#cultural segment

[direquail]

One of the many things I find funny and irritating is the slant of a lot of interpretations of Alecto's name (that it's about feminine rage)--on this here wlw internet in the year of our lord 2024, it's easily made to figure as rage against God, or rage against patriarchy, or religious oppression, and therefore an allusion to the idea that she's going to get her vengeance on John for betraying and oppressing her somehow, but like

John is the one who named her Alecto. He's the one who named her that. So, naming her "Alecto" is alluding to the embodiment of John's rage--their rage, since they are joined inseparably (John even explicitly says that when he first perceives her: "You wouldn't stop screaming. You were so scared. You were so goddamn mad").

He says of Alecto to Harrow, "In a very real way, you are [Alecto's] children". At a very surface level, Alecto is (depending on the text or tradition), one of the Furies--famously, in several surviving Greek tragedies, who punish Orestes for the crime of killing his mother. In fact, in Aeschylus' Oresteia, they declare that they are specifically bound to avenge matricide.

So the name "Alecto" alludes to the nature of John's mission and how he sees it.

It also implies that his divine rage, the rage that gives him power, the power that makes him divine, that he either represents or wants to represent, is feminine rage. He was chosen by Earth (which, Furies are sometimes the daughters of Gaia); he is her champion, however he's managed to fuck that up. Once the truth of that comes out, it becomes clear that all of his power comes from her.

And that's why you get statements from Tamsyn Muir like:

“[T]he God of the Locked Tomb IS a man; he IS the Father and the Teacher; it’s an inherently masc role played by someone who has an uneasy relationship himself to playing a Biblical patriarch. John falls back on hierarchies and roles because they’re familiar even when he’s struggling not to. Even he identifies himself as the God who became man and the man who became God. But the divine in the Locked Tomb is essentially feminine on multiple axes – I think Nona will illuminate that a little bit more."

So yes, he plays the role of Emperor and God and Teacher, with all of the things that implies. And I don't think it should be discounted. But he also is (and partly sees himself as) the chosen champion of a goddess, or what is for all intents & purposes for a human like him a goddess. He is her avenger, and while she sleeps, her avatar.

And I don't think we're meant to read him purely as a parasite who's taking advantage of her to gain power for himself, either. Or an oppressive, Kronos-like figure. Especially if you consider Palamedes' theory of the Grand Lysis, even if he was purely motivated by desire for power before (which I really doubt), there are parts of each in the other, now. What was clear and separate before is uncertain and interpenetrated. Is his rage his own, or hers? Is his mission of revenge his, or hers? If he wants power, is that his own selfishness, or her desire to survive?

And does it matter?

[haveyoureadthisfanfic]

Summary: // FileSystem: Warning: Deleting SecUnit memory data is not recommended and may cause system instability or disciplinary action. A SecUnit has a glitchy system clock. There's definitely nothing else going on.

Author: @ostentenacity

Submitter: @noisesfrombeyondtheuniverse

[muirmarie]

modern trek erasing mccoy is genuinely my villain origin story

[fluffbyday-smutbynight]

Good Omens x Michael Sheen x Ancient Rome - a crossover made in heaven Italy

I'm crawling out of the rock I've been living under - just because I feel like this post I reblogged needs some context to be fully appreciated (and you all know how much I love deep diving into the most random shit). Quoting @thiswomanshouldbewriting :

No one is doing it like the Italian Good Omens fandom, making Michael Sheen trend on twitter because Alberto Angela used his footage as Nero in his documentary. Literally no one is like us.

The mentioned footage is, as you might have inferred if you're a Michael Sheen/GO fan, from the 2006 BBC docudrama "Ancient Rome: Rise and Fall of an Empire", which Sheen starred in as a very unhinged Nero. Imagine you're the average italian GO fan, channel-zapping while you do chores, or homework, or you're having dinner, and you suddenly see (on RAI1, aka the state-owned broadcasting *main* tv channel) THIS:

(and also the show somewhat restores Nero's reputation, *and* discusses at length the Romans' rampant bisexuality *and* mentions Nero's same-sex marriageS (plural) *and* the soundtrack SLAYS) (god I wish it was subtitled in English 'cause y'all would love it)

That's something to be excited about already. But wait... there's more!

