#execution vs strategy

[captaingimpy]

Fighting Games, the FGC, and the Death of Instinctive Play

I’ve been playing Tekken and Street Fighter since the beginning. Not just in the sense of picking them up casually—I lived these games. I played Tekken 1 on PSX, I played Super Turbo and Alpha 2 Gold, and I grew up in arcades when that actually meant something. I remember when EVO was just “the tournament in LA.” Back then, getting good wasn’t about labbing frame data—it was about learning how to…

[peacelaw]

Reason Why You're Still Broke | Rich Vs. Middle Class Mindset

in this video iI'll share reasons why your Still broke and how you can Stand out the crowd

[neurospicyu]

Are you powered by treats and rewards or the pride of checking something off your list? 🧠✨ In this ultimate Motivation Showdown, we’re pitting external rewards (like snacks and breaks) against internal wins (like feeling unstoppable after crushing your goals). Which one fuels your productivity best? Dive in to discover the pros, cons, and hacks to make both work for your neurospicy brain!

💥 Let the motivation battle begin—spoiler: you’re the real winner here! 🏆

[mehmetyildizmelbourne-blog]

Is Your Leadership Aligned or an Illusion? and How to Bridge the Strategy Gap?

Why Most CEOs Fail to Implement Real Strategic Principles and What You Can Do About It? As a long term researcher of technical leadership and excellent, one of my hobbies is to explore fresh voices and unique perspectives from thought leaders from different cultures. While browsing my reading feed today, I came across and article with a beautifully narrated voice.  The title of article…

[etherealsworldvision]

Who is Your Next Friend & A Step to Connect.

Before I begin the reading I’d like to take a moment to talk about: GLAAD. They’re a non-profit organization advancing LGBTQ acceptance through fair, accurate, and inclusive representation through global, national, and local programs. If you’re interested do check them out and if you’d like to further support them click donate.

Divider Credits: @plutism & @kgymz

1. 2. 3.

🚨 P.S.A 🚨 : I do not give personal readings! Disclaimer: this is for entertainment only!

Added Description: all my readings are timeless and meant to reach those who resonate to the messages.

[ General Message: “In the clurb we all fam” - Broad City; 888; August; July; 55; royalty (aesthetic); Renaissance (fair); Windsor; Money; Materialism; Balance; Soon or Quick results; Receive Good News; Creative idea gaining recognition; Planting seeds with creativity; Understanding yourself; Acceptance of yourself; I Saw The TV Glow ]

Pile 1

[ Confirmation Messages: It takes time (to heal); Vulnerabilities; Speak; Soft-Spoken; Wanting to Hide Away; Taper - Maria BC; Strong-will; Loneliness; “Obscure”(?); Not wanting to be found; Running away as a coping mechanism; Sweet songs; Singing; Distance; Solitude; Spending time with animals; Lucky Star; Lucky Duck from Sixteen Wishes]

Cards: Justice; 10 of Swords; 10 of Cups ®; Strength; Star ®; 4 of Swords; 6 of Swords; 7 of wands ®; Queen of Swords

Your next friend

So this energy is kind of hard to pin down. Maybe this is yours or your next friend’s energy. They may be a past friend that drifted off? Either way this person is currently withdrawn and may want to be invisible. They may feel tired mentally and emotionally. This person might’ve lost some ambition or faith in what they’re working on? This grievance especially applies to their dreams towards a financial/material circumstance. They may have worked very hard on their goals only to find it “didn’t” pay off like they thought it would. Despite their situation they’re strong willed — they’ll find a way to get the ball rolling in their court. Yes they may have been hopeless but they still always find a way to balance it out. This may not be for everyone but they could be a coworker. They’re also very fair and balanced when it comes to their energy. They may also like the finer things in life but right now they may feel lost. This person may speak a lot. They may have a Gemini mercury/Jupiter-Mercury.

A step to connect

I get the feeling that constant and clear communication is a huge aspect in this friendship. When a problem arises it’s not you vs your friend but you and your friend vs the problem. Perhaps you two may have experienced the scarier side of confrontation/anger. I’m also getting the sense that you or this person dealt with some sort of resentment that shook your/this person's world. Overall you two may feel like things cannot be left unsaid and misunderstood. By having this clear communication everything balances and you two can get through stormy waters together. I’m also getting – even if there is a heated argument you two will feel safe because of communication and understanding both of your needs.

Friendship dynamic

Funny enough I thought of your dynamic as two captains on a pirate ship. You two work very well together, especially when it comes to goals and projects. I’m getting that one is especially good with strategy and the other executing the plans. You two may be opposites but for good reason — where one lacks the other can fill. It’s like guiding one another. Yes you two may be each other’s anchor when times get tough, but one of you can be the chain to pull them out of treacherous waters. It’s a very balanced dynamic.

Pile 2

[ Confirmation message: Pens; Specific/Particular; Stubborn; Wellness; Sun decor; “worry-wart”; Overachiever; Moon-Sun dynamic; Dark Colors; Moody; Brazil; Tropical weather; Roadtrip; Dirt road with colorful wooden signs; LGBT community; Summer Camp; Decoy-Paramore ]

Cards: 10 of Swords; Queen of Wands; 5 of Pentacles; Knight of Cups ® ; High Priestess ®; Queen of Swords; Ace of Wands; Ace of Cups; 3 of Cups; 6 of Pentacles

Your next friend

You may be meeting your next friend when they’re coming out of their shell. They might’ve hidden who they were or limited their self-expression in order to conform to their surroundings. However they somehow had a breakthrough? Or maybe they got tired of restrictions. Either way they’re embracing who they are and going on a self discovery moment. This is for a few of you, you may know this person already and noticed a difference which intrigued you. Overall I feel like this person left their true self behind only to reunite and make that bond with themselves even more stronger and brighter. Also they may be the life of the party even if they’re on the quieter side.

A step to connect

The very first thing I’m getting is: “let them come to you”. For some reason it just feels more “magical”? Besides that you may meet them through an online or in real life community. I also feel like this is a place where a lot of interactions take place. You may even be the one hosting the event and they take interest. Either way they will like the way you think and speak, how you conduct yourself when you communicate. There’s also this spark — like you just get along and your conversations bounce back to one another. This may sound a little annoying but this friend is gonna come “unannounced” like you won’t expect it cause you’re so busy with other things; hence they’ll be the one coming to you.

Friendship dynamic

Omg pile 2 this is so cute! Your friendship will be emotionally fulfilling and very balanced. Theirs an equal give and take. This also gives off a found family vibe. Like I get the feeling that (mainly) you or (maybe) this person will introduce each other to more people. There’s this feeling of expanding the friendship. This also feels like a summer (the season) dynamic. Like this friendship is so warming, eventful, fun and just overall wholesome.

Pile 3

[ Confirmation message: Cars; Wrist watch; Flaunt; High-strung; Crowd; Music Festival; Desert; Coachella; Disco; 24; Conversations about Reaching; Sleeve Tattoos; “Turnt”; 7 lives of Lea; Drinking; Party Invites; Secluded parties; Band; Secrets; Desires ]

Cards: 2 of wands ®, The Emperor ®, Strength, Page of Swords, Ace of Sword ®, King of Swords; Ace of Cups; 8 of Pentacles; Hierophant

Your next friend

Your next friend has dreams that they want to pursue but have trouble taking initiative or they aren’t in a place to take them. They give off Ismael from The Seven Lives of Lea vibe. They’re restricted by the outside world and they yearn so deeply to achieve their dreams as well as the love they deserve. This friend is very passionate and very “family/friend” oriented. They are someone who puts their all into their connection and dreams. And when they dream they include their friends as well. They give off the; if I eat we ALL eat vibe — this person has a generous heart but is not naive.

