#i don't remember saying anything undermining

[dunmeshistash]

Greetings, Mr. Meshi!

This is perhaps a bit of an unorthodox question, but one that has been bothering me for an unreasonable amount of time.

Now, here's the thing: I OBSESS over Marcille outliving everyone she holds dear. It's a theme very close to me, but even beyond that I just find it to be one of the most interesting elements of Dungeon Meshi's story for me personally. I've written an embarrassing amount of lengthy essays on it that will never see the light of day - that's how obsessed I am over this specific element of her character. But, there's something that bothers me...

A lot of poignant stories and artworks that tackle this topic get comments on 'em whenever Falin is the subject of aging, each one some variation of "Everything points to Falin having an extended lifespan after her revival!" which... Seems weird to me?

I don't know why this bothers me so much, but setting aside my personal annoyances, I don't remember anything pointing to this at all. At least, nothing concrete.

I don't know if this is a question you'd want to answer or not, but since your blog is a hub for all sorts of opinions and headcanons, I'd love to know where this line of thought could originate from.

I really wouldn't blame you if you didn't answer this question, though. Part of me feels I'm just asking this because I want to see if others share in my confusion or not.

Rrrregardless, though! Lemme take the opportunity to say that your blog is delighful. Love it! Also, that mushroom man with the funny face that sometimes responds to you with lengthy essays is also really cool. Everyone is cool. At least here on the northern hemisphere! It is smack dab in the middle of fall, after all! Coolness all around! Stay frosty! Or don't! Maybe warm up at a fireplace. I don't know!

Hi there! Thank you for the kind words, I love reading other's opinions on what I post so I also love the additions by the mushroom <3

It's quite hot over here in northeast Brazil, send some coolness my way please I'm dying.

Your question isn't strange at all! And I don't mind answering anything (unless it's rude or sounds like shipping war bait) so don't worry.

(Decided to put the rest under a readmore, TLDR: Kui said "maybe so, right?" about Falin having a longer lifespan but I have arguments why I don't think this actually confirms it. Anyway if you're someone who likes the headcanon you might want to skip this post)

To be honest those type of comments bother me too because I also LOVE Marcille's struggle with mortality and sometimes "Falin will live much longer!" feels undermining of the lesson she had to learn. I don't mind it in the headcanon sphere where everything is allowed and happy endings grow on trees but when it becomes intertwined with canon it starts to make me a little disappointed.

Just a reminder of the lesson she has to learn

She has to come to terms with the cycle of life and death, that something she wants (everyone to live longer) shouldn't be forced upon others just because it causes her grief. So, to me at least, Falin being made into something that will end up outliving other tallmen would undermine the message? In a canon sense ofc, if you're writing a wish fulfillment story then her living longer would have a different meaning, I just wanna be clear I have nothing against it in that sense, it all depends on what story you're trying to tell.

Anyway, actually answering your question that idea comes from the fact she was fused to a Red Dragon, and the fact her body has been affected by it, her sight was fixed and she grows feathers for example, so people theorize maybe her lifespan has been affected too. But we don't really know how long dragon's live so it's hard to say how much it would have been affected if at all.

It also comes from this answer Kui gave in a QnA

Q: Would Falin have an extended lifespan after the whole chimera thing? A: Maybe so, right?

To me this reads as the usual non-answers Kui gives, like, "I'll leave it up to your imagination" but for other people this read as a confirmation of the headcanon, in another questions she answers "I hope so" about Thistle leading a happy life after having his desires eaten and it's even debatable if Thistle survived at all so I don't think those comments indicate much of canon (I'm that way about most QnA answers tbh, unless it's something inconsequential like confirming Mithrun's Brother's name or stuff about very minor characters)

Another argument I have against her having a different lifespan is Izutsumi, Izu has been mixed with a monster but continues to age at the same rate a Tallmen would, even tho she also has different biology because of the Great Cat she's fused with (ears, reflexes, eyes etc etc) she is still a tallman

Falin isn't really the same thing as Izutsumi tho, I understand, but it's the closest example we have, if we believe the AB descriptions and demi-humans are really mixes between humans and monsters that's also another argument about it not affecting lifespan, since all of them are short lived and have an average lifespan of 55.

All of this *can* be dissmissed tho, the other demi-humans and beastmen are all mixed with mammal monsters and nothing nearly as powerful as a Dragon, so there is arguments to be made that Falin is different and that she *might* have an extended lifespan, all I'm saying is that there's no solid confirmation of it, it's fine to believe it but going around "correcting" other people saying it's a fact wouldn't be right I don't think, especially if you're saying that in a conversation about Marcille journey of death acceptance.

Death is a touchy subject and everyone is at different stages of their own journeys with it so I really don't want to judge those who would rather have Falin or even Laios live longer. I'm not really sure how to talk about this in the proper way, but I hope I didn't make anyone upset!

[narcissusneverknewme]

It's kinda funny but it makes me weirdly sad that my Dad doesn't care that I got my A.A.

I don't really care; I too, am not impressed at all, and I only got it as a side effect of getting my B.A. It arrived unexpectedly and without ceremony, so it didn't feel like much of anything... But it still made me sad when he just dismissed it immediately and moved on 😂

[aestatismors]

I paid six fucking dollars for that

"you did it. you reached 30 tags."

[prismalmelonman]

Touching on Gale, Wyll, and Halsin's traumas being a bit undermined in parts of the fandom

So one thing I notice on Twitter is how some people act about the bg3 characters whose abuses were perpetuated by women.

Gale specifically for this reason (but I will touch on others)bbecause I see him dismissed super often as "can't get over his ex".

But Gale's case obviously be has the line of Mystra being like "she was my muse, my teacher, and then my lover" and sure to some that's a red flag in itself (when it comes to adults I don't really give a fuck about teacher/student) but if you view it from not only Gale's own words "ive been connected with the weave for as long as i can remember"

And that doesn't distract from his genuine love of magic of course. And it also doesn't mean that he's actually been in connection with mystra for an amount of time.

However, if you ascend Gale, and he becomes a god, you get a bunch of new little things. Tara reminiscing of course, but you get a letter from Elminster, detailing that Mystra had Elminster scope out Gale when he was eight!

And sure is that pretty cool that he's a prodigy that got the attention of the goddess of magic at that age? Yes. Mystra is, however, known in forgotten Realms lore to seek young young boys who are in tune with magic to make into her chosen. And from context clues, her chosen can be anything from Elminster and Volo, dedicated wizards who try to keep things in check, etc etc. or they're somewhat of playthings to her.

Minsc also has a conversation where me mentions that weave-touched boys in his homeland were hidden away to hone their craft, then suspecting that it was because of Mystra, given Gale's case.

Gale always seems so proud that he got to bed a goddess, and on the surface, hell yeah, that's cool.

Gale continued to have her attention even as he went to Blackstaff Academy, and Mystra eventually did take him on as an apprentice directly to her, later making him her chosen, and sleeping with him.

The reason it bothers me that people dismiss all of Gale's stuff to just "he can't get over his ex" is because that's is like almost textbook grooming? She was in his life from a young age, shaping and moulding him up as he grew up to be her perfect chosen, rewarding him by sleeping with him, and so on. And then of course casting him away when he has his folly with the netherese orb (and to be fair, it very well could have looked like to her that he was trying to seize the power himself and yes the orb does siphon off weave. That is a problem for the mistress of the weave yes).

But she also tells gale to KILL HIMSELF for her forgiveness.

