each other's throats instead of hand in hand. they want to say see? nothing is ever fucking good enough for these people.

and they want their followers to think in binary as well - a binary that's much easier to follow. see, in our spaces, we attack each other over "proper" behavior. but in bigoted groups? they attack outwards. they have someone they hate, and it is us. they hate you, specifically, and you are why they have problems - not the other people in their group. and that's a part of how they fucking keep winning.

some of the things that are beloved to you have a backbone in something terrible. the music industry is a wasteland. the publishing industry is a bastion of white supremacy. video games run off of unpaid labor and abuse.

the point of activism was always to bring to light that abuse and try to stop it from happening, not to condemn those who engage in the content that comes from those industries. "there is no ethical consumption under late capitalism" also applies to media. your childhood (and maybe current!) love of the little mermaid isn't something you should now flinch from, worried you'll be a "disney adult". wanting the music industry to change for the better does not require that you reject all popular music until that change occurs. you can acknowledge the harm something might cause - and celebrate the love that it has brought into your life.

we must detach an acknowledgment of nuance from a sense of shame and disgust. we must. punishing individual people for their harmless passions is not doing good work. encouraging more thoughtful, empathetic consumption does not mean people should feel ashamed of their basic human capacities and desires. it should never have even been about the individual when the corporation is so obviously the actual evil. this sense that we must live in shame and dread of our personal nuances - it just makes people bitter and hopeless. do you have any idea how scared i am to post this? to just acknowledge the idea of nuance? that i might like something nuanced, and engage in it joyfully? and, at the same time, that i'm brutally aware of the harm that they're doing?

"so what do i do?" ... well, often there isn't a right answer. i mean in this case, i hope mickey chops off ron's head and then does a little giggle. but truth be told, often our opinions on nuanced subjects will differ. you might be able to engage in things that i can't because the nuance doesn't sit right with me. i might think taylor swift is a great performer and a lot of fun, and you might be like "raquel, the jet fuel emissions". we are both correct; neither of us have any actual sway in this. and i think it's important to remember that - the actual scope of individual responsibility. like, i also love going to the parks. Thunder Mountain is so fun. you (just a person) are not responsible for the harm that Disney (the billion dollar corporation) caused me. i don't know. i think it's possible to both enjoy your memories and interrogate the current state of their employment policies.

there is no right way to interrogate or engage with nuance - i just hope you embrace it readily.

[pageofheartdj]

I don't want to start shit, but it really irks me, so I want to vent anyway.

People claim Alastor is sex-repulsed because he rejects Angel's advances.

But what do we see with Pentious?

His rejection is even more vivid. But later?

It's almost like people usually want to have sex with someone they like.

Sure there are people who wouldn't mind having sex with a stranger or someone they barely know. But that doesn't mean that if you are not ready to jump into bed immediately you are sex repulsed.

I do not remember people commenting on Pentious claiming he is sex repulsed. Only Alastor. Why? Is it because he is ace? His averseness to fuck someone he knows for a week suddenly makes him sex repulsed because he is asexual and all asexuals are sex repulsed?

Upd. (It was also about him being touch-averse which is ALSO not connected to sex and we already saw that Alastor is not 100% always aversed. He has tight boundaries)

Upd 2. ( I was so angry I forgot about freaking Husk xD Who was constantly annoyed by Angel's advances. Again, no one even blinked at that)

*sigh* This is why I am even more vocal about canonically ace characters to be somewhere else on spectrum. To be grey, demi, anything! Because this stereotype is tiring. Bigots hate repulsed aces because we are freaks who don't want to fuck. But then queer community hates non-repulsed aces because we are not stereotypes.

[jaynovz]

I do wanna say re: Silver Backstory and my rec list and my tendency to poke and prod and explore where he may have come from--

That's not me saying that the way his character is presented in the canon *needs* that, at ALL.

First off, the speech on the cliffs, the Solomon Little stories, the complete inability to share?

It's perfect for the character, as well as an absolutely jaw-dropping ballsy as hell decision to make a prequel/adaptation about the most famous pirate figure in Western media and simply... refuse to define him in those terms the way we've seen the other main characters. It's such a ballsy and brilliant move that sometimes I stare at the wall thinking about what they have done and just, god I hope one day I can write something that great. I could go on about that but it's not my main point.