A step to connect

You may have connections or some knowledge connected to their goals. I get the feeling that you two have a bit of a different approach when it comes to goals but it’ll also help yours and their growth. You two may feed each other ideas as well as encourage them. These things may come in as a shock; let’s say you’re talking about coffee then the idea hits the two of you. It’s like an aha! Moment. Besides that you two kind of become a mentor to each other. Helping each other attain your goals by discussion. Think of things one of you didn’t ever think about and think outside of the box.

Friendship dynamic

Your friendship dynamic is very disciplined and encouraging. You both encourage each other to keep on going, to keep attaining that goal even if it’s for just a second. This dynamic is very inspiring and because you two are motivating each other it opens up an emotional bond that’s kind of new to you. It’s almost like you never experienced this type of platonic love. It’s like through being each other's motivators you became best friends? It’s like watching a sports movie and seeing the mc and coach hugging each other when they win.

[contemplatingoutlander]

JOURNALISTIC CHOICES: Telling the Truth vs. "Bothsidesism"

Ben Raderstorf does a great job in this article discussing the dilemma modern journalism has in covering a lying, dangerous authoritarian like Donald Trump, without "appearing partisan." Raderstorf argues against bothsidesism, and in favor of good journalists just simply telling the truth.

[T]he best way for independent, fact-based media to win back the audiences they’re losing to polarization is to not chase them.... But rather, to double-down on independence, objectivity, and honesty. To report reality as it is and to let the chips fall where they may. To draw a hard distinction between the normal political jockeying of healthy democracy and actions that threaten our system of government.   Back in 2022, in response to questions from reporters about how to discern between those two things, we wrote a report on how experts understand threats to democracy: The Authoritarian Playbook: How reporters can contextualize and cover authoritarian threats as distinct from politics-as-usual. 

"Modern autocrats don't crush journalism — they corrupt it." 

Raderstorf also talks about how 21st century autocrats like Viktor Orbán (who is a role model for Trump) apply pressure in subtle ways to eventually "corrupt" journalism.

These days, many autocrats don’t just smash printing presses, throw reporters in jail, and be done with it. Often they pursue a more nuanced, and more insidious, strategy.   With a combination of intimidation, coercion, and financial manipulation, they slowly corrode the independence and autonomy of the press until it ceases to be a meaningful check on power. The media still exists; it’s just an empty shell, a useful facade.   Put differently, modern autocrats don’t crush journalism — they corrupt it. 

[See more below the cut about the role of "anticipatory obedience" and the changes in leadership at CNN and The Washington Post.]

[edited]

"ANTICIPATORY OBEDIENCE": An Explanation for Why CNN and The Washington Post Changed Their Leadership

Raderstorf mentions how the two journalistic outlets that Trump targeted most vehemently as president are the two that eventually replaced their leadership--and as a result, weakened their journalistic integrity.

In an article this week in the Columbia Journalism Review, my colleagues Ian Bassin... and Maximillian Potter ... dive into several case studies. They connect troubling dots suggesting that Donald Trump deployed the Orbán strategy in his first term to greater effect than many realize. [...] In their piece, Ian and Max explore the two major instances in Trump’s first term when he attempted to wield the powers of the presidency against journalists for coverage he didn’t like. First, by threatening to block a proposed merger between CNN’s parent company, Time Warner, and AT&T. Second, by looking to raise shipping rates on Amazon, whose owner, Jeff Bezos, also owns the Washington Post.  In both cases, Trump mostly failed to carry out his threats. But… it’s also true that both CNN and the Post subsequently went through high-profile leadership shakeups at least partly in response to Trump. For CNN, this was Chris Licht’s short-lived tenure and disastrous efforts to make the network “more neutral.” For the Post, it was Bezos installing a new publisher: “Will Lewis, a former Rupert Murdoch executive who has spent most of his career in right-wing media.” [...] Timothy Snyder writes in On Tyranny that autocratic leaders often succeed simply because the media, business leaders, and civil society look ahead to possible repression and move preemptively towards self-preservation. What he calls “anticipatory obedience."

[hayatheauthor]

How To Create And Execute Unreliable Narrators

Unreliable narrators are a powerful literary device that adds complexity and intrigue to a narrative. You've likely encountered them in classic novels like "Lolita" or contemporary hits like "Gone Girl." These narrators keep readers guessing, challenge perceptions, and add layers of depth to the story.

Throughout this blog, we'll explore the ins and outs of unreliable narrators, from what they are to how to effectively craft and utilize them in your writing. 

Understanding Unreliable Narration

Unreliable narrators come in various forms, each with its unique charm. To effectively create and execute them, it's essential to understand the different types. Here are the primary categories:

Intentionally Deceptive Narrators: These narrators consciously lie, mislead, or omit vital information to manipulate the reader's perception. They have a hidden agenda, and their unreliability is deliberate. Think of Amy Dunne from "Gone Girl."

Psychologically Unstable Narrators: These characters suffer from mental or emotional issues that affect their judgment and perception of reality. Their unreliability stems from their mental state, like the protagonist in "The Catcher in the Rye."

Naively Mistaken Narrators: These narrators are innocent and well-intentioned but misinterpret events or are too young to fully grasp what's happening. Scout Finch from "To Kill a Mockingbird" is a classic example.

The impact of an unreliable narrator is profound. It challenges readers to question, analyze, and engage more actively with the text. It adds complexity to the storytelling and often leads to a more profound understanding of character motivations and the narrative's depth.

Creating Unreliable Narrators

Now that we've laid the groundwork for understanding unreliable narrators, let's dive into the process of crafting them. To create an unreliable narrator, you'll need to focus on character development and the careful use of narrative techniques.

Character Development:

Establish Background: Begin by creating a detailed background for your narrator. Understand their history, experiences, and personal motivations. Knowing your character inside and out will help you determine what might lead them to unreliability.

Motivation for Unreliability: Consider what drives your narrator to be unreliable. It could be a desire to hide a dark secret, protect someone, or gain an advantage. Their motivation will shape the way they deceive or misconstrue events.

Techniques for Revealing Unreliability:

Inconsistent Narration: Use shifts in perspective, varying accounts of events, or contradictory statements to signal unreliability. Readers should sense that something isn't quite right.

Unreliable Dialogue: Craft dialogues in which other characters react to or question the narrator's claims. This can help reveal the narrator's unreliability indirectly.

Internal Monologue: Offer glimpses into the narrator's thoughts and emotions, revealing their true intentions or doubts about their version of events.

Creating an unreliable narrator is a balance of providing subtle clues to the reader without giving away the full truth too soon. It's like constructing an intricate puzzle with pieces that fit together in unexpected ways.

Executing Unreliable Narration

Crafting an unreliable narrator is just the beginning; executing their character effectively is where the magic happens. Let's dive into strategies for maintaining suspense and intrigue surrounding your narrator's unreliability:

Strategies for Execution:

Gradual Revelation: Don't reveal the extent of your narrator's unreliability too early. Gradually introduce inconsistencies, contradictions, or hints that make readers question the narrator's perspective.

Conflicting Perspectives: Present events from other characters' viewpoints to show the disparity between what the narrator believes and what's happening in reality.

Trust vs. Doubt: Create a delicate balance between moments where readers may believe the narrator and moments that cast doubt. This ebb and flow keeps the suspense alive.

Unreliable Perception: Use the narrator's own perceptions and biases to create an alternative version of reality. Their interpretation of events can be vastly different from the objective truth.

