#help i just want to know his opinion

[keanakooki]

I made friends with this guy at the carehome where my grandad is at, because he loves The Beatles. The overwhelming urge I occasionally get to ask him about McLennon, but then I stop myself because he's like literally a 70 to 80 year old man with a wife and kids, and I don't want to loose that friendship-

[egophiliac]

(breathing into a paper bag) FRALIO....

can't believe they gave us another guy. oh my god. so I guess Kelka is more, uhhh, more OOO then, and Fralio is Ankh? not that it matters too much, although they do seem to be doing something with the connected Riders so. who knows. anything goes! or if I may, anything gOOOes! god. of course they're the Ambition parallel. of course they are. oh my god.

fortunately there's nothing else they can throw at me right now that could possibly --

AHHHHHHHHHHHHHHHHHHHHHHHHHHH

[nanihirunkits]

WE ARE | EP16

[sanasanakun]

People try too hard to make Curly an active participant in Jimmy's abuse. Isn't the whole point that he's passive in everything Jimmy does? Abuse occurs because he actively doesn't do anything? Not to call someone out or be mean, but I saw a post saying Anya's ID being in Curly's locker at the beginning shows that he intended to prevent Anya from filing an HR report and I disagree. I get where that interpretation is coming from, but I think it's a little uncharitable. I don't like being too kind to Curly because he's like...a morally mid dude at best lol But if we're going by the HR report interpretation, I would say it's more likely he requested Anya's ID in order to file an HR report on her behalf. After all, the only way to contact Pony (that we see) is in the cockpit, he's the Captain, and Pony Express sucks bad so I wouldn't put it past them to only allow the Captain to use the communication device thing. As we see before, Curly is the only one able to use tools around the ship that you would think other employees could use (ex. Swansea should be able to use the axe if he's the repair guy. Idk why they'd need an ax but that falls under manual labor which Swansea is designated for as the mechanic/fixer dude. But it has to go through Curly). I never got the vibe that Curly moved to actively protect Jimmy. He just lets things happen without say a word; Jimmy walks all over him, and by extension, the whole crew. I get why people would think that because he gives the whole "Hey Jimmy, we can get through this together, bud" spiel right before the crash. This part interests me a lot because there's so many ways to interpret Curly's intentions there. My interpretation is that Curly is on autopilot mode. The responses seem so stilted in comparison to Jimmy's. Like it's the kind of thing Curly's said before again and again and again when Jimmy's gotten in trouble. However, as others previously pointed out, I don't think Curly ever dealt with Jimmy doing something this irredeemable. He doesn't know how to respond, so he just goes for the default "You've gotten through tough situations before. Work through it one step at a time." Like the response is lame af lol I think he was in shock; he was scared (and just so I can say it one more time: he's super lame).

Anyway, this is way longer than I intended and I've said things a billion people have already stated. But uhhh tldr the whole point of Curly's character is he's passive; he never acts. He just watches. Making him an active participant in the abuse by taking actions to cover for Jimmy (like preventing Anya from filing an HR report) defeats the purpose of his character. He's a bystander.

[toddtakefive]

thinking about todd and his resolve toward… not quite isolation, but being alone in a room full of people again. he goes along to the study room to sit on his own and do his homework, he sits at the poets table and follows along with what’s being said while keeping quiet, he goes to the meetings at all but doesn’t necessarily contribute (in fact, if you watch him when cameron is telling the story ‘from camp in sixth grade’, you can see that he recognizes it before any of the other poets but doesn’t voice it until they all have). he’s not alone, necessarily, if you want to get technical about it, he’s just lonely, and he’s generally okay with that. he doesn’t have friends and that’s fine, he doesn’t participate in class and that’s fine, he doesn’t have a relationship with his family and that’s fine—he could live without any real connection and he’d have been, more or less, fine.

