#so i guess we are mostly good

[elsabet-writes]

Daily writing adventure: someone fed expensive fish fillets to the stray cat that lives on the roof, and no one has confessed.

[hinamie]

for @cherryys who (rightfully!) hcs lategame megumi as having a bunch of scars befitting his status as resident punching bag

[turtleblogatlast]

No but like every time I think about Splinter and what he had to go through just to keep the boys alive, my heart hurts for him so badly. Is he perfect? No not at all, but none of them are and by god does he love his sons.

The fact that all of them are alive, and grew to thrive despite the circumstances surrounding them is a testament of how much Splinter loves his boys. He raised four babies following the most traumatic time of his life, all alone with nothing but the sewers to house them (to hide them.) I feel like he’s not given the credit he deserves for all he’s done.

And I get that it’s easy to hold up his flaws and faults when it comes to parenting, I myself like looking into them because flawed characters are super interesting and said flaws make them more realistic and engaging, but he tries, and again, so many others would have given up on the boys or failed along the way but Splinter didn’t.

He’s their father, for all his faults he did his damndest to make sure they survived.

[itskindnessinfinite]

the recency bias in the f1 community is insane actually

[sysig]

my 2nd request !! The skeleton brothers wearing matching pajamas :D

Day 13 - The Friendship Brothers

[prolibytherium]

I never touched it but I feel like i only ever hear positive things said about song of achilles.. in (rough strokes at least) what makes it dogshit to you?

Okay it's been a while since I actually read it so some of this might not be spot on accurate. Sorry if at any point I say 'the book never does xyz' and it actually does once or twice but I think my underlying criticisms are accurate

-Patroclus is made into like this soft gentle tender quivering little yaoi boy. In the source text, he's shown as compassionate and moved by the suffering of his own men (and apparently having some medical skill, tending to the wounded in the camp), but very much invested n combat and very, very good at it (pages worth of descriptions of the guys he's killing left and right). In this, the arguably more complex character from this 8th century BC text is flattened into Being A Healer, he doesn't want to go to war he just wants to help people, he only goes because Achilles has to but he doesn't want to fight he's a HEALER he's a gentle lover NOT A FIGHTER who just wants to help he just wants to help everyone around him he HEALS while Achilles is a doomed warrior who is so good at fighting and KILLING its a DICHOTOMY GUYS!!!LIKE THE BEAUTIFUL SUN AND MOON DOOMED LOVERS SO SAD patocluse HEALER . (I Think he's specifically characterized as being BAD at fighting but might be misremembering)

-I don't remember much about Achilles' characterization I think it just makes him less of a jackass while not adding anything of interest and levels out into being mad boring.

-Not getting into the literal millenias old debate whether the mythological characters Achilles and Patroclus were being characterized as some type of lover by the original oral sources of the Iliad or its Homeric writers. We will never know. We don't even know what (if any) culturally accepted conventions of male homosexuality existed in bronze age Greece (we know much more about their descendants). But there are some interesting elements of their characterization in this direction, with how unconventional their relationship is WITHIN the text itself- Patroclus is described as cooking for Achilles and his guests (very specifically a woman/wife's job), Achilles chides Patroclus like a father, but there's also scene where Achilles' mourning of him directly echoes a passage of Hector's wife mourning her husband, Patroclus is explicitly stated to Achilles' elder, and is overall treated as his equal or near-equal, closest confidant and most beloved friend (to the point that pederastic classical Greeks would debate over who was erastes (older authority figure lover) and who was eromenos (adolescent 'beloved')- many took it as a given that this text depicted their present-day cultural norms of homosexual behavior but it existed so Outside of these norms that it had to be debated who was who). Their relationship is non-standard both within the text and to the descendants of the civilization that wrote them.

Basically what I'm saying is this book had opportunities to like, explore the unconventionality of the relationship (being presented here as explicitly lovers), explore the dynamics of why Patroclus wants to do 'women's work' (besides being a tenderhearted softboy), the weird dynamics where they take on paternal roles to each other but also roles of wives, how they feel about being this way, and just kind of Doesn't. Which I guess isn't an intrinsic fault (because it omits much of what I just talked about to begin with). it's just like.... Lame. This book takes jsut abandons everything interesting about the source text in favor of flattening it into bland Doomed Yaoi.