Second off, many ppl have said that the point is that the story of Black Sails itself *becomes* his origin, and in many ways that is absolutely true and I agree.

However, I also wanna point out that the acting and the writing reflect all the information we would ever need to know about John Silver even if he cannot bear to speak it in specifics.

in 4.9, Silver says:

“I have no story to tell. It all might seem as though I’m trying to conceal something from you, but… truth is, there is no story to tell. ... Not unremarkable, just…without relevance. A long time ago, I absolved myself from the obligation of finding any. No need to account for all my life’s events in the context of a story that somehow…defines me. Events, some of which, no one could divine any meaning from…other than that the world is a place of unending horrors. I’ve come to peace with the knowledge…that there is no storyteller imposing any coherence, nor sense, nor grace upon those events. Therefore, there’s no duty on my part to search for it. You know of me all I can bear to be known. All that is relevant to be known."

"Other Than That The World Is A Place Of Unending Horrors."

Now, coming at this as someone with my own fucked up trauma, that one sentence coupled with the performance from Luke really tells us everything we need to know.

So yeah, in a way it both does and doesn't matter that we don't get his history wrapped up in a pretty package, both bc it's NEVER THAT SIMPLE, and bc his REACTIONS to events/ppl are... so VERY clearly the reactions of someone who has been deeply traumatized. We don't NEED to know for the story and character to work EXACTLY as intended.

We can see him, we the audience. If you pay attention, he is not some mystery at all. We may not know exactly what happened to him, but also, we do... don't we?

[iceiclehorned]

That sweet, resounding response echoed in the depths of her mind, filling up empty crevices and planting promising kisses along the curve of her spine. It had been unexpected, the way he allowed that request to come to fruition. Some part of that fiery spirit opted to keep her hope low, despite being the furthest thing from the way she did things on average. Spritely, living every last moment with the fullness of her heart, suddenly dwindling to a shy flame, wanting to hide the way he ignited an impact that allowed wax to melt much faster than it should. Hesitancy would no longer hold her back, and she found herself yearning to live up to the challenge.

"Don't make promises without reading the fine-print, Lighter," Burnice's tongue danced along her bottonm lip, brewing mischief in the purest of ways. "I may not be able to hold back once we start."

Of course, choosing to be brave in such a way, right as they traversed through the gateway into another world, one that held promises of an extraordinary fight ahead. It wasn't as if she was doing it on purpose, but for this to be their first date, how could one not expect some flirtatious behaviour to follow them into the claws of a Hollow den? An eager giggle followed after her, chasing that adrenaline rush as the guarantee of a good time pursued her very soul.

His words allowed her to smile. Honest, authentically happy. Within the depths of his own mind, he always knew who to trust with what, even if he would dispatch himself on those missions that felt particularly dangerous. Fortunately, she had sealed her fate right beside him, and there would be no need for him to risk his own life during the loneliest of periods. Starting from today, he would have a devoted partner. Almost like a little sidekick to cheer him on, as well as to keep up that fight right by his side.

“In that case, I’ll do my best!!” Enthusiasm dominated the texture of her heart, guiding those legs to the place they would come to meet the ending of the parasites that held the lives of hundreds of thousands of people within their grasp. For that Hollow claim held a dystopian novelty in people’s hearts, there would always be a refusal to let that fire be struck out quite so easily. A perilous journey would never push the mixologist away, not when being a certified adrenaline-junkie served its purpose, both on and off the battlefield.

Seeking a thrill, allowing that excited pulse to live within other people’s hearts was precisely the thing that was needed here. Even with the way the halls were decorated in horror, meant to strike fear, Burnice’s flame would always light the way for a much sweeter path.

“Let’s watch ‘em dance, shall we?”

Springing to life were ember stars, prepped to come to life. Preparation was made for a close-range attack, her eyes peeled for vulnerability in the sudden range of pathetic bug-like creatures clattering around. It was as if being challenged put them in a daze, and that was more than enough for the devious blonde to put herself into action. Danger held no real bounty over her head, not when the promise of having her back watched was known. Springing forward, an explosive charge would be performed, asserting complete control as cool, metal pipes began to heat, thwacking a multitude of swarmed enemies, allowing those pipes to then give rise to flames, scalding a sweet, charring promise to those within her proximity.

The start of something bigger began to culminate, her body twirling as if she were about to put on a show of utter elegance, only to turn it into an arsonist’s dream. Starry flames dancing together, like a night’s sky emerging at sunset. Specks of fuel flew onto the specimen, allowing for a bigger punch to be set in stone.

