#she’s so incredibly interesting

[sweetsoona]

Watched more deleted scenes and it’s so clear that Mae saw Noa as a potential friend. Not just as a tool to use or an inevitable enemy.

During the campfire scene after Mae reveals she can speak, her and Noa were going to have a moment to themselves where they were going to talk about what they saw in the telescope & about the meaning of dreams. It was a very vulnerable conversation of Noa talking about his father and Mae talking about her mother. They were bonding not only over their mutual confusion about stars and space, but also over their parents.

Towards the end of the convo, Noa says something self deprecating and Mae stops him, saying he’s different from the others, before she walks away to sleep.

It was a really nice, touching moment between the two and I don’t think Mae was lying. Even she seemed surprised by her own sincerity. Like she’s still grappling with the idea that maybe Noa is different. Maybe apes aren’t all the same. Like this is the start of a very small seed undoing her preconceptions.

The scene definitely wasn’t them becoming besties, they’re still very far from that if they reach it at all. But I think Mae was beginning to see the POTENTIAL for a positive relationship. Something she didn’t expect traveling with an ape.

Which makes the finale where Mae holds the gun behind her back even more heartbreaking. Because she fears she might have to put down one of the VERY FEW apes she didn’t have to be afraid of. That she might not have had to be enemies with. Raka and Noa are the first apes she’s ever met that treated her with kindness, mercy, and compassion. Raka died saving her life, and now she might have to take Noa’s. It’s excruciating how alone Mae is.

But then Noa reminds her that maybe friendship between apes and humans is still possible. And Mae says she doesn’t know, but then she accepts Raka’s necklace and cries and leaves in peace, and it’s clear which path she subconsciously prefers (co-existence), it’s just going to take her some time to reach the conclusion herself.

While the deleted scene had to be scrapped because the subplots it covers got scrapped, I wish at least another version or rewrite of it had been made so it could’ve kind’ve stayed. That moment of them letting their walls down by the fire was really touching!

❌ Don’t tag as ship ❌

[turtleblogatlast]

Something I really like is that April’s constant stream of odd jobs she goes through is somewhat reflected in the boys as well. Like, you have April working at random pizza places or getting a crane license or being fully willing to apply for a job at a place clearly made out of cardboard. Then you have the boys as well who do anything from working as a basketball mascot, building a massive dog park, being waiters, getting a whole band gig at a theme park, etc, etc-

Main difference is that April actively applies for these jobs (and is hopefully paid for the short time she’s in them) whereas for the bros the jobs usually find them (and they practically never get paid.) It doesn’t even stop at jobs either, they just seem to casually amass skills in general.

I don’t know, I like how both April and the turtles are just so ready and willing to do things. Sure, they’re not always good at these things, but they do them readily! In a way, being heroes is just another job (well, more like volunteer work/vigilantism/another fun activity) that they initially took on because of their general sense of “why not?”

They’re very willing and open to trying out new things despite their tendency to revert back to what they enjoy (and how commonly trying new things ends up going wrong), and I think that adaptational interest of theirs really helps them be well rounded in multiple regards.

[marzipanandminutiae]

Average historian denies all gay relationships statistic false!

No-Lesbians Ruth Franklin, who lives in an archive and denies any possible sapphic interpretation of Shirley Jackson’s work 50 times a day, is an outlier adn should not be counted

[bixels]

What did/do you like about Pharah?

Uh, gameplay-wise, I really love characters in shooters who rely on three-dimensional movement techs. Chaining together hover and jump to stay in the air for as long as possible and keep momentum is so satisfying, and picking enemies off from the sky made me feel like a bird of prey. I was a good Pharah main.

Story-wise, there unfortunately isn't much to canonically go off because Pharah is so underutilized and neglected. Her personality's pretty boilerplate "heroic hero" (she's literally inspired by Captain America).

But it's the crumbs/bits and pieces that I really latched onto. Pharah's a confirmed lesbian; her short story with Baptiste implies she harbors a crush on Mercy (fucking thank you.). She's biracial Egyptian/First Nations. She has major mommy issues, having grown up both admiring and resenting Ana. She's the bridge between Old Overwatch, inspired by the idealized heroes who surrounded her childhood, and New Overwatch. She's one of the only inter-generational characters in the cast; someone whose experiences span the gap, which is why I seriously believe Pharah would make a great main character.

