#in fact you don't have to read this

[acrazybayernfan]

Mullendowski 👀

As we say in French, "choses promises, choses dues" (things promised, things due). So here we go :

What hapenned in 2016/2017 ?

This season has always fascinated me and intrigued me in a particular way, because it is the season which marked the end of Thomas as a goal scorer and the beginning of Thomas as a goal provider, which means the end of them as a duo of strikers and the beginning of them as a striker and his “assist man” duo. 

Thomas - in an interview at the end of the 2015/16 season- when asked if Lewy and him were a duo has answered that: “You always take the two who’ve scored the more goals, that’s the duo. If Philipp Lahm were to have the second most goals, then Lewy and Philipp Lahm would be the strike duo.” For me this means that, so far, they were playing along side each other but not together, they were helping each other but they were not codependent of each other like they will be in the future. And this is, in a certain way, confirmed by the heat maps of both during this season, in which they’re standing rather far from each other. Thomas being mainly on the right side and Robert both in the surface and lower in the midfield.

So, what changed the next season? First of all, something happened to Thomas between May and August 2016. What? I don’t know (apart from the euros, and the missed penalty against Atletico, which could have been two major mental blows for him, maybe) and I think that we will never know unless if he speaks about it. Or perhaps that nothing happened and that somehow this evolution was natural. But, no matter what is the cause, the fact is that Thomas almost stopped scoring goals since that time. He was trying but it wasn’t working (with an average of 2,3 attempts per game which is lower than the 3 attempts per match of 2015/16 but higher than the 1,4 of 2020/21 and exactly similar to the 2013/14 season). Interestingly this didn’t affect is position on the pitch very much.

But Thomas isn’t the only one who changed, Robert did too. His position on the pitch was lower, with almost no presence of him in the box, his heat maps almost matching the ones of a midfielder. And he suffered from a lack of efficiency during this first part of the season too (with five consecutive games without scoring). Was it an order from Carlo? Was it just the only way for him to get the ball? I don’t know. 

The first assist from Thomas to Robert in the Bundesliga happened in a game against Hamburg in Febuary 2014, and I consider this game as the beginning of their collaboration. Two years later, in Febuary 2017, in a game against Hamburg, we saw the beginning of their renaissance and their new form of partnership. Robert scored three goals, Thomas delivered three assists, Bayern won 8-0. But most importantly Robert is back into the box and Thomas left his right wing to play closer to him. 

This worked during four games, then Thomas injured himself, then Lewy injured himself too. This new way of things had one last moment of glory against Wolfburg and then the elimination against the Real Madrid gave an anticipated end to this season.

In this complicated season, the main point is that Robert was the answer to Thomas and the other way around. 

Thanks to Robert, Thomas has fond a new goal for his career, a new purpose and a new way of playing. Instead of using the spaces created by the others, he started to create space for them, instead of running into the spots were there was space, he started to pass the ball toward those places, instead of scoring goals he dedicated himself to making Robert score (or someone else but mainly him). 

Thanks to Thomas, Robert was able to return to his role of striker, he was able to get the ball without having to look for it at the other end of the pitch, and he was also able to be a lot more implicated in the game, and to touch the ball a lot more. In one word he was able to play again. 

Perhaps that before this season, each of them was a more complete player individually, able to do more various things, but they were two, both of them of bit of this and a bit of that whether from now they will be everything to the condition that they’re together, forming, by their association, one complete and perfect entity. Robert was here to score the goals Thomas couldn’t score anymore, and Thomas was here to make sure that Robert would never be isolated and helpless anymore. 

[batcavescolony]

Katniss is such an unreliable narrator. She says "Then something unexpected happens. At least, I don't expect it because I don't think of District 12 as a place that cares about me" girl you deliver strawberries to the Mayor, you hunt and trade for the district, when you fell at Prim being chosen someone caught you, when you went to Prim people parted for you, when you volunteered EVERYONE stopped. Idk how to tell you but I think you're a pillar of the community.

[aethersea]

the question of fic comments is very straightforward actually. readers do not owe writers comments. writers do not owe readers fic. there is no bargain, no transaction, no debt.

fic is a gift. comments are a gift. gifts are exchanged between friends, out of love, not out of obligation.

I write for myself. I post it for others, as a gift, because their joy brings me joy. I read for myself. I comment for the author, as a gift, because their joy brings me joy. perhaps we were not friends before, but we are now, however fleetingly, because we have given each other gifts out of love.