“I can’t wait to see what you have planned for date number two!”

Except for another kiss, maybe.

A soft huff follows from that modestly made wish. It was encased in fondness from the infernal uprising that very act made. To Lighter, this holds as a decision and confession all the same. Her very taste had the intent of becoming a more permanent fixture in this new road of choices. There was whimsy in how she made warmth beyond the ferocity of flame give a more mellow ground in his heart. To see even the ever fearless Burnice find her way into looking a touch coy?

That served undeniable proof. A growing and gradual understanding found itself ripping from the haze of night. "Without a doubt." He'd follow in. "In a case like that? It'll be as much as you like."

With a new promise forged, it's not the matter of the task at hand. The Ether concentrations found themselves gradually heightening the further down they went. High security often meant that more under the desk deals and activity were high on the rise. If one thing hadn't changed from the ancient times, it'd be that the essence of Ether was akin to a devilish whisper to the heart's of man. Supernatural strength, technology beyond all measure, there was no limitation to the depravities committed to see such matters through.

"It hadn't been a mere moment of taking a break at your place. Much as I wanted to anyways. Stuff like this requires your critical eye, and at this point it'll be under Calydon jurisdiction. As the professional out of our motley bunch, I figured you were the perfect fit for what's going on here." And that's only the technical aspects. Lighter often thought on how her expertise led to the thriving etheric fuel he channels for his W-Engine. While she'd never require a price, it only fortified in his mind that returning those dues were pivotal.

As the elevator pauses at the lowest levels, it'd be at Burnice's springy charge that he's soon matching that energized pursuit. An array of military vehicles and firearm racks would be in abundance in the current locations, while a more solitary hallway casting a foreboding shadow lies ahead. Similar to many grounds they've excavated, the lost history held in these bases always held a more perilous or risky tale. While resources were great, often times it was better to not think about the prices, the sacrifices

That route was likely where they'd find their weight in progress.

"Looks like the company remembers me. Just so ya know, all of these cars n' floors have some decent flame resistance. So I better not catch ya being shy." Soon as those thoughts were voiced, the familiar flicker across their visions enacts as multiple portals found tearing through this unruly reality. A multitude of lower scale ethereals found themselves scuttling in a charge. Scorpion looking varieties, the regular bunch holding blades and forcefully fused pipes, dragging them across the grounds as one of them tossed a vehicle overhead amidst their charge.

Before it could even consider squishing them, a singular reach from the Champion caught that daunting weight outright.

"Time to play ball, I'll cover your six."

[sneakyboymerlin]

Begging you all to watch the show without the m•rthur lens, because all sense of who these characters even are has been lost here.

[gibbearish]

u ever have to back out of a drama explained video bc ur like. i agree that that person was in the wrong but the way youre presenting them is just unsettling

[shitpostingsapphic]

I want to talk about THIS moment. Right before. There's a TON of people misreading Caitlyn's intent because she's using such a playful demeanor after Vi's sorrowful self-deprecation. To be honest, it's the best response she could have had, and the best tactic. Her demeanor serves as a stark contrast to the spiral of self hatred that Vi is going down, and it's an excellent distraction. Caitlyn is stopping her line of thinking, right then and there, and she does it while delivering one of the most romantic and understated declarations of love I've ever seen.

Stay with me here.

Let's be very clear: Caitlyn did NOT come to the cell with the goal of seducing Vi. Not even. How do we know? Aside from several context clues that come before this scene, the way Caitlyn responds to the kiss is very telling:

See how long it takes Cait to even register what the fuck is going on?? She's literally like "oh. OH. we're kissing? WE'RE KISSING." And Vi also OPENS HER EYES very briefly, to check that Caitlyn is as into this as she is, right as Cait settles into the kiss, likely sensing her hesitation/delayed reaction. This scene is NOT Caitlyn seducing Vi. This scene is Caitlyn giving herself to Vi, and Vi choosing exactly what she wants to do with her, which is VERY different.

What does Caitlyn say right before the kiss? She says, "Do you really think I needed all the guards at the hexgates?" Translation: I left Jinx's cell unguarded on purpose. I want you to know that I heard you during our last conversation. I want you to know that I trust you. I want you to know that my love and care for you is more important than my need to sate my grief and desire for revenge. I choose you.