There isn't much to go off of, though; she's a very uncomplicated character (she's a soldier for a private military corporation, lol.). But that just means she's a blank slate character, so I've seen fanfic writers run wild and create some really interesting takes on her. My favorite interpretation of her's a dense, herbo gym-bro type (a lot of her liens are about work outs, exercising, and playing sports) who's easily excitable under her seemingly self-serious, armored visage. We see how she tends to gloat and hype herself up when she's on a streak too, so Pharah definitely has a competitive and boastful side under her more professional and militant performance.

Now Mercy? Mercy is a real complex character.

[caeslxys]

Something I think is extremely interesting thematically when it comes to connecting what Downfall and the ideas it tackled to the overarching narrative of campaign three is that the things Downfall made a point to showcase of Aeor—Cassida, Hallis, the visual of an aeormaton proposing to her partner, the specific and intentional decision to shed light on a far from insignificant amount of the population being civilians or refugees—is that it plays in perfect parallel across from what is happening (and, really, has been happening) to the ruidusborn on Exandria in present.

Bear with me for a moment. Aeor is ultimately a city that was collectively punished for the decisions of its leadership. We could (and, judging by the amount of discourse around this particular topic already, probably will) argue about what the Gods’ motivation for all of this was—whether it be that they could not, in the end, bear to kill their siblings or that they were terrified at the prospect of mortality—for me it is a very healthy dose of both—but for this I am much more interested in the latter. They were scared. That, really, is the driving force behind both this arc and their role in c3 as a whole.

Why I point this out is: It is far more interesting to me, especially as we go back to Bells Hells this week, to dissect the Gods and their decisions not purely on sympathetic motivation alone but as beings in the highest seat of power in the highest social class in Exandria.

So, having established that the Gods (in relation to mortals) are more a higher social class than anything we could compare to our real life understanding of divinity and that Aeor was eviscerated largely because of their fear—what is the difference between those innocents in Aeor caught in the trappings of their autocratic government leadership and a divine war on the ground, and those of the ruidusborn being manipulated both by Ludinus and by the very thing that inspired such visceral fear in the Gods to start with. I would argue very little.

I think of Cassida, doing what she genuinely thought was right and good and would save people, her son, and the object of her worship—and how that did not matter enough to any of them to spare her because of the fear they held at the very concept of mortality. I think of Liliana and Imogen, one of which we know begged for the gods to help her or send her a sign for years on years, and how every single one of their largest struggles could have been avoided had the gods loved them, their supposed children, as much as they feared what they could be. I think of how the thing that did save Imogen, in the end, was a woman who herself existed in direct defiance of the gods will. I think of that young boy, sixteen years old, that Laudna exalted on Ruidus.

I think it’s completely fair to judge Aeor’s overall society as deeply corrupt—it was!—but its leadership and police force are not a reflection of every one of its citizens. Similarly, it is fair to judge the Ruby Vanguard as corrupt—it is!—but its multiple heads of leadership and even the god-eater further are not a reflection of every one of its members.

Notably, and what I think the Hells will latch onto, this did not matter to the Gods. It did not matter that Cassida was trying to help. She was still too much of a risk. Will it matter, what Imogen does? Will it matter, if that young boy is in the blast radius when they decide to take no further chances?

I’ve seen a lot of people say that the Hells will side with the gods and I don’t think I agree. Especially as Imogen has been scolded and villainized over and over for daring to try and save her mother—who herself has been seen by some as an irredeemable evil in spite of her drive being the exact same—her family—but when it’s the Gods it’s justified? When it’s the Gods, it’s sympathetic? Too sympathetic to criticize further than “they’re family”?

I obviously do not think the Gods should die or be eaten or what have you, and I certainly don’t agree with Ludinus (though I find him much more compelling than just a variation of hubris wizard), but when talking about the Gods in Aeor and in present it isn’t really at all about their motivation or their family. It can’t be. Too many people, including our active protagonists, lives have been effected for it to be as cut and dry as “they’re family”. These are your children. They are your family, too.

