#the babygirlism theory

[minwonaucollections]

[137] the babygirlism theory

wreckedshoes

in which wonwoo wonders why everyone thinks he is a babygirl and what does that have to do with kim mingyu

Chapters: 1

🔗 Link

[synthwavecryptid]

The Titanic AU brainworms still have a vice grip on me I fear. 😔

Also do not ask me how bag of bones and elbows Hosea manages to haul Dutch’s ass back up and over the rail. Suspend disbelief with me for a second

(I needed to give him a standard name for a second, I know that’s controversial but deal with it)

[pokemon1oadvanced]

Kenji: You knew Brooklynn was alive and you didn’t tell us!

Ben: Stammering* I-I um…

Kenji: We can’t trust you! Who knows what else you’ve lied about!

Ben: Panicked* I don’t have a girlfriend!

Yaz: Yeah no surprised there

Sammy: I wanted to be supportive but there were doubts 👉🏼👈🏼

Darius: You’ve been knew

Kenji: Wait, what?

[evecallum]

Kind of starting to wonder if another faction is being introduced to oppose the stars, like theres no time for it for sure BUT…

This quote, in conjunction with the teaser where Astrid seems to be having some kind of life changing event because she is exposing herself to the sun for the first time makes me think this cosmic war that was teased is between not just Aaravos and the Cosmic council (which like how is he gonna pull off defeating multiple immortal beings while not having access to all of his powers due to his “fallen” status) but also the sun herself.

Presumably Astrid’s removal of her blindfold will give her the sun equivalent of “timeblindness” whatever that would mean sun primal wise. (This also sets up conflict between Astrid and her brother). The Celestial Elves follow the stars exclusively, and the stars (as we know from short stories) and the brief moments we’ve seen in the show, care only about order and maintaining the status quo. Astrid defies this preordained order in two ways. 1) By removing her blindfold Astrid allows something besides the stars to touch her eyes and 2) she wants to make a difference and affect the world directly. The stars do not appreciate change or “ripples” (*cough* yes I’m referencing Aaravos’ short story), which is why the Celestial Elves serve only to observe and watch over the world.

Something of note that @raayllum has mentioned is the framing of Janai with the sun behind her and Karim without. Its almost as if the sun supports the integration of humans and elves and thus opposes the order of the Cosmic council.

In conclusion:

[majimaisms]

absolutely fascinating to me that this is what majima thinks makoto wants/needs to hear. considering how much he's projecting onto her, and how he sees her as a version of himself, i think one of the logical conclusions to draw here is that this is what majima wants to hear. he wants to be told that someone will be there beside him and that they'll keep him safe no matter what happens.

and she's having none of it. because she is actually too much like majima. she acts as a perfect mirror. and certainly, there's an interpretation of this as majima underestimating her, not giving her enough credit, but i think it's also possible that he's just projecting. believing that this is what she needs to hear doesn't mean he thinks any less of her, just that she is too much like him. his double standard then becomes a matter of something more akin to self-recognition through the other, rather than something that can be boiled down to misogyny.

but here's where things get interesting. this implies that whatever "similarity" exists between them, at least in terms of how self-reliant they are, how "independent" they are, is an illusion. that it's not that makoto is actually too much like majima -- it's that she's the ideal that majima is aspiring to. makoto at this point in the story is a genuine example of what majima only appears to be, was forced to be, and perhaps resents having to be. because why go out of your way, over and over again, to shelter people you strongly identify with (as opposed to just people you care about) if you don't believe it's something everyone, if given the choice, would choose? to have someone to "keep them safe no matter what happens"?

it's the kind of baseline assumption that people make when they think everyone who's a lot like them is exactly like them. a very common pitfall. but he's wrong.

she proves his assumptions wrong. she does not, when given the opportunity, choose that. she asks him to kill dojima and his lieutenants, because she has convinced herself it's what tachibana would've wanted, and she's had enough of people trying to solve her problems for her by protecting or sheltering her, without her input. "helping" makoto has to be done on her terms now. and the first words to come out of her mouth as she's dying? expressing shame for failing to accomplish her goals on her own. for not being able to be self-reliant enough.

and majima tried to discourage her from taking revenge on the dojima family because it's "not who she is," and he "can't imagine that's who her brother was." because he sees her as better than himself, too good, too pure, too soft, and he wants to preserve that in her. and this time it's because he thinks they're too different. but he's actually wrong again. he's both not giving himself enough credit here, and giving her too much. because he's uncharitable to himself, and too charitable to her. but they are the same in this. and the moment she's in danger, he's the one seeking vengeance, for her, in her stead, just like she did with tachibana.

