#jack disagrees

[saysflora]

thinking about what javid’s dynamic would be if the strike never happened

[moonshynecybin]

U can’t just drop a banger like “Marc Marquez cryptic pregnancy” and disappear.. I need to to know more

i was thinking about ways to babytrap him where he doesnt just mabort that thang for career reasons, and i think this could get the job done. i also think if its vale's (WHO ELSEEEE) that theres no way he believes that marc didnt know the entire time AND he is. as many other scholars have discussed borderline insane about marc presumably racing pregnant. i mean lbr the offseason is NOT long so he had to have been, and this is in many ways one of the keenest sharpest daggers you could drive into the soft wound of vale's injury issues wrt to marc's particular brand of psycho recklessness. like what if you had TRAUMA and you were ESTRANGED from the love of your life and he was RACING while PREGNANT with your BABY for MONTHS without TELLING YOU... okay saying that. i do realize that this is somewhat the plot of one those f1 heterosexual romance fiction novels but i stand by it!!!!!!! these guys are that level of insane anyways!!!! IDK! maybe marc gets knocked up like halfway through 2015 and has the baby at testing in february. truly maximum drama maximum soap opera marc has NO idea what is happening. its the first time loitering around the same hotel since sepang 2015, and it IS the trauma track, and marc truly thinks it is indigestion (at no point does begging off bike time happen however lol) until UH OH and the baby is there. and alex walks in on marc like on the bathroom floor with a BABY wrapped in a towel and baby goo truly more freaked out than hes ever been in his life its very soap opera. and honda is very smoke and mirrors about everything until genuinely six months later a pic of the baby leaks and its a tiny valentino rossi clone with brown intelligent eyes lol. and then vale puts the (confusing i think) dots together and the shit hits the fan

[violetlunette]

So, whether we realize it, Twst has shown us a very special secret about the twst cast using the tsum pyramid;

(edit: I found the 2nd stack!)

What is this super special secret? well--

It tells us who "tops" and who "bottoms."

Jack, Floyd, Cater, Deuce, Jade, Lilia, Ace, Jamil, and Silver are the bottom-bottoms

Epel, Sebek, Ortho, Rook, Trey, and Ruggie are "switches" (or at least they top the BBs)

Leona, Azul, Kalim, Vil, and Idia are tops

And Riddle is a Top-top that tops all the ones below. The big TT.

Malleus isn't here because he's asexual / a "hatchling" by dragon standards.

(lol!)

[turtleblogatlast]

Thinking about the Don Suave scene and what it means in terms of LGBTQ+ representation because my brain does nothing if not torment me with random topics to ramble about on the regular.

Anyway, I just wanted to ramble about why I like the scene but to get it out of the way - the scene can very easily be interpreted in so many different ways, and all of them are valid. I personally see it as Leo having at least some attraction to a man. And the following is an explanation of my own interpretation and thoughts on it and what it means especially for Leo’s portrayal in the grand scheme of things.

Long-winded interpretation under the cut!

Now, to start with, it’s important to me that in the scene Leo looks at Don Suave in the very beginning and then for the entirety of the rest of the time the man is on screen, Leo’s eyes are closed. Yet, in the end, he is still visibly enamored with Don Suave, happily cuddling up to him as he’s being carried away.

You can very easily interpret this as Leo being spellbound and that’s honestly super valid and I believe he likely was at least somewhat in the beginning, but considering how fast he looked away and how he never looked again, I personally think it makes more sense to read it as Leo just finding the man attractive, at least somewhat. (For the record, I personally headcanon Rise Leo as bisexual with a heavy preference for men, but I want to be blunt when I say that any interpretation is valid. Literally any. Ace, pan, gay, bi, none of the above or a mixture of something new literally all of it is more than okay and fair. Hell you could even interpret this entire scene as more romantic attraction than physical and it would still work. Anything goes!! Don’t bother people, guys, really.)

The main reason I take this scene to be at the very least LGBTQ+ adjacent isn’t just because of how it’s portrayed, but because of who Leonardo is. Not in terms of Rise of the TMNT, but in terms of the entire Teenage Mutant Ninja Turtles™️ franchise.

Leo’s a character who, while changing with each iteration, has still at his core been around for decades upon decades as “the blue one”. One fourth of the team. He’s the one most are going to look at as the Leader, and oftentimes he is the one closest to having the title of Main Character. Not to say the others aren’t just as important, but Leo’s presence in the A plots of basically all TMNT media is often something very main character-esque.