-The conflict that sets off the core story of the Iliad is Achilles and Agamemnon fighting over Briseis, an enslaved Trojan woman taken by Achilles as a war-trophy, Achilles spends most of the story moping because he was dishonored by his 'trophy' being taken. Achilles and Patroclus and everyone else are raping their captives, all the women in the story are either captured Trojans (or in the case of the free women within the walls of Troy, soon to be enslaved, and are slave owners themselves). Slavery as an institution and extreme patriarchal conventions are innate to the text and reflective of the context in which it was developed. You cannot avoid it.

But obviously you can't have your soft yaoi boys doing this, so the author has them capturing women to Protect Them from the other men. Their slaves are UNDER THEIR PROTECTION and VERY SAFE (and they might even Like And Befriend Them but I might be misremembering that. Briseis does though). Our heroes have apparently absorbed none of the ideals of the culture they exist in and the author seems to think "they're gay and aren't sexually attracted to their captives" would translate to them being outright benevolent (also as if wartime sexual violence is just about attraction and not part of a wider spectrum of violent acts to dehumanize and brutalize an accepted 'enemy')

In the source text, Briseis mourns Patroclus as being the kindest to her of her captors, who tried to get her a slightly better outcome by getting her married to Achilles (which probably would be the Least Bad of all possible outcomes for a woman in that situation, becoming a legal wife instead of a slave), and wonders what will happen to her now that he's gone. This is a really really sad, horrible, and compelling dynamic which could be fleshed out in very interesting ways but is instead is tossed entirely aside in favor of them being Besties. Like brother and sister.

All of the above pisses me off so much. If you don't want to engage in the icky parts of ancient/bronze age Greece then don't write a retelling of a story taking place in bronze age Greece. I'm not gonna get mad at children's adaptations of Greek myths or silly fun stories loosely based on them for omitting the rape and slavery but it is SO fundamental to the Iliad. If you're not willing to handle it, either fully omit it or better yet set your Iliad inspired yaoi in an invented swords-and-sandals setting where you can have all your heartbreaking tragic doomed lovers plot beats and not have to clumsily write around the women they're brutalizing.

-The author didn't seem to know what to do with Thetis and she made her just like, Achilles bitch mother who spends most of the story trying to separate our Yaoi Boys (iirc her disguising Achilles as a girl and hiding him on Scyros is made to be more about getting him away from Patroclus than trying to save her son from his prophesied doom in the Trojan War) until she sees how much they loooove each other and I think helps Patroclus' spirit get to the afterlife or something in the end?

-This is more of a personal taste gripe but it has that writing style I loathe where the prose feels less like a story and more like an attempt to string together Deep Beautiful Hard Hitting Poetic Lines that will look great as excerpts on booktok (might predate booktok but same vibe). It's all very Pretty and Haunting and Deep but feels devoid of real substance.

I really like The Iliad and The Odyssey in of themselves. They're fascinating historical texts that give a window into how 8th century BC Greeks told their stories, saw their world, interpreted their ancestors, etc. And genuinely I think these texts have 'good' characters, there's a lot of complexity and humanity to it.

WRT the Iliad- all of the main Achaeans are pretty fascinating, the one singular part where Briseis Gets To Talk and laments her situation is great, Achilles fantasizing that all of the Trojans AND the Achaeans die so he and Patroclus alone can have the glory of conquering Troy (wild), Achilles asking to embrace Patroclus' shade and reaching out for him but it's immaterial (and the shade being sucked back underground with a 'squeak' (the squeak kinda gets me it's disturbing and sad)), Hecuba talking about wanting to tear out Achilles' liver and eat it in a (taboo, exceptioally pointed) expression of rage and grief for his mutilation of her son's corpse, just one tiny line where the enslaved women performing ritual wailing for their dead captors are described as using it as an outlet to 'grieve for their own troubles' is heartrending, etc. A lot of grappling with anger and grief and the inevitability of death, a lot of groundwork laid for characters that could be very interesting when expanded upon in the framework of a conventional novel.