Gale is much more than "unable to be over his ex" this woman was in his life since he was a kid. She's almost all he has ever known. If course it's going to be difficult for him to 1. Say no to her. 2. Get over the fact that he's lost someone that he spent his literal entire life dedicated to. Honestly if asked, I don't even think Gale would acknowledge or really see that what he went through was, in fact, abuse until it was spelled out in front of him. (Which does happen somewhat with the player character pleading to him that killing himself for mystra's forgiveness is actually horrific and that he should in fact be angry for how he was treated)

Similarly, and this one has been discussed a lot, Wyll and Mizora. Wyll was 17 and actively trying to help his people. 17, in a vulnerable state, willing to do anything to help and prove himself. Mizora very clearly took advantage of him, and regards him as a "pet", refers to him being "leashed", and so on. Personally, I do dislike the sexualization of their relationship, because it very much is also grooming (although a different type. Rather than manipulating and shaping his life from the ground up, she takes advantage of a vulnerable and desperate state to manipulate and contract Wyll into doing her bidding. I won't go too deep I to this one because it has been discussed to hell and back. But I did wanna touch on Wyll's situation as well.

Also, Halsin as well, though that has also been discussed in many retrospectives by a very good friend of mine. Halsin's trauma often get dismissed due to his polyamory, open sexual nature, and his own somewhat diminishing/dismissal of it, which honestly I love the representation of, cause for a while I did that with my own trauma. Halsin was a sex slave to a house of Lolth-Sworn drow, a matriarchal society, where the men are generally used as fodder or for breeding, though male Lolth-Sworn drow can be wizards and rise in the ranks if wizardry, but are limited everywhere else. (Minthara mentions that the third male, and every subsequent male child after third are killed for being"useless"). Halsin often referred to them as "hosts" rather than being captors, (though he does touch on that if the Player Character threatens to sell him back into slavery). Again, everything I'd have to say here for Halsin has entirely been discussed top to bottom by a friend, their link is below!!

Anyway, long story short, I dislike it a lot when Gale, Wyll, and Halsin's traumas and abuses get diminished, even if/when the character themself doesn't see or acknowledge the abuse in the same lens that we, the players, do.

[fuckyeahisawthat]

There are so many places in the Villeneuve Dune adaptations where he just...takes all the narrative pieces that Frank Herbert laid out and subtly rearranges them into something that tells the story better--that creates dramatic tension where you need it, communicates the themes and message of the book more clearly, or corrects something in the text that contradicts or undermines what Herbert said he was trying to say.

The fedaykin are probably my favorite example of this. I just re-read a little part of the book and got smacked in the face with how different they are.

(under the cut for book spoilers and length)

The fedaykin in the book are Paul's personal followers, sort of his personal guard. They show up after his legend has already started growing (the word doesn't appear in the book until chapter 40) and they are people who have specifically dedicated themselves to fighting for him, and right from the moment they're introduced there is a kind of implied fanaticism to their militancy that's a bit uncomfortable to read. They're the most ardent believers in Paul's messianic status and willing to die for him. (They are also, as far as you can tell from the text, all men.)

In the book, as far as I can remember (I could be forgetting some small detail but I don't think so) there is no mention of armed resistance to colonialism on Arrakis before Paul shows up. As far as we know, he created it. ETA: Okay I actually went back and checked on this and while we hear about the Fremen being "a thorn in the side" of the Harkonnens and we know that they are good fighters, we don't see anything other than possibly one bit of industrial sabotage. The book is very clear that the organized military force we see in the second half was armed and trained by Paul. This is exacerbated by the two-year time jump in the book, which means we never see how Paul goes from being a newly deposed ex-colonial overlord running for his life to someone who has his own private militia of people ready to give their lives for him.

The movie completely flips all these dynamics on their head in ways that add up to a radical change in meaning.

The fedaykin in the movie are an already-existing guerrilla resistance movement on Arrakis that formed long before Paul showed up. Literally the first thing we learn about the Fremen, less that two minutes into the first movie, is that they are fighting back against the colonization and exploitation of their home and have been for decades.

The movie fedaykin also start out being the most skeptical of the prophecy about Paul, which is a great choice from both a political and a character standpoint. Of course they're skeptical. If you're part of a small guerrilla force repeatedly going up against a much bigger and stronger imperial army...you have to believe in your own agency. You have to believe that it is possible to win, and that this tiny little chip in the armor of a giant terrifying military machine that you are making right now will make a difference in the end. These are the people who are directly on the front lines of resisting oppression. They are doing it with their own sweat, blood and ingenuity, and they are not about to wait around for some messiah who may never come.

From a character standpoint, this is really the best possible environment you could put Paul Atreides in if you want to keep him humble. He doesn't get any automatic respect handed to him due to title or birthright or religious belief. He has to prove himself--not as any kind of savior but as a good fighter and a reliable member of a collective political project. And he does. This is an environment that really draws out his best qualities. He's a skilled fighter; he's brave (sometimes recklessly so); he's intensely loyal to and protective of people he cares about. He is not too proud to learn from others and work hard in an egalitarian environment where he gets no special treatment or extra glory. The longer he spends with the fedaykin the more his allegiance shifts from Atreides to Fremen, and the more skeptical he himself becomes about the prophecy. This sets up the conflict with Jessica, which comes to a head before she leaves for the south. And his political sincerity--that he genuinely comes to believe that these people deserve liberation from all colonial forces and his only role should be to help where he can--is what makes the tragedy work. Because in the end we know he will betray all these values and become the exact thing he said he didn't want to be.

There's another layer of meaning to all this that I don't know if the filmmakers were even aware of. ETA: rescinding my doubt cause based on some of Villeneuve's other projects I'm pretty sure he could work it out. Given the time period (1960s) and Herbert's propensity for using Arabic or Arabic-inspired words for aspects of Fremen culture, it seems very likely that the made-up word fedaykin was taken from fedayeen, a real Arabic word that was frequently used untranslated in American news media at the time, usually to refer to Palestinian armed resistance groups.

Fedayeen is usually translated into English as fighter, guerrilla, militant or something similar. The translation of fedaykin that Herbert provides in Dune is "death commando"...which is a whole bucket of yikes in my opinion, but it's not entirely absurd if we're assuming that this fake word and the real word fedayeen function in the same way. A more literal translation of fedayeen is "self-sacrificer," as in willing, intentional self-sacrifice for a political cause, up to and including sacrificing your life.

If you apply this logic to Dune, it means that Villeneuve has actually shifted the meaning of this word in-universe, from fighters who are willing to sacrifice themselves for Paul to fighters who are willing to sacrifice themselves for their people. And the fedaykin are no longer a group created for Paul but a group that Paul counts himself as part of, one member among equals. Which is just WILDLY different from what's in the book. And so much better in my opinion.

[leah-lover]

Second chances. Alexia putellas x coach!reader.

Part 1. Part 2. Part 3.

summary : the confrontation between alexia and R.

Alexia always had a hold on you. Her stare would often captivate you and suck the air out of each room you were in. being stuck with her in the physio room, her muscular thighs on full display, was your worst nightmare. Her eyes seemed to devour every part of you and yours couldnt shy away from doing the same. There you both were 4 years after that night still looking at each other like nothing mattered in the world but the person in front of you. Your heart made it  its purpose to quickly remind you of the gaping hole she left in it. You remembered the amount of tears she drew from your eyes, and the delay she caused to your success and career. You shifted in your seat and looked away from her. You reminded yourself that the person in front of you wasn't  the love of your life anymore but the one that destroyed you. 