Examples from Literature:

To gain insights into executing unreliable narration effectively, let's turn to literature for inspiration:

"The Girl on the Train" by Paula Hawkins: This psychological thriller employs multiple unreliable narrators to keep readers guessing about the true events of the story.

"Fight Club" by Chuck Palahniuk: The protagonist's unreliability is brilliantly executed as his split personality blurs the line between reality and delusion.

By carefully implementing these strategies and drawing inspiration from well-executed examples, you can keep your readers engaged and invested in deciphering the truth behind your narrator's unreliability.

The Reader's Experience

The beauty of unreliable narration lies in the reader's role in uncovering the truth. Readers become detectives, piecing together the puzzle of the narrative, challenging their assumptions, and engaging in critical thinking. Here's how the reader's experience plays a vital role:

Critical Interpretation: Unreliable narrators encourage readers to question everything they're told. It invites them to look for subtle clues, contradictions, and alternative explanations.

Reader Engagement: Readers actively engage with the story, forming their theories and interpretations. This interactive element can lead to lively discussions and debates among readers.

Psychological Connection: An unreliable narrator often reveals truths about human nature, memory, and perspective. Readers connect with the character's psychological journey on a deeper level.

Personal Discovery: The "aha" moment when the reader unravels the narrator's unreliability is a unique and rewarding experience.

The reader's experience is a fundamental part of crafting an unreliable narrator. It adds depth to your storytelling and encourages readers to become active participants in the narrative.

Common Pitfalls and How to Avoid Them

Crafting an unreliable narrator can be a thrilling creative endeavour, but it's not without its challenges. Here are some common pitfalls to be aware of:

Overuse of Unreliable Narrators: Using unreliable narrators in every story can become predictable. It's essential to employ them when the story genuinely benefits from the unreliable perspective.

Inconsistent Characterization: Be consistent with the narrator's unreliability. Avoid having them switch between deception and clarity without reason. Readers should sense a pattern to their unreliability.

Frustrating Readers: While keeping readers engaged is good, frustrating them to the point of losing interest is not. Balance the revelation of truth and deception effectively.

Overly Complex Narration: Unreliable narration can make the story more intricate, but don't make it overly complex to the point where it becomes confusing.

Revealing Unreliability Too Late: Waiting too long to reveal the narrator's unreliability can lead to reader disengagement. Provide enough hints to maintain their curiosity.

To avoid these pitfalls, remember that the key to successful unreliable narration is balance. Give your readers the right amount of information, trust, and doubt to keep them engaged without overwhelming them.

Now that we've explored the nuances of creating and executing unreliable narrators and learned how to avoid common pitfalls, you're well-equipped to embark on your own literary journey using this fascinating narrative technique.

I hope this blog on How To Create And Execute Unreliable Narrators will help you in your writing journey. Be sure to comment any tips of your own to help your fellow authors prosper, and follow my blog for new blog updates every Monday and Thursday.  

Looking For More Writing Tips And Tricks? 

Are you an author looking for writing tips and tricks to better your manuscript? Or do you want to learn about how to get a literary agent, get published and properly market your book? Consider checking out the rest of Haya’s book blog where I post writing and publishing tips for authors every Monday and Thursday! And don’t forget to head over to my TikTok and Instagram profiles @hayatheauthor to learn more about my WIP and writing journey! 

[fttwts]

im so curious but if youre willing...what are you thoughts on sting's character? :>

You’ve just opened Pandora’s box by asking me this.

Thanks anon, you’ve just given me an excuse to rant.

I think at this point everyone’s aware of how amazing Sting’s character is. At least I hope so.

My issue is that this great and full of potential character is belittled and poorly developed by his own author.

Everything started going downhill after the Natsu VS Sting & Rogue fight during the GMG, honestly. I hope everyone can agree that fight was one of the worst, if not the worst fight of the whole series.

Sting is a complex character with emotional and psychological depth but no one seems to give a fuck about that and the fandom (and Mashima himself, honestly) just keeps portraying him as the over-friendly idiot Guild Master who cannot say anything without dickriding Natsu every two sentences.

But the point is, Sting literally is the better version of Natsu. He cares deeply for his guild mates and friends, he’s fun and sure of himself but not in the obnoxious way Natsu is, he expresses his insecurities and doubts about not being good enough as Master despite him being very confident in his abilities, and that just shows you how much more psychologically developed he is.

And all of that goes to waste, because every time Mashima writes a good character he doesn’t know what the fuck to do with them.

Sting’s magic is holy, divine, centered around light and purity, yet it gets downplayed as “oh yeah he can eat white things lol” ???

“White Dragon Slayer” does not make any fucking sense bro. Why not just make him the Holy Dragon Slayer? Was that so hard?

I hate how he’s thought of as ‘dumb’ by the majority of the fandom. He’s not fucking dumb. He’s smart and capable. His strategy on the last day of the GMG was solid and he could’ve easily won the games but of course Fairy Tail has to always get everything.

And apparently everyone keeps forgetting that he fucking killed a man?? He literally murdered Jiemma. Something that has rarely happened in this manga. He took his place as Guild Master by executing him and putting an end to his tyranny. Something as deep and impactful as that gets completely shadowed in order to make Fairy Tail look good. It’s not fair.

And the fact that he seemed so chill about Future Rogue murdering him? I think that should’ve at least created some tension between him and Rogue because it’s just normal. Instead, Sting’s thoughts about that whole situation aren’t even addressed. Which is infuriating, considering that he’s a major part of it.

Sometimes I wish I could just rewrite this whole fucking manga myself.

My point is, I love Sting. I love his depth, his magic, his complexity. But I fucking hate how he gets downplayed over and over again by Mashima and the fandom in order to make more boring and shallow characters shine.

[sinlillith]

paradox of human self ; demon.

a short analysis of sebastian and ciels relationship and how it will forever remain tragic

❛ ━━━━━━･❪ ❁ ❫ ･━━━━━━ ❜

the dichotomy of master vs servant.

upon the surface, the relationship between sebastian michaelis and ciel phantomhive is anchored by the seemingly simple terms of their contract: ciel , the imperious master, and sebastian, the demonic butler bound by an infernal pact, destined to serve until the moment he claims ciel's soul. yet, beneath this veneer of straightforward servitude lies a labyrinth of complexity, where the roles of master and servant are ceaselessly redefined by their actions and perceptions. though ciel appears to wield absolute authority, commanding sebastian with the regal air of a noble, the true balance of power is an enigma. sebastian, with his preternatural abilities and centuries of wisdom, often emerges as the invisible puppeteer, subtly guiding ciels decisions, orchestrating events from the shadows with a deftness that belies his role as a mere servant.