And Song Of Achilles really doesn't do much with all that. I know a lot of my gripes here are kind of just "It's different from the Iliad", I would have thought of it as mostly mediocre and forgettable rather than infuriating if it wasn't a retelling (and I DEFINITELY have strong biases here). But I think the ways in which it is different are less just a product of a retelling (of course there's going to be omissions and differences) and more a complete and utter disinterest in vast majority of its own subject matter, to the book's detriment. I think a retelling has a point when it EXPANDS on the source, or provides a NEW ANGLE to the source. This book doesn't Really do either, it just shaves off the complexity of its source material, renders the characters into a really boring archetype of a gay relationship, and gives very little else. Its content boils down to a middling tragic romance that has been inserted into the hollowed out defleshed skeleton of the Iliad.

Bottom line: I definitely would not be as mad about it if I wasn't familiar with the source material but I think it's fair to expect a retelling to Engage with/expand on its source, and I also think it's weak purely on its own merits. This book was set up to disappoint Me specifically.

[herbie851]

One of the things I find most interesting in We Are is the length of time these characters have known each other within the context of the show. Not just the long term friendships, but the merging of this giant friend group. In most shows we get a story that moves pretty quickly in the lives of the characters…maybe a few months. But here, they have all been in each other’s world for over a year. So Phum and Peem have been in this unknown space for a very long time. It makes their growth individually and together feel earned.

What I’m trying to say is that the makers of this show were given 16 episodes to build this story. The characters were given at least a year to build their relationships. It really pays off when there is time and space to explore.

[ozonecologne]

.

[mashmouths]

so i started this show and it just gets worse and worseeeee not only did it lift the romance subplot directly from twilight (and not well) but they also are trying to play the forbidden love angle hard in the fantasy racism vein except it's a "cross-species" relationship between the two whitest people i've ever seen in my life and there are three people of color in the whole (first season of the) show who aren't villains and it seems that every other episode (and sometimes ebery episode and sometimes twice an episode!) there is a man physically or magically subjugating a woman and i keep waiting for the big reveal at the end to be stolen from fucking rainbow rowell

[uncanny-tranny]

You know... it's okay to trust your body. If you are separated from your body to such an extent you feel you cannot trust it, I truly from the bottom of my heart empathize and feel grief for you, but you can trust your body.

It's okay to listen to your body and to heed what it is telling you. I wish you (and your body) well wherever you go. You deserve the peace of mind to feel able to do what you want.

[jq37]

I've been thinking about Descendants 4 again today and, having had more time to think about it, it's even more disappointing than I initially felt it was. Because it actually has all the ingredients to be my favorite of the four.

-Brandy coming back as Cinderella (along with her prince) is an inspired move (as a Black girl and theater kid in spirit, I obviously loved her as a kid). -I also love a Cinderella focus in general because she's one of my favorite princesses--in Disney and in general. My MFA thesis project is literally a Cinderella retelling. -I love a focus on platonic relationships and an interesting mother-daughter dynamic is one of my faves. -Likewise, as cliche is it is, I love two characters with almost violently opposite vibes being forced to work together and getting close along the way.

This movie has all these things that I love which makes it extra disappointing that the movie seems uninterested in basic tenets of storytelling.

The two main relationship rifts in this movie are between Cinderella and the Queen and Red and her Queen and neither of those relationships grow or develop in a way we can get invested in. They're just fixed by stealing a book. The Red Queen doesn't learn to be a better person. They just erase one bad thing that happened to her and it's all fine now I guess? Ella doesn't reconcile with her friend. Whatever caused their rift (which we never see or even are told about in any detail) is just poofed from the timeline. There's no emotional climax. There's no real action climax. Every time it seemed like something interesting was going to happen or be revealed, they hard pivoted to something else. The connective tissue in the movie is super weak and the foreshadowing leads to very little if anything.

I've really never seen a movie so bizarrely unfocused and disjointed. It has real first draft vibes.

[arsenicflame]

getting real worried about this one lads

[spotaus]

Thinking about Orchid and her connection to my take on Gender (because this was meant to be about her and the Crew but it just devolved into a character analysis kinda??? More trauma-dumping maybe???) This is very much an oc/personal rant so feel free to ignore it 🫡

So, Orchid started off as a character I didn't really think much of (hear me out this is going to be relevant) because I wanted to add a 'girl' character but didn't know what to *do* with her, y'know? She was always going to be the strongest one there, she had the odds stacked in her favor with her parents. She was always going to be the gloomy side-character to match Reset's energy. But I think she's gone through every stage of Generic Woman I could possibly find.

