why does Machete dislike confession duty?
I talked about it a bit earlier but for I'm just copying it all here to save you a click:
I'm under the impression that he'd hate doing confession duty and would probably avoid it whenever possible. He doesn't like being confined in a little box, away from the spaces he deems safe and familiar, with nothing productive to do but to sit and marinate in his thoughts. He doesn't like talking to strangers, especially one-to-one and about topics that are this delicate and personal, and he certainly doesn't like trying to come up with a fitting penance or words of sage advice. Even in the rare occasions when he gives it a honest try he feels like fish out of water. He'd be very formal and impersonal to deal with and penitents would probably find him mildly unnerving in his emotionlessness, but at least he'd be quick about it. He'd be even more tight-lipped if the topic of homosexuality came up, maybe he'd have some kind of tired pre-rehearsed set of lines prepared for those situations, nothing too condemning but also sufficiently in line with the church's standings. And then he'd go home feeling like the most spineless hypocrite.
He's much happier with his stacks of letters and treaties and formal meetings that don't go into personal details. Every now and then someone would confess him something actually grisly and upsetting and he'd feel physically dirty just from hearing it. And I can't imagine him being a very open and honest penitent himself either. He'd do it because you're supposed to but weasel his way out of revealing anyone anything actually significant.
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The thing that really kills me about Logan is that his kids are disappointing and ultimately unfit to be CEO, and it's not just that they're like that because he made them like that, but that they're like that because he wants them to be that way.
For all his talk about them being spoiled or coddled and his rant in the S3 finale that getting cut out of running Waystar is their chance to "be your own man" and build something themselves, he has spent the entire show actively undermining any attempt of theirs to do that. Shiv stays out and works in politics, but as soon as she joins a big campaign that could actually distinguish her from her family, he tells her he wants to make her CEO. He offers to buy Kendall out of his shares, but as soon as Kendall tries to take the offer and cut himself out, he refuses. He says he wants them out of the business and doing their own thing, and then as soon as they start actually doing that and buy Pierce, he tries to get Roman back.
The fact of the matter is that as much as he might claim to want a "real" heir, what he really wants is to never need one and for his children to stay children: incomplete, incapable, and under his thumb.
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I wanna know ur Fontaine msq criticisms 👁️👁️👂I’m all ears
I'm not sure if you wanted me to talk about this secretly or publicly but! Here I go!
The TLDR: Fontaine MSQ aestheticised prison, poverty, child abuse, the justice system/court and didn't properly address any of it.
More:
Focalors/Furina has way too much of a sympathetic angle for a dictator who's lets people drown with her inaction.
Neuvillette feels Bad for sentencing some people to death/prison, but that's it. He's one of the most powerful people in Fontaine. If he felt like there are systemic injustices, I.E sending an abused Child to prison, he should be the first person to DO something about it, not just cry and be sad so the audience can be like aw, that's complex character writing isn't it? No it's not! And guilt doesn't absolve you!!!!!!! (These are stuff we deal with in OTCOJ read my fic now /j)
Meropide has children in it, both Sentenced there (Wriothesley) and BORN THERE (Lanoire), and this is just a quirk of the place. Not only that, Meropide accepts prisoners of all genders and crimes. There are abusers and abuse victims in one place. Do you know how bad that is? How much potential for crimes to happen in a place like that— oh wait, Meropide isn't under Fontaine's jurisdiction. If you are assaulted as an inmate it literally means nothing to the court.
Wriothesley had no qualifications when he took over. Depending on how long he lived on the streets, how old he was when he killed his parents, how old he was when he was first taken in by the orphanage, etc, the man might never have more than 4–5 years of formal education. Sigewinne probably had to teach him how to write reports. And do Meropide's spreadsheets. Edit because I forgot to elaborate on this one: This isn't a point brought up anywhere, which is bad, because when poverty and incarceration robs you of a proper education (and the rights to vote in many places too, too, by the way), it reduces your prospects for jobs, reduces many people's ability to get a home etc etc. Wriothesley was just, narratively, Given his position.
Meropide is an industrialized prison, and they portray this as a good thing. Prisoners are paid in coupons for their labour, and this is also portrayed as a good thing.
The One-Meal-A-Day reform was something Paimon gushed about being so great of a perk, that people might want to go to jail for food (could be interesting and reflective of systemic poverty if MHY had brains, but they don't, so I was just Pissed because essentially all Paimon wanted to say was "Prison isn't so bad, but still don't go to prison guys! Prison labour is really hard!"). By the way, in most real-world prisons they are obligated to feed you three meals a day. Because that's how much food a human needs. MHY went with one meal just so they can say "if you want to eat more, you have to work." And then the welfare meal is a goddamn gacha. So imagine you're a starving child who's too weak to work in the fucking robot assembly line, and you wander up for your first meal in 24 hours, only to luck in with a shit one. I'd kill myself.
They wrote Wriothesley, who's a victim of the system, into a guy who's say shit like "I'm the Duke I can do whatever I want" for a cool moment where he choke-slams an inmate (I know he was a bad guy. But also, in copaganda when cops are violent/disregarding protocols, they are always only portrayed to do that against bad guys, so what does our critical thinking tells us about this one?) They wrote Wriothesley, who was an inmate of a prison so bad, so notorious that it is the literal boogeyman of Fontaine, that has a legal (???) fighting pit, with an administrator who abuses his position to be unreasonable, to willingly stay in the place and become an Administrator who would choke-slam an inmate while saying a cool line about how he has the power to do whatever he wants. They wrote him, the guy who had to be fed on the streets by melusines, to think one-meal-a-day was a good enough reform (while he spends god-knows how much on his boat). This wasn't a victim-turns-into-abuser narrative either, they want all this to be seen as positive character growth.
And then, the final kicker is, they gloss over his entire abuse. You can only read about these shit in his profile, which most people don't because they don't Have Him or doesn't care to unlock it/read it online, and they jammed his entire backstory into a flaccid info-dump at the end of his character story quest. This man isn't Allowed to feel abused and neglected and show any reaction to it within the narrative of Fontaine itself, because if they actually Gave Weight to what happened to him, they'd have to confront THE FUCKING JUSTICE SYSTEM they had NO PLANS on criticising. I don't think they ever explicitly said the fucking Crime-Theatre nonsense was Bad either.
I could go on, but this is already so long. But yeah, I hope this gave you an idea.
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https://www.tumblr.com/beatingheart-bride/712211765862268928/theheadlessgroom-beatingheart-bride
@beatingheart-bride
“To the future!” Randall agreed, lifting his glass to clink with hers in a toast, before taking another sip and looking out over the tops of the buildings and to the horizon with a contented smile: In a way, as he did, he felt as if he was looking into the future itself, and found it to be filled with all good things for himself...and especially for Emily.
--
The future seemed to arrive quicker than anticipated, as it wasn’t long before the opera house was prepping its advertisements for its next opera: The light, frothy comedy of errors Il Muto, a decidedly lighter affair than the drama and intensity found in Hannibal, and one that always earned many, many laughs from the audience, what with the antics of the Countess, her lover Serafimo (the titular ‘mute’), and her husband, Don Attilio, trying to catch his double-crossing wife in the act. It was great, madcap fun, and Randall was delighted to see that it’d been chosen as the opera’s next show.
“...I think you’ll be marvelous as the Countess,” Randall smiled, having eagerly shown her the announcement in the papers as soon as he saw it: It was a role that called for poise and charm, of which Emily had in spades. It would be a wonderful showcase of her skill as an actress, able to handle comedy as deftly as she did drama, and would no doubt delight the audience (himself very much included in that assessment).
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