If you're not Italian (hi 99,9% of tumblr) you might ask yourself: but what's all the fuss about? and who the fuck is Alberto Angela?

Glad you asked.

Alberto Angela, author and host of the documentary programme that included the aforementioned footage, is - simply put - an icon, a myth, a cornerstone of cultural divulgation in this country.

He's an accomplished paleontologist, archeologist, writer, and a very engaging communicator.

He's a son of art, since his late father Piero was an even greater public figure, an all-time favourite of the italian audience (think: the Mr. Rogers of science divulgation) -- which only adds to Alberto's fame and love by the masses.

He's been a staple on tv for a long time, a beloved chaperone to everything about science, culture and especially history, which he conveys with utmost passion.

He's also a very fine man.

It won't surprise you that, over time, he's become sort of a national sex-symbol: the charming nerd, the next-door Indiana Jones, the cultured, wholesome, handsome heartthrob.

...and a great source of memes:

"I DIVULGE. HARD."

"Deoxyribonucleic acid" *splash*

So... let's rewind for a moment: you're the average italian GO fan, channel-zapping while you do chores, or homework, or you're having dinner, and you suddenly see Michael Sheen as Nero featured on the most popular documentary programme in the country, by the most beloved & iconic tv host of recent times.

In conclusion: this is why the italian GO fandom is going positively feral on twitter. You're welcome. *crawls under her rock again*

[cry-ptidd]

How would Laura be a Mary sue?

This is a reference to this rb where i said Laura would've gotten Mary Sue accusations if i posted her in like. 2018

And here are my arguments against my own OC that i think she'd get

- Insanely powerful monster girl

- Very Edgy Backstory™️

- Conventionally attractive (pretty, voluptuous, hourglass figure, under 30, fit body, white cough cough) + clothes that compliment her curves

- Broody sarcastic coldhearted girlboss type character

- Local OP protagonist Alucard was impressed by her, took her in and respects her (in his own way)

- Abilities that make her a special outlier in her species from what we've seen in canon (impenetrable skin, surviving silver to the heart, wolf form size)

- Good at fighting, shrugs off pain and "easily" tanks a lot of attacks

- Generally respected in her entourage (like 4 people) and dreaded as an actual obstacle by her opponents (-> could put her on a pedestal)

- Would be in the top 5 of strongest characters if we're being fr (Andercard are having a dickfight for first place)

- Strong Female Character = Mary Sue

[desognthinking]

im fascinated what is tomb guardians au i am immediately imagining ava trying to get (very serious about her job) bea to talk to her (t4t aka tomb for tomb communication) like “it’s because you’re always on that damn guarding the tomb” and bea staring at her like “oh (relevant semi-religious curse word/deity invocation), i HAVE to fuck her”

Hi 😄  tomb guardians au is exactly that! except a little weirder, i think. Because they arent the guards stalking the graveyard they are the inhumanly stone-and-metal-but-not-really guardians themselves ☺️it's like what if beatrice had two heads and stood watch over the sealed, entombed heart of a bloodline. And ava was the new, terrible protector of a clan of craftsmen on a hilltop, buried with chambers of generations of their art. And what if they were necropolis neighbors 😳

This is one chunk previously posted and this shorter thing is set a little later, during the wedding mentioned in the first part. i think it kind of matches this ask pretty well 🥺:

Weddings are just like funerals: they’re never safe. The procession overflows from the courtyard at the mouth of the tombhouse, and nobody turns their attention to the other side of the hill. That's Ava’s job. Beatrice, perched carefully atop her roof in a long line of others she can vaguely make out, stretched across the rim of the hills, can see her sway and duck through kitestrings and tree-hung lanterns blowing in the wind as she keeps vigil. 

There’s fire, and an uncoordinated symphony of chattering accompanying music, and colored smoke that drifts up and drenches the air in pinks and yellows. The party had started at the Salviuses’ inner city tombhall, and then wound its way through the cobbled streets to settle here sometime around midday. Now the sun has cooled from its boil and the clouds are dissipating in streaks leaving swatches of color overtop the trees.

Celebration mixes with ceremony in equal parts, and Ava’s soaking it in, so she told Beatrice herself. Amidst the rush of activity at the Silvas’, she’d found her way over yesterday, dangling her human legs over a particularly stubborn branch that tipped over a brass gate, lurching under her weight towards brown grass.

