#in this case the pop culture isn't the PEOPLE

[notmedicaladvice]

please reference the dead-salmon-in-the-MRI study. This is the point, this is why that was a big deal. All of the 'brain isn't mature until 25' comes from the exact same sort of fMRI imaging as the dead salmon study.

they teach 'brain mature at 25' in med school. I got it during psych nursing. it's supposedly the average age of schizophrenia diagnoses (it's not, that is better described as a range from late-teens-to-early-thirties, and with medicine the way it is the age of diagnosis means exactly nothing) and used as a benchmark in psychiatry. It's used as a legal precendent (ex: Scotland). it's USED. Which means people 'referencing it in jokes or posts as if it's a fact' isn't what's causing the problem.

The National Institutes of Health has it right there on their damn website. I get what you're saying but just telling people to stop calling it a fact and then not giving any context or receipts to counteract organizations with frankly more clout than a random tumblr user, well... it doesn't help your cause much.

IFLS did a write up on this, as did Slate, if you want an explanation on why OP is calling it pseudoscience.

genuinely especially with everything happening in britain rn with regards to trans healthcare we need to start shutting down the "your brain doesn't fully develop until 25!" pseudoscience bullshit asap

[twilightkitkat]

I know people normally brand Wade as The Funny One, but can we talk about how they'd be as a comedic duo? While flirting? While fighting?

People oftentimes tend to stereotype Logan as The Straight Man, the guy who keeps a serious face no matter what. And while sometimes that can be true, if you look at his characterization in the movies and comics, that isn't always the case. I think that because his humor is more subtle and down-to-earth than Wade's they tend to overlook it entirely.

Wade's humor is more obnoxious and in-your-face. He uses a cheerful, dramatic tone to cue you in that he's trying to be funny. He makes pop culture references and rambles on and makes constant, non-stop commentary. He's meant to be entertaining and funny because it's his brand to be insane and nonchalant even in the face of danger.

Logan, on the other hand, has this very blunt, sarcastic humor. The type that requires you to think a second to get it. He'd make little quips and jabs, but either with a straight face or barely there grin, so it's harder to tell he's joking. His tone of voice is more deep and gruff, which we don't typically associate with being humorous, but he does tease enemies and joke and throw their lines back in his face and goad them.

These two together would drive everyone up the wall.

Everyone (the X-men, the enemies, Wade's friends) assumed that their interactions would be Wade making crude, obnoxious jokes and Logan telling him to shut up or acting annoyed but... that doesn't happen? Instead, Logan quietly laughs at Wade's antics or, even more shockingly, joins in.

Logan gets Wade's humor—relishes in it, even. He would find Wade funny when he makes stupid jokes at all the wrong times because he does it too but nobody pays attention because it flies over their head or he's too intimidating for them to really register his words.

(The only reason Logan was more serious in the movie was that he was a grieving, broken man who thought he was responsible for the deaths of his family. He felt completely alone. And yet, even then, he played along to some extent with Wade's jokes and acted baffled rather than genuinely annoyed unless it was a super inappropriate moment. And you could tell he found Wade funny and liked him talking by the end of the movie.)

These two would be sitting across the table and Wade would make some stupid joke and Logan would add onto it, straight-faced.

Wade would gasp and clutch his chest dramatically at someone taking the Ketchup from him before he was done and whine, "How could you!? The betrayal! I thought I could trust you, this is a crime of the highest degree! I should have you canceled on Twitter for the atrocities you just committed."

And Logan would shake his head, stoicly, and reply, "It isn't cool to steal, man. It feels good in the moment but you hurt other people."

And everyone would sit there like what the fuck? Did Logan just... play along with Wade?

(Logan was biting his cheek to not grin at their confused faces and Wade was practically cackling to himself.)

It'd be even funnier when they're fighting villains together.

"Watch out, babygirl! Daddy's going to save you!" Deadpool would scream, as he lunges in to stab the enemy as they have Logan pinned to the ground.

"Well, 'Daddy' needs to do a better fucking job at it," Logan would grunt as he threw the guy off himself.

Logan would be snarky, because that's his personality and sense of humor, but he'd play along. He'd commit to the bit so hard that the enemies would stop attacking for a second just to look at each other like, "Are you seeing this???"

"Wolvie, what did I tell you about your greasy tits? If you wanted to be a prostitute you could at least tell me so we could start an Onlyfans and monetize it," Wade would say after Logan's shirt got shredded in a fight.

"I'm not giving you a fucking cent of my Onlyfans money," Logan would grunt as he continues fighting.

"That's unfair! I'd be the best photographer out there, you need to pay me my fair share! This is a worker's rights violation!"

"Yeah, well, I'm the pornstar. I'm the one doing all the heavy lifting, you aren't entitled to shit."

And everyone would be like???? Did The Wolverine have an Onlyfans? Since when? And where could they find it—

It'd be funny to see them tear down the self-esteem of a villain together as they fought them.

"You look like Simon Cowell got dipped in a vat of acid and then grew out a mullet and got it cut by a 5-year-old on America's Got Talent just because their mom died of cancer," Wade would laugh and point at their appearance.

"That's being generous. At least Simon Cowell was attractive. More like a fucking muppet," Logan would add on.

And then they'd fight over whose interpretation was correct while the villain just stood there and took out a mirror to look at themselves because?? They didn't think it was that bad?? (It was.)

It'd actually give them the edge in fights because they'd baffle the villains so much. They'd either make them pissed off at not being taken seriously and therefore more sloppy, or just make them insanely self-conscious. Win-win.

Eventually, word on the street got around that Wolverine and Deadpool were a brutal duo. Verbally. There'd be villains telling stories about how they were disrespected and maybe an emotional support club "Fought Deadpool and Wolverine and survived on the outside but died on the inside."

They'd be a peak comedy duo that would become notorious for their chemistry (both in their fighting style and commentary).

[star--nymph]

Vivienne's fear being 'becoming irrelevant' isn't something that's linked explicitly to her pride, no matter what Solas says about her (and the irony of Mr.Pride himself saying that should not be lost on you), it reveals what and who Vivienne truly is.

She's a survivalist.

Because we don't spend as much time in the Free Marches or Orlesian circles, we don't get to experience what being a mage is in these cultures. In Ferelden and Kirkwall, a mage is a lesser being without freedom no matter what they do--but in the Free Marches and Orlais specifically, mages are commodities that are given freedom so long as they play an entertaining enough role. They can explore the world if they have a noble patron, if they catch the right person's eye. They are, in a way, two sides of the same coin--refusing mages agency and forcing them to relay on higher powers. Vivienne lucked out, as sad as it is, when Bastion fell in love with her; she found someone who was contrarian enough to recognize her as a full person and also someone with power that could help her rise through the ranks. This is not to say that Vivienne on her own wasn't an exceedingly talented and intelligent individual--by nineteen she was already the youngest full fledged mage in Circle history and she was skilled enough to make herself an enchanter. But, I can not emphasize this enough, none of that matters if she didn't also play the Game and impress enough people.

Vivienne could have been the most brilliant mage in the history of Thedas and it means nothing if she was overlooked by nobility.

So when Bastion made her his mistress, she gained not just a lover but also a means to an end. Now she can use her magic to protect herself. Now she can roam where she wants and not be question for it because she's Madame Vivienne. Now, she can walk into the Orlasian court and belong there.

And what happens? Celene notices her and makes her the Court Enchanter, a position that has always been the equivalent of a jester. Vivienne took that title, ignored that it was essentially a glorified insult to who she is, and made it a position of power. She made the Court Enchanter into an advisor, a political rank. She had done the impossible and made mages an actual political entity in the Orlasian Court, something that wasn't seen outside of Tervinter (not counting what players can do under very specific conditions if they made mages in DAO and DA2).

All that, however, only continues as long as the court recognizes her as something worth their attention. Vivienne needs to maintain her act as Madame De Fer, The Lady of Iron, the Court Enchanter, The Jewel of the High Court, because the second she just becomes Vivienne, it's over for her. The assassins coming raining in, her name gets devoured by rumors and gossip, and she'll be found dead at bottom of the stair case with a dagger in her back if she's lucky.

So of course when the Circles fall apart during the Rebellion, she clings to that Loyalist Mages to maintain that structure--of course she moves her pieces to the Inquisition, knowing that if the Circle DOES fall, she at least as another place for herself and mages latch onto--of course when she hears that Celene replaced her with a new Court Enchanter that appeared out of no where, she grows to resent Morrigan.

Like, Morrigan literally pops up out of thin air, makes herself invaluable to Celene, and then plants herself in the place Vivienne had to claw her way up to and create so she could survive. Would you not be resentful when your life's work is usurped by some random witch of the wilds because she happened to charm the Empress? Everything Vivienne strived for all whisked away because the court find a gem who glimmers ever so slightly more than Vivienne.

So yes, Vivienne fears becoming irrelevant because the world has made it so that irrelevance for an Orlesian mage means death.