“ You don't know how many times I imagined us talking like this. I planned this speech many times but now that i have to do it i can't recall a word.” she says breaking the silence. Her voice was shaky which wasn't something you were used to. You hardly ever saw alexia nervous and fidgety which was interesting to witness. You didn't say a word though. You kept your composure as you always did and let her speak her mind. 

“ uhmm. I am sorry. I know that i fucked up really badly. I shouldn't have acted like that that night. I should have fought for you. Fought for us. I should have reprimanded Irene and done everything in my power to help keep us together but I was a coward. I chose the easy road. You don't know how sorry I am. I regret everything and if  I could go back I would stop you from leaving or leave with you.” 

You fantasized many times about what alexia would say if she was to apologize. What you dreamt of sounded like what she said but coming from her it didn't sound as satisfying as would have hoped. It  only made you angrier. You tried to keep your composer because it was your default setting. Your face was as emotionless as you could have it but your blood was boiling in your veins. You waited for her to add something but she didn't. . she was shaking and her eyes were glued on you. 

Realizing that she was done you got up to leave. She quickly hurried to your side. “ So you won't say anything?” she asked, nervousness clear in her voice. “ I said I would hear you out and I did.”  you respond with a monotone voice. 

“ Please say something.” she pleaded. 

“ What do you want me to say? You want me to say that you are forgiven. You are not. You destroyed me and for that I will hate you forever.” 

“ You don't mean that.” 

“ I don't mean what? The part where I said you destroyed me or the part where I said I hate you.” your voice was undermining and insulting which made her body visibly tense. 

“ I was in love with you and you chose you before me. You chose your career before me. You chose your family and friends before me. And what?  you think i am sorry and I regret everything would make me forgive you and come back to you.” you voice and body language were cruel. You laughed at her, undermined her presence and belittled her just with your tone. You saw her shrink before your eyes. You didn't mean to or maybe you did. But the image in front of you made your heart ripe.

“ I was dead without you. I couldnt breath, sleep, or eat. I thought that you would come after me and tell me that I am to you worth more than some stupid trophies or a legacy. I thought that you wanted to continue your life with me and that that night was just a mistake But you didn't. You left me alone and unemployed. You ruined me. You broke me. I had to learn how to breathe again. I had to learn how to sleep in my bed alone. I had to train my brain not to think about you  and not to try and hold out hope that you wanted me. You made me feel unloved and undeserving of everything.” you saw tears escape her eyes and stain red cheeks. 

“ I am stupid. I don't deserve you or  a second chance. But I can't help but miss you and need you. All I have is this stupid job and my memories of you. I replay them every night before I go to bed. I replay how my lips  felt on yours and how your head felt on my chest.  I should have come after you and told you that I love you more than anything but my ambition stood in the way. I thought that my career and the approval of my family  would fill the void in my heart but I was wrong. I love you. “ 

You two stood there with your hearts laid bare. You know how she felt and she knew how you felt. 

“ After all this time I love you too alexia.” you took a deep breath and you saw her eyes light up. “ But I can't trust you. I went through so much pain and anger. I don't think that I am capable of moving past it to be with you.” you swiped her tears away with your thumbs and gave her a quick peck on her lips. She didn't fight back, she wanted more but you stepped away from her and left the room. 

As soon as the door closed behind you tears streamed down your face as you ran away from the hallway. 

You were the last one to board the bus. You saw a glimpse of alexia whose head was lying on mapi's shoulder. Her eyes were puffy, her cheeks were red and your heart was no longer able to keep your feelings for her dormant. Two voices were screaming at you. One was reminding you of how much you love her and the other reminding you of how much she hurt you. You put on your headphones to try and drown out the noise that tortured you. 

Midnight found you awake, the image of alexia’s crying face was burned into your memory. A knock on your door stopped you from cursing yourself for thinking about going back to her. When you opened the door you found Irene in front of you. 

“ Can I come in?” she asked. You stepped aside to let her in. 

“ I am a jerk.” she stated. “ Yeah you are.” you responded. 

 “ You haven't done anything to hurt me but I have done everything to hurt you. I was young, jealous, and angry. Everything that happened was on me and it was my fault. And for that I apologize. I knew that night that it would hurt you and get you to leave so I did it. I was a child jealous that her best friend found love and she didn't. I am not excusing my behavior which was wrong. I am giving you a much needed apology.” 

“ Thank you.” you respond. 

“ alexia loves you. She is deeply in love with you.” 

“ Irene, stop.” you interrupt her. 

“ She truly loves you and she truly is sorry for everything. She would do anything to be with you again. She was a mess when you left. That's why I didn't want you to take the job. I knew how much she had gone through and how much she still loves you. And when I looked at you I saw that you too still loved her. In  an effort to save my friend I was rude to you. Hate me but please try to find the will to forgive her.” 

You didn't know what to do with what she told you. Your heart was burning for Alexia and you knew now that hers yearned for you too. 

You pick up your phone and look at her contact. Will you forgive her or shut her out again?

[quasi-normalcy]

Every "Nu Trek" (2017- ) Series Ranked from Worst to Best:

Very Short Treks (2023): There's really no words for just how terrible this series is. I mean, I know that it only barely counts because it's explicitly not canon and has a total combined run time of about 15 minutes, but *my god* is it bad! Only one of its episodes is remotely funny, and even that manages to feel like it's driven its main joke into the ground by the end of its 2-minute runtime. The only thing that I can say for it is that is that it gives me an easy, uncontroversial choice for worst Star Trek series, not only of the last 7 years, but of all time.

Picard (2020-2023): Listen; I know that this series is unpopular with the Tumblr Trek fandom, but it actually breaks my heart to have to put it so low on the list. It has, in my own opinion, the best dramatic acting of any Trek series and among the best directing, and almost every individual scene, in isolation, is compellingly watchable. More than that, it has fascinating worldbuilding choices, you can really *see* the passion of the writers for what they're creating (at least in the first and third seasons), and Agnes in particular is among my favourite characters in anything ever. It's got a lot of great moments, too! Picard and Seven bonding over shared Borg trauma; Soji uncovering the truth of her identity; Jurati hacking the Borg Queen's brain; Picard's final farewell to Q; Shaw's Wolf 359 monologue; Geordi's reunion with Data...I could go on. And yet, it just feels like so much *less* than the sum of its parts! Incredible ideas are introduced and then just shrugged off to pursue much more boring ones. Story arcs feel pointless if not actively offensive. Absolutely baffling writing choices are made throughout, with no indication as to why. And the nostalgia baiting , particularly in the final season, becomes so intense that it just chokes the plot to death. One comes away haunted by the feeling that this series should be so much better than it is.

Discovery (2017-2024): Really, this is two separate series: a twisty, grimdark, sci-fi war drama and a gentle queer coffeeshop AU about scientists who talk about their feelings. Both of them have their moments, but they each fall down in the same way: a focus on epic, high-stakes mystery box storytelling that undermines one's ability to really get invested in the characters, or even know who they are when they aren't off saving the universe. Without that, while I liked many of the characters and loved seeing them science the shit out of things using teamwork and the power of math, it's kind of difficult to get invested in this series one way or another. In spite of its absolutely gorgeous visuals, it comes off feeling weirdly...flat.

Short Treks (2018-2020): Not a lot to talk about here; just kind of an anthology series of short films adjacent to Discovery, Picard, and Strange New Worlds. Mostly they're varying shades of mediocre, but a few of them are as brilliant as any episode of Star Trek ever made, so the series gets to be relatively high on the list.