they both think the ultimate sacrifice you can make in the name of love is to compromise your values, your principles. do the unspeakable thing, do the "wrong" thing, as long as that's what it takes to keep your loved ones safe.

it takes sera spelling it out to majima that bloodying his hands for makoto's sake will hurt her more than it will help her to stop him killing dojima. and majima goes ballistic at the suggestion that even the ultimate sacrifice is not enough to protect her, to save her from a lifetime of being a target for the tojo. (an organization he has sworn unwavering loyalty to, by the way, and is trying to crawl back into.)

majima's "hannya" side has never been about his own retaliation, his own revenge. it's always been for the sake of people he cares about, and makoto is the most prominent example of this. but more importantly, she also is exactly like this. majima lists nishitani, sagawa and lee as the people he learned from in y0. and they certainly were the people he modeled mad dog after and learned important life lessons from. but i think #1 on that list is and always will be makoto, followed by sera. because he would never have found the strength to become mad dog if he had not watched makoto do it first.

makoto has a level of emotional strength that majima lacks but is drawn to and inspired by. her whole life, she has been protected by "older brothers" who took care of her like a little sister -- tachibana, lee, majima. she has had to fight for her independence to be recognized.

majima has had no one. he's too independent. but it's not by choice. and he wants to be protected and taken care of. this is the one thing they are opposites in and i think what makes them such compelling parallels and contrasts to each other, as well as people who had a lot to learn from each other but ultimately needed the exact opposite of what they could give each other. yakuza 0 the game that you are

[friendofelphie]

So, I know that Wicked the Musical is a different beast than Gregory Maguire’s Wicked: The Life and Times of the Wicked Witch of the West.

They’re different in tone and theme, and they aren’t trying to be the same thing. I usually don’t even think of them in the same breath; Maguire’s Oz is a different world than the one we see on stage.

However, there is one change made for the stage show that I think is a weakening of the story: the decision to have Elphaba fake her death, and run away with Fiyero. I get it, it’s a musical; Elphie melting at the end of her own story is a bummer. But Wicked is a tragedy, and I always thought it was a little bit of a cop-out to give Elphaba a happy ending.

Then I realized something: The book is Elphaba’s story, but Wicked the musical is very explicitly told from Glinda’s point of view. There’s the whole “I did know her once… at school,” thing that turns into an extended flashback.

Maybe Elphaba didn’t fake her death. Maybe the ending of the stage show is Glinda imagining, and hoping, that’s what happened. Perhaps Elphaba turned Fiyero into a scarecrow, and then they ran away together. Maybe it was all Elphaba’s master plan. Probably not. But for Glinda, it’s helpful to imagine — and always, in the back of her mind, to believe that’s what happened.

No one mourns the Wicked. Glinda doesn’t want to mourn. She wants to believe that somewhere, somehow, her friend is still out there.

[rainsfiction]

you ever think about the possibility that felix could absolutely not be that oblivious? the idea that he played into the himbo thing a little bit? he may not be the smartest, but he did get into oxford, and no matter what anyone thinks, he did study to do it… if he pretends not to understand his coursework and pouts until ollie helps him out? well ollie looks so cute when he’s focused and no one needs to know but him.

he may be a little… self-involved… but even he knows he gets a little touchy with ollie. forehead and cheek kisses, cuddles and whispers… but who can blame him! the little private smiles ollie only has for him are his absolute favourite. and if he eye fucks ollie and gives his own private smiles on occasion, well that’s just his flirty personality, he can’t help it!

one thing about farleigh is that he’ll always find something to tease you about. it might as well be his love language. felix’s oral fixation has been an ongoing joke for a long time. not that felix minds or anything! he’s the first to admit that he’s got a bit of a thing, and if his thing became a bit more obvious since meeting oliver then so be it. if his fixation starts favouring suckers and ice lollies and lip biting… well that’s just a happy coincidence.

he used to always lock his bathroom door. it wasn’t a privacy thing, he was very very open… it was just a force of habit. something silly to keep the catton ghosts out of his space. but then ollie comes to visit and he suddenly has a habit of leaving the door slightly open. masturbating in the bathtub is also new, and if anyone wonders why he’s gotten more performative, he’s just feeling a little experimental recently. if he cums to stifled moans sometimes, well that’s between him and oliver isn’t it