[wttcsms]

if you feel like falling (catch me on the way down) | ONE

ᝰ.ᐟ after getting your heart broken by professional soccer player, rin itoshi, all because he loved the game more than you, you officially swear off all men — especially athletes. your publicist doesn't get that memo, though, and you find yourself roped into a fake relationship with yoichi isagi, who isn't just a pro soccer player, but also your ex's rival. things could get messy. ( fem!reader )

pairing yoichi isagi x reader (endgame), past! rin itoshi x reader word count 2.9k chapter synopsis there are certain perks to having a relationship that operates on a "private not secret" basis. for example, you're allowed at least two weeks before the batshit crazy people online figure out that little miss it girl just got her ass dumped. chapter contains partying to cope, social drinking, diet culture, this fic is so chronically online LOL author's notes so normally, i would organize the fic's different arcs or acts by explicitly saying "act 1" or whatever. like i said, we're gonna be chronically online, so the arcs are described as different "eras" and when it's a new arc, we'll get a new era 🤭 each era has special graphics for it: what the media sees vs what's actually going on. think of the era intro as a moodboard for the chapters that'll follow <3

⋆˚࿔ CURRENT ERA: PARTY GIRL 𝜗𝜚˚⋆ from the outside, it's giving irl serena van der woodsen but even better, no one can possibly have the same 24 hours as you, someone needs to convince you to drop the skincare routine STAT, matter of fact - we just need your whole game card

— guest starred on the hottest pop culture podcast where it was basically just a glaze session for you (besides the last 10 minutes where the host started asking about rin), articles that want to help readers live your (unattainable if you're not rich!) lifestyle, and a devoted fanpage that updates your every move... every move.

on the inside, it's actually giving listening and actually relating to sad music, asking an 8 ball if you're the problem, being desperate enough to believe those tiktoks that say if you claim this sound and interact 3x he'll text you back, wondering when you should mail him back his stuff, keeping busy in the public eye so no one suspects how miserable you are right now

— even spotify clocked you and it's auto-generated, customized playlist perfectly depicts what you're going through (talk about the saddest soundtrack to your life), got desperate and consulted quora (this is how you know you're at rockbottom). not shown: your credit card statement (retail therapy works, right? right?!)

“Promise you’ll be on your best behavior?” Yukimiya peers over his sunglasses so he can give you a very pointed look. You tilt your head innocently.

“When am I ever not?” 

Yukimiya lets out a very loud, very drawn out, very exasperated sigh. When have you not been on your best behavior? Well, just last month, you got drunk, stumbled out to your garage, hopped in your custom-wrapped pink Porsche, and somehow ended up falling asleep on top of the hood. (In your defense, at least even in a drunken stupor, you weren’t stupid enough to drive.) Last week, you collected the numbers of about eight different athletes and models, sufficiently led every single one of them on, and are now actively ghosting all of them because they committed the cardinal sin of not sounding like, feeling like, or being anything like Rin. And speaking of the devil, Rin’s the reason why just last night, you ended up blocking not just him from your social media, but his whole entire team, too. You felt vindicated when you did this at 2 AM. Yeah, because that’ll sure show him! He hasn’t looked at your story once since the breakup (not that you’ve been keeping track or anything), but in case he tries to play it cool and gets one of his teammates to view it on his behalf, you’ll have put a stop to that plan. 

(Even when you’re spiraling, you’re still painfully aware of the fact that Rin’s most likely doing okay, if not still performing at his best. He is most certainly not doing something as childish as getting his teammates to relay info on you to him. Meanwhile, you are apparently a social liability for your closest friends. Spectacular.) 

“Don’t answer that.” You tell him. “I don’t want to know what my life looks like through your eyes.” It’s bad enough that every little thing you do gets documented, photographed, and then sensationalized on the Internet, but it’s one thing for strangers to commentate on your behavior when they don’t even have the full story. It’s another thing entirely when it’s your best friend criticizing your current lifestyle. 

“I’m just saying, it’s going to be a very casual lunch with my favorite people. Not a party.” Yukimiya clarifies. 

“Kenyu, you do realize that inviting me to a birthday party, and then saying ‘it’s not a party’ is kind of giving mixed signals right now.” Now it’s your turn to give him a pointed look, but just like his, there’s no true venom behind it. It’s Kenyu’s birthday celebration, anyway. You’re not about to corrupt Mr. Catholic Private School and tell him to throw a fucking rager. 

“If my team gets their way, there probably will be an actual party. If there is, you’ll be the first one I give the details to.” There’s a distant shout in the back; the photographer is done with his lunch, and he’s ready to wrap this shoot up. Kenyu examines his hair in the vanity mirror before getting out of his chair and giving you a quick hug. Your photos have already been taken, and there’s really no point for you to be on set still. 

However, Kenyu’s on set. Your only other viable option is to just go home and hide under your covers, rewatching Someone Great on Netflix and Doordashing Ben & Jerry’s. Juliette is home in France and won’t be coming back until the end of the month, and you’re not really in the mood to see any of your other friends. It’s tiring being around people who can’t separate front-cover-of-Vogue you from the real you. If you’re going to have to fake a smile, it might as well be on set rather than grabbing brunch with people who would kill to be able to leak something as headline-inducing as your breakup. 

“Pinky promise?” You look up at Yukimiya. “You promise to tell me about the party even if I’ll make a fool of myself because apparently I don’t act on my best behavior?” 

He rolls his eyes at your comment. “I didn’t mean it in a bad way, and you know that. Besides, you could never make a fool of yourself. Anything you do is declared iconic, anyway.”

Having a famous movie director as a father and a certified Hollywood starlet as a mother, life wasn’t just set at easy mode for you. You practically were given an unlimited money hack and started off with like, five times the XP compared to any other beginner. At thirteen, you told your parents that for your birthday, you wanted to become a model. Two phone calls and a private jet flight later, and you had signed with the best modeling agency in the country and had your first ever photoshoot booked. 

Fate gave you parents with connections, and you’d be a fool to not use it to your advantage. Fate also gave you the same photoshoot as another young model, and you’d be a fool to not befriend Kenyu Yukimiya immediately. Out of all the friends you’ve ever made, fate only gives you good luck twice: first with Yuki, then with Juliette. You used to think you got lucky three times — meeting Rin for the first time was like experiencing something cosmic. Now you know better. Even rich people can have shit luck, too. 

Today’s unlucky situation is the way Yukimiya’s “favorite people” all happen to be athletes. There’s not a single person here who isn’t his teammate or somehow related to Bastard Munchen, except for you. If you didn’t love Yukimiya so much, you would have hauled ass. It’s normally easy enough for you to avoid soccer players at parties because they don’t normally get invited to the same social events you do, but now you’re the odd one out. 

At least the food is good. You don’t have a photoshoot scheduled until next week, and that’s exactly why you’re comfortable with choking down half a bagel sandwich rather than socialize with the guys seated by you. Yukimiya’s real big on intimacy and the power of friendship or whatever, which is probably easier to achieve when you play a team sport versus the modeling industry, where good jobs are few and far between, and the reason why some models are so skinny is because they can’t afford to eat — literally and figuratively. If they’re not booking jobs, there’s no way they can buy groceries in this economy. 

He has everyone assembled at one long table in the massive backyard of his mansion. It’s honestly kind of Last Supper-core, but it fits him. Little Yuki’s finally old enough to have a seat at the big kid’s table. He’s sitting across from you, and you’re sandwiched between Kunigami and Hiori. Next to Yukimiya is Isagi. Out of everyone at this party, soccer player or not, Isagi is the person you want to avoid the most. So far, you think you’ve managed to skirt under his radar. If everything goes as planned, you’ll be able to leave this lunch with your belly full and not having to interact with anybody. It’s looking like you won’t even have to drink in order to get through this. 

“Hey, out of all of us at this table, who d’ya think would have the best shot at being a model?” Hiori is clearly speaking to you. The blue-haired player is looking directly at you, for God’s sake. You wonder if it’ll be mean to blatantly ignore him, but considering how this little question seems to have captured the attention of the surrounding players, it looks like pretending you’re hard of hearing is out of the question. 

Inside, you’re dying. The last thing you wanted to do was socialize, but it’d be selfish and bratty to request that Yukimiya find more time in his busy schedule to have a one-on-one celebration with you. You’re here to support your friend. You can stomach being friendly with boys who have probably seen Rin more recently than you’ve last seen him. Fuck — why are you thinking about Rin? Do not think about Rin!

You grab one of the premade mimosas from the tray in the center of the table. You down the glass in one swift gulp. On the outside, you flash Hiori a bright smile and give an airy giggle. “Why? You trying to get a foot into the industry?” 

Hiori’s cheeks turn a light shade of pink. “W-well, no. Just wanted to make conversation.” 

“No worries! I’ve been trying to keep up with whatever you guys are talking about, but even after all this time being friends with Kenyu, I still don’t really get soccer.” Your smile is still intact. You reach for another mimosa. 

“Rin didn’t teach you anything?” 