Strange New Worlds (2022- ): This is the first entry on this list that, in my opinion, belongs on the top shelf with some of the best of the older series. And it achieves it basically by adopting the same formula as the original series or the next generation--socially conscious planet-of-the-week adventures with enough wit, cleverness and joie-de-vivre to keep it interesting. I remember in 2017, there was plenty of discussion of how it's possible to update Star Trek's formula for prestige television; how funny that the solution turned out to be "don't change it at all, just give it modern special effects and actual character arcs." That said, the series is a bit *too* beholden to the original, with focus primarily on a bunch of characters who aren't allowed to grow or change too much because we already know how they'll turn out. It would be even better if it were about a new ship and a new crew full of nobodies who we can come to love. Which brings us to...

Lower Decks (2020-2024): Above, I said that Picard felt like it should have been so much better than it was. Lower Decks, frankly, should have been so much worse. How is an adult animated sitcom with Rick and Morty style animation and constant memberberries this freaking good!?! Every episode is a master class in efficient storytelling, with 22 minute runtimes often feeling like they contain as much story and character work as episodes twice as long. And the characters are incredible--like TOS and TNG, they feel almost archetypal, and even though you've never seen them before, they slide so seamlessly into the Star Trek universe that it's hard to believe that they weren't just *always* there; that there was ever a time when you could imagine the Star Trek universe without just intrinsically knowing that Tendi and Shaxs and Mariner were off somewhere in the background. It's greatest success though, the reason why it's comedy works when it really shouldn't, is that it's only *slightly* sillier than the serious series. What we end up with a fantastic series with an ethos that is pure Star Trek, and in fact, if I had written this list a month ago, it would certainly be in the #1 spot. However...

Prodigy (2021-2024?): The first season of Prodigy is...charming. It's got some fun characters, some spectacular visuals, some interesting premises. And if the plots tend to be a little too simplistic to be engaging to an adult, hey, it's a kids' show. It's good. Solid. Above average. And if I had only the first season to go on, it would probably be in third position on this list. But then, a few weeks ago, it went ahead and dropped the best season of Star Trek in a quarter-century, and I really...I just cannot recommend this series highly enough. The sheer, ambitious scope of the narrative; the arcs it puts its character through; the cleverness of the writing; the fricking GORGEOUSNESS of it! And it does all this while redeeming deeply unpopular characters and plot points from other series, in a way that never feels forced or pandering. Not only is it the best Star Trek series of the 21st century, it's one of the best children's animated series since AtLA. Go. Go! Watch it! Watch it now!

[desertcrater]

wilson is diabolical in s3 ep2, especially because a few episodes prior its established that he eats neediness. if someone becomes independent from him, he can't stand it. typically this means he divorces them; but since house isn't his husband, this time it means he instigates house's psychosomatic depression.

both cuddy and cameron are on Team Tell House He Didn't Fuck Up, because they know house is on a quiet downward spiral. they know his leg pain's severity is tied to his self-worth/mental state.

but wilson? Mr I-Pathologically-Need-To-Be-Needed Wilson? he frames his Don't Tell House position as "teaching House humility" when really his motive is to get house back on vicodin and reliant on him. he even tosses a full vicodin pill bottle at house, claiming that it's so house doesn't skip rehab due to the pain. but if that were the case, why not give house something non-addictive? something OTC or non-restricted?

and i think there is an additional aspect in s3 ep1, too. house says he doesn't remember wilson "being this bitchy", and wilson replies that "the vicodin dulled it. in the sober light of day, i'm a buzzkill."

which could just be a dry humor remark, sure, but i think it highlights that their dynamic's going to change now that house is sober. and if their dynamic changes, it could threaten their weird codependent ecosystem that they live in. one where they both tolerate/exacerbate each other's worst qualities (house's misery and wilson's bitchiness). who will love me like he loves me? who will love him like i love him?

this is exemplified in that same episode. wilson shoots house down multiple times when house says he's a changed man, by replying: "no, house, you aren't."

wilson does this manipulative thing where on one hand, he's encouraging house to get better; yet on the other hand, he undermines any true progress. there is something so deeply wrong with wilson. he's so fearful of losing the codependency in his relationship with house, that he'll do anything to keep their fragile Boy Best Friend Status Quo. and that includes outright lying to house & actively sabotaging his rehab.

that also includes manipulating cuddy and cameron into keeping quiet. ironically, he's only able to do so because of his Boy Best Friend relationship to house. after all, who knows house better than wilson? who would know how to make house feel better more than wilson? who would know how to make house feel worse more than wilson? nobody loves house like wilson

[maximumqueer]

I think there are a couple of reasons why there is so much "controversy" (if you can even call it that) surrounding chapter 1118. Part of it is just misogyny. There are unfortunately a lot of misogynistic fans in shonen spaces, and One Piece is no exception. They don't like that a girl gets a cool power up, especially if its similar at all to the male protagonist, who has to be depicted as cooler and more powerful than every other character (but especially the women) at all times.

And that mindset bleeds into the the second reason. Being that the people mad at this chapter (in my opinion) don't really understand One Piece as a story. They treat it as a more stereotypical shonen, when in it far from that, and Luffy as a stereotypical shonen protag, when he is anything but. Some of the complaints that I've seen directed at Bonney's Nika-like form is that it robs Luffy of what makes him special as a character and undermines the importance of Gear 5/Nika.

To tackle the first part, Luffy's power set has never been what has made him special. We've seen already that devil fruits can have similar abilities. Monet and Aokiji both have ice based powers, Catarina Devon and Bon Clay can both mimic how other people look. Hell, we've already seen a devil fruit user with similar powers to Luffy in the form of Katakuri, and I don't remember fans being angry about that. Luffy isn't the only person to awaken his fruit, nor is the only person to have awakened the Nika fruit. And he won't be the last, because that's how devil fruits work. When Luffy dies, the Nika fruit will respawn and someone else will carry on the name of Nika. This is even more obvious with haki. At least half of the characters Luffy has fought in the New World had conqueror's haki, just like him. What does make Luffy special is who he is as a person. It's his ability to reignite hope in people. His nigh unwavering belief in both his own and others dreams, and his ability to inspire that belief in others.

As for it undermining Gear 5. Luffy's awakening has always been about freedom, but not just for himself. Nika is a god of liberation, not personal freedom. If anything, Luffy being able to instill such a deep and profound sense of freedom into a person that they are able to take on a Nika-like form FURTHERS its importance, especially thematically.

Its also is worth mentioning that Bonney's Nika transformation is the perfect culmination of her and Kuma's arc. For a young girl, who spent the majority of her life trapped inside because of a terminal illness brought on at the hands of the world nobles, whose father - in order to cure her so she could have freedom - sold his body to the world government (after previously escaping enslavement by the very same people). For her to achieve complete and total freedom, and for Kuma to be there to see it, to know that in the end he succeeded, and that his daughter is now wholly and truly free - having taken the form of the god he worshipped - is beautiful. Is the perfect way to bookend both of their arcs.

(Also Luffy literally ENCOURAGED Bonney to take on her Nika form. And he laughs with delight when she is successful. He is HAPPY for her.)

All this to say, Bonney's Nika form is fucking awesome and I can't wait to see her and Luffy kick ass together in the next chapter.

[coraniaid]

Speaking of Faith, Hope & Trick: that first conversation between Buffy and Faith must be so different from Faith's point of view.

I mean, the episode itself is very much told from Buffy's perspective. She's only recently reclaimed her identity as "Buffy, the Vampire Slayer" and she just started to reconnect with her friends as of the end of last episode. Of course she feels challenged by Faith's arrival; of course she feels like Faith's deliberately trying to upstage her. Of course she feels Faith is trying to intrude on her life. She reacted much the same way when she met Kendra, and that was when she was a lot less keen on being "the Vampire Slayer" and much more comfortable with her place in Sunnydale. As she tells her mother later, she's "just getting her life back […] not looking to go halfsies on it".