the thing about when he says “i can take care of myself just fine!” is that he isn’t really wrong, you can infer that he’s been doing it his entire life anyway, it’s that ‘taking care of yourself’ isn’t the same thing as really living or being happy. todd’s an introvert, certainly, and even as he gets closer to the group he defaults to sitting quietly in the background, but he’s also denying himself community out of fear not introversion. todd isn’t friendless because he’s an introvert, although that definitely plays a part, he’s friendless because he pushes anyone that might want his company away. if anyone has every wanted for his attention in the first place. (neil’s unwavering interest in him is unique (even when it comes to the rest of the poets, who are fine with todd coming along and joining the group, but aren’t really hellbent on him being there in the beginning) and his refusal to accept it is a direct result of being so lonely growing up.)

there’s obviously something to be said about the implications of his parents neglect, and the more than likely fact that he grew up friendless, and how those both play a part in in him being so skilled at dodging social interaction/being so avoidant of it, but by the time we see him in the movie he’s all but accepted his fate as being alone his entire life. he’s already accepted being the family disappointment, and he’s already accepted he’ll never amount to anything, and he obviously doesn’t like it, but he’d have managed living with that knowledge without the confirmation that it was all wrong. would he have been miserable? almost certainly. but he’d have managed. he’d done it for that long already, anyhow.

[jeffrrandell]

Rants from instagram. The neighbours and Edds gang have such a perfect dynamic set up to me. Like Edd and Eduardo are just as goofy as the other, and they clearly both want to play along just to create a scene like they're in a movie. They each have things they could admire each other for, be jealous about, and this goes for the others and their counterparts too. To me, they're so similar it's basically just them from another universe, ones who have learned to deal with things and express themselves differently. But they can't be too similar (as in show they are,) and they are aware of their dynamic and need everyone to think they're like any antagonist or protagonist who battle each other in any show. Even if they became friends overtime, they will always be pushy show offs towards each other. The same guy, but definitely NOT the same guy. I just love it.

[honeyconez]

guys hear me out would painis cupcake pay taxes? Because he’s not like mega insane like ass pancakes I think he’d pay his taxes in my professional opinion.

[realbeefman]

rewatching community why is jeff winger so transgender. “you lost the right [to talk about women’s bodies] the moment you decided to grow a wang!” from 2x21 the entire little indian girl story from crit film studies HELLOOOOO

[cienie-isengardu]

Remeber the scene in Triple Zero, when Sev was explaining to Fi the Atin-Vau freud?

“Atin’s sworn he’ll kill Vau.” Fi almost stopped dead. “Atin? Old don’t-interrupt-me-I’m-working-on-a-really-interesting-circuit? Our At'ika?” “Seriously?” Sev asked.

Yeah. One year later:

The ARC was walking briskly, heading north. Twice he paused to buy food from a street stall and slipped the wrapped packages inside his coat. Then he walked into the huge transparisteel foyer of the unirail terminal, forcing them to follow. "How far are we going to take this-?" Darman whispered. "I thought we'd just follow him and see where he goes." "Remember Sergeant Kal giving Sev and Fi an earful for doing an unplanned tail on a suspect and nearly screwing the whole operation?" "Skirata's light-years away." Darman wondered why he'd ever thought Atin was the quiet, thoughtful one. [Republic Commando: True Colors].

[thenntrewrite]

This a rough outline of what I had in mind for the start of my rewrite, but I wanted to share my thoughts here as well:

Essentially for the very basic layout of the rewrite, I had the idea of the first half following the journey of a rare hybrid—Aleron/Morgan—go through many centuries of her life and building up as an all powerful mage—though she's not entirely alone. It'd be original content mixed in with some Holy War where important moments are focused on that all leads up to the main part of the rewrite. But I'm wondering if perhaps I should focus on the main rewrite, and then do flashbacks of important moments throughout all those centuries in between.

Nothing's truly set in stone yet though. I'm just spit-balling and seeing what sticks. But doing a build-up would work in my favor for another reason outside of character development—I planned on making Meliodas and Elizabeth go from enemies to lovers to friends and make their soulmate bond more platonic by the time he meets 107th and final Elizabeth. I still want their relationship to be what kicks-off the main story and what puts Meliodas through 3,000 years of depression and hell, but, uh, what if he had a companion that he sees occasionally throughout those many centuries?

