#generally don't understand... it at all

[spoiledskullz]

person (me) who doesn't understand marriage: I think knuckles would marry my sonic oc in the future

[captainjonnitkessler]

Do you guys notice how when Shawn Fain, president of the United Auto Workers union, started planning a general strike, he did it by a) targeting his messaging towards unions with the ability to safely and effectively strike in large numbers, b) laid out a clear, actionable plan for those unions to follow (setting contracts to all expire at the same time, since many unions cannot strike while under contract), c) is using union contracts to set clear, actionable demands that can be met in order to gauge success and provide an end goal, and d) started organizing FOUR YEARS before the proposed strike date to give people the chance to plan accordingly, because it takes a really freaking long time to get tens of millions of people organized?

You notice how he didn't do it by slapping a message on Twitter saying 'hey nobody go to work on Monday, that'll really show 'em'?

[anghraine]

It's always been intriguing to me that, even when Elizabeth hates Darcy and thinks he's genuinely a monstrous, predatory human being, she does not ever perceive him as sexually predatory. In fact, literally no one in the novel suggests or believes he is sexually dangerous at any point. There's not the slightest hint of that as a factor in the rumors surrounding him, even though eighteenth-century fiction writers very often linked masculine villainy to a possibility of sexual predation in the subtext or just text*. Austen herself does this over and over when it comes to the true villains of her novels.

Even as a supposed villain, though, Darcy is broadly understood to be predatory and callous towards men who are weaker than him in status, power, and personality—with no real hint of sexual threat about it at all (certainly none towards women). Darcy's "villainy" is overwhelmingly about abusing his socioeconomic power over other men, like Wickham and Bingley. This can have secondhand effects on women's lives, but as collateral damage. Nobody thinks he's targeting women.

In addition, Elizabeth's interpretations of Darcy in the first half of the book tend to involve associating him with relatively prestigious women by contrast to the men in his life (he's seen as extremely dissimilar from his male friends and, as a villain, from his father). So Elizabeth understands Darcy-as-villain not in terms of the popular, often very sexualized images of masculine villainy at the time, but in terms of rich women she personally despises like Caroline Bingley and Lady Catherine de Bourgh (and even Georgiana Darcy; Elizabeth assumes a lot about Georgiana in service of her hatred of Darcy before ever meeting her).

The only people in Elizabeth's own community who side with Darcy at this time are, interestingly, both women, and likely the highest-status unmarried women in her community: Charlotte Lucas and Jane Bennet. Both have some temperamental affinities with Darcy, and while it's not clear if he recognizes this, he quietly approves of them without even knowing they've been sticking up for him behind the scenes.

This concept of Darcy-as-villain is not just Elizabeth's, either. Darcy is never seen by anyone as a sexual threat no matter how "bad" he's supposed to be. No one is concerned about any danger he might pose to their daughters or sisters. Kitty is afraid of him, but because she's easily intimidated rather than any sense of actual peril. Even another man, Mr Bennet, seems genuinely surprised to discover late in the novel that Darcy experiences attraction to anything other than his own ego.

I was thinking about this because of how often the concept of Darcy as an anti-hero before Elizabeth "fixes him" seems caught up in a hypermasculine, sexually dangerous, bad boy image of him that even people who actively hate him in the novel never subscribe to or remotely imply. Wickham doesn't suggest anything of the kind, Elizabeth doesn't, the various gossips of Meryton don't, Mr Bennet and the Gardiners don't, nobody does. If anything, he's perceived as cold and sexless.

Wickham in particular defines Darcy's villainy in opposition to the patriarchal ideal his father represented. Wickham's version of their history works to link Darcy to Lady Anne, Lady Catherine (primarily), and Georgiana rather than any kind of masculine sexuality. This version of Darcy is a villain who colludes with unsympathetic high-status women to harm men of less power than themselves, but villain!Darcy poses no direct threat to women of any kind.

It's always seemed to me that there's a very strong tendency among fans and academics to frame Darcy as this ultra-gendered figure with some kind of sexual menace going on, textually or subtextually. He's so often understood entirely in terms of masculinity and sexual desire, with his flaws closely tied to both (whether those flaws are his real ones, exaggerated, or entirely manufactured). Yet that doesn't seem to be his vibe to other characters in the story. There's a level at which he does not register to other characters as highly masculine in his affiliations, highly sexual, or in general as at all unsafe** to be around, even when they think he's a monster. And I kind of feel like this makes the revelations of his actual decency all along and his full-on heroism later easier to accept in the end.