“And, if you want,” she’d said quickly, “the view from atop our central mausoleum is incomparable.” Following the parched trajectory of Beatrice’s traitorous eyes, Ava had reached up to hurriedly smooth out the colorful combs that had erupted from her crown as she blurted out the offer. “You could see the dances up close.” 

She paused, as Beatrice reached out, at first hesitantly, then bravely, to gently still Ava’s hands from patting down the sharp, fiery crests. It’s okay.

(I like them.)

“We’re close enough that you could still keep a lookout for things over here.” 

Proximity, of course, was in truth the last thing that Beatrice feared would compromise her duty, and she knew that Ava knew it too. 

They sat in silence, not uncomfortably. Hot plumes, from where the days-long feast was being prepared in great earthen pots and pits on the rolling green surrounding the Silva walls, thinned out as they passed through the trees to Beatrice’s clearing. 

Whispers of stews, and meats, and spices. Beatrice felt, suddenly, terribly hungry.

“Will you ask again tomorrow?” she chanced, finally. 

Ava, bright and shocked and delighted, laughed. In her relief she nearly fell backwards off the branch, taking with her Beatrice, who had joined her on the tree.

Razor-edged fronds sprung up again from the top of her sun-warmed head. “Horrible”, she joked. 

Beatrice disagreed, and let her know.

Now, the sky is dampening, and the wedding party, in dribs and drabs, pauses to refill its cups and light its candles. In this twilight Beatrice lets herself turn to the west.

It is not easy to see, but the creature on the Silva house is there, beyond the clasp of woods, and when Beatrice meets its eyes its form unfolds in magnificent, menacing span and its unmistakable, jagged tail rises, quick and high, as in warning or challenge. 

From this far away, and half-hidden by foliage, it is impossible to make out the details of that bolted, harsh surface, but Beatrice knows how it feels under her palm, fluttering and leathery and spiny and warm, just as she knows by a glance the towering shape of the display and the exaggerated, daring, silly invitation that it extends across the space between their roofs. 

Ridiculous. 

Ava – terrifying as she extinguishes the numerous wraiths that have already sought to take advantage of the guardian transition, serious as the new caretaker of an artistic legacy, and an achingly, brilliantly quick learner of that uncommon dialect spoken by Beatrice’s house – lifts off her roof in a dramatic jump, and lands with a shaking thud that sends shivers through the ground all the way over. 

\

Help arrives so quickly that Beatrice knows said help is going to give her a hard time. 

“Mary,” she greets, relieved all the same. “Are you sure you don’t mind keeping watch?”

“Yeah, don’t worry, Shannon's got it all handled back home,” Mary traces the perimeter easily, scanning the horizon in each direction and then feeling the hollows and convexities of the tombhouse in quick reappraisal. Beatrice stands aside as she smoothly pads across the surface of what she must have judged to be possible points of weakness, tests the robustness of a couple of Beatrice’s carefully constructed defenses, then nods, satisfied. 

A great-aunt, peeking out too to watch the celebrations, looks up, sees Mary, and waves. Mary sends her a bow. 

“You know, Bea, she’s right,” she hums, finally. “It’s not too far away, and you’ve always been focused when out visiting.”

The bait is not particularly subtle, and Beatrice narrows her eyes. 

“I just don’t think it’s safe to reduce any protections during a celebration when everyone’s guards are down.” She busies herself with cleaning up the place, tightening the wards and doing some final redundant sweeps and checks. “It’d be easy for someone or something to slip through, especially with so many unfamiliar faces.”

“Mm. And you’d be distracted.”

“I don’t know what you mean.” 

“Sure.” Mary circles, then sits down, settling in and getting comfortable. She uncoils and reaches out to nudge Beatrice gently where she’s examining the shifts in some stones very conscientiously. “And I promise not to look over.”

“Mary.”

“What?” She shrugs, casually puts out a strong claw and kicks Beatrice firmly off the parapet. “Time to go-o.”

There’s a shower of stone fragments as Beatrice shakes and gathers herself to snap and snarl halfheartedly and harmlessly up at her from the ground. 

Mary looks over the edge and shakes her head, grinning. “Oh, baby girl,” she tsks, “Don’t tell me you need me to teach you how to fuck her.”

“Mary!”