Spit-balling some more, but I imagine Aleron and Meliodas would also be enemies to friends to... eventual lovers. But it'd take a lot longer for that last bit. Hell, it'd take at least a few centuries for the second bit to occur. They wouldn't be true companions until then. The ultimate slow-burn (A truly self-indulgent rewrite). But the rewrite, if I were to start it three-thousand or so years ago, would be right when the Holy War was at an all around high and many people were dying left and right. Morgan (known at the time) was a somewhat neutralist on the matter, not finding a lick of interest in the war, but would help if called upon to the best of her ability. She was only a few centuries old at the time, and her magic wasn't as strong as it would be later in life, but she spends her time studying and practicing whenever she's not plucking off demons. She has a strong distaste for most races for her own reasons, and I believe most of them wouldn't like her since she was born from two different races. But since her mother is a highly respected Goddess warrior, and her father a highly respected faerie king, her existence is tolerated. In turn, she tolerates others and their existence. After some tragic deaths relating and unrelating to the Holy War, Morgan abandons her birth name since it 'died with them' and becomes a true neutralist living out on her own. She stays out of the war altogether and keeps to herself and her studies, only lifting her weapon out of need than out of obligation. Morgan can't recalls how the war ended, but it only takes a few centuries before she meets Meliodas sometime after the fifth or so Elizabeth. I imagine she stumbles upon him and tries to pretend she didn't see him, but the ever-growing doctor/alchemist in her can't really ignore the stench of blood. Her morals may be skewed now, but she can't ignore the oath and promises she made, so the first step in their bond is making sure the demon prince doesn't die.

This would become a tale of not only tragic soulmates, but the story of something new forming.

[stop-breaking-my-heart-dragonage]

Me, when Sebastian joins my party for the first time: Okay, this time I'm not going to forget about you, Sebastian. I'm going to make an effort to use you a lot this playthrough so I can better understand you.

Also me, immediately forgetting about Sebastian while finishing Act 2 and making it halfway through Act 3 before I finally notice his Faith quest: ......................Oh. Right. My bad.

[theflyingfeeling]

the love of my entire life

[fishparasite]

genuinely sorry about all the dndposting recently it hasn't even been interesting but i'm so desperate to dm. i've got storytelling skills!!! i've got improv skills!!! i want to build a story around characters!!! i want to see what players do with what i give them!!!

[sage-nebula]

Book Reviews: Good Omens - Terry Pratchett & Neil Gaiman

Rating: 3/5

I first read this novel in 2009, when I was 19 years old. At the time, I thought it was the best book I had ever read. I fell in love with the humor, as well as the themes it presented, and I went on to read works by each of the individual authors. (Learning in the process that while I loved Terry Pratchett's work, Neil Gaiman's was not at all for me.) Now, having revisited this novel fifteen years later (using the copy I already owned), I'm sad to say that I don't love it as much as I once did. And no, it is not because Gaiman has turned out to be an abhorrent human being (though he has).

Good Omens is a novel featuring an ensemble cast, but is chiefly about the impending apocalypse that is to be brought about by the Antichrist. Due to a mix-up at the time of the Antichrist's birth, however, he was raised independently from the forces of Heaven and Hell, and as a result the fate of the apocalypse rests solely on his humanity.

What I discovered a decade and a half ago, after reading both a Discworld novel and American Gods, is that the things I enjoyed about Good Omens came from Terry Pratchett. The humor, the use of footnotes, the things it had to say about both humanity and spirituality — that writing style and those themes are present in Pratchett's works. Whereas, Gaiman's style focused on presenting story through use of metaphor in a way that, after awhile, feels try-hard. While the first time I read this novel I thoroughly enjoyed it, this time I had a more difficult time getting through it, and I feel that part of it is due to the disparity of enjoyment I feel from the style of the two authors.