------------

*The incompetently awful villain(?) in Sanditon, for instance, imagines himself another Lovelace (a reference to the famous rapist-villain of Samuel Richardson's Clarissa). Evelina's sheltered education and lack of protectors makes her vulnerable to sexual exploitation in Frances Burney's Evelina, though she ultimately manages to avoid it. There's frequently an element of sexual predation in Gothic novels even of very different kinds (e.g. Ann Radcliffe's The Mysteries of Udolpho and Matthew Lewis's The Monk both lean into this, in their wildly dissimilar styles). William Godwin's novel Caleb Williams, a book mostly about the destructive evils of class hierarchies and landowning classes specifically, depicts the mutual obsession of the genteel villain Falkland and working class hero Caleb in notoriously homoerotic terms (Godwin himself added a preface in 1832 saying, "Falkland was my Bluebeard, who had perpetrated atrocious crimes ... Caleb Williams was the wife"). This list could go on for a very long time.

**Darcy is also not usually perceived by other characters as a particularly sexual, highly masculine person in a safe way, either, even once his true character is known. Elizabeth emphasizes the resilience of Darcy's love for her more than the passionate intensity they both evidently feel; in the later book, she does sometimes makes assumptions about his true feelings or intentions based on his gender, but these assumptions are pretty much invariably shown to be wrong. In general the cast is completely oblivious to the attraction he does feel; even Charlotte, who wonders about something in that quarter, ends up doubting her own suspicions and wonders if he's just very absent-minded.

The novel emphasizes that he is physically attractive, but it goes to pains to distinguish this from Wickham's sex appeal or the charisma of a Bingley or Fitzwilliam. Mr Bennet (as mentioned above) seems to have assumed Darcy is functionally asexual, insofar as he has a concept of that. Most of the fandom-beloved moments in which Darcy is framed as highly sexual, or where he himself is sexualized for the audience, are very significantly changed in adaptation or just invented altogether for the adaptations they appear in. Darcy watching Elizabeth after his bath in the 1995 is invented for that version, him snapping at Elizabeth in their debates out of UST is a persistent change from his smiling banter with her in the book, the fencing to purge his feelings is invented, the pond swim/wet shirt is invented. In the 2005 P&P, the instant reaction to Elizabeth is invented, the hand flex of repressed passion is invented, the Netherfield Ball dance as anything but an exercise in mutual frustration is invented, the near-kiss after the proposal in invented, etc. And in those as well, he's never presented as sexually predatory, not even as a "villain."

[wellcollapse]

the way i would pay for oliver to write meta about buck's character

[silverwhittlingknife]

dick vs. apartment organization, a story in three parts

new teen titans 10, new titans 65, nightwing: target

"i can't believe this place." "i thought you were moving." "you live like a slob."

everybody's a critic dsfsfdsf

[oceanwithouthermoon]

yk when i think about it, especially when im watching the anime with people who havent read the manga, the reason a lot of people who only watch the anime and didnt read the manga misinterpreted saikis character so badly is definitely in part because of how damn fast paced the anime is 😭

like that little smile and eye shine frame is there for not even half a second in the anime, so its easier to miss it and assume that he really did only finish those workbooks to get coffee jelly ☠️ its much more clear if you get a good look at how he reacts here that hes just a silly little tsundere and a fucking liar

[buttercupshands]

rewatched Kurogiri's holiday story from ultra impact (not related to sketch at all)

(but it did inspire me)

on another note

finally!!

[hindahoney]

Wild and revolutionary concept: maybe don't treat converts like trash just because they're converts? And also don't ask someone if they're a convert in a public setting?

[sskk-manifesto]

Bungou Stray Dogs: Dead Apple and how “ability users” (opposite to “normal people”) learning to accept themselves through the acceptance of their own abilities is a queer metaphor of acceptance of own's sexual orientation and gender: an essay by me

[chillinglikeashilling]

I do think that it's important for Evan to understand that just because his friend don't express it in the way he does (or desperately tries not to) it doesn't mean that they don't love and miss him just as much as he misses them.

Evan said that he learned after love (his friends) came into his life, that the rest of life is still very much a thing you have to deal with and now he's seen someone dealing with it.

Jammer loves the Pilot Program and he loves his mom and sisters and all of the other teams he's part of, but the logistics of life get in the way of that. So he's thinking of ways to change his life to accommodate that love.

Now Jammer doesn't handle that perfectly because no one does really (god I want to see the convo in the next episode so bad) but he's acknowledged the problem and then moved towards fixing it.

I understand why Evan is the way he is but I do think that (for perfectly understandable reasons) he can be very unaware of the others feelings and motivations. In the same way he was doing a disservice to Sam, he's doing the same disservice to Jammer by deciding on his own that they are being 'kind' rather than 'loving'.