[presidentofthelipglossclub]

heatwave and optimus are such an underrated comedic duo. every single time they are in the same vicinity as each other everything immediately goes to shit. this is i think because they are both primus's blorbos, and in true blorbo fashion, must suffer. greatly. anyway this leads to some very fun interactions such as:

heatwave, newly appointed leader of like every rescue bot, on his first day as a secret alien on earth, immediately deciding he wants to leave right after accepting optimus's orders. and when he can't do that, he starts talking to people because he has no fear i guess.

optimus prime, leader of the cybertronian race, chosen by primus, and guy who says "nothing much, double dutch" in response to an extremely casual greeting in a very formal situation in front of his child (heatwave), presumably to embarrass said child.

heatwave, recent student of optimus's old friend who is a respected and decorated war veteran as well as a long time rescue bot, calling optimus (WHO IS FRIENDS WITH THIS GUY) just to bitch at him.

optimus prime, protector of civilians and humanity, fully prepared to watch a game show (created by blades and chase) in which a human child gets electrocuted. (there was a misunderstanding involving the term "lightning round" in trivia).

heatwave, rescue team leader, assigned to protect humans, straight up just driving off a cliff into the ocean with no warning, with his human partner who is screaming, all to win a race.

optimus prime, by now nearly a godlike figure, adopted father of all the rescue bots, also a terrible communicator, ghosting his kids for four years (get it. ghost. bc he died.) and then not explaining ever.

like literally i could go on but they are total messes and it's hilarious. where is all the content of incredibly chaotic and weird father daughter bonding for heatwave and optimus. they are so funny.

(yes i meant to type daughter bc heatwave gives off eldest daughter energy ok. no other reason for the shit he pulls.)

[rubywingsracing]

I give to you my analysis of the Oscar/Lando dynamic and why they are such an amazing duo:

First I give to you the fact that Oscar is the oldest of four, he’s got three younger sisters as is evidenced by this photo:

As a fellow big siblings of lots of little siblings I can personally attest to the fact that I have always wanted an older brother or sister, and I imagine as the oldest Oscar probably did too. There’s just like this innate desire to have someone who is to you what you are to your little siblings. Someone who’s been through all the life milestones first and who you can look up to and emulate.

Then we factor in that Lando is the third of four, he’s got an older brother(Oliver) and two younger sisters(Cisca & Flo):

So he’s never been a big brother to a little brother! Which is just such a special dynamic as I have witnessed between my two little brothers who are barely 2 years apart, they are literally partners in crime and they do everything together it’s amazing and beautiful and oh so sweet.

So when Oscar met Lando he found himself a big brother, and Lando found himself a little brother. They’re like each others little missing puzzle pieces and when they found eachother they just clicked ✨✨.

He’s just a proud big bro ok you guys 😭😭😭

This totally like pieced together in my head after watching how Oscar followed Lando around after the race like a little sibling might their big siblings at a large family function. Like you don’t know who the heck all these second and third cousins are but you do know you gotta stick together. Oscar was giving lost puppy fr

🧡🧡🧡

[andillwriteyouatragedy]

thinking about how s02e03 ended with mark's reintegration and shots of his face, and s02e04 ended with irving's "death" and shots of his face.....

[greenerteacups]

oooh please someday tell us what you think of GOT

oh, no, it's my fatal weakness! it's [checks notes] literally just the bare modicum of temptation! okay you got me.

SO. in order to tell what's wrong with game of thrones you kind of have to have read the books, because the books are the reason the show goes off the rails. i actually blame the showrunners relatively little in proportion to GRRM for how bad the show was (which I'm not gonna rehash here because if you're interested in GOT in any capacity you've already seen that horse flogged to death). people debate when GOT "got bad" in terms of writing, but regardless of when you think it dropped off, everyone agrees the quality declined sharply in season 8, and to a certain extent, season 7. these are the seasons that are more or less entirely spun from whole cloth, because season 7 marks the beginning of what will, if we ever see it, be the Winds of Winter storyline. it's the first part that isn't based on a book by George R.R. Martin. it's said that he gave the showrunners plot outlines, but we don't know how detailed they were, or how much the writers diverged from the blueprint — and honestly, considering the cumulative changes made to the story by that point, some stark divergence would have been required. (there's a reason for this. i'll get there in a sec.)