[that-satireguy]

dont mind me just thinking about the fact that some of yall genuinely believe that the only trans people in 3rd world countries are trans women and have never considered the impact of forced pregnancy, child marriage, fgm and honor killings on trans men and when people like me talk about it you do an obligatory reblog then forget 40 seconds later and start talking about how transmasc invisibility is a good thing.

[cutiesigh]

❤️🖤🩷

Wuthering Waves has taken over all of my free time recently, so here's a sketch of Scar!Ren I originally shared in da 14DWY Discord!!

[hanmegumi]

LMAO

edit: turning off reblogs because some of the people that are reblogging are extremely fucking moronic. holy shit

[biggest-gaudiest-patronuses]

got a worm nibbling my brain. can someone help me find a piece of obscure media?

webcomic/indie comic from the 2010s. basically a sci-fi short story about a young girl (with red hair?) who was being raised by scientists as part of an experiment. she receives a haircut/has her head shaved, in preparation for her annual brain scan/testing. it is revealed that while her body is human, her "brain" is artificial, made of computer implants throughout her skull and spine. at some point her biological mother (also a scientist on the same campus?) encounters her and is repulsed, viewing her as a machine who has murdered her daughter.

it was very poignant and it bruised my heart and i can NOT find it anywhere

[bixels]

As cameras becomes more normalized (Sarah Bernhardt encouraging it, grifters on the rise, young artists using it), I wanna express how I will never turn to it because it fundamentally bores me to my core. There is no reason for me to want to use cameras because I will never want to give up my autonomy in creating art. I never want to become reliant on an inhuman object for expression, least of all if that object is created and controlled by manufacturing companies. I paint not because I want a painting but because I love the process of painting. So even in a future where everyone’s accepted it, I’m never gonna sway on this.

if i have to explain to you that using a camera to take a picture is not the same as using generative ai to generate an image then you are a fucking moron.

[isatartdump]

Would do the entire dialogue but drawing Bonnie crying is the bane of my existence! HA

Anyway my reaction to when this entire dialogue was over was just. Hihi.

[kaiserouo]

"Huh."

[you-know-cchio]

luke "all the facts i give in the show are fucking true" manning vs. alexander "consistently loses the plot" jeremy is truly an unstoppable force meets an immovable object

like sam bullshits his way through facts, so tom and luke can take joy in correcting his mistakes. but correcting aj only brings the others suffering because most of the time, aj himself doesn't necessarily believe anything that comes from his mouth. the man is just saying words recreationally. which also happens to establish the reality of the world the other three exist in.

[la-pheacienne]

George Martin, 2013: "In a very basic level winter is coming for all of us. I think that’s one of the things that art is concerned with: the awareness of our own mortality. “Valar morghulis” – “All men must die”. That shadow lies over our world and will until medical science gives us all immortality… but I don’t think it makes it necessarily a pessimistic world. Not any more pessimistic than the real world we live in. We’re here for a short time and we should be conscious of our own mortality, but the important thing is that love, compassion and empathy with other human beings is still possible. Laughter is still possible! Even laughter in the face of death… The struggle to make the world a better place… We have things like war, murder and rape… horrible things that still exist, but we don’t have to accept them, we can fight the good fight. The fight to eliminate those things.There is darkness in the world, but I don’t think we necessarily need to give way to despair. One of the great things that Tolkien says in Lord of The Rings is “despair is the ultimate crime”. That’s the ultimate failing of Denethor, the Steward of Gondor, that he despairs of ever being able to defeat Sauron. We should not despair. We should not go gentle into that good night".

JRR Tolkien, 1962 : "One reviewer once said, this is a jolly jolly book, all the right boys come home [...]- this isn't true of course, he can't have read the story. [...] Human stories are practically always about one thing, really, aren't they? Death. The inevitability of death. . . . . . (He quotes Simone de Beauvoir) 'There is no such thing as a natural death. Nothing that ever happens to man is natural, since his presence calls the whole world into question. All men must die, but for every man his death is an accident, and even if he knows it he would sense to it an unjustifiable violation.' Well, you may agree with the words or not, but those are the key spring of The Lord Of The Rings".