Jammer obviously isn't coming at the thing with the same intesity as Evan is but they both have the same silly day dream of just getting to be with their loved ones forever. That's a very understandable, very common want.

[casswithmywholeheart]

keep froggin..

[notbecauseofvictories]

This is going to sound negative, but I think Snuff deserves to be the last Discworld book. I mean, Raising Steam is good in certain ways, a fond elegy to the characters and plots a reader has come to know so well. I don't even object to the visceral pleasure of the earlier novels giving way to something diffuse, harder to pin down. (Unseen Academicals felt like this---a wonderful novel, but not actually a victory; just a plot that rearranged matters in an interesting way.) But there's a sort of...ill magic setting in, by the time you get to the scene where Vetinari gives medals to our wonderful shining heroes of the railway.

Namely, they're too good at this.

Vimes uses the Summoning Dark multiple times, and without even the terrified self-doubt he was showing in Snuff. (I have other issues with Snuff, but that was an interesting thread to pull.) Vetinari not-too-discretely points the Black Clerks at a problem, and it is solved; when necessary, he goes undercover working on something he personally considers vaguely distasteful, and yet becomes the center of a folk song. Moist neither sleeps, nor eats nor makes love to his wife (except sometimes, too rarely in his opinion) but rushes all over doing the railways' job for---what? for why?

They're too good, they've climbed too high; Vimes and Vetinari are edging into myth while still being alive, and Moist was already half of a song anyway, has been since he put on the golden suit.

I'm not saying it's not an interesting setup, because strangely it is. But it feels like the start of something, not closure at all, because what else is Discworld good for if not to tackle the fact that everything glowy and laden with awe will not remain such. Because, you know, that's how the world works.

[conscydraws]

Order 38. Undelivered.

[harrowscore]

can't believe a show based on a videogame (usually games adaptations are notoriously bad, which isn't the case here tho) gave me the beauty and the beast/twisted mirrors/enemies to traveling companions/ruthless antihero+optmistic but still badass heroine who takes none of his shit/age gap but make it sexy dynamic of my dreams. as much as i love maximus and i think he deserves the best writing ever because 1. he's a clever deconstruction of the aspiring Knight bro who's actually a bit of a loser and, as much as lucy, sees the world in black&white at first and then doesn't get what he thought he wanted but what he needs (or at least i hope he'll eventually get it), and 2. he's a cutie and i want an epic love story for him too, it's very funny how they tried to give us a puppy kind of romance and the tumblr girlies still fixated on the "toxic ~she bites his finger off and he cuts hers off and sews it on his hand in what we'll pretend it's a symbolic marriage rings exchange or whatever~ asshole who used to be a nice guy/good girl™ with a lot of spunk and hidden anger but unshakeable morals" kind of relationship.

[bees-with-swords]

I love how Discworld's mentor characters are all deeply flawed actually. Tired of old people having everything right, I love how these ones set up the next generation with room to grow and be idealistic, even if the mentors themselves are deeply rooted in the old practices of the system they've already changed so much. Pratchett really said we should revere our elders but also seek to push past their limits

[officially-other]

My first attempt at writing that's vaguely like poetry: from a dragon

I am not what you think.

I walk around, awkward limbs and flighty mannerisms, and you think I’m strange. You have no idea how strange you would think I am if you only saw what was underneath.

Underneath, I am a creature of the ocean. Something that could never pass as human, and no longer wants to. Saltwater rushes through my veins in secret, silent to everyone but me. To me, it’s a roaring sound of the waves that I have never seen except for within my soul. It yearns to dissolve into the ocean like it could long ago, but for now those days are over and I am hidden underneath skin and muscle.

Underneath, there are wings; fins; antlers. They ache to tear from my back, through my skull. Nonetheless, they stay hidden for me, safe in the silence. Protected like I protected my kin in a lifetime so close to the surface and yet unreachable. Wrapped in a form that no longer coils around them like a serpent, but keeps them hidden from predators well enough I suppose.

I suppose.

I accept my form reluctantly and do what I can to make it mine. I shape it to feel better when I discover my gender, and when I can’t shape it to fit my true self I cover it in things that feel a little more like home. A little more draconic. A little more like the ocean that I never have seen, but feel homesick for anyway.

I do find joy in being in this body, at least. Out there, there are others. Angels working minimum wage, dragons sitting on a park bench, wolves buying groceries. We hide, but we do so to be free. We walk through crowds, and no one notices our scales and fur and feathers. But we do. We see each other, even if from miles away, and we see what’s underneath.

And underneath, none of us are what you think.

(Tags for side commentary/context)