And that’s very, very important to note. Here we have a Main Character of a prolific and decades long-running franchise distributed by a children’s television network. You can play around with his and his brothers’ characters all you like, but there is always going to be challenges to dodge around, especially since this was still in 2018-2019.

For example, you can play around with their designs so long as they’re color coded turtles, but their sexualities? Now that’s tricky.

“But what about Hypno and Warren?” Not main characters and also they’re Rise originals. They have a lot more room to play around with than a character like Leo does. But even talking about main characters in the franchise, you could arguably have an easier time playing around with Donnie or Mikey’s sexualities than Leo or even Raph, as (unfortunately) the former two tend to get more B plots, so they’d likely have had a little more leeway (still not a lot though.)

So, where does this leave us?

It leaves us in a place where outright stating and/or showing undeniable proof of Leo’s attraction to men is very, very difficult. So, workarounds!

Workarounds like the entire Don Suave situation.

To be honest, as left up to interpretation and lowkey and deniable as it is, this whole scene means a lot to me because of who Leo is as a character. It’s just nice when we get so see even the bare bones of representation with characters that have been such a large part of pop culture for decades, y’know? Even if more would be so much nicer, this is better than I thought we’d ever get for these boys.

And, again, literally nothing I’ve said is the only way to interpret it, I’m more than happy when people interpret media on their own honestly, it’s just something I’ve been thinking of lately and I was wondering if others felt the same way.

Whatever you think when you interpret this scene or Rise Leo as a whole, I just thought this would be interesting to think about, even if it was ramble-y, haha.

[invisiblegarters]

Dying.

[silenced-lamb]

Y'know what, fuck you: (proceeds to assign animals (fursonas) to Hannibal your characters)

Will: A burmese mountain dog or an australian shepherd- protective breeds of dogs, and good family pets despite misconsceptions, they are dogs that require enrichment and stimulation constantly, their intelligence a flaw as much as it is a gift

Hannibal: A stag- symbolising a cycle, death and rebirth, transforming Will and others into a higher form, to become what they are made to be

Abigail: A fawn- pure and delicate, representing a fresh start like the one Abigail wished to have, yet a fawn can only survive and thrive with the help of its mother, a mother that Abigail had stolen away

Jack: A lion- the epitome of pride and leadership, the lion is often seen as courageous and brave, but it isnt far for that courage to venture into foolishness, pride being the downfall of this creature

Frederick: A mink- a cunning and stealthy animal and a symbol of self-reliance, betraying others in the name of self-preservation, showing the ability to adapt to any given situation

Margot: A skunk- a symbol of non-violence, a skunk is an animal that is threatened easily and pushes back when cornered, but uses the same means to attract, trapping its mate using its sexuality and sensuality

(I have more but that's for pt.2)

[starheirxero]

Guys can I be a bit controversial for a second. I firmly believe Jack is getting the same fandom treatment that old Lunar got and it makes me feel slightly insane

[r0semultiverse]

Hey, Jake & Jack fans, is this anything?

Both men imprisoned (literal & metaphorical).

Both offered an out from their current predicament by an outside force (arguably in the case of Brain Ghost Dirk).

Both have loose ties to Lord English visually.

Yellow initial glow & Gamzee involvement too.

Sometimes a guy just needs to explode (same pose too).

Both dual wielding weapons.

That same said weapon type (for Jack Noir) having killed Jane Crocker.

It's really looking like Jake is going to do her in.

I would also like to point out that we've had interactions involving these three (Jane, Jake, and Brain Ghost Dirk) before that consisted of similar topics & themes.

Brain Ghost Dirk implying that he's just there as moral support, a manifestation of Jake's powers, and as a coping mechanism. Jane also talking about ruling an empire with him while talking down to him, similar to how she saw and/or still sees him in Beyond Canon's Candy timeline. Jake also being uncertain about doing anything to harm her despite all the bad things she's doing.

Brain Ghost Dirk going away tells us that Jake's more hopeful than he's ever been. This is the moment where he is the most sure of his decisions than he's ever been in his life, whatever those decisions may be in regards to Jane and how to handle this situation.

