#cast in peril

[alchemist767676]

I’m in the first one-hundred pages of Cast in Peril and I think I’ve finally put my finger on something that’s been bothering me about the series lately; it seems like Severn is the only person that Kaylin regularly sees that doesn’t treat her like crap. Sure, she has people like Tara and Y’beline around occasionally, but she doesn’t really see them casually all that often and it seems like everybody else she interacts with can’t go five minutes without insulting her, including people that she has personally saved the lives of on multiple occasions.

I felt downright uncomfortable reading the scene immediately after the bombing where it feels like she’s too afraid to say anything because of how mad everyone in the office is. Honestly, the Arkon stands out as a positive influence, since it seems like he only really acts like an ass to her when he’s under an understandable amount of stress, whereas Diarmat sucks in general and I get the impression that Sanabilis just enjoys toying with her sometimes.

[zondearts]

Hey, some WoF au l/n, cuz I'm able and I can

[bird-inacage]

A Fort x Peat Shitpost | The Epic Bridal Carry (Fail)

This will never not have me in absolute stitches. I’ve been laughing at it for 48 hours flat (and counting).

[ur-local-kiwi]

i feel like we need a knk slice of life spinoff thing. the doomed yaoi storyline we have rn is good and all, but tbh i wanna see all my favorite goobers just hanging out and doing normal people things. i think thatd just be nice honestly

[bighandsforabigheart]

Ugh I love the concept of Solo feeling pissed every time he has to look up to make eye contact with Illya and complaining that his neck hurts because of him (and whining for a massage) and Illya's just like heh. little cowboy is like kitten hissing at me. and looking smitten at this 6ft+ tall man in his thirties that no one else would consider "cute"

[lilianhuas]

When I started reading the DMBJ book series many years ago, initially it was to help my Mandarin lessons & classes.

Then watching the various productions never once imagining this series would hook me in. It did this in two ways: 1) they’re so much fun and fascinating to read/watch. 2) …PingXie. I know dmbj is not a danmei in genre, but those two are really fascinating. (HeiHua is too, but that’s another story).

One of the highlight moments of the series that is engraved in my mind is this piece here in the finale part of the series: 大结局 when Wu Xie believes Xiao Ge has died:

““I saw Xiao Ge, his faced buried in the clothes. I stumbled and my body stiffened. At that moment, my mind went blank.

I couldn’t describe that emptiness in my heart. Suddenly I just did not know what I should do.

Xiao Ge died? What a joke. He really is dead? This must be the ultimate joke.

“Wake up, we’re home,” I patted his face. Inexplicably, I felt a bit funny.

“I know,” Pangzi said. His voice was very low.

At that moment, my hands began shaking uncontrollably. I looked at my hands and realised I couldn’t feel any sorrow.

My heart screamed. My fricking God, Xiao Ge is really dead. Men You Ping is really dead! There was such a possibility in this world: That Mèn yóu píng could actually die.

This ancient mansion of the Zhang family was truly powerful. I thought Ghostman was only giving us a scare, but everything turned out shockingly true. Mèn yóu píng was always incredible – like a miracle. His death suddenly made people realise that the world had become extremely real and cruel. Couldn’t all miracles be eternal? Still, there was no such thing as a miracle. Everything was a coincidence, and now the coincidence was no longer around.

After a while, I began to feel a shade of sadness. I felt that my instincts would collapse soon, but I could still sense that discomfort as my emotions tightened up. I was aware that I must not let my emotions take the better of me. If I subdued to this sadness, I might die here. The feeling in my heart was strange. It wasn’t just sadness. I didn’t know if people could comprehend this complexity.””

And I’m sold, though it’s just a personal viewpoint. What added to it was when I saw it on screen was in Reunion Season 1 episode 6; when Long Ge’s Wu Xie loses his mind thinking Xiao Ge’s dead.

[castorochiaro]

missing him so bad today, it's literally only been a DAY and i want him back

[1doesnotsimplyhavejust1fandam]

I don’t care if it’s been 3 episodes or 30, I am DEMANDING a 118 firefam hug in the season 7 finale. Get on it now, Tim, or else :)

[b-blushes]

i’m a strong and powerful wizard wednesday

[nohkalikai]

every day i say i won't talk abt how i've made sense of my identity with upper caste hindus and every day i do it anyway

[mariocki]

Mausoleum (1983)

"Simon, if this is demonic possession, some of my suggestions may seem very unscientific. Look, Simon, if you're too close, too involved personally... you'll have to step aside."