At first she was angry and abrasive (think Fell!Sans) where every other word was a curse and she was likely to throw the first punch then laugh as she kicks her enemy while they're down. This was when Reset was a cartoonishly self-centered villain whose goal was simply to prove others wrong. Then Orchid became a sort of sisterly figure. This was short-lived, but she was the one comforting people who Reset would torment, but would ultimately follow his orders, because at this point he was actually a danger and sadistic. And then there was the phase where the story mellowed out and she became the token Goth Girl who, yes she was strong, but was heavy on the 'whatever' energy. Then there was her Era of deep self-loathing and anxiety about her worth that held her back and made her a much more timid and meek character who would only lash out on occasion.

Now, Orchid is the best of those iterations I've written yet. She's calm, level-headed, and a natural leader. Her father raised those traits into her. But she's very reactive, and can be silly, and when she's comfortable it's likely that air of importance transforms into something more comfortable and familiar. She laughs loudly and grins wide, she likes loud video-games but loves to read in the quiet. She's extremely disciplined, and normally no one can get through her tough exterior besides her best friend, Reset. She does what she does for her own enjoyment, sure, but she's thought of every angle and makes her choice to help Reset and control the others with her whole chest. She still worries she won't live up to her invisible expectations, and that and her loyalty are her two driving forces.

I know that Orchid is important to me because she's the longest-running female oc I've had. I have a rough relationship with womanhood/girlhood and I know looking back that Orchid recieved every ounce of my distaste for being a woman that I could shovel into her. That never made her less of a character, she was actually always one of my favorites, and rarely was she a 'punching bag oc'. I just... projected onto her a lot. And she's a good sign of how I've learned who I am. I've decided that my own femininity is something I could live without. I'd rather not associate myself with it, and I'd like to leave it in my past, focusing on a future where I'm not tied down with any gender roles or expectations. That won't happen, but I've come to terms with it myself. Orchid though? I figured out through her that I don't have to hate women characters. My own distaste for my circumstances doesn't mean I have to push it onto my characters (on God I've never expressed anything rude to actual people, that'd be rude as hell and uncalled for, but I have a bad habit of disliking fictional women in media). So, Orchid is a well-roubded character finally. She has motivations abd goals and a *lot* more depth than I ever expected her to. She's happy with being a woman, she's content. She's not treated differently for it in unfair ways by those she cares about, so she doesn't mind it. She likes to wear pretty outfits and lets Reset add bows to her ribbons. She doesn't let being a woman hold her back in the slightest.

So, yeah. Orchid is one of my babies. If I ever leave this Fandom behind for good, she's one that's coming with (Ichor, Orchid, and Pretender all have human designs I can use elsewhere lol-) but in the meantime I'll just rotate her around in my brain for a while longer.

If I'm right, she's been with me for nearly 5-6 years and I went through a *lot* with her as an outlet. So, she's kinda just like an old stuffed animal. A lil ripped, matted fur, maybe a stain or two, but there's a story there and that makes it important beyond belief.

[alternautxyz]

uuhhh in other new that lmk s5 trailer dropped and people are very

mixed

for context the new season is being partly animated by wildbrain i think. flying bark is still working on the show but probably due to all the other projects they've been working on like the atla movie the animation is off.

its understandable that people are upset. lmk has some of the most consistently dynamic and lively animation ive ever seen, and going from that to ok animation kinda sucks. as a culmination of a lot of what the series has been building up to people were inevitably going to be disappointed

at the same time people shouldnt harass animators. like ever. no amount of trying to petition or anything will change the s5, people are just trying to do their job and theres no probably no major changing to the finished product by now. and theres still a lot of that lmk charm in there, and we haven't even seen the whole season yet to judge it. flying bark is still working on it, and even if the animation never reaches the peak of the old seasons it still has the same writers so at least the writing has the chance to live up old standards. idk though we'll just have to wait and see

[chiropteracupola]

now that I have finished watching All The Sharpe That There Is, we have made a Tier List of our Very Strong Opinions. behold.

further (condensed) commentary from yours truly and usual partner-in-crime @sailorpants under the readmore:

S: Eagle, Company, Battle

Eagle: 'the plot of this one makes sense,' 'it really does show (well!) that this was the first book,' 'one of the ones we rewatch,' 'a good episode of television!'