Ever since you entered the industry, you knew that you had to get comfortable with standing out. No — you needed to thrive on standing out. You needed to crave, to rely on, people’s undying attention in order to survive. In the eyes of the media, you’re the center of attention. You got what every girl your age wants. At this table, everyone’s eyes are focused on you. What you want is to be back in your room, away from their prying gazes and curious stares.

But you’re a trained professional. Your smile never slides off, never turns into a grimace. You give a casual shrug, directing your answer to the person who mentioned Rin in the first place. 

“I make it a rule to not discuss work when we’re together.” You look at Isagi, asking him with your eyes if that’s a good enough explanation for him. He holds your gaze, looking at you like he sees right through you.

You drink another mimosa. 

After loosening up because of the drinks, you find casual conversation with the Munchen players to be easy. The boys honestly never shut up, and you don’t know what they’re talking about half the time, but you’re cracking genuine smiles every so often, and by the time Yukimiya is going around and saying his thanks for everyone showing up, you are…

Not drunk, per se. You’ve built up quite the tolerance these past few weeks, and it’s hard to get wasted off of drinks that are basically three-fourths orange juice. (Seriously, was Yukimiya getting stingy with the champagne? Sober You might be able to acknowledge the fact that Yukimiya might have just been preparing for the Worst Case Scenario, which would be you hogging all the drinks to yourself. Which sort of happened. Fuck. Sometimes it sucks to be known so well.) You’re definitely tipsy, though. Maybe half a tier above tipsy? Whatever the case, you are definitely in no shape to drive. 

“Kenny,” you whine out his nickname, trying your best to pull out your puppy-dog eyes. “Please take me home.” 

“Ah, damnnit, [Name].” He runs his fingers through his dark curls. “Did you seriously get drunk off of orange juice?” 

“Champagne drunk is the best drunk. I’m pretty sure People Magazine quoted me on that like, last year, so it’s basically fact.” Yukimiya doesn’t seem overly impressed. “And I’m not drunk, but my alcohol levels right now are definitely above the legal limit. Sorry, but I don’t plan on making headlines for a DUI. Hard to spin that into something iconic.” 

This gets Yukimiya to crack a smile. “I thought you were leaning into the party girl look?” 

“Yeah, but after Justin Timberlake got caught for intoxicated driving, he made it look totally lame. He ruined it for us!” 

“I wish I could drive you back, but I have to retake some photos for this sneaker ad I’m doing, and with traffic, I’m really cutting it close already. Do you want to just come with, or hang out at my place until I get back? You should’ve said something sooner; I could’ve asked one of the guys to drop you off.”

You crinkle your nose. “No, thanks. I’m not a fan of strangers knowing where I live.” Becoming a model at such a young age thrust you into the spotlight. With media attention comes total pervs who lurk in Reddit threads and 4Chan, and stumbling upon some of the things said about you, reading the things they would do to you if they found you, all laid out in disgusting, graphic detail, left you kind of paranoid. Getting doxxed might be one of your worst fears. No Ubers. No car ride homes with strangers. “I’ll wait here. It’s been a while since I went through your things, so I’m sure there’ll be enough of your dirty secrets to uncover to keep me occupied.” 

“Did you need a ride?” 

Shitty luck, indeed. 

The teammate who decided to stay behind to help clean up (because he’s just that outstanding of a guy) is the sole reason for why you went buckwild on the mimosas. You can see why Rin was always frustrated with him.

“Nope—” You say, at the same exact time as Yukimiya nods enthusiastically. 

“Would you mind? [Name] actually lives pretty close by, so it might not be out of the way.” 

You shoot Yukimiya a scathing glare. He ignores it completely, smiling at Isagi. 

“I don’t mind. That is, if you don’t mind.” Isagi is looking at you expectantly. Yukimiya trusts him. And you trust Yukimiya. By some sort of logic, you should reasonably be able to trust Isagi. It’s clear that Kenyu wants you to carpool with him, anyway, otherwise he wouldn’t have been so happy to dump you onto him. 

“Sure. I’m ready to go whenever you are.” 

What would happen if you jumped out of a moving vehicle? 

At best, you’d get your pretty skin all scraped up, meaning your photoshoots would either have to be delayed, or you would have to endure all the clear distaste for your “unprofessionalism” in the workplace from the people who actually had to work to get to where they’re at. At worst, you end up hospitalized. Somehow, it seems easier to photoshop out a few cuts and scrapes than working with someone in a full-body cast.

As you weigh the pros and cons of jumping out of Yoichi Isagi’s vehicle — a sleek, black sedan that’s top of the line, sure, but understated luxury; it’s not flashy like the sports cars you see most athletes sporting — he smoothly reverses out of Yukimiya’s driveway. Isagi does that boyish thing where he ignores his backup camera completely and opts to rest one hand on the back of the passenger headrest, the other hand on the steering wheel. Fuck. Maybe it’s not a boyish thing. Maybe it’s manly. Isagi leans a bit into your space; not enough to bother you, but enough to where you can smell the scent of his cologne. He smells clean and fresh. Maybe it’s not cologne, but laundry detergent and fabric softener. Somehow, you find this very fitting of him. 

He glances out the window to check for traffic and eases you two onto the open road. 

He’s not playing any music, and you’re sure as hell not about to ask for the aux. You look out the window instead, watching the world pass you by through tinted glass. It makes everything around you appear darker. Somehow, you find this to be very fitting for you.

“You live around this area, yeah?” Isagi asks you, and you’re reminded that if you want to go home, you actually have to let the driver know where home is. 

“Yeah, sorry. Keep heading straight, and I’ll let you know when there’s a turn coming up.” Talking to Isagi shouldn’t feel so awkward. After all, you managed to talk (and actually enjoy talking) to all of Yukimiya’s teammates. You even got along well with Kaiser. But it just feels weird — you’ve never met him directly, but you’ve heard so much about him, that it’s hard to not see Rin’s rants every time you look at Isagi. 

So you don’t — look at Isagi, that is. You look at everything else. His car is clean. There are air fresheners in the AC vents. The floor of the passenger seat is oddly clean, like no one ever sits here. If that’s the case, you hope your heels didn’t track in any grass blades or dirt. 

“Um,” Isagi awkwardly clears his throat at a red light. “When I mentioned Rin earlier at the party…” 

“What about it?” Fuck, this is so embarrassing. Since the car is stationary, you’re in the clear, right? If you just unlock the door, you can escape on foot. Your house is now close enough that it’ll just count as today’s exercise. 

“Sorry for bringing him up. I didn’t know—”

“—didn’t know what?” You turn to face him. His jaw is surprisingly sharp, and you watch the way he swallows before he answers you. 

“I didn’t know that you two broke up.” 

No one knows that you two broke up. You’re still in the process of making sense of it all, and because you’re so messed up over it, naturally you had to confide in Yukimiya and Juliette. Neither of them would ever share that secret, though. 

So why the hell does Yoichi Isagi know?

“The light’s green.” You tell him, shifting your body in the seat, avoiding him by positioning yourself even closer to the door. 

Neither of you say anything else during the drive.

[imustbenuts]

theres a few ??? thing going on in trigun stampede that's explicitly japanese/sino-ish in culture but im entirely not sure what to make of it. 3 things.

Knives' birthname being settled as Kni/Nai,

JuLai's emblem symbolism,

and the Buddha Thread??? thing in ep 11 10

Knives' birthname is Kni and hm! ...無い?

this is specifically a stampede thing. nightow didnt give him this Kni name in his work, so i can only chalk this up to the stampede staff's deliberate decision. if you render it into japanese, it'd be Nai, and the immediate word i can think of is... 無い. meaning, Nothing, or Without.

it fits rather well considering stampede has officially placed an emphasis on his obsessive love towards his brother on his bio on their official site:

my TL:

Vash's twin brother. Possesses a cold and merciless personality. Filled with a hatred for humans, he masterminds an organization with a plan to massacre the entire human species. With abilities beyond human understanding, he has the power to destroy entire planets. He greatly loves his only younger twin brother, Vash to an obsessive degree.

interestingly, the word used for the obsessive love here specifically is 執着 shuuchaku, which has roots/association with the word Abhinivesha. from what i understand it is a mental state, a fear of death, and a desperation to cling onto life so much one becomes ignorant and causes their own suffering. and ignorance is another big core of what makes Knives' character tick.

so i feel like this has some pointers towards Knives, or even child Kni being nothing without his younger brother. (or it could just be a simpler play on the word naive lmao)

meanwhile for Vash there's not really anything japanese that jumps out at me, but some have pointed out his name sounds like the french word Vashe, used for female cattle. extremely passive and born for consumption and theres a lot to dissect in that direction but im not going there! his name is Knife and his brother is a cattle there's catholicism may your brain go brr.

theres more to the nothingness concept in buddhism that doesnt put it squarely in a negative category but lets talk about buddhism later. next:

JuLai's emblem

stared at this for a few seconds and yelled fuck me. this represents the twins, AND its the broken yin yang symbol:

:). hey look at that female thing popping up again--

Knives is evidently the light Yang, and Vash is the dark Yin. ngl this daoist thing is somewhat sexist but lets brush that over 2 thousand year old aspect aside for this post. for stampede's case we can clearly see what theming is going on especially for those in the know of the original work.