•·················•·················•

sebastians servitude is cloaked in the flawless guise of obedience, yet it is infused with a sardonic undertone, a quiet mockery that lingers just beneath the surface. his deference is executed with such impeccable precision that it becomes almost theatrical, as if he is not merely serving, but performing a role in an elaborate play—one where the lines between hunter and prey, master and servant, are perpetually shifting in a sophisticated game of power and manipulation.

trauma as the binding force

as we know, ciels tragic past, a tale steeped in horror and loss, left him emotionally shattered, forging in him a profound distrust of the world and a deep-seated need for control. the brutal and grotesque murder of his parents and the unspeakable rituals he endured have scarred him beyond repair, and it is in this fragile state that sebastian appears— a dark savior, both a symbol of ciel's newfound power and a dark, grim reminder of his vulnerability.

sebastian represents a paradox, serving as both ciels protector and his doom, a guardian whose ultimate goal is the consumption of the very soul he is sworn to safeguard.

the duality weaves a rich and intricate tapestry of emotion within ciel. the dependence ciel clings onto with sebastian is undeniable, though he would never openly admit it. sebastian himself is not only a shield against the physical dangers that beset him but also a psychological anchor in a world that has betrayed him at every turn. and yet, this reliance is poisoned by the knowledge that sebastians loyalty is a mere transaction, his aid motivated by the dark promise of a future feast. ciel's cold, often ruthless demeanor becomes a fortress, a way to assert control over the one being he knows he can never truly trust—a defensive mechanism against the ever-present reality that his protector is also his predator.

affection or manipulation of one's vulnerable state?

to put so simply, the relationship between Sebastian and ciel is further complicated by the ambiguous line between genuine affection and calculated manipulation. as we know, sebastian's actions—his meticulous care of ciel, his subtle guidance, and his seemingly tender moments of concern—could be seen as evidence of a deeper, almost paternal affection. but don't be fooled, as these gestures are equally suggestive of a carefully constructed strategy, ensuring that ciel remains not just alive, but thriving, until the time is right for sebastian to claim his prize.

in my opinion, ciel may harbor a twisted form of affection for sebastian, even though it is an affection born of necessity and steeped in dependency. he is acutely aware that sebastian is not human, that his motivations are guided by a morality that is utterly alien to him. despite this, there are moments when ciel's interactions with sebastian slip into a more personal, less guarded space—moments that hint at a longing for sebastian to be something more than just a demon bound by contract, perhaps even something akin to a companion or a confidant, albeit one he can never truly trust.

hallucinations of control

to view their relationship through the lens of illusion is to grasp at the very heart of its complexity—specifically, the illusion of control. both sebastian and ciel operate under the belief that they are the ones holding the reins of their destiny. ciel, with his aristocratic authority and unyielding will, sees himself as the master, the one who commands and dictates. meanwhile, sebastian, with his boundless power and infinite patience, views ciel as a mere amusement, a transient diversion in the vastness of his eternal existence.

yet neither is entirely correct.

sebastians strict adherence to the contract grants ciel a superficial sense of control, but every action the demon takes is calculated, part of a grander design that serves his own ends. conversely, sebastian's perceived dominion over ciel's fate is not as absolute as it appears; the longer he serves, the more he becomes enmeshed in the intricate web of ciel's world—a world governed by the capriciousness of human emotion, attachment, and complexity, elements that even a demon of sebastian's caliber cannot easily navigate.

the conclusion : a relationship beyond definition.

in the end, the relationship between sebastian michaelis and ciel phantomhive defies simple categorization, existing in a realm beyond the conventional definitions of master and servant. it is a constant interplay of dominance and submission, where both characters are simultaneously in control and at the mercy of the other. their bond is one of mutual exploitation, yet beneath the surface, there lies the suggestion of something deeper, a connection that transcends the contractual and ventures into the realm of the ineffable.

though sebastian is destined to claim ciel's soul, until that fateful moment arrives, they are locked in an intricate dance of power, affection, and manipulation—a dance that blurs the boundaries between master and servant, predator and prey. their relationship thrives in the shadows of ambiguity, where the threads of power and dependence intertwine, the complex and intimate tapestry that challenges the very essence of their bond, making it something far richer and more profound than either of them could have anticipated.

because that's all it is, and ever will be.

let me know ur thoughts on this :)

[spaceorphan18]

More thoughts on XM97 - because of course I have more thoughts...

Doing some more reflection, because this is what I do during hyperfixation, apparently.

It helps to write things down and get them out of my head, I suppose. Honestly, it'll be nice to get past the last episode, because then I can compartmentalize and just push the thing away until season 2 (if the finale gives me any reason to want to come back).

DeMayo went on another tweeting spree (I just keep an eye on these things because I get curious) and during this particular bout, I feel like I've got somethings clarified. And I think my own personal frustrations come down to - the ideas of writing and creating vs fan expectations.

Overall, I do think that XM97 is a solidly good (or at least entertaining) show. The animation is good. The voice cast is good. And the ideas they are using, in theory, are more adult and mature and nuanced than the original kids' show ever was (which, I'll give TAS some credit - dug deeper a lot of times when most kids' cartoons of the time didn't).

One of the biggest issues for me has been execution. First of all, the show is way too short for the amount they're trying to pack in here. It almost feels like they wanted to do everything on their wishlist because if they didn't, they wouldn't get the chance to do it. And it feels, muddied... They really needed a full season to unpack a lot of this.

The thing about Rogue and Gambit's story.... I get the 'kill your darlings' strategy of writing. In fact, I agree that good stories are messy and have conflict and you should always put your heroes through the worst. I feel like there was a better way to do the story (I believe) they're telling.

I don't think Magneto needed to be a part of it at all, and the triangle just feels... forced in a lot of ways. I understand that they went there to give Remy some heartbreak along the way, but I truly believe the two of them, with their own issues, and the two of them being in an undefined relationship with complicated issues over touch -- still could have resulted in compelling TV, and still would kept the devastation of Gambit's death.

Episode 5 is still my favorite, and despite my distaste for the whole Magneto side of it, I think the writing there was top notch, and still the best this show has been. I get, though, that they wanted to have Rogue and Gambit "break up" for the impact to hit harder, for Rogue to feel much more guilt once he died, for that last line to be even more heartbreaking.

So, the easiest route was to add the Magneto of it all. Episode 5 is brilliant in a vacuum. But in greater context there are other ways you can get there. And, no, Magneto wasn't ultimately needed. Rogue still could have had regrets, there still could have been heartbreak, there are always things you just don't say before a tragedy.

The thing about it, had they set this up correctly, and in a way that was more satisfying and didn't involve third parties? You may have gotten way more of the Rogue and Gambit fans on board. (And I'll get to the fan side of this in a second.)

See, TAS flirted with Rogue and Gambit's romance but never pushed it too far. Not only was it a kids' show, but Rogue probably would have never had her powers under control and it just was never going to go that far. Meanwhile, the comics have moved way beyond where TAS was. Rogue and Gambit's relationship has evolved a lot in thirty years - way past the tragedy, past the will-they/won't-they, past the break ups and reunions, and in the comics, Rogue and Gambit are a relatively healthy (for a comic book couple) couple of best friends and old marrieds. They're story is so far beyond what they once were that going back to TAS feels... odd.

So, the show starting in this place where TAS left off feels awkward in a lot of ways. There's a lot of expectations layered onto this show, but the show -- being limited by external factors, can't really handle all of it.

I don't think the first few episodes of the show did enough to show the sheer strength of Rogue and Gambit's connection and relationship. And part of that was time and part of that is because it's a sequel to a show set thirty years ago and part of it is time compression and part of it is the writing wanting to leave some vague open-endedness to the relationship so that Episode 5 could work.

And thus Episode 5 feels a bit jarring. It's way more a mature script. There's much more going on in those relationships that we haven't seen set up. Not really. And it's almost relying too much on - things that were mildly set up in the original and the heavy history of the comics.

Which leads me to what has happened afterwards. I think that in a world sans the Magneto of it all, you still get a Rogue who is absolutely heartbroken over the loss of her love. She would still go dark. She would still seek vengeance. She would still wrap herself up in that trench coat and wreck havoc on everyone until she ultimately succumbed to her own grief and eventually dealt with it in one way or the other.

(The part that I just don't agree with -- besides giving up the trench coat, which I know is symbolic in gesture -- is her running off to play Colossus in Fatal Attractions. Which, again, is why they did add the Magneto of it all, but I'm digressing.)

