#idk interested in others views

[aspecposting]

am I the only aspec/arospec individual who doesn’t care if aspec/arospec characters are shipped with other character? (I even do it myself sometimes)

[ahaura]

something something when the facade of western "democracy" continues to crumble, liberals are faced with the choice of either abandoning the systems that facilitate genocide, theft, exploitation, racism, etc. or resort to old habits that do nothing to seriously challenge or dismantle said systems... inevitably many will fall back on focusing on optics/aesthetics and hyper-individualizing their approach to combat their feelings of helplessness etc. and/or to avoid confronting the systems in place that have led to this moment (which they are most comfortable in, because liberalism never truly changes the systems in place)

the problem is not, never has been, and never will be the *tone* or *conduct* of palestinians (in occupied palestine or the diaspora); the obstacles in the way of peace&liberation are not from palestinians or palestinian resistance but the continuation of colonialism, the maintenance of which is inherently violent and oppressive. the people responsible for the genocide going into its 4th month are not palestinians who liberals want to tone police but the u.s. empire and its glorified military base settler colony, whose existence is founded + depends upon the genocide and ethnic cleansing of palestinians.

[the-judicial-assistants-notebook]

not enough discussion about the gavins' complicated relationship with feminine-coded/beauty products, i don't think.

[sevenines]

i saw this tweet and found it interesting for two reasons. one is that some people base how good cartoon network would be to toh by how it treated su, and despite the fact that su’s treatment by the network was considered poor at the time, now its thought to be exceptionally good in comparison to modern shows.

two is how exactly su got impacted by a limited budget. a common criticism is how characters like connie, peridot, and lapis are left out of missions. but balancing a lot of characters is not only hard but also costly (extra animation, extra voices—it’s been revealed that the show is limited to a set number of characters per episode otherwise they’re over budget). animation mistakes are not uncommon since retakes cost extra. the entire reason the original show got cut short was due to loss of funding!

[bywandandsword]

So I was just told something interesting

You know how a lot of these big Victorian houses have seemingly useless railings around windows that are clearly not balconies? Come to find out these sorts of houses were built so that you could close off parts of the house from each other, like if you had guests or were hosting a party or something. But staff still needed to be able to get around so these windows would be large enough that staff could go out one window from one closed off section of the house to the other. It also gave the effect that guests rarely actually saw staff moving around doing day-to-day tasks. And apparently, a lot of these windows had hidden panels that swung out and make it look like the window wasn't there from inside the room When I heard that, I immediately thought about a lot of modern criticism of older novels books that feature wealthier protagonists, who talk about their isolation and loneliness. I've heard people discussing these protagonists say things like "How can you be lonely when you're surrounded by staff? It must be their sense of class that prevents them from seeing the staff as people who they can socialize with". That is absolutely at play, don't get me wrong. But with the windows in mind and the knowledge that one of the marks of a good staff at the time was to be as unseen as possible, I think it's completely possible that these protagonists, and the real people they represented, really DID feel that they were completely alone in their houses. Not only were all these social structures in place to keep them separate from everyone else in the house, but also these physical structures that further limited interaction. Because we no longer build houses like this and a lot of older surviving houses no longer have this feature, it's a bit of context that modern readers aren't aware of

I think it's really interesting, cause it gives a whole new context to these stories and social life in the period, and also makes me wonder about what other context that we're not aware of when looking at history or fiction from previous time periods that would re-frame our understandings of the event of those times

[silusvesuius]

n*loth not being able to bag anyone over the (human term) age of 25-30 at most is the only logical and real conclusion to me because it can be just explained away as him wanting to prove and control everything and anyone (Cus he's a man!) but being stuck in that demographic because his unbearable and vile personality is a force that nobody can look past once they've outgrown the possible fear and idolization period of anyone but also n*loth in particular.

[hazellvsq]

frank and piper are interesting counterpoint narratives to me. both of them have relatively mundane problems compared to the rest of the cast yet their parent's domains represent the heights of human passion as defined by the series, despite piper and frank both being (outwardly) dispassionate and (inwardly) mopey. the good end of these domains is love and protection (selfless), the bad end is heartbreak and bloodlust (selfish), which both of them try to resist. they both get claimed last out of their trios and had beforehand assumed that they were the children of someone else. both also experience perceived rejection from their mortal family directly before the series begins - both express anger and hurt at being "sent away". their rejection and unexpected claiming, back-to-back, results in discombobulation for them both, and feelings of humiliation brought on by both sets of parents.

they also both go through forced physical transformations by their parents to fit an ideal they don't want. all of the characters experience issues of identity and self-esteem but i think its the most pronounced with these two in the series. neither of them really knows who they are, and are pessimistic about their own capabilities. they are also counterpoints in that they feel disconnected from their own looks - both are very self-conscious people, but, based on how they're described by other characters, piper is probably the most beautiful member of the 7 and frank is probably the least. piper is frequently harassed and objectified, whereas frank is teased constantly about his looks. he neither feels as childish as his face is nor as grown as his body is, and he doesn't understand how to move through the world. both of which are common experiences throughout puberty - suddenly being treated differently on the basis of a body that's changing faster than you want or understand.