Knives is hella assertive to the point of echoing fascist eugenics nonsense, and Vash has that nurturing instinct that seems to pop in whenever there's a human child or people who needs help.

interestingly the planet No Man's Land has too much fugging sun and is too hostile for human life. to survive people have to live in the shade and turn to plants for counters to the harsh, hot celestial sun. so here if Knives is being the sun, hes also being hostile to human life, and meanwhile the feminine looking plants and Vash's personality plus actions are the only thing giving these people at chance at life. (also vash has the power of Dark Matter or something)

obviously, just like JuLai's broken symbol, the balance is completely and utterly out of whack. in daoism a broken balance is thought to cause a lot of suffering. in the finale, Vash doesnt have a single speck of white on him, and Knives doesn't have a single speck of black. this means there isn't a balance and they cant come to an agreement at all.

im gonna also point out here that vash's idea of co-existence even if accepted wouldnt be a permanent solution due to the dependents having limited lifespan. so through this lens, stampede seems to be saying that neither twin's ideas are really effective long term solution, tho Knives is completely unacceptable due to obvious genocidal reasons.

Buddha Thread

studio orange whaaat are you guys cooking over there... ok so. in ep 11, Knives drops Vash into the uhhh The Hell Pool, and Vash tries to get out of it with his wire and hangs for a bit. then we get a scene like this:

Knives proceeds to cut Vash's thread and he drops into The Hell Pool. and then the metaphorical SA scene happens.

i call it Buddha Thread but this can also be known as The Spider's Thread. there exists a story of The Spider's Thread that's very Japanese-Buddhist and well known over there.

the gist of this story is that Buddha lowers a single spider thread to a sinner in the deepest hell as a lifeline to get out, bc this heavy sinner had done a singular good deed of saving a spider he was about to crush with his foot. however, the thread is broken as a result of the sinner's selfishness yelling for the other sinners below him to let go, claiming this thread was his and his alone. the sinner having climbed halfway upwards the thread after great effort plunges back into the pits of hell. buddha having watched all of this reacts with sadness, and the days in paradise carry on as per usual.

and. digest that for a second. and then refer back to Knives and The Fall and this scene that plays later, when Vash's mind wipe begins proper:

fuck. me. knives is framed as a self proclaimed god in the loudest ways on multiple levels.

while these 3 aspect i just broke down explaining do not exist at least overtly in the original trigun, i thought it would be interesting to chew on in light of the overwhelming catholicism existing in the story.

there's some themes im also picking up from the original trigun that might be rooted in either buddhsim or japanese culture such as: the undeniable truth that yearning and hunger is part of the human living experience and to deny it is to deny living. but im not sure what to make of it bc A) not explicitly framed or explored as a buddhsim/japanese idea thing and B) catholicsm obv is the overwhelming theme of the entire work

idk what the heck studio orange is cooking exactly but. hm.

[moony-2001]

The real-world impact of Lore Olympus

i.e. do your research Rachel

Trigger warning: racism, fetishization, appropriation, mentions of SA

Long post ahead

A while ago, someone told me that Lore Olympus was just a silly little comic written out of boredom. That it was made to be "funny". They told me that "[I] can't hope [for] an extremely [well-written] story when it was just made with the intention to make something goofy" and that if Rachel actually wanted to make something serious like I had, she would write a book and not a comic.

At the time of this exchange, it was past 1 a.m. and I was exhausted. I did not want to argue with this person and it simply wasn't worth my time or energy in the moment.

But looking back at that (mostly one-sided) interaction, I can't help but think that there is so much wrong with that point of view. Of course, everyone is entitled to their opinion about Lore Olympus, whether good or bad. But Lore Olympus isn't just some silly little nothing comic about nothing important. It is a comic that actively appropriates and erases Greek Culture. It is a comic that has no respect for the actual stories that have been passed down over thousands of years whether by word of mouth or written text. It is a comic that perpetuates a false narrative and harmful stereotypes about characters or certain groups of people. So, no, it's not just a silly little comic.

Incorrect information

Here’s an example of what I mean:

When I was doing research for my post about the 10 year time skip, I looked up Leuce to reconfirm the little information I knew about her. Wanna guess the first thing that popped up about her?

A Lore Olympus Wiki article.

Okay. How about Minthe? Hundreds of pictures of her from Lore Olympus and a LO Wiki article as one of the top 3 results. Both character are horribly represented in LO and unfortunately there isn’t really any documented stories or records that can refute how LO paints them. Because of this, other characters in Greek Mythology like Leuce and Minthe, whose stories have little to no documentation, stand to suffer the most harm from deliberate misrepresentation on Rachel’s part.

Of course well-known and better documented figures in Greek mythology face slander as well. What about Thetis or Leto? How about Apollo? All of their portrayals in LO are HORRIBLE. I have seen people online absolutely drag them to filth not because they're upset about how the character is portrayed compared to their mythological counterpart, but because they have no knowledge of how they are actually portrayed outside of LO. They just assume that's how the characters are. Similarly, people who have either very little or no prior knowledge of Greek Mythology and Culture would look at the comic and go "Yep, sounds legit. It must be true." and go about thinking that what is portrayed in LO is accurate to what was transcribed thousands of years ago.

Creative interpretations and racism/fetishization within LO

Don’t get me wrong. Creative interpretations and artistic liberties can be great. When they’re done tastefully. I personally think if done correctly, a Greek myth spun in a modern way has the potential be very good. But that's not what we were given.

Characters like Minthe, Leuce, and Thetis (all nymphs btw) are portrayed as trashy tramps who put out and are used as a foil sabotage Persephone and/or her relationship with Hades. Compare that to Greek Mythology where in the Iliad, Thetis is very well-respected by the gods, particularly Hera. Unfortunately, other similar characters like satrys (and basically any character that isn’t a god) are usually portrayed as a low-class POC that can be easily exploited, manipulated, or used as a temporary villain/lover/pawn to “get back” at Persephone, our white-coded protagonist who can do no wrong.

Additionally, there is a clear race/class bias against characters like nymphs in LO. We see many cases scattered throughout the comic of gods like Hera or Aphrodite referring to nymphs as "trash" or "low class" or the idea that nymphs do not belong with gods being heavily implied if not outright said. I cannot tell you how often I've seen Minthe be called some variant of "cheap" by the readers of LO. Even Persephone (who created the flower nymphs) treats them with such disrespect. She frequently calls them some variant of "stupid" or "simple" like saying how they're not the sharpest crayons in the box even though she's the one WHO MADE THEM. However, it's so odd not really to note that nymphs like Echo, Amphitrite, or Psyche (who was previously disguised as a nymph) are not discriminated against. This is because they are liked or trusted by the gods they are around and ergo are often portrayed as the "good ones", which is a disgusting mindset to have.

We also see the fetishization of nymphs in the comic that is disturbingly similar to the fetishization of women who are Black, Asian, or Latina. It is a known fact that Hades has a flower nymph fetish. Not only is this implied in the comic, but Rachel stated it outright in an old Patreon post. Nymphs are also generally treated as sex-symbols, disposable, and as a lesser-than. Zeus frequently displays this behavior by abandoning nymphs he knocked up in the mortal realm.

For example, when Persephone finds out Apollo is dating Daphne, she isn't upset he's dating her friend. She's upset he's dating a flower nymph, beings that are generally considered to be "rare", "dumb", and objects of sexual desire. Ew.

Even on the Lore Olympus website (loreolympians.com) nymphs are regarded as "beautiful", "desirable", and "very exotic". And when they're not described in a sexual manner they're say it with me now regarded as "low class" or "workers" for some kind of god/goddess.

Final thoughts

So not only is the characterization of characters like Minthe or Thetis harmful to Greek culture and the stories that are so ingrained in their society, but it is also perpetuating harmful stereotypes about people of color and women who are confident in their sexuality.

Of course, the characters within Greek Mythology had their own issues. Zeus was a serial rapist, many of the goddesses deemed to be "feminist" by today's standards were actually horribly misogynistic looking at you Athena. But 1. that's just how things were back then (but that does not make it right) and 2. all of the good, the bad, and the ugly is still there in Greek Mythology. They're not denying how fucked up it is, but they're also not changing their history to better fit their own narrative or the narrative of the modern world. It exists, it happened, but now it is studied and called out by historians.

