#but narratively he’s doomed now

[minecraftbookshelf]

Ah, so Lizzie lost her final life trying to do something Joel requested of her.

I’m sure that will have no long term ramifications on him.

[mag200]

one thing about orpheus and eurydice is you guys are all like “i’m different i wouldnt turn to look at her” because you are all familiar with the story of orpheus and eurydice. but orpheus wasnt familiar with the story because he was in it lol.

[ficauthor]

Tale of two Stans never fails to make me sad. What do you mean these two overly dependent assholes both end up at the worst lowest points of their lives at the same exact moment? What the fuck!? How was it that of everything in their lives to coincide it's them being at their lowest that meet.

What do you mean their childhoods never gave them a chance to be individuals and so all of their weaknesses and blind spots caught up with them in the end. What do you mean that without Ford, Stan was destined to get himself into trouble? What do you mean that without Stan, Ford was destined to get himself in trouble? What the fuck!

What do you fucking mean that they depended on one another because that's all they ever knew.

What do you mean Ford never bothered to learn to read when people wanted to use him cause he had Stan? What do you mean Stan never learned to think ahead because he had Ford?

I'm so haunted by the fact that Ford was able to mostly keep his life stable for a few years but in the end his inability to truly read and connect with people got to him. Why did filbrick make him think he was only good for one thing so he pushed himself too far in a way it was easy to take advantage of? What do you fucking mean his fatal flaw is he's convinced he's never good enough and thus is easy to manipulate?

I'm gutted by the fact that Stan was never doing well by any means but he was surviving against the odds and doing better than terrible. Until his tendency to push things, to prove himself, got him in too deep. Why did filbrick convince him he was good for nothing so he pushed himself to find something he was worth? What do you fucking mean his fatal flaw is he's convinced he's never good enough and thus he's always pushing himself to the edge at great risk to his own safety even?

What do you mean their flaws as people are reflected and can only make full sense with the context of the other. What do you mean!

filbrick Pines how the HELL did you fuck up your sons in a way so poetic and fucked up its beautifully tragic?

[drenched-in-sunlight]

(spoilers about DLC final boss)

i don't have enough energy to make a detailed case on this but

has any of Miquella's defenders found out about the proof in the base game that indicates Radahn was leading him on yet...

we found this at the Haligtree.

we know Radahn looks up to Godfrey and Radagon a lot and want to be like them, it makes sense he’d jump at a chance to be a Lord for a New God. i think he’s not above leading on a young Miquella instead of putting an end to a childish crush, even went so far as establishing a vow with him. But Radahn got cold feet later when Miquella was hell bent on going through with it as adult (stuck in a child body or not) & now he had to pay for his ambition.

i think that’s why they emphasize that Miquella made that wish in his youth. A traumatized & insecure child, losing faith in his parents’ Order & having to look his sister withered away, i think he would be very impressionable, especially around someone that strategically showcase his strength and honour like Radahn.

I think all this could have been avoided if Radahn, as the older brother, had just been firm & told him no.

[canisalbus]

I've been following you for years, and I love your art. Seeing you repost your older art pieces reminded me how much I loved the angry, bitter, miserable Machete art and how it resonated with me... but a part of me is also so happy to see the current art of him being happy. Cute art of him as a unicorn, or chilling in a bathtub with Vasco. Like, we're all growing and healing :')

[fairyroses]

— SMALLVILLE, "Tempest" (1.21) & "Fragile" (5.18)

[starryemeralds]

HAPPY BIRTHDAY TO MY FAVORITE TWINS, DIPPER AND MABEL 🩷💙

Bonus Comic Below

[pande-monty-um]

When Jacob is the architect of his own misery.

An Until Dawn style au but Jacob developed a way of making his own little brainwashed wendigo army.

[jannacalendar]

I understand why it wasn't possible, but it's such a shame we couldn't get Jenny back for The Wish. She and Giles fighting a losing battle side by side and being hardened from it, but remaining each other's solace. Them piecing together the puzzle Cordelia presents to them and having faith in a world better than this, only for Anyanka to try and throw them by hinting at Jenny's death should they return. Giles faltering at the thought of losing her and Jenny, once again, sacrificing herself and destroying the necklace. The way she sees it: she'll either be dead by The Master's hand or by her own, and only one of those inevitabilities gives the man she loves a chance of survival. She kisses him as she plunges herself into the abyss, wanting the last thing she experiences to be his love.