"Lotr is all rainbows and unicorns and Asoiaf is nihilistic and grimdark". Wrong, and wrong. In all its hope and radiance, lotr often gets very dark, and despite all the death and suffering, the hopeful moments in asoiaf shine bright. The meeting point of these two is this: having hope while in despair, and even better, refusing to give up because you have to go on despite not having any hope left.

[bumblingbabooshka]

Thinking about marriage/women's rights on Vulcan Some may think that T'Pring not being allowed to divorce Spock was because he was going through the pon farr but if she were allowed to divorce him at all she probably would have done that a long time ago, confirmed by T'Pol when she's speaking with Koss, who isn't suffering from the pon farr. She says that he can choose another mate (without invoking a fight it seems: note the difference between a 'mate' and a 'challenger') and after he makes it clear that nothing she says will change his mind about marrying her, she finally threatens to declare a kal-if-fee. It's clear that Vulcan women cannot divorce/refuse to marry a man they've been betrothed to under any circumstances if A) He himself doesn't consent to ending their marriage or B) She doesn't have someone else waiting in the wings to be given to in his stead. Though, if the challenger she selects fails to win the fight, she'll have to marry her betrothed anyway unless (again) he decides he doesn't want her after the challenge. That seems like an incredibly unfair system, heavily biased towards men. SNW is an alternate universe in many obvious respects but most egregiously in that T'Pring has a lot of non-canonical agency over her relationship with Spock. It's interesting to me that Vulcan society has women in many positions of power and treats women as equal to men from what I've seen despite these laws. We don't really see Vulcans exhibiting a misogynistic attitude towards women in general but in TOS (perhaps because of its general writing style but it's still interesting to note) both Sarek and Spock take on patriarchal attitudes specifically regarding wives. Amanda says that 'of course' Sarek commands her because "he is a Vulcan and I am his wife." It's worthwhile in my eyes to note that she specifies 'wife' instead of attributing this attitude to women as a whole. Again, with TOS' writing style it wouldn't be out of place for her to say "he is a man and I am a woman." Spock, while in a pon farr induced irritation, states that it's "undignified for a woman to play servant to a man that isn't hers" - again implying that there's something specific about being a Wife in Vulcan society which is different from being a woman in general and demands subservience to a husband. This could perhaps stem from the extreme sense of ownership that Vulcan law has permitted men to have over women. A woman legally cannot point blank refuse marriage. There is no option which guarantees she won't have to marry her betrothed other than death. When T'Pau speaks of T'Pring she refers to her as being 'property' and Stonn, before being interrupted, states he's made 'the ancient claim' - we don't know what this is because he gets cut off but it's obvious they're both using the language of Vulcan law. Men are permitted true freedom to choose. If a woman wants to choose someone else to be with there is no option available to her other than the kal-if-fee which might result in the death of the one she wants to be with. And, if her lover fails, her husband can still just decide he wants to marry her and she'll be forced to. T'Pring gives two scenarios: One where Spock 'frees' her and one where he doesn't - it's still ultimately his decision which is clear when he ends the conversation with "Stonn, she is yours." This again isn't just because of the pon farr as T'Pol also goes through this. Koss can choose another mate and when the option is talked about there's no implication that this would result in any sort of fight (both by the casualness of its mention and by the fact that there's no formal word for it unlike the kal-if-fee.) Also, the fact that Koss does eventually grant T'Pol a divorce and it's all fine means that T'Pol isn't lawfully required to have another man waiting if her HUSBAND doesn't want her. It's ONLY required if SHE doesn't want her husband. Tradition must take precedence over individual desire UNLESS!!! You're a man. Then it's fine. Like, your parents might not be happy but legally you're golden.

[vaguely-concerned]

lucanis reading romance novels out loud to spite in the seventh attempt to explain to him what sex is and spite bemusedly being like 'wow you people really get up to that shit I thought that was just a bit mortals did or something'

[coldzonkprofessorturtle]

An Affair to Remember

Alright, let's get into Affair the Series, which has been giving me brainrot the past few weeks so feels like a good time to get into an analysis of why I find it so fascinating. Eventually I'd love to do a deeper dive into Thai GLs and that industry (that's a whole other thing though) but after having seen my share of them (Gap, Show Me Love, TSOU, The Loyal Pin) I've really found myself falling into the rabbit hole with Affair the Series and the way it depicts friendship, love, and acceptance.