And following: "Sorry to say, you've grown a bit predictable." Translation: I know you. I see you. I knew you would choose this, coming after your sister, and I facilitated the circumstances in which you COULD choose this. You don't choose wrong. You choose love, and I understand that now. I want you to know that I support your choices, and they won't cost you the people you care about, at least not me, not anymore. I know that you'll always choose your sister, and I've made peace with that. What you want is what I want.

That is MONUMENTAL. That's quite possibly one of the most romantic things I've ever seen in media. Because who the hell has the guts to give up their grief and forgive their mother's murderer, all for love? That's a level of sacrifice that not enough people are acknowledging.

People say Caitlyn never changed, never felt remorse, never grew from the bad choices she made. I say wrong. And this was the turning point.

[sitronsangbody]

Please, please be considerate of your fat friends' needs and limitations. Fat bodies are heavy to carry around. I move about the world slower than my thin peers, and I've often had to choose between pushing myself to keep a pace that takes absolutely all my energy, or being left behind, when walking in a group. I don't always feel safe to ask that everyone walk slower, because there's a prevalent idea in society that fat people need to exert themselves as much as possible at all times in the service of weight loss, and that we never "really" need rest, therefore it's a good thing whenever we're exhausted. Fat people and thin people alike are taught that fatness is a flaw, one that fat people ourselves are to blame for, so we're not entitled to any accommodation or consideration. A friend of mine who is fat recently told me about a dinner party she went to where the chairs were far too small for her and she was sitting very uncomfortably. After the meal she politely suggested moving the party to the couch, but the others didn't want to. She spent another couple of hours in unnecessary pain, and didn't dare tell them about it. I love my thin friends, but some of them just don't realize that I weigh probably twice as much as them, and yet I balance it all on the same size feet and carry it on about the same size bones. I'm like if they had a whole other them to carry around at all times. Why would that not have an impact on how I function? Please - take us into consideration when we're part of activities. Ask us which activities work and which don't. Adjust the pace so no one has to be dry heaving and sweating barrels on what's supposed to be a casual walk. Make sure venues have seating that fits us. Make it safe for us to speak up if we need something. When we do, don't treat us like we're the problem. Finally: yes, we have heard of losing weight. Even those of us who might (and many never will, whether you like it or not), won't do it on a moment's notice. If your response to "fat people deserve accommodations" is "what if they weren't fat though", you're playing a fantasy game. It's pointless. We are fat and we are here and we do partake in society. Work with that.

[boogiewoogieweeb]

#he's good at his job! #crozier likes him! crozier chose him! #and any enabling of crozier happens because he lives and works in one of the most strictly hierarchical systems to ever exist #where dissidence can be a hanging offence! #and he's so! fucking! angry! about it #also having to deal with a spirit bear on top of everything #that makes you question the very fabric of the assumptions you once had about the world #also his cabin door is stuck!! #we talk a lot about jopson finally snapping and beginning to bite and kick #i really think he should invite edward to the inevitable breakdown - @maedhrus

listen i don't think edward little was actually a bad first lieutenant. when we see him in the first episode he's calm and confident. he does not say much but he's amiable enough. crozier likes him, and i don't think crozier would like anyone he doesn't think capable in some way. generally he's dependable and knows what he's doing. however unfortunately for edward he has these qualities because he has a major case of eldest daughter syndrome, which means he both wants to please his mum (crozier) and has an overdeveloped sense of responsibility for his younger siblings (crew), so when they get stuck in the ice and crozier starts going (more) alcoholic, he enables his mum bc he doesn't want to disappoint her even if he doesn't agree with her, and he has to pick up the tasks and care for his siblings she's not doing, but he can't let his siblings know about their mum's situation because they'll get worried and restless. and like a true eldest daughter he has to bear the brunt of mummy's anger for being a disappointment but he also doesn't want to seek refuge with the man she divorced (fitzjames) because that feels like a betrayal. also while this is going on there is a giant bear who hunts his siblings for sport so they're dying left and right and also a changeling master manipulator who's making his siblings mad at their mum and who wants to fuck said mum before eating her like some sort of praying mantis. anyway i think i would start being miserable and anxious too.

[changguscomet]

I changed my main group for second semester because the first one was constantly leaving things until the last minute and it was pissing me off but this group is honestly just as bad smh my head