Giles waking up the following morning, the pang in his heart he always feels whenever he remembers Jenny accompanied by a newfound feeling of emptiness, and he's not quite sure why.

[aquickstart]

ok sure i'll talk about farleigh start. i'll talk about his tragedy of never being enough as it were and then having to deal with fucking oliver. sure. disclaimer: it's about class (and race) and the horrible reality of the rich. the horrible reality of living as farleigh.

another disclaimer: i'm white! and poc definitely pick up on everything i'm talking about here as it is, and better. i was and am specifically interested in farleigh vs. oliver but it's impossible to examine without considering race. definitely let me know if anything abt this sucks!

farleigh and oliver are similar. it's annoying because every intruder that is not himself is annoying, partly because felix's attention swaying from farleigh is dangerous; there is always a threat of being discarded, even if no precedent existed. the potential is terrifying.

but you'd think he's seen this before, every summer (if venetia is telling the truth) or at least often enough to learn to recognize it fast, so he should know this will pass. part of it is i think still the deep anxiety, and i think he hated every boy that was there before, and it is sort of routine.

but definitely a huge factor in farleigh's annoyance is the fact that he's a biracial (black for cattons, that's all they see) man in a white rich household. he's alert and exhausted all the time. of course he's angry at oliver, regardless of whether he's the first to crash at saltburn for the summer or the fifty-first.

but the important thing is this.

farleigh is very jealous of and angry and pissed at oliver because farleigh sees all the similarities between them. outsider, in financial trouble, whatever it is, in need of cattons; and yet oliver is preferred. and farleigh seems to be the only one to really consider it. felix does not pick up on the hint when farleigh brings up the birthday party vs. his mother. felix's clumsy "different or... anything like that" is as much about race as it is about class, of course. the "we've done all that we can" bit is felix absolving himself of guilt because surely they had, surely the mysterious collective cattons that he's not really part of had tried all they could do. to him, farleigh is different from oliver, because farleigh has been helped. felix is rich and white and twofold uncomfortable with farleigh, even if he's nice about it, even if he genuinely enjoys his company; he doesn't look too close at farleigh because he feels too guilty to come too close. and farleigh can't do anything about it. he can't nice himself into it. the fucking tragedy of him is that he's never enough in the world of the ultra-rich white, even if (especially because!) he's born into it.

farleigh is very pissed at oliver because farleigh also sees all the differences between them. you know who can be nice poor white enough to fit in? fucking oliver. felix says "just be yourself, they'll love you" when oliver first moves in. farleigh was also probably told the same thing, and felix also probably believed that farleigh could just be himself, but even if the cattons were magically not racist at all (impossible), it wouldn't make a difference to farleigh. he would still self-censor, keep in check, be in dangerous waters (because racism is not just about the individual, but about the system). we see that he'd won himself leeway by years of trial and error by the way he speaks to the family, but it's still within the boundaries of acceptable, built by the cattons. he's part of them because they allow it, and farleigh is very, very aware.

the annoying thing is oliver can be himself. like, truly, genuinely, he can just be. and farleigh can't help but envy that.

as a side note, oliver is obviously jealous of farleigh in the beginning as well, because regardless of the reality of farleigh's situation, he was born into it, and hence, at least in oliver's mind, has his position solidified. oliver's whole thing is unquenchable thirst and hunger for whatever and everything the cattons have (including themselves!). he wishes to have been a catton from birth. to oliver, at first, there's nothing farleigh can really do to lose it. and until he figures out the cattons completely, he can't help but envy that.

but i think farleigh senses something different about oliver early on. at least on the level of the text, we have "you're almost passing [for] a real, human boy", which is so important because farleigh is the first to point out oliver's weirdness. the next to do so is venetia in the bath scene calling him a freak, but it's too late. farleigh is too early.

and i like to think he clocks oliver too early because he sees the jagged edges that he recognizes in himself. i think that one other thing that farleigh envies is oliver's freedom to let go. freedom to let go is very similar to freedom to be, but not quite the same.

to be is about perception: farleigh knows he cannot fall out of line, but would like to, and oliver does not have to worry about it at all (i mean, he does, because oliver also performs for felix, but farleigh doesn't know that).

to let go is about the self: farleigh is too scared to even want what oliver eventually does, to even consider the possibility. oliver can let himself want. oliver can let himself act. oliver just can do things and want things. i'm not sure farleigh can.