For the most part, the humor of the book still hit. There were definitely jokes that have not aged well at all (e.g. the "it's funny because he's homophobic!" miscommunication joke with the American soldier at the air base, as well as several racist "jokes"), but several of the jokes that I remembered loving from the first time I read the book still landed (e.g. Crowley putting the fear of himself into his houseplants, the footnote explaining Aziraphale's excuse about "misplacing" his flaming sword when God asked about it, leading to God not asking him again). I enjoyed most of the characters, and in fact liked the Them much more than I remembered; their banter with each other is extremely natural, and they come across as the endearing children they were meant to be.

Despite this, there were definitely parts where I felt the book dragged. It took me longer than I expected to finish this novel because I would begin reading, and then start feeling very drowsy shortly after starting. This is unusual for me; if I'm interested in a book, often it will override my desire to sleep no matter how little I've had. Yet with this, there were passages following less interesting or likable characters (e.g. Shadwell) that, despite my best efforts, put me to sleep. It was also wild seeing how quickly the plot ramped up to the apocalypse before even the midway point of the book was reached, only to have the actual day of drag on. (Did we need so many cut-backs to what the police were doing on the M25? No.) The pacing of the novel presents a definite problem.

The romances in the book felt forced as well — and no, I'm not talking about Crowley and Aziraphale, because while one can easily ship them if they want to (and I think I've heard their relationship was made explicitly romantic in the TV show), they aren't written as explicitly romantic in the novel, and can easily be dismissed as friends. No, I'm talking about Newt/Anathema and Shadwell/Tracey. The first is particularly egregious given that she only sleeps with him because a prophecy said she was supposed to (meaning — did she feel coerced into it? and why is she still hanging around with him after, when they barely know each other?), and the latter is awful because despite the book insisting that this bigoted, crotchety old man is likable, at no point does he actually come across that way. The romances were not a central tenet of the book, but their presence still did detract from it, in my opinion.

Lastly, I would be remiss not to mention the anti-Asian racism that crops up at multiple points throughout the novel. Off the top of my head:

1.) The broken English used for the voice alert system in Newt's Japanese car;

2.) A Tibetan monk is referred to as having an "Oriental" face, and I believe that "the Orient" is also mentioned a couple of times;

3.) The factory that produces Newt's fictional car is said to come from Nigirizushi, Japan. There is no such place. Nigirizushi is a type of sushi. Now, since the car is called a Wasabi, one could simply say it was meant to be a joke . . . but Gaiman and Pratchett had absolutely no problem listing so many different towns and places in England (yes Tadfield is fake, but it's south of Oxfordshire, which is real), and had no problem naming real places in the United States, yet they couldn't be bothered to grab a real city from Japan? Not even Tokyo, well-known enough without having to look it up? It feels disrespectful and yes, racist.

Now, this book was published the year I was born. I cannot tell you from experience what attitudes toward East Asia were at the time this book was written, because I wasn't conscious for that. I know that, once-upon a time, "oriental" was an "accepted" term. But plenty of racial slurs start off as "acceptable" terms by those in power. And having Asian characters and places be the butt of the "joke" so many different times in this book didn't feel very funny to me.

With all of that said, while this is no longer a book that I would actively recommend, it's not one I would dissuade people from reading, either. The comedy, in places where it is actually effective, is entertaining, and while it is very surface-level, the questions it raises about religion and the concepts of good or evil can make the book an enjoyable read.

However.

If you do choose to read this book (or any other book authored by Neil Gaiman), I implore you to check it out from a library, get it second-hand, or hell, even pirate it. As I mentioned at the top of this review, I already owned this book. The reason I decided to re-read it was so that I could have a fresh perspective on its place on my shelf. But if I didn't own it, and couldn't get it from a library, I wouldn't have. What Neil Gaiman has done to countless women is beyond heinous, and he does not deserve your money. I implore you to not give it to him. And certainly not over this book, which is average at best.

Regardless of whether there is a Heaven or Hell, we do have Earth. Let's make some good choices while we're here, shall we?

[wheucto]

finally decided to start watching s2e17 of ii

[gilgil-machine]

.