He is probably going to shoot Jane down, quite literally. I would also argue that after all this time, the lad isn't beating the Lord English allegations. We might as well have a parallel of him killing Jane much like how Jack Noir killed her right before he got possessed by Lil Cal & given some of Lord English's immense power.

Alternatively maybe we'll get to see what the power of hope or hope bullets can do to someone whose done so much wrong & come so far off the deep end in terms of moral wrongdoings. Maybe with every shot that hits her, she'll begin to be swayed to the side of good & start to self-reflect.

I'm still not fully convinced that Gamzee actually cured Tavros' peanut allergy, I mean just look at the panel.

This could absolutely be interpreted as Jake injecting his hope power into the epipen and by proxy injecting both his power & the epipen into his son! If younger Jake is strong enough to defeat Grimbark Jade, then adult Jake might just be strong enough to defeat a peanut allergy is all I'm saying! In fact, now that I'm rambling about it, this seems like the more likely outcome is Jake's hope power swaying or (in the very least) confusing Jane mid-fight. Hope bullets, they would look cool & would be pretty strong!

The power of believing in others & wanting things to change can be a strong tool indeed, Mister English.

If there's one person who still believes in changing Jane's mind (or bringing her back to proper canonicity depending on how you interpret the recent lore), it would be Jake English, the believer.

Okay, maybe this is something! Tally ho!

[blahblahbih]

My very long overdue season predictions

As it goes with all my college assignments, I'm submitting stuff in righttt at the due date so please enjoy my sort of delulu, crazy but not so crazy 2025 F1 season predictions.

I would like to preface this by saying I have not watched testing so I'm literally going in blind and just basing things off of vibes ✨

ahem ahem

WDC: Lando Norris obv because i’m delusional

WCC: mclaren, not so delusional because our car is actually really good

My predictions:

Carlos podium (i know he’ll do it i believe in him)

Kimi podium (I have faith in that child)

Lewis and Charles on track battle, possible taking each other out (i don't wish ill on them at all butttt i will be sat for the drama)

FIA throws a fit over people cursing (this isn’t really a crazy prediction they just suck)

Lando keeps the lead on the first lap more that he loses it (let a girl dream ok i think he has matured)

Another rookie joins the grid (someone can’t race and we get another rookie)

We lose another appendix (it just feels like a curse at this point)

Random midfield double podium (either another alpine or vcarb)

Ollie top 6 finish (i believe in that baby)

Ferrari wrong pitstop/tires (last year they actually had their life together but this year i feel like there’s opportunity for chaos)

A ferrari wins in monza (money on lewis, i wanna see it)

Liam beats max on merit for a race (that one is actually crazy)

Yuki outscores hadjar (this not so crazy)

Rookie in the wall

Alex gets a podium (long overdue i feel like he deserves it)

No nico podium (i just don’t think it’s in the cards for that poor man)

franco replaces jack mid season (it's so unfair to jack but i want to see franco back and briatore is not to be trusted)

I may or may not add to these as they come to mind but for now tada!

[theresnothingcruviswithme]

You ever go to a panel at a con where the presenters clearly don’t understand the character they’ve chosen to talk about?

Went to one talking about Women of Stargate and the presenter said the reason Samantha Carter could not be a good SG team leader is because she is a scientist 😵‍💫

[thegoatsongs]

The Harkers' marriage has much in common with what New Woman authors and their male allies were positing as an ideal union, one founded on "love and trust and friendship." (29) Friendship is a recurring theme in New Woman discussions of marriage. In an 1884 letter to Olive Schreiner, Havelock Ellis muses, "the best kind of union between a man and a woman is a sort of camaraderie ... between two people who care about the same things, who are going the same way, & can walk arm and arm, & kiss & encourage each other on the way." (30) Though most New Woman authors shared Caird's view that such a companionate union was "well-nigh impossible" in the present day, Stoker is more optimistic. Possessing the "love, respect, intellectual likeness, and command of the necessities of life" required for an "ideal" marriage, the Harkers could "look clear through one another's eyes into one another's hearts." (31)

In treating Mina as his peer, Jonathan Harker is most unlike John Seward, whose dealings with Lucy demonstrate an inclination to perceive a woman's beauty rather than her brains. Yet Seward, though not a New Man, has the potential to become one.