Rachel, on the other hand, is doing exactly that. She is actively changing the Greek's cultural history to better fit her fic's narrative. She is constantly sweeping things under the rug or going "No this is how it ACTUALLY happened". Lore Olympus is marketed as a "feminist retelling" yet somehow, it takes allllll the ugly parts from Greek Mythology (rape, incest, problematic age gaps, dubious consent, etc.), mixes it with a majority of the issues we have in the modern world (white feminism, rape-apologists/rape culture, grooming, fetishization of certain minority groups, etc.) and then amplifies the concoction to 20. Lore Olympus cannot be a "progressive, feminist, retelling" and also have characters that are morally apprehensive/come straight from the ancient myths. It does not work. In fact, IMO it makes all the problems from both eras worse.

News flash: actual cultures that are still thriving today are not your toys. They are not "made up". They matter. Do better.

[wonder-worker]

#yes Elizabeth was without a doubt considered too low-born to be queen#no she was not a commoner and nobody actually called her that during her life (so I'm not sure why people are claiming that they did?)#Elizabeth's social status was not a problem in itself; it was a problem in the context of queenship and marrying into royalty#Context is important in this and for literally everything else when it comes to analyzing history. Any discussion is worthless without it.#obviously pop culture-esque articles claiming that she was 'a commoner who captured the king's heart' are wrong; she wasn't#But emphasizing that ACTUALLY she was part of the gentry with a well-born mother and just leaving it at that as some sort of “GOTCHA!”#is equally if not more irresponsible and entirely irrelevant to discussions of the actual time period we're studying.#Elizabeth *was* considered unworthy and unacceptable as queen precisely because of her lower social status#her father and brother had literally been derided as social-climbers by Salisbury Warwick and Edward himself just a few years earlier#the Woodvilles' marriage prospects clearly reflected their status (and 'place') in society: EW herself had first married a knight and all#siblings married within the gentry to people of a similar status. compare that to the prestigious marriages arranged after EW became queen

#and no Elizabeth having a lower social status was not 'created' by propaganda against her; it fueled and shaped propaganda against her#that's a huge huge difference; it's irresponsible to conflate the two as I've seen a recent tumblr post do#like I said she was considered too low-born to be queen long before any of the propaganda Warwick Clarence or Richard put out against her#and the fact that Elizabeth was targeted on the basis of her social status was in itself novel and unprecedented#no queen before her was ever targeted in such a manner; Clearly Elizabeth was considered notably 'different' in that regard#(and was quite literally framed as the enemy and destroyer of 'the old royal blood of this realm' and all its actual 'inheritors' like..)

#ngl this sort of discussion always leaves a bad taste in my mouth#because it's not like England and France (et all) are at war or consider each other mortal enemies in the 21st century#both are in fact western european imperialistic nations who've been nothing but a blight to the rest of the world including my own country#yet academic historians clearly have no problem contextualizing the xenophobia that medieval foreign queens faced as products of their time#and sympathizing with them accordingly (Eleanor of Provence; Joan of Navarre; Margaret of Anjou; etc)(at least by their own historians)#Nor were foreign queens the “worst” targets of xenophobia: that was their attendants or in times of war commoners or soldiers#who actually had to bear the brunt of English aggression#queens were ultimately protected and guaranteed at least a veneer of dignity and respect because of their royal status#yet once again historians and people have no problem contextualizing and understanding their difficulties regardless of all this#so what is the problem with contextualizing the classism *Elizabeth* faced and understanding *her* difficulties?#why is the prejudice against her constantly diminished & downplayed? (Ive never even seen any historian directly refer to it as 'classism')#after all it was *Elizabeth* who was more vulnerable than any queen before her due to her lack of powerful foreign or national support#and Elizabeth who faced a form of propaganda distinctly unprecedented for queens. it SHOULD be emphasized more.

people really do not know what they're talking about when it comes to Elizabeth Woodville's social status, huh?

[blueskittlesart]

Tell me about the road design of Hyrule!

YESSS ok so my tangent last night was mostly about the changes between the botw and totk maps but the map design of botw/totk hyrule in general is a really great example of environmental storytelling imo!!

in botw, most of the roads we see are kind of implied to be pre-calamity remnants. we very rarely see travelers, especially not along roads that aren't stable or village connectors, and a lot of the roads in hyrule field especially are near-deserted and clearly haven't been kept up. many of them lead through the ruins of what would have been villages or cultural hubs pre-calamity but are now either completely deserted or overrun with monsters. if you do come across travelers along the path, there's about a 50/50 chance they'll either be fighting monsters (and losing, badly) or disguised yiga clan members trying to ambush you. (and I think there's an implication in the yiga posting disguised members along the sides of old roads that since so few people use the roads nowadays, it's reasonable for them to use that kind of disguise as a way to catch specifically link--it's probably 10 to 1 that if you meet a traveler along a road, it's gonna be him.) the roads are like the ruins we see scattered around hyrule--reminders of what the kingdom USED to be, back when travel was a safe and sustainable option for its citizens, but now littered with monsters and slowly falling into disrepair.

in totk, though, the map and the roads along it are much more populated. they get WAY more use--you'll almost never follow a road for more than a few minutes without passing an npc now. there are a few new roads that allow for more convenient travel between previously difficult-to-access places. roads that were previously in disrepair and obviously too dangerous for the average person to travel are better-maintained and more populated. new stables are popping up. The observation that prompted this whole thing last night was specifically the walkability of the roads--in botw they tend to be wide and seemingly optimized for horse travel, which, given the amount of monster activity along them, makes sense since horses are the easiest way to travel safely on that map. in totk, though, several of the roads seem narrower and more winding, with sharp turns and obstacles that are hard to navigate on a horse at top speed. This is partially due to the upheaval adding more small obstacles to the map, but I also think it speaks to how post-calamity it's likely become a lot safer to travel on foot, so having wide, straight roads is no longer as much of a practicality issue.

the way the roads are built i think also gives us some insight into how travel worked pre-calamity and just generally what culture was like in different regions of pre-calamity hyrule. the field is heavily populated by roads and old structures, implying a culture of travel between the hylian villages and outposts that would have once been there. races that we know to have been historically more isolated, however, like the zora and the gerudo, only have one road leading in and out of their settlements, and in the gerudo's case the road isn't even clearly marked, making it extra difficult to traverse if you don't know what you're doing. by the time we get to totk, the gorons have gained a couple more roads in and out of their main city, allowing for easier access, which i think implies that their isolation during the calamity was involuntary and they were eager to open up to other races as soon as it was safe to do so!

[bcacstuff]

Don't you think Sam should defend her

Well, I can imagine people would think as a first reaction he should, or should say something about it. But then again, if he does, I'm sure the fans who do these stupid things, would immediately see it as him confirming some sort of relationship or something. You know how this fandom, or better said the deranged ones in it are.

He can't do right in this case, he's between a rock and a hard place. We're talking about 2 women, should he address the entire fandom for this? And with that give it perhaps unwanted and more attention then it deserves? What will be the result of that, you might ask yourself. Of course we know there's much more going on in this fandom, but it isn't reserved solely for this fandom:

I've received a link a while back, and still have this article open on one of my tabs in the browser. I had the intention to answer the Anon that sent it to me a few weeks ago, but as there were so many things going on, I didn't want it to get buried by the many other posts.

It's this article:

There are some really good parts in it that can be translated one on one for this fandom, even though the artists in this article are musicians. Already in the first paragraphs you can read:

This summer, norms of pop flipped when musicians started telling off their fans. Leading the pack was Chappell Roan, the 26-year-old breakout star of 2024. In a statement on Instagram, she outlined the “too many nonconsensual physical and social interactions” she had had with fans, including people hassling her family and friends.

An expert view on it:

“The relationship between fans and artists is a power balance,” says Dr Lucy Bennett, a lecturer in journalism, media and culture at Cardiff University. “Sometimes the power can tip back and forth.” Fandom, she explains, is a deeply emotional thing where people can feel a sense of home and belonging. It can lead to an intense connection to the music, something only heightened by the access to artists provided by social media. “But the problem that we have is how fans can forge a direct connection when they’re one among potentially millions that follow the artist. Those artists can’t reach out to every fan online. But to those who aren’t noticed, how does this make them feel? And what lengths may some fans go to get noticed?”

A former deranged fan's experience

Someone who has grappled with this themselves is Emily, a 26-year-old Taylor Swift fan from Idaho. Emily, who asked to be referred to under a pseudonym for fear of being doxed, was once a dedicated Swiftie, spending thousands of dollars on merchandise and concert tickets. During the Lover era of 2019, however, she began to see contradictions in Swift’s image and found her sudden embrace of politics inauthentic and calculated. “I was upset because it seemed the person I thought she was wasn’t real,” she says. She was also put off by the growing toxicity among a fandom that no longer felt like a community. Prior to Swift’s hit album 1989, “Taylor had said that she wasn’t going to interact with fans on social media because one fan might feel more important than the other,” she says. But Swift began doing secret live sessions for fans, found via fan accounts online. “It did exactly what she thought that might,” Emily says. “Fans were suddenly fighting with each other saying, ‘You’re not good enough because you don’t obsess with her on the level I do, or ‘You don’t have as much merch as I do and you don’t know every song like I do.’ It was kind of gross.” Emily became so distraught that she would vent to her friends about her disappointment. “When I look back it now,” she says, “it’s like, wow. I was really deranged. Taylor Swift doesn’t know who the hell I am. She doesn’t care what I think. This is actually a me problem. I needed to step back and realise that.” She cites social media and the 24/7 access to information about Swift as one reason why she became so obsessed with the singer’s life. “I had to get some hobbies outside of discussing Taylor Alison Swift.”