But think about it from Faith's side. Even while she's lying about where her Watcher is, she admits that she came all the way from Boston looking to meet "the infamous" Buffy Summers. She presumably set up the earlier encounter with the vampire deliberately to try to lure Buffy out (she's the one to lead him outside and she only starts fighting him seriously once Buffy and the Scooby Gang have arrived looking for her). She must have picked out her never-to-be-seen-again outfit and practiced her slightly too casual introduction of "I've got it. You're, uh, Buffy, right?" (as if she came all the way to California to meet some girl whose name she didn't quite remember) well in advance. She's already calling her 'B' while the vamp's dust is still cooling. You think she hadn't planned that too?

And Faith is trying to so hard to connect with Buffy in this scene. Yes, she tells a lot of "tall tales" (as Scott Hope will later put it) -- she wants to seem impressive! she wants Buffy to view her as an equal! -- but she's also the only person in the group who keeps trying to get Buffy to share things. It's not her fault that the rest of the gang talk over Buffy's attempts to talk about her own past battles or that they undermine her attempts to tell equally impressive stories. It's not even really her fault that she ends up sharing things about being a Slayer that Buffy as obviously been trying to keep secret from her friends (I mean, it's her fault a little, sure, but I don't think it would even occur to Faith to be embarrassed by anything she says).

"Did you really use a rocket launcher one time?" Faith asks, having already heard the story from somewhere and so done her best to convince Buffy that she too has done equally cool things (she hasn't). "What was your toughest kill?" she asks, having fled most of the way across a continent to escape a vampire she couldn't kill herself. "Isn't it crazy how Slaying always makes you hungry and horny?" she asks and "You and I are gonna have fun," she promises. What can that mean but: don't you feel the same way I do? Aren't you just the same as me? Aren't you glad I'm here?

Yes, Faith is jealous of Buffy's friends and her Watcher and her Mom, right from the start, but she didn't arrive in town looking to meet them. She came looking for Buffy; and look at how quick she is to accept Scott's description of her as "Buffy's friend" the next day. But Buffy (very understandably, from her point of view, because of experiences Faith has no knowledge of) just keeps trying to shut her out. The harder Faith tries to impress her -- by trying to win over Buffy's friends, and her Watcher, and her possible boyfriend, and her Mom -- the more aloof the other Slayer seems to get.

No wonder Faith gets annoyed by the rejection. No wonder she starts to get angry. No wonder she's ready to start exchanging threats once they're alone on patrols and the vampires aren't even showing up the way they're supposed to. Like she'll complain later in the season: she came to Sunnydale, she slayed, she did the good little girl routine, and what did she get? Not Buffy, that's for sure.

[matan4il]

what do you, as an Israeli, think of Standing Together? asking entirely in good faith because I see things supporting them a lot, but it's always from American Jews and (no offense to us), I don't totally trust that we're informed enough to know what we're talking about and what their perspective and usefulness truly is in the way that someone who actually lives there would. so many orgs are untrustworthy or covertly antisemitic and it made me curious for your perspective. thank you for everything. <3

Hi Nonnie!

Sorry it took me a moment to reply, but I hope my answer can still help you!

As an idea, Standing Together is a movement that I should have been all for. They are pro-coexistence, and so am I. There's no doubt in my mind that Jews aren't going anywhere, and neither are Arabs, and we are all better off working together for a good future for all. Supposedly, that's ST's message, so they absolutely should be an organization that I would be all for.

BUT from everything I've experienced, the narrative that they adopted is way more one-sided than their official stance, they're closer to being anti-Israel than balanced, which makes them problematic for me. Especially when you look at the individual actions and statements of many of this movement's leaders, it's evident that coexistence to them comes at the expense of historical facts, as well as certain Jewish rights. Obviously, the leaders' personal positions influence the movement's stance and actions.

For example, in this interview from Nov 2023, a Jewish leader of the movement falsely calls Israel's 2014 operation in Gaza against Hamas, "a war against Gaza and its people" (brief summary: Hamas kidnapped and murdered three Jewish teenagers in Judea and Samaria, Israel launched Operation Brother's Keeper during which it arrested some of Hamas' terrorists in that area looking for intel on where those 3 kids were and what happened to them, Hamas fired rockets from Gaza at Israel to get its terrorists released and used terror tunnels, including ones that crossed the border from Gaza into Israel, to kill and kidnap our people. That's what Israel ended up fighting against in Operation Protective Edge), while an Arab leader of ST defines their way as one which rejects "maintaining violent military control over millions of people," but says nothing against the terrorism that's used against millions of Israelis and Jews.

In terms of the recent war, since Oct 7 they have come out calling for a ceasefire now very early on in the war (I can't remember when they started it, but I know by Dec 7, 2023 they'd already put out a vid calling to stop the war, when really the ground operation only started about a month earlier, before it could possibly achieve anything), meaning this call was undermining Israel's right (and duty!) to defend its citizens, and asking us to surrender our goals of returning all the hostages and destroying Hamas' rule (only the latter can prevent Hamas from fulfilling its promise to carry out more massacres of the type that started this war, and has claimed so many lives on both sides). Another thing you can see in that vid is ST participating in spreading the false narrative that Israel is intentionally starving the Gazans (you can see the same thing in this poster, which says in Hebrew, "Thou shalt not starve." It's a poster for humanitarian aid they were supposedly bringing into Gaza, as if the IDF would ever let anyone bring anything they want unchecked into a war zone, or as if the amount of aid a few Israeli cars could bring is more than the hundreds of trucks Israel has been allowing in, checked. ST's just posturing and spreading an anti-Israel libel). Helping to spread a libel against one side is NOT being pro-coexistence. Imagine if they were spreading a libel that all Gazans are Hamas terrorists, and took part in the massacre! I think it's clear that, even if it's not simple to tell them apart, there are people in Gaza who are complicit, and people who are uninvolved and innocent. So if ST were spreading such a libel against Gazans, I'd oppose them. I am not going to do less when ST is spreading a libel against my own people.

I hope one day they correct course, but I can't currently support them. Give me REAL solidarity between Jews and Arabs, which sees and recognizes the humanity of both, not a repeat of the de-humanization of Jews, and a surrender of Jewish rights to an anti-Jewish narrative. That's not real peace, it's not real coexistence, it's a return to the way that we Jews have had to live for centuries in exile: always dependent on the good will (or lack of it) of the majority under whose will we lived, forced to bend ourselves, our rights, our dignity, too often even our very lives, to our subjugators, in the hope (and without any guarantees) that they will show us some kindness.

Many of the movement's leaders have not only expressed themselves in a way that reflects an acceptance of the anti-Israeli narrative, and took one-sided positions I can't agree with, they also acted in ways that have left me feeling quite unsafe.

For example, one of ST's founders, Yeela Raanan, joined and supported the violent Palestinian riots on Israel's border with Gaza, organized by Hamas, meant to breach the border fence, which started in 2018. Today we know these riots were a part of Hamas' preparations for the Oct 7, 2023 massacre, as they were getting the IDF used to them coming closer and closer to the fence. TBH, those of us listening to the statements of Hamas' leaders, we didn't need to wait for the border to be breached in order to know that it would be a bloodbath if they succeed. Sinwar's promise that they will reap out the hearts of Israelis with spoons from our chests was enough. Also, the repeated use during these riots of flags and kites with swastikas was pretty telling. So yeah, I can't trust anyone who supported that.