Company: 'Pete Postlethwaite is a great actor -- Hakeswill made me want to throw up,' 'the lads and also the horrors,' 'genuine emotions were elicited,' 'well-established team dynamic at this point'

Battle: 'bad men! good men! beautifulest ladies!,' 'if Perkins must die then at least he gets a really cool death and to be bridal-carried by Harper and mourned by everybody,' 'the fucked-up love square,' 'plot hangs together well,' 'this episode has the most women of any Sharpe episode: four,' 'I have watched this episode three times', 'these rewatches were with lust (for the beautifulest ladies)'

A: Enemy

Enemy: 'decently written,' 'all the lads are there,' 'type of enemy Hakeswill becomes isn't as compelling and the inconsistency brings down both his episodes,' 'egregious women-tossing,' 'it is cool that there are other women; however Sharpe would not do That,' 'French people allowed to be interesting as a treat,' 'Sharpe and Teresa SOULMATES quote [screams]'

B: Rifles, Honour, Sword, Siege, Waterloo

Rifles: 'bit of a rough start,' 'the first half is good and then it gets Weird... phobias of sorts are In There', 'TERESA!'

Honour: 'extremely cool fights in this one,' 'Ramona!!,' 'some of the best Chosen Men banter in the whole series,' 'fake-Sharpe's-death plotline is quite well done,' 'unfortunate nonsense'

Sword: 'epic Harris moments cannot earn this episode a better ranking,' 'good casting and the background characters are cool,' 'the Lass deserved much better than this episode gave her'

Siege: 'oh, the chemical warfare episode,' 'they've learned to workshop their plans since Honour,' 'made me believe that Sharpe and Jane's relationship could have worked out, 'plot hangs together well (rare in a Sharpe episode)'

Waterloo: 'the scale of it doesn't quite sit right,' 'pretty good episode,' 'Paul Bettany is uncanny and I don't like whatever it is is going on with him,' 'getting the gang back together for one last Lads Adventure!'

C: Regiment, Mission, Revenge, Justice, Challenge

Regiment: 'more time with the Chosen Men could have saved this,' 'Company was a better 'the army sucks' episode,' 'the wet soupy episode'

Mission: 'it takes me two minutes to remember what happens in this one whenever I think about it,' 'again epic Harris moments cannot save this episode,' 'quite a high SCUM score,' '[impact font] MARK STRONG'

Revenge: 'ehhhhhh,' 'Lucille's nail-gun is the only thing that is cool and fun,' 'weird vibes about it,' 'Ducos' Bond-villain stuff is needless escalation,' 'Frederickson's ending is fun'

Justice: 'he's a cop in this one,' 'don't like Hagman's mustache,' 'Jane plotline no good, '[from sailorpants] when I actually watch this one I'm gonna have THOUGHTS'

Challenge: 'would rank this higher but I do have receipts on the fact that I was having a Bad Time throughout,' 'Toby Stephens makes this worth watching,' 'almost everything else about it is bad,' 'high points in every SCUM category,' 'four whole named plot-relevant speaking-role-having women! haven't had that many since Battle!,' 'TOBY STEPHENS CUNTSERVACIOUS LITTLE OUTFITS'

D: Gold, Peril

Gold: 'we don't need to discuss why we are ranking it like this'

Peril: 'the secret good Peril that lives in my head is so cool but unfortunately it is not real,' 'they are trying to have Themes and it is not working,' 'casting director is now finding conventionally attractive men instead of weirdguys with interesting faces,' 'Daniel Deever should have his own entire show but unfortunately this is a show about Richard Sharpe (I would write about him so much if I felt that I could do him justice but therein lies the Research Pit)' 'most important point is that he has a locket with Antonia's picture but the rest I could take or leave and I will probably leave it'

[bunnihearted]

☕️🫧