Anyway, this leads me to the fan expectations, and why it does feel so raw for a lot of us. Rogue and Gambit have never really had their time to shine. The films are full of mischaracterizations and limited (very limited) appearances. The other TV shows never let the relationship shine. And even in the comics it felt like forever for the X-Office to take them seriously.

This TV show felt like an opportunity to start fresh. To be excited about something. To get behind the characters we love and celebrate them. We can still break their hearts. We can still even kill them off. But give us a reason to care!

But instead of building that relationship with us fans, it went a different route. And now we feel heartbroken and angry, instead of just heartbroken. Gambit fans - who get shit on so often - get one bright of moment of glory before a death that feels somewhat hollow when you start to realize it was in purpose of someone else's story. Rogue fans - have the internet hating her with a passion. It feels like once again - being set up only to fail.

It feels hurtful, even when, I truly believe, that was not the writers' intentions. Make your characters go through hell - yes, but you have to have your audience on your side to make it impactful.

I don't really know where the show goes from here. There's either going to be closure or a cliffhanger. What I'd really like, though, is some sort of hope.

Because I get real life sucks. And I get that we often reflect in our fiction that it does. But we're talking about a cartoon about superheroes. We're talking about escapism at its finest. I love complicated and messy and nuanced and sometimes even heartbreaking stories -- but I also want something that makes it all worth while.

There is still one episode left, and I'm curious as to where it's going to go. Because at the end of the day, X-Men has always been about hope, too.

[lewisinho]

✨lewis hamilton’s most underrated mclaren drives ✨

(with special dedication to: @l8tof1 & @sirlew44)

did a lil’ rewatch over the break and wanted to do a post about some of lewis’ most underrated wins/drives in f1 over the years; i realise that there are a lot of them and so i decided to split and do a post for his mclaren days and another one for his mercedes years.

a few words of introduction:

the thing about watching mclaren lewis and why it’s just such a privilege, is that this boy is special; babyfaced rookie picked from the crèche by ron dennis and who was told he’d be half a second off nando’s pace and that he shouldn’t worry, wasn’t just hungry he had something to prove, he will nawt be a second driver even if it’s to the reigning 2x world champion who has just come from beating THE michael schumacher, basically babes wasn’t having it and he put the fear of god into these drivers…and ron dennis (say what you want about that that man, but you can’t deny, he really girlbossed that one thing; giving lewis a car that was capable of winning, was a choice™️, but a very good one and we thank him for that); mclaren lewis is special because he’s hungry, he’s raw and fast, very fast, sometimes too fast and too reckless, but he’s learning, and when you watch these races and these seasons you see him learn and grow and change; all these seasons are different, but those mclaren years are just as important for the lore and who he is now and to witness the evolution of both the driver and the man is truly special; so this small collection of drives is a bit of a crème-de-la-crème if you will of those races that i think aren’t as mentioned in the pantheon of great lewis drives as much as i think they should, so let us begin:

fuji 2007 🇯🇵 aka the first rain dance of og bald baby mclazza rookie lewis, stunting on hoes since ‘07

people keep talking about silvo 2008 (and rightly so) but this one is a bit of a forgotten wet-weather masterpiece; talk about artistic sublimity, this is the racing sublimity of one 22-year-old rookie lewis hamilton; baby lewis was holding off his reigning world champion of a teammate absolutely majestically in torrential conditions, and executing the race and the restarts to perfection (race is also chaos personified so brilliant to rewatch). baby lew became a bit of a headache for the establishment™️ and one fernando alonso and it’s fun to watch.

germany 2008 🇩🇪aka mclaren pitwall terrorising baby lewis (the horrors started way before merc)

a race overshadowed by his brilliance in silverstone two weeks earlier (suffering from success and having consecutive masterclasses amirite), but it’s nearly as brilliant; this is lewis vs massa + the mclaren pitwall deciding to gamble with some fuckass strategy and leaving lewis out for a safety car restart, lewis having to pull massive gaps, driving the wheels of that mp4-23 and then overtake from p5 to take the lead; some brilliant overtakes and lewis displaying incredible race pace; this drive is the lewis hamilton special that massa had no answer for 

singapore 2009 🇸🇬 aka lewis decided to serve cunt

to truly appreciate the sheer extent of said cunt serving, you have to watch both quali and the race; mind you, the 2009 mclaren was nawt it, the post-updates mp4-24 was still dogshit compared to lil’ sister mp4-23 and very much an underperforming and unreliable shitbox; the updates also came too late for lewis to put up a proper championship fight; however this did not stop from lewis from putting 2 whole ass seconds on his teammate, take pole ahead of the red bulls and the brawns and then dominate the race, with brilliant tyre management and race pace (40 secs ahead of kova, nearly 10 secs ahead of timo glock in p2 in a truly fuckass mclaren)

brazil 2009 🇧🇷 aka the road to legend is long and twisted and the brazilian racing gods clearly have a plan 

p17 to p3; and no you may think this is one of those checo-esque recovery drives where you qualify terribly but have a rocketship so you overtake cars easily and finish the race in a position you should have started the race in; well, the mp4-24 actually qualified terribly in the wet (even post-upgrades, it was also set up for the dry) and was still very much mid on a sunday; lewis however babes was on yet another mission, overtaking cars *mwah* like please watch it; the brazilian racing gods truly picked a chosen one and his name is lewis hamilton i do not make the rules; his lil’ fist punching the air when he crossed the line says everything you need to know about what that drive meant to lewis (also like that boy was starving for a win around interlagos and to think the first one came only in 2016 jeez) the racing gods really wanted to make that man suffer biblically in true chosen one fashion before offering any type of redemption; you see interlagos and lewis is a special narrative, it’s about a boy achieving immortality in his hero’s homeland, and it goes all the way from 2007 to 2021 and beyond, and there are chapters in between, like 2009, that are worth mentioning, because the man is desperate for a win here and he’s getting so so close, hungry mclaren lewis you mean so much to me, he would eat anything and anyone and well,,,interlagos is lewis’ yearning personified

china 2011 🇨🇳 aka he WILL have his win and he will bite and claw his way towards it 

hungry lewis starving for a win with a car that is half-decent is dangerous; this race is *chefs kiss* oh my god, please watch it, baby mclaren lewis on a mission, babes after the race said he doesn’t remember when he last won a race, like wdym it’s only been like 8 months my guy (we’re on two years now); drama starts before the race even begins, because he’s got a fuel problem and is literally mere seconds away from a pit-lane start but no that team and that man were on a mission: three-stopper, overtaking both seb and jb, terrifying race pace! he also gets a bit emotional in the cool down room and hugs seb 🥹

germany 2011 🇩🇪 aka vintage lewis special 

another one where you have to watch both quali and the race, because baby goat was pulling quali laps out of his ass (imo probably one of his best non pole laps): he split the bulls and was only half a tenth from pole (also 1.2 secs ahead of his teammate); bear in mind we’re in the domination era of kinky kylie (rb-7) which took 12/19 victories and all but one pole position, which interestingly albeit unsurprisingly went to lewis in korea): that man was putting his entire lewpussy into those quali laps; now the race, ladies and gents (gn) this is where it gets tasty and spicy and if you want a three-car fight for the win this delivers on all fronts and provides lewis at his very best this is it;

a small (but important) tangent: i do find it slightly disappointing when people overlook lewis’ 2011 season entirely because of his getting outscored by jb; yes, it wasn’t a clean season from him, he made a lot of errors in the races and it’s quite a frustrating watch in general as a lewis fan, but he also had some absolutely brilliant races (i also can’t help but point out a similar trend that has happened with his 2022 season);

but anyway, this is lewis vs webber vs fernando, mclaren vs red bull vs ferrari for the entire race; overcut and undercut strategies happening simultaneously, lewis’ racecraft and defence on webber!!!!, and featuring a great overtake on nando!