And again the expert's view as an end conclusion

To realign the relationship between fans and artists, Bennett believes that musicians may need to step away from sharing so much of their lives on social media. “But it’s really important that they speak up if they feel that they’re experiencing unacceptable behaviour from the fans,” she adds.

It's a really good read, so if you're interested and have a bit of time, I'd recommend reading the whole article. There is no easy answer to this phenomena or to your question Anon.

PS. To Anon sending me the link a few weeks ago, thank you 🧡. You were right, I found this interesting. I'm sorry it took so long to post it, but it deserves all the attention.

[starfall-dream]

(I can only hope Tumblr doesn't eat this.)

I've just been thinking about this AU and how the reader might not even be aware or realize when the other companions start to obsess over them (especially if they're giving romantic signals and trying to flirt) just due to cultural differences and the reader not fully knowing things about the world or even just past experiences and how difficult that might be for the companions.

Like I know for myself (just because it's where my experience is), I am rather oblivious when it comes to being flirted with and picking up on those sorts or cues. Plus, most of them flirt with one another platonically (and not to mention the whole "let's fluster this person because their reactions are easy to get out of them" stuff)

So if someone like Astarion or Wyll pops up and starts flirting and throwing their innuendos it's like a 33.3% chance each I a) think he's meaning it platonically, b) just short circuit because easily flustered, or c) unwillingly just refuse to pick up on it somehow even if it's "obvious" to everyone else.

Not to even mention how different races try to court or flirt. I would assume that High-Elfs are different from Wood-Elfs or Drow do, or even Teiflings are very drastically different and that's not even to go into cultural differences from things like location or city or even who raised them! There might even be differences between how Gale does it compared to Wyll just due to how those two cities operate.

Or how the different companions might use that to their advantage, or when some random stranger tries to flirt and the reader just doesn't pick up on it. Like... (apparently, I legit cannot think of anything)

Idk what kind of reader you're thinking of, but it's just something I thought about and just wanted to share.

OMG I love your brain you're so amazing.

controversial take, but I love oblivious readers. In this case, I think your explanation makes a lot of sense, that they're more oblivious because the cultural differences and because of the stressful situation they're in, so it makes sense that once the companions start to obsession over them, they don't even realize it. Plus, they probably think that the companions still don't like them, so they don't really look too much into their nicer actions.

I feel like this kinda works in the favor of the more open companions like Karlach and Halsin. Like they're very much the type of people to just go up and say "I like you" so there really isn't that much confusion. However, it absolutely destroys Astarion, who is so used to being able to use his suave facade to woo anyone, so for it to not work kinda hurts his pride a bit.

I also loved how you brought up how courting might be different for different races. I've mentioned this a while back, but the idea of Halsin, Astarion, and Shadowheart talking about reader in some sort of Elvin language is one of my favorite headcanons. It's even more interesting if the companions are at the point where they're working together.

[igetthedisneybox]

Addams Family/ Wednesday OC's for Halloween

When I was a kid, I always just kind of...assumed that Wednesday had cousins named after the other days of the week.

So here are some OC's based on the poem that Wednesday's name is from. (I gave them different names than the days)

Belladonna Carmilla Angelo Addams

She is based on the first line, "Monday's Child is Fair of Face"

Her face claim is TajFaerie (linked to her instagram)

Her name means "beautiful woman" and is the name of a toxic plant

Her aesthetic is Victorian Goth

Her favorite color is blood red

She is a year older than Wednesday

She loves fashion, and expressing herself through said fashion

She is a hopeless romantic, especially for tragic love stories

She's very over dramatic, and treats personal matters with great importance

She'll sometimes speak in French of Italian, just so nobody else can understand her

She can be jaded at times, especially when it comes to holding grudges

She likes classical music, love ballads, alternative pop, and pop punk

One of her mothers is a vampire, so while she isn't one, she participates in vampire culture, such as drinking animal blood, avoiding sunlight and garlic, etc etc

She fell in love with Bianca Barclay at first sight

She's related to Wednesday on Gomez's side.

Odile Lilith Frump

She is based on the second line, "Tuesday's Child is Full of Grace"

Her face claim is Elle Fanning

Her name means "heritage" and is the name of the black swan in Swan Lake

Her aesthetic is a mix of Circus Freak and Dark Ballerina

Her favorite color is vomit yellow

She is the same age as Wednesday

She's run away to join the circus twelve times, and they send her back every time

She has joint hypermobility, which means she can move like a horror movie ghost. Which she does. To freak people out

She's a prankster, and just loves to fuck with people

She's very family-oriented. You fuck with one Addams, you fuck with them all

She likes alternative music, music box covers, circus music, and classical ballet pieces

Her passion is dancing, but she also enjoys knife throwing, tightrope walking, and other acrobatics

She's a fan of revenge and punishment, just like her cousin

She's related to Wednesday on Morticia's side.

Victoria "Ick" Elvira Addams

She is based on the fourth line, "Thursday's Child Has Far to Go"

Her face claim is Mackenzie Foy

Her full name means "victory," but the shortened form (her preferred name) is a sound of disgust

Her aesthetic is Punk Rock

Her favorite color is ooze green

She is the same age as Wednesday

She has a band with her brothers and sister, where she's the lead guitarist and singer

She's very level-headed, calm, and just generally chill to be around

She takes matters of social justice very seriously, and has a police record (she has it framed in her dorm)

She likes punk music (duh) but also dabbles in rock, heavy metal, 80's, 90's, and alternative

She's aromantic, but not asexual

She was adopted by the Addams when she was six. She wandered into their house one day and just...never left

She butts heads with Wednesday the most out of all the cousins

She's related to Wednesday on Gomez's side.

Briar Winter Addams

She is based on the fifth line, "Friday's Child is Loving and Giving"

Her face claim is Isabela Merced

Her name means "thorn," and is a reference to the Sleeping Beauty fairytale

Her aesthetic is Dark Fairytale

Her favorite color is dusk purple

She is a year younger than Wednesday

She has narcolepsy, and suffers from excessive sleepiness, fainting spells, and muscle weakness

She likes to brew antidotes for venom and poisonous plants, just in case

She likes to see the best in almost everyone, and those she can't, she poisons (mostly non-fatally. Mostly)

Like Bella, she's a hopeless romantic, and dreams of a knight in shining armor who will sweep her off of her feet

She likes creepy lullabies and alternative pop

She gives dried and dead flowers to people when they're sad

She loves moths

She's asexual, but not aromantic

She has a crush on Xavier Thorpe

She's related to Wednesday on Gomez's side.

Shelly Frump

She is based on the sixth line, "Saturday's Child Works Hard for a Living."

Her face claim is Yasmin Finney

Her name means "clearing," and is a reference to Mary Shelley, the author of Frankenstein

Her aesthetic is Dark Academia

Her favorite color is midnight blue

She is a year younger than Wednesday

She's part giant, and is almost six feet tall

She takes her schooling very seriously, and refuses to miss a day of class

She's a living factoid machine, and knows a little bit about everything

She feels like her parents prefer her older sister, Mary, and so is very insecure

She likes lo-fi beats to study too, classical music, and 80's and 90's alternative

She's very shy, and doesn't like talking or interacting with people much

She is very good at mind games. She can fuck you up mentally

She and Eugene Ottinger are a little too close to be regular friends

She's related to Wednesday on Morticia's side.

Zander Adams

He is based on the seventh line, "But the Child Born on the Sabbath Day, Is Blithe and Bonny and Good and Gay."

His face claim is Omar Rudberg

Her name means "defender," and is the name of an actual Addams Family member, mentioned in the animated movie

His aesthetic is Grunge

His favorite color is fire orange

He is a year younger than Wednesday

His mother changed their last name from 'Addams' to 'Adams' to differentiate themselves from the family

He was raised as a normie, and any outcast (or autistic) traits he showed were punished

He and Briar were very close as small children, as their fathers were blood brothers

He starts off disliking his cousins and the other outcasts, but realizes that they are more welcoming and understanding than his mother

He likes alternative, 80's, 90's, and punk

He ends up having a thing for Tyler Galpin

He's related to Wednesday on Gomez's side.

[mswyrr]

They presented the possibility of older women--who were repeatedly described as "covenless witches" in a story that also repeatedly told us a witch needs a coven--finding community again and a new reason to live in each other and their own power and then "subverted our expectations" with these women dying to serve a male character's story.

That was the point of their stories. Him.

It isn't common for older women in US pop culture to get depicted as people who are capable of rebirth. Of lives, desires, hopes and dreams that matter beyond solely being a mother. It rarely happens, and it didn't happen here.