Deep dive below and also thank you gif makers for your work 🙏🏽

(also will go over events from episodes 1-5, so spoilers ahead if not up-to-date)

So first off, I have read the novel, which is the first time I've finished one of those for a GL and quite frankly, the translation wasn't that great but the story still came through. I won't refer to it much and will base this on the show as I think they've done a fantastic job with the adaptation and fingers crossed continue to do so.

Where in most GLs the core conflict is external. The main couple can't be in love typically due to familial/cultural pressure or a man interfering (that still exists to an extent here) the main conflict in Affair is simply that Wan and Pleng love each other too much but they do so in different ways.

When we meet Wan and Pleng they're 17 years old and have spent their entire lives together. They're sisters but not and while Wan seems to have a social circle, Pleng really has no other friends outside of Wan. The spoiled rich girl and the maid's daughter. Couldn't be more different if they tried and yet by circumstance their lives are as intertwined as it gets.

At 17, they have different ideas for their futures. Pleng is musically talented, wins every contest and is financially set. She can live the life she wants. If she wants to be a musician then so be it. Her parents love and support her and there's no pressure. Wan on the other hand has an overbearing mother (and a resentful father), no prospects for her future but at least she has Pleng.

Despite her parents, Wan loves wholly and openly. She knows she loves Pleng and while she doesn't yet know it she does know that Pleng loves her too. I would argue that Wan truly knows herself, which is why she comes across as so self-assured in their younger years. She's slowly trying to guide Pleng to understand herself too.

Pleng, however, has never had to sit with her emotions in the same way. Take this as differences of personality, class and upbringing. Now that they're 17 and entering adulthood, Pleng has to start engaging with the world (and her emotions) rather than hiding behind the rich, insular lifestyle she's had up to this point.

As the idea of boyfriends comes up, Pleng starts to lash out. She's jealous, she's pushy but really she's just in love with her best friend and doesn't know it. Everything starts happening too fast. Wan meets a boy at an art gallery, Aunt Wi pushes Pleng to help Wan get with Ek, Pleng's dad is extremely stressed and she doesn't know to what extent and throughout that Pleng is dealing with her feelings that for some reason just won't go away. Feelings that Wan keeps bringing up in her over and over.

Pleng is a mess. She doesn't know how to connect with her peers, she knows something is wrong with her dad, she sees that Wan is seemingly moving forward in a way that she's not (dating a boy) and whether she realizes it she continues to isolate herself.

From Wan's perspective she couldn't care less about dating Ek. She's already completely devoted to Pleng (in ways that Pleng doesn't even know).

They're 17, hormonal, gay, and incapable of seeing each other's perspective. Wan wants Pleng to let her in. Pleng can't help but push everyone away.

As soon as Pleng starts to really come to terms with her feelings about Wan. That's when everything falls apart. Her dad kills himself, her mom goes into cardiac arrest, all of her family's assets are seized and she's now orphaned and staying with Wan's parents who clearly and vocally have no space for her. Pleng who was already struggling to find her footing before that fateful night now has absolutely nothing to stand on.

The break point is when Pleng finds out about Wan's academic achievements and that Wan had been hiding that truth about herself their entire lives. Wan has always been intelligent and capable but hidden herself behind a veil of ineptitude. Wan in loving Pleng puts her on a pedestal to her own detriment. She has no issue blighting her own light so that Pleng can shine but from the moment we meet 17 year old Pleng in the show we see her pushing Wan to better herself. Wan thinks loving Pleng means her own success doesn't matter whereas Pleng loves Wan and all of her potential.

They both love each selflessly but while Wan would burn the whole world to keep Pleng warm, Pleng loves Wan despite her own existence. So when Pleng leaves she writes,

"Your parents will feel at ease. And you'll finally get to live your life as your true self... I know you love me but I also want you to love yourself. And be proud of who you are."

For Pleng, her leaving is the ultimate way to show her love to Wan. A clean break. She runs away so Wan can thrive but here's the thing Wan needs Pleng to keep her grounded. Pleng does too but she can't see it at this point. Too much has happened and so, in her desperation she removes herself. She is her father's daughter after all.

So when 13 years pass and Wan has spent that entire time holding on to whatever she can to keep herself close to Pleng (becoming a doctor, riding a bike to work, marrying Ek, separating herself from her parents); Pleng has become a ghost of herself. Wan has imbued herself with all the things she thinks/knows Pleng would like while Pleng is stuck in a cycle that she can't get out of: play music, make a bit of money, pay rent, rest, repeat.