+ honourable mention: australia 2009 🇦🇺 aka icarus flew too close to the sun 

you’re prolly wondering why i’m including australia 2009, which is rather infamously known for ‘liegate’; but lewis’ (and mclaren’s) post-race shenanigans overshadow an actually brilliant drive from p18 to 4th (momentarily 3rd bc trulli got DSQ’d which was then reversed lmao; it’s a bit all over the place) in an actually dogshit mclaren that had no right fighting even for top 5; this is pre-upgrades wheelbarrow mp4-24, this is the stuff that makes the w13 look like a prima ballerina, well guess what lewis was the prima ballerina and was putting that mclaren in positions it really did not deserve to even bear witness to; and then there was a bit of a kerfuffle at the fia office (please read up on liegate it’s acc really funny, mclaren spectacularly shooting themselves in the foot 🙄), someone got fired, lewis disqualified, but oh well, shits and giggles innit (hindsight's a wonderful thing)

hope you enjoyed and i also hope this provided some inspiration for a rewatch :) 💜🏎️

[coffeeandacig]

HUGE M*A*S*H NEWS!

Direct of the MASH Matters Facebook Page

M*A*S*H: THE COMEDY THAT CHANGED TELEVISION, AN ALL-NEW TWO-HOUR CELEBRATION OF TELEVISION’S MOST INFLUENTIAL SITCOM

NEW ORIGINAL SPECIAL AIRS MONDAY, JANUARY 1, ON FOX

Featuring New Interviews with Cast Members Alan Alda, Gary Burghoff,

William Christopher, Jamie Farr, Mike Farrell, Wayne Rogers and Loretta Swit,

as well as Original Series Executive Producers Gene Reynolds and Burt Metcalfe

Plus Rarely-Seen Archival Interviews with Writer/Producer Larry Gelbart,

and Stars Larry Linville, Harry Morgan, McLean Stevenson and David Ogden Stiers

In the all-new two-hour special, M*A*S*H: The Comedy That Changed Television, premiering Monday, January 1 (8:00-10:00 PM ET/PT) on FOX, join the men and women who made M*A*S*H as they celebrate one of the most beloved, enduringly popular, often quoted and influential comedies ever created.

As the definitive look at the 14-time Emmy-winning television classic, the special centers around new interviews with original cast members Alan Alda (Capt. Benjamin Franklin "Hawkeye" Pierce), Gary Burghoff (Cpl. Walter "Radar" O'Reilly), William Christopher (Father Francis Mulcahy), Jamie Farr (Cpl./Sgt. Maxwell Q. "Max" Klinger), Mike Farrell (Capt. B.J. Hunnicutt), Wayne Rogers (Capt. "Trapper" John McIntyre) and Loretta Swit (Maj. Margaret "Hot Lips" Houlihan) and series executive producers Gene Reynolds and Burt Metcalfe. In these intimate, highly personal remembrances, the creation and evolution of the show’s iconic characters are revealed, alongside rare and never-before-seen behind-the-scenes footage, photos and stories.

Writer/producer Larry Gelbart, as well as additional series stars Larry Linville (Maj. Frank Burns), Harry Morgan (Col. Sherman T. Potter), McLean Stevenson (Lt. Col. Henry Blake) and David Ogden Stiers (Maj. Charles Emerson Winchester III) are remembered through a vibrant collection of clips from the series as well as in rarely-seen archival interviews. With unique experiences, observations and memories from 11 seasons of M*A*S*H, this special will make audiences laugh, touch their heartstrings, and leave them on a nostalgic high while celebrating the sustained brilliance of the iconic sitcom.

“M*A*S*H is not only a great television series, it is a cultural phenomenon. It has made multiple generations of viewers laugh, cry and think, often in the same episode,” said Executive Producers John Scheinfeld and Andy Kaplan. “We are excited to team with FOX to create this unprecedented window into an innovative television classic.”

"M*A*S*H is among the most iconic sitcoms in the annals of television history. It's a timeless show that comedically captures the 4077th medical corps and how they managed to maintain their sanity while saving lives on the front lines of the Korean War,” said Dan Harrison, EVP, Program Planning & Content Strategy, FOX Entertainment. “Larry Gelbart, Gene Reynolds and Burt Metcalfe brought this incredible comedy to life thanks to their ensemble cast led by the incomparable Alan Alda. FOX is proud to celebrate the landmark achievements of one of the best comedies ever created."

The M*A*S*H two-and-a-half-hour series finale that first aired on CBS in 1983 remains the highest rated telecast in television history, delivering an incredible 77 audience share and 60.2 rating. To-date, the show has never left the air, continuously running in syndication, on basic cable and now streaming on Hulu. The series was produced by 20th Television.

M*A*S*H: The Comedy That Changed Television is directed by John Scheinfeld (Reinventing Elvis: The ’68 Comeback, The U.S. vs. John Lennon and What The Hell Happened To Blood, Sweat & Tears?) with Scheinfeld and Andy Kaplan as Executive Producers.

Viewers can watch M*A*S*H: The Comedy That Changed Television next day on Hulu, Fox.com, On Demand and FOX Entertainment’s streaming platform, Tubi. On Demand is available for customers of Cox Contour TV, DIRECTV, DISH, fuboTV, Hulu + Live TV, Optimum, Spectrum, Verizon FiOS, XFINITY, YouTube TV and many more.

[gremlinaristocrat]

Overthinking Sylvie’s Strategy

So, I know the Gio&Molly vs Sylvie fight in Ep2 was mostly about getting the protagonists to show off their personalities and powers . . . but I think if you read (way too far) into the strategy Sylvester uses it tells you a surprising amount about him.

Start at the start. Sylvie overhears our heroes talking about how they’re villains. Instead of sneak attacking them while he has the drop on them, he starts a dialog, to confirm they’re actually bad guys (and maybe to satisfy his own desire for drama and/or indulge in his sense of invulnerability). Gio responds by confirming he’s a criminal, calling Sylvie a kid and initiating combat.

It’s kind of overshadowed by what he does later in the fight, but the doc is pretty reasonable early on; I get the feeling he’d have been even more willing to talk things out if dealing with Indus’ stupidity and Mera’s manipulation hadn’t shortened his already-short fuse and made him Done with Trying To Talk To People.

Sylvie’s first move is to use sleep pollen like he did with Indus earlier; unlike all his other attacks, he doesn’t call its name when he uses it, probably to minimize the chances that his targets will figure out what it does in time to stop it. This is a 10/10 opener, with the potential to harmlessly incapacitate enemies and end fights before they start.

When that fails thanks to Molly’s quick thinking and Gio’s creativity, he follows it up with Counting Sheep. This is another solid decision, and unlike the last one, it actually works out for him: his minions swiftly swarm and overwhelm his opponents.

Pictured: Flawless Victory.

Note that – as far as I can tell – Sylvie has basically won at this point. Molly and Giovanni have no way to stop the sheep before they nibble and poof them into unconsciousness; all he has to do is stay the course.

And then our boy screws up. He banishes his own army – or maybe incinerates them, the animation isn’t clear on that point – in order to confront a twelve-year-old girl with her worst nightmare, while having no idea what that nightmare is or how he’d be able to use it.