and so in this scene, when oliver's wants and actions have landed him nowhere with farleigh, felix, venetia, the cattons, of course farleigh gloats. he can let himself do that, because if the cattons are slowly discarding him, farleigh can allow himself this one small victory. he's relieved because despite the dangerous similarities, oliver is, thankfully, not really the same as farleigh, right?

but like. this movie is a love letter to all things gothic. oliver is a white man. he prevails. the brief performance that oliver put on did eventually end up more effective than farleigh's lifetime of constraint. my heart fucking breaks for him to be honest.

the issue that remains is the fact of farleigh's survival. i like to think that oliver came to respect him. oliver is smart, but farleigh is clever. he picks up on everything oliver does (to refer back to the karaoke scene, farleigh immediately retaliates in the cleverest way, in the moment), and he's the only one to do so consistently (venetia, again, for example, comes close, but too late; oliver doesn't like that, there's nothing to work with). hence, stay with me for a little longer, the paradox: farleigh survives because he was never enough for the cattons, but he is very worthy of oliver's attention. in his own freaky way, oliver wants him. look at that.

so. farleigh. farleigh might come back. he always comes back. and i think oliver wants to try harder next time.

[grand-line-shenanigans]

Yippee!!

[kacievvbbbb]

But like hypothetically if I decided to make a series of YouTube video breaking down and rambling about how I think the first year trio encompass the full gradient scale of what it means to be “morally good�� and how by the end of the series they have grown exponentially but their moral inner workings are so entrenched in who they are they never needed to change they just became more of who they already were.

Because initially Yuuji wants to save the world in that abstract way all heroes do, Megumi is only interested in saving those he can save and Nobara is only interested in those she wants to save. And all these are treated as morally valid by the narrative and not really flaws in need of changing but instead philosophies in need of refining and understanding.

Because Jujutsu Society as a whole encourages and thrives off a moral apathy or superiority, they are in the business of killing curses not saving lives and that ultimately raises the question of if you’re going out there everyday killing curses and inadvertently saving lives does it really matter the reason why? Or the morality behind it? Maybe not to you but to the society, maybe.

So anyway, hypothetically ….would you be hypothetically interested👀

[demon-of-the-ancient-world]

no ok but in part 1 when paul first has his vision of the holy war and quietly says "someone please help me" ---my heart is BROKEN . This is a kid who is terrified of what he might become and then Becomes It. And was doomed to always become it. this is why i'm not fully on board with the "paul is 100% a villain" discourse -- because he never wanted to be. still haven't read dune messiah i just Know Stuff but sure he BECOMES a coked up religious figurehead dictator responsible for billions(?) of deaths, but I will never forget that he absolutely did not start out that way. Paul is a tragedy. And the child he was deserved so much more than what he was made to be later. Whatever crazy bullshit he pulls next, a part of me will always be sympathetic to some degree. this is the horror story he's the killer and the final girl all at once. Never forget the kid who, when able to choose whatever name he liked for himself, named himself after a mouse.

[zeb-z]

I’m soooo obsessed with Rumi. A ‘steal from the rich give to the poor’ idealist with delusions of grandeur and a god complex, extremely prideful and extremely possessive, with enough wrath to make them interesting. Someone who is so inherently selfish with selfless goals and ambitions, who tries to spread hope and positivity in a bleak world and puts himself on a pedestal for it. The first one to advocate for peace, admonishing needless violence, but also finds a thrill in commanding people, and will gleefully indulge in violence to the extreme for who he cares about. He thinks that in spreading hope, more people will believe in him, thus making him a god, and he wants to kill the true gods of this world to give the people the power for themselves and right what he sees as an imbalance - but he’s an egoist and a bit of a Freak about it.

[cowboycannibalism]

do you think that Lawrence begged to get Adam out of the bathroom? do you think it was too late? did John consider it, letting Lawrence have Adam? Did he think it would keep the doctor from leaving the apprentices? Did Amanda ever tell Lawrence that she couldn't let him starve and suffer? That she was the last person to see Adam alive? That she saw the spark of hope flare and vanish when he realized it wasn't Larry coming for him?

do you think Adam died thinking Lawrence lied to him?

[ladyofthelake]

Unpopular opinion but I don't think Merlin was wrong for not telling Morgana he had magic