Mary’s laughter echoes as Beatrice turns and steals into the darkness, necks hot with embarrassment. “Now hurry up, Beatrice,” her call seeps, howling, into the roots. It warps with the topography of the earth into something deep and old, sinking its frigid teeth into Beatrice’s bones. But the shape of the wind whipping past Beatrice’s ears is fond and teasing in its turbulence as she tears through the thicket. “Your poor girl’s waiting for you.”

[repurposedmeatlocker]

I gotta make a post about this. It will drive me insane otherwise. But I really REALLY like the way in which Beavis and Butt-Head incorporates the music video commentary segments within the context of the actual show.

On one hand, it is indeed a way for musicians and creators to be promoted, albeit in a satirical and tongue-in-cheek way, through the banter of two ignorant fifteen year old boys. But this does not mean these segments are floating around unrelated. Actually, the commentary segments are completely intwined within the world of the show. They are not just used as opportunities to make pop-culture references and trash the musicians, but as a jumping-off point for Beavis and Butt-Head to get into off-topic tangents. Ranging from simple questions to sparse recollections of their home-life. I can't say this definitely since I haven't exactly been keeping track, but it appears to me that most of the sparse information out there about their moms and family come from statements made during these segments. Then there are also all those moments during music videos where they aren't even paying attention to what is on-screen and instead are doing stuff like looking at magazines, trying to cook, fighting, falling asleep, etc.

This all is such an odd yet interesting window into their lives, and how much it revolves around their television. I don't think this is unintentional at all. The characters are first introduced in the pilot, as being parked in front of their TV getting off on a woman advertising exercise equipment. Mike Judge is indeed making some kind of commentary here regarding the modern dependence on TV and cable television (especially in the context of the 90s when the show came out). At the same time though, I don't feel like this is a completely mind-numbing experience in the case of Beavis and Butt-Head. In fact, I find their interaction with the programs on television extremely "active" whether it be actually constructing opinions about what they are watching (even if it rarely is more complex than 'this rules' or 'this sucks'), or deciding to do something based off of seeing it advertised or talked about on TV. When you think about it, most of the plots of the show use the television as a catalyst for the episode's plot, which just ties the TV to the show as a whole even more.

[unforth]

I. Hurt.

And I was hurting anyway, I'm pretty down this morning, but this hurt came from an outside source, and affected me in a way I'd honestly not have expected.

See, we bought Nimona last week. After seeing the movie, my kids wanted to read it. And I ended up reading ahead, and I just finished it.

Bonus content at the end, it said, and I was like, oh, an epilogue to the epilogue maybe? That'd be nice. I don't love bittersweet endings, I'd rather...

...no, it's not the conclusion.

It's CHRISTMAS.

In a book that'd had no religion that I noticed up to that point, BOTH bonus extras...were Christmas.

Ya know, usually it doesn't bother me. Usually I just suck it up. I think it helps that I was raised around mostly Jews and people who, if Christian, it didn't matter much to them. I'm from the Upper West Side of Manhattan, the descendent of Lower East Side immigrants, and while the world outside was brutal - my grandfather was a World War 2 veteran and among the soldiers who liberated Dachau, I can't remember a time when I didn't know that most people would look the other way if people like me were slaughtered wholesale - my bubble was safe, we were accepted, we were insiders.

I honestly can't think of another time I've interacted with a piece of media and felt so immediately, instantly knocked across the face by OUTSIDER as I just did when I excitedly turned the page to see what these fun extra bonuses were...and it was fucking Christmas.

I didn't even read them.

I'm honestly. So disappointed.

I don't have a thick armor for this kind of hurt. I'm Jewish, and as an adult living outside my old UWS bubble, that's often meant I've felt like an outlier, but I've hardly ever had this feeling where I was welcome to something only to be suddenly, violently shoved out the door.

And I've heard nothing, n.o.t.h.i.n.g. but praise for this book. And on another day, it might not have bothered me. I've never really felt like I had to fight to be seen, especially since I'm tremendously secular. I mean, I've celebrated Christmas my entire life, for starters.

But why. Why was this fantasy setting suddenly Christian? Why was this the touted extra content? Why is THIS special, when the areligious world established to that point was apparently not special enough?

I can't say yet if this ruined the story for me. It's far too soon. But I'm *intensely*, viscerally let down, and...I hurt.