He also picks this point to sacrifice his vantage point, achieving no obvious gain. I don’t think Jello did this on purpose, but it fits very well that Sylvie literally gives up the high ground for no reason – while forcing his opponents onto a different patch of high ground – at the same time he’s metaphorically doing that.

Let me psychoanalyze the psychoanalyst: what the hell is the good doctor thinking when he unleashes (almost literal!) hell on the adorable cosmic brownie? What’s going through his head when he passes up sure victory for the chance to re-traumatize a child?

Well, it’s possible that Counting Sheep drains stamina faster than it appears to (though he doesn’t seem winded after using it). It’s also possible that he’s worried about one of them using ranged attacks on him, and feels the need to end the fight ASAP. The magic system in EE is intentionally kind of loose and vibes-y, so there’s an endless list of possible excuses.

That said, I think the most likely answer to “what was he thinking?” is “absolutely nothing”. This whole thing looks like a (legitimately!) clever synergy-exploiting strategy he thought up a while back, rarely or never got to see in action, and is just unreflectively executing on even though a more humane approach would have straight-up let him win.

I didn’t notice this until the Youtube comments pointed it out, but I think it’s neat Gio never calls Sylvie a kid again after he finds out the doc has issues with it (except that one time he does it to signal that he’s putting on a show for the cops). He’ll mock you mercilessly, and maybe steal your stuff, but our glorious pink-haired overlord will not use That Word You Dislike to describe you once he knows you dislike it.

Anyway, back to the fight. Sylvie tries to negotiate with his prisoners in the Flame Vortex, since apparently his Psychology PhD never taught him that confronting people with their literal worst nightmares might make them unreasonable and/or push them to extremes. Gio escapes with Molly; Sylvie doubles down on the Nightmare Fuel; Gio responds by thwacking a ball of yarn at him.

This is another point at which – again, as far as I can tell – Sylvie has basically won. The fact that Giovanni resorted to such weird and desperate measures suggests Gio & Molly don’t have any better ways to attack or escape from their current position. All the alleged genius needs to do is take cover behind an exhibit and let his summons finish the criminals. Instead, he cancels his own winning move (again!) so he can summon Dr Beefton, escalating (again!!) in a way that doesn’t actually help him (again!!!).

Like, seriously, what was the plan here? There are a lot of words you could use to accurately describe Sylvie’s colleague/alter-ego/fursona, but ‘agile’ and ‘nimble’ aren’t among them; if Gio and Molly had decided to hold onto their high ground on general principles after Sylvie (apparently) fainted, or if they’d sprinted off in different directions instead of trying to stand their ground, what would he have done then?

From here on out, the beef revolves around Beefton. This tells us very little about Sylvie, except maybe in terms of how much frustration he’s repressing, and what being powerful means to him.

Pictured: What Peak Performance Looks Like

So, what does all this say about Sylvie? He’s clever, willing to hear people out, and merciful when he can get away with it; however, he makes dumb or pointlessly cruel decisions under pressure, and follows a prescribed plan instead of adapting to the enemy; will escalate when surprised or provoked, even when it’s counterproductive, choosing moves which feel strong instead of ones which make sense. In summary, he’s the world’s smartest dumbass, and (at least in this part of the story) acts more like a stereotypical cop than the actual cop character.

He’s getting better quickly, though. I think a lot of this is symptomatic of him being new-ish to fights, and especially new to fights where people get hurt and/or which last more than one move . . .

Yeah, it shows, and not in a good way.

. . . since he gets more flexible and responsive when fighting Mera . . .

Pictured: Character Growth

. . . though, uh, apparently not enough for him to realize that he could demoralize her and/or broker a truce by offering to remove her Epithet with the amulet if he wins.

Out-reasoned by the tweenager; that’s embarrassing.

[paddockanalysis]

🏆 2024 - Fourth Time's the Charm

Main post! 2020 2021 2022 2023

By 2024, Max Verstappen had firmly established himself as the benchmark in Formula 1, consistently outperforming his rivals and teammates. The season reflected Red Bull Racing’s continued excellence with the RB20, an evolution of the team’s already dominant platform. Let’s break down Verstappen’s success and its context in the wider competition.

Team Comparisons

Red Bull (Verstappen vs. Pérez) Verstappen’s superior adaptability to the RB20 was evident. While Sergio Pérez had moments of brilliance, his inability to match Verstappen’s consistency—particularly on high-speed circuits—left him as a supporting player rather than a challenger. Verstappen extracted peak performance from the RB20 in all conditions, benefiting from its improved aerodynamics and unmatched rear stability.

McLaren McLaren emerged as Red Bull’s closest competitor, thanks to major mid-season updates to the MCL60 that improved its cornering speed and tire degradation. Lando Norris displayed remarkable pace, particularly at the British and Singapore GPs, where his high-pressure battles with Verstappen proved thrilling. However, McLaren’s car lacked the versatility of the RB20, making them competitive only on certain tracks.

Ferrari Ferrari began the season with high hopes, but the SF-24 struggled with race pace and tire management, especially on high-degradation tracks. Charles Leclerc, while quick over one lap, couldn’t consistently challenge Verstappen on Sundays. Ferrari’s strategy missteps, reminiscent of past seasons, further compounded their struggles.

Mercedes Mercedes found itself grappling with an inconsistent W15. George Russell showed flashes of competitiveness, while Lewis Hamilton’s vast experience allowed him to extract results from a sub-optimal car. Despite their collective efforts, neither driver posed a serious threat to Verstappen.

Driver Comparisons and Defining Races

Saudi Arabian GP Verstappen’s victory in Jeddah demonstrated his tactical acumen and ability to withstand pressure. Facing stiff challenges from Norris and Leclerc, Verstappen’s precise defensive driving and superior race pace were critical.

British GP Lando Norris pushed Verstappen to the limit in a wheel-to-wheel battle at Silverstone. Verstappen’s ability to maintain composure under relentless pressure highlighted his mental resilience and racecraft.

Singapore GP Starting outside the top 10 due to a rare qualifying mishap, Verstappen climbed through the field to secure a podium. This race exemplified his calculated aggression and Red Bull’s race-day adaptability.

Sao Paulo Outlier

Alpine’s 2024 season exemplified the extremes of Formula 1 performance variability. Despite a largely disappointing year, the team achieved a remarkable breakthrough in one standout event—widely referred to as the “Sao Paulo outlier.” This race showcased a perfect storm of favorable conditions, from strategic brilliance to driver execution, allowing Alpine to capitalize on the unique circumstances. The event highlighted flaws in the Constructors' Championship structure, where a single exceptional result could disproportionately affect standings. This anomaly has reignited debates on the fairness and consistency of F1’s points system, with calls for revisions to better reflect team performance across an entire season.

Williams Fiasco

Logan Sargeant’s struggles at Williams culminated in his mid-season replacement by Franco Colapinto, an Argentine driver making history as the first from his country to compete in F1 since Gastón Mazzacane. Sargeant’s inconsistent performances, particularly in race craft and qualifying, left Williams seeking a more reliable talent. Colapinto, highly rated for his feeder series successes, brought renewed energy to the team and quickly demonstrated his potential with solid results. This transition symbolized the high-stakes nature of F1, where even slight underperformance can lead to drastic career changes.