Pleng never reaches out to Wan because why would she? Her loving Wan means staying away and on top of that there's a sense of shame of what her life has become.

So when they finally meet again it's too much. Wan is successful but she's still clearly in love with Pleng and while it was all Wan's doing, in a way her success is a direct result of Pleng's influence. In removing herself, Pleng slowly begins to realize not just that she took Wan's smile with her but the why and how. Wan's changed and devoid of the joy and innocence that Pleng loved most.

They slowly fall back into their natural rhythms but Pleng still can't accept her own presence in Wan's life. Wan is back to pushing (albeit more aggressively then before - time was wasted) and in pushing Pleng, Pleng pushes back. If they take their relationship that one step further, what then? What if it falls apart? Why not just stay in a cycle where nothing shifts? What if there's another ringing shot in the distance and everything changes in a moment?

If there's one core trauma to Pleng as a character it's her desperation to not feel like a burden to anyone. Especially Wan. And then she finds out that Wan (though separated) is still married to Ek and she can't accept that she could have ruined Wan's potential happiness. Not understanding that Pleng herself is Wan's happiness. Pleng feels like a disruption because at the root of it the thing she wanted above all for Wan, "I also want you to love yourself. And be proud of who you are" is not something that Pleng accepts for herself.

I'll leave it there and hope the show navigates the situations that are about to come as well as they have so far but kudos as Affair manages to oh so gracefully skirt what could otherwise be an incredibly toxic relationship. Somehow they manage to give these two characters so much grace despite their flaws. And truly that's also a huge credit to Sonya and Lookmhee's abilities.

It's chaotic and messy but in coming back together these two might just realize that's how they both best shine.

[royalarchivist]

Pac: Oh– [Stammers] Why– I have an Ender Flu? I'm shaking! Oh my god.

Tubbo: No, Pac! You've been impregnated! 😫

Pac: IMPREGNATED?!?! Wait, what? 😨

Fit: Oh god. [Laughs] That's a new one.

Tubbo: You're pregnant!

Pac: How?!

Tubbo: I can't believe preggers Pac is on the QSMP!

Pac: Oh my god, I'm so happy! [Laughs]

[ Full Transcript ↓ ]

—

Tubbo: This is not what I want! I don't want this!!!

Fit: [Chuckles]

Pac: Oh– [Stammers] Why– I have an Ender Flu? I'm shaking! Oh my god.

Tubbo: No, Pac! You've been impregnated!

Pac: IMPREGNATED?!?! Wait, what?

Fit: Oh god. [Laughs]

Tubbo: You're pregnant!

Pac: How?!

Fit: That's a new one.

Tubbo: Uh oh, I'm about to– I'm about to not be alive much longer.

Pac: How– ahhh!!!! Wait, this is good? [Tubbo gets killed by a mob] Oh my god, Tubbo!

Tubbo: Guys? Preggers Pac, and Fit, help!

Pac: [Reading chat] "Congratulations"? Thanks guys, I didn't know, man! As always.

Fit: [Revives Tubbo] Alright, run! Ok, you're good.

Tubbo: We got his ass!

Pac: Wait, wait– What does it mean like, I'm pregnant? I'm gonna have babies?

Tubbo: It means you're gonna give birth to a beautiful– a beautiful plethora of children!

Pac: Oh my god, not– [unintelligible]

Tubbo: [Still ranting] Merciful, wonderful babies! Babies! Innocent babies will-

Fit: [Laughs] Yeah, what he said.

Tubbo: –will splurt out of you!

Pac: Oh my god. I think I saw like, Foolish having birth the other day, so I–

Fit: [Fighting a mob] Not this thing again!

Pac: Oh my god.

Tubbo: I can't believe preggers Pac is on the QSMP!

Pac: Oh my god, I'm so happy! [Laughs]

Fit: [Laughs]

Tubbo: It's gonna be such a magical time for you!

Pac: Yeah, oh my god, I have been like, dreaming for–

Tubbo: Oh my gosh, oh my gosh. What do you– have you got any names? What are you gonna name it?

Pac: I'm probably gonna name it "Elton" and "John" if I have like, two.

Tubbo: Ohhh! What a beautiful name!