When Mina telegraphs to announce her arrival, John is far from pleased: she is a distraction from the important work of reading the papers Van Helsing has given him. "I must get her interested in something else," he determines, and "I must be careful not to frighten her" (195). Mina's appearance--"a sweet-faced, dainty-looking girl" (194)--fits his stereotype of a woman needing protection. When Mrs. Harker asks to see his account of Lucy's final days, Dr. Seward declares, "Not for the wide world!" (195). "Why not?" she asks, and, realizing (with the same acuity Lucy possessed) that he is "trying to invent an excuse" for demurring, is charmed to see him, "with the naivete of a child" and "unconscious simplicity," blurt out an excuse whose truth he realizes only as he speaks it: he cannot let her listen to his account of Lucy's death because he has dictated it into his phonograph and does not know how to locate it in the cylinders (196).

His grimaces and exclamations of "That's quite true, upon my honor" and "Honest Indian!" underscore his boyishness. Bemused, Mina replies that, in that case, he must let her type out all his notes. The doctor cannot argue. Begging her pardon and admitting that she is "quite right," he makes "the only atonement in [his] power" by entrusting her with the cylinders (196). We need have no secrets amongst us," she tells him; "working together and with absolute trust, we can surely be stronger than if some of us were in the dark" (197).

Impressed by her "courage and trust," he embraces her modus operandi. By the end of the evening, he has accepted on equal footing the woman he at first dismissed as an annoying distraction whom he must "be careful not to frighten," telling her, "We must keep one another strong for what is before us; we have a cruel and dreadful task" (198). [...] In this scene, we glimpse the future Caird envisions, "when men and women shall be comrades and fellow-workers as well as lovers and husbands and wives." (32)

Winstead, K., Mrs. Harker and Dr. Van Helsing: Dracula, Fin-de-Siecle Feminisms, and the New Wo/Man

[sunnwalker]

Little warmup sketch from today done before i redid the same sketch multiple times before giving up (not a good art day)

[thenameisgul]

Sometimes I think about how anytime Cas has made a decision/choice that Dean didn’t agree with, it came back to bite him in the ass.

Jack is the one decision he made irrespective of dean’s feelings on the subject that turned out to be the best thing that ever happened to Cas.

No wonder dean was freaking jealous of the kid and hated him from the beginning. Dean believed Jack took Cas away from him. In more ways than one 😭

[lost-inanotherlife]

I need to know your opinion on Jack's and Juliet's weird relationship

Because for me it looks like most of the time Juliet doesn't really likes Jack that much- not even romantically but like, in general, doesn't like being around him very much (which, fair)

While Jack obviously is interested in her because of Kate's partial rejections and his time with the Others

But also on the flashsideways they are divorced and have more or less an amicable relationship and share a child, and given than the flash sideways is the happy eding every character wanted then it means is mutual and that Juliet did appreciate Jack on some level, but it just doesn't looks like it?

Hello Anon, thank you for the ask, this is a good one!

I need to make a little detour before answering it but I promise it'll make sense in the end.

So. The way I see it, LOST is the "unlikable characters who cry a lot" show. You see, all LOST characters are, from the start, morally grey but, perhpas, some are "greyer" than others. In this show the main characters are cheaters, con people, torturers, murderers etc. and you see them "crying" over their own "sins". There isn't much space for victims and justice in LOST and you're either okay with that or LOST isn't for you. Like, the whole premise of the show is that these people HATE themselves, they hate their past and they hate their lives. The character arcs end the moment they stop hating themselves, hence the importance of the flash sideways (and, imo, the writing cop-out that they are but that's for another day, not blaming the writers because they were in a tight spot but I'm not the number one fan of what they came up with, sorry).

Having said that, we can put up with the fact that we're watching the story of people committing horrible things because their story is tragic. As in, seriously, these people had it bad, like reaaaaal bad. And this is the second point of the show: bringing people to the extremes, forcing them to make a choice and therefore involving the audience in making a choice with the characters as well. It's not always pretty, in fact it's never pretty. We as audience are complicit in what our characters do and we can all together drape ourselves in the flag of tragedy and "justify" the characters' actions to feel less bad about them.

But, you see, among all these tragic characters Jack and Juliet's stories seem to pale in comparison. Like, their lives pre-island weren't exactly amazing but they were... ordinary. Loveless marriage, cheating, substance abuse, parent issues, sick relatives... I mean, this is "normal" life. So what I personally like to look at when I think about Jack and Juliet is that they're tragic because they're prisoners. Symbolically, they're prisoners of their own choices because they're incapable of moving on, "realistically" speaking they're literal prisoners of the Dharma initiative and, at large, of the island.