It's rare for stories to deal metaphorically with real things - like women who get clean or make positive change in their 40s or 50s. Women who find each other and aren't alone and "forgotten" anymore. These things happen -- yes, sisterhood is sometimes a lie and sometimes "people never change." Sure, those things happen. But sometimes sisterhood isn't a lie; sometimes people make change in their lives.

You don't see these stories when they're women though, especially not older women, especially not gay women.

I'm glad for Jen. She doesn't have a community, though. A witch needs a coven they told us, over and over again. They showed us them getting one small taste of the joy they could share together, in their scene of flight. But that was just for Billy too. And now everyone else is dead. To serve the male character's journey, give him some angst.

Agatha is forever spiritually dead--not experiencing any kind of emotional breakthrough or change--because she's not the lead, so she's static so she can serve as a device within the true lead's journey.

She can't even be allowed the growth I pictured as the worst case scenario - where she dies for *the coven*--so they can live and have community and spiritual rebirth together--and makes enough peace to go with Rio. She doesn't even get that much, to get to have a real death that matters and has a sense of completion to it, where we can imagine her reunited with her child and/or at peace with Rio. She can't have that because she has to be Billy's amusing sidekick, his Jarvis, his moral warning lesson about his powers and the witches he got killed and his angst. Because his story matters and theirs didn't.

I was talking to a friend the other day about how love stories often have a "point of symbolic death, when all hope seems lost" (concept from Pamela Regis's study of romance novel structure) and with mf couples they get to rise again from that, into rebirth, into new life. Ff canon couples in stories often, due to a bunch of reasons, aren't allowed that narrative power. They remain trapped in tragedy and despair. I thought surely Agatha herself though, as the lead character, would get to have some kind of change or rebirth as part of a community of women, given that her core wound is betrayal by community -- but she, as a character, doesn't get to go into the symbolic underworld and change and be reborn, because she was never the lead character to begin with.

Sapphic love remains broken once it breaks, the "point of symbolic death" is literal death or a shattering end, there is no rebirth. We, I guess, lack the symbolic potency to come back, in the eyes of the world? We are not generative. "Which one's the man?" "How do they even have sex?" "Your marriage isn't real because you can't make babies." (Kudos for subverting that one, though, show! Except... a child born of women, without a man, cannot live a full life I guess?) And specifically, as a 30something queer woman, people who call my wife, after I've described her as my wife, my "girlfriend" and are shocked by how long we've been together. That we're grown women and our commitment is right down to the bone, that it has blood in its veins. We are not little girls playing dress up. But that is how a ton of nice people see us; we exist but we are spiritually empty, lacking potency. And the stories reflect that. That energy, that core belief that we are the juvenile, non-generative form of love and relationships. And this woman too, she remains in a kind of eternal spiritual death.

That's why people are mentioning the Hayes Code, they're feeling how that aligns with larger cultural prejudice against us and our humanity and capacity to have the kind of power of living and loving that is ascribed to mf love and that more (though not always, misogyny is a hell of a thing) straight women get in stories.

The idea that it's GOOD for a story to do this, because "sometimes sisterhood is a lie" and "sometimes people don't change" ignores that context of who precisely this narrative "subversion," this spiritual aridity is given to. And who gets to live and grow and be reborn and strive and learn and become in stories, to be allowed to connect with the transformative potential inside themselves and each other.

The show did give us a lot -- I think it's important to recognize that. The canon ff love; I would have never expected that. The canon kiss. They put a lot into that and I honor that. This wasn't a classic "bury your gays" and I'm not mad at them. They did their best. A lot of the issues I have are probably due to the problems of the mcu overall and how static it is. But the deeper themes are also just incredibly disappointing to me, and I wanted to outline why.

It's entirely possible to be disappointed but appreciate context and not be unkind to creatives who did their best within overall industry/cultural limitations, which is where I am at and what I mean with this.

[saintsenara]

💚 💖 💀

thank you very much for the ask, anon!

what does everyone else get wrong about your favourite character?

that lord voldemort is legitimately emotionally intelligent.

i encounter a lot in fics the idea that voldemort doesn't have any idea how to understand or relate to other people's emotions - that he can't, for example, understand why one his minions is upset by a hard work day or a rude comment, since he considers both of those things to be unimportant if they occur in his own life - and that any interpersonal skills which he possesses are performative, a chameleonic mirroring of other people's emotional responses which he has no real knowledge of the deeper meaning of.

a lot of this is due - of course - to the idea that voldemort is a "sociopath" and/or "psychopath" [both of which are controversial terms]. and he's a great candidate for the pop-culture versions of these labels - which tend to present the person in question's "empathy deficit" as connected to a complete lack of understanding of how other people feel and a concomitant failure to appreciate or anticipate the emotional responses their actions will cause.

but, in many cases, the "empathy deficit" associated with antisocial personality disorder [the clinical umbrella term under which both "sociopathy" and "psychopathy" fall] isn't so much an inability to understand how other people feel... as it is an ability to understand this profoundly, use it for personal gain, and simply not care if this approach causes the other person harm.

[that is, they are capable of cognitive empathy - the ability to recognise and understand emotions in others, read social cues, and predict and influence others' emotional responses to their behaviour. this isn't a dangerous, abnormal, or disordered trait - it's what people who describe themselves as having "good intuition" or "good gut instincts" are talking about - but it can become so when it combines with other aspects of a person's personality to make them manipulative, exploitative, and entirely self-centred.]

and this - rather than an "empathy deficit" caused by an inability to understand human emotions - is what we see in the canonical voldemort. he is extraordinarily good at correctly identifying, dissecting, and influencing other people's emotions, and a failure to take this ability seriously often causes problems for the heroes of the series.

[dumbledore - for example - is caught out when the potion guarding the locket reveals that voldemort sincerely understands the power of love, grief, and guilt. his entry into the cave is hubristic - he dismisses voldemort's initial safeguards as crude, unimpressive, and not frightening, he then discovers that the final safeguard is extremely impressive indeed...]

the canonical voldemort is also someone whose own emotional performance isn't entirely fake, or entirely drawn from mirroring those around him. i talk a lot about how the fandom overlooks the fact that he's very, very funny - and how he's also [for narrative reasons, since the text needs him to deliver information to harry that neither snape nor dumbledore can if they're to maintain their cover until the end of deathly hallows] often found telling the truth in ways which render him considerably more authentic in conversation than many other characters in the story.

that his charm is performative [he's the centre of attention at the slug club, he's dull and subordinate when he goes to see hepzibah smith] is another example of him using his emotional intelligence to exploit other people for his own gain - and the fact that he's able to modify his affect so easily [and that, even when not performing, he doesn't have a reduced or shallow affect - he's someone who registers his genuine emotions very clearly on his face] is connected to his ability to understand, predict, and influence emotional expression.

and i do think that voldemort is more interesting - and his crimes much more difficult either to excuse or to dismiss as a monstrosity someone like us could never be capable of - when he's treated as something other than the caricature of the pop-culture psychopath, pretty and outwardly charming, with nothing beneath the surface.

and recognising that he understands other people very well - and still doesn't care about them in the slightest - is one way of doing this.

what is your biggest unpopular opinion about the series?

that - while its morality is individualist and its politics are neoliberal and both of these things are incredibly tedious - its central thesis, that redemption is possible, forgiveness is achievable, and love and mercy are triumphant, is a legitimately good one, and the vast majority of fandom arguments about which characters "deserve" to be liked become irrelevant when these basic, human principles are taken into account.

if you had to choose one major character to die, who would you pick?

i think arthur weasley should have died in order of the phoenix - not only because it makes my best girl nagini look like a flop that he doesn't, but because i think it would be really interesting to bring the experience of a grief to which harry is peripheral forward in the series.

in canon, this is the purpose served by fred's death - and it comes as part of the arc that harry undergoes in the last third of deathly hallows, in which he begins to get over his earlier belief that he's central to everything about resisting voldemort. but i think something really interesting could be done with forcing him towards this realisation earlier.

[acuteobserv4tion]

One of the reasons I love Elemental.

They literally never once in this entire movie ever said that "We're all the same." Never even hinted at it. The point was that the two main characters wanted to be together despite their fundamental differences.

There's literally 3 whole dedicated scenes about it. Where they touch for the first time. Where they talk about Ember's future. Where Wade tries one last time to reach out. I'm so confused why people just ignore this.

Everyone keeps saying it's "Zootopia dressed like Avatar" even though that's not true. It's that same type of thinking that left Dreamworks' Megamind in the dust after Illumination's Despicable Me came out. Just cause they both have a "bad guy" as the protagonist who "talks funny."

It's that same mindset that would have left Coco (2017) out to dry simply because Pixar's "Coco" and 20th Century Fox's "The Book of Life" (2014) both revolve around The Day of The Dead and the main characters like music. Yes, that was a thing.

Remember when people accused Coco of being a Book of Life Rip-off? It's like nobody cares about storytelling, development, execution, or any of that stuff.