so far, i'm not saying anything all that original. a lot of people recognized how bad the show got as soon as they ran out of Book to adapt. (I think it's kind of weird that they agreed to make a show about an unfinished series in the first place — did GRRM figure that this was his one shot at a really good HBO adaptation, and forego misgivings about his ability to write two full books in however many years it took to adapt? did he think they would wait for him? did he not care that the series would eventually spoil his magnum opus, which he's spent the last three decades of his life writing? perplexing.) but the more interesting question is why the show got bad once it ran out of Book, because in my mind, that's not a given. a lot of great shows depart from the books they were based on. fanfiction does exactly that, all the time! if you have good writers who understand the characters they're working with, departure means a different story, not a worse one. now, the natural reply would be to say that the writers of GOT just aren't good, or at least aren't good at the things that make for great television, and that's why they needed the books as a structure, but I don't think that's true or fair, either. books and television are very different things. the pacing of a book is totally different from the pacing of a television show, and even an episodic book like ASOIAF is going to need a lot of work before it's remotely watchable as a series. bad writers cannot make great series of television, regardless of how good their source material is. sure, they didn't invent the characters of tyrion lannister and daenerys targaryen, but they sure as hell understood story structure well enough to write a damn compelling season of TV about them!

so but then: what gives? i actually do think it's a problem with the books! the show starts out as very faithful to the early books (namely, A Game of Thrones and A Clash of Kings) to the point that most plotlines are copied beat-for-beat. the story is constructed a little differently, and it's definitely condensed, but the meat is still there. and not surprisingly, the early books in ASOIAF are very tightly written. for how long they are, you wouldn't expect it, but on every page of those books, the plot is racing. you can practically watch george trying to beat the fucking clock. and he does! useful context here is that he originally thought GOT was going to be a trilogy, and so the scope of most threads in the first book or two would have been much smaller. it also helps that the first three books are in some respects self-contained stories. the first book is a mystery, the second and third are espionage and war dramas — and they're kept tight in order to serve those respective plots.

the trouble begins with A Feast for Crows, and arguably A Storm of Swords, because GRRM starts multiplying plotlines and treating the series as a story, rather than each individual book. he also massively underestimated the number of pages it would take him to get through certain plot beats — an assumption whose foundation is unclear, because from a reader's standpoint, there is a fucke tonne of shit in Feast and Dance that's spurious. I'm not talking about Brienne's Riverlands storyline (which I adore thematically but speaking honestly should have been its own novella, not a part of Feast proper). I'm talking about whole chapters where Tyrion is sitting on his ass in the river, just talking to people. (will I eat crow about this if these pay off in hugely satisfying ways in Winds or Dream? oh, totally. my brothers, i will gorge myself on sweet sweet corvid. i will wear a dunce cap in the square, and gleefully, if these turn out to not have been wastes of time. the fact that i am writing this means i am willing to stake a non-negligible amount of pride on the prediction that that will not happen). I'm talking about scenes where the characters stare at each other and talk idly about things that have already happened while the author describes things we already have seen in excruciating detail. i'm talking about threads that, while forgivable in a different novel, are unforgivable in this one, because you are neglecting your main characters and their story. and don't tell me you think that a day-by-day account tyrion's river cruise is necessary to telling his story, because in the count of monte cristo, the main guy disappears for nine years and comes hurtling back into the story as a vengeful aristocrat! and while time jumps like that don't work for everything, they certainly do work if what you're talking about isn't a major story thread!

now put aside whether or not all these meandering, unconcluded threads are enjoyable to read (as, in fairness, they often are!). think about them as if you're a tv showrunner. these bad boys are your worst nightmare. because while you know the author put them in for a reason, you haven't read the conclusion to the arc, so you don't know what that reason is. and even if the author tells you in broad strokes how things are going to end for any particular character (and this is a big "if," because GRRM's whole style is that he lets plots "develop as he goes," so I'm not actually convinced that he does have endings written out for most major characters), that still doesn't help you get them from point A (meandering storyline) to point B (actual conclusion). oh, and by the way, you have under a year to write this full season of television, while GRRM has been thinking about how to end the books for at least 10. all of this means you have to basically call an audible on whether or not certain arcs are going to pay off, and, if they are, whether they make for good television, and hence are worth writing. and you have to do that for every. single. unfinished. story. in the books.