So, anon, you are right when you say that their relationship is weird because they're both prisoners and wardens of themselves and... of each other. There is no other impending tragedy over them: they seem to do okay in terms of finance, they're both extremely intelligent people with an impossibly high potential, they could do anything they want with their lives and yet they're stuck or, if we want to be corny, they're lost.

For Jack and Juliet the island is the embodiment of everything they've desperately tried to figuratively run away from and that they must face now. There is no escape, quite literally. This is why Jack "has to" go back: the island is his "purpose", something that, unfortunately, he could never find in the "real" world. This is also why Juliet "must" die on the island as well: on a symbolical level "death" means "accepting and letting go" (btw, I don't condone this specific usage of death in fiction, I have lots of things to say about it because I think it conveys a very twisted message wrt self-sacrifice/suicide but that's not for today).

So what's up with Jack and Juliet, then? Well, the thing is that they serve as a constant reminder to each other of who they are and of the things they should do to move on. It's not a coincidence that they "meet" in an aquarium/prison where Jack is written as a parallel to off-island Juliet: a "person" of science abducted and taken as prisoner on an island (they're on Hydra island by now) to help with something related to the specific field of medicine they're expert of.

This means that, the way I see it, it's not that Juliet doesn't like being around Jack because she doesn't like "Jack". As a matter of fact, I think she does like him as his own person but she doesn't like what she sees when she sees him because she sees herself in him. Also, another thing that I always say is that, to me, everybody on the island is a little bit in love with Jack but not everybody "likes" Jack. This is because getting to know the "real" Jack is a. very difficult and b. as much as I love him with all my heart, Jack isn't exactly the life of the party. Like, it's not easy to take to Jack, that's what I'm trying to say.

While Jack represents for Juliet a "bad omen" that says "you have to deal with your stuff or you'll always end up being a prisoner in situations you don't like", Juliet represents for Jack something akin to "hope". This is because Jack has an ambiguous relationship with the Others/the losties/ with the world in general, lol. He wants to desperately belong but... "he walks among us but he's not one of us". Unlike Juliet, Jack is actually "willing" to be a prisoner if this means that he could belong somewhere. This is why he's so tethered to the island in a way that Juliet both can and can't understand because she's on the opposite end of that spectrum (the difference being that she didn't "simply" crash to the island, she was unwillingly "complicit" in her imprisonment and she can't forgive herself for that).

Here comes the perfect metaphor in the flash-sideways: the divorce. Divorce is great, I love divorce. There should be more divorce stories. In the context of LOST, divorce, for Jack and Juliet, means that they can finally let go and move on, that they've failed and that's okay because failing doesn't mean punishment for life. It means that you can leave situations that aren't for you anymore and that's not the end of the world. As a matter of fact, it's actually best for you to do so. So yes, Juliet does appreciate Jack but she can't be with Jack despite the fact that she'll forever be bound to him (the island/the son they have in the sideways). And this is because, surprise surprise!, Juliet and Jack are the same character. In order for them to "grow" and complete their arcs, they must let themselves go, they must divorce "themselves". While on the island this is translated into literal death as I said above, in the flash sideways the writers opted for something a little bit more poetic: love. Love is also a form of letting go and embrace the unknown. Love is a form of meeting... the Other and... having faith in this encounter.

Kate and Sawyer are Jack and Juliet's respective Other, aka they're the ones who can help them move forward along their journey (and viceversa can be said for Kate and Sawyer, of course).

So, yes, anon, you got it right when you spotted the "push-and-pull" dynamic between them. I personally think they're attracted to each other but, as I tried to explain, they can't ever "like-like" each other because if they did, it'd mean that they like... themselves, which they don't (this is the characters hating themselve show as I also said above). The ultimate point of the show is for the characters to overcome this self-hatred and accept themselves for who they are. Hence, the divorce metaphor: Jack and Juliet will always be connected but, in order to move on, they have to let themselves go.

[indra-istari]

Furiosa is a woman you misogynist. Tough women with buzz cuts aren’t men.

Also “queer” is a disgusting, homophobic slur

[captain-ghost]

Sometimes I feel like people don't know what 'headcanon' means