This movie isn't black and white rascism like Zootopia. Elemental focuses on immigration. It focuses on sacrifice. It focuses on family. It focuses on preserving culture. And it focuses on love.

It's not a girl trying "to make the world a better place" or a cop case. There's no main villain. Prejudice is just a part of their life. It's just something they have to deal with. And they also appreciate each other's differences.

Another thing that I see pop up again and again and again is, "How are they touching?" "That ruins the rascism allegory." "It's a bad allegory cause the elements will literally destroy each other if they touch."

I just sit there thinking, "Did they even watch the movie? Did they not see that beautiful scene under the bridge where they addressed that issue?"

If you notice throughout the movie, each element has to consciously keep themselves together. The only exception being Earth. (Unless I forgot some earth person in the background who was falling apart)

Air, Water, and Fire will also all change with their emotions. Yet people, both within and out of the movie, only care about what Fire could do. "How come Fire isn't burning this right now? The thing with the flower flashback doesn't work."

Fire isn't the only one capable of being dangerous. Water can cause accidents when they cry and even floods if they lose control. Gale was literally a lightning storm when she was upset.

The Vivisteria was said to be capable of surviving in any environment, even Fireland. Yet the water security guy was still afraid of what Fire could do. The only ones who don't have to work to control themselves are Earth. (Which I guess is why they're kind of just there in the movie living their lives)

That's why it's so amazing what happens under the bridge. Wade and Ember both make a conscious effort to be gentle with each other. They make the effort to find an in-between. It was a whole thing. Why do people just ignore that whole scene?

This rant really got away from me.

[bloodpen-to-paper]

Exploring Lilia

Lilia as a character is fascinating, and her final episode was so much more beautifully emotionally charged than I was ready for.

Looking at the fourth trial, I wanted to understand what it meant for Lilia. Obviously the tarot cards were a test of her divination, but I was curious why the room made her and the others wear pop culture witch costumes. Plenty of people pointed out the symbolism of what each costume meant for each person, but it doesn't explain why these costumes were assigned for Lilia's trial specifically. Lilia was the most passionate about her distain for these caricatures, because they were based on inaccurate stereotypes and made witches look like a joke and a menace in the public eye.

Then it hit me; they're dressed like this because that's how they are viewed by others. Lilia's room is a reflection of external conceptions on who they are as people because of their power and culture. And in Lilia's case, the perception hits all too close to home.

"Guys, Lilia's being weird again!"

"By your prodding, Dory"

"Lilia, where do you go?"

Throughout the show, Lilia has been treated like a joke. She forgets everything, gets mistaken as senile, and she says funny things that never get taken seriously because that's just Lilia having another divination episode. She's seen as "kooky and wispy" because of her power, to the point where she believes herself to be a forgotten woman. An older woman who can't seem to get her head on straight. A joke. So what does her trial dress the coven up as? Caricatures, mockeries of their true nature. It's how the world views Lilia, and it's how Lilia has come to view herself.

But then there's a shift, a turning point in her story where rather than reject the trial's transformation, Lilia accepts it. When the pieces finally connect for her, she's still in that costume but it doesn't take away from her focus, her power. The costume becomes less a mockery and starts to look more beautiful and noble the longer Lilia wears it (which is how Glinda the Good was viewed in her story, gorgeous and regal). Lila embodies the spirit of Glinda the more she takes control of the situation and connects her flashes of memory to complete the trial. The costume no longer makes her look like a joke, because she makes it so.

For so long no one could understand Lilia because of her craft. She experiences time in its true form, not as a linear flow but as an ever-present existence of all that was and all that ever will be. For years this was her curse, a mortal in connection with the true form of time isn't meant to handle it well, but in that room she realizes her fractured existence isn't truly fractured, it's unbound. She has a gift, and it's one that she needs to work in tandem with, not against. Lilia unites the non-linear pieces to make herself whole, and for the first time in her life the dress finally fits.

It's the heartbreaking nature of the seer that the others will never fully understand what Lilia witnessed to save them, they'll always remember her in that costume without understanding why she was placed in it to begin with, but it's beautiful because she realized she didn't need to be understood fully by them or the world. She just needed to understand herself.

And when she dies, she's embraces herself fully. All that she is, the parts of her that are kooky and wispy, the parts of her sporadic and non-linear nature that she's hated herself for for so long; she embraces it. The joke and the costume are and have always been part of her, but that's no longer a bad thing. It's what she makes of it now, and no one can take that from her anymore.

Lilia Calderu dies in that dress, a remembered woman. Powerful, and whole. The witch she was always meant to be.

[renthony]

I haven't enjoyed a Marvel movie since I stopped bothering to keep up with the MCU in 2014. I don't care for most Marvel movies. I think Marvel Studios is a case study in things that are shitty in the entertainment industry. But holy shit, pretentious posts along the lines of "haha, I don't watch Marvel films, I have real taste, go watch another movie!" are so fucking annoying.

Like, go put up your middle finger at some preps or something. People are allowed to watch whatever they want and enjoy whatever movies they want and make whatever fandom stuff they want, and that doesn't say anything about their intelligence or morals or character. It doesn't mean they are somehow bad at watching movies, or are too stupid to realize whatever nugget of wisdom ye high-and-mighty Marvel Haters think you're the only ones to understand.

Again, not personally a Marvel fan, but this whole "haha, I'm better than Marvel fans" relates to something I've been musing on about media analysis as a whole. There is a persistent idea that mass entertainment is inherently lower quality or less artistic because it's made for a wide audience, and that bad art isn't worth analyzing or engaging with just because it's low quality. In this mindset, the only art that has the possibility to be any good at all is 100% independent projects made by amateurs, and anything produced by a studio or with wide appeal is inherently poser art with absolutely nothing meaningful to say. In this mindset, you can't possibly learn anything or take anything from bad art, and if you find meaning in bad art, you're clearly just stupid and uneducated and have bad taste.

The thing is? Liking bad art is not a sin. Having a different opinion about what constitutes "bad art" is not a sin. Finding something entertaining despite its flaws is not a sin. Studying bad art is not a sin. You can learn a lot from bad art, you can learn a lot from interpreting propaganda, you can learn a lot from engaging with things even if you don't think they're very "good."

My vaudeville research keeps turning up author after author who talks about vaudeville as some sort of "point of no return," like the performing arts all turned to shit the second things were intended to be seen by more than a single audience for a single show. Popularity gets equated with lack of skill or quality, because all the performers were "just pandering to the audience" instead of relying on "real skill."

For one, what the fuck does that even mean, but for two, the theatrical quality of vaudeville isn't what makes it interesting and worth engaging with. Every single thing that ever came out of vaudeville could be 100% total utter garbage, but vaudeville would still be worth studying because of how influential it still is on arts and entertainment today. It has significant historical and educational merit. And some of it is still genuinely fun and entertaining, once you pick out all the things that didn't age well or were just plain bigoted. There's artistic merit in those old sketches and songs, and there's meaning to be drawn from plenty of it even here in 2023.

You want to learn about the Hays Code? Well, let's talk about how early films were shown on projectors on vaudeville stages, so vaudeville censorship went on to influence American film censorship. Let's talk about how we still use slang to this day that originated on vaudeville, such as "skit" or "one night stand" or "ad lib" or "the big time." Vaudeville is still in the bones of the modern American entertainment industry and pop culture, and you can't really escape that influence.

People in modern day use Marvel movies as proof that big studio films are singlehandedly responsible for the decline of art, and there is nothing to learn from them or see in them at all, ever. But to me, "Marvel movies are bad" is such a flat, uninteresting observation, because when it comes to media analysis, it doesn't really matter if Marvel films are good or entertaining. If you want to actually dig into the problems with big-budget summer Hollywood blockbusters, and the way they're impacting the industry as a whole, you have to go deeper than "pop culture is all stupid stuff for stupid people, unlike me, who isn't like other girls actually has good taste in media!"

There are so many more factors at play than "mass entertainment = bad art." Let's look at the ways capitalism screws over small creators and forces them to seek funding from the very same studios that fuck them over. Let's talk about how the actual workers in the industry are fighting tooth and fucking nail against the exact same things all the Marvel haters harp on about. Let's talk about studios that accept funding from the United States Government to turn superhero comics into propaganda films, and then threaten the actual workers with never having a career again if they complain or quit. Let's talk about how the actors are regularly abused and treated to hostile work environments.

Let's talk about the people who made the films, because the films were not made by a CEO pressing the "make movie" button. The workers made those films. The workers were exploited by those studios. Let's try giving a shit about them, instead of taking the "haha, Marvel fans are stupid and cringe" route.

There is so much more fucking nuance and detail and conversation about mass media as a topic, and boiling it down to, "art made for a wide audience is inherently shitty and has nothing to say."

You're not a better, more intelligent, more educated person just because you don't like Marvel movies. Making posts about how much better you are than Marvel fans does nothing to either explain or tackle the issues in the entertainment industry.

It just makes you look like a dickhead.