Christians...maybe stop doing this shit.

[whodonthear]

I need to book my ticket

[jeremiahthefroge]

yeah ok it's so over. Ended up infodumping my findings so far to my father AND my partner. I have like 4 tabs open: 1 is playing MCD, 1 is open to Tumblr (mcd tag), 1 is my obsidian vault full of notes on the episodes I've watched, and 1 is my art program where I am drawing Aphmau characters when I'm not taking notes. I'm preoccupied with analyzing HOW mcd tells its story and what makes it effective, as well as how I would novelize the series to appeal to a more 20 year olf english major-y audience (I hesitate to say "make it more mature" bc that like... implies that I'm gonna take it and just add SEX and DEATH and BRUTAL STUFF bc THATS WHAT ADULT MEDIA IS. I don't think any of that would add to the experience exactly. Maybe if I thought I could really do it justice and really make it fit with the story that's already there, but I certainly won't just be adding it for its own sake.). I am too far gone. Don't send help, I'll just start talking to them about the difference between artistic merit and cultural value and they'll leave me to my madness in due time.

[droughtofapathy]

Celebrating International Women's Day by watching this video on repeat as nature intended.

[klainelynch]

Just watched MASH episode 4.24 "Deluge" and I now have another piece of evidence in my fundamental belief that People Have Always Been People

[merriclo]

went to see the barbie movie a few days ago and hm. weird

[the-force-awakens]

not to talk about sw in not a totally positive light (it's not even a criticism, precisely, its just something I'm contemplating), but I've been thinking about the recent string of shows (mando s3, kenobi, and ahsoka) and I am beginning to wonder if Disney/Lucasfilm vastly misunderstood the backlash to the sequel trilogy, because....they keep rehashing plot points and emotional beats from those movies.

And okay, sure you could say it's also to help build up the timeline and show how the FO rise, but it also feels a little bit like they're taking the safest route and just...copying and pasting those things into stories with characters that are (almost) universally loved (Din, Grogu, Ahsoka, Obi Wan) — and combined that with the near radio silence of anything about the sequel trilogy characters, across the smorgasbord of Star Wars content? I really think they're steering clear (aside from the Rey movie they announced) of anything to do with Rey, Finn or Poe because they think they're why the movies weren't popular. And that's... exactly the opposite of the sentiment I've seen in this fandom, but I also know exactly why they have that impression and I hate it.

[irreplaceable-spark]

New Rule: The Cojones Awards | Real Time with Bill Maher (HBO)

Bill introduces a new award for outstanding achievement in growing a pair.

[ippnoida]

BriBooks Group launches The BriBooks Times

BriBooks, the world’s largest book writing and publishing platform for students, has announced the launch of its newest venture, The BriBooks Times – a concise newspaper crafted entirely by the platform's top young authors. This innovative publication aims to empower young journalists as creators and inform readers with fresh perspectives, all while promoting a culture of learning and curiosity.

At The BriBooks Times, young journalists follow a strict format to ensure clarity and impact: Title + What Happened + Why is it Important + Learn More (links)-all under 150 words! This concise approach ensures the content is engaging and easy to understand for readers of all ages.

“The BriBooks Times is more than a newspaper; it’s a platform for young minds to share their voice and inspire a global audience,” said Ami Dror, founder of BriBooks. “It’s our gift to these young journalists-an opportunity to showcase their talent and make a difference in the world.” The newspaper features diverse sections. 

Top of the News: The main story of the day (local to India);  International: Key global events; Technology: Explained by kids, for kids (video); Sports: Local and global highlights; Trivia Question of the Day: Interactive and thought-provoking; Science Story of the Day: Captivating discoveries (video); Entertainment: The latest in movies, music, and more; Book of the Day: Reviews of BriBooks-authored works and; Game of the Day: Video game reviews (video).

Videos are an integral part of the publication, with three sections daily featuring 59-second videos created by the young authors. These segments tackle intriguing questions like “What is the PillCam?”, “How can you predict an earthquake?”, or “When will the first human walk on Mars?”, designed to make creators shine and leave viewers feeling smarter.

The daily publication will rotate its sections to maintain variety and encourage creativity. With each article, The BriBooks Times strives to engage readers with fresh insights and empower the next generation of creators and thinkers.