[lecinea]

Listen, both Yu Ziyuan and Jiang Fengmian were shitty parents that fucked their kids (& wwx) up in various different ways. But I will forever be more sympathetic to a frustrated woman in a patriarchal society stuck in a toxic marriage than to the man who has power and authority to change something but refuses to do it because he doesn't like conflict and pretends like nothing is wrong.

[lord-squiggletits]

One of my favorite parts of phase 2 (and indeed one of the few moments I resonated with IDW Prowl) was when the neutrals were coming back to Cybertron and Prowl said that he refused to let Autobots be pushed aside and overruled after they were the ones who fought for freedom for 4 million years (the exact wording escapes me atm).

And I mean, that resentment still holds true even once the colonists come on bc like. As much as it's true that Cybertron's culture is fucked up, and as funny as it can be to paint Cybertronians as a bunch of weirdos who consider trying to kill someone as a common greeting not important enough to hold a grudge over.... The colonists POV kind of pissed me off a lot of times, as did the narrative tone/implications that Cybertronians are forever warlike and doomed to die by their own hands bc it just strikes me as an extremely judgemental and unsympathetic way to deal with a huge group of people with massive war PTSD and political/social tensions that were rampant even before the war?

Like, imagine living in a society rife with bigotry and discrimination where you get locked into certain occupations and social strata based on how you were born. The political tension is so bad there's a string of assassinations of politicians and leaders. The whole planet erupts into an outright war that leads (even unintentionally) to famine and chemical/biological warfare that destroys your planet. Both sides of the war are so entrenched in their pre-war sides and resentment for each other that this war lasts 4 million years and you don't even have a home planet any more. Then your home planet gets restored and a bunch of sheltered fucks come home and go "ewww why are you so violent?? You're a bunch of freaks just go live in the wilderness so that our home can belong to The Pure People Who Weren't Stupid And Evil Enough To Be Trapped In War" and then a bunch of colonists from places that know nothing about your history go "lol you people are so weird?? 🤣🤣 I don't get why y'all are fighting can't you just like, stop??? Oh okay you people are just fucked up and evil and stupid then" ((their planets are based on colonialism where their Primes wiped out the native populations btw whereas the Autobots and OP in particular fought to save organics. But that never gets brought up as a point in their favor)) as if the damage of a lifetime of war and a society that was broken even before the war can just magically go away now that the war is over.

Prowl fucking sucks but he was basically the only person that pointed out the injustice of that.

And then from then on out most of the characters from other colonies like Caminus and wherever else are going "i fucking hate you and your conflicts" w/ people like literal-nobody Slide and various Camiens getting to just sit there lecturing Optimus about how Cybertronians are too violent for their own good and how their conflicts are stupid, with only brief sympathetic moments where the Cybertronians get to be recognized as their own ppl who deserve sympathy before going right back to being lambasted.

Like I literally struggled to enjoy the story at multiple points because there was only so much I could take of the characters I knew and loved being raked over coals constantly while barely getting to defend themselves or be defended by the narrative so like. It was just fucking depressing and a little infuriating to read exRID/OP

[wonder-worker]

Wild how we know that Elizabeth Woodville was officially appointed to royal councils in her own right during her husband’s reign and fortified the Tower of London in preparation of a siege while 8-months pregnant and had forces gathering at Westminster “in the queen’s name” in 1483 – only for NONE of these things to be even included, let alone explored, in the vast majority of scholarship and historical novels involving her.

[whatsjulietslastname]

There’s something so very utterly tragic about the way that one of Max character’s main trait is that she’s been feeling constantly homesick since she was thirteen years old and that she had to let go of her home somehow in both ending (Arcadia Bay in the bae ending, Chloe in the bay one) meaning that no matter how much she tries to go back and clings to the past it’s never enough, in this essay I will—

[inluvwcaitvi]

i truly find it so fascinating that when vi hears the warden walking towards her cell w the stick, most likely believing she’s going to be beaten again, she turns around w THIS specific expression, w THIS kind of demeanor.

she doesn’t look necessarily angry or super defiant, she just looks… hardened, guarded, and ready. ready to get hit, ready to defend herself, ready because she’s used to it. it’s just a regular occurrence for her.

i also think it’s very important to take note of the way her jaw tightens/locks (which as i said before, is commonly done bc of anxiety/stress) right before her cell opens and she turns around, and the way it begins to relax when cait walks away. her eyes/expression also soften a little bit. i think it’s bc she’s processing that she’s not going to be beat, and that she’s actually being freed.