here's an example: in the books, Quentin Martell goes on a quest to marry Daenerys and gain a dragon. many chapters are spent detailing this quest. spoiler alert: he fails, and he gets charbroiled by dragons. GRRM includes this plot to set up the actions of House Martell in Winds, but the problem is that we don't know what House Martell does in Winds, because (see above) the book DNE. So, although we can reliably bet that the showrunners understand (1) Daenerys is coming to Westeros with her 3 fantasy nukes, and (2) at some point they're gonna have to deal with the invasion of frozombies from Canada, that DOESN'T mean they necessarily know exactly what's going to happen to Dorne, or House Martell. i mean, fuck! we don't even know if Martin knows what's going to happen to Dorne or House Martell, because he's said he's the kind of writer who doesn't set shit out beforehand! so for every "Cersei defaults on millions of dragons in loans from the notorious Bank of Nobody Fucks With Us, assumes this will have no repercussions for her reign or Westerosi politics in general" plotline — which might as well have a big glaring THIS WILL BE IMPORTANT stamp on top of the chapter heading — you have Arianne Martell trying to do a coup/parent trap switcheroo with Myrcella, or Euron the Goffick Antichrist, or Faegon Targaryen and JonCon preparing a Blackfyre restoration, or anything else that might pan out — but might not! And while that uncertainty about what's important to the "overall story" might be a realistic way of depicting human beings in a world ruled by chance and not Destiny, it makes for much better reading than viewing, because Game of Thrones as a fantasy television series was based on the first three books, which are much more traditional "there is a plot and main characters and you can generally tell who they are" kind of book. I see Feast and Dance as a kind of soft reboot for the series in this respect, because they recenter the story around a much larger cast and cast a much broader net in terms of which characters "deserve" narrative attention.

but if you're making a season of television, you can't do that, because you've already set up the basic premise and pacing of your story, and you can't suddenly pivot into a long-form tone poem about the horrors of war. so you have to cut something. but what are you gonna cut? bear in mind that you can't just Forget About Dorne, or the Iron Islands, or the Vale, or the North, or pretty much any region of the story, because it's all interconnected, but to fit in everything from the books would require pacing of the sort that no reasonable audience would ever tolerate. and bear in mind that the later books sprout a lot more of these baby-plots that could go somewhere, but also might end up being secondary or tertiary to the "main story," which, at the end of the day, is about dragons and ice zombies and the rot at the heart of the feudal power system glorified in classical fantasy. that's the story that you as the showrunner absolutely must give them an end to, and that's the story that should be your priority 1.

so you do a hack and slash job, and you mortar over whatever you cut out with storylines that you cook up yourself, but you can't go too far afield, because you still need all the characters more or less in place for the final showdown. so you pinch here and push credulity there, and you do your best to put the characters in more or less the same place they would have been if you kept the original, but on a shorter timeframe. and is it as good as the first seasons? of course not! because the material that you have is not suited to TV like the first seasons are. and not only that, but you are now working with source material that is actively fighting your attempt to constrain a linear and well-paced narrative on it. the text that you're working with changed structure when you weren't looking, and now you have to find some way to shanghai this new sprawling behemoth of a Thing into a television show. oh, and by the way, don't think that the (living) author of the source material will be any help with this, because even though he's got years of experience working in television writing, he doesn't actually know how all of these threads will tie together, which is possibly the reason that the next book has taken over 8 years (now 13 and counting) to write. oh and also, your showrunners are sick of this (in fairness, very difficult) job and they want to go write for star wars instead, so they've refused the extra time the studio offered them for pre-production and pushed through a bunch of first-draft scripts, creating a crunch culture of the type that spawns entirely avoidable mistakes, like, say, some poor set designer leaving a starbucks cup in frame.

anyway, that's what I think went wrong with game of thrones.

[junijupi]

he's so babygirl and nobody is talking abt it 🙁

[pokemon1oadvanced]

Jurassic World Chaos Theory Season Two Spoilers

[thelaurenshippen]

the way joel and ellie are perfect unhinged feral soulmates—balls of rage and violence that turn soft for each other and simultaneously would murder the world for each other….I…..

[louisplumpyass]

mf is so high i'm crying 😭

[harrowharkwife]

i hope yellowjackets never gives a clearcut answer vis a vis the whole "how much of it is the supernatural and how much of it is the trauma" question, but like, at this point my best guess for tai is that she physically has a screw loose in the most literal sense possible. like something is not right up there. and i don't even mean in the mental illness sense, they're all deeply traumatized and different shades of mentally ill at this point, but like- this degree of sleepwalking, and dissociating, and losing time? it's giving neurological damage, it's giving uniquely horrible and very strange form of traumatic brain injury. like that plane crash knocked something Loose i swear to god