The movement is also financially supported in part by funds, such as the New Israel Fund, which finances a lot of good causes, but also many anti-Israel ones, and the German fund Rosa Luxemburg Stiftung, which supports the antisemitic BDS movement (it's antisemitic first of all because one of its stated goals is to put an end to Israel as a Jewish state, another reason is their use of antisemitic tropes in characterizing the Jewish state).

The ironic thing is that, despite how imbalanced against Israel ST is, it was still the so-called pro-Palestinians who actually started a campaign to boycott the organization. Not because of anything specific ST said or did. It was simply for being an Israeli organization, showing the diversity of Israeli society, which is apparently bad 'coz it "normalizes" Israel's existence. That shows you the anti-Israel nature of this opposition, that no amount of willingness to cooperate with the de-humanization of Jews and erasure of our rights will ever be enough for people whose real motivation is antisemitism, that wishes to see an end to the Jewish state.

I hope this helps, Nonnie! Once more, my apologies for how long it's taken me to reply. Be well!

(for all of my updates and ask replies regarding Israel, click here)

[sketches4mysw33theart]

Dead Poets Society: Some Thoughts and Analysis

Essentially a stream of consciousness I had while rewatching the movie today. In chronological order as I was making notes!

✒️ Charlie talks so much with his eyebrows

✒️ Todd is tasked with taking minutes of the meetings, but I don't believe we ever see him actually do so (although it would have been nice if he did)

✒️ Cameron looks so much like a fisherman when he's smoking his pipe

✒️ Cameron's distaste for Charlie (and often for the rest of the boys) is evident super early on (e.g. when they walk out of Mr Keating's first class and Cameron says "do you think he'll test us on that stuff?" And, when he gets shut down, he throws a very angry look at Charlie and the poets. This happens several times, but as far as I remember we never see Cameron retaliate.) From this, while I don't like it, I understand why Cameron did what he did at the end of the movie because I think he felt undermined by the others and he was considered 'useful' and 'smart' for the school

✒️ Also, I do not accept that Cameron's name is Richard Cameron, he's pulling a Zendaya and goes by one name only

✒️ Mr Keating looks so disappointed in Charlie when saying "Thank you, Mr Dalton, you just illustrated the point"

✒️ I think Knox kissing Chris at the party, while somewhat gross, is necessary to show that Carpe Diem isn't always the right thing to do, as is Charlie putting the article in the paper  - i think maybe Chris not ending up with Knox would have hammered this home, especially because she seems perfectly happy with Chet. Of course, Chet's response to what happened at the party isn't fair, but it is definitely what I can see a teenage boy on the high school football team in the 50's doing. Don't choke on the bone, Knoxious!

✒️ Is Charlie trying to get thrown out of school? With the article in the paper stunt, he must have known how serious the repercussions would be, so maybe already he was considering getting out of school because he felt it wasn't the right path for him

✒️ "You made a liar out of me, Neil" - Mr Perry, I hate you

✒️ Did all of the poets, minus Neil and Knox, really squeeze into Keating's car?!

✒️ Neils little face when he comes out of the curtain, and how quick it falls when he sees his father - he's like a little kid showing a finger painting to a parent who insults it, he just wants his Dad to be proud of him

✒️ Mr Keating's face when Neil drives away after the play - I think he had an idea what was coming

✒️ That zoom in on Neil's face when his father's saying "more of this acting business, you can forget that"- he knew, then, that his dad would never change and what he was going to do

✒️ I want the doorknobs in the Perry house, specifically Neil's

✒️ The first time I watched this movie, I was so on edge when Neil was standing in front of the open window, thinking he was going to jump, and when he didn't I was like 'phew', and then the thing happened and my blood sugar spiked way up

✒️ Mr Perry saying 'my poor son' - i don't know, it rubs me up the wrong way, he has a name, he is not simply an extension of you

✒️ Cameron isn't there when the poets tell Todd what happened to Neil

✒️ The lingering image of Charlie with a tear down his face is so beautiful

✒️ Knox just clinging to Todd in the snow

✒️ The comparison between the deleted scene of Neil and Todd running lines by the lake when it's sunny and Todd running towards the lake screaming Neil's name 💔

✒️ Similarly, the comparison between Todd not wanting to speak at all in the meetings, and then the deleted scene where he reads a poem after Mr Perry takes Neil away

✒️ Charlie not singing during Neil's assembly

✒️ Ave means farewell in literature, and Charlie closing his eyes when it's sang is beautiful

✒️ Charlie carries on smoking when Cameron's coming into the attic meeting - he either knows it's Cameron or doesn't care who tf catches him doing anything bad anymore

✒️ I don't think Cameron ever actually 'believed' in Mr Keating, definitely not to the extent the others did - he never called him captain, for example, except when he realised everyone else in the common room was, and air quotes the word 'captain' in the attic. So, it raises the question why he went along with everyone even so?

✒️ While I do somewhat sympathise with Cameron, that is one of the most satisfying punches in movie history

✒️ I think Todd's parents weren't that different from Neil's, Todd's dad is clearly very authoritarian from the minute or so he's on screen (and the fact that Todd signs the paper) and his Mom says nothing in his defense, but the way Todd mouths 'Mom' breaks my heart

✒️ In what universe does acting = what Neil did? All those theatre kids and their evil, satanic rituals, forcing our kids away from school 🙄 I hate you, Mr Perry and Mr Nolan

✒️ Todd's the last one to stand up when Nolan walks into Keating's classroom

✒️ Mr Nolan complimenting Mr Pritchard's introduction is so ridiculously funny to me considering what Keating made them do to it

✒️ Mr Keating's smile to Todd through the door in the classroom has the same energy as "All my love to you poppet. You're going to be alright."

In conclusion, I adore this film.

Robin Williams, O Captain, My Captain 🫡❤️

[stilljuststardust]

You're not doing anything wrong. I swear you know how to do it you don't need to find a "key"

(LOA + shifting post)

It's cool if you view shifting and LOA as separate things this post doesn't necessarily rely on you believing they're connected, just as long as you remember anything I say in this post specifically is applicable to both.

I feel like we overcomplicate the fuck out of both manifesting and shifting.

We get a little caught up in the terms that we forget how simple it is.

You decide that it is true and it has worked, ignore anything outside of yourself that tells you otherwise, and know that it is true because you fucking said it was.

That's it, you decide, know it to be true and ignore anything but that decision.

You decide you have your manifestation and ignore anything but that decision. You decide you've shifted and ignore anything but that decision. That it IT stop overcomplicating it.

You don't have to know everything you don't have to have a perfect mindset you don't have to do shit.

I feel like many people when entering the community for the first time come in identifying with the idea that they're doing something wrong and they need to change.

This mindset is reinforced over and over again. Constantly chasing the next method that is going to "make you shift for sure this time"

I don't care if you learned about it yesterday you are capable and you need to stop undermining yourself.

You're done learning. You don't need to know everything, you don't need to pick apart your brain, you don't need to "discover your blockages"

I remember before I knew anything I thought I had to discover everything that could possibly "hold me back" and destroy it.

If you go looking for limiting beliefs you will find them. You don't need to find old beliefs to create new ones.

Nothing is holding you back. Nothing.

You do not need to rip your own heart out trying to find every painful insecurity you have.

There is nothing to overcome.

In the shifting community and to a lesser extent manifestation community (specifically on tiktok Tumblr is much better about this but I still see it from time to time) has this constant need to chase the next "savior".