(you can see her face soften just very slightly as she watches/listens to cait walk away.)

also smth that rly interested me: the way vi seems to sway slightly as she hears the warden getting closer. perhaps from all of the constant physical and emotional exhaustion, and before she actually begins to emotionally and physically prepare herself by rolling her bad shoulder and locking her jaw? idk though.

(edit: she kind of reminds me of someone who’s feeling dizziness/out of it/abt to pass out and trying to remain conscious and in the moment? esp considering her posture.)

[vicktoon]

wednesday is bi on the aroace spectrum meanwhile enid is a lesbian in THEE deepest trenches of comphet imaginable together they are an ATROCIOUSLY confused bundle of baby gay angst

[cycle-hit]

hey so do you guys think about how MAHIRU is the prisoner second-place tied with kotoko for "prisoners who talk about their families the least" or are you normal.

like. Mahiru Shiina. mahiru "values the idea of very traditional romantic love and starting a family to extreme amounts" shiina. is the prisoner second-place tied with KOTOKO FUCKING YUZURIHA for "least information given about their parents and least talked about". why. how.

why does mahiru talk about wanting to start a family yet talk about her own so little? why doesnt she mention the love between her parents, the romantic love she wouldve witnessed the most, when shes so obsessed with love? why does she refer to them with fond terms (equivalent to "mama" and "papa" in english) yet not talk about them at all? why does she not even consider them in the interrogation question "would you be leaving anyone behind if you die"?

mahiru what did you mean by you are/were a "sheltered girl" and that youre thankful towards your parents but perhaps they were a bit "strict". mahiru PLEASE. family is very important in milgram's writing! yamanaka even says this in an interview!

SO WHY IS MAHIRU SHIINA TIED WITH KOTOKO FUCKING YUZURIHA FOR LEAST INFORMATION ABOUT THEIR FAMILIES. EXPLAIN TO ME NOW YAMANAKA. RIGHT FUCKING NOW!!!!!!!!!!

also. her prisoner pair is shidou. the #1 spot holder of "milgram prisoner of whom has never referred to his side of the family not even once". he only refers to his wife and kids. we know nothing about HIS family he grew up with beyond that except for implicated guesses taken from his behaviours and way he is. yamanaka why is mahirus pair shidou. YAMANAKA

[definitionofacritter]

I just know that this is going to be a situation where Matthew has to post about boundaries/trust/etc because the fandom is going to be so at war over Taliesin's actions. Oh boy.

[gophergal]

the explosive ladies.... look at them......

(looks better on pf)

[joshuaalbert]

kai winn’s relationship to religion really is just so interesting to me in a way I come back to sometimes like. she’s the leader of a faith and her gods will not speak to her. they will speak to other people in front of her and they will make a human from a society that did not interfere with her planet’s suffering their emissary but they will not speak to her. and I’m sure she can do a lot to justify it in her mind because she would have to be able to in order to keep any faith, and she has to keep her faith because she says herself that’s all she had in the camps, but that’s still a terrible thing to experience. and I’m sure a lot of people would argue that it’s not real faith, it’s ambition, but I think it’s some of both, and most importantly I think on the most immediate levels she believes it’s faith.

and like I think she and a lot of other bajorans have a reason to have a really complicated relationship with the prophets because the more demonstrably real and powerful they are, the more they’re willing to interfere in things like the dominion war, the harder it would be for a lot of people to justify to themselves why the prophets didn’t do anything to stop the genocide of their chosen people. I think the pah wraiths plotline ultimately fell kind of flat when it kind of boiled down to “dukat’s weird cult” and it was also a victim of the season’s pacing issues, but it has some interesting implications regarding this divide in the bajoran people, particularly when their religious leader’s faith is being so seriously called into question.

[lgbtlunaverse]

So I watched A Silent Voice with some but minor knowledge of the story going in. And right at the beginning when Shoko's bullying started I had the nagging worry that while Ishida would be redeemed they'd leave Ueno and Kawai as one-dimensional bullies. Painting the girls as the "real villains" while the male protagonist got to have depth. Anyway I just finished the movie and I would like to formally apologize to Oima Yoshitoki and Yoshida Reiko I should never have doubted you.