(discourse alert) i don't have a lot to add to the piper transformation discourse except that i do think its interesting that her blessing was temporary within the book and her love interest actually self-reflected on his reaction to it and realized that he should not have told her that she looked hot in that instance. rick did reverse frank's transformation five years later and i'm curious about his thought process about both writing it in the first place and in reversing it, and what feedback he received, if any. piper's transformation was a makeover whereas frank's was a puberty, which later rick walked back with "actually frank is still going through puberty". piper's was cheesy, sure, but frank's falls so flat bc that's just not how it works. its too much of a stretch. i don't even think it was in rick's og plan for frank, maybe he just watched captain america and was like "hell yeah i should do that" and flipped a coin between frank and leo, bc again frank was already initially described as physically grown in his debut book. and i can't even talk about hazel's reaction to to it bc its not real to me and i can't read suddenly. idk frank's plotline in general was too rushed in that book and he should have gotten another pov chapter set at least bc rick was trying to do too much too fast and relied on idiocy like the transformation to support it in the place of real character work when it wasn't even necessary for anything he accomplished in the book. he could've just walked around with better posture and achieved the same effect.

[wildflowercryptid]

sometimes, i think about the extra bit of depth alex's romance is given when you date him as a guy and i just gotta. stare at the ceiling for a bit...

[longagoitwastuesday]

I keep thinking that this Gojo is just like Sukuna. I truly don't see much of a difference between them beyond the human/curse point of view

[rubiatinctorum]

I get where people are coming from when they say Diaspro in Winx lost the plot for the sake of being turned into a minor villain and that's all once Valtor enabled her to do what she did in S3, but I feel like that was a reasonable narrative choice. It's only a love potion at that point (while I could go on all day about the ethics of love potions, of course, a later season has her straight up trying to do direct murder). She's a noble, guards will do her dirty work, and I understand that she would feel like getting revenge on Bloom while getting back together with Sky. She was promised a position — romantic AND political — she nearly had and then it was taken from under her by a random fairy who wasn't even "supposed" to be in the running. I don't think what she did was nice, but it makes sense for the story and for her character for her to want to reclaim her position in the way she did. Sky's love was an accessory, in part, to her political ascension, and thus he is again rendered accessory and accomplice by the love spell. And, sending guards after threats seems to be the thing to do in the magical universe if you're a disgruntled noble, so it's probably not unfamiliar for Diaspro to have seen occur before or want to do. It's not a uniquely rotten response any more than Radius' behaviour towards the monster (who, he didn't know it, was Stella). If we fault her for this action rather than only the intention behind it, we need to examine how the worlds in Winx Club deal with threats to their monarchs in general, which sounds interesting but I frankly don't have time for tonight. Diaspro did wrong, but she didn't do uniquely wrong there, and Eraklyon has the punitive security structures in place to have enabled that.

Diaspro's later appearances seem to flatten her motives and the symbolism behind why her relationship with Sky was important and what she does about it (who cares what Diaspro's political aims are and how her status might reflect how she deals with problems, the audience needs to see Bloom thrown into fire I guess), but I feel like seasons 4-8 weren't really that good anyway, so I can't even claim this as a fault of the writers doing Diaspro specifically wrong instead of them just doing the whole show wrong at that point. It might be related, and it might be a coincidence, but a lot of the writing choices seemed to become more flat to me right around when the art shifted to that lifeless godawful Flash simulacrum of S1-3's art.

Also like... idk but if some long-haired hottie wizard in a sick coat and contemplative eyeshadow told me he could help me get my promised chance at both romantic and political success back, I'd at least hear him out, yknow, see what he had to say (<- don't trust me I simp for Valtor)

[bellara-lutare]

this might sound insensitive but taash is currently my biggest disappointment of the companions because there is literally nothing to their story other than the gender identity

[sylphwing]

hm. i do not like chilshi 🤔

[astrolotte]

augh . this show

[icewindandboringhorror]

There's always a slight yearning in the back of my mind wishing I had been born in the right place, time, family situation, income level, etc. to have just lived in one single house for my entire life. Imagine being born in a place that still suits you, even through all of your personal evolutions and etc. The idea of deep familiarity with an area because you've lived and explored it for 40+ years, being encased in a web of memories and connections. Being able to clean out your old childhood bedroom and find personal artifacts, to dig in the yard and remember. I know those lives can still be plenty imperfect, but there's just something so seemingly solid and stable and Grounding about it that I sometimes wish I could have.. (At least from my outside perspective as someone who's moved around a bit geographically and even within the same area, never lives in the same house/ apartment /etc. for more than a few years usually.) Like... having a place that is printed upon, fully your own, rather than chronically a visitor, every thought of a space always tempered with the notion that one day soon you'll have to pack it all up again, etc. There's something peaceful about the permanence.

[kavennnn]

wtf my son is dead

[pandasaurio-espacial]

What I'm liking about Red Dragon so far (and why I like Manhunter better as an adaption than Red Dragon) is the focus on the process of investing rather than sensationalizing the gruesome murders