"It's the final push! No it's the void! Nooo its this super amazing method that will change your life!!" And then the method is wake back to bed + visualization repackaged and rebranded again.

None of these things are bad, it's the trend based mindset that concerns me. The idea that you have to go out and search for the solution, that something outside of you has to happen for you to get what you want.

No magical discovery is coming to save you, believe in the power of yourself. Your success is not going to come from somebody else

We unintentionally treat it as some kind of treasure hunt. Stop chasing the next new thing. The answers are not something you will find outside of you, the change comes from WITHIN

There is no search, there is no secret key to a secret door, there is NO invisible barrier keeping you from your goals, and there is no queen of England.

[book--wyrm]

I do love that Eve is like. The ultimate refutation of the way Oz chases his Rex Calabrese fantasy.

Because in a way, Eve really is the perfect recipient of this dynamic. She knows Oz and all his flaws so well—she knows he's a selfish, lying, backstabbing killer, she knows that he's fundamentally kind of an asshole, she knows that he is at minimum about 60% bullshit by volume at any given moment.

But she accepts him and his help, and offers her aid and advice in return, as little as he listens to it. She doesn't judge him, even defending him to Sofia after their breakup (we all got our shit, don't we?). She loves him, in her own way, enough to push back when Sofia derides the idea. She is loyal to him.

I cannot emphasize that last part enough. She is loyal to him. During her meeting with Sofia, Eve was fully, totally, a hundred percent prepared to take his location to her grave. She didn't choose not to go with him to save her own life, she chose not to go because she needed to stay to protect her girls.

And realistically that's really the best case scenario for the Rex fantasy, right? To be seen and known for all your scummy deeds and dark, vicious nature, and yet be loved and respected as a protector all the same? Maybe Eve wouldn't throw a parade for him if he died, but she'd pour one out for him with the girls and remember him fondly. We ate when he ate. He was a nasty sonuvabitch but he was ours.

And then.

Sofia comes. And all she has to do is tell the truth.

And the whole thing comes crumbling down.

Because Oz was never, and could never be the kind of man who deserves that respect and loyalty. Because it's only "we got each other's backs and don't screw each other over" as long as its convenient for him. Because Oz will do anything to have that Rex reputation, including undermining its very foundations.

Oz loved Eve, in his own way. Besides his mom and vic, Eve is the person he cares about the most. But he doesn't respect her. He doesn't value her priorities, only the affection she gives to him. So he screws over her girls, and hides it for a decade, and doesn't think a second about it because ultimately, he doesn't want to protect the people, he wants to be loved as a protector.

And once Eve, the person he has been the most Rex-like with for god knows how long, learns how deep the rot runs? She turns her back on him. Because as much as Oz wants to be loved like Rex, he can't help being anyone but The Penguin.

I also have to say, I absolutely adore that the person who does genuinely come closest to the fantasy Rex that realistically could never exist isn't Sofia—it's Eve herself.

For Oz, I eat you eat means sharing scraps off his plate with the people who fill it. For Eve, it means sharing in their meals. And when needed, sharing in the danger.

I think a worse, less thoughtful show would only really contrast Oz with his major rival, giving her the virtues he lacks and vice versa. And I have seen some reviewers and reactors talk as if like, Sofia sparing Eve earned her Eve's loyalty or something. Like Eve is switching from one mafia boss to another.

Nothing about that scene reads that way to me. Eve doesn't share Oz's location out of loyalty, or gratefulness. She doesn't owe anything to Sofia for not shooting her.

She tells Sofia because she gets it, gets how deeply Oz has fucked Sofia over. She tells her out of kindness, out of empathy, out of understanding.

And that is why she earns the Rex reputation, and Oz only borrows it.

[twelvemonkeyswere]

Brienne and Femininity (and Masculinity)

I’ve been musing how one of the most important topics in Brienne's storyline is femininity, and even though her story isn't finished, we can fairly see what some of her major themes are around this—particularly, how performing or failing at performing femininity affects her both internally and externally.

Often I see people pointing out that, in spite of all of Brienne’s traditionally masculine ways—her clothes, her skill set, her body shape, to name a few—she does not fully reject femininity. That she likes little cute animals and fairy tales and wears dresses, and is shy and blushes frequently. This is an important point because, very often, fantasy settings made the assumption that a woman can only be taken seriously if she goes beyond “her womanhood” and acts and thinks “like a man,” as opposed to other girls who are too busy mending or wanting romance. Brienne challenges those tendencies that GRRM saw in his contemporaries. Things have changed a lot since (hello The Locked Tomb, for example), but you can still see where he is working from, and how many of the aspects of Brienne's story still resonate with more modern audiences because, well, sexism hasn't stopped existing. It's also important because the larger asoiaf and got fandoms often refuse to see this side of her, reducing her to a walking sword or a cardboard cut out of a pushover.

Now, my main issue here is that I feel several interpretations of Brienne have now gone on the other direction, and focus so much on Brienne PERFORMING traditional femininity—wearing luxurious dresses, using make up, accepting lavishing gifts, or wondering if she can be desired, for example—that we've gone sometimes on the opposite direction. I feel like many times we’re afraid or do not know how to approach characterizing her as someone who rejects aspects of femininity without making her into another “not like other girls” stereotype.

My two cents on the matter is that if we focus too much in what Brienne can't but "wants" to perform, we forget that she is, in fact, gladly rejecting some common impositions of femininity in her society.

Beginning with swordplay at a young age, for example, she was very glad to ditch a more traditional education in order to learn how to fight the way we know men are taught in asoiaf/got. She is also explicitly more comfortable in men's clothes. We all like the scene where Jaime makes an effort to give her a dress and she appreciates it, but we don't even find out what happened to the dress, because, presumably, the dress itself is not THAT important, at least not as much as the fact Jaime gave her gifts as a form of appreciation. Dresses have been used in Brienne's past to mock her (the event with the bear being the most recent one), and the important part is that Jaime is the only one who has given her one without that ulterior motive. The point of the scene is that where everyone undermines and underestimates her, he is acting the opposite way. We’re seeing how the relationship between them has evolved and that he is doing his best to mend what has happened and what he has done. She is given a dress and a sword as symbols that someone else in the story is beginning to appreciate her for all she is.

Beyond that, we even get details on the old shield Brienne got at Harrenhal, but not a word about the dress. Brienne explicitly doesn't really like being in dresses, she prefers mail and breeches, and feels more at ease in them than anything else. This is not her hating dresses because she is above them. I can’t remember well but as far as we know it’s just her preference: I don’t recall her saying she hates dresses, just that she prefers trousers. She must have been wearing dresses her whole life! It’s not likely she is unused to them. But we do know the act of being given a dress is important in Brienne’s story. The problem is not that they can’t make dresses for her, the problem is that everyone who forces her to wear a dress wants to signal how lacking she is as a woman, trying to fit her in a box too small for her real shape and then mocking her because she doesn’t meet their standard. The problem is they want to make her uncomfortable and they want to humiliate her, because she dares to exist in a way that doesn’t conform to patriarchal ideals. And the problem is that she likes to wear trousers and mail. She likes to wear masculine clothes, and they want her to be very aware of how much they disapprove.