📈 The Formula for Success

What changed after 2020? Red Bull and Verstappen identified their weaknesses and turned them into strengths. The cars became more reliable, faster, and easier to handle across varying conditions. Verstappen matured as a driver, evolving from a hot-headed talent into a calculated and relentless competitor. Perhaps most crucially, Red Bull’s strategic brilliance on the pit wall often outmanoeuvred competitors, ensuring they made the most of their opportunities. Max Verstappen’s dominance is a testament to hard work, adaptability, and the relentless pursuit of perfection. His story continues to inspire and redefine what it means to be a Formula 1 champion.

Max Verstappen’s 2024 season was the culmination of talent, engineering excellence, and strategic mastery. By continuously evolving and learning from past challenges, Verstappen and Red Bull set a new standard in modern Formula 1.

Future changes may be made to this post depending on how Qatar and AbuDhabi GPs turn out.

Please don’t copy my work🙏

[itsclydebitches]

The amount of times RWBY wants us to feel scared for the safety of characters while conveniently forgetting Aura exists is staggering. Neo attacks Ruby with the intent to kill but her Aura is still active. James almost shoots Marrow with the intent to kill but his Aura is still active. Watts hacks an Atlesian Knight to run towards Qrow, Robyn and the Ace Ops with the intent to explode but their Auras are still all active. Sure the attacks would hurt like hell but they're not gonna kill, why should I fear for their safety?

If we're being generous (I'm having a good night lol) I suppose we could read moments like James vs. Marrow as shocking not because it would be a one-shot death sentence, but because he's threatening - in general - to take Marrow down. Sort of the equivalent of an IRL person raising their fists. Is that an immediate threat to the person's life? No. Are you making it clear that you're willing to fight over this while also ambiguously leaving it open how far you're willing to take things? Yeah.

You're right though, too often RWBY relies on average action threats (a pistol, an explosion, etc.) to raise the stakes without taking into account that none of that should be very scary to our protagonists. Not until their aura breaks (and we have no sense of when that will happen, despite them all supposedly carrying Scrolls to tell them. Which I get because if RWBY introduced clear thresholds of when aura breaks they'd have to actually abide by that rule). I feel the same way about characters about to fall: Ruby hanging off the airship with Neo, Ruby hanging off the cliff while fighting Cordovin, Ruby and Oscar both going down in an airship. The very first technique we're shown is a landing strategy, so how is falling from a massive height - even while taking into account other factors like, say, snagging the farm boy who never went to Huntsmen school and might need to use you as a personal parachute - meant to be taken as a serious threat?

In this regard the void of Volume 8 is actually a GREAT idea. Suddenly your landing strategy doesn't mean a thing if you have nowhere to land. Suddenly a single hit can be a threat. Not because the hit itself would seriously hurt you, but because it might knock you off the edge. I actually love the concept of Yang falling at the start of that fight, RWBY just did such a horrific job of executing it that there's nothing left for me to enjoy. Why does Yang panic like that when, as established, a single hit from Neo is not going to kill Ruby, or even seriously hurt her? Why is she jumping in front of her sister at all when the entire POINT (supposedly) of her Volume 3+ arc was to learn fight smarter, rather than relying on emotional impulsivity? (I will seriously never be over how that moment is an exact repeat of Yang trying to save Blake and yet the show doesn't seem to realize that.) Why does only Blake have a reaction to Yang "dying"? Why didn't the whole team of talented fighters with various ranged weaponry/magic/speed make a serious attempt to catch her?

All of this isn't even taking into account how Yang, as someone who powers up via taking hits, should consistently be standing her ground like she did against the mech, knowing her aura will not only save her, but give her an advantage. She's the tank. If Yang had gotten in front of Ruby with a confident, calm expression that conveyed her understanding that Neo can't one-shot her aura like Adam once did, taking the hit both to spare Ruby's aura and power her semblance as a strategic decision (give her a smirk and a taunting line like, "Thanks for the boost" before knocking Neo back), then later falls some other way after her team tries and fails to save her... that would have been so much better imo.

Yang's lack of engagement with her semblance has been especially frustrating for me after her line about how Adam "cheats." If Yang thinks it sucks that she has to take a beating to gain an edge... show her actually taking a beating to gain an edge. You know, like the show once did. It would be so badass to watch Yang getting in the way of all the attacks against her team, toeing the line between safety and breaking her own aura, before finally EXPLODING with a massive attack she's been saving up for, making that sacrifice worth it.

(Also potentially devastating if she's taking those hits with turning the tide in mind... but then she falls before she can see her plan through.)

[solarwynd]

The amount of hit tweets I've seen gloating about "no payola, organic, no remixes no versions" mannn. Tens of thousands likes stuff

I hate to bring back whatever Jungkook did with his debut in conversations about Jimin cause it was all already been said, god, but this stuff literally, honestly makes me feel gaslighted. It's like a collective amnesia.

And now Diana Ross is apparently praising jk's SNTY, which is sure, fine. But "MJ is coming through all of the moves" -- isn't it a Bit Much? Like, of all things, I personally had thought Jungkook's MJs cosplay was downright offensive. Justin Bieber and Justin Timberlake, yeah, but Michele Jackson? When BTS did MJs hommage in dynamite it was cute and fun and attractive. But Jk's takes himself Seriously and it's just.. not good? He can dance, sure, but all his style is basically highly aggressive tick-tock-hard-edit kind of dance. He lacks fluidity, detail work, ease, all that he compensates with aggressiveness and power.

And he can sing well, sure! But.. is it Anything different in tone and execution from countless other basic male pop artist and k-pop idols?тт And there's nothing bad with any of it! -- at least till you try to mediaplay yourself as This Generation's MJ.

It just makes me feel like, am I missing something? Does the Diana Ross sees something that I don't?

I'm sorry for ranting, I am actually truly enjoying SGMB rn! And I do understand that jk gets noticed because he's being aggressively put by sb in the limelight by all kinds of means and mediaplays. This gaslighted kind of feeling just sometimes gets to me, I guess.

I just really really hope Jimin will get and will keep getting the recognition and praising he deserves) Because I'd honestly (and I say it not because I'm a Jimin fan) name Jimin as the one that can have MJ's type of presence, but he actually doesn't need to name himself the next anything, because he can just be Park Jimin.

It’s definitely not amnesia with armys, it’s just that with Jimin they can say all those things confidently and know that it’s actually true lmao. The funniest thing about it though is how they would attack pjms for saying the same thing they’re saying about Jimin now for LC, because back then it was being shady. And “you can praise one member without bringing down the other.”

And honestly idk how it hasn’t clicked in their heads the clear difference in JK’s “success” vs Jimin’s. And I don’t mean them knowing how they both got it because they obviously know. But I mean finally come to terms with Jimin having more pull (without the tricks) than JK does.

About the Diana Ross thing…

It was random, but not unexpected because I know what their end goal is. I’m not saying that Diana Ross might not already be privy to who BTS as a group and maybe (and that is a hard maybe for any of them) them individually, but you can’t tell me this doesn’t come off as someone asking her to react to him and giving her thoughts on what she just watched. With other celebrities it’d come off as more believable that they brought him up themselves, but her? Nah.

But you see how all of a sudden even though you believe that JK isn’t that great or doesn’t live up MJ’s son title they’re trying to give him at first you’re questioning yourself just because Diana Ross said he was good? They’ve been doing it for a while now. Teaming him up with the big veteran names in the industry to give him credibility as an artist and performer. Obviously if these people have taken interest in him and is giving him all these praises he must be the best. It’s strategy on their end.

At no point during his debut have they ever let JK’s talent or numbers (without the payola) speak for themselves without having to push something into place. So I really don’t feel any type of way about it tbh. If Jimin gets noticed by those same people on level terms then cool, if he doesn’t that’s okay too. He’ll always be talented with or without their co-sign.