"I am that close. I'm that involved. That's why I can't step aside."

[personinthepalace]

Promo Photos for The Mysterious Benedict Society S2E1: A Perilous Journey

from whatsondisneyplus.com

[raven-thepuppetmaster]

NOT CORY BEING AN ALUM FROM MY HIGH SCHOOL😭

[dreamerdagn]

I am. freaking SHOOK by the Rosamond-Cinderella segment of this episode so far. Each segment is getting to me more and more and I got legit teary-eyed when Cinderella was comforting Rosamond and then I had to resist shouting YES when Siobhan was rebuking the briars. The reason I wasn’t worried at any point in the previous three episodes is that I trust this group and their storytelling ability, and I was fREAKING RIGHT. LET’S GO

[todayisafridaynight]

class was Basically cancelled today so im looking at the next two sabu ttm movies i wanted to watch and i stg sabu really does love putting ttm in bad situations <- this is a good thing

[eelhound]

"The idea of reforming Omelas is a pleasant idea, to be sure, but it is one that Le Guin herself specifically tells us is not an option. No reform of Omelas is possible — at least, not without destroying Omelas itself:

If the child were brought up into the sunlight out of that vile place, if it were cleaned and fed and comforted, that would be a good thing, indeed; but if it were done, in that day and hour all the prosperity and beauty and delight of Omelas would wither and be destroyed. Those are the terms.

'Those are the terms', indeed. Le Guin’s original story is careful to cast the underlying evil of Omelas as un-addressable — not, as some have suggested, to 'cheat' or create a false dilemma, but as an intentionally insurmountable challenge to the reader. The premise of Omelas feels unfair because it is meant to be unfair. Instead of racing to find a clever solution ('Free the child! Replace it with a robot! Have everyone suffer a little bit instead of one person all at once!'), the reader is forced to consider how they might cope with moral injustice that is so foundational to their very way of life that it cannot be undone. Confronted with the choice to give up your entire way of life or allow someone else to suffer, what do you do? Do you stay and enjoy the fruits of their pain? Or do you reject this devil’s compromise at your own expense, even knowing that it may not even help? And through implication, we are then forced to consider whether we are — at this very moment! — already in exactly this situation. At what cost does our happiness come? And, even more significantly, at whose expense? And what, in fact, can be done? Can anything?

This is the essential and agonizing question that Le Guin poses, and we avoid it at our peril. It’s easy, but thoroughly besides the point, to say — as the narrator of 'The Ones Who Don’t Walk Away' does — that you would simply keep the nice things about Omelas, and work to address the bad. You might as well say that you would solve the trolley problem by putting rockets on the trolley and having it jump over the people tied to the tracks. Le Guin’s challenge is one that can only be resolved by introspection, because the challenge is one levied against the discomforting awareness of our own complicity; to 'reject the premise' is to reject this (all too real) discomfort in favor of empty wish fulfillment. A happy fairytale about the nobility of our imagined efforts against a hypothetical evil profits no one but ourselves (and I would argue that in the long run it robs us as well).

But in addition to being morally evasive, treating Omelas as a puzzle to be solved (or as a piece of straightforward didactic moralism) also flattens the depth of the original story. We are not really meant to understand Le Guin’s 'walking away' as a literal abandonment of a problem, nor as a self-satisfied 'Sounds bad, but I’m outta here', the way Vivier’s response piece or others of its ilk do; rather, it is framed as a rejection of complacency. This is why those who leave are shown not as triumphant heroes, but as harried and desperate fools; hopeless, troubled souls setting forth on a journey that may well be doomed from the start — because isn’t that the fate of most people who set out to fight the injustices they see, and that they cannot help but see once they have been made aware of it? The story is a metaphor, not a math problem, and 'walking away' might just as easily encompass any form of sincere and fully committed struggle against injustice: a lonely, often thankless journey, yet one which is no less essential for its difficulty."

- Kurt Schiller, from "Omelas, Je T'aime." Blood Knife, 8 July 2022.