And we also hear a great deal about marrying and having children out of duty. There's a certain loss she feels there because she believes that, at that point, all those missed opportunities will never present themselves again. All her life, she grew up with a dichotomy that dictated that the chance of having a family or children was through duty or none at all, because she is her father’s heir and—they kept telling her—nobody would want an ugly, masculine, temperamental girl as a wife. They could only want her for the money she brought. The point of the story is that, once again, failing the standards of femininity has forced her into a mentality where she thinks she can’t be loved because nobody would like who and what she is. But even then, even with that thorn in her mind, she still feels relieved she didn't have to perform these particular duties. The only thing she’s sad about is that she thinks she's missed any chance at having a family at all and will never know what that might be like. She doesn’t actively want babies or even to be married. She is still young, and at least to me, she seems to view these things in hypothetical rather than explicit goals or wants. She thinks that, at 20, there is no opportunity for her to experience these things because of how her society works. It’s the lack of choice that she mourns, down the line. But she rejects that particularly role that femininity imposes on her now. She didn’t want it, and she is happy it didn’t go through. She literally fought an old man to prove how much she didn’t want those impositions.

All this is interesting to me because Brienne also sort of thinks of herself as her father's son as well as her father's daughter. It almost slips her mouth once or twice. She is aware, I think, that many times the differences between a son and a daughter boil down not really to gender but to the sort of duty they perform. And she wants to do the sorts of things sons do, too. Men regularly learned to fight and wore the clothes she liked best and used hard-earned skills in a way she wanted to use them. There are layers to this (we’ll get to that in a bit) but she is, I think, very aware of her masculinity, and, if left to her own devices, she seems comfortable in it. The problem is she is NOT left to her own devices.

Most of Brienne's self doubt comes from outside forces. As a woman, they underestimate her. As a woman, they think she is stupid. As a gender non-conforming woman, every jape uttered goes directly to her womanhood. As a woman, if she looks the way she does and dresses the way she does and fights the way she does, when she expresses any vulnerable emotion, any shred of “femininity,” she is mocked for it. She likes dancing and beautiful things and pretty boys but a woman as masculine as she is is not the sort of person who gets to express those preferences without judgment from those around her.

The point is Brienne’s world wants her miserable either way: being unable to be a woman the way they demand of her, because she is too much “like a man” for it, or being unable to be a man, because she is too much a woman for that. The point is she can’t win regardless of what she does. Because that’s how sexism works.

But Brienne’s story is, I think, one about choices. The thing is that the world makes it harder for her, but she shouldn't have to be one thing or the other. She shouldn’t have to be defined by one or the other. If she wants to fight in the mud and smell roses and wear chain-mail and talk to charming men, she should be able to choose all of those things. I think it’s easy to focus too much in what aspects of femininity Brienne likes or dislikes instead of looking at what the story is proposing, which is to look at what Brienne,as a person, likes or dislikes. What she wants. Her parallel story to Jaime is about how the world will always try to put folks in boxes, especially those who, for some reason or another, do not easily fit in those boxes. The question is not “what feminine/masculine parts of Brienne is she happy performing” but rather “what does Brienne want, and why does she feel like she cannot get it and doesn't dare ask.”

This is also what drives her to servitude. There’s a phrase out there that says that if you don’t think you can be liked, you try to become useful, so at least there’s a reason to keep you around. It’s heartbreaking to see how Brienne’s vision of herself has been so skewed by the emotional abuse, parental neglect, and bullying she’s experienced since a young age. She doesn’t think anyone will grow close to her, so at least she can be close to people by serving them. She wants to put her skills to use, she wants to find a place where she fits, where she can be more herself, but she isn’t sure what that looks like or how to find it. She’s still searching, and learning many things on the way.

And Brienne is still very young. We can see her confidence growing and her worldview challenged and she is beginning to see the realities of herself and of the world around her through various trials by fire. Misogyny makes her feel incomplete, but we know the things she trusts about herself while simultaneously seeing the way she constantly doubts others. How she can't never express all of herself without constant judgment or mockery.

I feel like yes, the fact Brienne doesn't reject all traditional femininity is really important to her themes, but by extension, it's as important that shedoes reject some of those traditional expressions of femininity. What she is truly rejecting is imposition, not femininity. What she truly needs to embrace is freedom, not masculinity. She's making her own vows, breaking her own promises, going through her own mistakes. She is learning the hard way. Agency in a world of limited choices is one of Brienne's main themes too. There are moral issues that go deep within her story as well as examinations of the effects of war and the struggle to find authenticity and connection in a community that refuses to acknowledge yours, a community drenched in pretense and lost in performance.

And I think it’s easy to get too caught up in her wanting to be a girlfriend or a mother or wearing a dress that we bypass the whole conversation around why that matters at all. I feel like Brienne's success isn't going to come from her fully embracing all her feminine traits or fully accepting all her masculine traits but from being able, down the line, to be exactly who she is.

[chronicallylatetotheparty]

I think western media has relied on non-human races as shorthand for oppressed groups so much that audiences have been primed to look for that instead of actual imperialist ideology.

One of the criticisms I've repeated about the Dragon Prince is how the writers take the Aesthetics of fantasy imperialism/indigenous people and just switch them without bothering to change anything about their ideology or historical context.

Kenna on TikTok was right when she said that a franchise where the oppressor and oppressed were all the same species makes a better racism allegory.

The fact that the Four Nations were all human added to the themes of imperialism and genocide in ATLA. While on the opposite side of the coin, the Xadians all being different species undermines it.

You can say Fire Nation people were a bunch of imperialists without going into bioessentialism. You CAN'T say humans are a bunch of warmongering monsters without sounding like an eco fascist.

The Sunfire elves textually being the most fantasy racist group is fine because they're elves, therefore oppressed, and the white writers made them superficially based on African-French speakers.

Meanwhile Katolis is "obviously" a Fantasy European Imperialist nation and therefore the oppressor. Never mind that it's had a black, now mixed, ruling family for a thousand years. Or that it's citizens aren't just white.

I remember seeing a post comparing the taboo against Black Magic to Xtian fundamentalism. At first I thought that was a bit much but no. Season six revealed that TDP has a canonical Hierarchy of Beings so that guy was absolutely right.

In Xtian fundamentalism doing something good the "wrong" way is the same as doing something bad.

Save a kingdom from starving? Well you had to kill a rock monster so obviously the right thing to do was let hundreds of thousands of people starve to death. (I've had weirdos go onto my posts and literally say this.)

Break the chains preventing you from saving the people you love? Well it hurt you so the right thing to do was let your friends and loved ones drown I guess.

Your son is dying? Better protect some old man's sense of moral purity than save a child.

All of these actions are not considered bad because they had a negative effect. They're considered bad because they go against the dominant power's desired order.

They're inherently bad because "humans" are inherently bad. Because human ways are not as pure as a direct connection to an Arcanum.

Note: this^ is imperialist ideology.

The idea that a group of people fighting for their survival justifies ethnic cleansing and mass murder is imperialist ideology.

The idea that the scary, blasphemous practices of a people you don't understand makes them dangerous, and therefore justifies you "defending yourself", is imperialist ideology.

The Liberal focus on "cycles of violence" and "both sides are at fault". Instead of on reparations for the people they killed and the homes they destroyed is imperialist ideology.

But Katolis has a pseudo-medieval aesthetic and the elves do not.

I was so angry at the scene where Sol Regem burns Katolis because THIS is the poor helpless dragons the humans "colonized"!? This living air bomber is the "victim" of the big, bad humans? One Archdragon can destroy an entire city single handedly and you expect me to believe the elves and dragons ethnic cleansing of humanity was REASONABLE!?

No. We are past any doubt or rationalization. What Sol Regem did to Katolis was just a small glimpse of what the elves and dragons did during the Human Exile. Just a small glimpse into how imperialist powers treat those that they cannot exploit.

And then demonize them for daring to oppose/question/subvert the imperialist's god(s) given superiority.